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COLD OPEN:
[EXT. LAS VEGAS (STOCK) - DAY]
[EXT. APARTMENT COMPLEX - DAY]
CUT TO:
[INT. APARTMENT COMPLEX - HALLWAY - DAY]
(The resident manager enters the darkened hallway of the apartment complex with two prospective renters, STEVE and NANCY.)
Stu Evans: You'll like this apartment. My wife says it's the best of the lot. Now, the tenants moved out kind of quick so I don't normally show apartments before I've had a chance to look, so ... use your imagination.
(He unlocks the door to apartment #103 and pushes it open for STEVE and NANCY to look at. They both step inside ... aghast at what they see. There's blood on the walls and on the floor.)
Nancy: (to STEVE) Oh, my god. Call 911.
CUT TO:
[INT. APARTMENT #103 - DAY]
(Camera close up of BRASS.)
Brass: I worked in a slaughterhouse one summer. Looked a lot like this.
(GRISSOM is also standing in the middle of the room. He's not looking at the walls, he's busy testing the blood.)
Brass: (V.O.) The lease is in the name of Clifford Renteria. He lived here with his girlfriend till they snuck out in the middle of the night. Gee, I wonder why.
Grissom: For all we know, this is animal blood.
Brass: Yeah, sure. Deer, sheep, llama.
Grissom: A deer hunter comes home from the mountains drunk decides to play butcher clean his k*ll. Chops his game up into oven-sized pieces for the winter. I mean, what does he care? He's renting.
(GRISSOM drops a small sample of the mixture into the hand-held test and waits for the results. BRASS uses his flashlight and shines it on the test. Results of the test indicate that the victim was definitely "human".)
Brass: Victim's human.
Grissom: And a human has only eight pints of blood. So, whoever the victim is ... is now d*ad.
HARD CUT TO END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
[INT. APARTMENT -- DAY]
(GRISSOM is looking through a small instrument used to measure the blood spatter.)
(QUICK CGI through the end of the instrument, up to GRISSOM'S eye, fade back down to the end of the magnifying lens to measure the blood spatter where 1 DIV = 1 MM. 20X. Flash to white. Resume on GRISSOM looking at the blood on the wall.)
Sara: (o.s.) Any uniformity in the spray?
Grissom: Well, by and large, the average diameter is about one millimeter.
Sara: Blood drops this size are characteristic of high-velocity impact like g*n trauma but there's no b*llet strikes on the walls ... ruling out m*rder by g*n.
Grissom: Just acquaint yourself, Sara. Don't interpret just yet, okay?
(SARA continues to look around the room. WARRICK is busy spraying luminol on the entire floor. When he's finished, he puts the spray canister down.)
Warrick: All right. Show time.
(GRISSOM closes the shades disturbing a single fly which buzzes off. SARA,
WARRICK and GRISSOM wait while the luminol begins to glow.)
Sara: This looks like a multiple. More than one vic. Acquainting myself.
Warrick: Check out these "voids." That's the real evidence.
(From the top view of the room, the entire floor glows except for certain "voids".)
Grissom: Couch? We've only got 30 seconds till this luminol disappears.
(SARA starts taking pictures of the "voids" and anything else pertinent.
GRISSOM kneels to get a better look at the "voids" where he's standing.)
Grissom: Television, maybe? A magazine?
Sara: Triangle ... coat rack?
Warrick: Guys ...
(Right where WARRICK is standing is an irregular shaped "void".)
Grissom: What do you think that is?
Warrick: Looks like it could be an electric saw.
Grissom: High-velocity, small spray.
(Close up on the "void" of the electric saw as it disappears ... )
CUT TO:
[EXT. MOJAVE DESERT NEAR LAKE MEAD -- DAY]
(On the other side of the power lines, the hills are on f*re. A helicopter flying by drops water on the flames. The camera travels low along the ground and moves upward as the helicopter with red bucket passes by.)
(In the background we hear radio static and various radio dispatch transmissions.)
Radio Dispatcher: 76 ROMEO, approaching ETS 4-NINER-SIX.
Pine Ridge Command: 76 ROMEO, you're right on it.
76 ROMEO: Pine ridge command, go to white f*re three. Dozer tender 1441. Air att*ck 140. O.V. Tens on order. Report to willow springs.
CUT TO:
(NICK and CATHERINE carrying their CSI kits, pass by a group of f*re fighters to get to the crime scene.)
Nick: Zero humidity, record highs. 'Tis the season.
(They both meet up with DET. O'RILEY.)
Catherine: Hi.
Det. O'Riley: Hey. I don't even know where to start with this one. Take a look at that. A scuba diver ... up a tree.
(True to form, there's a d*ad person in scuba gear stuck up in a tree. The CSIs, DET. O'RILEY and DAVID PHILLIPS all look up at the figure in astonishment.)
Nick: Wow.
Catherine: How the hell he'd got up there?
(CATHERINE is holding yellow evidence markers in her hand and is looking on the ground for anything unusual.)
Nick: He couldn't have climbed up there with all that crap on.
Det. O'Riley: He got up there somehow.
Nick: Well, you know ... Lake Mead is just over the hill and the copters are dropping water.
(CATHERINE looks up at the helicopter and bucket whirring by. She turns to NICK.)
Catherine: You're serious?
(NICK smiles.)
Catherine: That's a total urban legend. We're scientists, Nickie. No way that happened.
Nick: (looking up) Okay.
(Cut to CGI POV of a scuba diver in Lake Mead and a large red bucket being dropped into the lake. End of CGI POV. Resume on CATHERINE.)
Catherine: And I suppose you believe in Santa?
Nick: After today ... oh, yeah.
CUT TO:
[INT. APARTMENT COMPLEX - HALLWAY JUST OUTSIDE APT #103 - DAY]
Brass: When I said Cliff Renteria and his girlfriend skipped out in the middle of the night, I didn't have the whole story.
Stu Evans: I haven't seen Alison in over a month.
Brass: Any idea where she might be?
Stu Evans: Renteria said she left town.
Brass: So you noticed that she was gone?
Stu Evans: I manage the complex. I notice everything.
Grissom: Did you notice if Mr. Renteria left a forwarding address?
Stu Evans: No. He just wrote the letter saying he was moving on. Listen, if you find him, you tell him he is not getting his deposit back, okay? The blood'll never come out.
Grissom: Hopefully not. That's all the evidence we have.
CUT TO:
[EXT. MOJAVE DESERT NEAR LAKE MEAD -- DAY]
(CATHERINE searches the grounds for evidence. A helicopter whirs (o.s.) overhead. CATHERINE finds something and puts evidence marker #1 next to the scuba diver's pressure gauge. The needle is frozen stuck. She takes pictures of the pressure gauge.)
(Cut to NICK as he crouches low to the ground. CATHERINE approaches.)
Nick: What do you make of that void? Green vegetation.
Catherine: There's a consistent burn over this whole area.
Nick: Except for that one spot.
Catherine: Well, the chief said that the original f*re was a class "C." Downed power line. Winds keep shifting hot spots breaking out all over.
(NICK looks around and notices a b*rned cigarette butt and matchbook.)
Nick: Well, well ... downed power line, huh?
(He motions to CATHERINE. She looks at it.)
Catherine: Good eye.
(CATHERINE puts down evidence marker #3 next to the matchbook and snaps a photograph of it. NICK picks the matchbook up.)
Nick: Matchbook time-delay device.
Catherine: Don't touch it. It'll disintegrate.
Nick: That's the only reason I carry this stuff.
(NICK pulls out an aerosol can.)
Catherine: Hair spray. Extra hold?
(CGI POV Close up of Hair spray adhering to the burnt matchbook sticks, coating them.)
Nick: The difference between walking and running. Guy lights a cigarette, sticks it in a matchbook takes a stroll.
(CGI POV of a newly lit cigarette being wedged under the matchbook sticks. Flash to white. Close up of the matchbook and cigarette on the ground. Flash to white. Close up of f*re consuming both the matchbook and the cigarette. Flash to white. Resume on NICK and CATHERINE.)
Catherine: It buys an arsonist a five-minute head start.
Nick: Mm-hmm.
CUT TO:
[EXT. MONACO RECEIVING -- DAY]
(BRASS exits his car (Nevada license #IEP-353). He and GRISSOM approach CLIFFORD RENTERIA.)
Brass: Monaco Receiving. Clifford Renteria, platform manager.
Grissom: Gee, Brass, all in one shift. I'm impressed.
Brass: Are you Clifford Renteria?
Clifford Renteria: Cliff. Who are you?
Brass: Las Vegas police. With the crime lab. Do you have any knowledge of the whereabouts of Alison Scott?
Clifford Renteria: She's in Canada visiting her parents. Why?
Grissom: We just came from your old apartment. We found some disturbing evidence there. Would you care to explain that?
Clifford Renteria: Hey, he had it coming. I'll tell you that right now. Apartment t*nk, there were flies everywhere, no water. So I trashed the place.
Brass: Who had it coming?
Clifford Renteria: The apartment manager. The lazy bastard. Serves him right.
Grissom: Mr. Renteria, your apartment walls are covered in human blood. Are you aware of that?
Clifford Renteria: Yeah.
Grissom: Do you have an explanation?
Clifford Renteria: It's my blood.
Grissom: Your blood?
Brass: You got a stigmata?
Clifford Renteria: No. I get nosebleeds.
Brass: Nosebleeds?
Clifford Renteria: From Hepatitis C. I got blood to spare. My nose is like old faithful. Finally came in handy.
Grissom: You expirated blood from your nose all over your apartment walls to get back at your manager?
Clifford Renteria: Yeah. I hope I made his clean-up job hell.
(A noise from behind him distracts CLIFF RENTERIA. He turns around and sees a worker.)
Clifford Renteria: (to worker) That's not supposed to go anywhere.
Brass: This guy blows ten quarts of blood from his nose onto his wall? You want to ask for a demonstration?
Grissom: He's lying. Expirating from your nose would leave oval-shaped blood patterns. The ones we found in his apartment were V-shaped.
Brass: Mr. Renteria. We're going to need a sample of your blood -- from your arm, not your nose -- and a visit to your new apartment.
(CLIFFORD RENTERIA motions to the large truck #84438 behind them.)
Clifford Renteria: That's home to me now. Been staying there about a week.
Grissom: Well, may we see your furniture?
Clifford Renteria: Sure.
CUT TO:
[INT. TRAILER]
(From inside the truck, the back opens and we see all CLIFFORD RENTERIA'S worldly possessions crammed in the back of the trailer-truck.)
(Camera cut to looking into the truck from the outside. We immediately see an electric saw in front of a large monitor-sized box with the label DM(TM) 604 S2.)
Grissom: Electric saw.
Clifford Renteria: Used to do some landscaping.
Grissom: Interesting lamp.
Grissom: Mr. Renteria, with your permission, I'd like to move some of your property to my lab for a closer inspection.
Clifford Renteria: Hey, save me $250 a week truck rental. Keep it as long as you want. I'll sleep in the break room.
Brass: That's after you come down and give us that blood sample.
(The truck door closes to black.)
CUT TO:
[INT. CSI - LAB]
(Four people carrying various things walk by the glass lab wall. WARRICK walks into the lab carrying a large white box with the words "PROPERTY OF FIREARMS" written in black on the side. WARRICK is wearing a white jumper suit. SARA is also wearing the same type of white jumper suit.)
Warrick: You check nosebleed's tools yet?
Sara: No observable blood. Not even with pheno.
Warrick: That's because he probably ditched them after using them on the victim. Now we've just got to figure out which one.
(WARRICK puts the box down. It's filled with various types of electric saws.)
Sara: How long did Firearms give us these for?
Warrick: Twenty-four hours, then we've got to get them back. Clean.
Sara: Let's do it.
CUT TO:
(WARRICK zips up his white jumper, secures his gloves, turns the radio up.)
(Cut to SARA zips up her white jumper. WARRICK puts on his head gear with goggles.)
(Cut to SARA with her head goggles on mixes the paint they're going to use.)
(Cut to WARRICK pouring the paint in a large plastic container that they'll be dipping the saws in.)
(Cut to SARA dipping in a saw with a small round blade into red paint. Behind her, WARRICK is holding a different kind of saw.)
(Cut to SARA holding the saw with paint against a clear pexi-glass board backing. She turns the saw on and lets the paint spatter onto the backing.)
(Cut to Close up of a saw blade being dipped in paint.)
(Cut to WARRICK holding the electric saw against a clear pexi-glass board backing. He turns the saw on and it spatters paint onto the backing.)
(WARRICK and SARA repeat this test using the different saws in the box.)
CUT TO:
[INT. CSI - GREG'S LAB]
(Close up on GREG.)
Grissom: (o.s.) So?
(GREG looks up and sees GRISSOM standing there. He didn't hear him enter.)
Greg: DNA results, um ... sixteen samples from the apartment walls and the one we just took from the guy's arm.
(GREG puts aside what he's working on, finds the file and hands it to GRISSOM. GRISSOM opens the file to review the findings.)
Grissom: This cannot be right.
Greg: Hey, I always double-check your stuff. But all the results are pointing one way.
Grissom: What about the blood on the lamp?
Greg: That is my next run. Just a little backlogged.
Grissom: Well, get through it.
(GRISSOM leaves. GREG sighs.)
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
(GRISSOM and BRASS walk through the hallway. GRISSOM is holding the file folder.)
Brass: I thought you said the blood on those walls couldn't be his.
Grissom: I also thought the metric system would catch on. Look, everything that starts with a faulty premise is bound to fail. I saw "V" patterns and I foolishly ruled out the nose.
Clifford Renteria: I told you I had a condition, Hepatitis C. I was diagnosed when I was 18.
Brass: And this relates to your magic nose, how?
Grissom: Hepatitis C destroys the liver and a whole host of clotting functions. Cliff, indeed, has blood to spare.
Clifford Renteria: Thanks for coming around to my side. Which way is out?
Brass: Nobody released you.
SHORT TIME CUT TO:
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM]
Grissom: Mr. Renteria, I can't sign off on a case until I fully understand it. So, let me get this straight. You had a beef with your landlord and you decided to pay him back by bl*wing blood out of your nose all over the apartment walls. Is that about right?
Cliff Renteria: Yeah.
Grissom: A day? A week? A couple of months? How long did this take?
Cliff Renteria: I don't know. About a month.
Grissom: So, you get up in the morning, make coffee and go "I think I'll blow some blood on the kitchen wall today." Get out of the shower grab your towel, go "Hey, this looks like a nice spot to expirate a couple of pints."
Cliff Renteria: It wasn't like that. Something would set me off. The disposal was backed up, no hot water, the toilet was broken ... I knew the landlord wasn't going to fix it.
Grissom: So, you made your statement through your nose?
Clifford Renteria: I wasn't getting anywhere with words. Look, if it'll get me out of here any quicker, I'll show you.
(BRASS and GRISSOM sit back in their seats. CLIFF RENTERIA stands up and looks around for the necessary materials. He picks up a sheet of newspaper and hangs it up on the blackboard behind him.)
Clifford Renteria: Um ... it's really not that big a deal.
(GRISSOM stands up and moves closer to where CLIFF is. CLIFF turns around.)
Clifford Renteria: You might want to back up.
(GRISSOM takes a small step backward and CLIFF takes a deep breath, holds a hand up to his nose and ... )
(OFF BRASS as we hear a loud spraying sound. BRASS has his head turned away and eyes sideways toward the test.)
CUT TO:
[INT. CSI -- LAB]
(Camera on the newspaper with CLIFF RENTERIA'S latest artwork hanging clipped to a board. The camera moves to show us that next to the newspaper sample, is a photograph of a blood spatter from the apartment wall with ruler measurement. Next to that is a photograph of one of the electric saw glass spatters. Next to that is a photograph of a plastic trash can with spatters on that.)
Sara: (o.s.) Same high-velocity spray.
Warrick: Same short "v" pattern, too.
Sara: Didn't you say expirating through the nose made oval patterns?
Grissom: Yeah, well ... as it turns out our guy stands very close to the wall and blows almost sideways.
Warrick: This is on the real. You actually saw him do this?
Grissom: Right through his Jimmy Durante. Ambidextrous, both nostrils.
Sara: Great. Our big m*rder's a nosebleed.
(GREG enters holding a paper with test results. He hands it to GRISSOM.)
Greg: Oh, not necessarily. Sample from the nosebleed's lamp. It's not his blood. And I don't know whose blood it is but the amelogenin came back with something pretty interesting: "XX."
Warrick: Female blood.
Greg: Mm-hmm.
Sara: Our guy's girlfriend is still missing.
Grissom: Two things which may have nothing to do with each other.
Sara: Or everything.
(Camera holds on GRISSOM'S look.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY ROOM]
Catherine: So you got an ID on the scuba guy?
Robbins: Jacques Cousteau. Kidding. Coroner's humor. But I'll tell you what I do know. He didn't die in that f*re. No carboxyhemoglobin in his blood.
Catherine: Means he didn't inhale any carbon monoxide.
Robbins: Tells us he stopped breathing before the f*re started. Guy was probably k*lled someplace else and dumped.
Nick: Oh, he was dumped all right ... out of a chopper. Right, doctor?
Robbins: Victim's injuries are inconsistent with a fall of that magnitude. No fracture of the pelvis no compression of the lumbar vertebrae no shortening of the body.
Catherine: There goes your theory, Nick. Good try, though. So what was the cause of death?
Robbins: His heart stopped beating.
Nick: Heart att*ck ... consistent with being scooped out of Lake Mead.
Robbins: The human heart beats in a four-b*at rhythm like a fox-trot. The two atria contract, then the two ventricles. Ba-boom, ba-boom.
Nick: So, what happened to this guy?
Robbins: Commotio cordis. Cardiac concussion. The guy short-circuited. It's rare, but I've seen it. Couple of years ago a minor leaguer took a line drive to the chest.
(CGI POV of a baseball hitting the center of a "Blaster's" jersey. Camera moves forward through the jersey and into the heart where it starts to b*at irregularly. Flash to white. Resume to present.)
Robbins: Interrupted the impulse to the heart turning it into a bag of worms. Fibrillation.
Catherine: So, our scuba diver took one to the chest.
Robbins: Definitely.
Nick: He could've been clipped by the chopper's Bambi Bucket. Did you find anything between his toes? Like sand from ...
Robbins: ... Lake Mead. Sorry, Nick. But I did find something between him and his wetsuit. Soap residue. Like he started to shower. Soaped up never soaped off.
CUT TO:
[INT. CSI -- LAB]
(Close up of NICK taking a swab of the soap residue from the dive suit. He looks at the tip of the swab. Close up of swab with the residue on it. NICK notices as GREG stands in the doorway.)
Nick: Something on your mind, Greg?
Greg: No. I heard about your case. Sounds interesting.
Nick: Yeah. You want to make yourself useful, drop this off at trace.
(NICK hands the container with swab within to GREG. GREG looks at the suit.)
Nick: Must be some kind of soap. Robbins got me halfway there.
Greg: Bet it's liquid dishwashing soap.
(GREG turns to leave and is nearly to the door with NICK stops him.)
Nick: Yeah? State your source.
Greg: Well, you know I used to do a little diving myself actually. Belize, Maui, Great Barrier Reef ... Okay, maybe I took that one a little too far. But the point is, that these rubber suits aren't very easy to put on. Neoprene and skin need a little romance to get together. And a capful of liquid soap works like a charm.
Greg: So, you check this safety valve?
Nick: Sealed closed.
Greg: And what about the pressure gauge?
Nick: Hose melted. Catherine found it at the base of the tree.
Greg: It's 3,000 psi; that t*nk was full.
Nick: Guess it's like anything pressurized. These things blow for one of two reasons: Too much air or too much heat.
(NICK stops as it hits him. He looks at GREG. GREG looks back at NICK.)
Nick: You just made yourself useful, my friend.
Greg: (smiles) Yeah?
Nick: Oh, yeah.
Greg: How?
CUT TO:
[INT. APARTMENT -- HALLWAY]
(GRISSOM and SARA return to the apartment complex. They're both carrying their CSI kits.)
Sara: What are we looking for exactly?
Grissom: Same thing we're always looking for evidence of a crime. Failing that, we'll have to release this apartment.
Sara: What about Nosebleed's missing girlfriend? You heard Brass.
[INT. APARTMENT #103]
Sara: He got a-hold of Alison Scott's parents in Canada. They said she never arrived. They had no idea she was even going to see them.
(They enter the apartment and put their kits down.)
Sara: What if nose man blew blood all over these walls to cover up Alison Scott's blood?
(GRISSOM considers the thought. He gets up and goes to the nearest wall. He scrapes the blood of a random sample.)
Grissom: I don't see any evidence of that.
Sara: You're not finding another layer of blood under there?
Grissom: No.
Sara: You don't think maybe he off'ed his girlfriend?
(A fly buzzes by distracting GRISSOM. He looks up.)
Grissom: How many flies do you count in this room?
(They both focus their attention on the flies.)
Sara: Fifteen ... give or take.
Grissom: I counted four on my first walk-through.
(GRISSOM notices the mess on the fridge. SARA notices the mess high on the walls.)
Sara: Fly spots. Regurgitations.
(GRISSOM pulls a chair out, stands on it and tests the fly spots. They come off on his finger.)
Grissom: Fresh. Problem is flies don't feast on dry blood.
Sara: Place is sealed, and they don't spontaneously generate.
Grissom: So they're feeding on fresh blood. Could be a rodent, though, or bad garbage.
Sara: Or it could be something higher up the food chain like Alison Scott.
(Both SARA and GRISSOM start looking for a source.)
Grissom: The preponderance of flies is in this room.
Sara: They can egress a space less than .001 centimeters.
(Standing back to back, they search the room for the most flies. SARA looks up and finds it.)
Sara: Behind you. Vent.
(Way up high near the ceiling, flies swam the vent grill. Camera holds on SARA and GRISSOM.)
CUT TO:
[INT. CSI - BREAK ROOM]
(CATHERINE enters the break room. She finds GREG there pouring himself a cup of coffee.)
Catherine: Hey, coffee boy. Where's my DNA? Cigarette butt? Match book time-delay device? Hair spray? Any of this sound familiar?
Greg: Bags under the eyes, coffee cups, stress face. Any of this look familiar? I'm working on it.
Catherine: Did Grissom put his stuff in front of mine?
Greg: No. I'm working on your case -- with Nick.
CUT TO:
[INT. CSI - HALLWAY -- CONTINUOUS]
(CATHERINE exits the break room and walks down the hallway looking for NICK.)
CUT TO:
[INT. CSI - LAB -- CONTINUOUS]
(Close up of NICK working on the oxygen t*nk. CATHERINE enters.)
Catherine: I just talked with your partner. Working this case without me, huh?
Nick: Hmm?
Catherine: Greg Sanders?
Nick: Let go my Greg-o. He's a CSI wannabe. Please. Check out the bottom of this t*nk.
(NICK points to the t*nk.)
Catherine: Fissure.
Nick: We had a little expl*si*n here.
(NICK reaches to uncap the dropper from a bottle of acid nearby.)
Catherine: That explains a lot. Acid etching. Not bad.
Nick: Figure if I can get the serial number off the t*nk get on the horn with some surf shops track the renter through a credit card.
Catherine: Pretty smart thinking there, partner.
Nick: Well, we still haven't ID'd the vic, but ... it's worth a sh*t.
Catherine: Okay, N-4-double oh-2, let's see what kind of lead you are.
(Off the sound of a doorbell dinging, we ... )
CUT TO:
[INT. JERRY WALDEN'S APT HALLWAY]
(The door opens and its CATHERINE and DET. O'RILEY.)
Jerry Walden: Hi. Uh, whatever you're selling, I have no interest, okay.
(JERRY WALDEN tries to close the door. DET. O'RILEY puts out an arm to stop him.)
Det. O'Riley: Maybe you should find out what we're selling first.
Catherine: I'm Catherine Willows, Las Vegas Crime Lab. Detective O'Riley. Is there a Jerry Walden lives here?
Jerry Walden: You're looking at him.
(CATHERINE looks at DET. O'RILEY.)
Jerry Walden: What?
Catherine: Are you missing a scuba t*nk?
(The door closes and JERRY WALDEN unchains the door. The door reopens.)
Jerry Walden: Come in.
CUT TO:
[INT. JERRY WALDEN'S APARTMENT]
Catherine: So, let me get this straight, Mr. Walden. You lent Bruce Skeller a spare t*nk.
(He sighs.)
Jerry Walden: Yeah. I just, I can't believe what you're telling me here. I mean, Bruce was an experienced diver.
Catherine: Well, he didn't exactly dive in the water.
Jerry Walden: Bruce and I were about to break ground on this project. Really meant a lot to him.
Det. O'Riley: You guys were in business together?
Jerry Walden: We've been best friends since we were kids. We used to build these forts together like our imaginary casino, you know? Now we were going to build the real thing. We partnered up with this big development company Adventures. I mean, we were ready to roll ...
Catherine: Excuse me. You said that Mr. Skeller was an experienced diver. Why would he be borrowing a t*nk?
Jerry Walden: Well, just because somebody's experienced doesn't make them any less of a freeloader. He was just down on his luck. But, as I say, we were like brothers. I mean, we shared everything. What was mine was his, what was his was mine.
Det. O'Riley: But you just said he didn't have anything.
Jerry Walden: Yeah, but he would've, you know. And I kept telling him that. I mean, that's what kept him going. And then this happened.
(CATHERINE looks down on the hardwood floors and notices markings of something that's no longer there.)
Catherine: There used to be something here.
Jerry Walden: Oh, yeah, it's my coffee table.
Catherine: Interesting furniture. What is that, ash wood?
Jerry Walden: Yeah.
Catherine: Is that what the coffee table was made out of?
Jerry Walden: Made them out of the same piece of wood.
Catherine: Where is the coffee table?
Jerry Walden: Oh, I sent it out to get it refinished. The guy said it would be back in a week.
(CATHERINE kneels to look at the markings and notices some splinters of wood on the floor.)
Catherine: I, uh ... ... think it needed a little more than that.
(She picks them up for a closer examination.)
(JERRY WALDEN nods his head. Camera hold on CATHERINE looking back up at JERRY WALDEN.)
CUT TO:
[INT. APARTMENT 103 - DAY]
(There are more equipment in the apartment. Brighter lights. GRISSOM rests the vent grill on the chair. SARA kneels nearby. They both begin examining the vent cover.)
Sara: Fly egg casings.
(STU EVANS appears in the doorway.)
Stu Evans: I thought I heard some banging around. You, uh, you find my tenant?
Sara: You can contact Captain Brass for that information, sir.
(SARA holds out a business card. The forensics personnel standing there takes it and gives it to STU EVANS.)
(GRISSOM picks up a live beetle caught in the grill's webbing.)
Sara: What do you got?
Grissom: Either Paul or John.
Sara: A very important beetle.
Grissom: The most important. The Silphid Beetle typically feeds on decomposing human flesh.
Sara: There's a d*ad body in here somewhere.
Grissom: Mr. Evans ... could you get permission from the owner to let us break into these walls? Our original warrant didn't cover that.
Stu Evans: Depends, how many walls and what for?
Grissom: We can't divulge that but it may be ... all the walls.
Stu Evans: In every room?
Grissom: Yeah.
Stu Evans: You CSI's going to pay for the replastering?
Grissom: We don't do that.
Sara: But you can submit a form to the city for reimbursement.
Stu Evans: Yeah, I'm still waiting for my tax rebate. I don't even have to bother the owner with this. He's not going to let you bust out these walls.
(STU EVANS leaves.)
Sara: Now what?
(GRISSOM holds out the container with the Silphid Beetle in it.)
Grissom: DNA lab. I don't want to hear any rumors that Paul is d*ad. He may be the only chance we have of getting in these walls.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- LAB]
Warrick: We already know this beetle feeds only off of human blood, so why are we extracting its stomach contents?
(WARRICK opens the container with the Silphid Bettle in it. He takes out the beetle and holds it down while SARA uses a small bore needle to get the sample out of the beetle.)
Sara: Ahhh ... Not so. According to Grissom -- Mr. Bug Guy -- the silphid beetle will actually feed on any decomposing mammal. So we need to show human DNA or we are not going to get a warrant to break down those walls.
Warrick: Well, I hope he got his grub before you grabbed him up.
(SARA stands up and looks around.)
Sara: Where's Greg? We need to get this processed. You know, I swear that guy has a second job somewhere else.
CUT TO:
[EXT. MOJAVE DESERT NEAR LAKE MEAD -- DAY]
[EXT. UNDEVELOPED LAND NEAR LAKE MEAD -- DAY]
(CATHERINE meets with PAUL NEWSOME, District Engineer, at the "Future Site of Adventures Hotel and Casino" as per the billboard in the background.)
Paul Newsome: I'm, uh, all for being alone, but ...
Catherine: Did you bring the file? Well, there goes the foreplay.
Paul Newsome: It's in the car. I hope you appreciate that even as district engineer it wasn't easy getting you the original land deed.
Catherine: Well, I know how you love a challenge. So, what'd the property sell for?
Paul Newsome: Half a million bucks an acre. Is there anything else that you need to use me for?
Catherine: Whoa. Excuse me?
Paul Newsome: It's obvious that you're not here for me. You're here for yourself. So let's not waste each other's time, all right? The property was owned jointly by two men -- Jerry Walden and Bruce Skeller. At the time that they bought it, it was a steal -- fifty grand an acre. Two years later, Adventures Development come in, they start buying up the surrounding parcels. Your guys hold out, until last week and let me tell you, they got top dollar.
Catherine: Hmm ... Capitalist's wet dream -- buy low, sell high. So they played it smart.
Paul Newsome: Well, one of them did. From all I can tell Jerry Walden was selling to Adventures from the get-go but his partner ... well ... was a different deal altogether. He was a diehard environmentalist. A real tree-hugger.
Catherine: You can say that again.
Paul Newsome: He saw the writing on the wall. The urbanization of Lake Mead and he spent every cent he had trying to fight it. When it comes down to money versus the environment it's no big surprise who's going to win. So is there anything else that I can do for you?
(CATHERINE kisses LEWIS, turns and walks away smiling.)
Catherine: I'll see you.
(Camera holds on PAUL NEWSOME.)
CUT TO:
[INT. CSI - LAB]
Ronnie Litre: This really frosts My lizard. I go out to the lake to get away from the casinos. Well, there goes jet-skiing.
Catherine: What about the land deed, Ronnie?
Ronnie Litre: Oh, what I can tell you about that is I'm impressed. If it is a forgery, it's a great forgery. Van Gogh. Nothing I can testify to.
Catherine: What can you testify to?
Ronnie Litre: Have you seen my VSC-4 machine?
Catherine: No.
(RONNIE motions for CATHERINE to follow him. They move further into the lab.)
Ronnie Litre: The original copy of the land sale agreement, okay? Inks luminesce at different wavelengths.
(Camera focuses on the original land deed document with the signatures of both sellers, JERRY WALDEN (dated 10/2/01) and BRUCE SKELLER and a third signature of the seller (also dated 10/2/01). The document is cast in a bluish light.)
Ronnie Litre: At one wavelength the signature on the left disappears.
(The document is cast in a greenish light and JERRY WALDEN'S signature and date disappear.)
Ronnie Litre: At another wavelength the one on the right disappears.
(The document is cast in a yellowish light and BRUCE SKELLER'S signature disappears. The document is cast in a red-colored light and both signatures disappear.)
Catherine: Where'd it go?
[CLOSED-CAPTION: RONNIE LITRE: I can bring it back.]
(The document is cast in an orange-colored light and all signatures once again appear on the document.)
Catherine: What does it mean?
Ronnie Litre: Whatever you make of it. You've got a legal document. Two signatures -- notarized, the whole nine yards. The only thing I can tell you is your two guys used separate pens.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(Camera close up on GRISSOM staring at the Silphid Beetle on its back in the container on his desk. GREG enters.)
Greg: Excuse me.
Grissom: Yeah.
Greg: Silphid beetle -- test for presence of human DNA.
(An exhausted GREG hands GRISSOM the test results and sits down in the chair across his desk. GRISSOM reads the results, his face grim.)
Grissom: Is this definitive?
Greg: (nods) Yes, sir.
(GRISSOM grabs his jacket and heads out the door.)
CUT TO:
[INT. CSI -- LOCKER ROOM]
(SARA and WARRICK are in the locker room. GRISSOM walks in holding a piece of paper.)
Sara: Did we get our warrant?
Grissom: The beetle was full of human DNA. Brass got us a judge.
(WARRICK nods. He stands and grabs a large hammer.)
Warrick: Let's go knock down some walls.
HARD CUT TO:
[INT. APARTMENT COMPLEX - APT #103]
(Close up of the hammer breaking through the wall. WARRICK, SARA and GRISSOM break through the wall only to find nothing but insulation.)
Warrick: One wall down ... 15 to go.
(BRASS enters the apartment with a blond-haired woman.)
Brass: Sorry to interrupt your fun but I have someone here you might like to meet. Jimmy Durante's girlfriend.
Sara: You're Alison Scott?
Alison Scott: I see Cliff's been showing off again. It's one of the reasons I left him.
Grissom: You left him?
Alison Scott: I went back to my old boyfriend in Chicago.
Grissom: Miss Scott, we found some blood on one of Cliff's lamps.
Alison Scott: Stubbed my toe on that lamp ... like ... once a week. I begged Cliff not to buy that thing but he never listens.
Grissom: Would you be amenable to providing us with a sample of your blood for comparison purposes?
Alison Scott: Sure. But I'm telling you, that's my blood. Look, Cliff's ... well, he's a lot of things, but he's not a m*rder.
Grissom: Yeah, I still want a sample. Warrick, would you?
Warrick: Uh ... yeah.
(WARRICK, ALISON and BRASS leave the room. GRISSOM pulls his goggles off and sighs.)
Grissom: You never get a second chance to make a first impression.
Sara: (counters) A square of nine dots on paper and you can only draw four lines to connect them ... without the pen ever leaving the paper.
(GRISSOM smiles grimly.)
Grissom: Right. Think outside the box.
(SARA smiles at GRISSOM and starts looking around satisfied that GRISSOM is thinking about possibilities and not dwelling on the situation. The camera focuses on GRISSOM as he considers his options. GRISSOM turns around and looks at the walls.)
(Following GRISSOM'S gaze and his line of thought, the camera moves straight for the wall, through the walls of Apartment 103 and into the Apartment next door where ... )
CUT TO:
[INT. RESIDENT MANAGER'S APARTMENT - APT 101]
( ... the Resident Manager, STU EVANS, stands in front of his entertainment center. The doorbell rings.)
(STU EVANS opens the door. SARA and GRISSOM are standing there.)
Stu Evans: Yeah. What do you want now?
Grissom: We need to take a look at your wall.
(Camera holds on STU EVANS.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- LAB]
(CATHERINE walks down the hallway and passes by GREG'S lab. He looks up and sees CATHERINE.)
Greg: Hey, yo, Cat ...
(CATHERINE stops and turns around.)
Catherine: I'm going to forget that you called me that.
Greg: Sorry. Um, I've got a full profile on our -- "your" torch. I pulled his DNA off of a cigarette butt. Lucky for us, he's a wet-lipped smoker.
(CATHERINE looks down at the results and nods.)
Catherine: So, you've done your job. I got to go do mine.
Greg: Just get me something we can compare it to.
(She smiles and leaves.)
CUT TO:
[INT. CSI - LAB]
Catherine: These ash wood splinters are from scuba guy's back?
Nick: Mm-hmm. Embedded in his aconeus muscle.
(Camera microscope view of the wood splinter.)
Nick: After you paged, me I had Robbins comb his body.
Catherine: They only get us something if they match Walden's ninja coffee table.
Nick: It's your theory.
(NICK puts the second sample under the microscope for CATHERINE to match. He steps aside while she works. Camera changes to microscope view of the two splinter pieces side by side.)
Catherine: Radial chains align. Pores match. Two pieces of ash wood, one source. So, Walden and Skeller get into an argument probably over their land.
(Quick Flashback to JERRY WALDEN arguing with BRUCE SKELLER.
Jerry Walden: Buy yourself a hundred acres of rain forest, man! Cash in your end!
Bruce Skeller: I'm not going to sell!
(End of flashback. Resume to present.)
Catherine: Walden pushes Skeller he falls back onto the ash wood table.
Nick: But that's not what k*lled Skeller. Robbins said he took a line drive to the chest.
Catherine: Which escalates to a punch.
(Quick Flashback to JERRY WALDEN and BRUCE SKELLER arguing. JERRY WALDEN punches BRUCE SKELLER in the center of his chest. BRUCE SKELLER falls backward onto the coffee table, breaking it. End of flashback.)
Nick: (smiles) I'll call O'Reilly.
CUT TO:
[INT. RESIDENT MANAGER'S APARTMENT #103]
(SARA and GRISSOM are standing in the small apartment's kitchen.)
Grissom: Scented candles, huh?
Stu Evans: Food went rotten wanted to cover the smell.
Sara: You've re-plastered this wall recently?
Stu Evans: I had rain damage. Funneled down, wrecked a five-foot area.
Sara: Huh.
(GRISSOM takes the picture hanging on the wall down.)
Grissom: You wouldn't mind if I, uh ... examined your vent, would you?
(The door opens and BRASS walks in. He's holding a warrant.)
Brass: You don't have to ask his permission. I got a new warrant that covers his apartment. (to STU EVANS) Your wife being missing put it over. Funny you didn't mention that before.
(BRASS hands the warrant to STU EVANS who takes it and reads it. GRISSOM and SARA set up a small ladder that GRISSOM climbs to examine the vent.)
Grissom: Did you know that your apartment shares heating ducts with the apartment next door?
Stu Evans: Yeah, me and Cliff were always fighting about the temperature. So what?
(GRISSOM turns back to look through the vent. The camera moves backward through the vent to reveal among other things, more flies than one can count, dust and a congregation of Silphid beetles.)
Grissom: Sara?
Sara: Yeah ...
(GRISSOM gets down from the ladder and puts it away while SARA gets the hammer. Both she and GRISSOM start to rip the wall down.)
Sara: Hold up. Hold up. Hold up.
(SARA reaches into the hole in the wall and removes a white blanket.)
Sara: Alklyd. There's blood on the blanket.
Grissom: And Dermestidae Masculatus.
Sara: That's Latin for "you're hiding a d*ad body".
Brass: What's the matter? Didn't realize how bad a corpse can smell so you just decided to move it around the place?
Grissom: You can tell us where the body is or we can, uh ... tear your place apart piece by piece. Whichever.
(Camera holds on STU EVANS.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Lewis (Jerry Walden's lawyer): Look, you got squat. Jerry and Bruce signed with different pens. You found a cigarette butt at Lake Mead and wood chips on a tree-hugger. Bottom line, you got a d*ad guy up a tree and you don't know how he got there.
Det. O'Riley: Hey, I'm just here to make the arrest.
Lewis: For what? What have you got?
Catherine: Plenty. Why don't we just start from the beginning. Bruce Skeller didn't die in any f*re. He was k*lled at your house.
(Quick flashback to JERRY WALDEN punching BRUCE SKELLER in the chest. Sound of BRUCE SKELLER taking the punch. End of flashback. Resume on CATHERINE.)
Catherine: He didn't pick up any ash splinters from that forest. It's all Telarosa and Oak out there.
Nick: You had a d*ad body. So, you decided to get creative. f*re season, wet suit, liquid soap.
(Quick flashback to JERRY WALDEN applying dishwashing liquid soap to BRUCE SKELLER'S feet. End of Flashback. Resume on CATHERINE.)
Catherine: You drove out to the lake, dumped the body ...
(Quick flashback to JERRY WALDEN carrying BRUCE SKELLER'S fully geared body and putting it down on the ground by the light of his car. Cut to JERRY WALDEN putting the mouthpiece in BRUCE SKELLER'S mouth. End of flashback. Resume on CATHERINE.)
Catherine: ... and lit up.
(Quick flashback to match flare and cigarette in mouth being lit. Flash to white. End of flashback. Resume on CATHERINE.)
Catherine: Not 'cause you wanted a cigarette. You lit up with a purpose.
(Quick flashback to lit cigarette being placed inside a matchbook. JERRY WALDEN looking up. Flash to white. End of flashback. Resume on NICK.)
Nick: This gave you a head start. My guess is around, what, five-minute mark.
(Quick CGI POV of cigarette and matchbook combo catching on f*re. Flash to white. Resume on CATHERINE.)
Catherine: You figured the f*re department would label it a hot spot -- relate it to the original f*re and the body would just burn up.
Lewis: Still doesn't explain how Bruce's body wound up in that tree.
Jerry Walden: I didn't put him there.
Nick: Actually ... you did. See, the thing you forgot about a scuba t*nk is it contains compressed air. Too much heat ... and kaboom.
(Quick flashback to the air t*nk exploding and the body in scuba gear flying through the air in slow motion. As it descends, it gets caught in the tree's branches where it was eventually found. Flash to white. Resume on NICK.)
CUT TO:
[INT POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]
(CATHERINE and NICK exit the interrogation room. CATHERINE smiles. NICK sighs.)
Nick: Rocket Man.
Catherine: Yeah. Got to love this job.
CUT TO:
[INT. RESIDENT MANAGER'S APARTMENT #101]
(WARRICK and the rest of the Forensics team continue to tear down the walls of the Resident Manager's Apartment. WARRICK taps on the next wall he's going to knock through.)
Warrick: I got a hollow section.
Grissom: Let's open it up.
(Using a hand-held box cutter, WARRICK cuts out a piece of the wall. He peels it open and out drops an ironing board.)
Warrick: Damn. Are we in the wrong apartment again?
Grissom: I don't know. I don't mind being wrong. I just don't think I am this time. Okay ... start on the floorboards. I'm going outside.
CUT TO:
[EXT. APARTMENT COMPLEX -- NIGHT]
(GRISSOM exits the building and begins checking his pulse while keeping an eye on his wristwatch. He calculates his heart rate. He's breathing loudly and pacing the floor. He leans against the brick wall. Off screen, the glass doors open and SARA walks out.)
Sara: You okay?
Grissom: Ninety-five.
Sara: Excuse me?
Grissom: Normally my pulse is seventy. When it gets to 95, I realize how mad I am. I-I have ten people working around the clock on this thing.
Sara: You're too hard on yourself.
Grissom: No, no. I'm not mad at me. There's a body in there and that guy knows where it is!
Sara: What's your pulse at now?
(GRISSOM sighs and pushes his cap up over his forehead.)
Sara: You want to take a walk around the block? Get some air?
Grissom: (sighs) No.
Sara: Clear your head ...
Grissom: I'm fine.
Sara: Okay.
(GRISSOM has his eyes closed. SARA reaches out and wipes his cheek. A lingering move that surprises GRISSOM in it's intimacy. He looks at her. She meets his eyes. She shrugs.)
Sara: Chalk ... from plaster.
Grissom: Oh.
(GRISSOM wipes his cheek and absently glances at the back of his hand. He looks at SARA. She meets his eyes for a moment then looks away.)
Sara: (gently) Better go wash up.
(SARA smiles and walks back in leaving GRISSOM behind. GRISSOM pulls his cap down and follows.)
SHORT TIME CUT TO:
[INT. APARTMENT #103 -- KITCHEN]
(GRISSOM turns on the hot water. Nothing comes out but a few drops. He tries the cold water. It works fine. He closes the water and tries the hot water again. Nothing. GRISSOM ponders the possible connection.)
Grissom: Hey, Brass. When did The Shnoz say he lost his hot water?
Brass: He wasn't exact.
Grissom: (to STU EVANS) You, uh, have no pressure for your hot water.
Stu Evans: I got a plumber coming on Saturday.
Grissom: Well, you know, my Uncle Herb was a plumber. I might be able to help. Where's your installation?
Stu Evans: In the basement. But, really, I got a plumber coming.
CUT TO:
[INT. APARTMENT COMPLEX BASEMENT -- NIGHT]
(GRISSOM turns on the light. The bulb blows.)
Grissom: You got an electrician coming, too?
(He turns on his flashlight and proceeds through the basement followed by BRASS and STU EVANS.)
Grissom: A filtration system. It softens the water.
Stu Evans: Yeah. Listen, you know, I got a guy on retainer. You don't have to do this.
Grissom: Yeah, well, I'm non-union.
(He looks up at the pipes.)
Grissom: There's no disruption to the cold water line. Hot water line ... water runs through the filtration t*nk first and the water heater second, right?
Stu Evans: Yeah.
Grissom: Why is it bypassed? You've cut off the water to the filtration t*nk.
Stu Evans: Something's wrong with that. I had no choice.
(GRISSOM knocks on the t*nk. It sounds full.)
Grissom: Brine t*nk are usually hollow. Only got about eight inches of water at the bottom for the salt mixture.
(He knocks on t*nk again. It definitely sounds full.)
Grissom: Does that sound hollow to you?
(GRISSOM lifts up the cover to the t*nk. BRASS reacts to the smell. Camera cuts to inside the t*nk where we find STU EVANS' wife, d*ad and covered with Silphid Beetles. Flash to white. Resume outside of t*nk.)
Brass: Not enough candles in the world ...
Stu Evans: She nagged me.
(GRISSOM turns around to look at STU EVANS.)
Grissom: (incredulous) She nagged you?
(Camera holds on GRISSOM.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - GRISSOM'S OFFICE]
Sara: Hey, you want to grab some breakfast?
Grissom: No, thanks.
(GRISSOM opens the container with the Silphid Beetle in it.)
Nick: Come on ... we always get better service when you're there.
Grissom: I'm having breakfast with a friend of mine.
(GRISSOM puts a piece of meat off of his plate into the container.)
Nick: You're keeping him alive? Sara said you guys already solved the case.
Grissom: He did.
Nick: (nods) All right.
(NICK and SARA leave. Camera holds on GRISSOM eating breakfast with his beetle.)
(Camera pans back down the hall.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x05 - Scuba Doobie-Doo"} | foreverdreaming |
COLD OPEN
[EXT. LAS VEGAS CITY (STOCK) --NIGHT]
[EXT. LAS VEGAS DESERT (STOCK) -- NIGHT]
[EXT. SUV ON ROAD - NIGHT]
CUT TO:
[INT. SUV -- NIGHT]
(A PARK RANGER driving along the road route and notices a car parked on the side of the road. He stops the car to check it out. Garbled radio transmissions can be heard in the background.)
(He gets out of the car and puts on his park ranger hat. The officer walks to the edge of the road, slips and rolls down the hill. When he comes to a stop, he lands next to a d*ad body. In the shadow of the bright light, there's a man holding a shovel, digging a hole - caught in the act trying to bury the body.)
(Frozen for a moment, the man springs into action. He throws the shovel aside and tries to run, the officer stops him.)
Benjamin Jennings: No! No!
WHITE FLASH CUT TO:
(GRISSOM and NICK make their way down the ledge to the crime scene. There are five police vehicles there and a swarm of officers near the crime scene looking for further evidence on the grounds. Kneeling next to the body is a Technician with a clipboard. SGT. O'RILEY meets up with GRISSOM and NICK.)
Grissom: Call said one d*ad body.
Sgt. O'Riley: Caught him red-handed. Ben Jennings.
(Off to the side, BENJAMIN JENNINGS stands hands cuffed behind his back with three officers standing watch over him. NICK and GRISSOM approach the men.)
Nick: Nick Stokes, Gil Grissom, Las Vegas Crime Lab. You want to tell us what's going on? What happened here?
(BENJAMIN JENNINGS doesn't respond.)
Grissom: You have anything to say?
(He still doesn't respond.)
Grissom: You don't have to talk to us.
(GRISSOM shines the light of his flashlight on the d*ad body.)
Grissom: He'll talk to us.
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
[EXT. LAS VEGAS DESERT -- NIGHT]
(Camera opens on the body. GRISSOM and NICK are crouched low examining the body. Garbled radio transmissions can be heard in the background.)
Nick: See that lividity? Blood settled at the time of death.
Grissom: Body's been moved from the m*rder scene. Impound his car.
(SARA shows up.)
Sara: Sorry, guys. I lost you at the fork.
Nick: My bad, Sara.
(GRISSOM looks up at BENJAMIN JENNINGS.)
Grissom: Let's process this guy shall we? Officer, would you uncuff him, please?!
(The officer uncuffs BENJAMIN JENNINGS.)
(GRISSOM takes out a black light and begins examining him from the back. NICK puts his CSI kit down.)
Nick: Okay, make like a scarecrow for me, partner.
(BENJAMIN JENNINGS doesn't move. NICK spreads his arms out to show him what he means. BENJAMIN JENNINGS copies him.)
Nick: Arms out, away from your body. That's it. Stay just like that.
(SARA crouches low on the ground to collect his shoe prints.)
Sara: Give me your right foot. Other right. Put it down. Lift it up.
(NICK checks out the front and begins collecting. GRISSOM finds something on his back.)
Grissom: Hold still.
(He finds a single strand of hair and holds it up.)
Grissom: Possible secondary transfer ...
Nick: Got some red fibers.
Sara: Other foot. Lift it up. Put it down.
(GRISSOM examines BENJAMIN JENNINGS' arms.)
Grissom: No defensive wounds. No hematomas.
Nick: Victim didn't fight back. Probably didn't see it coming.
Grissom: Matthew ... tag that body for special processing, VIP room. Don't wash it till I get there, and don't touch his fingernails.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. MEDITERRANEAN HOTEL AND CASINO -- NIGHT]
(WARRICK'S SUV stops outside the hotel. CATHERINE is holding a piece of paper and reading as she and WARRICK enter the hotel.)
Catherine: "D.B. ... Mediterranean Casino ... Women's Spa."
CUT TO:
[INT. MEDITERRANEAN HOTEL AND CASINO - LOCKER ROOM -- NIGHT]
(BRASS is already there when WARRICK and CATHERINE enter the locker room area. BRASS meets them and they all start walking to the body.)
Brass: Body is Shelley Danvers. DOB: 10/10/81. Employee walked in to get towels ...
CUT TO:
Brass: ... found her here.
[Clips of the crime scene from various perspectives flash in quick pulses. Flash to white:
* Red spot on right thigh. Flash to white.
* Magazine open on the floor. Flash to white.
* View of victim on the locker bench. Flash to white.]
Catherine: A young woman, healthy, just reading a magazine and all of a sudden she DFO'S?
Brass: Done fell out. That's what the night manager says.
(WARRICK turns his head and sees the Night Manager talking with an officer.)
Warrick: Miss?
(WARRICK approaches the Night Manager.)
Kim Marita: (to officer) Excuse me.
Warrick: We're from the Crime Lab. You found the deceased?
Kim Marita: Yes, I was, um ... just getting some towels and I walked in and she was there.
(CATHERINE looks at the body and notices the knot on the robe on the deceased.)
Catherine: Hey, Brass ... you touch this body?
Brass: Yeah, I was born yesterday.
Catherine: Well, it looks as if the sash may have been tied by somebody else.
Catherine: Miss ... you know anything about redressing the body?
Kim Marita: Well, she was naked. I-I-I thought she should be covered
Catherine: Did you move the body here, too?
Kim Marita: Guests were looking in. I put a robe on her. It's not like it's a crime or anything.
Catherine: Actually, it is.
Warrick: Makes us doubt the circumstances surrounding the victim's death.
(Camera holds on KIM MARITA'S concerned look.)
CUT TO:
[INT. CSI - VIP ROOM]
(SARA scrapes off something from the d*ad body's forehead.)
Sara: Flour, maybe?
Grissom: But what kind? All-purpose? Self-rising? Pastry?
Sara: Trace will probably have a better idea. I'll get DNA to see if there's bits of Ben under the fingernails.
Grissom: What about the neck? Any fibers in the wound?
Sara: You told me to wait for you.
Grissom: Well, that hasn't stopped you yet.
Sara: I did observe some fibers in the wound. I didn't collect them, though.
Grissom: Be my guest.
(SARA picks up the fibers from the d*ad body's neck. Camera close up on the fibers.)
Sara: Yellow. Not cotton; satin, maybe.
(GRISSOM straightens and looks down at the body. He notices something.)
Grissom: Dress shirt ... but no tie.
Sara: Strangled with his own tie?
Grissom: Find me on the flour.
(GRISSOM leaves.)
CUT TO:
[INT. MEDITERRANEAN HOTEL AND CASINO - RECEPTIONIST AREA]
(A red-bordered bar scrolls down the spa's appointment list of names on the computer for that night.)
[LIST OF NAMES: APPOINTMENT CLIENT]
06:10 pm Kimberly Fram
06:20 pm Natalie Elam
06:25 pm Mina Valdez
06:40 pm Charlotte Meridian
06:45 pm Jessica Long
07:15 pm Patsy Cambra
07:20 pm Arabella Perrin
07:30 pm Lea Anderson
07:45 pm Richna Jason
07:50 pm LillyMae Westerbrook
08:00 pm Shelley Danvers
08:20 pm Tami Payburn
08:20 pm Genisa Tamburiane
08:40 pm Maria Reyes
Warrick: "Shelley Danvers" -- appointment 8:00.
Catherine: Ms. Marita, did the deceased use the jacuzzi facilities this evening?
Kim Marita: Not that I remember, no. (A gurney clangs as the coroner's office removes the body.) What? You don't believe me?
Warrick: Well, you lied to us before.
Catherine: It's, uh, not uncommon to drown in a jacuzzi. Hair gets caught in the whirl a person gets dragged under. The hotel wouldn't be considered unsafe.
Kim Marita: Well, that didn't happen here. She did not drown on these premises.
Warrick: Well, if she did, the coroner would find water in her lungs but it'd be worse hearing it from him than from you.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
Robbins: Oliver Dunne. Corporate lawyer. Father of two.
Grissom: You get all that from his ... uh ... dentals?
Robbins: His wife-- widow. She came down to I.D. His property.
Grissom: .380s?
Robbins: Last one I recovered entered through his abdominals ...
(CGI POV flash to white as the b*llet penetrates an x-ray black & white replication of the body. Resume to present. Camera on GRISSOM.)
Robbins: (V.O.) ... pierced the liver, lodged in the oblique.
Grissom: That's not what k*lled him, is it? We pulled a yellow fiber out of the neck wound. I think it's from his tie.
Robbins: You might be right. He died of asphyxiation. Tie probably closed the windpipe.
(White flash to CGI POV as an x-ray bluish-white replication of a hand grasping a neck. Sounds of a person choking. Camera moves up the body through the mouth, down the throat, through the windpipe, into the lungs to a magnification of red and black colored air sacs. End of CGI POV. Resume on ROBBINS.)
Robbins: Without oxygen, the alveoli capillaries wither and dry up. Whole pulmonary system shut down. What you may have here is the smallest sliver of the m*rder w*apon.
Grissom: Why would a guy sh**t a man three times and then strangle him with his own tie?
(SARA enters holding the file folder with the results of the flour test.)
Sara: I cannot tell you why, but I might be able to tell you where. A pizza shop. The flour on Oliver Dunne has a low gluten content -- seven percent protein -- it's typical of flour used to make cakes, pizzas, that kind of thing.
Grissom: So, why did you rule out bakeries?
Sara: Well, the subtype of flour is another subtype -- double zero. It's a very fine flour used only in pizza-baking ovens. Oh, and trace picked up some oregano in the sample. When are you set to interview Ben?
(Camera holds on GRISSOM.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Brass: You're the registered owner of a Lorcin .380. Takes the same caliber b*llet as the slugs we took out of the victim. So, I'm going to ask you one more time. Where's your g*n?
Benjamin Jennings: I lost it.
Brass: Do you think we believe that? Do you think ...
Grissom: Are you employed, Ben?
Benjamin Jennings: Yeah... yeah, um ... it's a place called Dante's Pizzeria. It's behind the Strato'.
Grissom: You make pizzas?
Benjamin Jennings: Well, I deliver the pizzas. It's too hot back there with all the ovens and stuff.
Grissom: Do you, uh ... ever come into contact with the baking flour at Dante's?
Benjamine Jennings: Mostly pizza boxes. Why?
Grissom: Well, 'cause we found flour on the victim and it's the kind that's used to make pizza. Can you explain that?
Benjamin Jennings: No.
Grissom: Ben, why don't you earn yourself some points by telling me what the science is going to tell me anyway?
Benjamin Jennings: Well, I don't have to talk.
Grissom: No ... but we're going to figure it out.
Benjamin Jennings: Look, if you know so much about these m*rder what do you need me for?
Grissom: m*rder? There are more bodies?
(Camera holds on BENJAMIN JENNINGS.)
CUT TO:
[EXT. LAS VEGAS DESERT -- NIGHT]
(GRISSOM, NICK, SARA and a group of other officers start sweeping the area where OLIVER DUNNE'S body was found. NICK is pushing a GeoRadar Inc. machine. SARA walks next to him holding a laptop that shows the various items being scanned by the machine. As it approaches various items, the laptop beeps.)
Nick: I feel like I'm mowing a lawn.
Sara: What is that? A beer can? Soda can?
Nick: Zilch.
Sara: Zilch.
Nick: Don't tell me, more zilch?
(On SARA'S laptop, the figure of a hand appears.)
Sara: Whoa... whoa. Point of disturbance.
Grissom: Hold up.
(More arm and body appears on the radar's screen.)
Grissom: Isolate it.
(Finally, we definitely see the shape of a person's head. They've definitely found a body.)
Sara: Grissom ...
(GRISSOM turns around to look at BENJAMIN JENNINGS standing off in the distance with SGT. O'RILEY and three officers. His face is grim. He makes his way back to BENJAMIN JENNINGS and stops behind him.)
Grissom: Any more bodies you want to tell me about?
Benjamin Jennings: (shakes head) No.
Grissom: We're going to radar this whole hillside.
(BENJAMIN JENNINGS nods his head.)
Grissom: (softly) Sometimes ... when I leave a crime scene where I've been particularly involved with a d*ad body, I sit in my car and it hits me -- how close I was ... how heavy the body is ... the texture of the body ... how it feels... you know?
(GRISSOM leaves to go back to the site and stops when BENJAMIN JENNINGS speaks.)
Benjamin Jennings: Mr. Grissom ... I'm not a bad person.
(GRISSOM turns around.)
Grissom: You're not a bad person?
(BENJAMIN JENNINGS shakes his head.)
Grissom: Then, what are you?
(GRISSOM turns and walks away.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- HALLWAY]
(CATHERINE enters and sees DAVID PHILLIPS pushing a gurney toward her down the hallway.)
Catherine: Oh, I hope that's Shelley Danvers the woman from the hotel spa.
David Phillips: Yep, she's next.
Catherine: Well, it's about time. You guys finished with day-shift runover, huh?
(DAVID pushes the gurney into the Forensic Autopsy Room. CATHERINE follows him into the room.)
David Phillips: I hate it when you CSI guys get territorial.
[INT. CSI - FORENSIC AUTOPSY - DAY -- CONTINUOUS]
Catherine: Yeah, well, the victims' families hate it when we don't.
Robbins: I'll take it from here, David.
Catherine: Good morning.
Robbins: Catherine.
(ROBBINS lifts up the sheet covering SHELLEY DANVERS.)
Robbins: No serosanguineous fluid expunged from the mouth or nose.
Catherine: She didn't drown?
Robbins: Rules out your jacuzzi theory.
Catherine: Anything probative?
Robbins: Bright red lividity extending down the body.
Catherine: From?
Robbins: Well, heatstroke possibly. Stroke could cause multiple organ failure and if I'm right ...
Catherine: ... cover-up.
(CATHERINE walks out of the room.)
Robbins: Hey, I still have to do the post. Catherine?
CUT TO:
[INT. CSI - HALLWAY JUST OUTSIDE FORENSIC AUTOPSY - MORNING -- CONTINUOUS]
(CATHERINE pulls out her cell phone and dials.)
Catherine: Brass, I need you to get records from that hotel spa -- a warrant, if we need it. Yep, that's right. Bye.
(She hangs up just as WARRICK walks to meet her. He turns around when he catches up with CATHERINE.)
Warrick: Oh, it's on.
Catherine: Yeah. Was our girl staying with anyone at that hotel?
Warrick: Uh, yeah. Tina ... Tina Kolas. Best friends from Terre Haute, Indiana. Flew here in a package. Why?
Catherine: We need someone to give us the truth about last night.
CUT TO:
[EXT. LAS VEGAS DESERT -- MORNING]
(The body is being excavated from the site. NICK is inside the hole with the body and is using a shovel to remove the dirt. GRISSOM stands up above with SARA and other Foresnic personnel. SARA is sifting the dirt around the site looking for evidence. Behind them, FATHER POWELL approaches.)
Father Powell: Gil Grissom?
Grissom: Father?
Father Powell: Benjamin's a member of my parish. The officer won't let me talk to him. He said you were in charge.
Grissom: Of this crime scene.
Father Powell: He needs spiritual guidance.
(GRISSOM glances over at BENJAMIN JENNINGS in handcuffs standing by the police cars with two officers. He glances back down at the d*ad body and looks back up at FATHER POWELL.)
Grissom: Yeah, I imagine he does.
Father Powell: Ah ... then you'd have no problem with my talking to him.
Grissom: It's the 11th hour. I wouldn't expect anything less.
Father Powell: Eleventh hour?
Grissom: When the reality of their actions set in, they usually turn to religion.
Father Powell: Can you think of a better time?
(GRISSOM watches as FATHER POWELL walks away to talk with BENJAMIN JENNINGS. GRISSOM turns around and looks at NICK'S progress.)
Grissom: Okay, hold it. That's enough. Let's dust him.
(NICK puts the shovel aside. SARA puts her stuff aside and grabs the camera. She begins to photograph the body.)
Nick: No ligature marks.
Sara: Different from the first guy.
Grissom: See if this laceration on this guy's forehead is consistent with the kid's shovel.
Nick: Hey ... I feel a wallet here.
(NICK pulls out the wallet from the d*ad body's front pocket and under some folded cash, removes a NEVADA DRIVER LICENSE with the following information: )
(on left) 180063222900
(numbers on right over photo id) 050492
R360021
RAMIREZ, KENNY
2672 W. 6TH STREET LAS VEGAS, NV 89109
(class) C
(endorse) blank
(???) A
(sex) M
(height) 5-09
(weight) 180
(hair) BRN
(eyes) BRN
(dob) 10/30/76
(expiration date) 10/30/02
Nick: Ramirez Kenny. A 25-year-old Latino and a 42-year-old white guy?
Sara: Strangers. Doesn't make sense. There's no connection.
Grissom: Well, it obviously wasn't a robbery.
(SGT. O'RILEY approaches.)
Sgt. O'Riley: Hey.
Nick: Hey, O'Riley. What's the matter, man? A/C not working?
Sgt. O'Riley: I was on with dispatch. Oliver Dunne's car was just found by the highway patrol abandoned at an Avcon station off 215.
Grissom: They didn't happen to find another car there, did they?
Sgt. O'Riley: Yeah. Registered to a "Ramirez."
Nick: Yeah ... gas station.
(SARA helps NICK out of the ditch, then puts her camera down. They're off to the gas station. GRISSOM bends in low to look at the body.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. MEDITERRANEAN HOTEL]
Catherine: And you can verify that when Shelley went to the hotel spa last night, she was going to use the dry sauna?
Tina Kolas: We'd been drinking apple martinis for, like, three days straight. Shelley said the sauna would detox her you know, clean her out.
Warrick: Cath. Whose shirt is this?
(WARRICK holds up a pink-colored blouse ripped in the middle.)
Tina Kolas: Mine. Shelley and I got in a fight over it.
Warrick: When?
Tina Kolas: Yesterday. I caught her trying it on and I said "give it back," and then we started fighting over it, you know, tug of w*r and the whole thing ripped right in two. We fell back laughing.
(Quick flashback to the two girls tugging on the shirt. The shirt ripping, and the two girls laughing. End of flashback. Resume on TINA KOLAS.)
Tina Kolas: I'd give anything to have her back.
Warrick: We're going to take this shirt, if you don't mind.
Tina Kolas: No, go ahead, if it'll help.
Catherine: You said you have proof that Shelley used the dry sauna.
Tina Kolas: She called down from this phone. Do they tape phone calls here?
Catherine: Hotel surveillance would love that. You're sure she used that phone to make the appointment?
Tina Kolas: Yeah.
(CATHERINE picks up the note pad on the desk next to the phone. She hands it to WARRICK. It's a blank typical complimentary hotel note pad with light blue logo, name and address of the hotel on it.)
[MEDITERRANEAN HOTEL & CASINO
436 PYRAMID WAY, LAS VEGAS NV (89108) and (702)555-.... ]
Warrick: We're going to take this as well.
Tina Kolas: Okay... but it doesn't have anything on it.
Warrick: Well, that's okay. We do magic.
CUT TO:
[EXT. AVCON GAS STATION OFF 215 -- DAY]
Sara: Two men were sh*t and k*lled and you didn't see anything?
Kirk (Avcon Attendant): Sorry.
Nick: You don't just miss something like that. What was going on?
Kirk: A friend of mine came with his new car. We took it for a drive. I'm afraid my boss will find out. I was only gone five minutes.
Nick: Okay, all right. Just-just walk us through it. When did you know there'd been a crime committed?
Kirk: Well, my buddy dropped me back here and I noticed these two cars. I went to check them out.
(Quick flashback to KIRK walking toward the two cars near the gas pump island. Both driver side doors are open. He reaches the first car and shuts the driver's door close. He looks around and doesn't see anyone. He does, however, notice a puddle of blood on the ground.)
Kirk: Oh, my god.
(End of flashback. Resume present.)
Nick: I don't see any blood.
Kirk: Yeah, I hosed it down.
Sara: You what?
Kirk: It was freakin' me out.
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Through the plastic sheeting, we see FATHER POWELL enter the CSI Garage. GRISSOM is under the sheeting examining BENJAMIN JENNINGS' car. FATHER POWELL approaches the car and puts his hands on the plastic sheeting to see who's inside the car.)
Father Powell: H-hello? Mr. Grissom?
(FATHER POWELL lifts up the plastic sheeting and walks underneath it.)
Father Powell: Uh ... they told me out front I'd find you here.
Grissom: I don't see your, uh ... visitor's badge.
Father Powell: Priest's collar. People trust it. (Off GRISSOM'S look) Most people. Even ... lapsed catholics.
Grissom: What makes you think, uh ... I was ever a catholic?
Father Powell: First time we met, you called me "Father." Only Romans do that. Everybody else, it's "Reverend" or "Minister." I wanted to know how your investigation against Ben is going.
Grissom: This is his car. You know, you really shouldn't be here.
Father Powell: I didn't come here to tamper with your evidence.
(GRISSOM puts his goggles back on and starts spraying luminol in the car's front passenger seat. As he sprays, the blood evidence begins to glow in the light. GRISSOM collects it.)
Father Powell: He was a good kid, all through school still comes to mass every Sunday. If he has a problem ... it's trying to please people.
Grissom: Is that a problem?
Father Powell: It can be.
(GRISSOM opens the back door of the Bronco and begins spraying. As he sprays, he recites. FATHER POWELL peers in to see the results.)
Grissom: This luminol reveals dried blood.
(The blood evidence begins to glow. There's blood all over the back seat. FATHER POWELL looks shocked at the evidence he sees.)
Father Powell: He wouldn't do this.
Grissom: I believe the car.
Father Powell: "To whom much is given, much will be expected."
[Quote Note: "But he that knew not, and did commit things worthy of stripes, shall be beaten with few [stripes]. For unto whomsoever much is given, of him shall be much required; and to whom men have committed much, of him they will ask the more." ~Luke 12:48 (KJV)]
Father Powell: I leave you to your work.
(FATHER POWELL leaves.)
CUT TO:
[INT MEDITERRANEAN HOTEL & CASINO - WOMEN'S SPA - RECEPTION AREA -- DAY]
Kim Marita: I told you we have no record Shelley Danvers specifically used the dry sauna.
(CATHERINE opens a Las Vegas Metropolitan Police Department Evidence folder with the following information:
(Date) 10-25-01, (Time) 08:05 and (Number) 48913-5B. She pulls out the note pad taken from SHELLEY DANVERS' room.)
Catherine: That's okay, 'cause we do. ESDA can read this blank paper ... see what's written on it. Up to 14 layers.
Warrick: Sometimes a simple flashlight will do the trick.
(WARRICK pulls out a flashlight and uses it on the pad. We see the following: SAUNA - 8:00 PM.)
Catherine: That's Miss Danvers' handwriting. We confirm that.
Kim Marita: So she took a dry sauna. What does that prove?
Warrick: She died of a heat stroke. The coroner just called in with the results of his final post. Your sauna's kept in the optimal condition for heat stroke -- 182 degrees.
(Quick CGI POV flash to a hand on a thermostat temperature dial twisting it to the right. End of CGI POV. Resume on KIM MARITA.)
(BRASS walks in.)
Warrick: That could k*ll a person if you left them longer than two straight hours.
Brass: Especially if no one checks up on them. A hotel employee is supposed to check on the various saunas every 15 minutes. Hotel regulations, right? We, uh, we got a copy of the check-up sheet.
(Camera holds on KIM MARITA'S look.)
CUT TO:
[INT. MEDITERRANEAN HOTE AND CASINO - WOMEN'S SPA - SAUNA ROOM]
(BRASS walks into the sauna. WARRICK, CATHERINE and KIM MARITA follow.)
Brass: No hotel employee checked in on the sauna after 7:30 P.M.
Catherine: So, Shelley was in here from 8:00 until ... what time did you call 9-1-1?
(KIM MARITA sighs.)
Kim Marita: I, um ... I came in at closing. 10:00.
(Quick flashback to SHELLEY DANVERS in the sauna sitting on the bench propped up against the wall. KIM MARITA reaches out to nudge the woman when she falls over.)
Kim Marita: Miss? Miss? Oh, my god.
(Flash to white. End of flashback. Resume on CATHERINE and WARRICK.)
Catherine: You moved her into the locker room? Put the robe on her?
Kim Marita: I was just trying to protect the hotel.
Catherine: From negligent homicide.
Kim Marita: They drill into us that the reputation of this hotel is everything.
(Camera holds on CATHERINE.)
CUT TO:
[INT. CSI - LAB-- DAY]
(NICK and SARA report back to GRISSOM.)
Nick: m*rder scene was compromised.
Sara: Pump jockey wasn't very helpful but b*ll*ts pulled from victim one and victim two.
(SARA puts the two plastic baggies in front of GRISSOM.)
Sara (cont.): Identical striations. b*ll*ts in both victims were fired by the exact same w*apon.
Nick: A Lorcin .380. The same p*stol registered to a Benjamin Jennings.
(NICK hands a copy of the p*stol registration to GRISSOM.)
Sara: P.D. Can prove through credit cards that Ben frequents the AvCon gas stations where both vics were k*lled.
(GRISSOM sits down.)
Nick: And we can prove he transported those bodies in his vehicle based on the blood you found.
Sara: And fibers.
(Quick flashback to SARA collecting fibers off the body. SARA pulling off the sock from the victim's left foot. SARA lifting the fibers off of that sock. White flash to End of flashback.)
Sara: I recovered a g*n fiber from the sock of victim one. Found the same fiber on the sock of victim two.
Nick: We I.D'd the fibers using the FTIR. It's a polymer commonly used in vehicle carpeting.
Sara: So we went back to Ben's car.
(Quick flashback to NICK cutting out a sample from BENJAMIN JENNINGS' car. SARA looking at the sample. End of flashback. Resume to present.)
Nick: They're identical.
Sara: We got the master standards from the car manufacturer. The assigned name for the material is "12-ounce Merlot-Poly."
Nick: Bottom line ... he k*lled them.
Grissom: Good work, you guys. Very good. But you haven't proved m*rder. You've proved burial.
Nick: Excuse me?
Sara: Victim blood on his clothes ... Under his nails.
Grissom: From burying them.
Nick: Victim blood in his car?
Grissom: He transported them. Show me the g*n with Ben's prints on it. g*n sh*t residue, the ligature, the ...
Sara: ... The holes in Christ's hands, Doubting Thomas?
Grissom: Yes. Empirical evidence. St. Thomas was ahead of us all.
Sara: Does this have anything to do with the priest that's been coming around here?
Grissom: No. It has to do with the evidence.
Nick: It's our job to present the D.A. with the best evidence possible. Let a jury decide. Anything else, we're playing judge. The evidence doesn't get any better than this.
(GRISSOM looks at NICK and SARA. Though he has his hesitations, GRISSOM relents.)
Grissom: Okay. Ship it. Show it to the D.A.
Nick: Right.
(NICK starts collecting the evidence on the table. Camera holds on GRISSOM'S concerned look.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. POLICE DEPARTMENT -- HALLWAY]
(WARRICK and CATHERINE are headed home. They walk down the hallway toward BRASS who waits by the counter. He's just gotten off the phone.)
Brass: Anyone up for breakfast?
(CATHERINE passes BRASS.)
Catherine: I'm up for a shower and tucking my daughter in.
(WARRICK slaps BRASS on the shoulder as he, too, heads out the hallway.)
Warrick: Football-- wide-screen.
(BRASS sighs.)
Brass: Well, I guess I'll go see Tina alone. Hotel tells me she's down playing quarter slots.
(Both intrigued at BRASS' remark, CATHERINE and WARRICK turn around.)
Catherine: I thought we solved this case. What'd you get?
Brass: Well, my guy in the hotel lounge tells me that Tina and Shelley were having a catfight over some dude named Jeremy the day she died. That's probably how the shirt really got ripped.
Catherine: Don't ring her bell till we re-examine our case.
(CATHERINE and WARRICK head back to work.)
CUT TO:
[INT. CSI -- LAB]
(GRISSOM is at the laptop doing background checks on the suspect. NICK is standing in front of the screen on the wall.)
Nick: Misunderstood the priest? How?
Grissom: I looked deeper into the evidence. I should have looked deeper into Ben's character.
(COMPUTER SCREEN READS the following: )
[ FELONY RECORD Name: Benjamin Corey Jennings DOB: 2/3/76
Sex: M Race: Caucasian height: 5'9" or 5'8"? weight: 162 or 165? eyes: blue hair: brown
----------------------------------------
LVMP: Las Vegas CMT: DV [alpha-numeric #]
NRS 205.275 Receiving Stolen Property Current Status: paroled Dispo: Completed Sent: 2 years Suspended, Community Service Employment: Dante's Pizza
24558 Desert Way Known Associates: None. No prior criminal history.
------------------------------------------
Address: 397? ???hill Rd. ????
Las Vegas, NV 89107 ]
Nick: "Benjamin Corey Jennings." Nonviolent crimes.
(GRISSOM pulls up a second computer screen with the following information: )
[ FELONY RECORD Name: Roger Jennings DOB: 10/27/74
sex: M race: caucasian height: 5'8"
weight: 170
eyes: blue hair: blond
----------------------------------------------
LVMP: Las Vegas CMT: DV: [alpha-numeric #]
NRS 29.03 Armed Robbery Current Status: paroled 09/27/2000
Dispo: Completed Employment: Dante's Pizza
29538 Desert Way Past Convictions:
Breaking and Entering
as*ault with Great Bodily Harm
------------------------------------------------
Address: 493 Briar Way #???
Las Vegas, NV 89123? ]
Nick: "Roger Jennings ... armed robbery. Past convictions, breaking and entering. as*ault with Great Bodily Harm. Paroled 9/27/2000."
(GRISSOM stands and leaves.)
Nick: This guy is hard-core. He's looking at his third strike here.
(NICK notices that GRISSOM left. He turns back to look at the screen in front of him. SARA enters the room. NICK looks concerned.)
Sara: What's going on?
(NICK turns around and sighs. He looks at the door where GRISSOM just left.)
Nick: You know how we pushed him to file on Ben?
Sara: Yeah.
Nick: We might have been wrong.
CUT TO:
[INT. POLICE DEPARTMENT HOLDING CELL]
(GRISSOM is sitting on the chair outside the jail holding cell. SGT. O'RILEY is standing on the side. BENJAMIN JENNINGS sits in the cell.)
Grissom: (quietly) Tell me about your brother. We know that you only buried the bodies. So, what happened? Did he thr*at you?
(BENJAMIN JENNINGS shakes his head and says nothing.)
Grissom: (prompting) Ben?
(Tears run down BEN'S face. Still, he says nothing.)
CUT TO:
[INT. DANTE'S PIZZA -- KITCHEN]
(GRISSOM and SGT. O'RILEY approach ROGER JENNINGS in the kitchen. ROGER JENNINGS is rolling pizza dough.)
Grissom: Did you learn to throw pizzas in prison, Roger?
Roger Jennings: Who the hell are you guys? Get out of my kitchen.
Sgt. O'Riley: "Roger Jennings -- armed robbery, breaking and entering." You sound like the kind of guy it wouldn't be a big jump to m*rder.
Roger Jennings: Hey, what is this?
(SGT. O'RILEY throws two photos on the table. The top photo is of Oliver Dunne and the injuries on his abdomen.)
Sgt. O'Riley: Your first stop the AvCon gas station. See these two guys?
(ROGER JENNINGS pushes the photos away from him. With barely a glance, he continues to knead the pizza dough.)
Roger Jennings: Nope. Don't know what you're talking about. My little brother got me this job. I'm staying clean.
Sgt. O'Riley: Suppose I told you your brother said you did these guys.
(ROGER JENNINGS stops kneading the dough and looks at GRISSOM. GRISSOM meets his gaze.)
Roger Jennings: Ben wouldn't do that.
(ROGER slowly continues to knead the dough.)
Grissom: You did it directly after work using a .380 p*stol and then you strangled one of the victims with his own tie.
(ROGER JENNINGS takes a breath. He looks at GRISSOM.)
Roger Jennings: Ben did it.
Grissom: Did you witness this?
Roger Jennings: He told me about it.
(Quick flashback of BENJAMIN JENNINGS in a panic. Cut to two d*ad bleeding bodies in the back of BEN'S bronco.)
Benjamin Jennings: Look what I did -- I just lost my head. What am I supposed to do now?
Roger: I'm on a short line, all right? You're on your own, Ben.
Benjamin Jennings: Roger, you've got to help me.
Roger: You know I can't. What am I going to do? Huh? It's your mess. You got to deal with it.
(Flash to white. End of flashback. Resume on ROGER JENNINGS.)
Sgt. O'Riley: (o.s.) What started the beef with the victims?
Roger: I don't know. Tempers, I guess.
(Quick flashback to KENNY RAMIREZ pumping gas. From across the way, BENJAMIN JENNINGS gets out of his car and approaches KENNY RAMIREZ, yelling.)
Benjamin Jennings: Hey! Hey, man! I was here first. You want to wait your turn?
Kenny Ramirez: What are you going to do, huh?
(KENNY RAMIREZ pushes BENJAMIN JENNINGS who falls back against his car. He reaches into the waistband of his jeans and pulls out a p*stol and fires three sh*ts at KENNY RAMIREZ.)
(Flash to white. Resume to present. Camera on ROGER JENNINGS.)
Roger: Bystander gets a little too nosy ... (he shrugs)
(Quick flashback to OLIVER DUNNE getting out of his car and witnessing the m*rder with a shocked look on his face. BENJAMIN JENNINGS turns to look at OLIVER DUNNE. He then sh**t him, too. End of flashback. Resume to present. Camera on ROGER JENNINGS.)
Roger: ... and he gets it, too.
(GRISSOM nods at the story.)
Grissom: The perpetrator's hands left flour on the victim's face. This is not from a g*n. This was something a little more intimate.
(Quick flashback to ROGER JENNINGS approaching the wounded OLIVER DUNNE, ripping the man's tie from off his shirt, twisting it around his hands, and wrapping it around OLIVER DUNNE'S neck. OLIVER DUNNE expels his final breath. End of Flashback. Resume to GRISSOM.)
Grissom: When a person changes his mode of m*rder from p*stol to ligature it's for one of two reasons - entertainment ... or necessity. Which was it for you?
Roger: Neither. I told you, Ben strangled that guy.
Grissom: The flour said you did.
Roger: I don't know what you're talking about.
(ROGER JENNINGS turns back to his pizza dough. Camera holds on ROGER JENNINGS look.)
CUT TO:
[EXT. ROGER JENNINGS' TRAILER -- NIGHT]
(SARA and NICK walk across the way toward ROGER JENNINGS' trailer.)
Sara: Anything on the list besides the tie?
Nick: Nope.
(They approach the two officers standing outside.)
Sara: Hey, guys.
Nick: Hey, guys. You can go ahead and take off. I think we got it.
Officers: Thanks.
CUT TO:
[INT. ROGER JENNINGS' TRAILER - NIGHT -- CONTINUOUS]
(SARA opens the trailer door and enters. NICK is right behind her.)
Sara: Whoa.
(SARA looks around and finds some dry cleaning.)
Sara: Hey. Dry cleaning. The trailer's low-rent. Dry cleaning's expensive.
(SARA checks out the clothes. They find a spot of blood.)
Nick: Sara?
Sara: This man's not as smart as he thinks. Dry cleaning bakes in blood stains.
Nick: Could be red sauce.
Sara: Oh, now you're cautious.
Nick: I'm just trying to put our mistake to good use.
Sara: Okay. You check the perimeter and I'll see if we have blood stains or red sauce.
Nick: Okay.
(NICK leaves the trailer to check outside. SARA puts the dry cleaning down to get her stuff from her kit.)
CUT TO:
[EXT. ROGER JENNINGS' TRAILER- NIGHT -- CONTINUOUS]
(NICK walks out of the trailer and looks around. Doing a visual sweep of the place, he finds a canister of b*rned rubbish. NICK walks to the can to check it out. He grabs the thick wooden stick in the can and begins poking through the ash and burnt materials.)
INTERCUT WITH:
[INT. ROGER JENNINGS' TRAILER - CONTINUOUS]
(SARA opens her kit. She uses a scissors and cuts out a small triangular-shaped sample of the questionable area. She takes that sample and puts it in a test tube.)
CUT TO:
(Meanwhile, NICK uses the stick to swish through the ash and rubbish. He finds something.)
CUT TO:
(SARA conducts her test.)
Sara: Hemoglobin. (louder) Take a look at this.
(SARA doesn't get a response from NICK. She puts the cap on the test tube and puts it aside to go find NICK. She grabs her flashlight and stands.)
Sara: Nick?
CUT TO:
(SARA exits the trailer just as NICK lifts out his find from the trash.)
Sara: Hey, Nick.
(SARA approaches NICK and sees what he sees. It's the missing m*rder w*apon.)
CUT TO:
[INT. POLICE DEPARTMENT -- JAIL]
(The jail doors open. An officer leads ROGER JENNINGS into the area. He's followed by SGT. O'RILEY and GRISSOM. BENJAMIN JENNINGS watches as his brother walks by. ROGER JENNINGS looks up at BEN. Their eyes meet as they two brothers pass each other. Camera holds on BEN.)
CUT TO:
[INT. CSI -- BALLISTICS LAB]
(A g*n is heard. A b*llet breaks the surface of the water. A second g*n is fired. The third sh*t is stuck.)
(GRISSOM is conducting the ballistics test on the g*n. He manages to get a sample before the g*n jams. Through the wire cage, NICK watches.)
Nick: Looks like it jammed, huh? Get anything instructive?
Grissom: (fiddling with the g*n) Possibly.
CUT TO:
[INT. CSI -- LAB]
Greg: Blood from Jennings's denim shirt.
(GREG pulls the results sheet off the printer and hands it to SARA.)
Sara: Is the printer out of ink? (reading) "ND, ND, ND."
Greg: It means "None Detected." The dry cleaning baked in the blood and it also degraded it to a degree that I just can't get a result.
Sara: (insistent) Try again. This could be victim blood. Try again.
Greg: I have tried. It's chemically impossible, Sara. Nothing from nothing is nothing.
(GREG hands SARA the test results. SARA leaves.)
CUT TO:
[INT. CSI - LAB]
(Under a microscope, two different b*ll*ts are being compared side-by-side. It's obvious that they don't match.)
Bobby Dawson: The striaions are different. See?
(BOBBY DAWSON stands and moves away from the scope, allowing GRISSOM to compare the b*ll*ts himself. NICK is also in the room, standing on the side, listening to the results of the comparison.)
Bobby Dawson: There's no way I can say that the b*ll*ts taken from the victims were fired by Jennings's g*n.
Grissom: So, he altered the barrel somehow.
(SARA walks into the room just in time to hear the final conclusion.)
Bobby Dawson: Yeah. Changed how the b*llet relates to the barrel so when the b*llet emerges, its fine stria are altered.
(CGI POV of the b*llet emerging from the barrel of the g*n and rubbing the sides of the barrel on its way out. End of CGI POV. Resume to present.)
Nick: Any idea what he used?
(Flash to white. CGI POV of ROGER JENNINGS using a tool and rubbing the tool in the g*n barrel. Cut to close up of the tool from the inside of the g*n. End CGI POV. Resume on BOBBY DAWSON.)
Bobby Dawson: Whatever it was ... did the job.
Sara: My evidence is no better. Total loss.
Nick: We present this to the D.A.
Grissom: Unfortunately, we've had this discussion before.
Nick: The guilty brother's going to walk.
(GRISSOM leaves the room.)
CUT TO:
[INT. POLICE DEPARTMENT - JAIL HOLDING CELLS]
(The bars slide open and ROGER JENNINGS is allowed out of the holding cell. He is accompanied by an officer.)
(A property bag is given to ROGER JENNINGS. He takes out his chain and puts it around his neck. BENJAMIN JENNINGS watches in the background, bewildered at the turn of events. ROGER JENNINGS glances over at BENJAMIN, he grabs his things and leaves. On his way out the door, he passes GRISSOM.)
Roger Jennings: He's never been in any real trouble before. They'll go easy on him.
(ROGER JENNINGS walks out the door.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY]
(GRISSOM follows ROGER JENNINGS out the doorway and into the hallway. He leans against the doorway.)
Grissom: The b*llet jammed in the feed, didn't it?
(Quick Flashback to ROGER JENNINGS pointing and f*ring the g*n at the victim. Cut to a close up of the p*stol jamming. Cut to ROGER JENNINGS using the tie to suffocate OLIVER DUNNE. Flash to white. Resume on GRISSOM.)
Grissom: So, it was necessity.
(ROGER JENNINGS doesn't say anything. He smiles and then he walks away. Camera holds on GRISSOM'S grim look.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
[INT. MEDITERRANEAN HOTEL ROOM]
Tina Kolas: Wait, are you saying Shelley didn't die in the sauna?
Warrick: She died of heat stroke.
Catherine: But the stroke covered up an underlying medical catastrophe.
Tina Kolas: Like what? Shell was always healthy.
Catherine: She went into anaphylactic shock. Coroner says some of the indicators are the same as a stroke: renal failure, cerebral edema.
Warrick: We missed it until Captain Brass brought your room service records to our attention.
Tina Kolas: I don't understand.
Brass: Well, maybe this will help -
(BRASS opens a file he's holding. The paper inside contains the following information: )
[EMERGENCY CONTACT: MR. DANVERS (812) 555 ... RELATIONSHIP: FATHER MEDICATIONS: NONE ALLERGIES TO PRESCRIPTION DRUGS: ALLERGIC REACTIONS TO FOOD: SHELLFISH, ... OTHER ALLERGIES: NONE EMERGENCY INFORMATION FOR: T. KOLAS ]
Brass: The travel agency contract you and Shelley signed. Under "allergic reactions to foods" for Shelley Danvers -- shellfish.
Warrick: As her best friend, you would know that.
Brass: And then we have this from the hotel computer for your room 7:01 P.M., On the day: "A Taste From the Sea a lovely tureen of mild bisque with pureed bits of Maine lobster."
Pureed, two bowls. She didn't know what she was eating when it arrived, did she?
Catherine: Because she didn't order it; you did.
Catherine: We've got a machine known as the ESDA machine which can read pen imprints.
(CGI POV to the ESDA machine gliding over the paper. Flash to white. Brush dusting the paper. Close up of the paper reveals the following information: )
"ROOM SERVICE EXT 219"
(Resume to present. Catherine holds the notepad paper out and shows the following to TINA KOLAS.)
"JEREMY DRINKS 10"
Catherine: Well, the machine isolated this. "Jeremy, drinks, 10:00." Shelley made that date. That's her handwriting. Were you in the room when Jeremy call?
Tina Kolas: I answered the phone. He asked for her.
Warrick: You k*lled her over a guy you two met at a bar?
Tina Kolas: I didn't mean to k*ll her. I thought that she would just have an allergic reaction and she wouldn't be able to make her date that night, you know ... like, get hives or something.
Catherine: Well, her allergy kicked in in the sauna under the worst possible conditions --
(White flashback to SHELLEY DANVERS in the sauna gasping for breath. End of flashback. Resume on WARRICK.)
Catherine: (V.O.) ... trachea... larynx ... tongue swelled.
Warrick: Her pressure got so low her blood quit running through her organs. They shut down.
(TINA KOLAS slowly sits on the bed, overcome with grief at what she has done.)
Tina Kolas: I didn't even like the guy. I just ... I didn't want to be left out.
Brass: Miss Kolas, you're under arrest.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
Sara: Hey. D.A.'S looking for you.
Grissom: About?
(SARA hands GRISSOM a note.)
Sara: What, you think I read your messages?
Paula Francis: (in background on tv) Wall street Analysts, though, say stocks ... Good investments for the long term.
Sara: "Top Secret" and "Urgent"? It's a gift, reading upside down.
(Both are distracted by the television news.)
Paula Francis (TV Anchorwoman): The Las Vegas District Attorney is reportedly preparing to file homicide charges against Benjamin Corey Jennings in the so-called Burial m*rder Case. Jennings has been in police custody for the last ...
Sara: Guess we know what she was calling about.
Paula Francis: ...Since he was caught burying the first victim, Oliver Dunne in the national forest.
(GRISSOM puts down his food and leaves the room.)
CUT TO:
[INT. DISTRICT ATTORNEY'S OFFICE -- DAY]
Robin Childs (district attorney): Don't you have enough cases over at CSI now you're going to start telling me which ones I should take to court?
Grissom: There isn't one piece of evidence that says that kid was even present at the m*rder.
Robin Childs: As a matter of fact that is why I was hunting you. Jennings brought it in about an hour ago. Chain of custody; I can't touch it. The first victim was ligatured, right?
(ROBIN CHILDS pushes an envelope on her desk toward GRISSOM. GRISSOM opens the envelope and pulls out the missing tie used to strangle OLIVER DUNNE.)
Robin Childs: Jennings says his little brother asked him to hide the tie.
Grissom: Well, how convenient. The older brother brings it in explaining why his epithelials are all over the m*rder w*apon.
Robin Childs: A jury doesn't understand epi-whatevers, okay? They understand a twisty tie and blood all over Ben's car seat.
Grissom: He set up his brother.
Robin Childs: Oh, come on, Grissom, they're both part of it and if I can get one of them, I will.
Grissom: He's a good kid, Robin. He hero-worships his brother, but he's a good kid.
Robin Childs: Yeah? Then his epithelials shouldn't be on that tie. You'd better check with your lab.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(A photograph of the injuries on OLIVER DUNNE'S neck hits the table.)
Grissom: Explain how bits of your skin got on the ligature used to strangle that victim.
Benjamin Jennings: I don't know.
(A second photograph of the tie hits the table. BENJAMIN JENNINGS picks it up.)
Grissom: Your brother brought this in to the district attorney.
Benjamin Jennings: What?
Sgt. O'Riley: He's framing you.
Grissom: Unless you can tell us how your epithelials got on that tie.
Benjamin Jennings: I don't know. I swear I don't know. I ... he ... I just picked up the bodies at his place.
(Quick flashback to BENJAMIN and ROGER standing by the car. ROGER slams the back door closed after putting the bodies in.
Roger Jennings: Grab that guy's tie, little bro. I like that thing. (BENJAMIN JENNINGS removes OLIVER DUNNE'S tie from his body. He hands it to ROGER JENNINGS.) Bury them deep, all right? You get into any trouble you don't have to say anything, all right? I'm counting on you, man.
Benjamin Jennings: Yeah, yeah, man, I'm there all the way.
Roger Jennings: Go, get out of here. Go on.
(End of flashback. Resume on SGT. O'RILEY.)
Sgt. O'Riley: I got to ask you ... how does somebody bury two bodies as a favor?
Benjamin Jennings: 'Cause he's my brother. (panicking) He told ... He told me that if I didn't talk to you guys and if he didn't talk, then this would all just blow over; it'd all just go away.
Sgt. O'Riley: You're looking at two counts of m*rder, special circumstances. The best you can hope for is life without parole.
(BENJAMIN JENNINGS starts to cry.)
Benjamin Jennings: I don't ... I don't think I can do that kind of time.
Grissom: Do you have any physical evidence linking your brother to the m*rder? Anything?
(BENJAMIN shakes his head ... no.)
(Camera holds on GRISSOM.)
CUT TO:
(Quick pulses of a series of legal forms with court proceeding sounds in the background. Sounds of a judge speaking ... a gavel pounding ... and words such as "guity" and "life" are heard as the forms flash one by one in front of us.)
LEGAL FORM 1
SUPERIOR COURT CLARK COUNTY IN THE STATE OF NEVADA
People of the State of Nevada, Plaintiff, vs. Benjamin Corey Jennings, Defendant
FLASH TO WHITE.
LEGAL FORM 2
JUSTICE COURT, GOODSPRINGS TOWNSHIP Clark County, Nevada
(left side)
The State of Nevada, Plaintiff vs. Benjamin C. Jennings, Defendant
(right side)
CASE NO. 102501-736
DEPT. NO. F DOCKET 01-93789
FLASH TO WHITE.
LEGAL FORM 3
JUSTICE COURT CLARK COUNTY, NEVADA
(left side)
NEVADA, Plaintiff JENNINGS, defendant
(right side)
CASE NO. 102501-736
DEPT. NO. F DOCKET 01-93789
NOTICE OF INTENT TO SEEK DEATH PENALTY
" ...OW, the State of Nevada, through ROBIN CHILDS
...ant to the provisions of Supreme Court Rule
... llowing Notice of Intent to Seek the Death
... part as follows:
FLASH TO WHITE.
Close up of "SEEK DEATH PENALTY" in LEGAL FORM 3
FLASH TO WHITE.
LEGAL FORM 4
"... declaration subject to the penalty of perjury."
"REQUEST FOR BAIL: DENIED (box being checked)"
"AMOUNT OF BAIL ... "
FLASH TO WHITE.
LEGAL FORM 5:
... CASE ARE ...
... committed by a person with
... convicted of another felony."
...risk of death to more than one portion "by ...
...ld normally be hazardous to the lives of more than one ...
Respectfully submitted, Robin Childs District Attorney Nevada Bar #00149330
(The form being signed.)
(As the file is being closed, the following can be seen: )
LEGAL FORM 6:
"... found that presumption ...
... of deaf-muted as a class violated the ...
... rights of petitioners in that case, so, too, ...
... court should have found that presumptions ...
... abilities of quadriplegics as a class ...
... petitioner's equal protection rights. ...
... rt's presumptions about the limitations. ...
... petitioner's handicap, ...
(single spaced quote)...for the boys himself ...
... and teach them ...
... it's not ...
LEGAL FORM 7:
SUPERIOR COURT
... COURT IN THE STATE OF NEVADA
DOCKET NO. S 809 20942
(The file is stamped with a circular file mark on document. SUPERIOR COURT * CLARK COUNTY, NEVADA * FILED.)
CUT TO:
[INT. FATHER POWELL'S CHURCH -- DAY]
(GRISSOM walks into the church. FATHER POWELL is near the front of the church speaking with someone. GRISSOM'S entrance is brought to FATHER POWELL'S attention and approaches him. GRISSOM sits down on the pew.)
Grissom: I know that we've arrested the wrong brother.
(FATHER POWELL sits on the pew in front of GRISSOM.)
Grissom: He came to see you as soon as Ben was in custody.
Father Powell: I tried to help ... without breaking my vows.
Grissom: (sighs) We both have jobs that begin after the crime.
Father Powell: After the "sin".
Grissom: Some people would call that a career in futility.
Father Powell: Some call it a "vocation".
Grissom: A hundred years ago we didn't have the technology for fingerprints. Fifteen years ago, we didn't have DNA. Hopefully one day, we'll have foolproof means by which to put the right man in jail in this case.
Father Powell: Someday, we won't need jails.
(GRISSOM looks at FATHER POWELL.)
Father Powell: I celebrate mass every Thursday night, 7:00.
Grissom: Thank you ... but ... (he shakes his head) ... no.
Father Powell: You don't believe?
Grissom: In religion? I believe in God, in science ... in Sunday supper. I don't believe in rules that tell me how I should live.
Father Powell: Even if they're handed down by God?
Grissom: How many crusades were fought in the name of God? How many people died because of someone's religion?
Father Powell: Fanaticism. Not religion.
Grissom: Semantics. They're still d*ad. I'm sorry about Ben, father.
(GRISSOM stands up.)
Father Powell: You still suffer like a catholic.
(FATHER POWELL also stands up.)
Father Powell: Light bulb goes out other people fix it, get a new one. Light bulb goes out for the Catholic he stands in the dark says, "What did I do wrong?"
Grissom: That guilt's not in me anymore.
(GRISSOM leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI -- HALLWAY -- NIGHT]
Grissom: Hey.
Catherine: Oh. You're going to be getting a call from the local papers about spa safety.
Grissom: Spa safety?
Catherine: We had a victim die of an allergic reaction at the Mediterranean. Some foul play ... some negligence.
Grissom: So what am I supposed to say?
Catherine: That it was an isolated incident ... that in no way should it be a mark against The Strip's other fine hotel-casinos.
Grissom: CSI supports Las Vegas.
Catherine: Bottom line.
(CATHERINE leaves GRISSOM at the hallway counter. In the background, OFFICER rush to the jail holding cell area.)
Officers: Need some help in here!
Officers: Get his arm!
Officers: Hold his head!
(GRISSOM looks up and notices the commotion. GRISSOM runs to the cell.)
Officers: Hold his head!
Officers: I can't stop the bleeding.
(GRISSOM rushes to the cell. On the cell floor, BENJAMIN JENNINGS lies in a pool of blood. His breathing labored as he looks at GRISSOM.)
Grissom: Oh, no, no, no. How did this happen?!
Officer: Incisor. He used his teeth.
(GRISSOM tries to help, but gets pushed aside as the MEDICS arrive. The commotion builds to a frenzy as they all work to save BENJAMIN JENNINGS.)
Medic: Clamp down. MEDIC: Keep him with us.
Medic: (to GRISSOM) Get out of the way! Out of the way! MEDIC: (to GRISSOM) Sir, step back. Sir.
Medic: He's bleeding out. MEDIC: He's bleeding out here.
Medic: We need to stop this. Compression. MEDIC: Keep him with us. Get the head up. MEDIC: We're losing him, we're losing him ...
(With his final breath, BENJAMIN JENNINGS dies. All sound stops abruptly.)
Medic: I'm going to pronounce. 22:04.
(GRISSOM'S left standing there with blood on his hands.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x06 - Alter Boys"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - BARBARY COAST HOTEL-- NIGHT]
CUT TO:
[INT. SUV - NIGHT]
(A speeding SUV peals around the corner.)
(Cut to a train running on the tracks.)
(Cut to the SUV speeding down the road. MEGAN TREADWELL, the driver of the SUV, looks to the side and notices the train. She hears the train whistle blow. Still, she steps on the gas, hoping to b*at the train across the track.)
Megan Treadwell: (urgently) Come on, come on, come on, come on. Come on, come on!
(The train crossing bell ring a warning. The train is approaching.)
(The SUV brakes screech. The train approaches. MEGAN TREADWELL steps of the breaks again, the car tires screech and still her car moves forward. Her car moves forward slowly, slowly through the crossing guard rail.)
(The SUV stops on the tracks. The train approaches. MEGAN TREADWELL looks out the car window and screams as the train smashes into her car.)
CUT TO:
[EXT. TRAIN TRACKS - NIGHT]
(Scene opens with a close up of a power saw cutting through the SUV door.)
(CATHERINE approaches the scene carrying her CSI kit. BRASS turns around when CATHERINE reaches him and starts filling her in on the case.)
Brass: Paramedics pronounced twenty minutes ago. Megan Treadwell. I ran her plates. Thirty-three tomorrow.
Catherine: One-on-one with a train. Did she think that she could b*at it?
(CATHERINE looks at BRASS, then heads toward GRISSOM, who is checking the train out. She puts her kit down.)
Catherine: Hey.
(GRISSOM is busy looking at something on the front of the train. CATHERINE leans in for a better look.)
Catherine: Door handle.
Grissom: Point of impact: Passenger-side door.
Catherine: d*ad center.
(They look on the side as Forensics carry the bagged body away on a gurney.)
Grissom: Question is: Why did the SUV cross the tracks?
Catherine: (deadpans) To get to the other side.
(GRISSOM looks at CATHERINE.)
HARD CUT TO BLACK. END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
FADE IN.
[EXT. TRAIN TRACKS -- NIGHT]
(CATHERINE walks down the steps of TRAIN #4009. When she gets to the ground, GRISSOM is on his cell phone. He hangs up.)
Grissom: Sheriff says we're holding up trains all over the country. This entire railroad division depends on keeping the main line open.
Catherine: Well, it's not like we can take this back to the garage.
Grissom: Well, unfortunately, his priority is clearing this train from the tracks. You have two hours.
(GRISSOM turns to leave. CATHERINE calls out to him.)
Catherine: Where are you going?
Grissom: Suspicious circs in town. This one's all yours.
Catherine: Thanks, but you got to give me some guys.
Grissom: Sara's all you get.
Catherine: All I need.
CUT TO:
[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT]
(GRISSOM enters the library. He's met up by DET. RAY O'RILEY, who fills him in on the scene. In the background, the alarm continues to ring.)
O'Riley: "Burglary in progress" call. Once we made entry, we found the victim downstairs. Never knew this place existed.
(O'RILEY and GRISSOM continue down the stairs to the lower level.)
Grissom: The Western States Historical Society. It's not on a lot of tourist maps.
(The alarm stops ringing.)
Det. Ray O'Riley: I had them cut the wires.
Grissom: We need to identify the source of the alarm, Ray. Security company said it was downstairs. The body's there, too.
(DET. O'RILEY opens the door and walks in. GRISSOM follows.)
CUT TO:
[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - NIGHT -- CONTINUOUS]
(O'RILEY and GRISSOM enter the lower room.)
O'Riley: (looking up at the ceiling) Trying to get them to turn some more lights on in here.
Grissom: There are no more lights, O'Riley. It's a controlled environment. Notice how you're not sweating? It's probably sixty-six degrees in here. Thirty-five percent relative humidity. Too much light, too much heat degrades the books.
(In front of them, two firemen cut try to cut the lock on the cage.)
Grissom: What-- nobody's got a key?
O'Riley: The curator's across town. He's on his way. She looks d*ad to me.
(The firemen put the cutters away and one gets out a power saw. He starts cutting the lock.)
(The door is unlocked. The fireman opens the door and GRISSOM steps aside for the paramedics.)
Grissom: You got first touch.
(The two paramedics enter the cage. They put their cases down and work on the woman on the floor. GRISSOM also walks inside after them and kneels in close to look at the body.)
Medic: 10:48. MEDIC: Red foam, blue tint.
Grissom: Foam could be from blood in her lungs. Edema. Skin is cyanotic. Maybe a blood disease. Leukemia. Meningitis. We'll know after the post.
(GRISSOM stands and gets out his camera. He starts to take pictures of the body. The camera flashes several times. Behind GRISSOM, outside the cage, a young man protests.)
Aaron Pratt: Don't do that.
Grissom: (turns around) Excuse me?
Aaron Pratt: These are very rare books.
Det. Ray O'Riley: Aaron Pratt. Librarian. Only other person here when the alarm sounded.
Grissom: Did he tell you what he was doing here?
O'Riley: Oh, yeah. Watching her. Set off the alarm, trying to get in the cage.
CUT TO:
[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT]
(GRISSOM questions the Librarian, AARON PRATT.)
Aaron Pratt: I wasn't watching her. I always say "good night" to Veronica because I have to leave at 8:03 to catch the 8:10 bus. It's three blocks away. And sometimes the bus comes at 8:08, so I have to rush to catch it.
Grissom: So you went down to the basement to say good night.
Aaron Pratt: "Good night, Veronica." "Good night, Aaron." Sometimes she ... w-walks me to the bus.
Grissom: Did she walk you to the bus tonight?
Aaron Pratt: "Are you coming?" "No. You go ahead without me. I have more work to do."
(AARON gets very serious as he remembers what happens next.)
Aaron Pratt: Then ... a uniball pen ...
(Quick flashback to a camera close up of VERONICA BRADLEY'S hand holding the pen and the pen slipping out from her fingers. This happens in slow motion. The pen falls. The pen rolls across the table.)
Aaron Pratt: (V.O.) rolled across the desk ... fell onto the chair ...
(End of flashback. Resume to present.)
Aaron Pratt: ... h*t the floor ...
(Quick flashback to the pen still rolling in slow motion.)
Aaron Pratt: (V.O.) and stopped rolling at the wastebasket.
(The pen stops rolling. End of flashback. Resume to present.)
Aaron Pratt: Then water ... water falls into her eyes.
Grissom: You mean she was sweating?
Aaron Pratt: From her forehead.
(Quick flashback to a veil of water falling from VERONICA'S forehead past her eyes.)
Aaron Pratt: (V.O.) Lots ...
(End of flashback. Resume to present.)
Aaron Pratt: ... and then, she grabs her stomach ... with both hands.
(Quick flashback to VERONICA BRADLEY dropping the book and clutching her abdomen.)
Veronica Bradley: Aaron ...
(End of flashback. Resume to present.)
Aaron Pratt: ... "Aaron" ... Then she put on her new face. Shelley's Frankenstein. Up and d-down ... flopping around like ...
(Quick flashback to VERONICA BRADLEY falling to the floor in seizures.)
Aaron Pratt: (V.O.) ... a salmon on my uncle's fishing boat.
(End of flashback. Resume to present.)
Grissom: She was convulsing.
Aaron Pratt: I ... couldn't help her ... because the cage is locked and I don't have a key.
(NICK approaches the table.)
Nick: Hey, there. Warrick's got three residential burglaries, so ...
Grissom: Mr. Pratt, will you excuse me for a moment?
(NICK and GRISSOM walk to the back of the room..)
Nick: According to O'Riley this guy's body language says he's guilty.
Grissom: I think he's autistic.
Nick: Autistic? You mean like Rain Man?
Grissom: Rain Man was a savant. Extremely rare. Aaron Pratt is a high-functioning autistic man with superior right-brain ability.
Nick: Kind of sounds like you.
Grissom: The crime scene's in the basement.
(NICK leaves to go to the basement.)
CUT TO:
[EXT. ROADWAY BY CRASH SITE - NIGHT]
(CATHERINE and SARA walk side-by-side with their eyes glued to the road trying to look for evidence.)
Sara: Man, I hate rushing through a crime scene. Two years from now, no one is going to care that the Sheriff turned this into a "scoop and run."
Catherine: Call was made above our heads. Just document the time in your notes.
Sara: Yeah, well, I'll let you testify on this one.
Catherine: Thanks.
(Off to the side of the road, a little dog comes running toward them. Both CATHERINE and SARA kneel to get the dog.)
Catherine: Aw ...
Sara: Hey, little guy. Hey. Hey. Let's see.
(SARA checks his collar.)
Sara: His name is Maverick. He lives on Martingale Street in Henderson.
Catherine: That's not that far from here.
Sara: Guess I'll go call animal control.
Catherine: Okay.
Sara: I'll be right back.
(SARA picks up the dog.)
Sara: Hey. Come on, boy. Let's get you home.
CUT TO:
[EXT. ROADWAY BY CRASH SITE - NIGHT -- CONTINUOUS]
(BRASS questions the TRAIN ENGINEER.)
Brass: So let me get this straight, all you saw was a car trying to b*at the signal?
Train Engineer: I'm putting 55 miles an hour. It's dark. I got an oil leak, can't figure out where. I looked up and I saw something.
Brass: The SUV.
Train Engineer: Like I said, it was dark. I thought it was stopping. I turned my head for one second. Next thing I know, it's in the middle of the tracks. With all due respect we've got the right of way out here.
Brass: Thanks for your time.
(BRASS nods. The TRAIN ENGINEER leaves. SARA walks up to BRASS carrying MAVERICK in her arms.)
Brass: That's not yours, is it?
Sara: I am collecting evidence. Do we have an address on the vic yet?
Brass: 855 Martingale.
Sara: Vic had a passenger. Say hello to Maverick.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(GRISSOM walks into the room. ROBBINS is washing his hands. He turns off the faucet.)
Grissom: Have you finished with our lady of the library?
Robbins: As finished as I'm going to be. You were right. Cyanosis. Blood was unable to oxygenate her tissue.
(Quick CGI POV as the camera travels to the deceased's face. The deceased's head rises and eyes open. The camera continues down her mouth as it opens slightly. It travels down her wind pipe where the muscles closes the passage. End of CGI POV. Resume to present.)
Grissom: Explains the blue face. Underlying cause?
Robbins: With blood in her lungs, asphyxiation's out. I found vomit in her throat, bloody stool, hemolysis and some irritation of the mucous membrane on her tongue. I won't know more till I get the blood test back. Could be blood-borne disease.
Grissom: I'm thinking about homicide.
Robbins: Then you know more than I do.
(ROBBINS looks at GRISSOM who's looking at the body. GRISSOM looks up at ROBBINS.)
CUT TO:
[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE -- NIGHT]
(NICK is in the cage dusting for prints on the books. In the background, a well-dressed man descends the stairs.)
Officer: Excuse me, sir.
Stanley Hunter: It's fine.
Nick: Whoa, whoa, whoa. Sir, you can't come in here.
Stanley Hunter: I told the officer upstairs. I'm Stanley Hunter.
(At NICK'S blank look, he continues.)
Stanley Hunter: The curator. Do you have any idea the damage you're causing? With your dust, flashbulbs. You see that?
(STANLEY HUNTER points to a book behind NICK. He walks forward toward it to emphasize it's importance.)
Stanley Hunter: Right there, behind you. That is a 17th century text by Johannes Van Den Avelen. It's one of two volumes in the world. Now, do you go to the Louvre and put your hands all over the Raft of the Medusa?
Nick: Officer, Mr. Hunter would like to give a statement to Detective O'Riley.
Stanley Hunter: Statement?
Nick: Mm-hmm.
(Behind them, DET. O'RILEY and GRISSOM enter the room and stand just outside the cage as STANLEY HUNTER continues to talk to NICK.)
Stanley Hunter: I just got here. I don't even know what happened. But what I do know is that these are masterpieces. One of a kind.
Grissom: They're evidence in an active criminal investigation -- also one of a kind.
Det. O'Riley: Mr. Hunter, why don't we go upstairs and talk?
(STANLEY HUNTER leaves with DET. O'RILEY. GRISSOM puts his gloves on and looks around the room.)
(From a round POV, he views the table to the chair to the floor and he sees the pen near the wastebasket. GRISSOM walks over to it and picks it up. He looks at it.)
Grissom: The good news, Nick? We had a camera in here.
Nick: There's no surveillance system.
Grissom: Yeah, there is -- Aaron Pratt. We just have to figure out how to get the film out of his head.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. ROADWAY BY CRASH SITE - NIGHT]
(The tow truck takes the damaged SUV away. CATHERINE and SARA continue to take photographs of the crime scene.)
(Between evidence markers #16 and #17, there's a piece of glass. CATHERINE picks it up and looks at it.)
Catherine: Filament.
Sara: Train probably busted out her headlights. First thing on our list when we get to the tow yard.
(SARA looks at the treadmarks on the road. Something puzzles her about it.)
Sara: Catherine ... check this out.
(SARA snaps a photo of it.)
Catherine: Two sets of skid marks.
Sara: One set going forward ...
(Quick flashback to the SUV stopping and skidding to a stop. End of flashback. Resume to present.)
Catherine: These skid marks are about seven feet shy of the gate.
(SARA walks over to the next set of skid marks between evidence markers #18 and
#19.)
Sara: The second set of skid marks are darker more rubber residue.
Catherine: Could be an overlay.
(SARA snaps several photos.)
Sara: Looks like the tires were spinning in place.
(Quick flashback to the SUV burning rubber. Cut to a close up of the tires running in reverse.)
Sara: (V.O.) In reverse.
(End of flashback. Resume to present.)
Catherine: Burning rubber. Going nowhere.
Sara: So ... which set of skid marks are telling the story?
Catherine: Maybe they both are.
CUT TO:
[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE -- NIGHT]
(GRISSOM is questioning STANLEY HUNTER inside the cage.)
Grissom: So, all of your chemicals in here are alkaline?
Stanley Hunter: We're not dealing with the far ends of the ph range. See, old book pages are slightly acidic. The acid eats away the paper. We neutralize them by a solution that's slightly basic.
Grissom: To reach "7," the neutral ph.
Stanley Hunter: Exactly. Imidazole. Fifteen percent ammonia. That's the sort of thing we work with here. It's all about preserving the books. No, not that you could even assign a value but do you have any idea how much each of these books is worth?
Grissom: No.
Stanley Hunter: The first printed book was a Gutenberg Bible. It sold at Christie's for $5.3 million. Lewis and Clark's elk skin journal sold for
$500,000. We have an illustrated Audubon, The Birds of America, which is worth an estimated $30,000.
Grissom: All of that and you never thought about beefing up your security?
Stanley Hunter: You know, special collections are kept in the vault. Any rare book removed from the vault gets scanned through a coder. If the book is to be read it's delivered to a secure room upstairs. And if Veronica was going to work on it, it stayed down here.
Grissom: Is this one of the books that Veronica was restoring?
Stanley Hunter: Yes. It ... it was published in 1797. The author was a British Botanist. It's worth an estimated $300,000. It's really not a dangerous profession.
CUT TO:
[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT]
(AARON PRATT reshelves books. DET. O'RILEY walks up to GRISSOM.)
Det. O'Riley: We got a situation. You know that weird guy?
Grissom: He's not weird, O'Riley, he's autistic.
Det. O'Riley: Whatever. First on the scene, and he's got sticky fingers.
(DET. O'RILEY hands GRISSOM a book.)
CUT TO:
[INT. LIBRARY -- NIGHT]
(GRISSOM stands next to AARON PRATT as he works.)
Grissom: "But I will wear my heart upon my sleeve / for daws to peck at. I am not what I am."
Aaron Pratt: Othello, act one, scene one. Line 61 and 62, Iago to Roderigo.
Grissom: Very good, Aaron. Now, you want to tell me how Othello ended up in your briefcase?
(AARON looks around.)
Aaron Pratt: It's my ... favorite Shakespeare tragedy.
Grissom: I like Hamlet myself. And I bet Mr. Hunter is into King Lear. He's very concerned with property rights. He tells me the rare books are kept in the vault and they're not allowed off-site.
Aaron Pratt: Mr. Hunter doesn't like me.
Det. Ray O'Riley: I don't think the rule was made with you in mind.
Aaron Pratt: He breaks the rules all the time.
Grissom: He takes the books home?
Aaron Pratt: No. He... eats his lunch in his office. Carrots, celery tuna on whole wheat ... and Veronica.
Grissom: What do you mean, "and Veronica"?
Aaron Pratt: She's eating and he takes her sandwich ...
(Quick series of flashbacks. Veronica sighing as STANLEY HUNTER kisses her neck. Cut to his hands on her breasts. Cut to his hands running down her thighs. Cut to them kissing at his desk. In the background near the door, AARON PRATT watches.)
Aaron Pratt: (V.O.) and he puts his hand on her breast. And then he puts his tongue ...
Grissom: (V.O.) (interrupting) Aaron ...
(End of flashback. Resume to present.)
Grissom: I get it. Did they know that you were watching them?
(AARON PRATT looks away.)
CUT TO:
[EXT. DUMP SITE - NIGHT]
(CATHERINE and SARA check the SUV out after it's been towed. SARA notices something.)
Sara: Hey, you know that filament you picked up?
Catherine: Yeah.
Sara: The lamp cover's smashed, but the filament's intact.
Catherine: So what, the filament's from another car?
Sara: Well, taillights have different filaments, so ... yeah.
(CATHERINE kneels to examine the back bumper. She finds something.)
Catherine: Paint transfer.
Sara: Recent?
Catherine: Hard to say.
(SARA peers inside the car and notices a bag of gourmet doggie treats from
"Vegas Finest". They're Bac'n'Chees flavored. SARA gets into the front seat of the car.)
Catherine: You know, this right rear tire's lost a lot of rubber.
(SARA finds a cell phone on the driver side floor. She checks it out.)
Sara: I got a cell phone. Battery's d*ad.
(SARA also notices something else strange.)
Sara: Hey, Catherine ... her emergency brake is still on.
Catherine: Maybe her brakes failed or she had to engage it for some reason you know, I'm thinking that maybe another vehicle was involved.
Sara: Engineer didn't mention anything about a second driver.
Catherine: Maybe he didn't see it.
CUT TO:
[INT. CSI - HALLWAY TO LAB -- NIGHT]
(ROBBINS walks down the hallway to the lab where NICK is testing the chemical bottles from the cage. ROBBINS enters the room.)
Robbins: Fifteen minutes before my next post. Bottled chemicals from the library?
(NICK nods his head.)
Robbins: Hey. Great room. Great table. I could use this. Lay out all the body parts. Get a real overview. Is that a light under there?
Nick: Do you have something for me?
Robbins: Oh, your vic. Poisoned. Substance as yet unidentified.
Nick: Well, there's no smoking g*n in any of these bottles. What's on the label is what's in the bottle. Isopropyl alcohol ... 15% ammonia solution ... imidazole ... bleach.
(NICK gets up and walks to the doorway.)
Robbins: When you isolate the toxin you'll have a better idea where it came from. Nick ...
Nick: Hmm?
(NICK turns around.)
Robbins: I love this table.
(NICK smiles and nods.)
CUT TO:
[INT. CSI -- LAB]
(SARA is looking at the filament that they found on the road. CATHERINE is fiddling with the cell phone.)
Sara: There's no glass on the filament.
Catherine: 10:30 at night?
Sara: Crim 101. If a guy's driving along at night with his lights on ...
(Quick CGI POV to loud tire screetching. The camera heads toward the light glass, through the light and down to the filament. A piece of glass melts.)
Sara: (V.O.) gets in a wreck, glass breaks fuses to the filament.
(End of flashback. Resume to present.)
Sara: Instant evidence. But there's no glass on the filament. His headlights weren't on.
(CATHERINE stands up and walks to the scope to look.)
(Cut to the scope view of the filament with no glass melted on it. CATHERINE thinks about it for a moment.)
Catherine: Black car ... headlights off.
Sara: Easy for an engineer to miss.
Catherine: So he h*t our SUV. Accidental or intentional?
Sara: Hard to tell.
Catherine: Maybe not.
(CATHERINE looks down at the cell phone in her hands.)
CUT TO:
[INT. AARON PRATT'S RESIDENCE]
(AARON PRATT straightens a picture on the wall, then turns and watches as GRISSOM and NICK go through his things. GRISSOM looks through the books and NICK is looking through his mail.)
Grissom: These books are from the Historical Society.
Aaron Pratt: (nervous) That's my mail.
Grissom: Aaron, what about these books?
Aaron Pratt: Don't ... don't mix those up.
(AARON grabs the mail from NICK and puts them back on the shelf.)
Aaron Pratt: I have two bills due tomorrow -- gas and electric -- and I have to mail them on my way to work. Don't.
(NICK calmly picks the mail up to continue to look through them. AARON grabs them from him again.)
Aaron Pratt: (frustrated) You're messing everything up.
(GRISSOM walks over to them.)
Grissom: (interrupting) Aaron, may I have a glass of water, please?
Aaron Pratt: (immediately) Of course you may.
Grissom: Thank you.
(AARON leaves to go to the kitchen.)
Nick: Is this guy the real deal?
Grissom: I think he's incapable of deception, Nick. We're just witnessing displaced anxiety. I mean, look around. Everything's in precise order.
Nick: Organized by size.
Grissom: Order provides comfort. His life is based on routine. Without it, he can't function.
Nick: I'll check out the bedroom.
(AARON returns and hands GRISSOM a glass of water.)
Aaron Pratt: Mountain spring water, Calistoga, California. Bottled at the source.
Grissom: Thank you.
Aaron Pratt: You're welcome.
(GRISSOM holds up a couple of books.)
Grissom: Now, how did these books get here?
(AARON grabs the books from GRISSOM and reshelves them in its proper order.)
Aaron Pratt: Veronica brought them.
Grissom: She was here.
Aaron Pratt: Yes, she was here. We date.
Grissom: What do you mean you date?
Aaron Pratt: We have dinner -- roast beef, baked potato ... organic broccoli ... acacia pinot noir. Shakespeare in Love. DVD. Miramax. M-c-m-x-c-v-I-I-I.
(Cut to NICK going through AARON PRATT'S dresser drawers.)
(Cut back to AARON PRATT seeing NICK in the bedroom and starting toward him. GRISSOM stops him.)
Grissom: You two were involved with each other?
(AARON turns around.)
Aaron Pratt: Why? Don't you think she would date someone like me?
Grissom: No. You told me Veronica was involved with Mr. Hunter.
Aaron Pratt: I have a masters in library science and an English Degree from UNLV. And some people like Mr. Hunter, treat me like a freak. But Veronica didn't. She ... loved me. Not him.
(In the background, NICK stops searching the drawers and starts back toward GRISSOM.)
Nick: Grissom. You might want to come back here a sec.
(GRISSOM hands the glass of water back to AARON.)
Grissom: Thank you.
(AARON takes the water and smiles.)
[BEDROOM]
(NICK leads GRISSOM back to the bedroom dresser and pulls aside a piece of cloth. Under it is a lipstick, a pair of earrings, a couple of photos and a hair brush.)
Nick: Personal effects. Like some creepy little shrine. Vic's hair. She was seeing Hunter. Aaron got jealous. Incapable of deception, huh? How do you feel about m*rder?
(GRISSOM picks up a photo of VERONICA BRADLEY.)
Grissom: "Yet she must die else she betray more men. Put out the light, and then put out the light."
(He turns around to look at AARON PRATT standing in the living room behind them.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - AUDIO/VISUAL LAB]
(CATHERINE and SARA watch as ARCHIE JOHNSON works his magic on the 911 tape.)
Archie Johnson: Last call on her cell phone was to 911. Reel to reel's already interfaced on my computer.
(Start tape recording.)
Dispatcher: (tape) 911, what's your emergency?
Megan Treadwell: (tape) Oh, god, you've got to help me, please, help me.
Dispatcher: (tape) Ma'am, try to calm down. Where are you?
Megan Treadwell: (tape) I'm in my car. There's this maniac, he's following me ...
Dispatcher: (tape) Ma'am, what's your location?
Megan Treadwell: (tape) Help me, please!
(End of tape recording.)
Catherine: Can you isolate the individual tracks?
Archie Johnson: Yes, ma'am.
Catherine: Good. Lose the dog.
Sara: Train, too, please.
(ARCHIE turns off "TRACK 1: DOG" and "TRACK 2: TRAIN". He leaves "TRACK 3: VICTIM", "TRACK 4: DISPATCH" and "TRACK 5: CAR" on.)
(Start tape recording.)
Dispatcher: (tape) Ma'am, what's your location?
Megan Treadwell: (tape) Help me, please! Oh, my god!
(End tape recording.)
Catherine: She was flooring it.
Sara: With the emergency brake on? It doesn't make any sense.
Catherine: Okay, lose the victim's voice and let's just hear the car.
(He runs the track for a third time.)
Archie Johnson: Two engines.
Catherine: Separate them out.
(He separates the remaining TRACK into two TRACKS. They run the tape again.)
Archie Johnson: SUV -- sounds like any regular four-cylinder.
(ARCHIE fiddles with the panel and runs the tape again.)
Sara: Sounds like the same thing.
Archie Johnson: Hang on.
(ARCHIE runs the tape for a final time.)
Archie Johnson: You hear that? Turbo. Probably diesel.
(That's enough to confirm that there definitely was a second car there. CATHERINE leaves without a word. ARCHIE and SARA watch.)
Sara: She definitely likes you.
(SARA pats ARCHIE on the shoulder and leaves to follow CATHERINE.)
CUT TO:
[INT. CSI - DNA LAB]
(GREG is reading the test results.)
Greg: You ever see the att*ck of the k*ller tomatoes?
(NICK is also in the lab. GREG shows the results to NICK.)
'Cause there's something in the victim's blood that looks like one of those heirlooms.
Nick: Well, it's not pulling a spectra. It's not a chemical.
Greg: No, it's a large, ugly, globular mass. You know, it's probably a protein
'cause it's the largest mass of anything in the body-- except organs, of course.
Nick: But it's foreign. How did it get in there?
Greg: Cart before the horse, Nick. First you identify it then you figure out where it came from.
(GREG walks to the cabinet and removes a thick book. He leaves through the book and finds what he's looking for.)
Nick: I always thought you kept your p*rn in there.
Greg: I move it around. Okay, now, this is a 66-kilodalton globular protein, composed of two disulfide-linked sub-units, a and B.
Nick: Very impressive.
Greg: And I know what you all think of me -- I'm just another pretty face who got to where I am by sleeping with Catherine.
(GREG starts to draw on the clearboard to illustrate to NICK what he's looking at.)
Greg: But seriously ... Phi Beta Kappa, Stanford. Can I help it if I'm hip?
Nick: Yeah, yeah, which one of your relatives got you in?
Greg: Full ride. Hey, eyes forward. A and B chains link together to form a large three-dimensional structure of these beta sheets and helices.
Nick: Translation ...
Greg: Wait!
Nick: You just drew the molecular structure of a foreign protein. A Plant?
Greg: Correct. But, more specifically, a lectin.
(GREG goes back to the book and looks it up. He gasps.)
Greg: This is nastier than I thought. It's ricin, a biotoxin.
Nick: Biotoxin?
Greg: Yeah. (reading) "B chain binds to glycoside residues which trigger endocytotic uptake of the protein which internalizes the toxin and begins the irreversible effects ... "
Nick: Whoa, whoa, whoa, stop now. Biotoxin, as in anthr*x, smallpox? I was at that crime scene for eight hours, man.
Greg: Relax, man. It takes, like, two hours for ricin symptoms to show and, like, 48 more to k*ll you.
Nick: (worried) What kind of symptoms are we talking about, here?
Greg: Um ... sweats? Cramps?
Nick: No.
Greg: Convulsions?
Nick: Mm-mm. [Translation: No.]
Greg: Then you're fine.
Greg: And where did you say this woman worked?
Nick: Western State Historical Society.
CUT TO:
[INT. CSI -- LAB]
(GRISSOM walks in through the double doors and catches ROBBINS.)
Grissom: Hey.
(ROBBINS looks up and stops.)
Grissom: I just got the word on our library victim. How does ricin grab you?
Robbins: Well, ricin. I never would have gone there but it explains the irritation of the mucous membrane on her tongue.
(Quick POV flash to the victim with her mouth open and tongue hanging out to show a close up of the irritation. End of POV.)
Grissom: So you think she ate the poison.
Robbins: I don't know about ate but the ricin made contact with the tongue which means you're probably looking for a powder.
(GRISSOM nods.)
CUT TO:
[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE]
(A couple of suited up guys return back to the cage. NICK puts his CSI kit down, opens it and takes out a large piece of equipment.)
(Dissolve to Inside the Cage where NICK gathers and bags anything that looks like powder.
(Dissolve to NICK bagging some small glass containers and handing them to the other guy there with him. He turns to continue looking.)
(Several dissolves as NICK looks.)
(Dissolve to NICK opening up VERONICA BRADLEY 'S make-up compact.)
CUT TO:
[INT. CSI -- LAB]
(CATHERINE walks into the lab. SARA is already there where she has the contents of MEGAN TREADWELL'S car spread out in front of her on the table.)
Catherine: Day in the life.
Sara: Megan Treadwell wakes up at home on Martingale street puts the dog in the car, heads to work at her desk by 9:00 A.M.
Catherine: We know this how?
Sara: Brass. Talked to her boss.
Catherine: Why the dog?
Sara: Dog went with her, every day.
Catherine: So she works till six?
Sara: Eight, actually. Hard worker.
Catherine: Finishes packs up and leaves the office.
Sara: Except she doesn't go home. She runs an errand. I found these in the front seat of her SUV. There's only one store in Las Vegas that makes them.
(SARA lifts up the bag of Bac'n'Cheez doggie treats from "Vegas' Finest.)
CUT TO:
[INT. THE PET PLACE -- NIGHT]
(SARA, CATHERINE and BRASS question the workers there.)
Worker 1 (red-haired): Yeah, it happens all the time. Parking spaces are too narrow, and at a premium now that the restaurant moved in. This guy was out of line, almost... psycho.
Brass: Because of this woman?
(BRASS holds out a photo of MEGAN TREADWELL. The worker immediately knows her by her dog.)
Worker 1 (red-haired): Yeah. Maverick's owner. I think her name was, um, something with an M.
Sara: Megan.
(CATHERINE is in the back looking around the shop. She turns around when she hears Megan's name.)
Worker 1 (red-haired): Yeah. And this guy yelled so loud. I came out here just to check it out. He said something like ...
Worker 2 (dark-haired): "You could have k*ll me, bitch!" I heard it, too.
Brass: Did you see it?
Worker 2 (dark-haired): Kind of. I mean, I didn't hear a crash or anything, just brakes. It seemed like she backed out, didn't see him. Happened right over there.
(The WORKER points to a place outside in the parking lot. CATHERINE and SARA book look at the direction.)
(Quick flashback to MEGAN in her car and starting her car. Cut to MR. CROFT walking past the car as it slowly backs up.)
Mr. Croft: Whoa, whoa, hey, hey!
(End of flashback. Resume to present.)
Catherine: And that set him off.
Worker 2 (dark-haired): The last thing this guy needed was coffee.
(Quick flashback resumes as MR. CROFT and MEGAN TREADWELL start yelling at each other.)
Mr. Croft: Hey!
Megan Treadwell: What?
Mr. Croft: Pull your head out of your ass and use your mirror!
(End of flashback. Resume to present.)
Catherine: Was he a regular?
Worker 2 (dark-haired): Double latte, tall Monday through Friday between 8:30 and 9:00.
Brass: Does Mr. Double Latte have a name?
Worker 2 (dark-haired): I think it's Croft. Works right down the street - CPA. He's always telling us how to streamline our business.
Sara: How did Megan react to Mr. Croft?
Worker 1 (red-haired): She told him to go to hell.
(Quick flashback to MEGAN and MR. CROFT yelling at each other.)
Megan Treadwell: Go to hell!
Mr. Croft: No, you go to hell!
(MEGAN drives off.)
Mr. Croft: You're an ass!
(End of flashback. Resume to present.)
Worker 2 (dark-haired): And then just drove off.
Catherine: And what about Mr. Croft?
Worker 1 (red-haired): Everyone was just staring at him and then he got in his car and peeled out.
(SARA nods her head slowly. CATHERINE turns to look at SARA.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM is reading up on ricin. He has the book open flat on the table to a page with a picture on it. GREG walks in.)
Greg: Ricinus communis. Castor beans, like castor oil.
Grissom: Well, botanically speaking, it's a spurge, not a bean. Ricin is made from the husk. Castor oil is made from what's inside.
Greg: Hmm, which makes two people who know that -- you and the guy who wrote the book.
Grissom: Three, actually. Someone knew how to turn this spurge into a poison.
(NICK walks into the room.)
Nick: Hey, guys. That's Aaron's book, right?
Grissom: Mm-hmm.
Nick: Shouldn't you be looking at that under a fume hood?
Grissom: We brought this from his apartment, not his office.
Nick: What makes you think there's a difference? He probably cooked up that ricin in his kitchen.
Grissom: Our guys didn't find anything there.
Nick: So he cleans up well. What, you're not feeling sorry for this guy, now, are you?
Greg: Hey, man, he is autistic.
Nick: Anybody else would be in a cell right now.
(GRISSOM looks at NICK who definitely has a point. GRISSOM grabs his jacket and leaves the room.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(GRISSOM and O'RILEY question AARON PRATT.)
Aaron Pratt: Yes, I've heard of ricin. Georgy Markov, 1978. Bulgarian political refugee in London assassinated by injection with a ricin pellet sh*t out of a black umbrella. Died two days later.
Grissom: Not that different from the way Veronica died, is it?
(GRISSOM stands. He carries the book to AARON and puts it on the table open to the page on Ricinus Communis.)
Grissom: I found this book in your apartment. What if I also told you that I found your fingerprint on this page?
Aaron Pratt: Page 153. I don't touch that book anymore.
Grissom: But you did touch it.
Aaron Pratt: Why are you mad at me?
O'Riley: Answer the question.
Aaron Pratt: I don't touch this book anymore. It doesn't feel right.
O'Riley: Ever since you k*lled Veronica.
Aaron Pratt: I loved Veronica.
(GRISSOM sits down next to AARON.)
Grissom: What do you mean, it doesn't feel right?
Aaron Pratt: Like a new bus pass. Smooth. Feel the page. It used to feel like my bus pass after a month. Now ... it's rough.
Grissom: Did you tell anyone that the illustrations felt different?
Aaron Pratt: Yes. I told Veronica and I told Mr. Hunter. She said that sometimes the books feel that way after they've been restored.
Grissom: What did Mr. Hunter say?
Aaron Pratt: He said, "Get out of my office, Aaron, I'm having my lunch!"
(AARON stands up and walks over to the window.)
Grissom: Was Mr. Hunter having lunch with Veronica again?
Aaron Pratt: Hard-boiled egg, celery, fruit salad, iced tea. Veronica was on a diet. She had to lose three pounds.
Grissom: Was this lunch different from the other lunches you told me about?
Aaron Pratt: Yes.
Grissom: How?
Aaron Pratt: They fought.
Grissom: Aaron, I want you to be very specific. Tell me what you saw.
(AARON looks out the window and remembers.)
(Quick flashback to STANLEY HUNTER'S office and his lunch with VERONICA BRADLEY. They're arguing.)
Stanley Hunter: You did what?
(He hits her.)
Stanley Hunter: All I have is my reputation and I'm not going to let you ruin it for me!
(End of flashback. Resume to present.)
Aaron Pratt: Veronica started crying. Mr. Hunter stopped yelling. He sat down. He started eating. He cut the hard-boiled egg in half.
(VERONICA is crying.)
Aaron Pratt: (V.O.) He reached in the drawer and pulled out the salt shaker.
(VERONICA BRADLEY stops him from adding salt to the egg. End of flashback. Resume to present.)
Aaron Pratt: No sex, no food, no salt.
(AARON turns back to look at GRISSOM.)
FADE TO BLACK.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - STANLEY HUNTER'S OFFICE --
NIGHT]
(NICK is in full gear and back at the library this time in STANLEY HUNTER'S office. He opens the drawer and picks up the the salt shaker.)
(Camera close up of the salt shaker. Hold on NICK.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
(GRISSOM and O'RILEY question STANLEY HUNTER.)
Stanley Hunter: Poison? What are you talking about?
Grissom: We're talking about ricin. The toxin that k*lled Veronica Bradley. You were dating her. You ate lunch together.
O'Riley: Opportunity. So, you mix up a batch of ricin put it in a salt shaker. Next time you're breaking bread, she asks for the salt ...
Stanley Hunter: It never happened.
Grissom: We have a witness who says he saw you try to k*ll her.
Stanley Hunter: What? Aaron? Are you sure you trust him?
Grissom: Normally an eyewitness is the least reliable evidence we have. But in this case, it's the most reliable. Veronica knew about the forgeries. A career-ender, huh, Stanley?
Stanley Hunter: For her, not for me. She's the forger.
(This surprises GRISSOM.)
Stanley Hunter: Oh, Aaron, Aaron, Aaron. I suppose he indicted me for that, too? He's the one who came to me. Told me about the illustrations. Said they felt like his bus pass. Whatever that means.
Grissom: Go on.
Stanley Hunter: He even knew the page numbers. So, I checked it out and he was right. Veronica was using me and mea culpa.
Grissom: Why didn't you tell us about the forgeries earlier?
Stanley Hunter: When she died, I thought the problem was solved. In this business, all you have is your reputation. There was a dozen books. I was going to remove them from the collection inform the board, collect the insurance and cut my losses. If you don't believe me go ask your very reliable witness.
(Camera holds on GRISSOM.)
CUT TO:
[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE -- NIGHT]
(GRISSOM is standing on the inside of the cage. AARON PRATT is on the outside looking in.)
Grissom: Tell me again, what did you see?
Aaron Pratt: Uniball pen rolls across the desk. Falls on the chair, hits the floor and stops rolling at the wastebasket. Then water falls into Veronica's eyes ...
Grissom: (interrupting) Aaron, when you look at things you see pictures in your mind. Tell me the first picture you see of Veronica in this cage.
Aaron Pratt: I already told you.
Grissom: Tell me something you haven't told me. Tell me what Veronica was doing before you said good night.
Aaron Pratt: She pulled out a canvas bag. Then she looked around.
Grissom: Why was she looking around?
Aaron Pratt: She was deciding something.
Grissom: Tell me what "Veronica deciding something" looks like.
(Quick flashback to VERONICA BRADLEY crouching down and removing a book from the table. Cut to VERONICA standing up and picking a book off of the table. Cut to her opening the book and flipping a page. Cut to her biting the end of the pen. Camera close up of VERONICA BRADLEY biting the end of her pen. End of flashback. Resume to present.)
Grissom: Thank you, Aaron.
(AARON looks back at GRISSOM.)
CUT TO:
[INT. CSI -- LAB]
(NICK is going through the pens they picked up from VERONICA BRADLEY'S house.)
Nick: Veronica Bradley must have loved uniballs. She had about a dozen at her house. Plus every known piece of forgery equipment.
(GRISSOM puts a swab in its box.)
Grissom: Some people bite their nails; she bit her pens. Bad habit.
(GRISSOM swabs the end of another pen.)
Nick: I also found this under her refrigerator. Funny how people don't think to clean there.
(NICK holds out an evidence bag for GRISSOM to take. GRISSOM looks at it. Camera close up of a single castor bean.)
Grissom: Castor bean. Ricinus communis.
(Quick flashback to VERONICA BRADLEY cooking in her kitchen. She takes some of the solid and grinds it into a powder. She puts the powder into the salt shaker. Camera close up of some of the ricin powder falling onto her notebook and pen.)
Nick: (V.O.) But if we find Ricin on any of the pens from her house ...
(End of flashback. Resume to present.)
Nick: ... we'll know where she cooked up the castor beans.
Grissom: And maybe how she died.
(GRISSOM hands a tray full of boxed swabs to NICK.)
Grissom: Get these to Greg right away. We need the results of the ricin elisa test.
(NICK leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(CATHERINE and BRASS question MR. CROFT.)
Mr. Croft: I came home straight from work. I don't know what you're talking about.
Catherine: You want to submit to a lineup?
Mr. Croft: A lineup? What for?
(SARA opens the door and enters the room.)
Sara: His car, out in the parking lot, it's a rental. Rented this morning.
Catherine: Let's just cut the B.S. Where's your car?
Mr. Croft: I sold it.
Catherine: You got proof of sale?
(He shakes his head.)
Catherine: An accountant who doesn't keep receipts.
Mr. Croft: Hey, you don't know anything about me.
Catherine: I know you've got a temper.
(Camera holds on MR. CROFT.)
CUT TO:
[EXT. (STOCK) - NIGHT]
[INT. CSI - GARAGE]
(CATHERINE enters the GARAGE. SARA is already there with MR. CROFT'S car.)
Sara: Hey. Brass did the legwork and rushed the warrant. Found it in a body shop a mile from his house.
(CATHERINE looks at the car.)
Catherine: Black Excursion. Turbo diesel.
(CATHERINE walks to the front of the car and looks at the broken headlight.)
Catherine: Gutted.
Sara: Gets better. Vic's SUV was silver.
(SARA shows silver paint on the car's front bumper.)
Sara: What do you think?
Catherine: Well, this is a lot more than a fender bender.
Sara: Sustained contact.
Catherine: Get some scrapings.
Sara: Yeah.
(SARA puts her flashlight aside. CATHERINE opens the car's front passenger-side door and looks around. She sees the coffee on the front dash and seat.)
(Cut to SARA getting the scraping.)
(Cut back to CATHERINE climbing into the car and sitting down. She finds the empty coffee cup on the driver-side floor. She picks it up.)
Catherine: I think I may know what ...
(She smells it.)
Catherine: set this guy off.
(SARA looks up.)
Catherine: He spilled his coffee.
(CATHERINE looks around and finds the coffee lid with lipstick on the cap.)
(SARA walks around to the driver side.)
Catherine: (shaking her head) Not a good color for Croft.
(They're both putting the pieces together. CATHERINE also notices the coffee on the driver-side window. She rolls the window up to show the coffee stain.)
Catherine: Coffee on the outside, coffee on the inside. Lipstick on the lid.
Sara: She threw her coffee at him.
(Quick flashback to MEGAN in her car. MR. CROFT pulls up beside her. He yells at her. She yells back.)
Catherine: (V.O.) Croft chases her from the parking lot caught up to her at the light.
(End of flashback. Resume to present.)
Catherine: They said their "screw you, screw you's." I think I know the word that made her throw the coffee.
Sara: I hate that word.
(Quick flashback to CROFT swearing at MEGAN. MEGAN throws her coffee cup at CROFT. It hits him square.)
Sara: (V.O.) Those lids never fit. She nailed him.
(She drives off. End of flashback. Resume to present.)
Sara: Light turns green and the chase is on.
(Quick flashback resumes as MEGAN peals off when the light changes.)
Catherine: (V.O.) And now she's got a problem.
(CROFT pursues. Cut to a car chase between the two cars. End of flashback.)
Sara: She's got a pursuit on her hands.
Catherine: And she's the pursued. So, she dials 9-1-1.
(Quick flashback to MEGAN on her cell.)
Operator: (over phone) 9-1-1. What's your emergency?
Megan Treadwell: (to phone) Oh, my god, you've got help me, please. Help me!
(End of flashback.)
Catherine: Somehow she loses him.
Sara: And she's still spooked. All she wants now is to get home.
(Quick flashback to MEGAN turning the corner and scared. She stops when the track guard bell rings and the rail lowers.)
Megan Treadwell: Please ... pl-please.
(She checks her rear-view mirror and sighs when she doesn't see the car. She turns around and looks at her dog.)
Megan Treadwell: Hey, sweetie ...
(Then from behind her, the car hits her full speed. She starts to inch forward. The train whistle blows in the distance. Her brakes screech. She slowly inches forward toward the guard rail. Behind her MR. CROFT looks very smug behind the wheel of his car. The train whistle blows.)
Megan Treadwell: Oh, god, no! Help me!
(She puts her emergency brakes on. End of flashback.)
Catherine: That's why she had the emergency brake on.
(Quick flashback to the car still inching forward and MR. CROFT mercilessly pushes the car forward. The train whistle blows. The car breaks through the rail and onto the track. End of flashback.)
Catherine: She could have jumped out.
Sara: Not without her dog.
(Quick flashback to MEGAN being pushed all the way to the middle of the train track.)
Megan Treadwell: Help!
(Her tires squeal; the train whistle blows. CROFT pushes the car forward, then goes in reverse once the car's in place. MEGAN tries to start her car, but the engine won't turn.)
Megan Treadwell: No!
(The train makes impact with the car. CROFT sits in his car and watches. End of flashback.)
Catherine: And that's why you always cut the other driver some slack.
Sara: I'll call Brass, tell him to make the arrest.
(CATHERINE nods.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM watches as AARON PRATT nervously arranges the items on his shelf.)
Grissom: Veronica removed the original illustrations from the books and replaced them with forgeries which she then left at your house so that she could point the finger at you if it ever came to that. She never thought that you'd find out but you did. And you told Mr. Hunter.
Aaron Pratt: "All you have in this business is your reputation."
Grissom: So, Veronica tried to save hers but instead of k*lling Mr. Hunter she ended up k*lling herself.
(AARON knocks down the containers he was straightening.)
Aaron Pratt: Oh. Sorry.
(GRISSOM rushes over to help him pick them up.)
Grissom: That's okay.
(AARON nervously giggles.)
Grissom: (quietly) I like order.
Aaron Pratt: Me, too. That's why I was scared.
Grissom: Scared?
Aaron Pratt: Of Veronica. Of being in love. I was stupid. I thought she loved me.
(Quick flashback to VERONICA kissing AARON. End of flashback.)
Aaron Pratt: "Then must you speak of one that loved not wisely ...
Grissom: ... but too well."
Aaron Pratt: Othello, act five, scene two, lines 343 and 344.
Grissom: But Othello k*lled Desdemona.
Aaron Pratt: I didn't k*ll Veronica.
Grissom: (quietly) No, you didn't.
(GRISSOM smiles.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x07 - Caged"} | foreverdreaming |
DUE TO BRIEF NUDITY AND ADULT THEMES, VIEWER DISCRETION IS ADVISED
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - MGM -- NIGHT]
CUT TO:
[EXT. PARK - NIGHT]
(A Young Man and a Young Woman are playing in the park. He's chasing her and she's running through the various park equipment. She laughing.)
Butchy: You're going down!
(She playfully weaves her way through the swings, laughing as she goes.)
Butchy: I got you, I got you! I got you! I got you.
(BUTCHY finally catches up to the girl. He pulls her down to the ground in the sandbox. They start kissing. He glances up and sees something. He stops kissing the girl, his eyes glued to whatever it is that he sees.)
Girl: Butchy. keep going.
(The girl turns her head to look. Partially exposed in the sand is the face of a d*ad person. She starts to scream.)
FLASH TO WHITE:
[EXT. PARK -- NIGHT]
(GRISSOM walks around the body. It still hasn't been touched.)
Brass: You've been walking in circles for ten minutes.
Grissom: There's no sign of struggle. Whatever happened, happened somewhere else. This is a secondary scene.
Brass: Body dump?
Grissom: Textbook. David, when we dig her up, I want you to tag her special processing.
David Phillips: Yes, sir.
Grissom: The only person who knows where the crime scene is has her mouthful of sand.
Brass: A thousand square miles of desert in Vegas and this perp dumps the body in a sandbox.
Grissom: He didn't put it here to hide it. He put it here to be found.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
[EXT. PARK -- SANDBOX- NIGHT]
Grissom: What do you think?
Catherine: I think we got a van full of tools we can't use. Sand's a nightmare.
(CATHERINE and GRISSOM sit off to the side looking at the scene trying to figure out the best way to get to the body.)
Grissom: To get to the evidence, we may destroy the evidence.
Catherine: You get these haikus out of a book or do they just come to you?
Grissom: Every time you find a body, you have to choose a path and when you take that path, Grasshopper, you risk destroying the evidence.
Catherine: We grab a trowel and some fine mesh screens and we just pretend like we're panning for gold ... Master.
(Cut to GRISSOM scooping up some sand and sifting through it. GRISSOM finds a barbie doll half buried in the sand. He picks it up.)
(Cut to CATHERINE sifting through the sand.)
(Cut to GRISSOM dusting sand off of the body.)
(Cut to CATHERINE sifting through the sand. The body is partially uncovered. GRISSOM is brushing sand off and away from of the body.)
(Dissolve to a top view of the sandbox with the body fully uncovered.)
CUT TO:
[EXT. ASTRO CASH CHECKING -- PARKING LOT -- NIGHT]
(A dark SUV parks. SARA and WARRICK exit the car. DET. SAM VEGA meets them.)
Det. Sam Vega: g*n victim shipped to desert palms. Santee Cherna, 32. Runs this check-cashing joint.
Warrick: Cash business, huh?
Det. Sam Vega: You bet. Was sh*t in the leg making his weekly bank run.
(They cross the crime scene tape.)
Sara: Let me guess -- the guy makes his run same time every week.
Det. Sam Vega: Night deposit.
Warrick: He's either stupid or suicidal.
Det. Sam Vega: We can't arrest people for that, unfortunately.
Sara: Whole thing went down here?
Det. Sam Vega: Sister heard a g*n, saw a car take off.
Sara: Okay, I'm going to do a once-around.
Warrick: All right, I'll take the lot.
(WARRICK settles in. SARA leaves.)
CUT TO:
[INT. CSI -- LAB]
(The body found in the sandbox is now on the table. GRISSOM starts to take pictures. He makes special notice of the restraint marks on her ankles.)
(Flash to white. The body is flipped over and GRISSOM continues to take pictures. He notices something on her back. He picks it up and puts it in a bindle.)
(GRISSOM puts on his goggles and turns off the lights. He uses the ALS down her body. He finds something on the back of her calf. He picks it up and looks at it.)
(Cut to GRISSOM washing the body. He sees multiple bruises on her back and thighs. GRISSOM also notes the restraint marks on her wrist.)
(Cut to GRISSOM mixing a mold mixture and putting it on the marks on her wrist.)
CUT TO:
[EXT. ASTRO CASH CHECKING - PARKING LOT -- NIGHT]
(WARRICK is bagging the items found on the ground.)
(WARRICK also finds a small orange flyer on the ground. He looks up and notices that there are small orange flyers on the wind shields of the parked cars ... all except one.)
(WARRICK stands and approaches DET. SAM VEGA.)
Warrick: You run this car already?
Det. Sam Vega: Oh, yeah. The RO's our vic. That's his spot.
Warrick: Right here?
Det. Sam Vega: Mm-hmm.
(Cut to SARA kneeling in the alleyway behind the store. She calls out to WARRICK.)
Sara: Hey, Warrick! Check this out!
(WARRICK walks over.)
Warrick: We're dealing with some criminal genius here.
Sara: Grab the money bag, slice it and run.
Warrick: You forgot the "leave the evidence on the ground."
Sara: Let's see.
(SARA opens the bank bag left behind on the ground and leafs through the contents.)
Sara: We got some checks, no cash ... and a deposit slip for $22,500.
Warrick: So, our victim breaks out of the store with a bag full of dough ...
Sara: Same time every week.
Warrick: Guess somebody was casing the joint, huh?
Sara: Or... it was an inside job.
CUT TO:
[INT. CHECK CASHING STORE -- NIGHT]
Carla Delgado: This morning everything was fine. Then some pendejo att*cks my brother and we're out god knows how much money and now I'm stuck running this place alone.
Sara: Um, Ms. Delgado, I know you're upset ...
Carla Delgado: Upset? Upset is for white people, lady. I'm pissed off. My brother was just sh*t in the thigh, okay? That's awful close to serious if you know what I'm saying.
Warrick: Ms. Delgado, how long have you been here?
Carla Delgado: Six years.
Warrick: You have insurance?
Carla Delgado: You better have insurance. You take 15% of a man's paycheck just to cash it. People use us, but they don't like us.
Warrick: Thank you.
(CARLA DELGADO leaves. WARRICK, SARA, and DET. SAM VEGA walk out of the store.)
[EXT. CHECK CASHING STORE - PARKING LOT - NIGHT - CONTINUOUS]
Sara: So ... you think the brother might be behind this?
Warrick: Well, I might bet my own paycheck on that one.
Det. Sam Vega: But if that's true then our vic gets to collect the insurance money plus he gets to keep the money he stole for himself.
Sara: Nice scam.
(WARRICK holds up a sheet of colored paper advertisement for LUCKY LEE'S Chinese Restaurant.)
Warrick: Check it out. What's the first thing you do when you see one of these on your windshield?
Det. Sam Vega: Chuck it.
Warrick: Exactly. But the only guy to chuck his was the victim. I found one on the ground next to his car.
Sara: That means whoever put these here wasn't gone long when the brother was sh*t.
(WARRICK nods.)
Sara: Potential eyewitness.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
Robbins: She died two to four hours before she was discovered. Jury's still out on cause of death but considering the whip and ligature marks it's no stretch to say it was violent. Some of the scars on her back are years old. Some are fresh.
Grissom: So what are we looking at? r*pe, multiple sexual as*ault?
Robbins: That's the strange part. Her body's a road map of abuse but there's no sign it was sexual. She hasn't had intercourse in months.
Catherine: I'm thinking trade-in. Some lowlife gets tired of beating on the old model so he punches her ticket and starts shopping around for a version 2.0.
Grissom: Here's a woman who's been beaten on a regular basis but look at the care she's lavished on herself.
(GRISSOM holds out her hands.)
Grissom: Manicured fingernails, manicured toenails. Perfect teeth, hair.
(CATHERINE lifts up the sheet.)
Catherine: Not to mention some serious breast augmentation. That is not a Tijuana boob job. Those puppies are top-of-the-line
(Quick CGI POV camera angles down to the deceased's chest, through her breast and to the saline enhancement underneath with the serial number 414-55-5401 on it.)
Catherine: (V.O.) ... at least we've got a pair of saline leads.
(End of CGI POV. Resume to present.)
Catherine: (to ROBBINS) Can you grab me one of those?
Robbins: Left or right?
Catherine: Dealer's choice.
CUT TO:
[INT. CSI -- LAB]
(GREG is grounding up something in a mortar. NICK walks in and peers over his shoulder to see what he's doing.)
Nick: What up, Einstein? Ooh, you got anything there?
Greg: You think Einstein had people hovering over his shoulders all the time? If he did, do you think that we'd be walking around with e=mc squared t-shirts?
(NICK remains silent. He leans in to see what GREG is working on. GREG looks over his shoulder and gets annoyed.)
Greg: Would you step back? Just give me some breathing room?
Greg: Maybe I'll tell you something about the silver sliver that Grissom found on sandbox girl's back.
Nick: It's all yours.
(GREG puts the mixture on the card and puts it in the machine.)
(Quick CGI POV as the machine processes the mixture on the card.)
Greg: Let's see what the library has to say.
(The computer screen flashes the results.)
Greg: Tempered steel with aluminum coating.
Nick: Then she was chained up.
Greg: If she was, she was wearing something pretty funky.
Nick: She was in the raw.
Greg: Yeah, in a matter of speaking. Remember that sparkly stuff that Grissom got off her body?
Nick: Yeah.
Greg: I broke it down -- tree sap, ammonia and water.
Nick: Sounds like frat house gravy.
Greg: Liquid latex.
Nick: Never heard of it.
Greg: Really? It's all the craze right now, man. Girls paint it on guys. Guys paint it on girls. You can paint it on yourself if you want if that's what you're into. You can't get a date.
Nick: I got it.
Greg: Like I would know.
Nick: Sure, sure. I got it, man.
(NICK leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. PARKING LOT -- DAY]
(A man is busy putting flyers under the parked cars windshields. SARA and DET. SAM VEGA round the corner to the parking lot. They're carrying cups of coffee.)
Sara: Hey, is that our guy?
Det. Sam Vega: Detective Vega, LVPD. Can I see some ID?
Businessman: I am a legitimate businessman. My card.
Sara: How often do you distribute around here?
Businessman: On this street? Every Thursday and Friday. Is that a crime?
Sara: Well, that depends. Did you see anything unusual last night? In the parking lot at Flamingo and Rhodes?
Businessman: I don't know what city you live in, Missy but in Las Vegas, unusual is what happens when you leave the house.
Det. Sam Vega: We can do this down at the station, if that works better for you.
Businessman: Okay, okay. Um, some jerk told me if I touched his car he'd shove a flyer down my throat. Does that count:?
Det. Sam Vega: Maybe. Did you get a good look at him?
Businessman: Them. There were two. A couple of lowlifes in baseball caps.
Sara: What about the car? Did you notice the make?
Businessman: Honda, maybe. All those tin boxes look alike.
CUT TO:
[INT. DR. CORNFELD'S OFFICES -- HALLWAY]
(DR. SIDNEY CORNFELD walks down the hallway. CATHERINE calls out from behind him. He stops and turns around.)
Catherine: Dr. Cornfeld? Catherine Willows, Las Vegas crime lab. I believe this is one of yours.
(CATHERINE reaches into her bag and pulls out a plastic container with the implant in it.)
Dr. Sidney Cornfeld: Oh, yeah. 414 series. Firm, but plenty of give.
Catherine: Spare me the sales pitch. We removed that from a homicide victim. I've got a photo.
Dr. Sidney Cornfeld: Judging by the size she had a pretty decent pair to start with.
(CATHERINE opens the file she's carrying and shows the Doctor the photograph of the deceased inside.)
Dr. Sidney Cornfeld: Oh, she was a pretty girl.
Catherine: I'm going to need her name.
(DR. SIDNEY CORNFELD reaches into his jacket pocket and checks his palm pilot.)
Dr. Sidney Cornfeld: Let's see. Oh, yeah, here we go. Third-party billing, but I do recognize the address. They send me a lot of business. Mona Taylor. She must have worked there. Real shame.
Catherine: I'll tell you what's a shame -- that she was so pretty and perfect and still thought she needed implants.
Dr. Sidney Cornfeld: You shouldn't judge Mona for wanting to improve herself. Competition's intense especially for a young woman living in Las Vegas. Why don't you put yourself in her shoes.
Catherine: Trust me-- I've been in her shoes. I got out of them.
Dr. Sidney Cornfeld: Oh, yeah, why is that?
Catherine: They were k*lling me.
(CATHERINE leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LADY HEATHER'S DOMINION -- NIGHT]
(GRISSOM, BRASS and CATHERINE walk up the driveway to an impressive home.)
Grissom: Are you sure the surgeon said this is where Mona Taylor worked?
Brass: Maybe she was a domestic.
Catherine: No domestic has a $10,000 rack. Not even in Vegas.
Brass: Well, the DMV records indicate that she h*t town from South Dakota three years ago. I figure the bright lights faded and she snagged a sugar daddy.
Catherine: How much business can one sugar daddy give a plastic surgeon?
(They ring the doorbell.)
Grissom: The eternal question to which we're about to find the answer.
(The door opens and LADY HEATHER appears. Both CATHERINE and GRISSOM are casually taken aback. BRASS doesn't seem surprised at all.)
Lady Heather: Let me guess -- three police officers looking for respite from having to control and dominate our big, bad city?
Brass: Close-- one police officer, two criminalists. May we come in?
(LADY HEATHER steps aside and they all enter the foyer.)
(In the background, a whip cracks and a man groans.)
Lady Heather: Another happy customer.
(GRISSOM turns to look at LADY HEATHER.)
Lady Heather: Now, would you prefer individual sessions or would you like to enjoy each other's submission?
(GRISSOM turns to look at CATHERINE. She laughs.)
Lady Heather: You don't have to decide now. Please, make yourselves comfortable and welcome to Lady Heather's Dominion.
FADE TO BLACK.
(COMMERCIAL BREAK)
[EXT. LADY HEATHER'S DOMINION -- NIGHT]
(The flashlight shines on a car's Nevada License Plate, IAM4FUN, with registration for 12/2001.
Nick: That's her.
Catherine: "I'm for fun". Right.
Nick: She drove herself to work.
Catherine: But she didn't drive home.
(NICK walks away and starts looking around. CATHERINE checks the car driver's side door.)
Catherine: It's still locked.
(NICK opens the trash can. He picks through it. CATHERINE peers into the car from the window.)
Catherine: Looks clean.
(NICK finds something in the trash can. He picks it up to examine it.)
Nick: Hey, Catherine .... come check this out.
Catherine: What's that?
Nick: Liquid latex. Grissom found some on the victim. Sanders did a trace analysis. Stuff peels off like a glove.
Catherine: Handy.
Nick: Yeah. What do you think that is there? Watch?
(NICK notices the impression on the inside of the scrap of latex.)
Catherine: Bag it. We can get a mold and try and track it down.
CUT TO:
[INT. LADY HEATHER'S DOMINION -- NIGHT]
(GRISSOM and BRASS follow LADY HEATHER up the staircase.)
Lady Heather: Never lost one of my girls.
Grissom: You don't seem very upset about it.
Lady Heather: What you see and what I feel are two different things.
Brass: Really? Were there any disturbances last night? Did you hear screams?
Lady Heather: It's when I don't hear screams that I start to worry.
Brass: Well, then can you tell us what time Mona got off?
(The reach the top of the staircase. LADY HEATHER turns around to answer.)
Lady Heather: Knowing Mona, every couple of hours. She enjoyed her work.
Brass: There's no sexual contact or anything illegal going on here, of course.
Lady Heather: Captain Brass, surely you don't think sexual contact is the only means of fulfillment.
Brass: Lady Heather you don't what to know what I think.
Lady Heather: Her last client was at 11:00. She would have left at midnight.
Brass: Do you have any kind of log book? Some record of who was working that night? What they did with their time? That sort of thing?
Lady Heather: Would that get you excited?
Brass: Not particularly. But it might help us catch the creep who m*rder Mona.
Grissom: We need names and addresses. We also need to know which rooms she worked last night so we can examine them.
Lady Heather: Mona worked the pool house. Give me a minute, I'll have to move some clients around.
(CATHERINE and NICK appear on the bottom.)
Catherine: Oh, there you are. Mona's car is in the driveway. It looks clean.
Grissom: Okay, tow it to CSI and then start processing the rooms in the pool house where Mona worked last night.
Catherine: And you will be...?
Grissom: I'll be with Lady Heather.
CUT TO:
[INT. LADY HEATHER'S DOMINION - LADY HEATHER'S ROOM -- NIGHT]
(GRISSOM is looking around the room. He picks up a silver-plated mask from the dresser.)
Lady Heather: Does all this fascinate you?
Grissom: Yes. I find all deviant behavior fascinating in that to understand our human nature we have to understand our aberrations.
Lady Heather: And you think what goes on here is aberrant?
Grissom: I would say that whip marks and ligature contusions on a young woman are aberrant. Wouldn't you?
Lady Heather: Every job has it's peculiar hazards. Rock stars damage their ear drums. Football players ruin their knees. In this business, it's scars. But no one who works for me has ever sustained a serious injury.
Grissom: Mona did. She died.
Lady Heather: Not because she worked here that's your assumption. What happens here isn't about v*olence. It's about challenging preconceived notions of victorian normalcy. Bringing people's fantasies to life. Making them real and acceptable.
Grissom: Like the theatre.
(GRISSOM puts down the mask he's holding and walks across the room.)
Lady Heather: It's people who don't come to places like this that I worry about. The ones who don't have an outlet. Say ... someone like yourself.
Grissom: Oh, I have outlets. I read. I study bugs. I sometimes even ride roller coasters.
Lady Heather: And your sex life?
Grissom: It doesn't involve going to the theater.
(LADY HEATHER smiles.)
Lady Heather: In my experience, Mr. Grissom, some men go to the theater ... some men are the theater. Either way, what I offer is a chance for submission or control, whichever's required. Sometimes a client doesn't know what he wants until I show him.
(LADY HEATHER takes a seat.)
Grissom: "No man is a complete mystery except to himself." Marcel Proust.
Lady Heather: I bet he'd have enjoyed himself here.
Grissom: Probably. No crime is a complete mystery, either. The whip marks on Mona Taylor were fresh.
(LADY HEATHER stands up surprised by this piece of information.)
Lady Heather: That can't be. Mona was Dominant with her clients. (thoughtful)
I know that she sometimes saw clients off the books. I let her because she brought in so much business, but I just assumed she knew what she was doing.
Grissom: My guess is that one of her off-the-book clients ... is a regular. I mean, it is a repeat business, is it not?
(GRISSOM picks up another mask, this one made of leather.)
Lady Heather: Does that one interest you?
Grissom: Yes, it does. May I borrow it?
CUT TO:
[INT. LADY HEATHER'S DOMINION - POOL HOUSE -- NIGHT]
(CATHERINE and NICK enter the pool house. A Dominatrix is there with RANDOLPH in a schoolroom setting. On the chalkboard behind her is the phrase, "I'm a Dirty Little Sink Boy." written multiple times. The Dominatrix looks up and sees CATHERINE and NICK up above them. She slaps RANDOLPH'S rump and instructs him.)
Dominatrix: Okay, Randolph, You may lick my boots and go.
Randolph: Because I'm naughty?
Dominatrix: Randolph, shut up!
(CATHERINE looks at NICK. He smiles a bit.)
Dominatrix: Get up.
(CATHERINE and NICK move along.)
Catherine: I feel like I'm trapped in the Marquis De Sade's brain pan.
Nick: I guess Lady Heather hasn't quite cleared this room yet.
Catherine: Waiting for recess.
(NICK laughs. They pass by another room that's still occupied by a Dominatrix and her Submissive. They turn the corner and enter the pool room Mona used.)
CUT TO:
[INT. LADY HEATHER'S DOMINION - POOL ROOM - NIGHT -- CONTINUOUS]
(CATHERINE and NICK look around the room. Hanging along the walls are various whips and paddles. In the back of the room is a cage and hanging from the ceiling in the middle of the room is a large silver chain.)
Catherine: Didn't Grissom say he found some flecks of silver on the victim's back?
Nick: Yeah.
Catherine: I may have found the source.
Nick: Mm-hmm.
(CATHERINE starts taking photographs of the chain. NICK wanders around some more. In the cage at the back of the room, he finds something.)
Nick: Hey, hey. Liquid latex. Like the kind we found in the dumpster and on the vic. Hand me a bindle will you? You know what I just realized?
Catherine: Hmm?
Nick: None of this weirds me out anymore.
Catherine: People are just as twisted in their own living rooms. The props are different here. That's all.
NICK, Well, not everybody's twisted.
Catherine: Everybody, Nick. Wake up and smell the species.
Nick: Catherine, do you really think that those freaks out there, running around with their little dog collars on getting spanked are the same as you and me?
Catherine: Just because you never did it doesn't mean you never could.
Nick: No way, never gonna happen.
(CATHERINE turns the camera on NICK. She looks at him for a moment through the lens, then puts the camera down.)
Catherine: Hey, relax, Nick. All I'm saying is you're human.
Nick: Hey, man, my mom and dad are human, and ...
Catherine: There's one thing you learn on this job is that human beings are capable of anything.
CUT TO:
[INT. CSI -- LAB]
(AMY YOUNG walks over to the printer. WARRICK stands off by the doorway.)
Amy Young: A smudge of dirty tire on a ratty piece of paper?
(AMY YOUNG picks up the test results and looks at it. WARRICK walks into the lab.)
Warrick: I know, I know, it sucks. You couldn't get anything off of it, huh?
Amy Young: Just because I'm a newbie, doesn't mean I'm not good. Your tire print from the strip mall.
Warrick: Wow.
Amy Young: Common to a lot of compacts and subcompacts. But one manufacturer who uses it standard off-the-lot: Honda.
Warrick: So, that confirms what Sara's eyewitness said. What else you got?
Amy Young: I've got incidental marks from where the tire ran over something. Left an impression.
(AMY YOUNG holds out the LUCKY LEE'S CHINESE RESTAURANT flyer and points to the tire impression.)
(Quick CGI POV to a tire running over a bottle cap. End of CGI POV. Resume to present.)
Amy Young: All you have to do is find the tire attached to the vehicle your sh**t was driving.
Warrick: Thanks.
CUT TO:
[INT. CSI - BALLISTICS LAB]
(Microscope view of the b*llet.)
Bobby Dawson: Okay, now. Look at the b*llet from your vic's thigh. Five lands and grooves on it. That would be a colt. .38 caliber.
Sara: According to Vega the vic owns a colt.
Bobby Dawson: And?
Sara: And ... since he mysteriously got sh*t in the leg instead of a vital organ I'm thinking I should go visit him.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS pulls out the body from storage.)
Robbins: Mona Taylor didn't die from the beatings but cause of death was equally as slow: Asphyxia. You look like you expected it.
Grissom: I considered it.
Robbins: Well, there's something else. She had some odd scaring in the inside of her nose. Some small red circle.
(Quick CGI POV from the exterior to MONA TAYLOR'S nose to the red circle inside her nose. Resume to present.)
Robbins: She worked in a sex club, it could be caused by anything.
Grissom: Like a straw?
Robbins: Maybe I lack imagination but why would you need a straw at a sex club?
Grissom: Well, it's not a sex club, actually. It's a fetish club.
Robbins: There's a difference?
Grissom: Like a straw is not used for sipping mint juleps.
Robbins: Cocaine?
Grissom: Air.
CUT TO:
[INT. LADY HEATHER'S DOMINION - BACK ROOM]
(LADY HEATHER leads CATHERINE to the sink with apparatus in them.)
Lady Heather: Anything from last night would be in here. Masks, the usual accouterment.
Catherine: We don't technically have a warrant.
Lady Heather: Not necessary. I want to help.
(LADY HEATHER moves to the back. CATHERINE puts her things down by the sink. CATHERINE glances back at LADY HEATHER who happens to look up and see CATHERINE'S glance. CATHERINE turns back around and opens her kit. She pulls out a pair of latex gloves.)
Lady Heather: Go ahead, ask. "How can I do this for a living?"
Catherine: Oh, that's not what I was thinking. How much does this place clear a week?
Lady Heather: Ten grand.
(CATHERINE turns around and looks at LADY HEATHER. She hardly believes that one.)
Catherine: I'm not with the IRS.
(LADY HEATHER smiles.)
Lady Heather: Okay, twenty.
Catherine: I don't make that in three months.
Lady Heather: Sex pays a lot better than death.
Catherine: Plus, the outfits are cooler.
LADY HEATHERWell, I have this genius tailor. Worked at the Desert Inn back in the day. I let him come in weekends and play human ashtray. He designs for me and my girls. It's a fair trade.
Catherine: You got a good thing going here. And the best part is that these guys think getting slapped around and getting humiliated is their fantasy.
Lady Heather: It's like I always tell my daughter ...
Catherine: You got a daughter?
Lady Heather: (smiles proudly) Eighteen this month; freshman at Harvard.
Catherine: Really? Mine's seven.
Lady Heather: Oh, that's a great age.
Catherine: Yeah.
Lady Heather: When I thought Zoe was ready to hear it, I told her, "Honey, there are a lot of things you can give a man -- your body, your time, even your heart. But the one thing you can never, ever, ever let go of is your power."
Catherine: All my mother ever said to me was "Cash up front."
Lady Heather: Don't take this the wrong way, but I think you've got everything it takes to make a great Dominatrix.
Catherine: I take that as a compliment.
Lady Heather: Well, you should. It's just about knowing yourself, being strong and not taking any crap from powerful jerks who are used to giving it all day long.
Catherine: Well, death is still a man's business and I don't have to tell you about police work.
Lady Heather: So, how do you survive?
Catherine: By knowing myself and working hard ... and by not taking any crap from powerful jerks who are used to giving it all day long.
(LADY HEATHER smiles and nods her head.)
CUT TO:
[INT. CSI -- LAB]
Catherine: These are the masks and straws I took out of the sink at Lady Heather's.
Greg: None of which have been washed.
Grissom: Mona was a Dominatrix at the fetish club. But my guess is that she was a switch for her off-the-books clients.
(GREG chuckles.)
Greg: You know what a "switch" is?
Grissom: Someone who's dominant as well as submissive.
(GREG is thoroughly impressed. He turns to CATHERINE.)
Greg: Oh, he's even got the lingo down.
(CATHERINE nods her head. He imitates cracking a whip. GRISSOM doesn't crack a smile.)
Grissom: If Mona's DNA is in one of these masks, then she was the submissive on the night she died.
Greg: You're so dialed into this case, I'll bet you don't need me to tell you which mask had her DNA.
Grissom: Yes, I do, Greg. I also need to know which straw she used.
(GREG turns around. GRISSOM looks at CATHERINE. CATHERINE shrugs. GREG turns back around with two sharpie pens in his nose. One red and one blue. GRISSOM still doesn't crack a smile.)
Catherine: Oh, nice. Mmm. Yeah, that's the idea, Greg. Two straws per mask.
(Quick flashback to the leather mask being put on. Someone zipping it down with the two straws attached. Resume to present.)
Greg: You can't get any air through pens.
Catherine: And not much more through straws.
Grissom: And even less if someone's fingers are on the other end.
(Quick flashback to someone blocking the ends of the two straws and the person inside struggling to breathe. Resume to present.)
Greg: I found the victim's DNA on this mask and ... these two straws. Red mark: Victim; blue mark :...
Grissom: Our k*ller. Now we just need a suspect.
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- LAB]
(CATHERINE is making a mold impression of the latex that NICK found in the trash can.)
Grissom: You got the yin. I've got the yang.
(GRISSOM pulls out the mold he made from the deceased's wrist. He tapes it to the table top.)
Catherine: Actually, I've got the yang and you've got the yin. This is as far as our watch will go. So that's on her wrist. No air bubbles. Good job.
Grissom: Thank you. Now we'll see how yours turns out.
Catherine: Hm-mmm. That's from the trash can.
(CATHERINE lifts up the mold and looks at it.)
Catherine: Wow. Looks like there's a few carats around that bezel. And the band. Major bucks.
(CATHERINE tapes her impression next to GRISSOM'S mold.)
Catherine: Oh, and, uh, computer graphics system keyed up the video system. Just h*t it.
(GRISSOM hits the keyboard and the two sides are scanned into the computer system.)
Catherine: Yin and yang. Top and bottom. It's definitely not a man's watch, but unique.
(GRISSOM hits more keys and the two sides are combined into one very expensive looking watch on the monitor.)
Grissom: You know any fine jewelers?
CUT TO:
[INT. HOSPITAL - SANTEE CHERNA'S ROOM -- DAY]
(SARA and DET. SAM VEGA walk into the hospital room. It's 3:28 in the afternoon.)
Santee Cherna: You have my pants? You know, I wake up, I look around I can't find my damn pants.
Sara: You cant' wear them out of here, so what? You want them as a souvenir?
Santee Cherna: I want my stuff.
Det. Sam Vega: Why don't we start talking about your p*stol.
Santee Cherna: I have one g*n.
Det. Sam Vega: It wouldn't happen to be a colt.
Santee Cherna: It's on a shelf behind the cash register.
(CARLA DELGADO walks in with her husband, HECTOR, carrying get well flowers and balloons.)
Carla Delgado: Ay, mi hermano. I was so worried about you.
Hector Delgado: Yo, papi, huh?
Santee Cherna: Hey, don't worry. Doctor said everything was going to be okay.
CUT TO:
[EXT. NELSON'S RESIDENCE - DAY]
(CAMERON NELSON is standing in front of the door carrying his son, Dylan.)
Cameron Nelson: Burglary? In this neighborhood?
Catherine: Well, are you missing any personal property? Jewelry? Small valuables? A watch, perhaps?
Cameron Nelson: No. My wife, didn't mention anything either.
(CAMERON NELSON notices the smell.)
Cameron Nelson: Again? Look, I'm sorry. I have to go change Dylan.
Catherine: Before you do, Mr. Nelson, in the last year, did you buy a diamond watch at Maarten's jewelers at the forum shops?
Cameron Nelson: Yeah, in my spare time between the grocery store and the park and baby jamboree. No, no, this ... this is my life. Sorry.
Grissom: Thanks for your help.
(CAMERON NELSON leaves.)
Catherine: Why do men always make everything look so tough?
(GRISSOM shrugs.)
Grissom: If the dad didn't buy the watch then the mom did. Brass has the credit card receipt.
Catherine: A $20,000 watch and he didn't discuss it? He's lying.
(GRISSOM and CATHERINE leave.)
CUT TO:
[INT. EILENE NELSON'S OFFICE -- DAY]
Eilene Nelson: I thought my husband answered all your questions.
Catherine: He tried.
Grissom: Gustav Stickley. Very nice furniture. No pictures of your family though.
Eilene Nelson: I know what they look like.
Grissom: Most people keep pictures of their loved ones in their office.
Eilene Nelson: Well, I would hope that I'm not like most people. Is there a point to this?
Catherine: Did you order a $20,000 custom made watch from a jeweler at the Forum shops?
Eilene Nelson: I did. Is there a problem?
Catherine: No. We'd just like to see it.
Eilene Nelson: Do you have a warrant?
Grissom: Do we need one?
Eilene Nelson: The truth is I lost it on a business trip. I'm waiting to find out from the hotel if they found it.
Catherine: Is that the trip you look to L.A. with your boss, Ronald? Let me refresh your memory. You shared a suite. Very cost-effective. What'd you save there, two-three hundred dollars?
Eilene Nelson: I'm a corporate litigator. It's going to take a lot more than that to rattle my cage.
Grissom: Okay. How about this? Are you familiar with the gal who calls herself Lady Heather?
Eilene Nelson: No.
Grissom: Well, one of the girls who works for Lady Heather was found d*ad with an imprint of your watch on her wrist. That's why we'd like a sample of your DNA.
Eilene Nelson: That's a big leap. Lost watch to a DNA request. I think we're done here.
CUT TO:
[INT. CSI -- LAB]
Sara: What do you know about the money bag?
Amy Young: Clean cut, quick way in.
Warrick: Can you tell us anything about the tool that may have been used?
Amy Young: BFK.
Sara: Big Kn*fe. Great. Tell us something we don't know.
Amy Young: I found materials on the cut.
Sara: Nice.
(SARA looks into the scope.)
Sara: It's gotta be transfers from the Kn*fe. Red fibers. All uniform length.
Amy Young: The refractive index of the fibers is 1.544. It's a synthetic. Fiberglass.
Warrick: Like the insulation in my attic.
Amy Young: Close. But those amber beads are catalysts. Resin-- which causes the fiberglass to harden once its poured into a mold?
Sara: A mold? To make what?
CUT TO:
[EXT. FIBERGLASS MANUFACTURERS - DAY]
Warrick: Hey.
Det. Sam Vega: There's three fiberglass manufacturers here in Vegas. This is the largest one for prefab baths and showers. Twenty-four employees.
Sara: Everybody in the bath business uses isophthalic resin because it's got the highest water resistance. Downside is the stuff gets everywhere. Hair, clothes, skin ...
(Over behind SARA, WARRICK notices a familiar face and calls the others' attention to it.)
Warrick: Hey.
(SARA turns around to see HECTOR DELGADO working some distance away from them.)
Warrick: Small world, huh?
(The group walks over to HECTOR DELGADO.)
Warrick: Hey, that's ironic, Hector. We're investigating your brother-in-law's sh**ting and look where we end up.
Sara: We found traces of fiberglass and resin in Santee's money bag.
Hector Delgado: So?
Sara: So, how many knives in Vegas come into contact with both those materials?
(DET. SAM VEGA notices the Kn*fe hanging from HECTOR DELGADO'S waist.)
Det. Sam Vega: Dame la navaja.
(HECTOR DELGADO hands the Kn*fe to DET. SAM VEGA.)
Sara: Thanks.
(DET. SAM VEGA hands the Kn*fe to SARA. SARA checks it.)
Hector Delgado: Hey, could be anybody's Kn*fe.
Warrick: We also have a tire print.
(The group walks out to the parking lot.)
Hector Delgado: See? You got the wrong car.
Sara: We never said what model we were looking for.
Warrick: We're looking for a Honda, Hector.
Det. Sam Vega: Do you have one? Because we can check your house. We can check your neighborhood. Why don't we just start right here in this parking lot?
(HECTOR DELGADO pushes DET. SAM VEGA aside and makes a run for it. WARRICK takes off after him. HECTOR runs and tries to get away, but WARRICK is just as fast. HECTOR DELGADO runs straight into the wire fence blocking his path and tries to climb it, but WARRICK catches up to him and grabs him.)
Warrick: You know it don't look good when you run, man. You want to tell us who that Honda belongs to?
Hector Delgado: I don't know. Okay, okay! It's a friend of mine. He told me nobody would get hurt.
Warrick: I guess that makes everything okay.
CUT TO:
[EXT. NELSONS RESIDENCE -- DAY]
(EILENE NELSON opens the door.)
Eilene Nelson: You again. I thought you people would've gotten the message.
Grissom: We did. We also got a warrant.
(GRISSOM hands the warrant to EILENE NELSON. She reads it and starts to laugh.)
Eilene Nelson: Is this some kind of joke? This is limited to my watch box.
Catherine: Sometimes, that's all it takes.
(In the background, DYLAN NELSON cries. CAMERON NELSON appears behind EILENE.)
Cameron Nelson: Eilene, honey? Everything okay?
Eilene Nelson: Cameron, go see what Dylan needs.
(CAMERON leaves. EILENE turns to GRISSOM and CATHERINE.)
Eilene Nelson: I think my watch box is in my glove compartment.
Grissom: Is the watch in the box?
(Cut to CATHERINE inside the car. She is opening the glove compartment. She takes out the watch box. She opens it and ands it to GRISSOM where finds a small piece of liquid latex stuck in the crease of the box. He holds the piece up so that CATHERINE can see it.)
Catherine: Latex. Like Hansel and Gretel, we just followed the bread crumbs all the way home.
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. LADY HEATHER'S DOMINION -- DAY]
(LADY HEATHER enters her room carrying a tea pot. She walks over to the table set for tea. She pours the tea and puts the tea pot on the table. GRISSOM is standing off to the side. He turns around when she walks in.)
Grissom: Afternoon tea. How nice.
Lady Heather: I like a bit of civility before dark ... when all the needy little boys show up.
Grissom: Well, I'm a little needy myself today. My lab pulled skin cells from Mona Taylor's straws.
Lady Heather: A DNA sample? I have several clients in law enforcement. X-X or X-Y?
Grissom: They're male.
(GRISSOM shows LADY HEATHER a photograph he brought with him. It's of CAMERON and EILENE NELSON at a formal function. Both are speaking with a man.)
Grissom: Have you ever seen either of these two people?
Lady Heather: Not the wife, but I have seen the husband.
Grissom: I didn't say they were married.
Lady Heather: It's obvious. Look at the way he's clenching her hand with both of his and leaning toward her. And see how she's twisting away presenting herself to the wealthy alpha male? She's insensitive; he insecure. That's a setup for matrimony, not passion. She wants the dominant male to choose her so she can stop being dominant.
Grissom: You're very good. You could work for me.
Lady Heather: You want to be my boss?
Grissom: You never know. We both might learn something.
Lady Heather: Oh, I'm sure of that.
(They both sit down at the table.)
Lady Heather: I can read anyone who walks through this door and know their desires. Sometimes even before they do. Why do you think I selected china and table linens?
Grissom: You like fine things.
Lady Heather: Or maybe I knew you'd like them. Same way I know you enjoy most of the superficial trappings of civilization.
Grissom: I'm that obvious, huh?
Lady Heather: Only because you try not to be. You spend your life uncovering what goes beneath the surface of civility and acceptable behavior. So it's a release for you to indulge in something like high tea when it seems, if only for a moment, the world really is civilized.
(GRISSOM doesn't respond.)
Lady Heather: The most telling thing about anyone is what scares them. And I know what you fear more than anything, Mr. Grissom.
Grissom: Which is?
Lady Heather: Being known. You can't accept that I might know what you really desire, because that would mean that I know you. Something, for whatever reason, you spend your entire life making sure no one else does.
Grissom: Lady Heather, you're an anthropologist.
Lady Heather: More tea?
(LADY HEATHER picks up the tea pot and refreshes GRISSOM'S cup of tea.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Hector Delgado: But, see, I could give the money back. But my wife doesn't even know it. If, I like, give the money back to her brother I could go home, right? Right?!
Det. Sam Vega: Tell us how it happened-- then we'll talk about the future.
Hector Delgado: When I picked Carla up from work on Wednesday, I doubled back and I lifted the piece that Santee keeps by the register. I figured I'd return it Friday. Nobody would know.
Sara: Pretty smart, Hector.
Hector Delgado: I couldn't use my car, 'cause Santee knew my car, so I h*t up on a buddy.
(Quick flashback to a red Honda stopping and a masked man jumping out to att*ck SANTEE CHERNA. The masked man holds a g*n to SANTEE CHERNA. SANTEE CHERNA hits the man.)
Santee Cherna: No ... ow!
(The man falls to the ground and fires the w*apon at SANTEE CHERNA. He drops the money bag. The masked man picks it up and runs. End of flashback. Resume to present.)
Hector Delgado: Look, it's not like they're out of anything. They're insured. For the money and his health. Nobody loses.
(SARA looks at WARRICK. WARRICK looks over at HECTOR DELGADO.)
Hector Delgado: (hopeful) So can I go now?
CUT TO:
[INT. CHERNA CHECK CASHING - DAY]
Carla Delgado: Hector's my husband, but I hope you keep him in jail a long time.
Santee Cherna: He's not going anywhere, right? You commit a crime, you pay the price.
Warrick: You got that right.
Sara: Oh, by the way we found the $5,000 you skimmed from this business in your jeans pocket.
Carla Delgado: What?
(Quick flashback to WARRICK taking the jeans out of the evidence paper bag. He finds a wallet, some keys and a wad of cash. End of flashback. Resume to present.)
Carla Delgado: You self-righteous bastard. You stand there and bad-mouth my husband while you're robbing me behind my back?
Santee Cherna: I was just borrowing it, I swear.
(CARLA DELGADO takes a step back and looks at DET. VEGA.)
Carla Delgado: You going to arrest his ass?
Sara: Yeah.
CUT TO:
[EXT. PARKING LOT -- DAY]
(GRISSOM and CATHERINE go through the NELSON'S car. CATHERINE finds a coat jacket with sand on it. They look at each other.)
(EILENE NELSON drives up in her convertible.)
Cameron Nelson: They had a warrant. I didn't want to bother you at work.
Eilene Nelson: This qualifies as a harassment suit.
Catherine: Too late.
Grissom: "Grains of golden sand."
Eilene Nelson: What?
Grissom: Edgar Allan Poe. Another man who was familiar with m*rder.
Catherine: Played in any sandboxes lately Mr. Nelson?
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
Eilene Nelson: As my husband's attorney, I'm advising him not to speak with you.
Cameron Nelson: Eilene ...
Eilene Nelson: Shut up, Cameron. I'll handle this.
Cameron Nelson: No. No, I will not shut up. You know, I didn't ask you to be my attorney. You're just doing this to look out for yourself.
Eilene Nelson: I'm looking out for our family. I'm the only one who's qualified.
Cameron Nelson: Really? And how exactly is sleeping with Ronald looking after your family?
Eilene Nelson: Cameron ...
Cameron Nelson: Cameron ... what? What? You never gave a damn about me. And our child ... our child is just some yuppie pet designed to make you look better at the firm. Which happens to be the only family you probably really care about.
Catherine: Mr. Nelson, you're very emotional right now. Why don't you just take a moment collect yourself. Let me get you a glass of water.
(CATHERINE stands up. She pauses by the door.)
Eilene Nelson: No! No water, no gum, no anything. If you think you can trick him into giving you some DNA, you're mistaken.
(CATHERINE looks over at GRISSOM. GRISSOM stands and pulls out an evidence bag from the file he's holding. He holds it out to EILENE NELSON.)
Grissom: Liquid latex.
(GRISSOM puts the bag on the table.)
Eilene Nelson: What is that supposed to mean?
Grissom: Your husband made Mona Taylor wear it every time that he paid to humiliate her.
Eilene Nelson: Why would he do that?
Catherine: Psychologically, she was a surrogate. In fetish club terms, she was a sl*ve. Cameron would put a mask on her face and cover her body in liquid latex.
(Quick flashback to MONA TAYLOR in chains and in the mask. CAMERON NELSON puts the watch on MONA TAYLOR'S bare wrist. Flash to white.)
(CAMERON NELSON painting liquid latex on MONA TAYLOR'S wrist. End of flashback. Resume to present.)
Grissom: He made her into nothing in order to make her into you.
Eilene Nelson: My watch.
Grissom: I guess that made it more real.
Catherine: Cameron couldn't dominate you, so he dominated Mona. Only his last appointment, he got carried away.
(Quick flashback to CAMERON NELSON striking MONA TAYLOR and yelling at her.)
Cameron Nelson: Corporate bitch! You still think you're too good to touch your own husband? How about I make you beg for air? Huh? How about I make you ... beg for it?!
(Cut to CAMERON NELSON holding the end of the nose straws. MONA TAYLOR is struggling and screaming.)
Cameron Nelson: Are you begging for it? Huh? I can't hear you, Eilene.
(MONA TAYLOR struggles and screams. She goes lax. CAMERON NELSON releases the straws. End of flashback. Resume to present.)
Cameron Nelson: I had to pay some girl to pretend to be my wife.
Eilene Nelson: Cameron, be quiet! If this is all you have, I am ... happy to go to trial.
Grissom: Mrs. Nelson, we're going to match Cameron's epithelials to the ones on the end of the straw.
Cameron Nelson: Wait, wait, wait. Epithelials -- that's like ... that's like DNA, right? That's DNA?
(CAMERON NELSON turns to his wife.)
Cameron Nelson: Okay, I got an idea. Why don't we test little Dylan's epithelials? Huh? See if his daddy isn't really your law partner. 'Cause, god knows, you haven't let me touch you in three years.
(CAMERON NELSON stands up.)
Cameron Nelson: I'm out of here.
Eilene Nelson: Where are you going?
Cameron Nelson: Away from you. Other than that, I really don't care.
(CAMERON NELSON leaves the room escorted by an officer.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY]
(CATHERINE and GRISSOM turns the corner and walk through the hallway.)
Catherine: I just realized that you and I have a very healthy relationship.
Grissom: We do?
Catherine: Well, when we have a problem, I don't paint Greg Sanders in latex and stick a straw up his nose.
Grissom: Good. He'd probably like it.
(CATHERINE puts and arm on GRISSOM'S shoulder, stopping him.)
Catherine: Gil ... you're supposed to say something revealing back to me.
Grissom: Okay. I never told anybody this, Catherine ...
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x08 - Slaves of Las Vegas"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY - FIREWORKS (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CASINO (STOCK) - NIGHT]
CUT TO:
[INT. CASINO - NIGHT]
(The camera gives us various sh*ts inside the casino - of the gaming tables, of the people at the slots, of the craps table.)
Craps Player: Five! Baby, go!
Craps Player: Seven. Whoo!
(A player puts a bill flat on the table and slides it over to the DEALER. The DEALER looks over at the manager who is standing nearby. She calls out to him.)
Dealer: Changing $100.
(The Manager, MAX DUNCAN, gives his approval.)
Max Duncan: Change $100, go ahead.
(The DEALER puts the hundred in the table slot. The MANAGER stands off to the side watching the casino proceedings.)
(A SECURITY OFFICER pushes the cashbox equipment to the table. They remove the table's cash box and puts it on the metal rack. A cash box is removed and put under the DEALER'S table. The SECURITY OFFICER looks up at the surveillance camera, raises his hand and signals.)
CUT TO:
(Camera POV of the SECURITY OFFICER signaling to the camera.)
Security: Section G-3 all clear. On route to H-4. And then soft count.
(Cut to: Camera view of the entrance stairs into the casino area.)
CUT TO:
(Three women walk into the casino: One blonde, One brunette, and One red-head. The blonde stops near the entrance. The brunette and red-head continue on into the casino.)
(The SECURITY OFFICERS continue to push the metal cart full of cash boxes through the casino.)
(The blonde woman pulls out a g*n and sh**t at the huge chandelier hanging from the ceiling, hitting it and making it crash to the floor below.)
(Customers start screaming and scrambling for cover.)
(The brunette and the red-headed woman both pull out their g*n and start to f*re. They both manage to h*t the two SECURITY OFFICERS.)
(The two women continue to the metal cart with the cash boxes. They start to put the cash boxes into a bag. The woman at the entrance continues to watch their escape route.)
(Another SECURITY OFFICER rushes down the entrance stairs. The red-haired woman sh**t and hits the SECURITY OFFICER.)
CUT TO:
(In the security camera office, SECURITY OFFICERS call for additional help as all hell breaks loose on the multiple monitors in front of them.)
Security: Section G-4. SECURITY: Security three intersect at G-5. SECURITY: Where the hell is metro?!
CUT TO:
(The three women have their cash boxes and start to leave. The g*n increases exponentially as they make their way to the exit. Additional SECURITY OFFICERS start to f*re from behind the bar.)
(The red-headed woman gets sh*t and falls to the ground. The other two escape.)
CUT TO:
[INT. HOTEL CASINO -- NIGHT]
(GRISSOM and BRASS walk down the entrance stairs into the casino. GRISSOM carries his kit while BRASS fills him in.)
Grissom: And the body count?
Brass: Five guards, three civilians wounded. One d*ad bad guy. Armed robbers snatched the lock boxes from the two high-stakes tables right off the rolling cage.
Grissom: Cash on wheels.
Brass: Busiest time of night. Three women-organized and muscled.
Grissom: Small time crooks, Jim.
Brass: Hey, they got away with 250K.
Grissom: Yeah? That's a mere pittance to a Vegas casino. Cashiers alone are sitting on a million and change.
(They reach the red-haired woman.)
Brass: Small time or not these ladies are dangerous.
(GRISSOM glances down a the body. He puts his kit down and kneels down next to the body. The looks up at BRASS.)
Grissom: Dangerous, yes. Ladies ...
(GRISSOM reaches over and pulls the red-haired wig off of the "woman". He holds it up to BRASS and shakes his head.)
Grissom: ... no.
(BRASS shrugs.)
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
[INT CASINO - NIGHT]
(The wounded are being tended to. WARRICK and NICK go through the scene. WARRICK is kneeling on the floor looking through a small instrument measuring the base of a discarded b*llet.)
Warrick: These guys packed enough .45 caliber a*mo for a small army.
(NICK picks up a b*llet from the floor near marker #6.)
Nick: Security managed to return a few rounds. Nine millimeter.
Warrick: Less than a year ago security couldn't even carry g*n.
Nick: Times have changed.
Warrick: Yeah.
CUT TO:
(BRASS and GRISSOM talk in the casino.)
Brass: The same M.O. as Laughlin. Last month, cottage casino, men dressed as women sh*t the place to hell. In and out in under five.
Grissom: My bet was that that was the practice run.
Brass: And the more you practice ...
(BRASS and GRISSOM walk up to MAX DUNCAN talking with an OFFICER. They overhear part of what he says.)
Max Duncan: I don't know what the hell's going on with the world. Everything's crazy. I risk my life just coming into work. Makes you miss the mob days, huh? Back then, this never would've happened. And if it did, those scumbags, they'd be d*ad, every last one of them and we would never know about it.
Brass: Mr ... Mr. Duncan -- take a deep breath and tell us what happened.
Max Duncan: We'd just made a money transfer to the rolling cages. Then, bang-- the chandelier comes crashing down. Sounded like an expl*si*n. So I dropped to my knees-- I took cover.
Brass: Anything else?
Max Duncan: Yeah, I started praying for the g*n to stop.
Brass: Okay. Thanks a lot. And check in with triage before you leave.
(MAX DUNCAN leaves.)
Brass: Well, that was helpful.
Grissom: (looking at the chandelier) Actually, it was. Gives us a starting point.
(Quick flashback to: The chandelier flares and starts to fall from the ceiling. People run for cover. The "woman" in red pulls out her g*n and sh**t the guards.)
Grissom: (V.O.) The falling chandelier distracts the guards. Makes them easy targets.
(End of flashback. Resume to present.)
Grissom: The armed robbers load up, head for the exits.
Brass: Quick escape.
Grissom: Chaos moving in one direction, the money moving in the other.
CUT TO:
[EXT. ROADWAY - NIGHT]
[INT. CAR - NIGHT]
(CATHERINE and SARA drive to the crime scene.)
Catherine: Can you imagine living out here?
Sara: It's peaceful.
Catherine: Peaceful? The town just lost five percent of its population.
Sara: I thought you said this was a single homicide.
Catherine: Yeah, in a population of 20.
(SARA smiles. The car turns into the parking lot.)
Sara: We made it. State trooper.
(CATHERINE parks the car. They get out of the car.)
Officer Spencer: Two hours to drive 75 miles. You guys got lost.
Catherine: What's the rush? Crime scene's not going anywhere.
Officer Spencer: Yeah, but I am. Body's behind the counter. Dustin Bale -- store clerk. b*llet through the chest. The register's empty.
Sara: Officer Spencer, did you touch anything?
Officer Spencer: Fourteen years as a state trooper. I know how to secure a crime scene without contaminating the evidence.
Sara: Sorry.
Officer Spencer: It's okay. Look, I cover 97.5 square miles. I got to book.
(CATHERINE and SARA head for the store.)
CUT TO:
[INT. GENERAL STORE - NIGHT -- CONTINUOUS]
(They enter the store and look around. The sign in the door says "Closed". They put their kits down and look at the stuff on the floor.)
Sara: Vomit?
(CATHERINE picks up a sample and smells it. She shakes her head.)
Catherine: Not an expectorate. Potato. Blown to smithereens.
(SARA thinks about it.)
Sara: A poor man's sil*ncer.
(Quick CGI POV to: A side view of a g*n f*ring through a potato and the potato shattering into bits. End of CGI POV.)
Catherine: Now, why would an assailant need sil*ncer way out here?
(SARA stands up and picks up a potato from the stand. She goes behind the counter. She sees the body on the floor. She steps over the body and checks the cash register slip.)
Sara: Last paying customer -- eight hours ago.
Catherine: We just got the call. The place is open 24 seven. Why'd it take so long?
(Quick flashback to: A person leaving the store and turning the sign in the door over.)
Sara: (V.O.) The assailant flipped the sign on the way out, buying him time to get away.
(End of flashback. Resume to present.)
(CATHERINE looks up and sees the security camera high in the ceiling.)
Catherine: But now without getting his picture taken first.
(SARA steps up and checks the camera.)
Sara: It's plastic.
Catherine: You're joking.
Sara: Nine volt attached to a blinking light.
Catherine: Real or fake, it didn't work.
CUT TO:
[INT. CASINO -- NIGHT]
(BRASS takes notes as he interviews a FRATERNITY GUY.)
Fraternity Guy: There was three of them. (pointing) They come from around the corner, g*n drawn ...
(Quick flashback to: The three women walk into the casino. They raise their w*apon. End of flashback. Resume to present.)
Cocktail Waitress: I think they came from over there. (indicates side) There were two of them.
(Quick flashback to: The two "women" in wigs walk through the casino. End of flashback. Resume to present.)
Elderly Woman: I said four.
Brass: Right.
Elderly Woman: There were four of those lunatics. They were everywhere.
Brass: Right.
Elderly Woman: (insistent) Write it down.
Brass: I got it. Thank you very much. Excuse me.
(BRASS walks away from the ELDERLY WOMAN. GRISSOM walks up to BRASS.)
Brass: (clears throat) I've interviewed 17 people. No two accounts are alike.
(He puts his notebook away.)
Grissom: A Harvard Professor conducted an experiment. Asked a bunch of students to watch a basketball game -- count the number of times the ball was passed.
Brass: Yeah, groundbreaking.
Grissom: During the game a person dressed in a gorilla suit ran across the court. Afterwards, the professor asked his students if they noticed the gorilla. Fifty percent responded, "What gorilla?"
Brass: That's wonderful, Gil. If I see a gorilla, I'll arrest it.
CUT TO:
[EXT. CASINO -- NIGHT]
Valet: The car was sitting right here.
Nick: Did you get a good look at it? Make, model?
Valet: No. It was beige, b*at up. Hazards flashing. People leave their cars here all the time. I wait ten minutes then call for a tow.
Nick: Car peel out?
Valet: No. The driver g*n it but I didn't hear a screech.
(NICK looks at the small oil spill on the ground. He smells it.)
Nick: Smells like burnt wood.
Valet: Motor oil?
Nick: No. No, transmission fluid. But it's brown, not red.
Valet: Which means?
Nick: (shakes his head) It's not the right color.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS removes the b*llet from the body. GRISSOM walks into the room.)
Grissom: Extraction is an art, Albert.
Robbins: I like to think so. So this is our cross-dresser in thee ? I.D.'d as Adam Brower, sh*t in the back with a hollow point -- close range. Mushroomed upon impact maximizing trauma.
(Quick CGI POV to: The b*llet enters the flesh and opens up. End of CGI POV. Resume to present.)
Grissom: Caliber?
Robbins: Forty-five.
(He puts the b*llet in the tin.)
Grissom: The guards were armed with nine millimeters and they weren't hollow point. So ... he was sh*t in the back by one of his own partners?
Robbins: Someone didn't want to share.
(Camera holds on GRISSOM.)
CUT TO:
[INT. GENERAL STORE -- NIGHT]
(CATHERINE prints the "Closed" sign. SARA watches her from behind as she clears the counter.)
Sara: Wow. A fumette. Did you get that out of some museum?
Catherine: Hey, don't knock it. It's still the best tool for lifting prints off cardboard.
(The sign shows many prints.)
Catherine: (quietly) Blow and print.
(SARA finishes clearing the counter and kneels down to look at it closely.)
Sara: If you were in a hurry how would you get back there?
Catherine: Easy. Jump the counter.
Sara: Exactly what I'm thinking.
(SARA pulls out a machine and checks the counter.)
(Quick CGI POV to: Top view of the thin film placed on the counter. Camera moves downward under the film to show the prints adhering to the film. End of CGI POV. Resume to present.)
Sara: Shoe prints.
Catherine: Lay it out.
Sara: Suspect entered ...
(Quick flashback to: Person walks into the store. Picks up a potato. The clerk turns around. The g*n fires. The clerk falls to the ground. The person hops over the counter, takes the cash from the register and leaves.)
Sara: (V.O.) ... sh**t the clerk through the potato... then hops up and over, leaving behind shoe prints ... grabs the cash ... flips the sign from
"open" to "closed" and exits.
(End of flashback. Resume to present.)
Catherine: How old is the k*ller?
Sara: (shakes her head) What are you thinking?
Catherine: Shoe size is five, six tops.
Sara: We may be looking for a minor.
CUT TO:
[INT. CSI - A/V LAB]
(GRISSOM walks into the lab and joins WARRICK in front of the monitor.)
Grissom: You want to see me?
Warrick: Yeah.
Grissom: This is the video surveillance from that heist. This camera was trained on their entrance.
(On the monitor, the three "ladies" walk into the casino. The blond stays by the stairs, the Red and Blue walk into the casino.)
Grissom: All the disguises in the world and they dress like women.
Warrick: Ski masks are played out. Red and blue teamed up together and took out the guards and their rolling cage.
(On the monitor, the Red and the Blue walk across the floor and sh**t the guards. The players duck down for cover.)
Warrick: Black sh*t down that chandelier.
Grissom: Well, Blue's the decedent I.D.'d as Adam Brower ... so enlarge red.
(On the monitor, the frame is on pause and the picture of the woman in Red is enlarged.)
Warrick: No amount of makeup in the world could cover up that chunk of adam's apple.
Grissom: That must be the one that k*lled Brower. .45 in the back at close range.
(Quick flashback to: The Red sh**ting the Blue in the back.)
Warrick: No honor among thieves.
Grissom: Photoshop black.
(WARRICK highlights and enlarges a close up of the blonde-haired woman in Black.)
Warrick: No stubble ... no adam's apple.
Grissom: Dressed as a woman among men dressed as women. Now, see? That's a disguise.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. GENERAL STORE -- DAY]
(SARA kneels down next to the counter and dusts the countertop for prints. CATHERINE lingers in the doorway. She finishes printing the glass on the door. She turns around and sees SARA dusting for prints.)
Catherine: Fluorescent powders?
Sara: Eh, why not? They're in the kit.
Catherine: Protocol's black.
Sara: Since when do you care about my choice of powders?
(CATHERINE takes off her gloves. She's irritated.)
Catherine: Assistant coroners is four hours late and we are stuck out here until he transports the body. And I haven't heard from Grissom ...
Sara: (picks up a power container and looks at it) You know, I've never tried green ...
Catherine: I should've never been sent to this remote scene in the first place. I've got seniority. I deserve -- no, I've earned the right to pick my cases.
(Without a word, SARA walks over to the front of the counter and hands CATHERINE a candy bar. CATHERINE opens it.)
Catherine: (reasons) If I start eating, I will shut up.
(SARA walks around the counter and looks at the body.)
Sara: Do you have a mirror?
Catherine: Since when do you care about your appearance?
(CATHERINE takes a bite of the candy bar and starts to chew. SARA'S jaw drops. She stares at CATHERINE. CATHERINE digs into her kit and hands her a mirror.)
Sara: Crime scene?? It's not for me.
Catherine: Sorry.
(SARA kneels down next to the body. CATHERINE stretches to look over the counter.)
Catherine: We can't touch it.
Sara: I'm just getting a better look.
(SARA uses the mirror and looks at the victim on the floor. The door opens. DAVID PHILLIPS walks in.)
Catherine: Oh, thank god. It's about time.
David Phillips: Nice to see you, Catherine. Well, I smell the body. Where is he?
(SARA stands up from behind the counter.)
Sara: Hey, David. I wasn't touching him.
David Phillips: (smiling) I know you better than that.
Catherine: So, uh, what took you so long?
David Phillips: (simply) I made a wrong turn back at the fork.
CUT TO:
[INT. CSI - DNA LAB]
(GREG sits in his lab reading a "Sand and Surf" magazine. NICK walks in. He looks at the magazine over GREG'S shoulder.)
Nick: You're a surfer now?
Greg: Dude, I rip.
Nick: We're 300 miles from the nearest beach.
Greg: Surfing's just a state of mind.
Nick: I got your page. Where's my report?
Greg: Oh, relax, bro. The gc mass spec's working on it. Should be done, um ...
(The spectrometer beeps.)
Greg: ... now.
(He grabs the results and looks at it.)
Greg: Transmission fluid.
(He hands the sheet to NICK.)
Nick: Yeah, thanks. (reads it) Type "f" with dexron.
Greg: So?
(NICK grabs the magazine.)
Nick: So ... you should be reading Car & Driver instead of Sand and Surf. Someone put the wrong type of fluid transmission. See, Ford automobiles use a thick red Type-F transmission fluid. General Motors uses a thinner, yellow fluid with dexron. Now, when dexron's put into a ford it thins that Type-F fluid. Friction builds, gears grind.
(Quick CGI POV to: Close up of the transmission fluid in a car.)
Nick: (V.O.) The second gear is usually the first to go. Friction causes the engine to overheat, in turn cooking the transmission fluid turning it brown.
(End of CGI POV. Resume to present.)
Nick: Leak on the pavement is the first clue you've got a problem.
Greg: Congratulations--you're looking for a Ford with a leak.
Nick: Not just Ford. The getaway vehicle has a stubborn second gear.
Greg: Which means it can't get very far.
Nick: My guess is it's already been dumped.
CUT TO:
[INT. APARTMENT - HALLWAY -- DAY]
(BRASS and WARRICK make their way to ADAM BROWER'S apartment.)
Brass: Before Mr. Brower dressed up as a woman and heisted a casino, he was a janitor at an office park off Flamingo. Before that, he was "out of town."
Fours years for grand larceny.
(They stop in front of the apartment door.)
Warrick: Well, the manager's not in?
Brass: I got a warrant.
Warrick: I got a key.
(WARRICK uses the tool and punches out the door lock.)
CUT TO:
[INT. ADAM BROWER'S APARTMENT - DAY -- CONTINUOUS]
(WARRICK and BRASS enter the apartment.)
Brass: Whoo, tidy little camper, isn't he?
Warrick: Yeah.
(WARRICK starts looking around.)
Brass: What are we looking for?
Warrick: Anything that links Brower to his co-conspirators.
(WARRICK puts his kit down and lifts up a pair of jeans.)
Brass: Dirty laundry?
Warrick: I'm thinking trace elements in the clothes could tell us where he was before the heist. I'm going to take it all back to the lab.
Brass: Okay. Let's see ...
(BRASS opens the closet door. He lifts up a bra.)
Brass: Well, while you're at it don't forget his wigs and bras.
CUT TO:
[INT. CSI -- LAB]
(SARA scans the shoe print into the computer. She runs a database search on it.)
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(SARA walks into the lab. CATHERINE is already there with the Technician.)
Catherine: Anything on the shoe print?
Sara: Skechers. Adult size five. Female.
Catherine: Well, at least, we're not chasing a kid.
Sara: How's the prints coming?
Technician: You two lifted 82 suspect prints. 43 are partial.
Catherine: We ID'd on from the "open/closed" sign.
Sara: Great.
Catherine: No. Not so great. State trooper.
Sara: You got to be kidding me. "Officer Moron" contaminated the scene.
Catherine: Yep. Well, I'll just beef him to his captain.
Technician: Tough. I like that.
(The computer beeps.)
Technician: Match. Print off the register.
Sara: What have you got?
Catherine: (reading) Tammy Felton.
Sara: Who's Tammy Felton?
Catherine: A fugitive and clinical psychopath that Grissom and I put behind bars. She tried to play but I didn't bite.
[Scenes from 1X17: Face Lift. (Quick flashbacks of TAMMY FELTON with a pleading look on her face, of CATHERINE as she turns around, and of TAMMY between the jail cell bars. End of flashback. Resume to present.)]
Catherine: Her biological parents posted bail and then she bailed on them.
Sara: Biological parents?
Catherine: Tammy was kidnapped as a child. Raised by her kidnapper. When she found out the truth, she k*lled him. Hey, finish running the prints.
(CATHERINE stands up and heads out the lab.)
Catherine: Tammy uses people. She wasn't alone.
CUT TO:
[INT. CSI - HALLWAY - DAY -- CONTINUOUS]
Catherine: (o.s.) Grissom!
(GRISSOM turns around and sees CATHERINE walking toward him. He turns around and continues down the hallway. CATHERINE chases after him.)
Grissom: If you're going to badger me about your crime scene location, put it in a memo.
Catherine: You don't read memos. Do you remember Tammy Felton?
Grissom: I always remember the ones that get away.
Catherine: She's back.
(GRISSOM stops and turns around. CATHERINE catches up with GRISSOM.)
Catherine: She's been to Calnevari. She's a prime suspect in our convenience store homicide.
(GREG enters the end of the hallway and calls out to GRISSOM.)
Greg: Grissom ... (They turn to look at GREG.) I need you, ASAP. Please.
(GRISSOM pulls CATHERINE down with him as he follows GREG.)
CUT TO:
[INT. CSI - DNA LAB]
(GREG sits in his chair. On the table in front of him are b*llet samples.)
Greg: So, ballistics sent me a b*llet from the casino. It's a .45 so we know it came from one of the "ladies'" g*n.
Grissom: And this is a special b*llet?
Greg: No, but there was a foreign substance adhered to it.
Grissom: And the substance is special?
Greg: Not exactly.
Catherine: Just get to the point, Greg.
Greg: Tomato, to-mah-to, potato...
Catherine: Wait a second. There was potato on the b*llet?
(GRISSOM turns to look at CATHERINE. He knows she knows something.)
Greg: You bet. Strange, huh?
Catherine: There was potato on the b*llet because there was potato inside the barrel of the g*n.
Grissom: This b*llet is from my investigation.
Catherine: Right. One of your armed robbers may have used a potato as a sil*ncer prior to the heist.
(Quick CGI POV to: Close up of the g*n f*ring and the b*llet shattering the potato, passing through the potato and some of the potato getting back into the nozzle of the g*n. End of CGI POV. Resume to present.)
Grissom: Tammy Felton?
Catherine: (shakes her head) Maybe.
Grissom: Three armed robbers. Adam Brower-- k*lled at the scene Tammy Felton ... we're still one suspect short.
(SARA enters the lab. She pulls out the photo sheet from the envelope. She gives it to CATHERINE.)
Sara: Cath, got another match from the convenience store. The print on the outside doorknob belongs to an ex-con, Darin Hanson.
(GRISSOM looks at CATHERINE. They both look at each other. SARA recognizes the look.)
Sara: You know this guy, too?
Catherine: He ran with Tammy's father, mostly from the law.
Grissom: So Tammy kills dad ... and she and Darin Hanson run off together.
[Scenes from 1X17: Face Lift - TAMMY FELTON on the side of the road as a car pulls up to pick her up. DARIN HANSON gets out of the car. They smile at each other.]
Catherine: A regular Bonnie and Clyde. Just what Vegas needs.
(Camera holds on GRISSOM.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - BALLISTICS LAB -- DAY]
(BOBBY DAWSON goes over the b*llet comparisons with GRISSOM and CATHERINE.)
Grissom: Let me see, Bobby.
Bobby Dawson: Yeah.
(BOBBY moves aside so that GRISSOM can look into the scope.)
Bobby Dawson: Projectile on the left, .45 hollow point courtesy of Adam Brower's back. On the right ...
(SCOPE VIEW of the two b*ll*ts.)
Bobby Dawson: ... a .45 hollow point extracted from Dustin Bale -- d*ad clerk at the convenience store.
Grissom: b*ll*ts confirm the story told by the potato.
Catherine: Same g*n. Two crimes. One case.
Grissom: Three suspects. Adam Brower, deceased. Tammy Felton, Darin Hanson, still at large.
(NICK enters the lab.)
Nick: Hey, guys. I just got a call from Brass. We got a possible getaway vehicle off I-93.
Catherine: What makes you think it's the right car?
Nick: It's beige abandoned, '77 mercury cougar. Mercury's a division of Ford. I'll drive.
CUT TO:
[EXT. OFF I-93 -- DAY]
(Open on the car in the bushes. BRASS stands off to the side looking at the car in the bushes. On the road, the CSI'S get out of their Tahoe. They approach BRASS. BRASS turns to meet them.)
Brass: A trucker called it in.
Grissom: Well, if that's the getaway car there would have been a secondary vehicle parked nearby.
Nick: Yeah. Check for treads, Jim?
Brass: Yeah.
(BRASS turns to join NICK.)
Grissom: (to CATHERINE) Shall we?
Catherine: (nods) Let's go.
(GRISSOM makes his way to the front of the car. He looks inside.)
(Cut to: NICK and BRASS are topside looking for the second vehicle.)
Nick: If you were stashing a car, where would you hide it?
Brass: All these bushes would provide good cover.
Nick: Oh ... check out that dirt displacement.
Brass: Yeah. Skid mark; one tire.
Brass: Where's the other one?
Nick: (realizes) There isn't one.
(Quick flashback to a single rider on a motorcycle. The engine revs and it drives off. End of flashback. Resume to present.)
Nick: Dirt to pavement, then the trail goes cold.
(Cut to: CATHERINE helps GRISSOM back on top of the hill.)
Grissom: No damage. This car was barely moving.
Catherine: It was dumped.
(A piece of cloth is caught in the trunk hood.)
Catherine: Detail ... pop the trunk.
(The MAN pops the trunk open.)
Catherine: Thanks.
(They open the trunk and find TAMMY FELTON inside. Eyes wide open and d*ad.)
Catherine: It's Tammy.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS examines TAMMY FELTON.)
Robbins: Contusions on the anterior neck. Streaking erythema on the lateral aspect of zone one. Cartilaginous tracheal rings are crushed.
(CATHERINE walks in.)
Catherine: Hey, Doc.
Robbins: Catherine.
Catherine: She didn't put up a fight, did she?
Robbins: How'd you know?
Catherine: She was k*lled by the one person in life she trusted.
(Quick flashbacks to: TAMMY FELTON in her blonde wig kissing DARIN HANSON. TAMMY takes off her wig. She and DARIN stand close to each other. DARIN puts his hands on her shoulders. TAMMY smiles. DARIN'S grip starts to tighten and TAMMY starts gagging. They fall to the ground as he chokes her. End of flashback. Resume to present.)
Catherine: Darin Hanson stared her in the face and she never saw it coming.
Robbins: Put his thumbs around her air pipe and pushed.
(Quick flashback to TAMMY FELTON on the ground and gasping as DARIN HANSON chokes her. End of flashback. Resume to present.)
Robbins: I swabbed her neck. Affirmative for epithelials.
(ROBBINS hands the swab box to CATHERINE.)
Catherine: I'll run them against Darin Hanson's DNA.
Robbins: Parents called. They're on their way in to I.D.
Catherine: How did they sound?
Robbins: Oddly, relieved.
Catherine: They finally know where she is.
(CATHERINE sighs.)
CUT TO:
[INT. CSI - GARAGE]
(NICK walks around the car to stand in front of WARRICK who gets out of the front seat. He holds out his index finger to NICK. NICK looks at it and shakes his head.)
Nick: I'm not pulling it.
Warrick: I found similar dust on Adam Brower's dirty clothes. Check it out.
(NICK uses the magnifying glass and looks at the dust on the tip of WARRICK'S finger. Camera zooms to the magnifying glass view of the dust on the tip of WARRICK'S finger. Camera zooms in further to show a microscope view of the dust crystals.)
CUT TO:
[INT. CSI - DNA LAB]
(GREG looks up from the scope.)
Greg: Real-life fairy dust.
Nick: Yeah, it turns grown men into criminals.
Warrick: What's the composition?
Greg: S-I ... O-2. Silica dust. Each particle's a hundred times smaller than a grain of sand.
(GRISSOM walks into the lab.)
Grissom: I thought you guys were processing the car?
Warrick: Yeah, um... what do you know about silica?
Grissom: It's used to make glass. It's mined in open pits. Why?
Nick: Silica found both on Adam Brower's clothing and the getaway vehicle.
Grissom: There's an abandoned silica mine outside calnevari.
Greg: (impressed) What don't you know?
CUT TO:
[EXT. SILICA MINE]
(Police cars drive up to the abandoned silica mine. NICK, WARRICK and GRISSOM exit the Tahoe. They start looking around. Officers also start looking around the place.)
Grissom: Come here.
(NICK and WARRICK join GRISSOM to see what he found. GRISSOM points. Across the way, a motorcycle is parked next to a shed.)
Nick: Motorcycle tracks at the vehicle dump site.
(They make their way toward the shed. On the ground are silica crystals.)
Nick: Yeah, that smells nice.
Warrick: Shouldn't smell at all, if this place is abandoned.
(Behind GRISSOM, NICK and WARRICK both get their g*n out. GRISSOM stands in front and looks at the shed.)
Grissom: Get your g*n out.
(They approach the shed. GRISSOM reaches out and opens the door. Inside is a d*ad MAN sh*t in the forehead.)
Grissom: Say hello to Darin Hanson.
(WARRICK picks up a shell casing from the ground.)
Warrick: sh*t with a .45. Execution style.
Nick: Adam, Tammy ... now Darin... all d*ad.
Grissom: And ... we're out of suspects.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LOUNGE]
(GRISSOM hands out photographs on the table.)
Grissom: Three armed robbers hold up the casino. Tammy's in black, Adam was the one in blue and that leaves us Darin.
Catherine: We found Darin and Tammy's prints at the convenience store. Hours before the heist, gets m*rder.
(Quick flashback to: The clerk turns around and gets sh*t. End of flashback. Resume to present.)
Nick: sh*t with the same g*n used to k*ll Adam at the casino.
Grissom: The surveillance video tells us that Darin was the only one in position to sh**t Adam.
(Quick flashback to: The "Woman" in Red sh**ting the "Woman" in Blue". End of flashback. Resume to present.)
Nick: Why did Darin k*ll Adam?
Sara: Greed. Fewer slices. Bigger pieces.
Catherine: Which explains why he k*lled Tammy.
(Quick flashback to: TAMMY FELTON on the ground, gasping and being choked by DARIN HANSON. End of flashback. Resume to present.)
Nick: That's confirmed?
Catherine: Epithelials on her neck are a match to Darin's DNA.
Nick: So, Darin thought he was getting the whole score.
Sara: But now he's d*ad. So, who k*lled him, and where's the money?
Grissom: And we still don't know why Darin and Tammy took out the convenience store clerk.
Catherine: Why k*ll a man for a few hundred bucks when you're about to steal a hundred thousand?
Sara: We've got more questions than answers.
(WARRICK enters the room.)
Warrick: I just got off the phone with the Laughlin CSI assigned to last month's cottage casino case. He told me the casino's cameras captured four assailants, not three.
Nick: Maybe Tower Club surveillance missed something.
Warrick: Actually, it didn't. We did.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(Everyone is back in the A/V Lab. WARRICK is in front of the computer showing them the surveillance video.)
Warrick: Tower casino surveillance. The screen on your left the camera's trained over where Tammy, Darin and Adam entered. The screen on your right is trained on the gaming tables. Okay, check it out.
(On the monitor, the video plays.)
Sara: What are we looking for?
Warrick: What, you missed him? All right. I'll play it again ... slower, just for you. (WARRICK smiles. NICK throws SARA a glance and smiles.) Now, keep your eye trained on the pit boss and the chandelier.
(On the monitor, the video plays in slower motion. It's apparent that MAX DUNCAN drops before things happen.)
Sara: He ducked before the chandelier fell.
Nick: Yeah, before Tammy drew her g*n.
Catherine: Play it again.
(WARRICK plays the video for a third time.)
Grissom: Well done, Warrick. You found our mole.
Warrick: Yeah. Pit boss' name is Max Duncan. Started working there about three weeks ago. Before that ...
Catherine: Let me guess. Laughlin, cottage casino?
Grissom: Yeah. I'll call Brass. He can make the arrest.
Catherine: I'll meet him at the station. Call you with an update.
(CATHERINE stands. She and GRISSOM leave the lab.)
CUT TO:
[EXT. DUNCAN RESIDENCE -- DAY]
(MAX DUNCAN hurriedly leaves his house (#23519) carrying a golf club set and duffle bag. He puts them into the back of his car.)
(Police cars pull up and block his exit. BRASS and CATHERINE get out of the car.)
Brass: Max Duncan?
Max Duncan: Yeah. What the hell is going on here?
Catherine: You going somewhere?
Max Duncan: What's it to you?
Brass: I'll tell you how this works: I'll ask the questions; you give the answers downtown.
Max Duncan: I'm calling my lawyer.
(An officer cuffs MAX DUNCAN. CATHERINE walks up to the side of MAX DUNCAN'S car and notices the thin film of dust on it. She runs her finger along the car side.)
Catherine: Good idea.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS and CATHERINE question MAX DUNCAN. His lawyer sits next to him.)
Brass: Max ... are you clairvoyant?
Max Duncan: Excuse me?
Catherine: Surveillance tape from the Tower Club Casino. You ducked before there was a reason to cover.
Max Duncan: I saw a g*n; I h*t the ground.
Brass: Okay, let's try this. Why were you leaving town? Trying to b*at a m*rder rap?
Max Duncan: No. I didn't k*ll anyone.
Catherine: You forget about Darin Hanson? Your car was covered with gray dust-
- silica. It places you at the m*rder scene.
Max Duncan: Well, I didn't k*ll him.
Lawyer: (warning) Max ...
Max Duncan: I went there, but ...
Lawyer: I'm advising you not to say another word.
Max Duncan: No, I want to clear this up. All right, I went out to the mine, but I didn't k*ll Darin. He was already d*ad. All right, look, I ... I'll admit I helped him out. I ... I told him when and where to h*t. That's why I ducked. But that's it.
Brass: That's a lot.
Catherine: And it still doesn't explain why you went to see Darin.
Lawyer: Max, that is enough.
Max Duncan: Well, I went to collect my share, but the money was gone. Darin was d*ad, and I panicked, but I didn't sh**t him. You can't get me for m*rder on this.
Brass: When someone is k*lled during the commission of a felony all the conspirators are liable.
Catherine: Darin Hanson sh*t Adam Brower but you might as well have pulled the trigger.
Lawyer: (looks at MAX DUNCAN) Let's make a deal.
Brass: Tell me, who else was involved? Who k*lled Darin?
Max Duncan: Look, Darin was the only one that I spoke to. I never even met the other three.
Brass: Then we got no deal. Officer.
(The OFFICER puts a hand on MAX DUNCAN'S shoulder. MAX DUNCAN and his LAWYER leaves with The OFFICER. BRASS sits down.)
Brass: You know what? I kind of believe him.
Catherine: Yeah, me, too. He confirmed a fourth. Darin plus three. Just like Laughlin.
Brass: So, the last man standing k*lled Darin.
Catherine: And he's still out there ... flush with cash and a .45 caliber.
CUT TO:
[INT. CSI - A/V LAB]
(On screen are photo sh*ts of the robbers from the surveillance video of the Laughlin robbery.)
Archie Johnson: Surveillance stills from the laughlin heist. Four perps; we've identified three: Darin, Tammy and Adam. All deceased.
Grissom: Yeah. All m*rder.
Archie Johnson: That leaves one.
Sara: I.D. the "unknown", good chance we solve both cases: Laughlin and Vegas.
Grissom: Except all we got is a g*n in drag.
Archie Johnson: (smiling) Well, that's why I'm here.
(ARCHIE gets to work on the photos on screen.)
Archie Johnson: I've divided the photo into segments removed the disguise and rebuilt the original image based on male physiological norms. Now, it's not exact but you'll have an idea of what your guy looks like.
(SARA recognizes the man on screen.)
Sara: That's Dustin Bale.
Grissom: The clerk from the convenience store.
Sara: Whoa. Hold on. He was k*lled hours before the tower club heist. In on Laughlin, out on Vegas. So, Darin took him out first. They cleared the register just to make it look like a robbery.
Grissom: But the pit boss said it was Darin plus three.
Sara: Because he knew there were four at the Laughlin heist.
Grissom: Well, maybe he didn't know that the clerk wasn't there. He wasn't counting wigs. He was hiding under a blackjack table.
Sara: And we're back to who k*lled Darin Hanson.
CUT TO:
[INT. CSI - BALLISTICS LAB]
(CATHERINE and NICK walk into the lab.)
Catherine: Bobby D.
Bobby Dawson: Yeah?
Catherine: We need your help.
Bobby Dawson: Another round from the casino heist?
Nick: Indirectly, yeah.
(CATHERINE hands BOBBY the envelope. He takes the b*llet out and looks at it.)
Bobby Dawson: Well, tip didn't blossom. Not a hollow point, so it's not from Darin Hanson's g*n.
Nick: No, it's from his head.
(BOBBY DAWSON looks at NICK, surprised. He weighs the b*llet.)
Bobby Dawson: All right, 230 grains gives us a .45 a*t*matic.
Catherine: What else?
Bobby Dawson: Okay, normally, lands and grooves are highly delineated. (The monitor shows the side of the b*llet.) These are smooth, polished, which means that your projectile was fired from a polygonal barrel. Be right back.
(BOBBY goes into the cage and takes out two g*n samples.)
Bobby Dawson: These are the only types of .45 automatics with polygonal barrels. So, the g*n that fired your b*llet was either a Heckler & Koch USP or a Glock.
(BOBBY looks at the b*llet again.)
Catherine: Narrow it further.
Bobby Dawson: (smiling) Well, that's what I'm doing: Dissecting your b*llet.
Bobby Dawson: Hey, Nick.
Nick: Mm-hmm.
(BOBBY steps back and lets NICK count the stripes on the monitor.)
Bobby Dawson: Count the stripes.
Nick: One, two, three, four, five, six.
Bobby Dawson: Six lands angroves with a right-hand twist.
Nick: Mm-hmm.
Bobby Dawson: Glock's got eight; Heckler and Koch-- six. You got your g*n.
Nick: Let's run A*F.
Bobby Dawson: Pretty unique w*apon. Expensive. Not exactly what you'd buy out of the back of a van.
(He inputs the information into the database.)
Bobby Dawson: Only take a second.
(The printer beeps and prints the results.)
Bobby Dawson: (smiling) See? Can I call it? Only 18 registered in-state. Ten in Clark County; seven of them still in circulation.
(CATHERINE looks at the results.)
Nick: Any names jumping off the page?
Catherine: Just one. It's out of left field. About 75 miles out.
(CATHERINE looks at NICK.)
CUT TO:
[EXT. CLARK COUNTY - NIGHT]
[INT. -- DAY]
(BRASS, GRISSOM and CATHERINE question the State Trooper, OFFICER SPENCER.)
Officer Spencer: You're accusing me of m*rder?
Brass: And absconding with a quarter of mill stolen money.
Catherine: Where did you stash the cash?
Officer Spencer: I'm a state trooper.
Brass: How does a cop hook up with an ex-con like Darin?
Catherine: I can answer that. It's all in a day's work.
(Quick flashback to: OFFICER SPENCER rides in his vehicle and sees the car parked outside the store. He hears the g*n. He gets out of his vehicle and draws his g*n. End of flashback. Resume to present.)
Catherine: A potato sil*ncer muffles a b*llet but won't silence it. You went in your g*n drawn.
(Quick flashback to: OFFICER SPENCER enters the store with his g*n drawn. He sees TAMMY FELTON behind the counter and DARIN HANSON points his g*n at OFFICER SPENCER.)
Darin Hanson: Take it easy, pal.
(End of flashback. Resume to present.)
Catherine: You should have arrested them. But something happened, didn't it? My bet, Tammy made you an offer.
(Quick flashback to: TAMMY FELTON walks around the counter carrying some cash.)
Officer Spencer: Drop the w*apon.
Tammy Felton: Hey, uh, let's be smart about this. You can take us in or we can cut you in.
(End of flashback. Resume to present.)
Catherine: They still had pockets full of cash from the Laughlin job. They offered you a finder's fee.
(Quick flashback to: SPENCER looks at the cash that TAMMY FELTON holds out to him.)
Officer Spencer: This isn't going to do it.
Darin Hanson: It'll hold you over ... till tomorrow.
Tammy Felton: Deal?
(Cut to: TAMMY and DARIN walk across the parking lot toward their car. SPENCER leaves the store and flips the sign over on his way out. The door closes behind him.)
(End of flashback. Resume to present.)
(CATHERINE kneels and looks at SPENCER'S shoes and pants.)
Officer Spencer: What are you doing?
Catherine: You patrol on 97.5 square miles. Is the calnevari mine a part of your jurisdiction?
Officer Spencer: No. I'm east of the mine.
Grissom: But you've been there haven't you?
(Quick flashback to: At the Calnevari mine, OFFICER SPENCER looks at the motorcycle. He draws his g*n and approaches the shed. He opens the shed door and catches DARIN HANSON inside. He aims and sh**t. He closes the door and looks around. He puts his g*n back in his holster and leaves.)
Brass: Where is the cash?
(OFFICER SPENCER doesn't say anything.)
Grissom: Jim, h*t the overhead, will you?
(BRASS turns the lights off.)
Grissom: Silica is a crystal. It reflects the light. Even trace amounts will show up. (chuckles) Huh. How about that?
(GRISSOM follows the silica trail into the hallway and into the locker room. He pushes the door open and follows it to the locker.)
(He opens the locker. OFFICER SPENCER still doesn't say anything. He watches as GRISSOM finds the false bottom on the locker floor. He removes the locker and pulls out the bag with the money inside.)
(SPENCER kneels down.)
Officer Spencer: More than I'd make in a lifetime.
Grissom: Was it worth it?
Officer Spencer: You wouldn't understand.
Catherine: That's right. We make the big bucks.
Officer Spencer: Look -- I was never "that" guy. You know, that guy that wins the jackpots gets promoted, catches the breaks? It was right there.
Brass: Yeah, well, you're still not that guy. Get him out of here.
(The OFFICER escorts SPENCER out of the room.)
Catherine: $250,000 turned a career cop bad.
Grissom: Yeah, well, he had his price.
Catherine: We all do.
(GRISSOM turns to look at CATHERINE. She smiles at him. Camera holds on GRISSOM.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x09 - And Then There Were None"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
[EXT. LAS VEGAS CITY MGM (STOCK) -- NIGHT]
CUT TO:
[EXT. JUST OUTSIDE CASINO - NIGHT]
(A man and a woman walking by sees a young man just outside a casino in distress. They look at each other and decide to try to help him.)
Matthew Orton: You all right?
Vincent Avery: I'm barred. I've got, like, ten thousand dollars in chips and I cannot cash it. Look, if I kept my eye on you two, could you please just go in there and claim my money?
Cindy Orton: Sure, we can do that for you, but you don't have to keep your eye on us ...
Matthew Orton: We're honest people.
Vincent Avery: I'm sure you are, but ... come on. If I'm going to be giving you ten grand in chips, I've just got to know that you're coming back.
Cindy Orton: We could give you a deposit.
Matthew Orton: What kind of deposit?
Vincent Avery: Two thousand dollars ... would give me peace of mind. Tell you what, you two come back and I will give you back your deposit plus another thousand?
CUT TO:
[INT. CASINO - NIGHT]
(The hotel cashier holds up the $500 blue dummy chip and examines it.)
Cashier: I'm sorry sir, I can't cash this for you.
Matthew Orton: What? Why?
Cashier: (he shakes his head) They're worthless.
(The couple run out of the hotel to look for the young man.)
CUT TO:
[EXT. CASINO - NIGHT - CONTINUOUS]
(The couple exit the hotel looking for the man, but he's long gone. They look up and down the strip. There's no sign of him.)
(Sound of a g*n sh*t coming from the parking structure followed by sounds of car tires screeching can be heard.)
CUT TO:
[INT. TROPICANA -- PARKING GARAGE -- NIGHT]
(As they walk toward the crime scene, BRASS fills GRISSOM in.)
Brass: Guy was running one of the oldest scams in Vegas. Would have gotten away with it, to until the getaway driver put a nickel in the guy's jukebox.
(BRASS turns around and indicates the couple talking to DET. SAM VEGA. He's showing the couple an evidence bag. CINDY ORTON nods her head, yes.)
Brass: That's the Ortons from Florida. The, uh, couple ID'd the deceased as the con man.
(They both arrive at the crime scene. GRISSOM puts his CSI kit down and crouches low to get a better look. He notices three hundred dollar bills next to the body.)
Brass: That's the Ortons' money.
(GRISSOM looks up at BRASS.)
Grissom: It's mine now.
(GRISSOM looks around.)
Grissom: Surveillance?
Brass: Not in the garage.
Grissom: Banana skids and fresh blood -- that helps. Oil slick doesn't hurt us either.
Det. Sam Vega: Hey, Jim. Got these from the cage.
(DET. SAM VEGA hands BRASS the evidence bag full of dummy gambling chips.)
Brass: Thanks, Sam. The chip clip. Haven't seen that one in a while.
(He hands the bag to GRISSOM.)
Grissom: Striking resemblance to Judas.
Brass: How's that?
Grissom: Both men lost their lives over a worthless bag of chips.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
[INT. CSI -- HALLWAY]
(GRISSOM maneuvers his way through the hallway traffic while carrying a plastic bottle of cockroaches and a large pexi-glass container. He's also sporting a traveling bag over his shoulder.)
(He passes by GREG'S LAB. GREG is busy at work while punk rock music plays loudly inside. GRISSOM opens the door.)
Grissom: Hey, Sanders, no punk rock.
Greg: What about black flag?
(GRISSOM glances down at his container full of cockroaches.)
Grissom: Are you nuts?
(He closes the door and continues down the hallway. As he hurries to his office, he nearly runs into CATHERINE who just turns the corner in front of him.)
Grissom: Whoa. Careful. Livestock.
(He holds up the container of cockroaches.)
Grissom: Hissing roaches from Madagascar.
Catherine: Sorry.
Grissom: These babies run two and a half miles an hour.
Catherine: I don't doubt that for a minute.
Grissom: Fifth annual entomological convention in Duluth. Cockroach racing finals.
(GRISSOM pushes the door to his office open and walks in. CATHERINE follows.)
Catherine: You're roach racing
Grissom: Actually, I'm giving a tutorial in preserving mass crime scenes. The sideshow is racing these guys.
Catherine: Ah.
Grissom: I mean, to have a chance to run against legendary roaches like Cocky Balboa; The Drain Lover; Priscilla, Queen of the Gutters. It's huge.
Catherine: What do you feed those guys?
Grissom: Dog food.
Catherine: And who's ... supervising night shift?
Grissom: You are.
Catherine: Me? I am on the red-eye to Reno. The Braun Family is opening a new casino. I am Sam's date.
Grissom: That's tonight?
Catherine: I told you once, memo'd you twice.
(CATHERINE sighs. GRISSOM is distracted by the roaches in the container.)
Grissom: Man, these guys are primed.
(CATHERINE leaves the room. On her way out, she reminds him ... )
Catherine: Better get somebody.
CUT TO:
[INT. CSI - LOCKER ROOM]
Warrick: "A" slash? Acting supervisor? What about Nick? He's got seniority. Or Sara -- she'd jump at the chance.
Grissom: If it was about seniority, I'd ask Nick. If I needed someone to stay up for three straight days I'd ask Sara. Instead, I want you.
Warrick: And if I ask why?
Grissom: Your curiosity would be better served on the case.
(GRISSOM hands the assignment sheet to WARRICK.)
Grissom: The sh**ting death of a con man at the Tropicana. Our guys are already there.
(He turns to leave the room.)
Warrick: Hang on! Have you told NICK and SARA about this?
Grissom: No.
(WARRICK sighs. Camera holds on WARRICK.)
CUT TO:
[INT. TROPICANA - PARKING GARAGE - LEVEL 5 -- NIGHT]
(NICK sets up a camera on a tripod. SARA walks around the crime scene looking for evidence.)
(Camera cuts to an oil spot on an oil spill on the ground. Two evidence markers #1 and #3 are coned next to the spill. Cut to NICK snapping a picture of a white strip. Flash to white. Cut to SARA still looking for evidence. She sees something.)
(Cut to NICK moving the tripod over to another spot. He sets up the camera pointing it straight downward over the tire treadmarks. He snaps a picture. Flash to white. He takes another photo of the treadmarks. He moves the tripod over to another spot along the treadmark. He does this several times to get one continuous picture of the treadmark.)
(SARA notices the film container under the car. She kneels in low to get a better look at it. She picks it up.)
(Cut to NICK continues to snap pictures of the treadmark.)
(Cut to SARA notices that there's something inside the film container. She opens it and empties it out into the palm of her gloved hand. Out pours nine pill-sized black capsules. She smells it.)
(WARRICK pulls up to the crime scene in his car. He exits the car and approaches the crime scene.)
Nick: I got one left. Smile. (He snaps the camera.) Lovely.
(SARA sees WARRICK approach. He steps over the crime scene tape.)
Sara: Hey.
Warrick: Hey.
Sara: Nice of you to show up.
Nick: Yeah, we're done here, brother.
Warrick: Yeah, I'm sorry, I got detained. I guess you did a "one-to-one" on these treads already?
Nick: Yeah, I just finished it.
Warrick: Put together an evidence list?
Sara: No.
Warrick: You've got to do it.
Nick: You were late.
Warrick: Ah, I don't think so. I got to go back with the body. Sara, can you get back to the lab and put a rush on this analysis?
Sara: Who died and made you boss?
Warrick: He's not exactly d*ad.
Sara: Grissom gave you shift tonight.
(SARA goes back to the body to finish up.)
Warrick: (to NICK) Anything you want to say?
Nick: Yeah. Good luck.
(NICK snaps the empty camera and it flashes at WARRICK. He leaves. Camera holds on WARRICK.)
CUT TO:
[EXT. LAS VEGAS CITY -- TROPICANA & MGM (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(WARRICK enters the room. He tosses on his scrubs and puts his gloves on.)
Robbins: Get a speeding ticket?
Warrick: Side roads. So ... this is our con artist?
Robbins: Vincent Thomas Avery. I.D.'d him from his prints.
Warrick: Did it tell you anything?
Robbins: No mystery in cause of death. g*n wound to the outer ear.
(Quick CGI POV to the left side of VINCENT AVERY'S head. Camera moves in for a close up of the entry wound. Flash to white. Resume to present.)
Robbins: Left ear at that.
Warrick: Well. Probably when he was getting into the car.
(Quick Flashback to VINCENT AVERY running up to the car. Getting into the front passenger seat.)
Vincent Avery: All right, go, go, go!
(Cut to close up of a shadowed figure holding the g*n to VINCENT AVERY'S head (left side). Flash to white. Resume to WARRICK.)
Warrick: He knew the driver.
Robbins: Soot depiction on the skin surrounding the entry wound tells the story.
(Quick CGI POV of the left side of VA's outer ear. Camera moves in closer, through the outer ear, into the ear, following the path of the b*llet. The b*llet stops. Flash to white. Resume to ROBBINS.)
Robbins: (V.O.) b*llet entered the external auditory meatus fracturing the skull base. Cracked the hardest bone of the skull.
Warrick: You got any pictures of that?
Robbins: Hot off the fluoroscope. Haven't had the pleasure yet.
(ROBBINS holds up the film. They both see the location of the b*llet.)
Warrick: Whoa.
Robbins: There is your b*llet. Deformed projectile in the right side of the calvarium.
Warrick: Can you fish that out for me?
Robbins: You bet.
(WARRICK glances at the other x-ray film. He sees something.)
Warrick: Wait a minute.
(WARRICK walks over to the light board and snaps the film in place. Several small balloon-shaped figures show on the film.)
Warrick: There's something in his stomach.
SHORT TIME CUT TO:
(ROBBINS starts the Y-incision and opens the chest to extract the stomach contents.)
(Quick CGI POV from inside the stomach looking up and out at both WARRICK and ROBBINS. The camera swings around inside the stomach to show several small white balloon-like capsules coated with green goo. One white balloon is ruptured. The forceps extracts the ruptured white balloon. End CGI POV.)
(ROBBINS holds up the white balloon.)
Robbins: Something tells me, this isn't filled with white sugar.
Warrick: How many more are there?
Robbins: I'd say about 50 balloons. Green dye you see here is probably from lime flavored gelatin. Makes them much easier to swallow.
Warrick: He's a mule. Why is a guy tr*ffick in big-pay drugs wasting his time on some nickel-and-dime chip scam?
CUT TO:
[INT CSI -- LAB]
(NICK is using a magifying glass to examine the developed photos of the tire treadmarks from the garage. BRASS walks in.)
Brass: Hey, I got the horsepower on your Vic. Vincent Avery. Age 28, con man out of Atlantic City. Got enough petty thefts and grand larcenies on his record to choke a hippo.
Nick: Hey, Jim ... what do you make of that void? Nail?
Brass: Either that or a spot on your lens.
Nick: Don't say that.
CUT TO:
[INT. CSI -- LAB]
(GREG carefully puts a black powder from a mortar into a test tube. SARA walks in.)
Sara: Hey. Are you baking a cake? What's the hold up on my pills?
Greg: Process. Just because you got passed over, don't take it out on me.
Sara: He didn't pass me over.
Greg: Really? What would you call it, then?
Sara: Grissom.
Greg: Ah.
(GREG puts a sample on the card. Sample A is placed ON THE SPECTRATECH CARD (PTFE) then placed in the machine. It's closed, then processed.)
(Quick CGI POV of blue light passing through the sample for analysis. End of CGI POV.)
(The following results show on screen:
COAL [b289372] with short write-up and chemical break-down on the bottom. )
Greg: (reading) Coal.
(Cut back to computer screen.)
WOOD [wo83.20982] with short write-up and chemical break-down on the bottom.
Greg: (reading) Wood.
(Cut to computer screen.)
COCONUT SHELLS [cpd_93-049-023]
Greg: And ... coconut shells.
Sara: Activated carbon. Activated charcoal pills. Best antacid in the world. Coats the stomach and absorbs all impurities.
(WARRICK enters the lab.)
Warrick: It's great if you're a mule transporting drugs into the states.
Sara: Our con man's a mule?
Warrick: We found balloons of cocaine in his stomach cavity.
(Quick CGI POV of a see-through x-ray like skeleton swallowing several balloon-shaped items. It goes down its throat and into the stomach where a white cloud of gastric acid fills the stomach. End of CGI POV.)
Sara: Without the pills, one bite of a chocolate bar would produce enough gastric acid in his stomach to eat away the balloon. Causing him to O.D.
Warrick: Then he went out and got sh*t.
Sara: Speaking of which I found airline stubs in Avery's shirt.
Warrick: What?
Sara: Vincent Avery was four-A, Ellie Rebecca was four-B. Strange, right, using two first names?
Warrick: No, what's strange is going into the evidence locker after post and not finding anything left.
Sara: Hey, don't make me feel bad for doing my job.
Warrick: If it was your job, you couldn't feel bad.
Greg: Well, I think I hear some coffee perking.
(GREG stands up and leaves the room.)
Sara: What do you want from me? I'm working the case, the case is hot.
Warrick: It's my case. Tonight, I'm the primary. I have to process it. If you have a problem with that, you can clock out now. Am I clear?
Sara: Clear.
(SARA nods and leaves the room.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK dusts the airline ticket boarding pass stub for prints. He finds one. The boarding pass stub has the following information on it: )
MONUMENT AIRLINES BOARDING PASS REBECCA, ELLIE
(He lifts the print and scans it into the computer. He does a database search on it.)
(He types in: )
REF#42_23: VINCENT THOMAS AVERY. (ON LEFT SCREEN)
(On the right screen, it returns: )
REF#33_A: ELLIE REBECCA BRASS
Warrick: It couldn't be.
CUT TO:
[EXT. POLICE DEPARTMENT - PARKING LOT - NIGHT]
(BRASS gets out of his car and starts making his way across the parking lot to the police department. WARRICK emerges from the building. He's carrying a file and meets up with BRASS.)
Warrick: Hey.
Brass: Hey.
Warrick: You have a daughter?
Brass: Where you going with this?
Warrick: Her prints came up on airline stubs relating to tonight's homicide.
Brass: Well, there's got to be more than one Ellie Brass in the world.
Warrick: Ellie Rebecca Brass. DOB 9/24/82. Essex County, New Jersey. Last known address 554 Applegate Way.
(BRASS grabs the file from WARRICK and closes it.)
Brass: Okay, you told me.
Warrick: Well, I've got to bring her in. You know that.
Brass: PD brings in suspects. I'll put Vega on it.
(BRASS starts to walk toward the building.)
Warrick: You're hands off.
(BRASS turns around.)
Brass: Of course.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERROGATION ROOM]
(DET. SAM VEGA accompanies ELLIE REBECCA BRASS along the hallway toward the interrogation room. WARRICK is there waiting for them.)
Warrick: Just go right in here.
(DET. SAM VEGA opens the interrogation room door and holds it open for ELLIE BRASS. They are all just about to enter the room when BRASS rounds the corner. He sees ELLIE BRASS. ELLIE BRASS turns and sees him.)
(He stands some distance away from them. She smiles and approaches him. When she reaches him, she stands there a moment, then spits on his badge.)
(WARRICK starts to move toward them. DET. SAM VEGA stops him. BRASS holds up a hand.)
Brass: I'm fine. I'm fine.
(He looks back down at his daughter.)
Brass: (softly) So, we're going to pick up right where we left off huh, Ellie?
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- LAB]
(SARA sits at the table with rows of hundred dollar bills in front of her. RONNIE LITRE walks in carrying a box. He sets it down on the table.)
Ronnie Litre: You still documenting the money from the con man?
Sara: Every serial number -- evidence. (she sits up) Did you know that ninety-seven percent (97%) of all hundred dollar ($100) bills have traces of cocaine on them?
Ronnie Litre: I was the one that told you that.
Sara: Oh, yeah.
(SARA laughs. She turns back to the money.)
Sara: Hey, Ronnie you know what the intaglio script is.
Ronnie Litre: Engraving on Ben Franklin's collar?
Sara: I don't see it on this bill. Do you?
(RONNIE LITRE looks through the magnifying glass.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Ellie Brass: Everyone I sleep with dies.
(ELLIE BRASS looks down at the photographs of VINCENT AVERY on the parking lot ground.)
Warrick: Excuse me?
Ellie Brass: I slept with this sailor once when I was fourteen. He died overseas somewhere.
Det. Sam Vega: What was your relationship to Vincent Avery?
Ellie Brass: There was no relationship. I barely knew him.
Det. Sam Vega: You knew him enough to fly to Baja with him.
Ellie Brass: He invited me for the weekend. I figured as long as he didn't chop me up I'd have some fun.
(ELLIE BRASS reaches into her bag and pulls out a cigarette pack.)
Ellie Brass: Mind if I smoke?
(She hits the pack intending to extract a cigarette. Instead, a single blue $500 dummy chip falls out onto the table.)
Warrick: Yeah.
Det. Sam Vega: Plain sight.
(Using his pen, WARRICK pulls the chip in front of him.)
Warrick: It's a dummy chip. No casino logo.
Det. Sam Vega: Exactly the same kind of chips Vincent Avery used to scam the casinos.
(SAM VEGA looks at ELLIE BRASS.)
Det. Sam Vega: Before he got sh*t.
Warrick: So, you two fly down to Baja, pose as a married couple brought back home a stomach load of blow and then you run chip scams? Who's taking your drug profits?
Ellie Brass: Man, I wish I knew what you were talking about.
Det. Sam Vega: Someone catch you and Vincent working on the side? sh**t him?
Ellie Brass: I wasn't even there.
Det. Sam Vega: Where were you?
Ellie Brass: Home. In the bathroom.
Warrick: Yeah, she was passing pellets of cocaine.
Ellie Brass: I'm out of here.
(ELLIE BRASS stands and heads toward the door. DET. SAM VEGA also stands and stops her.)
Det. Sam Vega: Sit down.
(ELLIE BRASS moves back to the table and sits down.)
Det. Sam Vega: Thank you.
Warrick: With your permission, we need to take some x-rays.
Ellie Brass: As long as you're the one doing them.
Det. Sam Vega: We'd also like to take a look at your car.
Ellie Brass: I lent it to my boyfriend.
Warrick: And what is his name?
Ellie Brass: You know, you have this whole Lenny Kravitz thing going on. I'm not one for brothers, but ... damn.
Warrick: His name.
(She smiles.)
Ellie Brass: Keith Driscoll.
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
Brass: Now you're telling me to get involved.
Warrick: You were behind the glass. This evidence against your daughter doesn't look good.
Brass: Hey, listen, nothing places her at the m*rder.
Warrick: She mules drugs for a guy who ends up d*ad ten hours later? A BS chip scam, a lousy alibi?
Brass: Vega's on it, he'll find her boyfriend and if I know my daughter, that's your sh**t.
(BRASS starts on down the hallway and stops when WARRICK calls to him.)
Warrick: Brass. It's a big city. Boyfriend could disappear. But, hey, it's your kid.
(WARRICK leaves. Camera holds on BRASS.)
CUT TO:
[INT. CSI -- LAB]
(SARA is looking at the bills through the microscope. RONNIE LITRE stands next to her.)
Ronnie Litre: Left scope is a government- issued $100 bill. Right scope is the money from your tourists. Scope confirms what you saw with the naked eye.
Sara: On a genuine bill, the words "United States of America" are written on the border of Ben Franklin's portrait. On the Ortons' bill the intaglio script is blacked out.
(Camera view through the microscope of both the genuine bill, then cut to the Orton's bill with the intaglio script smudged. Resume to present.)
Ronnie Litre: It's called microprinting. A little trick treasury uses to thwart photocopying a U.S. bill.
Sara: What about pigmentation? Treasury seals and serial numbers are the same color, right?
Ronnie Litre: They are ... on the bill on your left.
(Camera close up of two hundred dollar bills side-by-side. The bill on the left #B3915497L. The bill on the right is B471152 ... The bill on the right doesn't hold the green pigmentation.)
Ronnie Litre: No printer on the market can make a true green. Blue and yellow hues always bleed in. Our monetary system depends on it.
Sara: Who do we notify? Treasury?
Ronnie Litre: Secret Service branch. They've got a field office in Vegas.
Sara: I'll put these back in the evidence room.
(SARA puts the counterfeit bills back in the evidence bag.)
Sara: Wait till the Ortons find out what we do with counterfeit money.
CUT TO:
[INT. CSI - X-RAY ROOM]
(ELLIE BRASS has a chest x-ray taken. CGI superimposes a skeletal frame on her bare back to give us a glimpse inside.)
FADE INTO:
[INT. CSI -- LAB]
(X-ray film on the vertical light board. There's no evidence of drugs inside ELLIE BRASS.)
X-ray Technician: Nothing.
Ellie Brass: Told you I was clean.
Warrick: So you gave up your drugs to your boss, huh?
Ellie Brass: Boss?
Warrick: Do you realize every time you ingest one of those pellets that you risk dying from an overdose?
Ellie Brass: Only if I eat. Releases gastric acids, blah, blah, blah...
Warrick: So you can just not eat?
Ellie Brass: Well, you see, the thing with me is I'm mind over matter. I can imagine a hamburger, and I'm full. Will you fill me up, Warrick?
(Camera holds on WARRICK.)
CUT TO:
[INT. CSI - LAB]
Warrick: I don't think I can handle this. I got to call Grissom.
(WARRICK pulls out his cell phone and turns it on. NICK stops him.)
Nick: Then call him.
Warrick: But?
Nick: I didn't say anything.
Warrick: I heard it, bro -- a "but" in there.
Nick: You know how Grissom is. If you ask him for the keys to the car he's going to ask you if you've done your homework.
Warrick: Yeah, that's what I was thinking.
Nick: It's like a multiple choice question. You know? Go with your first choice.
Warrick: Sack up.
Nick: Sack up.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAYLIGHT]
[INT. BRASS CAR]
(BRASS is driving. He punches in some information on the ElectroCom Communication Systems L.P. monitor. The following information returns: )
LICENSE NO: QLF 084
YR: 1976
TYPE: CAMARO
VEHICLE REGISTERED TO:
ELLIE REBECCA BRASS
(A cell phone rings. BRASS answers it.)
INTERCUT WITH:
[EXT. PARKING LOT - DAY]
Brass: (over phone) So, what, did Warrick tell you to call me?
Catherine: Do you think you're the only friend I've got in the police department? I'm just telling you, be careful.
(CATHERINE opens her car door.)
Brass: What am I supposed to do? Hold my breath and count to ten?
Catherine: Hey, look, we all get a little crazy when our kids are involved.
Brass: Look. I go on the job, it's standard police work. Enjoy Reno. I got this.
Catherine: Okay. Hey, but listen. If you find the boyfriend, don't go it alone.
(Suddenly, a red camaro pulls up in front of BRASS. It's tires squealing. BRASS notices the license plate: NEV 428 RQV and registration 3/2002. BRASS begins to pursue the car.)
Brass: (to CATHERINE) Don't worry, I won't.
(He hangs up. He picks up his police radio and calls it in.)
Brass: (to radio) Dispatch, Navaho 41 niner seven. In pursuit of a '78 red camaro. Suspect wanted for questioning.
(A car chase ensues. BRASS' black car, license # 29979 chases the red camaro. The red camaro does a 180 then manages to turn off into a deserted site. BRASS catches up with the red camaro as it comes to a halt.)
CUT TO:
[EXT. CONSTRUCTION LOT -- DAY]
(BRASS exits the car. He swings and breaks the driver side window and opens the door. He grabs the driver and looks in the car at the passenger.)
Brass: Which one's Keith Driscoll?
Hitchhiker (Marty Gillmore): I was just hitchhiking. I told the guy to let me out. I begged him.
Brass: Get lost.
(The Hitchhiker opens his door, unbuckles his seat belt and runs out of the car.)
(BRASS pulls the driver out of the car and holds him against he car.)
Keith Driscoll: Easy man.
Brass: I'm only going to ask you once. What are you and Ellie into?
Keith Driscoll: What do you mean?
Brass: You got her muling in drugs from Mexico. You got her mixed up in homicide over at the ...
Keith Driscoll: No, you got it backwards, man. She turned me on to coke so I could stud for her.
(BRASS pulls out his w*apon. Sirens can be heard in the distance. Three cop cars approach the two cars.)
Keith Driscoll: Hey, you can't just sh**t me, man.
(BRASS reholsters his w*apon and takes a step back. DET. SAM VEGA emerges from his car - license #574-6ZI.)
CUT TO:
Det. Sam Vega: Brass! Yo, Jim we got it.
Brass: Everything's cool.
Keith Driscoll: Hey, this guy was going to k*ll me, man. He pulled his g*n.
Det. Sam Vega: (interrupting) I'm sure the officer felt his life was in imminent danger, sir. We're detaining you for questioning related to the m*rder of Vincent Avery.
Keith Driscoll: I'm not riding with him.
Det. Sam Vega: You're right. You're not.
(DET. SAM VEGA walks past BRASS. Their eyes meet. Camera holds on BRASS.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[EXT. HOTEL POOLSIDE -- DAY]
Matthew Orton: What do you mean, you can't give it back? That's all the money we have for our vacation.
Sara: Well, it's counterfeit. We have to take it out of circulation.
Cindy Orton: What?
Sara: Mr. Orton, you don't look so surprised.
Cindy Orton: Matt? Honey?
Matthew Orton: I went to the gas station. The attendant told me the hundred I gave him was phony so I went to our branch bank here and I tried to exchange the bad money for the good but they said we couldn't do it. I mean, why would anybody turn in bad money if they can't get reimbursed for it?
Sara: Because it's in violation of Title 18, Section 473 of the United States Code punishable by up to fifteen years for knowingly passing on bad money.
Cindy Orton: Oh, my! God.
Matthew Orton: I just didn't want to get stuck holding the bag.
Sara: Do you have a $20 bill?
Cindy Orton: No, our wallets are up in the room.
Sara: Uh, I may have something. You see that ghost? Right there on the right?
(SARA fishes out a $20 bill #BC66600758B. She holds it up to the light.)
Cindy Orton: Oh, yeah.
Sara: Government embeds them in all bills. Protects against forgeries. You should see Lincoln on the five; he looks really stressed out.
(SARA hands the bill to MATTHEW ORTON who takes a look at it also.)
Matthew Orton: Wish I had met you last week.
Sara: A Special Agent from Secret Service is going to want to talk to you about the final disposition of this case.
(CINDY ORTON and MATTHEW ORTON look at each other.)
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
(While walking down the hallway, WARRICK drops off a file at the main desk. He's stopped by a man waiting at the counter.)
Special Agent Beckman: Warrick Brown? Special Agent Beckman, Treasury Department. You're subbing in tonight, right?
Warrick: Treasury department?
Special Agent Beckman: Wanted to be sure CSI's on the same page on this counterfeit case.
Warrick: Counterfeit?
Special Agent Beckman: Our lab's going to want to analyze that money, too.
Warrick: What money?
(SARA approaches the group.)
Sara: You were with Brass's daughter. I didn't want to interrupt you.
Warrick: On a federal case?
Sara: Agent Beckman? I'm Sara Sidle. We spoke on the phone. Could you excuse us for a minute?
(SARA and WARRICK move to the side. SPECIAL AGENT BECKMAN gives them some privacy.)
Sara: Warrick ...
(NICK meets up with them.)
Nick: You got to turn on your pager. I got Brass' daughter's car in the garage.
Warrick: Hold up. I'm dealing with something.
Sara: This is why I didn't bring this to you.
Nick: Hey, Vega says we won't be able to hold the suspect more than half an hour.
(SPECIAL AGENT BECKMAN interrupts the group.)
Special Agent Beckman: Did Sidle hold back information on this money?
Sara: I didn't not tell him. I ran with the case. I do it with Grissom all the time.
Warrick: Well, I'm not Grissom!
Nick: Guys ...
Sara: I didn't say it.
Warrick: Sara, brief Special Agent Beckman on the funny money. Nick, the garage.
(WARRICK leaves the group. NICK looks at SARA.)
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Music fades up.)
Lyric:
["Time Has Come Today", by W. Chambers / J. Chambers]
"Time has come today / Young hearts can go their way / Can't put it off another day / I don't care what others say / They say we don't listen anyway / Time has come today / hey / oh / The rules have changed today / hey / I have no place to stay / hey / Thinking about the subway / hey / My love has flown away / hey / My tears have come and gone / Oh, my Lord, I have to run / hey / I have no home / hey / I have no home / hey ... "
(NICK and WARRICK work on getting the car (NEV license #428 RQV) tires printed. They grease the tires.)
(Cut to WARRICK measuring the diameter of the tire. Cut to them cutting the paper. Cut to the paper being slid under the car. Cut to the tires being marked. Cut to the car being lowered onto the paper. Cut to them rolling the car forward. Cut to them putting black powder on the paper.)
(They examine the car tire print. NICK notices the void.)
Nick: Tire plug. That's a nail in sheep's clothing.
(NICK hands a photo to WARRICK for comparison. He himself picks up a photo for comparison.)
Nick: Treads from the crime scene.
(NICK compares the void in the photo to the void on the tire print.)
Nick: The void on the one-to-one matches the void on Ellie's left rear tire. Siamese twins.
Warrick: Proves one thing. This was the getaway car used in the m*rder.
Nick: Yeah.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(Two tire print photos are placed on the table. There is an additional woman there, KEITH DRISCOLL'S LAWYER. She picks up the photographs to examine.)
Warrick: We printed the vehicle your client was found driving. It puts the car at the scene of Vincent Avery's m*rder less than twelve hours ago.
Lawyer: Come off it. The car's not even registered to him.
Det. Sam Vega: Right. It's registered to the girl he bought tickets to Baja for.
Warrick: Bought tickets for Victor Avery as well.
Det. Sam Vega: Tickets were bought with your credit card but we have no proof he ever went down there.
Lawyer: He's a generous guy.
Det. Sam Vega: Till Avery made him mad.
Lawyer: You want to talk out the g*n your captain pulled on my client -- an unarmed man? That's got P.D. brutality written all over it.
Warrick: Vega?
Det. Sam Vega: Safety precaution only. We're done.
Lawyer: Let's go.
(KEITH DRISCOLL stands and leaves. WARRICK and DET. SAM VEGA look at each other.)
CUT TO:
[INT. CSI - EVIDENCE VAULT]
Special Agent Beckman: They don't have any money in their bathing suits so you suspect them of a high-end counterfeit operation.
Sara: No, but it did get me thinking. If something doesn't feel right it probably isn't. Take a look. This is the money we got from the con man. See the serial numbers? Each one is different.
(White flash close up to the serial numbers on the bills: AB84954856G ... AB33915497L ... AB58365105R ... AB49705903A ... AB66465742I ... AB23494506R ... AB48302606X ... AB47063492G. White flash to present.)
Special Agent Beckman: Just like real money.
Sara: That's what threw Ronnie and I off the scent. This couple didn't make one bill and run off 100 copies with the same serial number.
(Quick Flash to a single hundred dollar bill #AE49705903A(E5) being photocopied. Resume on SARA.)
Sara: They had to burn separate plates for each serial number.
(Quick Flash to a single hundred dollar bill without serial number having the following serial nos. lasered into it: AB49705903A ... AB66465742I ... AB58365105R ... Resume to present.)
Sara: Much harder to catch.
Special Agent Beckman: Very high-end. The Duffys are major counterfeiters.
Sara: You mean the Ortons.
Special Agent Beckman: Our investigators tell me they're the Duffys from Las Vegas County. Orton's their assumed names.
Sara: How long have you known that?
Special Agent Beckman: As soon as you phoned me I went on a T-Department Database. They've each done time for interstate fraud. And, yes, high-end counterfeiting.
Sara: You federal guys are sneaky.
Special Agent Beckman: Access. So, what do you want to do with the money?
Sara: It's your money now. Well, the Treasury's.
Special Agent Beckman: Thanks. I'll take it from here. Find their operation and shut it down.
(SPECIAL AGENT BECKMAN gathers up the bills and starts to leave the room. He turns around when SARA protests.)
Sara: Hey! I'm still part of this.
Special Agent Beckman: Not really. But you're making me look good to my superiors so if you want to tag along ...
Sara: I don't "tag" along.
Special Agent Beckman: Suit yourself.
CUT TO:
Warrick: (V.O.) We got bad news from the garage.
[INT. POLICE DEPARTMENT -- HALLWAY]
(WARRICK and BRASS walk down the hallway.)
Brass: Give it to me.
Warrick: The tire evidence puts Ellie's car at the m*rder scene. We'll be pressing charges, m*rder of Vincent Avery.
Brass: Oh, come on -- you know she didn't k*ll him. Keith Driscoll did.
Warrick: Maybe so, but we don't have Driscoll.
Brass: What?
Warrick: Vega had to turn him loose after your g*n episode.
Brass: Oh, I get it. So Vega thinks she'll eventually rat out Driscoll.
Warrick: That's what you cops think.
Brass: Yeah, well, let me tell you something about my daughter.
(They stop walking. BRASS turns to WARRICK.)
Brass: Never happened.
(BRASS leaves. Camera holds on WARRICK.)
CUT TO:
[INT. POLICE DEPARTMENT -- BRASS' OFFICE - CONTINUOUS]
(ELLIE BRASS stands by the shelf. She fingers one of the numerous awards. BRASS walks in. She turns around.)
Ellie Brass: Are they arresting me?
Brass: I'm going to bail you out. You can stay at my place.
Ellie Brass: I have a place.
Brass: You have a place?
Ellie Brass: Keith and I do. We share everything.
(BRASS signs and moves around the desk to stand in front of ELLIE.)
Brass: Ellie, why do you do this to yourself? You're better than that. You're better than him.
Ellie Brass: No, I'm not.
(Camera holds on BRASS.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(WARRICK is alone in Grissom's office. He's going through the file when the phone rings.)
Warrick: (to phone) Grissom's office. CSI ... Warrick speaking.
Det. Sam Vega: Warrick. It's Vega. We've got a four-forty-four.
Warrick: Officer-involved sh**ting? Who?
Det. Sam Vega: One guess.
(WARRICK hangs the phone up and leaves.)
CUT TO:
[EXT. DRISCOLL RESIDENCE -- NIGHT]
(Police officers and an ambulance is there. BRASS is sitting alone on the low brick fence. He's holding an ice pack to the back of his head. Behind him, the coroner wheels out a bagged body on a gurney. It's KEITH DRISCOLL.)
(ECKLIE follows the body out. WARRICK and NICK arrive at the scene.)
Ecklie: Congratulations, Brown. You just bounced off the glass ceiling.
Warrick: Excuse me?
Ecklie: Brass buys his daughter a get out of jail free card and her boyfriend ends up on a gurney. Good call.
Warrick: Ecklie, you're day shift. And you're here because ...
Ecklie: I'm dedicated.
Warrick: Yeah, picture that.
(WARRICK and NICK pass ECKLIE. They're met up by DET. SAM VEGA who fills them in.)
Warrick: What the hell happened?
Det Sam Vega: Keith Driscoll sh*t in the throat. First officer here found Brass in the apartment, woozy. Keith Driscoll on the floor, lights out.
Nick: Where's his daughter?
Det. Sam Vega: No one knows. I got guys out looking for her right now.
Nick: Check his w*apon?
Det. Sam Vega: Waiting on you guys.
(DET. SAM VEGA holds out the g*n. NICK puts his case down and takes the w*apon. He pauses and looks up at WARRICK. NICK gives the g*n to WARRICK. WARRICK releases the cartridge and hands the g*n to NICK. WARRICK counts the rounds. NICK hands him the b*llet from the chamber. Fifteen total.)
Warrick: There's one round missing.
(They all turn to look over at BRASS.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Det Sam Vega: It's just you and me talking now, Jim. Off the record. You went to the apartment?
Brass: Yeah.
Det Sam Vega: You notify dispatch?
Brass: It was a personal visit.
Det. Sam Vega: You went looking for Keith Driscoll?
Brass: No. I went looking for Ellie.
(Quick flashback to KEITH DRISCOLL opening the front door and BRASS pinning him up against the wall.)
Brass: Where is she?!
Driscoll: She's not here, man! Hey, you got a warrant?
(BRASS tosses him to the sofa.)
(BRASS leaves KEITH DRISCOLL to look in the back room. KEITH DRISCOLL knocks BRASS out with a baseball bat. BRASS falls to the floor. Flash to white. Resume to present.)
Brass: Everything's a blur after that.
Det Sam Vega: Do you remember drawing your g*n?
Brass: No.
Det Sam Vega: But you're leaving something out.
(Quick flashback to KEITH DRISCOLL on the sofa.)
Driscoll: Hey, you got a warrant?!
(BRASS ignores KEITH DRISCOLL and goes to look in the back room. KEITH DRISCOLL grabs the baseball bat and gets off of the sofa. BRASS pushes the beads aside.)
Brass: Ellie, are you here?
(KEITH DRISCOLL hits BRASS with the baseball bat on the back of his head. BRASS falls to the floor unconscious. End of flashback.)
Brass: I'm not leaving anything out.
Det. Sam Vega: Your daughter lives there. She probably saw what happened. We're going to pick her up eventually.
Brass: Careful, she spits.
(BRASS puts the ice pack back to the back of his head.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK swabs the g*n handle. NICK stands next to the table.)
Nick: One sh*t?
Warrick: Fifteen b*ll*ts left in brass's g*n. There should be sixteen.
Nick: What kind of cop doesn't empty his magazine? They're trained to sh**t to k*ll.
(NICK slowly walks out of the lab. WARRICK stops him.)
Warrick: Hey. Look where I just located this blood? Back of the grip.
Nick: Novice sh**t get their hands pinched in the slide.
(Quick CGI POV of the g*n f*ring and the slide leaving blood behind. End of CGI POV.)
Warrick: Slide bite. Man, Brass didn't sh**t this guy.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Warrick: I need you to show me your hands.
Brass: You going to test for g*n residue? It's a little late for that.
Warrick: Your hands, Captain.
(BRASS holds out his hands. WARRICK checks BRASS' right hand. He steps back.)
Brass: Satisfied?
Warrick: I'm going to need to take your badge.
Brass: It not your job to take my stripes. In this case it is.
Warrick: Detective Vega.
(BRASS holds up his hand.)
Brass: No.
(BRASS pulls out his badge and places it on the table. WARRICK puts it in an envelope.)
CUT TO:
[INT. THE ORTONS'/DUFFYS' PRESS ROOM -- NIGHT]
Sara: AB Dick forty-nine ten (4910). Eleven by fourteen (11x14) offsets this is the Rolls Royce of printers. Closest thing to what the government uses. Multiple inks. Disaperf computer paper.
Special Agent Beckman: Heavy rag. Twenty-five percent (25%) content. Makes for durability.
Sara: Mr. Duffy, can Agent Beckman and I see your burn plates please.
(MATTHEW ORTON/DUFFY goes to the printer to get the burn plate. He hands it to SARA.)
Sara: Press, ink, paper, burn plates ... the only question now is ... where's the money? Mr. and Mrs. Duffy?
Cindy Orton (Duffy): There isn't any.
Sara: Oh, come on. You can print a million dollars a day with this operation. Where is it?
Special Agent Beckman: There is no money.
Sara: Excuse me? I don't get this. Beckman ...
Special Agent Beckman: Congratulations, Sidle. You passed.
Sara: Passed?
Special Agent Beckman: Duffy is their code alias. This is Special Agent Conners. This is Special Agent Tessari. We're all with service. Quality control.
Sara: I don't ...
Special Agent Beckman: We put bait money in the hands of bad people. In this case, a reputed con. Our directive is to see how the money leads to law enforcement.
Sara: What if Vincent Avery wasn't m*rder in that parking lot?
Special Agent Tessari (Cindy Orton/Duffy): m*rder wasn't on the agenda.
Special Agent Beckman: However, in light of unpredictable events this sting still upheld. It came to you, Sidle, and you didn't take. You should be very proud.
Sara: Wow. I don't feel that at all.
Special Agent Beckman: It never feels right when it works. Only feels wrong when it doesn't.
CUT TO:
[INT. CSI - DNA LAB -- NIGHT]
Greg: First, I have the saliva sample taken from captain Brass's badge. Better known as Ellie's DNA. Take a good look at her markers. Second, blood sample from Jim Brass.
Warrick: They're nothing alike.
Greg: From parent to child seven of thirteen markers should match up minimum. In this case there's not a single marker in common. I don't have Ellie's mother's DNA on file but my guess is ...
Warrick: What, is she adopted?
(WARRICK sighs.)
Warrick: What about the blood on Brass's g*n?
Greg: Not Brass's, not Ellie's.
Warrick: Not Ellie's?
Greg: No, or her boyfriend Keith Driscoll. You still got a sh**t out there.
Warrick: With a pinch on his hand. All right. Where's that manifest?
CUT TO:
[INT. CSI]
(WARRICK goes through the manifest matching credit card numbers to names.)
MANIFEST:
PASSENGER NAME / SEAT ASSIGNMENT TREASDEN, ALICE / 1A SHELTON, CARRIE / 1B MC MANUS, BARON / 1C GLOVER, JANE / 1D LADD, FRED / 1E GRIMSAW, LANA / 2A GRIMSHAW, LANEY / 2B WHITING, LARRY / 2C VALPO, NICK / 2D HANSON, DALLAS / 2E REYES, MARIA / 3A CONNORS, TYRONE / 3B / CREDIT CARD / 5479 ... CONNORS, TYRELL / 3C / CASH ANDERSON, LUCY / 3D / CHECK / 83398
WHITING, NANCY / 3E / CASH AVERY, VINCENT / 4A / CC / 5412 4023 8092 2034
REBECCA, ELLIE / 4B / CC / 5412 4023 8092 2034
BENNETT, MEL / 4C / CHECK PACQUETTE, DAVID / 4D / CHECK
(WARRICK finds VINCENT AVERY'S name and also the credit card number.)
Warrick: Vincent Avery ...
(He flips to page two of the manifest.)
PAGE 2 OF MANIFEST
??? / 9C / CREDIT CARD / 5439 3939 3839 383
TRUMAN, SIDNEY / 9D / CASH / ***
FRAM, KIMBERLY / 10A / CHECK / 9727
ARAGON, SHERYL / 10B / CHECK / 9727
BENNETT, MARK / 10D / CASH / ***
LAMBERT, ERIC / 11A / CHECK / 1425
ZIEGLAR, TAYLOR / 11C / CASH / ***
GILLMORE MARTY / 11D / CREDIT CARD / 5412 4023 8092 2034
BELL, DUSTIN / 12A / CASH / ***
HOLOWELL, JAMES / BLANK / CREDIT CARD / 5429 3839 ... NEWSOME, BERRY / 12C / CREDIT CARD / 5428 ... ARRINGTON, THOMAS / 12D / CREDIT CARD /
ROCKWELL, AL / 13A / CHECK /
MC FEE, WILLESTSA / 13B / CHECK /
DOYLE, JAMES / 13D /
Warrick: Two-zero-three-four ... two-zero-three-four...
(WARRICK finds a match to the credit card number. He puts an "X" by "GILLMORE, MARTY'S" name.)
Warrick: Marty Gillmore.
CUT TO:
[EXT. MARTY GILLMORE'S RESIDENCE -- NIGHT]
(MARTY GILLMORE is on his bike. He's starting the engine when two cop cars pulls up the drive to block his exit.)
Brass: Hold it. Hold it.
Warrick: Game's over, Marty.
Brass: The hitchhiker.
Warrick: You know this guy?
Brass: Yeah, we met. When the three of you got back from Baja.
Warrick: You conned the captain. I got to shake your hand.
(WARRICK holds out his hand.)
Marty Gillmore: What? Is this a joke?
Warrick: No, on the real.
(MARTY GILLMORE takes WARRICK'S outstretched hand. WARRICK flips it over to check for the slide bite. There is one.)
Warrick: You sh*t Driscoll ... ...with his firearm.
Brass: That was you in the other room.
(Quick flashback to MARTY DRISCOLL coming out of the room after BRASS is unconscious on the floor. )
Keith Driscoll: I think I k*lled him.
(MARTY GILLMORE checks BRASS' pulse and takes his g*n at the same time.)
Marty Gillmore: Wrong ... he k*lled you.
(He turns around and fires at KEITH DRISCOLL. Camera close up on the g*n slide cutting MARTY GILLMORE'S hand. MARTY puts the g*n back in BRASS' grip as KEITH DRISCOLL falls to the floor d*ad. MARTY GILLMORE leaves the room. Flash to white. End of flashback. Resume on WARRICK.)
Warrick: So you off'ed Driscoll to take over his drug op. What about Ellie?
(MARTY GILLMORE doubles over.)
Marty Gillmore: She's supposed to be in jail for sh**ting Avery at the casino.
Warrick: You eat something?
Marty Gilmore: I took a laxative.
Warrick: Oh, god, he's going to OD. Can we get a medic?
(BRASS doesn't move. WARRICK looks at BRASS.)
Warrick: Can we get a medic?
(BRASS still doesn't move.)
Warrick: Brass?!
(BRASS pulls out his cell phone and makes the call.)
Brass: (to phone) I need rescue. 826 Herrick Lane. Overdose. Send an ambulance.
Marty Gillmore: Oh, my god, I'm going to die.
Brass: No, worse-- you're going to live.
CUT TO:
[INT. HALLWAY]
(BRASS walks through the double doors. WARRICK runs to catch up to him.
Warrick: Brass. Hang on.
(WARRICK returns BRASS' shield to him.)
Warrick: I only took it to get Ellie's DNA off of it. That's it.
Brass: A man's got to do ...
(WARRICK nods slightly and says nothing. He does look as if he has something else on his mind.)
Brass: What is it, Rick?
Warrick: We were checking out the blood from your g*n. We compared your DNA to her DNA.
Brass: Yeah?
Warrick: You never said anything about her being adopted.
(BRASS looks around and puts his badge back on. He looks up at WARRICK.)
Brass: She's not. Call it the mailman. Ellie doesn't know.
(WARRICK nods. BRASS walks away. Camera holds on WARRICK.)
CUT TO:
[EXT. FOUNTAIN -- NIGHT]
(ELLIE walks by the fountain on her way somewhere. She's carrying a large traveling shoulder bag with her. She stops when BRASS calls out to her.)
Brass: Ellie.
(ELLIE signs.)
Ellie Brass: How'd you find me?
Brass: I'm a detective. Listen, I heard that you never went back to Driscoll's apartment that night.
Ellie Brass: It's true.
Brass: I could have sworn I heard you in that other room.
Ellie Brass: No, dad. I was never there. Never.
Brass: I guess I've been doing that since you've been born. I mean, I know I was never around, but ... you know, no matter where I am ... no matter what I'm doing ... I always think that you're there. Even if you're not. Come back to me, Ellie.
Ellie Brass: Dad, it's way too late. I got to catch a flight to Jersey. Midnight. Mom says that I can stay with her for awhile.
Brass: Sure. Okay. You need a ride to the airport? I can get you there fast.
Ellie Brass: Thanks. I'm taking the shuttle.
Brass: Oh. Yeah. Okay.
(ELLIS starts to walk away.)
Brass: Catch you later.
(ELLIE turns around and smiles at BRASS. Camera holds on BRASS.)
CUT TO:
[INT CSI - HALLWAY]
(SARA walks through the hallway. She carries her CSI kit with her and passes WARRICK as he walks in the opposite direction.)
Warrick: Hey, Sara.
Sara: Hey.
(WARRICK stops and turns around calling back to SARA.)
Warrick: Hey ... I'm a little short on cash. Can you loan me a hundred?
Sara: Funny, very funny.
(SARA deliberately glances down at her wrist watch.)
Sara: Oh, look, shift's over. Guess you're one of us again.
(SARA smiles and walks away.)
CUT TO:
[INT. CSI - HALLWAY]
(GRISSOM walks though the hallway, his traveling bags slung over his shoulder and container of cockroaches in his left hand. As he passes the Break Room, WARRICK calls out to him.)
Warrick: Hey, Griss. How'd it go?
(GRISSOM detours into the Break Room to stop to talk with WARRICK.)
Grissom: The seminar was fine. Every one of my roaches got stage fright. They came in fourth, third, second and d*ad last. How about you? How'd you do?
(GRISSOM puts his bags down.)
Warrick: Well, the job is fine. It's the other stuff -- the personalities.
Grissom: "I love mankind, it's people I can't stand."
Warrick: Is that Einstein?
Grissom: Linus.
Warrick: Charlie Brown. Figures. Is that why you put me in charge?
Grissom: You think I like dealing with people? Remember when you asked me what I was in high school?
Warrick: Yeah, you said "A Ghost".
(GRISSOM sits down.)
Grissom: When I leave CSI, there won't be any cake in the break room. I'll just be gone. So I wanted to see if you could step in.
(WARRICK nods.)
Grissom: Tell me ... all of it, from the top.
Warrick: From the top?
(WARRICK sighs and sits down across GRISSOM.)
Warrick: I don't know where to start. It was wild.
Grissom: Couldn't have been that bad.
(Camera pulls back down the hallway on the two men.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x10 - Ellie"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS (STOCK) -- NIGHT]
CUT TO:
[INT. DEVON HOTEL -- LOBBY -- NIGHT]
(A MAN and A WOMAN walk through the lobby, their arms around each other.)
Man: You're going to like my room. You can see the entire strip from my balcony ... and the bed.
(He turns her around, her back against the wall. Her hands come up against his chest.)
Woman: (nervously) I usually don't do this. I-I mean, especially with somebody that I just met.
Man: Yeah? Well, I could tell that just by looking at you.
(The MAN presses the elevator door button. The elevator bell dings.)
Woman: Uh ...
Man: Come on, don't worry, all right? You can trust me. Okay?
Woman: Promise?
Man: I never lie.
(The MAN starts to kiss the WOMAN. He backs her up into the elevator.)
Woman: You are so bad.
Man: Yeah, I am.
(He lifts her up and carries her into the elevator. He presses her against the elevator wall and starts kissing her. After a moment, the woman looks down and sees the d*ad body on the floor ... )
CUT TO:
[INT. DEVON HOTEL -- NIGHT]
(SARA and GRISSOM arrive at the scene. They duck under the crime scene tape and walk toward BRASS who is already there.)
Sara: Hey. Dispatch said suspicious circs.
Brass: Yeah. We got an anonymous call to 9-1-1 at the same time the couple found him. A male voice said: "A man has collapsed at the Devon. Hurry."
Grissom: Where's the man?
(GRISSOM looks at the empty elevator. There are two cones on the floor ... and no body.)
Brass: Oh, he's unconscious, but breathing. So paramedics took him to Desert Palm Hospital. There was no b*llet wounds, no Kn*fe ... nothing.
Sara: You got a name?
Brass: Bob Fairmont. Upscale home developer.
Sara: "A Fairmont Home, You'll Never Roam?" Those billboards are everywhere.
Brass: Well, they took these pictures before they moved him.
(BRASS hands GRISSOM a stack of photos. GRISSOM puts his kit down and looks through the photos.)
Grissom: Well, this is as phony as a chappaquiddick neck brace. See how the clothes are all bunched.
Sara: Collar's off to the side, leg fabric's gathered.
Grissom: It's impossible to redress an unconscious person to make it look like they dressed themselves. You notice anything about the suit coat?
(GRISSOM shows the photo to BRASS. BRASS takes it and looks at it.)
Brass: Well, unless he's going to court or to church, there's no way he buttons all three buttons.
(BRASS gives the photo back to GRISSOM.)
Grissom: Very good, Jim. (to SARA) Why do they think they can fool us?
HARD CUT TO BLACK. END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
FADE IN.
[INT. DEVON HOTEL - LOBBY -- NIGHT]
(SARA takes pictures of the elevator. GRISSOM studies the photos.)
Brass: I'm going to go to the hospital to talk to Fairmont's wife.
(SARA continues to take pictures.)
Grissom: Call me if you learn anything.
(BRASS leaves. NICK walks up to them.)
Nick: Hey, guys. I just pulled the manager out of a restaurant. Bob Fairmont was staying in room 2927. Catherine's parking the car.
Grissom: Let's go up.
Sara: We'll meet you there.
Nick: Okay.
CUT TO:
[INT. DEVON HOTEL - HALLWAY -- NIGHT]
(GRISSOM walks toward room 2927. In front of them is the door to the stairs. NICK, SARA and CATHERINE follow. They all stop in front of the closed room door.)
Grissom: Mr. Fairmont was staying in m*rder Central.
Catherine: (agrees) Mmm.
Nick: "m*rder Central"?
Sara: You never heard that phrase?
Nick: (exasperated) Well, if I did, would I have asked the question?
(SARA looks smug as she got a reaction from NICK.
Grissom: Sara, you're with me in here. (to CATHERINE and NICK) You guys get the elevator.
Catherine: All yours, girl.
Sara: Thanks.
(GRISSOM unlocks the hotel room door. He and SARA enter. CATHERINE and NICK walk back down the hallway.)
Nick: (disgruntled) Sara doesn't know what m*rder Central means any more than I do.
Catherine: (puts a hand on NICK'S shoulder) Oh, Nick, give it up. We got a death imminent to worry about.
CUT TO:
[EXT. HOSPITAL EMERGENCY ROOM -- NIGHT]
(BRASS questions JULIA FAIRMONT)
Julia Fairmont: My husband's in surgery. Can't this wait?
Brass: I'm sorry, no. He was found under suspicious circumstances. Do you have any idea who may have redressed him or moved him?
Julia Fairmont: (shakes her head) He usually goes with women who look a lot like me ... only younger. And I'm embarrassed to say that I've been flattered by that, at times.
Brass: Do you have a name?
Julia Fairmont: I was very much on the outside of that part of his life.
Brass: I see.
(BRASS puts his notebook back in his jacket pocket.)
CUT TO:
[INT. DEVON HOTEL - ROOM 2927 -- NIGHT]
(Standing side-by-side, GRISSOM and SARA look at the room in front of them. They're silent as they look around the room.)
Sara: I know. The room's talking to us. They had champagne.
(SARA walks into the room, GRISSOM remains by the door.)
Sara: They were celebrating something.
(She looks at the glasses.)
Sara: No lipstick on either glass. 9-1-1 did say it was a man's voice that placed the call.
Grissom: Smell the musk? Hint of bleach?
(GRISSOM looks up at the mirror over the bed. He notices that the bed is mussed.)
Grissom: Sexual intercourse.
(SARA turns around to look at GRISSOM.)
Sara: They kept the drapes open. A married man who's not worried about ... photographs, long lenses ...
Grissom: Well, he's either careless or arrogant, maybe.
Sara: Or he has a death wish. (SARA looks down and picks up a bra.) 34 C? If he was with a woman, who was the guy on the 911 call?
CUT TO:
[INT. DEVON HOTEL - ELEVATOR -- NIGHT]
(CATHERINE and NICK work on the elevator.)
Catherine: Hand me that magnifier. (NICK hands her the magnifier.) Thank you.
Nick: What do you got?
Catherine: See those white specks?
(Camera zooms for a close up of the white specks. Resume to present.)
Nick: What do you think, cocaine?
Catherine: No, I don't think so.
Nick: How can you tell just by looking?
Catherine: Never you mind.
(CATHERINE takes a tape lift of the white specks.)
Catherine: Let's just get this to trace.
CUT TO:
[INT. DEVON HOTEL - ROOM 2927]
(NICK opens the hotel room door and walks inside. GRISSOM and SARA are just putting on their goggles and taking out the ALS.)
Nick: Okay, we're done in the elevator. You guys need a hand?
Grissom: Yeah, you want to dust the champagne bottle?
Sara: The average American hotel room is covered with stains invisible to the naked eye.
Grissom: Yeah, but they're not all biological. Some are soda stains, food stains, whiskey stains, you know.
Sara: No matter how clean or expensive the room seems that why always travel with nonoxinol nine.
(They stand up.)
Grissom: You sound like you're making a commercial. Nick, h*t the lights, will you?
(NICK turns the lights off.)
Grissom: Okay, we're looking for the freshest stains.
Sara: Soda, maybe ... maybe champagne ... oh! Someone's little soldiers ... more champagne.
(They look up at the walls.)
Grissom: Hmm ... "starlight, star bright, first star I see tonight."
(GRISSOM takes off his goggles and heads for the door.)
Grissom: Okay, I'll let you guys do the collection.
Nick: Thanks a lot.
(GRISSOM turns around.)
Grissom: Oh, and Sara?
Sara: Hmm.
Grissom: Last hotel room nearest the stairwell -- easy entry and egress for an intruder and if the victim fights back, fifty percent less chance of being heard.
Sara: Rooms only on one side. m*rder Central.
(GRISSOM nods his head and leaves the room. The door closes behind him.)
Nick: (smiling) You are so busted.
(SARA turns around to look at NICK. She smiles.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - DNA LAB -- NIGHT]
(Camera close up of a scope view of the "white specks" found on the elevator floor. The magnification view is increased. Camera turns around and goes back up the viewer to the eye looking through the scope. End of scope view.)
Catherine: I gave this to trace. Why do you have
Greg: Well, because I deal in DNA. The smallest sliver of epidermal tissue.
Catherine: This is skin.
Greg: Scalp skin. Itchy. Can be embarrassing in social situations especially if one is wearing a dark shirt.
Catherine: Dandruff.
(GREG reaches out and brushes non-existent dandruff from CATHERINE'S shoulder.)
Greg: Good chance whoever moved the guy into the elevator ...
Catherine: Had a bad case of seborrhea.
(CATHERINE deliberately leans forward and brushes the non-existent dandruff from GREG'S shoulder.)
Catherine: Thanks.
(CATHERINE turns to leave the lab. GREG stops her.)
Greg: Hey, Catherine? Do you think Sara would ever go out with me?
Catherine: (thinks about it) Sure. (deadpans) As long as you don't tell her it's a date.
(CATHERINE leaves the lab.)
CUT TO:
[INT. CSI - HALLWAY - NIGHT -- CONTINUOUS]
(CATHERINE exits the DNA lab and walks down the hallway. WARRICK catches up with her.)
Warrick: Hey, Cath... are you on this Fairmont case?
Catherine: House mogul caught with his pants on? Yeah, I'm just rolling to the hospital to get his clothes. Why?
Warrick: You know the Fairmont house was one of my first calls three years ago?
Catherine: You serious? For what?
Warrick: sh*ts fired. He sh*t himself while he was cleaning his g*n.
Catherine: Wow!
Warrick: Yeah. And after hearing about tonight I'm wondering if that's what really happened. I'm going to pull his file and check it out.
Catherine: Let me know.
Warrick: I will.
CUT TO:
[INT. DEVON HOTEL - ROOM 2927]
(NICK picks up the used condom from the fixture on the wall.)
Nick: Nice sh*t. (looks inside) Reservoir's still wet.
(NICK bags it.)
Sara: Why did he throw it?
Nick: Mmm. I'm only impressed if he aimed.
Sara: I wonder if the woman has any idea she left her DNA behind?
Nick: Not rocket science. Man's inside, woman's out.
CUT TO:
[INT. CSI -- HALLWAY]
(BRASS fills GRISSOM in about the 911 tape.)
Brass: Wife says the guy's a player. She doesn't know the women.
Grissom: You tell her about the 911 tape?
Brass: The male voice? Oh, I just got back from central dispatch. The tape's lost. New computer system.
Grissom: Any ear-witnesses?
Brass: The dispatcher says it could've been a woman whispering. Or a very old person, gender indeterminate.
Grissom: That's about as good as an eyewitness.
(GRISSOM'S phone rings. He answers it.)
Grissom: Grissom. (pause) What? (pause) I'll be right there.
(He hangs up and looks at BRASS.)
Grissom: No lunch.
(GRISSOM turns around and heads back down the hallway.)
CUT TO:
SCENE #13
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS goes over the findings with GRISSOM.)
Grissom: We got a time?
Robbins: Well, all indications are he was brain-d*ad from the time he collapsed at the hotel
Grissom: From?
(Quick CGI POV to: A camera close up of the deceased's forehead. White flash to a view of the brain where blood starts to leak out.)
Robbins: (V.O.) An artery out-pouches blood floods the subarachnoid space.
(End of CGI POV. Resume to present.)
Robbins: Heart still beats, but the brain's d*ad. And it doesn't regenerate.
Grissom: Aneurysm from trauma ... infection...?
Robbins: Genetic predisposition. Both parents went that way. It increases a person's chance of stroke ten-fold. He looks like an athlete.
Grissom: Brain d*ad at 38, otherwise healthy and strong. Is this a Frankenstein?
Robbins: I was wondering when you'd ask. Prime donor candidate. Next of kin signed off.
Grissom: How many organs they take?
Robbins: Eight in under two hours.
Grissom: Man, those harvest doctors move, don't they?
(Quick flashback to: The heart monitor beeps. The doctor puts the first organ in the pan.)
Doctor: Kidneys, stat! DOCTOR: Go, go, go!
(Various flashes of the organs being removed and of various machinery monitoring the donor.)
Doctor: Here comes the liver. Ready with a basin, please. Nurse: For ... DOCTOR: Right now. DOCTOR: And here we go!
(The second organ goes into the pan marked: "Liver".)
Doctor: Clamp it. DOCTOR: Get it back, get it back. DOCTOR: Ready and got it. DOCTOR: Here we go.
(The final organ is placed in the pan. End of flashback. Resume to present.)
Grissom: (nods) All right, I'll notify the PD about the organs.
(GRISSOM leaves the room.)
CUT TO:
[INT. CSI - DNA LAB]
(GREG takes a swab from the condom. SARA reads through some papers as she waits.)
Greg: So I was thinking. Maybe we could take our break at the same time.
(b*at) Later this shift. (b*at) Together.
Sara: Sure.
Greg: (surprised) Really.
(GREG tests the swab. SARA leans in to look.)
Sara: Semen. No surprise there.
Greg: Well, without the DNA sample from the hotel guy this test is pretty useless.
(SARA goes back to looking at the photos.)
Sara: I'm more interested ... in who the woman is.
Greg: Well, just like the bra, I'm going to need a reference of her DNA in order to do anything, and that's not going to happen until ...
(SARA r*fles through the autopsy photos. She sees something.)
Sara: What the heck?
Greg: What?
Sara: (looking up) Stripes.
(Without further explanation, SARA walks out of the lab.)
Greg: Stripes.
CUT TO:
[INT. CSI - HALLWAY]
(SARA and GRISSOM walk through the hallway. SARA shows GRISSOM the photos.)
Sara: Transverse white bands that appear six weeks after the onset of symptoms of toxicity.
Grissom: You got a closer view?
(SARA hands GRISSOM the photo she was looking at. Camera zooms in to the fingernails to show the white stripes.)
Grissom: Uh ...
Sara: They look like mees lines to me.
Grissom: Could be livor mortis.
Sara: Or white striae, indicative of heavy metal poisoning.
Grissom: We can't count on a photo to draw that kind of conclusion. We need the body.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(SARA, GRISSOM and ROBBINS look at the empty table.)
Sara: Don't take this wrong, Dr. Robbins, but ... how do you release a body that's been redressed and dumped in an elevator?
(ROBBINS pushes the table back into the cabinet.)
Robbins: I deal with cause of death, which was an aneurysm and therefore, a natural, and based on that his body is released to a mortuary.
(ROBBINS sits down at the computer monitor.)
Sara: The whole transplant thing didn't raise a flag?
Grissom: I thought I'd raised a flag with the good doctor when I told him I was going to notify the police department but evidently, I mis-communicated again.
Sara: Great.
(ROBBINS enters the search in the computer database.)
(The results are as follows:
[Name: FAIRMONT, ROBERT Cause of Death: Natural Date: 12/13/01
Time of Death: 4:00 a.m. Case #: 29574
Destination: Desert Haven Mortuary ]
Robbins: All may not be lost. Here... body of Robert Fairmont released at 0400 hours to the Desert Haven Mortuary.
Sara: I know that place.
Grissom: Well, if they haven't embalmed him we can still get a blood sample test for heavy metal poisoning.
Sara: Good. I'll drive.
(SARA heads for the door. She turns around when she realizes that GRISSOM isn't moving.)
Sara: You're not coming?
Grissom: (looks up) You found it, you run with it.
(SARA seems surprised.)
Grissom: You can do it. Take Nick.
Sara: Okay.
(SARA leaves.)
CUT TO:
[INT. DESERT HAVEN MORTUARY]
(FURNACE POV: SARA looks in through the window. Her face shows her shock and surprise.)
Sara: How long's he been in here?
Randy Gesek: 92 minutes at 1,600 degrees. At, exactly, was it that you wanted to see?
(SARA turns around to look at RANDY GESEK.)
Nick: His fingernails.
Randy Gesek: I'm very sorry.
Nick: Who approved this cremation?
(RANDY looks at his clipboard and sighs.)
Randy Gesek: His wife, Julia Fairmont.
Sara: Same person who approved the organ transplants.
(RANDY nods. SARA turns to look at the furnace.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(Camera opens on the evidence bag of ROBERT "BOB" FAIRMONT'S ashes. The bag is dated 12/6. Case # 81585171. Labeled: "Ashes of Bob Fairmont" and "DOB 2-25-
63".)
(SARA picks up a piece of ash and places it in a mortar. She grounds it with a pestle.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM]
(BRASS and SARA JULIA FAIRMONT.)
Brass: You told me your husband was in surgery.
Julia Fairmont: He was.
Brass: Surgery to take his organs not to save his life.
Julia Fairmont: He was technically ... d*ad. He wanted to donate his organs. I was following his wishes. Why are you being so hostile?
Brass: Someone was poisoning your husband.
Julia Fairmont: What?
Sara: We don't know the dose or the duration but we do know the type of poison. We processed your husband's remains.
(Quick series of flashes to match SARA'S narration. SARA in the lab taking the piece of ash. SARA testing a sample of the ash in the analyzer. SARA pressing the button to start the machine.)
(Machine test results read as follows for "Alignment Mode Lamp 1":
[Name: Se-02-196.1-lib3 Pulse: Wide Lamp: Se Buck sci Bkgnd: Off Wavelength: 196.0- Slit: 0.2
Pnt: 304.9V Energy: 2.652 ]
Sara: (V.O.) Most poisons would be completely b*rned off by cremation but heavy metals are very resistant to heat. This heavy metal -- selenium.
(White flash to the f*re in the furnace. Printer prints results. End of flashback. Resume to present.)
Sara: Did you notice that your husband's breath might have been garlicky?
Julia Fairmont: Garlicky?
Sara: The body will excrete demethyl selenide -- smells just like garlic.
Julia Fairmont: Uh... no.
Sara: The white stripes on his fingernails--did you notice those?
Julia Fairmont: Um ... we didn't see each other a lot. Bob was busy building his company.
Sara: That bother you, him never being home?
(JULIA FAIRMONT looks at BRASS.)
Julia Fairmont: I think it would bother any woman.
Sara: Did you know that the most common choice of premeditated m*rder among women is poison? They cite its passivity.
Julia Fairmont: I did not poison my husband.
Sara: You cremated his body.
Julia Fairmont: He wanted to be cremated. I cremated him. He wanted to donate his organs. I did that, too. Now, if there's nothing else, I will be at home preparing for my husband's memorial service. Excuse me.
(Angry, JULIA FAIRMONT grabs her jacket and stands up to leave. SARA stops her.)
Sara: Do you want us to notify you?
(SARA and JULIA turn around to look at each other.)
Julia Fairmont: Of what?
(SARA stands up and walks toward JULIA FAIRMONT.)
Sara: When we find out the exact amount of selenium given to your husband and over what period of time?
Julia Fairmont: I thought you couldn't tell.
Sara: Your husband's gone, but his organs are still out there.
Julia Fairmont: (nods) Well, good. Yes, I would like to be notified.
(SARA turns to look at BRASS.)
CUT TO:
[INT. HOSPITAL]
(NICK stands behind the physician as they explain the situation to the PATIENT, CARL MERCER, in the bed.)
Carl Mercer: Straight up, am I going to die?
Physician: You have only a small fraction of the poison that was in your donor's body--one organ. With nothing new coming in it should work its way out.
Carl Mercer: I must've had 100 tests. How'd you doctors miss this?
Nick: A heavy metal like selenium presents so rarely that it's
Carl Mercer: You don't look like a doctor.
Nick: (smiles) No, sir, no, I'm not. I'm Nick Stokes. I'm with the Las Vegas Crime Lab.
Physician: I'll be right outside.
Nick: Thank you, doctor.
(The doctor leaves. NICK steps up toward the bed.)
Nick: I was hoping I might be able to get a sample of that new kidney of yours.
Carl Mercer: A sample?
Nick: Biopsy. A sliver.
Carl Mercer: You mean open me up again?
Nick: Maybe an invasive scope. The only way I can get an accurate barometer of the poison in Mr. Fairmont's system is through one of his organs.
Carl Mercer: I'm sorry, young man but this is my kidney now. (He shakes his head.) I waited four years. I can't have anyone cut into me for it. I just can't.
Nick: Hey, I understand. Thank you for your time.
(NICK glances down at the watch on the railing.)
Nick: I like your watch, man, that's cool.
Carl Mercer: It broke while I was down in surgery--stuck on 11:00. Think the Lord's trying to tell me something?
(NICK chuckles.)
Nick: Yeah, get it to a watch repair shop. (pause) I hope you get to feeling better, Mr. Mercer.
(NICK leaves the room.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI -- HALLWAY]
(SARA updates GRISSOM.)
Sara: Nick struck out on the kidney. I got four "no's" over the phone. One yes from a recipient in Illinois-- heart.
Grissom: Useless-- heart has no memory for poison.
Sara: Why can't we cut the middle man and just check the wife's house for selenium? (GRISSOM looks at SARA.) All right, I know, something about constitutional law. Get probable cause, then get a search warrant ...
(GREG walks on into the hallway, directly in front of SARA and GRISSOM.)
Greg: Sara! I was just looking for you. Still up for break?
Sara: Sorry, Greggo-- hot case. I'm going to go look at Nick's champagne bottle. How you doing with our DNA?
Greg: Uh ... inside-outside we're still looking for a reference for comparison but the epidermals are looking promising.
Sara: Nice.
(SARA leaves.)
Grissom: You want to clue me in?
Greg: Sara and I were just going out for dinner.
Grissom: On the case, "Greggo".
Greg: Oh. Right.
(GREG turns back in to his lab. GRISSOM follows.)
CUT TO:
[INT. HOSPITAL]
(CLAUDIA GIDEON walks in and heads for the Nurse's station. CATHERINE is standing next to the station, waiting.)
Claudia Gideon: Excuse me ... I'm Claudia Gideon, Bob Fairmont's secretary. I came to pick up his property.
Nurse: Oh, I'm sorry, but Ms. Willows already asked for them.
Catherine: His property is part of our investigation. I'm afraid I have to take it.
Claudia Gideon: Oh, fine. I was just doing my job.
Catherine: Yeah, me, too. Did you work for the Fairmonts three years ago, when Mr. Fairmont was sh*t?
Claudia Gideon: I was out sick that day.
Catherine: Interesting.
(CATHERINE sees something on CLAUDIA'S sweater.)
Catherine: You have dandruff.
(CATHERINE turns to get tape from her kit.)
Claudia Gideon: Is that really proper etiquette?
Catherine: It is when I'm on a case. Do you mind?
(CATHERINE takes a tape lift.)
Claudia Gideon: Where did you say you worked?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS questions CLAUDIA GIDEON.)
Brass: I'm going to ask you again -- were you in that hotel room with Bob Fairmont?
(CATHERINE enters the room and closes the door.)
Claudia Gideon: I was not, no.
Catherine: But you did redress him and place him in the elevator.
Claudia Gideon: You don't know what you're talking about.
Catherine: Well, that's dangerous to say to a scientist.
(CATHERINE puts her file on the table.)
Catherine: Dandruff is nothing more than sloughed-off skin. It has a nucleus just like a cell on your arm or your big toe.
(CATHERINE puts the test results and photo in front of CLAUDIA GIDEON.)
Catherine: These 13 DNA markers from this dandruff cell are a match to the dandruff that I recovered from your sweater. You were there. At that hotel.
Claudia Gideon: Okay, Mr. Fairmont told me earlier that day to meet him in his hotel room at 9:00 to pick up some papers, okay? When I got there, he was in bed -- naked,
(Quick flashback to: CLAUDIA GIDEON finds BOB FAIRMONT in bed naked. She looks shocked.)
Claudia Gideon: (V.O.) ... unconscious.
(CLAUDIA moves and picks up his clothes.)
Claudia Gideon: (V.O.) He always told me reputation before health -- no scandals. I dragged him to the elevator.
(CLAUDIA drags BOB FAIRMONT into the elevator. She leaves him there. The elevator doors close. End of flashback. Resume to present.)
Catherine: Let me guess -- you snuck out down the stairwell.
(She nods.)
Brass: Who was Fairmont partying with in that room?
Claudia Gideon: I don't know.
Catherine: Well, we won't mind if we compare your DNA to the vaginal contribution of a condom that we recovered from Mr. Fairmont's room?
Claudia Gideon: (nods) Sure, go ahead.
Catherine: Good. We'd like to show you something else -- about that accidental sh**ting three years ago at your boss' house.
CUT TO:
[INT. CSI - OFFICE]
(On the monitor is a computer reinactment of the first sh**ting years ago. The green figure is sitting down at a table when the g*n falls down and sh**t the victim in the groin.)
Warrick: In this reinactment, Fairmont sh*t himself while cleaning his g*n? In this reenactment the story just doesn't add up. I think I fell for it because I was new and I wasn't too eager to talk to another guy about him almost sh**ting off his manhood.
(BRASS sighs. WARRICK straightens the monitor.)
Warrick: This is the room as it was then based off of my crime scene photos. This is crime scene reconstruction, new school. Works backward, reverse time.
(On the monitor it shows a different scenario with the green figure standing in the foyer.)
Warrick: The b*llet h*t here.
(The screen backs up showing a red figure (the sh**t) sitting in a chair and sh**ting the green figure (the victim) in the groin.)
Warrick: The only logical place for that b*llet to have been sh*t from is four meters away, one meter high. He didn't actually sh**t himself. Someone sh*t him.
Catherine: We're thinking it was you.
Brass: Admission form from the ER, 9/6/98. The person who brought Fairmont in on the accidental sh**ting... was you.
(BRASS puts a copy of the Record of Admissions Form from the Desert Palms Hospital in front of her. The application Information reads as follows:
[Name: FAIRMONT, BOB Local Residence - Street: 41733 Calle Matria City - Town: Las Vegas State: NV County: Clark Date Admitted: 9/6/98
Time Admitted: 10:32
Patient Accompanied by: CLAUDIA GIDEON Address: 311 Sephill Rd, Las Vegas, NV 89109
Attending Physician: Dr. Tommy Liu Address: 826 Herrick Ln, Las Vegas, NV 89109
Alternate Physician: Dr. Sheryl Aragon Address: 311 Sephill Rd, Las Vegas, NV 89108
Next of kin or representative/Relationship: Tyson Green Brother-in-law Address: 493 Fairmark, Las Vegas, NV 89108
Person to notify in Emergency/Relationship: Tyson Green Brother-in-law Address: Same as Above ]
Claudia Gideon: I didn't sh**t him.
Brass: You didn't poison him, either. All these bad things just happen to you.
Claudia Gideon: I'm on call 24 hours a day, okay? Mr. Fairmont beeped me. I drove out to the house, and I took him in.
Catherine: Where was his wife?
(CLAUDIA shakes her head.)
Claudia Gideon: You'd have to ask her.
CUT TO:
[INT. CSI - INTERVIEW ROOM]
(CATHERINE, WARRICK and BRASS requestion JULIA FAIRMONT.)
Julia Fairmont: Yes, I sh*t him. He was supposed to go riding with me and he didn't show up till two in the morning. No calls, nothing. I was ... hurt.
Catherine: So, you just sat there in the dark and aimed south of his belt.
Julia Fairmont: I just wanted to scare him.
(Quick flashback to: BOB FAIRMONT returns home and finds his wife angry and holding a g*n on him.)
Bob Fairmont: It was a business meeting. BOB FAIRMONT: I swear. BOB FAIRMONT: I-it wasn't like before. BOB FAIRMONT: I was thinking about you the whole time.
(She sh**t. He grunts from the impact. End of flashback. Resume to present.)
Brass: So, why didn't you tell the truth then?
Mrs. Fairmont: I wanted to, but Bob wouldn't let me. He said that it would ruin his career -- Fairmont Family Estates.
Warrick: I'm presenting this case to the D.A., even if it is three years old.
Claudia: My husband's d*ad. We had our problems but I loved him I don't ... I don't much care what you do now.
Brass: Well, there's only two reasons a woman sh**t a man. She either loves him or hates him.
Catherine: Or both.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - DNA LAB]
(GRISSOM looks through the scope at the dandruff sample.)
Greg: That's the sample Catherine pulled off of the secretary's blouse and the hotel man's clothes -- same source.
Grissom: Secretary moved the body.
Catherine: We just interviewed her. She copped to moving him. We're looking hard at the wife on the poisoning.
Grissom: The secretary has dandruff.
Catherine: We know. Dermatomycoses seborrhea -- we got it.
Grissom: Pical eczemas like that require prescription medication. The primary ingredient of those medications -- selenium sulfide.
(CATHERINE sighs at missing the obvious. She heads out the lab.)
CUT TO:
[INT. FAIRMONT RESIDENCE -- NIGHT]
(BRASS and CATHERINE are on the porch talking with JULIA FAIRMONT.)
Julia Fairmont: I don't really feel right about doing this.
Brass: Oh, this is your residence. Everything in Claudia's office is your property.
(CATHERINE and BRASS step inside.)
Catherine: She could be back from dinner at any moment. This shouldn't take long.
(The door closes behind them. CATHERINE and BRASS walk into the office and start looking around. JULIA FAIRMONT waits by the door. CATHERINE opens the cabinet and finds a large brown bottle in the back. She picks it up and looks at the label.)
(The label reads:
[Pharmacy / 493 Fairmark Ave., Las Vegas,NV 89107
CLAUDIA GIDEON Fill Date: 7/21/01
Phone: (702) 555-0150
Rx No: 4529975
Dr: Doty
"USE AS NEEDED FOR SEBORRHEA"
NIZORAL A-D
24 OZ DATE: 11/07/01
DISCARD AFTER: REFILL: 1 BY: 11/7/02 ]
(The front door slams shut. CLAUDIA GIDEON walks in carrying a storage box.)
Claudia Gideon: That's mine.
Brass: Could you tell us why you keep your shampoo in your office?
Catherine: Shampoo full of the same poison found in Bob Fairmont's remains?
Claudia Gideon: I don't know.
Brass: Aw, you have to do better than that.
Claudia Gideon: Maybe I pied it up at the pharmacy on lunch and put it there. I don't know.
(CATHERINE opens the refrigerator and looks inside. She finds a small tub of garlic cream cheese.)
Catherine: Cream cheese.
(CLAUDIA scoffs.)
Catherine: Garlic cream cheese ...
Brass: Hides the bitter aftertaste.
(Quick flashback to: BOB FAIRMONT eating a bagel loaded with cream cheese. End of flashback. Resume to present.)
Catherine: It explains away his bad breath.
(Quick flashback to: BOB FAIRMONT finishing the bagel with cream cheese and laughing. End of flashback. Resume to present.)
Claudia Gideon: I did not poison him.
(The cabinet door closes.)
Catherine: We'll see.
Julia Fairmont: Aren't you going to arrest her?
(CLAUDIA scoffs.)
Claudia Gideon: I haven't done anything.
Julia Fairmont: Other than poison Bob.
Claudia Gideon: Poison? I'm the one who looked out for him.
Julia Fairmont: You? I ran his home. I entertained his clients.
Claudia Gideon: Who made all of his dental appointments, huh? His haircuts? Who got his taxes in on time?
Julia Fairmont: You covered for his mistresses ...
Claudia Gideon: Why did he need mistresses?
Brass: Ladies ... don't go there.
Catherine: This is yours ... and these are yours. (CATHERINE hands each woman a key.) There's the door. We build a case before we make any arrests.
CUT TO:
[INT. HOSPITAL]
(NICK walks into CARL MERCER'S hospital room.)
Nick: Hey, Mr. Mercer. I got your message. You wanted to talk to me?
Carl Mercer: Did you find out who poisoned Mr. Fairmont?
Nick: No. No, sir. ,I have found selenium in his office but... without actually knowing how much was in his system ...
Carl Mercer: What if I could tell you? My body's rejecting the organ. Doctor says it's got nothing to do with poison. It's antibodies.
Nick: I'm sorry.
Carl Mercer: I told you this watch stopped while I was down in surgery? It's funny ... it's like it knew all along the kidney wasn't going to take. Anyway... there's one last good thing I can do before I leave this earth. So ... how do we do this?
(NICK nods. Camera holds on CARL MERCER.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(NICK talks to GRISSOM about CARL MERCER.)
Nick: I can't even talk Warrick into splitting a sandwich with me and this guy's willing to give us his kidney?
Grissom: You asked for it.
Nick: Yeah, that's my point. Carl Mercer risks dying sooner to help our investigation but who protects his rights?
Grissom: He has free will.
Nick: Well, so do I. I want to retract our request. I don't think any investigation for the d*ad is worth hurting the living.
(GRISSOM turns around. He doesn't say anything.)
Nick: What?
(SARA calls out to them from the doorway.)
Sara: Guys? You're not going to believe this.
CUT TO:
[INT. CSI - PRINT LAB]
(SARA runs the print through the database.)
Sara: Funny sometimes it is the simplest things that seems so difficult. I've been trying to match the partial from the champagne bottle to these known prints. It was upside down.
(The computer beeps.)
Grissom: Must've grabbed the bottle ...
(Quick flashback to: BOB FAIRMONT in bed with someone. She reaches over and grabs the champagne bottle.)
Grissom: ... upside-down to pour.
(End of flashback. Resume to present.)
(On the monitor, it shows that a match was found. The prints match up. GRISSOM looks at SARA.)
Grissom: So ... who was he with?
Sara: Mrs. Fairmont.
Nick: (surprised) What? Player was in the hotel cheating with his own wife?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS re-interviews JULIA FAIRMONT.)
Julia Fairmont: I was trying to ... rekindle our marriage. I ... got the room ... brought the champagne.
(Quick flashback to: BOB FAIRMONT in bed with his wife.)
Bob Fairmont: (moaning) Oh, yes. Yes.
(End of flashback. Resume to present.)
Julia Fairmont: He squeezed me in between business meetings at the hotel.
Brass: And you didn't think to tell me that when we first talked?
(In the observation room, GRISSOM, SARA and NICK listen in on the questioning.)
Julia Fairmont: No, because you asked me about him being redressed in an elevator ... and, besides, when I left him, he was ... alive watching the news.
(Quick flashback to: JULIA kisses BOB FAIRMONT and leaves. The news can be heard on the television. End of flashback. Resume to present.)
Brass: Oh, so, he had a stroke alone, after you left.
(Quick flashback to: BOB FAIRMONT puts a hand to his forehead and collapses back on the bed. End of flashback. Resume to present.)
Julia Fairmont: I'm not a doctor. I don't know when he had it.
Brass: Well, CSI is testing that champagne bottle for selenium.
Julia Fairmont: I didn't think poison caused strokes.
Brass: You seem to know a lot about poison for not being a doctor.
Julia Fairmont: I know a lot of things about a lot of things, but that doesn't mean that I k*lled my husband.
CUT TO:
[OBSERVATION ROOM]
(Upon hearing this, GRISSOM looks at SARA.)
Grissom: Yeah ... but what never lies?
CUT TO:
[INT CSI - EVIDENCE ROOM]
(GRISSOM sifts through BOB FAIRMONT'S ashes. SARA sits on the table next to him and looks at the file.)
Sara: Fairmont had three gold crowns. They should've survived the cremation.
Grissom: At least partially. Heavy metal, after all.
Sara: His wife ... had them removed at the mortuary. That adds new meaning to the phrase "gold digger."
Grissom: Actually, that's how the phrase got started. People used to dig up the bodies to extract the gold.
Sara: Now they just marry them. In some countries, this would be enough to have her arrested for m*rder her husband.
Grissom: What's the most important component in a poisoning.
(Hmmm ... trick question. SARA thinks about it.)
Sara: Poison.
(GRISSOM looks up at SARA.)
Grissom: Patience.
(SARA smiles and shakes her head.)
CUT TO:
[EXT. POLICE DEPARTMENT - PARKING LOT -- NIGHT]
(JULIA FAIRMONT makes her way to her parked car. She staggers a little and appears to have difficulty walking. She makes it to her car and tries to unlock the door. NICK sees her duress and calls out to her.)
Nick: Ms. Fairmont ... Ms. Fairmont, you feeling okay?
(She waves him away.)
Julia Fairmont: Yeah, I'm, I'm ...
(JULIA doubles over in pain. NICK rushes over to help her.)
Nick: Whoa, whoa, whoa, whoa, whoa, whoa.
Julia Fairmont: Hey ... maybe I just need to sit down... for a minute.
Nick: Yeah, yeah, let's sit down here in the car for a sec.
(NICK opens the door and helps JULIA FAIRMONT sit inside.)
Nick: There you go. Relax, relax, relax.
(NICK takes out his cell phone and makes a call.)
Nick: yeah, I need an ambulance. Uh, Vegas PD, west parking lot.
CUT TO:
[INT. CSI -- OFFICE]
(GREG is on the computer. NICK walks in through the hallway. He stops when he sees GREG at the computer, pauses for a moment, then walks by.)
(GREG does a web search for "Julia Fairmont". He finds 900 matches.)
(He narrows the search to "Julia Fairmont" in "Nevada". He finds 4 matches.)
CUT TO:
[INT. CSI -- HALLWAY]
(NICK continues through the hallway. He meets up with CATHERINE and GRISSOM.)
Catherine: Hey, what's going on? We called the hospital. She's been released.
Nick: ER doc gave her a sh*t of hydropazeen ... sent her on her way.
Grissom: Hydropazeen? That's an antiemetic used to counteract heavy metal poisoning.
Nick: Which means ... somebody's been poisoning our suspect.
CUT TO:
[INT. POLICE DEPARTMENT]
(BRASS questions CLAUDIA GIDEON.)
(CLAUDIA GIDEON shakes her head: No.)
Claudia Gideon: I don't know how it happened. Maybe she poisoned herself.
Brass: Why would she do that?
Claudia Gideon: (scoffs) Why would she hide my shampoo in my office?
Brass: What, you know she did that?
Claudia Gideon: Well, it wasn't her husband. He was already d*ad. She's trying to frame me for k*lling him.
Brass: I mean, do you have anything beyond your suspicions that she did k*ll him?
Claudia Gideon: She had his gold fillings removed. Doesn't that tell you something about her?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS questions JULIA FAIRMONT.)
Julia Fairmont: I had his watch and ring removed, too. Do you want to see them? They're in a box at home.
Brass: You realize that doesn't look good?
Julia Fairmont: It can look however it wants. I have nothing to hide.
Brass: You mean since you yourself have been poisoned?
Julia Fairmont: Yeah, why aren't you asking Claudia Richards about that? First my husband, then me?
Brass: Why would she want to k*ll either one of you?
Julia Fairmont: I don't know. Maybe because he refused ... to leave me for her.
CUT TO:
[INT. POLICE DEPARMTENT - INTERVIEW ROOM]
(BRASS questions CLAUDIA GIDEON.)
Claudia Gideon: I had to wash his grungy coffee mug every night. I had to clean his toenail clippings off of his desktop. Why would I ever ask Bob Fairmont to leave anyone for me?
Brass: So, you think it was all in Mrs. Fairmont's head?
Claudia Gideon: He always said she was crazy.
Brass: (scoffs) Okay, that's it. All right ... look, we're not leaving here till we get to the bottom of this.
Claudia Gideon: Then I hope she talks soon.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI -- OFFICE]
(SARA walks by the offices. She looks and sees GREG will working on the computer. She walks into the office.)
Sara: Greg?
Greg: (smiles) Hey. I was just printing something out for you ... on your hot case.
(SARA steps inside and looks at the monitor.)
Sara: From the internet?
Greg: Yeah, I ... I was... on break, had some time ... thought ... hey ...
(GREG gives SARA the print out of his finds. SARA looks at it.)
Greg: Sorry, I drew a blank on the wife.
(SARA leans in toward GREG.)
Sara: (thrilled) I could really, really just kiss you right now.
(Smiling, GREG bashfully turns his head away from SARA. SARA leaves the office. He sighs. When he turns back, SARA'S gone.)
CUT TO:
[INT. CSI -- HALLWAY]
(SARA shows GRISSOM the information. GRISSOM looks at a photo of "Claudia and John Gideon".)
Grissom: So, this is Claudia.
Sara: The secretary, ten years ago her husband, John Gideon.
(Across the hallway, CLAUDIA GIDEON takes a drink from the water fountain. GRISSOM and SARA turn around to look at her. CLAUDIA GIDEON smiles back at them. She leaves.)
Sara: Claudia's rich husband also died young-- 35.
(GRISSOM looks down at the Obituary for "John Gideon, dies at 35".)
Grissom: She donated his organs and cremated his body.
Sara: We don't have to chase down these organs. Ralph Parks rejected the organ that he got from Claudia's husband.
Grissom: An organ with a memory, maybe?
Sara: The most. Liver.
(SARA show GRISSOM the report. It reads with the following information:
BLOOD TYPE: A-POS Rh: NEG DATE: 4-13-93
RECIPIENT INFORMATION: NAME: RALPH PARKS ORGAN(S): LIVER STATE: ARIZONA TRANSPLANT DATE: 5-3-93
DOB: 5-30-62 / GENDER: M / BLOOD TYPE: A-POS Rh: Neg
NAME: JASON JUNG ORGAN(S): AORTA
TRANSPLANT DATE: 4-15-93 ]
Sara: He died two months after receiving it back in '93. Lived one state over in Arizona. I have the cemetery address.
(NICK rushes up toward them holding a piece of paper.)
Nick: Hey, Sara, got the warrant.
Sara: Awesome. We'll keep you posted.
(GRISSOM nods as SARA and NICK leave. He looks up at CLAUDIA GIDEON sitting in the waiting room.)
CUT TO:
[EXT. CEMETARY]
(A large crane lifts the coffin out of the ground as SARA and NICK watch.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS holds the sheet over the body up. NICK looks up at the ceiling.)
Robbins: Embalming certainly ret*rd the decomposition process.
Nick: Yeah, But it doesn't stop the smell.
Robbins: The liver's degraded but any metal should still be there.
(ROBBINS lifts the cloth over the metal pan to show NICK the liver inside.)
Nick: We'll find out.
(NICK takes the liver and leaves.)
CUT TO:
[INT. CSI -- LAB]
(NICK cuts pieces of the liver off. He puts them into a blender and crushes them. He takes the liver mixture and puts it in a small container. He takes a small sample of the mixture and puts it in the machine to analyze. The results read on the monitor.)
(The printer prints the results.)
CUT TO:
[INT. CSI -- LAB]
(SARA walks into the lab. NICK reads the results off of the printout.)
Sara: Nick, did you get anything
Nick: Hey, Sara. Yeah. Sodium selenite-- selenium. 280 milligrams for a 180-pound man...
(NICK gives the printout to SARA. She looks at it.)
Sara: That's m*rder.
Nick: Yeah, well, it would have been m*rder for a 300-pound man.
Sara: This is different than the shampoo compound.
Nick: Yeah, it contains polysorbate 80 and vitamin E. That combination's found in selenium supplements injected in animals.
Sara: Animals? Like cats, dogs?
Nick: Mostly livestock, grazers.
Sara: To make up for the lack of selenium nutrient in the soil. How did Claudia get access to this stuff?
Catherine: (o.s.) A dairy farm.
(SARA and NICK look up to see CATHERINE standing in the doorway reading a file.)
Catherine: "Gideon Dairy and Cheese." Largest supplier of milk in Connecticut, in fact. Brass talked to a local chamber-of-commerce type about Claudia's husband. You want to know who his secretary was?
Sara: Yeah.
(CATHERINE puts the open file on the table for NICK and SARA to look at. The photograph in the picture is of John Gideon and Julia Fairmont.)
Sara: Our Julia Fairmont.
(SARA looks up at CATHERINE and smiles.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(CATHERINE and SARA interview CLAUDIA GIDEON and JULIA FAIRMONT, together. SARA puts the photographs of each woman with JOHN GIDEON in front of each of them.)
Sara: Ten years ago, you played secretary and you played wife.
Claudia: We have never represented we didn't know each other previously.
Julia: And I wasn't playing. I was a hard-working secretary.
Catherine: And you loved your husband Right up to the day he died ... of 240 milligrams of selenium.
Sara: Animal selenium, the kind used for cattle.
Claudia: Well, we did live in grazing country although, I have to say, Julia knew more about livestock than I did. She rode horses.
(CLAUDIA smiles.)
Julia: I took the job because Mr. G let me board my horse at the family s*ab.
Claudia: Oh, I hated the s*ab. The smell. Never stepped foot in them.
Sara: Implicating you, the secretary.
(SARA sits down.)
Sara: I don't believe this.
Catherine: Bravo. Ladies. You have got this down to a science. (CLAUDIA looks at JULIA. JULIA continues to look at CATHERINE.) Why did it happen the first time? Hubby ignored you or abused you or you got sick of him fooling around so you started slipping the ...
(Quick flashback to: CLAUDIA stands in front of the table. In one hand she holds the bottle of selenium. In the other, she grabs the glass of drink. JULIA walks in on her.)
Catherine: (V.O.) ... cow stuff into his chocolate milk? Julia must have caught you.
(End of flashback. Resume to present.)
Catherine: So the two of you struck a deal.
(Quick flashback to: CLAUDIA looks at JULIA. JULIA puts the scenario in front of her together.)
Claudia: I'm, uh ... I'm coming into a lot of money.
(JULIA puts the things she's carrying down. She sits down and looks at CLAUDIA.)
Julia: No, we are.
(CLAUDIA smiles. End of flashback. Resume to present.)
Sara: And then what? The two of you realized how quickly you could run through a couple million? So you went looking for another mark here in Nevada?
Catherine: But the difference is that you actually loved Bob Fairmont.
(Quick flashback to: JULIA in bed with her husband. End of flashback. Resume to present.)
Catherine: You sh*t him because he was cheating but that didn't get in the way of your long-term goals, did it?
(GRISSOM peers through the door and taps on the glass. CATHERINE looks up. She and SARA go to see what GRISSOM wants.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]
(SARA and CATHERINE walk out of the interview room.)
Grissom: I just came from the D.A. Their attorneys were there as well. Based on everything we have the D.A. Is not going to move forward. He says it's a reject.
Sara: Brass doesn't have anything?
Grissom: Brass is still in the field.
(GRISSOM looks into the interview room and tells the two women: )
Grissom: You're free to go.
(They stand up to leave. SARA looks at GRISSOM. She's not happy with the outcome of the case. CATHERINE is taking it in stride.)
Julia: (to CATHERINE) Where's the ladies' room?
Catherine: It's down the hall to your right.
Julia: Thanks.
Claudia: Pardon me.
(The two women leave.)
Catherine: Well, no big surprise. We have proof of poison but no way to prove which one of them did it.
Sara: I like either one of them for the m*rder-- so will a jury.
Catherine: She-said/she-said defense? It's never going to fly. They'll raise each other as a viable suspect just like they did with us.
Grissom: That's what the D.A. said verbatim.
Catherine: See you back at CSI.
(CATHERINE leaves. SARA is completely unhappy with the results.)
Sara: Wait. What? So, what, and just let them move on to another state, another husband?
Grissom: It's not always up to us.
(Without another word, SARA walks out into the parking lot. GRISSOM turns and watches her leave. He takes off after her.)
CUT TO:
[EXT. POLICE DEPARTMENT -- PARKING LOT - NIGHT -- CONTINUOUS]
(SARA walks across the sidewalk and heads for her car. GRISSOM rushes out to catch up with her.)
Grissom: Sara ... look ...
(SARA stops and finally turns around to look at GRISSOM. She's disillusioned.)
Grissom: I know this isn't news to you but sometimes science isn't enough.
Sara: What are we doing? Digging up graves, chasing prints -- if it's no good in court ... if the K*llers win ...
Grissom: It isn't a competition. We don't win. (SARA turns her head as GRISSOM continues.) The courts are like dice. They have no memory. What works one week doesn't work the next.
Sara: (nods and looks at GRISSOM.) I know that. I do. I know that. That's why I'm mad.
Grissom: But, see, if you get mad, then they do win.
Sara: You just said ... This is one of your riddles isn't it?
Grissom: (gently) One of life's riddles ... (GRISSOM turns around to head back to the building. He turns back to SARA.) ... But, hey ... the good news? There's no statute of limitation on m*rder.
(GRISSOM makes his way back to the building. SARA turns and walks away.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x11 - Organ Grinder"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY OUTSKIRTS (STOCK) - DAY]
[EXT. LAS VEGAS CITY OUTSKIRTS (STOCK) - DAY]
(Overhead view of dry land outside the city.)
CUT TO:
[EXT. LAS VEGAS FIELD - LATE DAY]
(Camera cuts to a view of open plains and dry fields. Just over the hill is an empty construction site with large machinery, white pipes and other materials.)
(In the background, we hear a horse neighing and off in the distance, we can see a single horse and rider approaching the site.)
(Cut to a closer view as the horse and rider approach the site.)
(The horse starts to struggle against the rider.)
Rider: What is wrong with you?
(She gets off of the horse, puzzled at what could have gotten the horse spooked. As she checks out the large pipe directly in front of the horse, she finds a d*ad body hidden inside.)
CUT TO:
[EXT. CONSTRUCTION SITE - NIGHT]
(BRASS and GRISSOM check the dump site out. All around them, the field is covered with officers.)
Grissom: A girl in a culvert pipe ... at a highway construction site in the middle of an alfalfa field.
(BRASS waits for GRISSOM to finish. GRISSOM looks at BRASS.)
Grissom: You got anything to add?
Brass: Nothing as poetic.
(BRASS reaches into his coat pocket for his notebook and starts to read from it.)
Brass: Just, uh, road crew took off at 3:00. Body was discovered 5:15.
Grissom: Who found the body?
(BRASS turns to indicate the girl standing next to her horse just beyond the police tape.)
Brass: Our friend, Flicka.
Grissom: Well, there goes that theory.
Brass: What's that?
Grissom: Whoever finds the body is the first suspect.
Sara: (o.s.) Uh, Grissom ...
(GRISSOM turns to see SARA standing next to another culvert pipe. He and BRASS walk over to her.)
Grissom: What do you got?
Sara: The one thing you don't want to find at a m*rder scene.
(On the ground next to the culvert pipe, he sees it.)
Grissom: A second body ...
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY]
(GRISSOM and ROBBINS stand between the two bodies on their respective tables. The wall clock reads 6:00.)
Robbins: Who'd you like to start with?
Grissom: Which one died first?
Robbins: Identical body temps and vitreous humor. Both women died approximately 12 hours ago.
Grissom: My Uncle Phil used to say you can't k*ll two birds with one stone.
Robbins: All I can tell you is cause of death. Injury to the cervical spine. Looks to be hands-on.
(Quick POV of the dark-haired deceased's neck. View changes to an X-Ray POV where we can see her spine and neck. Her spine breaks. End of POV. Resume to present.)
Grissom: Somebody snapped her neck.
Robbins: She died instantly. Now, the blond.
(They turn to the other body.)
Robbins: Contusion to the forehead, not fatal. Whatever cut her face cut her arm. I found glass in all the incised wounds. Except for these abrasions on her neck.
(Camera close up of the scratches on her neck.)
Grissom: Fingernails maybe. Possible sign of struggle.
Robbins: I swabbed the abrasions for foreign DNA sent it to the lab.
Grissom: Cause of death?
(ROBBINS shows him the cut on her upper right arm. Camera close up of the cut moves to a CGI POV of the artery and a piece of sharp glass cutting the artery. The artery bleeds. End of CGI POV. Resume to present.)
Robbins: Severed brachial artery. She bled out.
Grissom: Something doesn't seem right.
(GRISSOM turns to the dark-haired body.)
Grissom: Brunette ...
[CLOSE-CAPTIONED-GRISSOM: Look at her neck.]
Grissom: Elaborate tattoos ... perfectly dyed hair.
(He shows ROBBINS her left ear with multiple piercings. He lifts up the sheet and shows him her pierced navel and scorpion tattoo.)
Grissom: Multiple body piercing. Tells me she craved attention.
Robbins: Sure.
Grissom: Blonde ... seems almost prosaic. She doesn't even have pierced ears.
(GRISSOM looks under the sheet.)
Grissom: She didn't shave her legs.
Robbins: A wildflower and a wallflower.
Grissom: So, besides time of death, what do our d*ad flowers have in common?
CUT TO:
[EXT. LAS VEGAS (STOCK) - NIGHT]
[EXT. PARK WOODS - NIGHT]
(The PARK RANGER leads CATHERINE, NICK and DAVID PHILLIPS out to the d*ad body leaning against the tree. DAVID puts his kit down and checks out the body.)
Park Ranger: Found his SUV in the turnout after closing so I scoped out the area. He should've been wearing his orange vest.
Nick: Well, it looks like a through and through.
Catherine: He bled out.
(NICK picks up the r*fle.)
Nick: Hunting r*fle. Winchester 70.
(DAVID takes out a thermometer and moves the deceased's arm aside. The PARK RANGER leans in curious.)
Park Ranger: Wait, what are you doing there?
David Phillips: Checking liver temperature. Estimating time of death.
(DAVID sticks the thermometer into the b*llet hole.)
Park Ranger: Should be a total of five b*ll*ts.
Nick: Four in the magazine, one in the chamber. All accounted for. This r*fle was never fired.
(CATHERINE snaps some pictures. DAVID removes the thermometer and checks it.)
David Phillips: 88.6 -- ten degrees below normal.
Catherine: So he died approximately ten hours ago.
Park Ranger: That would make it about 2:00 P.M.
David: Nick, Catherine, he's all yours.
Catherine: Thanks, David. Okay, let's see who you are ...
(DAVID moves aside. CATHERINE reaches for the deceased's wallet and checks his identification.)
Catherine: Nevada license.
[The Nevada Driver's License reads:
180063222900
JASPER, JAMES
2974 WESTFALL AVE. LAS VEGAS, NV 89156
CLASS A ENDORSE ]
Catherine: James Jasper.
Nick: When's hunting season?
Park Ranger: Deer season opened last week. Record number of permits.
Catherine: Well, you were right -- he should've been wearing his orange safety vest.
(Quick flashback to a hunter with a r*fle looking through its scope.
Catherine: (V.O.) Hunter lays in wait, spots a deer. Hunter fires ...
(The hunter looks down the scope and fires.)
Catherine: (V.O.) ... deer takes off ... but the b*llet keeps going until it stops.
(The camera follows the b*llet. The dear takes off, but the b*llet pierces whatever is in its path. The b*llet, in this case, pierces some brown-colored material. End of flashback. Resume to present.)
Nick: No b*llet in the body.
(NICK kneels down and checks the tree.)
Nick: No b*llet in the tree.
Catherine: It's got to be somewhere.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM walks into his office reading a file and carrying his case. He's smiling. He closes the file. SARA walks in.)
Sara: I processed the crime scene. Lots of treads and tracks, but nothing salient.
Grissom: What about the culverts?
Sara: I came up empty. I worked from the victims out till I h*t the highway. Nothing. Nothing to process, no follow-up, zip.
(GRISSOM turns around and gives SARA the "look" which she recognizes immediately.)
Sara: You have something.
Grissom: Print lab ID'd one of the vics.
Sara: Blond or brunette?
Grissom: Brunette. Joan Marks. At 18, she was booked for felony shoplifting. Lived at home, we got the address. Warrick grabbed a uniform. He's on his way there with a warrant.
CUT TO:
[EXT. PARK WOODS -- NIGHT]
(Through a night scope POV, NICK scans the woods hoping to find something. He takes a couple of steps, turns and tries again. This time, he finds a b*llet lodged in a tree. He smiles.)
(NICK walks up to the b*llet in the tree. He calls over his shoulder.)
Nick: Catherine!
Catherine: You find the b*llet?
(CATHERINE walks over.)
Nick: Yeah. But how am I going to get it out of there without damaging it.
(NICK sighs.)
Catherine: You know what the textbook says -- if you're not a hundred percent sure how to collect it, bring the whole thing in.
(NICK looks up at the extremely tall tree.)
Nick: Yeah, I'll figure it out.
(CATHERINE smiles, pats him on the shoulder, then leaves.)
CUT TO:
[EXT. LAS VEGAS RURAL COMMUNITY (STOCK) - DAY]
[EXT. MARKS' RESIDENCE - HOUSE - DAY]
[EXT. /INT. DONNA MARKS' RESIDENCE -- GARAGE - DAY]
(GRISSOM and SARA check in with the officer outside. They walk into the garage carrying their kits.)
(Cut to: SARA opens the car door and sits in the car behind the wheel. GRISSOM opens the passenger door and kneels down to look inside.)
Sara: Twelve hundred miles and it's an older model. Driver doesn't get out much.
(GRISSOM opens the passenger door and looks in the glove compartment. He pulls out the car registration paper.)
Grissom: Registered to a Donna Marks.
Sara: Could be our blond. Related to Joan Marks. I'll check with DMV.
(WARRICK walks up to the car. GRISSOM and SARA stand up.)
Warrick: I already did. 28 years old, blonde, blue eyes, 125 pounds, five-six ... sound familiar?
Sara: That's her.
Warrick: Uniform's talking to a neighbor. Donna is Joan's older sister.
Grissom: (chuckling): Well ... we know what they have in common now, don't we?
Warrick: Genetics. House belonged to their mother. Donna's lived here alone since their mother died. Joan lived in Henderson. The real action's around back.
CUT TO:
[EXT. DONNA MARKS' RESIDENCE - BACKYARD - DAY - CONTINUOUS]
(On the outside patio floor, there is broken glass everywhere. Markers are on the ground where evidence needs to be examined. WARRICK shows GRISSOM and SARA the broken glass door.)
Warrick: If the highway was the dump site, this is the primary.
Grissom: Makes sense. The blonde's lacerations were filled with glass.
Sara: She went through that door.
Grissom: From inside out.
(GRISSOM and SARA walk into the kitchen and look at the broken door. WARRICK crosses under the police tape.)
Sara: To take out one of these doors you need some serious momentum.
Warrick: No doubt. I'm going to collect the glass. And then I'll start with the doorframe.
Grissom: How are you at solving puzzles?
Warrick: You're the puzzle guy.
Grissom: I have a hint for you. When they cool sheet glass, they lay it out on tin.
Warrick: So the side that kissed up to the tin will fluoresce under UV.
Sara: Still going to be a long couple of days at the lab.
Warrick: I got some imprints on these blood spots here.
(GRISSOM and SARA both kneel to look at what WARRICK'S looking at. In front of marker #2, there's a partial shoe print in blood.)
Warrick: Looks like the k*ller may have stepped in Donna's blood.
Sara: Or maybe her sister stepped in it. There was some blood on Joan Marks' right shoe.
(Quick flashback to SARA looking down at the body's right shoe. End of flashback. Resume to present.)
Warrick: Hmm. That would place Joan at the house.
Grissom: And establish a timeline.
Sara: If Joan did step in Donna's blood that would mean that Donna was injured and bleeding while Joan was still walking around.
[INT. DONNA MARKS RESIDENCE - KITCHEN - DAY - CONTINUOUS]
(GRISSOM stands and walks into the kitchen. He stops to look at the refrigerator and notices the take out order sheets pined to the door. The first is for "Pizza Land #2" (Italian Kitchen), the second for "Capt Krauser Cookin"
(Free Delivery) and the third for "Free Delivery [(702)-555-2438]. SARA also stands to see what GRISSOM'S looking at.)
(GRISSOM puts on his gloves and opens the refrigerator door. Inside are containers of take-out food. He reaches in and opens the top container. He smells it and holds it out for SARA to smell.)
Sara: Sweet and sour pork.
Grissom: It smells fresh.
(He puts it back on the shelf. He grabs another opened container in the back of the refrigerator, smaller than the first. He smells it.)
Grissom: More sweet and sour.
(He holds it out for SARA to smell. She immediately reacts to the age of the food.)
Grissom: Mostly sour.
Sara: Single servings in the back, spoiled. Family sized boxes in front, one or two days old.
(GRISSOM picks up another container and opens it. Inside there are four spring rolls.)
Grissom: What do you think? Increase in appetite, or ... perhaps a guest?
CUT TO:
[INT. DONNA MARKS OFFICE - DAY - CONTINUOUS]
(SARA pushes the door to the study open. She and GRISSOM both walk inside. Against the far wall behind the door are a stack of fedex boxes. The computer on the desk is still on.)
Grissom: Universal remote. She could do everything she wanted from this chair but cook a roast.
(GRISSOM sits down behind the desk.)
Sara: Well, we already know she cooks like I do -- takeout on speed dial.
(SARA riffles through the stack of catalogs on the desk.)
Sara: Pottery barn, Lillian Vernon magnolia, Yafa Pen ... She's a catalogue junkie -- we're on the same mailing lists.
Grissom: Catalogues, the internet, mail order, takeout ... 1,200 miles on her car. Agoraphobic maybe? Or she just doesn't like people?
Sara: (smiling) Ah, that's you talking.
(GRISSOM looks at SARA.)
Sara: I'll haul in her PC, check her e-mail look in on her social life.
(SARA turns around and looks at the bathroom.)
Sara: Hey ... the toilet seat's up.
(GRISSOM turns around and looks at the bathroom. He sees it, too.)
Sara: There was a man here.
FADE TO BACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- HALLWAY - DAY]
(CATHERINE turns the hallway corner.)
Catherine: Nick.
(CATHERINE walks up to NICK.)
Catherine: Tell me what you got?
Nick: Coroner said it's cut and dry. b*llet severed an abdominal artery.
Catherine: Trajectory?
Nick: Front to back. Straight across. Round entered one inch to the right of the umbilicus. b*llet's with ballistics. Vega's got the widow. They're ready for us.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM - DAY]
(CATHERINE, NICK and DET. VEGA interview MRS. JASPER. She speaks slowly, still stunned by the news.)
Mrs. Jasper: Jimmy left early, before I got up. When he didn't come home for dinner I just figured that he got himself a deer.
Nick: Did he go by himself?
Det. Vega: He took a day off of work in the middle of the week?
Mrs. Jasper: Well, um, we had both been laid off recently. He was in insurance. He was an auditor.
Catherine: And how was your husband handling that?
Mrs. Jasper: Well, you know, he was okay. I mean, uh ... we had to borrow money from his folks to pay the rent. That was hard on him.
(She turns to CATHERINE.)
Mrs. Jasper: I have to call them. I haven't called them, I ...
(She moves to stand up. CATHERINE stops her.)
Catherine: Mrs. Jasper, was your husband an experienced hunter?
Mrs. Jasper: Yes. Since he was a kid. (sighs) He always looked forward to deer season. But, with the baby and all, he missed the last few.
(She starts to cry.)
Mrs. Jasper: It's me. Isn't it? I encouraged him to go. I thought that it would help him take his mind off things. Oh ... what am I going to do?
(DET. VEGA and NICK look at each other.)
Nick: Can you think of any reason James wasn't wearing a safety vest?
Mrs. Jasper: (sighs) No. I mean, he was always so careful. That doesn't sound right.
CUT TO:
[INT. CSI -- DNA LAB]
(GRISSOM turns the corner and enters the lab. He stops and stands in front of GREG. GREG looks up from his scope.)
Greg: If you're here about the blood on Joan Marks' shoe, I already told Sara. I'm backed up.
Grissom: I'm here about foreign DNA on Donna Marks' neck.
Greg: Oh. Well, on that, I got an ID.
Grissom: You found a match in CODIS?
Greg: Nope, but I ran a DNA profile on both victims. What do all sisters have in common? DNA.
(GREG hands GRISSOM the test results.)
Grissom: You're saying that Donna's sister scratched her?
(Quick flashback to: Close up of DONNA MARKS' neck. A woman yells out. Another female hand scratches the neck leaving behind bloodied marks. End of flashback. Resume to present.)
(GREG makes a cat hissing sound complete with hand motions.)
Greg: So, did I solve the case?
Grissom: No, Greg, you didn't. But you've helped.
(GRISSOM leaves. Camera holds on GREG.)
CUT TO:
[INT. CSI - HALLWAY]
(BRASS turns the corner and walks rapidly down the hallway. SARA turns the corner behind BRASS and shouts to get his attention. She rushes to catch up with him and together they continue down the hallway.)
Sara: Hey, Brass. Heard the database kicked out a Temporary Restraining Order. Joan Marks against her old boyfriend.
Brass: I'll do you one better. The old boyfriend, Gavin Pallard had one against her.
Sara: Tit for tat.
Brass: They both filed last month.
(BRASS stops in front of a room. He turns to look at SARA.)
Brass: Want to find out why?
(SARA smiles at the invitation.)
Sara: Don't mind if I do.
(BRASS opens the door and they both enter the room..)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY - CONTINUOUS]
Gavin Pallard: See this? (GAVIN PALLARD points to a small scar to the right of his chin.) Didn't get this french kissing. Joanie had a temper. Punctuated her sentences by throwing furniture. Made it hot, you know. We'd break up to make up.
(BRASS and SARA interview GAVIN PALLARD, JOANIE MARKS' (ex)-boyfriend.)
Brass: What about the last time?
Gavin Pallard: Look, the whole T.R.O. business ... she'd been in and out of my house three times. Couldn't stay away.
Sara: According to you. When did you see her last?
Gavin Pallard: Yesterday. I dodged a coffee pot. She h*t the road.
Sara: What was she driving?
Gavin Pallard: My Thunderbird. I'd lent it to her, and used my bike. But, um, you know ... I'd like it back now.
Brass: When we find it.
Sara: Did she tell you she was going to her sister's?
Gavin Pallard: No. Why would she go there? It's oil and water. And Joanie liked action. Real partier. Last party Donna went to was her third birthday.
Sara: What about you? You been to Donna's house recently?
Gavin Pallard: No. Boring. Was always glued to her computer. Plus Joan thought Donna owed her rent and ... the house was in both their names, so ...
Sara: May I ... see the bottom of your shoes?
Gavin Pallard: Why?
Sara: Why not?
(Thinking nothing of it, GAVIN PALLARD swings his legs up and rests his feet on the table, soles of his shoes facing SARA. SARA uses her flashlight and examines the bottom of his shoes. She finds blood stains.)
Sara: (smiles) I like the shoes. I like them enough to get a warrant.
(Camera holds on GAVIN PALLARD.)
CUT TO:
[INT. CSI -- BALLISTICS LAB]
(NICK and CATHERINE walk to the Ballistics Lab. BOBBY DAWSON sees them coming.)
Bobby Dawson: I was just calling you.
Catherine: You were?
(NICK and CATHERINE walk into the lab.)
Bobby Dawson: Yeah, carved your b*llet out of that hunk of tree. Ah ... you know, a b*llet's only this big.
(BOBBY holds his index finger and thumb an inch apart to show the length of a b*llet.)
Bobby Dawson: Y'all gave me a pound of redwood.
Catherine: That's cottonwood.
Bobby Dawson: You should know. (b*at) Heard you wanted Nick to chop down the whole tree.
(BOBBY grins.)
Catherine: (smiling) I did.
Nick: Tell us about the b*llet now. Striations, lands, grooves?
Bobby Dawson: I found some discoloration on the b*llet's tail. Check it out.
(CATHERINE looks at the b*llet BOBBY DAWSON'S holding under the magnifying glass.)
Catherine: Ah, oxidation.
Bobby Dawson: Yeah, copper jacketed. The tail was exposed.
Nick: Oxidation takes a lot more than 24 hours.
Bobby Dawson: Yeah, no way to backdate it, but it's definitely older than y'all's crime scene.
(DET. VEGA knocks lightly on the door and enters the lab. He has a clipboard with him.)
Det. Vega: How's it going?
Catherine: Well, we've got the wrong b*llet but the case still seems like a write-off.
Nick: Yeah, nothing we have says that it wasn't a hunting accident.
Det. Vega: Insurance policy, two months old. A million bucks goes to the widow.
(DET. VEGA hands the clipboard to CATHERINE.)
Nick: She was crying poverty when she was in the money?
Det. Vega: There's more. It wasn't purchased by Mr. Jasper.
Catherine: She bought it?
Det. Vega: Monthly installments taken on Mrs. Jasper's credit card.
Catherine: He's in the insurance business and she buys a policy behind his back.
(NICK looks at CATHERINE.)
Nick: We've got to find that b*llet.
(She nods.)
CUT TO:
[INT. CSI - LAYOUT ROOM]
(WARRICK starts to flip over the pieces of glass taken from the patio floor.)
(Using the hint given to him by GRISSOM earlier, he turns the light off and uses a hand-held ALS. He flips the pieces over to make them face the right way.)
(Dissolve to WARRICK making sure that all the pieces are flipped the right way.)
(Dissolve to top view of WARRICK, under regular light, putting the glass pieces together like a big puzzle.)
(Dissolve to WARRICK standing and working on the left side of the table. More of the glass is in order.)
(Dissolve to WARRICK standing and working on the back side of the table. Most of the glass is in order.)
CUT TO:
[INT. CSI - LAB]
(Camera close up of the front page to Internet Online. SARA clicks on "Mail Shop" and it takes her to DONNA MARKS' e-mail.)
Sara: (o.s.) Donna Marks was a telecommunicator. Liked to shop. Mail order, over the phone. I retrieved lots of email confirmations.
(SARA is speaking to GRISSOM who looks at the monitor over her shoulder.)
Grissom: If she shopped online why'd she place orders over the phone?
Sara: Need for human contact.
Grissom: Without physical contact?
Sara: She spent time in chat rooms. Book clubs, home crafts collected fountain pens.
Grissom: Personal e-mails?
Sara: Only one buddy on her buddy list. Screen name's "Apollo."
Grissom: Pull up his most recent.
Sara: That would be three days ago. (reading) "I know it sounds weird, but ... my life began when I first heard your voice ..."
(Quick flashback to DONNA MARKS sitting in front of her computer reading the e-mail out loud.)
Donna Marks: "... when you said my name, it felt so right. Did you feel it, too?"
(End of flashback. Resume to present.)
(SARA and GRISSOM look at each other.)
Sara: It's easy to wear your heart on your sleeve when you're not looking in his eyes. He said her name so their relationship must've extended beyond the computer.
Grissom: So, what do we know about this "Apollo"?
(SARA pulls up another screen.)
Sara: You know that garbage those numbers at the bottom of every email?
Grissom: Yeah.
Sara: It's actually a unique number that registers the location of the sender's terminal.
Grissom: An address?
(The screen runs a program to search the location for the IP Address:
417.216.55.69. After a moment, the computer beeps that the IP Address has been
"located".)
(The computer spits out seven IP Addresses. It blinks on screen as it locates the street address and location.)
Sara: Internet Protocol Address. CSI has access. Seven different IP addresses means he used seven different computers.
Grissom: That's strange.
Sara: Could be a network.
(The computer beeps.)
Sara: "23000 Ganza Avenue, Ely, Nevada. Western Nevada Correctional Facility."
Grissom: Her greek god is in the slam.
(SARA turns to look at GRISSOM.)
CUT TO:
[EXT. WESTERN NEVADA CORRECTIONAL FACILITY (STOCK) - DAY]
[INT. WESTERN NEVADA CORRECTIONAL FACILITY - DAY]
(The WARDEN escorts GRISSOM into the facility from the outside. They walk through the hallway)
Warden: Like it or not, prison is a business. This facility is privately owned. Contract with the state. Our aim is simple: Customer Satisfaction.
Grissom: The key to any successful business, huh? Word of mouth.
Warden: A body in every cot. Criminals are cutting deals to get sent here.
Grissom: I imagine. It's like a theme park.
Warden: More guys through the turnstile, more money we make.
(They come to a door and a guard buzzes them in.)
Grissom: So, as long as I'm in business, you're in business.
Warden: K'ching.
[NT. - COMPUTER ROOM - DAY - CONTINUOUS]
(They enter a room where the inmates are telephone operators and work on computers. There are guards posted inside the room.)
Grissom: Are your inmates allowed to use e-mail anywhere else but here?
Warden: No, personal computers are prohibited. But they're allowed to surf the web, send and receive e-mail? Only at these terminals. And all internet activity is strictly monitored.
(GRISSOM looks around the room. We can hear some of the inmates taking down telephone orders.)
Inmate #1 (operator): The blouse comes in g*n Blue, Amazon Green and Tahitian Red, which is our most popular color.
Inmate #2 (operator): How would you like that shipped? UPS? Second day air? Overnight?
(GRISSOM turns around and faces the WARDEN.)
Grissom: Something tells me state funds aren't your only source of revenue.
Warden: We have contracts with several retailers. Perfectly legal.
Grissom: So, let me get this straight. I receive a catalog in the mail. I call a toll-free number to place an order and I'm giving my personal credit card information to a "Hello, I'm doing 'time-life'" operator?
Warden: Once the order's routed to the fulfillment center only the retailer has access.
Grissom: All right, let's cut to the chase. I'm investigating the deaths of two young women one of whom was having a "relationship" with an inmate at this facility. I need to speak to that inmate. His e-mail alias is "Apollo."
Warden: I'll check the log.
(The WARDEN walks off to one of three clipboards hanging on the wall. He takes the clipboard and returns to GRISSOM.)
Warden: I'm sorry, I can't help you.
Grissom: I can get a warrant.
Warden: Won't do you much good.
Grissom: Why?
Warden: Mickey Rutledge, aka "Apollo," was released three days ago.
(Camera holds on GRISSOM.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- LAB]
(WARRICK picks off a dark-colored fiber off of a piece of clothing. He cuts the tip off of the fiber and looks at it again under the magnifying glass.)
(SARA enters the lab.)
Sara: Hey.
Warrick: Hey.
Sara: How's the glass puzzle going?
Warrick: Still putting it together. I'm just doing a trace on Donna Marks' clothing and I came across this fiber. Look at this cross section.
(SARA leans in and looks at what WARRICK is holding. Camera zooms in to the fiber for a close up.)
Sara: Triangular. That means it can't be clothing fiber.
Warrick: Yeah, short and coarse. Car upholstery?
(SARA takes a couple of steps back.)
Sara: Yeah ... but that still doesn't get us anything. We found both vics near the freeway. We've been thinking vehicle transport from the start.
Warrick: Well, it's from black upholstery. What color was the boyfriend's missing thunderbird?
Sara: I'll ask him ... and his lawyer. The blood from his shoe was consistent with Donna Marks' DNA-- he lied. He was at the house.
Warrick: Really? What about the blood from Joan Marks' shoe?
Sara: Also a match. Joan and Gavin ... both stepped in Donna's blood.
(WARRICK nods as he thinks about it.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
(SARA and BRASS question GAVIN PALLARD with his lawyer sitting next to him.)
Gavin Pallard: Fine, I went there.
Sara: We already know that.
Brass: We're looking for, "Fine I went there ... and..."
Lawyer: My client went there after the fact. He was looking for his girlfriend -- didn't find her.
Brass: Right ... he found a crime scene.
Sara: Broken glass a pool of blood.
Brass: But you didn't call 9-1-1.
Gavin Pallard: I was scared. I took off. Besides, there was a restraining order against me.
Sara: Gavin, what color's your car? Your missing Thunderbird?
Gavin Pallard: Blue, why?
Sara: Interior?
Gavin Pallard: Black ... did you find it?
Brass: Not yet.
Sara: But we will.
CUT TO:
[EXT. WOODS - DAY]
(CATHERINE and NICK prepared to look for the missing b*llet. They both wear their orange safety vests.)
Catherine: (o.s.) Okay, the tree is a point of reference.
Nick: Yeah, and since the b*llet didn't h*t the tree, and the blood's to the west, then the through-and-through defines our search area. The furthest drop of blood is here ... (NICK indicates where he's standing.) ... The spatter seems to be confined to a 45 degree angle.
(CATHERINE stretches a rope in one direction ... )
Catherine: So the b*llet should be somewhere between your rope and mine.
Nick: Yeah, we've reduced a 360 degree crime scene to a 45 degree angle.
( ... NICK takes his rope and stretches it in another direction.)
Catherine: Congratulations to us. Still a needle in a haystack.
(NICK laughs.)
CUT TO:
(CATHERINE and NICK both look for the b*llet on the ground using metal detectors. For each time the metal detector beeps, they drop a marker.)
(CATHERINE walks by marker #2. The next marker she holds in her hand is marker
#6.)
(Cut to: NICK sweeps the ground and hears a beep. With his foot, he straightens marker #13.)
(Cut to: CATHERINE hears a beep and places marker #6 on the ground. Cut to CATHERINE straightening marker #8 on the ground. She stands.)
(Cut to overhead view of the two sweeping the 45 degree roped off area.)
DISSOLVE TO:
(CATHERINE stops sweeping and pulls off her earphones.)
Catherine: Nick.
Nick: Yeah?
Catherine: Let's just pack it up. The b*llet couldn't have gone this far.
(NICK turns off his equipment and heads back. CATHERINE also heads back.)
DISSOLVE TO:
(CATHERINE and NICK bump into the PARK RANGER.)
Park Ranger: Hey... saw your, uh, Tahoe. I didn't expect to see you guys back here.
Catherine: Yeah, just tying up a few loose ends.
Park Ranger: Well, maybe this will help. Your d*ad hunter, James Jasper, didn't purchase a hunting license.
Nick: Well, he was out of work. Maybe he was trying to save money.
Park Ranger: A license is 24 bucks. Hunting without one is a $1,000 fine and up to six months in jail.
Nick: Whoa. Well, that's not worth the risk. Maybe he wasn't up here to hunt?
Catherine: We haven't heard a single sh*t all day. Where are these hunters that you talked about?
Park Ranger: You only hunt deer at dusk and at dawn.
Nick: Right, right ... feeding time, it's ... when they're out in the open. What about other game?
Park Ranger: This time of year, only deer's in season. You can take off those vests if you want.
Catherine: No one hunts during the day but the coroner placed Jasper's time of death at 2:00 P.M.
Nick: Yeah, that's an odd time for a hunting accident.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(SARA walks down the hallway. She turns a corner and bumps into GRISSOM.)
Grissom: Hey.
Sara: Hey. Brass is holding the boyfriend on a TRO violation. I'm going back to the lab to process the prints we lifted from the toilet seat. Guy claims he was in and out. I'm thinking no time to make a pit stop.
Grissom: I processed the prints.
Sara: (surprised) You did?
Grissom: They're not a match to Joan's boyfriend.
Sara: What?
Grissom: But ... we do have a match.
Sara: Donna's cyber boyfriend? I thought he was in jail.
Grissom: Released last week. His parole officer brought him in.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
(GRISSOM and SARA interview MICKEY RUTLEDGE, aka "Apollo". His lawyer sits next to him.)
Mickey Rutledge: You're fishing, I just got out of the joint. I was never at Donna's house.
Grissom: We found your fingerprints on the toilet seat in her bathroom.
(The lawyer turns to look at MICKEY RUTLEDGE.)
Mickey Rutledge: What, are you going to do? Arrest me for flushing a toilet?
Grissom: Well, unfortunately I can't arrest you for lying.
Mickey Rutledge: (to his lawyer) Help me out here, will you?
Lawyer: Mickey, you have the right to an attorney. But if you're not hiding anything I suggest you answer their questions.
(He turns back to GRISSOM and sighs.)
Mickey Rutledge: Look, we met over the internet. We had a lot in common --
Donna understood my situation. When I told her I was getting out ... well, she invited me over.
CUE: DOORBELL (PRELAP)
(Quick flashback to: DONNA MARKS opens her front door. MICKEY RUTLEDGE is standing in the front porch holding a bouquet of flowers.)
Donna Marks: (shyly) Hi. No one's ever brought me flowers.
(MICKEY RUTLEDGE smiles, pleased with her response.)
(End of flashback. Resume to present.)
Mickey Rutledge: She served take-out ...
(He smiles as he remembers. He even chuckles a little.)
Mickey Rutledge: ... But what do I care? It wasn't chipped beef.
(Quick flashback to: MICKEY RUTLEDGE and DONNA MARKS eating dinner. He has an appetite. She's pleased.)
Donna Marks: (smiling) How is it?
Mickey Rutledge: Sweet and sour pork ... my favorite.
(End of flashback. Resume to present.)
Sara: So she invites you for lunch everything's great. And somewhere between the fortune cookies and sunset ... Donna and her sister are both m*rder. Thoughts?
(MICKEY RUTLEDGE stares at SARA for a moment. He gives a nervous chuckle.)
Mickey Rutledge: I think the sister's a piece of work. Soon as we finish eating, she shows up ... with an attitude.
(Quick flashback to: JOAN MARKS standing in the kitchen and yelling at her sister.)
Joan Marks: This is my house, too!
(DONNA MARKS finishes putting the food containers in the refrigerator and turns around to look at her sister.)
Donna Marks: I'm paying the taxes.
(DONNA MARKS looks past JOAN. JOAN turns around and sees MICKEY RUTLEDGE standing there. She turns back to her sister.)
Joan Marks: Who the hell is this?
(End of flashback. Resume to present.)
Mickey Rutledge: First thing I learned in the joint -- when inmates are fighting, you make yourself invisible. So I got out of there.
Grissom: Six months ago, Donna Marks ordered a sweater and two scarves from Magnolia Apparel. You took the order.
Mickey Rutledge: I took fifty calls a day.
Grissom: How many of your callers invited you home and served you Chinese food?
(MICKEY swallows. He glances over at SARA.)
Grissom: When Donna placed her order for the clothes she gave you her email address, didn't she?
Mickey Rutledge: (nods) Yeah ... she was lonely. She struck up a conversation with me. Reached out. (to SARA) Hey -- you know, I don't usually meet girls like Donna. She was nice.
Sara: She was vulnerable. No social life, no friends, not even a cat. All she had was her work. She ordered from catalogs to give herself something to look forward to.
Grissom: You know, Mickey. I don't think your intention was to k*ll. All of your priors are for non-violent activities, right?
Mickey Rutledge: Look, I've been in the system, I know the law. I admit, I was there. So what?
(He looks over at SARA and at GRISSOM. He stands up and heads out the door.)
Mickey Rutledge: You know where to find me.
(He opens the door and leaves.)
LAWYER (to GRISSOM) I'll keep my eye on him.
(The LAWYER closes his notebook and heads out the door.)
(SARA turns to GRISSOM.)
Sara: Joan's boyfriend, Gavin Pallard -- blood on his shoe and a TRO. Donna's boyfriend, Mickey Rutledge -- opportunity and a rap sheet. Both hid the truth ... until confronted with the evidence.
(GRISSOM looks away and considers it for a moment.)
Grissom: Well, we know we have two liars. Do we have a k*ller?
(GRISSOM looks at SARA.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAYOUT LAB]
(WARRICK continues to work on putting the glass pieces together. GRISSOM walks in. WARRICK looks up and sees GRISSOM.)
Warrick: Hey. Point of impact. It's, uh ... (WARRICK takes out a tape measures and measures the point of impact.) ... sixty-... five inches from the base.
Grissom: So what does that tell us?
Warrick: Well, Donna was five-six. If she was thrown through that glass, the point of impact would've been lower closer to the ground.
(Quick flashback to someone throwing DONNA MARKS through the glass door. It is noted that she falls through the glass low to the ground, lower than what it actually is. End of flashback. Resume to present.)
Grissom: She had multiple incised wounds. But the only contusion was on her forehead suggesting that that's where contact was made. So she was standing upright when she went through the door.
(Quick flashback to: DONNA MARKS on the inside of the kitchen. She's standing upright, turns, and walks into the glass door. Once outside, she falls to the ground. End of flashback. Resume to present.)
Grissom: She walked through it.
Warrick: Are you saying it was an accident?
Grissom: It's your science.
(SARA walks into the lab. She looks at the completed glass on the table.)
Sara: Nice work.
Warrick: Thanks.
Sara: P.D. Found GAVIN PALLARD'S Thunderbird hidden off the I-69 five miles from the dump site.
Grissom: Hook up with auto detail, tow it in.
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Something yellow drips down on SARA'S goggles. She wipes it away with her finger.)
(She rolls out from under the car. GRISSOM is kneeling next to the front tires waiting for her. SARA sits up and removes her goggles.)
Sara: Radiator's cracked.
Grissom: Well, that might explain why Joan bought coolant twice in the last week from a convenience store. We ran her credit cards.
Sara: Well ... whoever drove this puppy last filled up the radiator fluid but, instead of coolant, they used water.
Grissom: Either someone unfamiliar with the car, or ... someone in a desperate situation maybe.
Sara: Radiator cap. I'll print it.
Grissom: Good. (GRISSOM reaches up and grabs a container, which he hands to SARA.) Grab me a sample of fluid, too, will you?
(GRISSOM stands and leaves.)
CUT TO:
[INT. CSI - LAB]
(NICK sprays something on JAMES JASPERS' clothing.)
Nick: g*n residue.
Catherine: Expect the unexpected. GSR on the clothing means the victim was sh*t at close range.
(Quick flashback to: A g*n being fired and hitting clothing. End of flashback. Resume to present.)
Nick: So now what? We're thinking m*rder?
Catherine: Or su1c1de.
Nick: He never fired his r*fle. What'd he sh**t himself with?
Catherine: Okay. But if he was m*rder, we should've found some evidence of the k*ller at the crime scene.
Nick: Yeah, not to mention whoever sh*t him would've been eyeball-to-eyeball. Who could've gotten that close without Mr. Jasper putting up a struggle?
(CATHERINE looks at NICK, waiting for him to reach the same conclusion she's reached.)
Nick: Somebody he knew. I'm going to call O'Riley see if he's checked out Mrs. Jasper's alibi. I'll meet you at the car.
(NICK leaves the lab.)
Catherine: All right.
CUT TO:
[INT. CSI - HALLWAY OUTSIDE LAB -- CONTINUOUS
(SARA walks down the hallway. She passes by NICK as he leaves the lab.)
Sara: Hey, Nick.
Nick: Hey, Sara. (He turns around.) Hey, how's your case going?
(SARA stops and turns around.)
Sara: You ever try to print a radiator cap? Smudge city.
Nick: Yeah. Yeah, I know, it's impossible. But it's just a radiator cap so give yourself a break.
Sara: Thank you.
(SARA starts to leave.)
Nick: Hey, Sara ... (she stops and turns around again.) ... you gotta get out more.
(SARA stares at him. NICK slowly backs away from SARA till he leaves the hallway. SARA turns back and continues down the hallway.)
CUT TO:
[INT. CSI -- DNA LAB]
(GREG holds up the sample of radiator water as he looks at it. GRISSOM leans against the table.)
Greg: So you got this water from a radiator?
Grissom: Yes.
Greg: Well, it ain't no Rocky Mountain Spring.
Grissom: What is it, Greg?
Greg: Nasty sodium count. Potassium, phosphorus.
(GREG hands the test results to GRISSOM to look at. GRISSOM looks up, thinking.)
Greg: (smiling) You've got that look. What did I say right?
(GRISSOM doesn't say anything. He puts the test results back on the table and leaves the lab.)
CUT TO:
[EXT. WOODS - DAY]
(CATHERINE and NICK walk through the woods. NICK finishes up his phone call and hangs up.)
Nick: (on phone) Okay. Thanks for the info. We'll keep you posted. (hangs up) Well, Mrs. Jasper's alibi checks out. She was at work from 2:00 A.M. To
6:00 P.M. Ate lunch at her desk.
(They reach the scene and put their kits down.)
Catherine: She didn't k*ll her husband.
Nick: m*rder for hire?
Catherine: A pro would've sh*t him in the heart.
Nick: This guy was sh*t in the gut. b*llet didn't even come close to his spinal cord.
(Quick CGI POV of the b*llet piercing through the cloth, through flesh and exiting out the back and through into the woods. End of CGI POV.)
Nick: Wait a minute now. Abdominal injuries take time to bleed out. But it would've taken at least ten minutes for hemorrhagic shock to set in and he would've been mobile.
Catherine: Right. But he never moved. He was standing in front of this tree when he was sh*t. He didn't try to get to his car, get help, he just ... sat down and waited to die.
Nick: Yeah. Yeah, I see where you're going here. His injuries and his behavior aren't consistent with m*rder. But they're not consistent with su1c1de either.
Catherine: Ninety-nine out of 100 suicides by g*n ... muzzle to the mouth, b*llet to the brain. But there's always just that one.
Nick: Look, suicidals want it quick and painless. Bleeding to death is slow and painful. Not to mention, he never fired his r*fle.
Catherine: No, the w*apon we found was never fired.
Nick: (laughs) That-that's a big stretch. He brought his r*fle plus a spare?
Catherine: He sh**t himself in the gut leaving himself time to hide the w*apon.
Nick: Yeah, but there's no blood trail. What'd he do with the spare, throw it up a tree?
(NICK looks up at the trees above. CATHERINE takes a walk out toward the lake.)
Catherine: How about the lake?
(NICK turns around. He's starting to see the possibilities.)
Nick: Yeah. Yeah, okay-- heads up.
(NICK motions for CATHERINE to move aside. He picks up a rock and tosses it into the lake from where the body was found. The rock lands in the lake with a splash.)
Nick: I just marked our search area.
SHORT TIME CUT TO:
[EXT. WOODS/ LAKE - DAY]
(Under the water, a metal rod prods along the bottom of the lake. They're looking for the g*n.)
(Cut to above water: NICK and CATHERINE are in their rubber swim gear, each carrying a metal rod and prod it along the bottom of the lake.)
Nick: You know, even if your theory's right, we still haven't explained the insurance policy purchased by the wife.
Catherine: Hey.
(CATHERINE hits something. She looks up at NICK. NICK makes his way to CATHERINE.)
Catherine: Metal on metal.
Nick: Hold up, let me give you a hand.
(NICK reaches into the lake and picks up the g*n.)
Catherine: Okay. Right there.
Nick: Yeah. I got it. I got it.
Nick: Whoa ... water p*stol.
Catherine: Well, we never found the b*llet, but we found the g*n.
(Still standing in the lake, NICK and CATHERINE look over at the tree where the body was found. As if they were watching it replay on the big screen, they see the events unfold.)
(Quick flashback to JAMES JASPER holding the p*stol aimed at his abdomen. He fires. He doubles over in pain, but before he collapses, he tosses the g*n into the lake. He then falls to his knees. End of flashback. Resume to present.)
(Cut back to NICK and CATHERINE imagining it happening in front of them.)
Catherine: Mr. Jasper committed su1c1de.
Nick: And the wife's out a million bucks.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM - NIGHT]
(DET. VEGA brings MRS. JASPER a cup of coffee. She's sitting in the waiting room. CATHERINE sits in the seat across and facing her. VEGA remains standing.)
Mrs. Jasper: Thank you.
Catherine: Mrs. Jasper, you purchased a life insurance policy on your husband in which you are the sole beneficiary.
(She shakes her head.)
Mrs. Jasper: I don't know what you're talking about.
Catherine: We have the actual application for the policy with your signature.
Det. Vega: Ma'am, you are aware that insurance policies exclude su1c1de?
Catherine: Your husband staged his death to look like a homicide. As a beneficiary, if you knew of his intentions to take his own life, that would constitute fraud.
Mrs. Jasper: If I knew, I would've stopped him. Jimmy was everything to me.
(CATHERINE glances over and sees NICK signaling to her through the window.) I didn't buy the policy. I didn't know about his plans.
(NICK walks into the waiting room area holding a file folder.)
Catherine: Hi.
(NICK hands CATHERINE the file. She opens it and reads it. She looks up at NICK.)
Catherine: (to NICK) You want to explain this?
(CATHERINE holds the folder out for NICK to take.)
Nick: Sure. Mrs. Jasper, when you claimed your husband's personal possessions, you signed a release form, yeah?
(She nods her head slightly.)
Nick: I ran that same form through our questionable documents lab and I cross-checked your signature with the signature on the insurance application here. It's not yours. Your husband must've forged it. I also checked with the insurance company. Your husband opened the account.
Mrs. Jasper: (stunned) Why ... ? Why? I don't understand that. Why did he do that?
Catherine: Because he knew that if he had bought the insurance himself it would've sent up a red flag.
Mrs. Jasper: (voice breaking) So what you're saying is ... that my husband k*lled himself for me?
Nick: Yes, ma'am.
(MRS. JASPER puts a hand to her forehead and cries.)
CUT TO:
[EXT. CONSTRUCTION SITE - DAY]
(GRISSOM walks with WILLOUGHBY.)
Willoughby: Well, it may sound funny but I'm proud of it. Took almost a year to put in my new fertigation system. In automatically mixes the fertilizer with the irrigation system.
Grissom: How about that? Economical and practical.
Willoughby: What you're looking for is over here.
(WILLOUGHBY points to something off to the side. They stop walking near a water pipe.)
Willoughby: Cars are always overheating on this stretch and everyone thinks water's free.
Grissom: What do you use in your fertilizer? Nitrogen, phosphorous and potassium?
Willoughby: Standard 6-10-10 mixture.
Grissom: Mr. Willoughby, would you mind if I fingerprint your spigot?
Willoughby: No one's ever asked me that before.
CUT TO:
(GRISSOM dusts the spigot.)
(Dissolve to GRISSOM lightly removing the print off of the spigot.)
(Dissolve to GRISSOM taking a sample of the water from the pipe.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(GRISSOM pushes a pitcher full of fertilizer water across the table toward MICKEY RUTLEDGE. The water in the pitcher looks unclean.)
Grissom: Thirsty?
Mickey Rutledge: I'm good, thanks.
Grissom: Yeah, I wouldn't drink it either. I wouldn't even put it in my radiator. I don't have all the pieces yet, Mickey, but, uh ... I'll tell you what we do have.
(Quick flashback to: JOAN MARKS yelling at MICKEY RUTLEDGE in DONNA MARKS' kitchen.)
Joan Marks: You're an ex-con -- get the hell out of here!
(DONNA MARKS steps between her sister and her guest.)
Donna Marks: Don't listen to her, Mickey. This is my house. This is my life!
Joan Marks: You're so desperate you've got to get a date through the computer and then you end up with him-- pathetic!
(MICKEY RUTLEDGE turns and walks away. End of flashback. Resume to present.)
Grissom: We know that Joan scratched Donna. We also know that Donna died first.
Mickey Rutledge: I didn't k*ll her.
Grissom: That's right, you didn't.
(Quick flashback to DONNA and JOAN struggling in the kitchen. MICKEY RUTLEDGE stands outside the glass door watching.)
Joan Marks: You are so selfish!
Donna Marks: Stop it! Get your hands off me!
Joan Marks: No!
(End of flashback. Resume to present.)
Grissom: Donna's death was an accident.
(Quick flashback to: DONNA MARKS turns around to get out of her sister's grip and she accidentally walks into the glass door, breaking it and k*lling herself. End of flashback. Resume to present.)
Sara: But Joan went off on you. And up to that point, you hadn't done anything wrong.
Brass: So what went wrong?
Mickey Rutledge: It wasn't my fault.
(Quick flashback to MICKEY RUTLEDGE over DONNA MARKS' body. He looks up at JOAN MARKS.)
Mickey Rutledge: She's d*ad.
Joan Marks: You're going right back where you came from.
(She turns to leave the kitchen. End of flashback. Resume to present.)
(MICKEY RUTLEDGE rests his chin on his clasps his hands, elbows on the table. He sighs heavily.)
Mickey Rutledge: Rehabilitation was working for me. But you put a guy in that position ...
Grissom: ... He's got to go all the way.
(Quick flashback to: MICKEY grabs JOAN from behind and breaks her neck. She falls to the floor, d*ad. End of flashback. Resume to present.)
Sara: You figured if you hid the bodies, you'd be in the clear.
Brass: But you didn't have a car. Joan did.
(Quick flashback. to: The car's radiator overheats. Smoking, the car stops. MICKEY gets out of the car.)
(Cut to: He takes the bodies out of the trunk and puts them in the pipes.)
(Cut to: Thinking that it's water, he fills a bucket with fertilizer to use on the car.)
(Cut to: He pours the liquid into the radiator. End of flashback. Resume to present.)
Sara: (shakes her head) You could've just backed off, let Joan make the call.
(MICKEY gives off a skeptical chuckle. He looks up at SARA.)
Mickey Rutledge: I would've landed myself right back in the joint.
Sara: you don't know that.
Mickey Rutledge: Come on. Who's going to believe a guy like me?
Grissom: A guy like me.
(MICKEY looks at GRISSOM and SARA.)
CUT TO:
[EXT. LAS VEGAS CITY - NIGHT]
[INT. SARA'S HOME - NIGHT]
(SARA walks in and closes the door. She puts the keys on the counter, puts her bag down and takes off her jacket. Without hesitating, she takes the nearest trashcan, opens the refrigerator and throws away all the take-out boxes on the shelves. That done, she takes down all the menus from the refrigerator and throws those away, also. She picks up the stack of catalogues on her counter and tosses them away as well.)
(She looks at her answering machine and notices that there are no messages for her.)
(She picks up the phone and dials.)
Sara: (on phone) Hey, it's Sara. I was, uh, thinking ... You want to go out ... somewhere?
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x12 - You've Got Male"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Lightning flashes and thunder crashes. It's raining in Nevada tonight.)
CUT TO:
[INT. CAR -- NIGHT]
(The driver drives through the rain. There's a small film reel charm hanging from his rear-view mirror. It's a heavy rain outside.)
(The driver sees a hitchhiker standing outside the side of the road carrying a sign, "VEGAS". The driver passes him by, slows the car down and thinks about it.)
(He reverses the car and stops to pick up the hitch-hiker. PETE WALKER opens the car door and calls out.)
Pete Walker: Hey, you need a lift? (The hitchhiker climbs into the car and closes the door.) So, where are you headed?
Paul Millander: It's not where I'm headed.
CUT TO:
[EXT. GOOD SPRINGS - WAREHOUSE -- NIGHT]
(Police cars park in the front of the home, their lights flashing. CATHERINE exits the vehicle. She and GRISSOM meet up with the DETECTIVE.)
Det.: Welcome to Good Springs.
Catherine: Long drive.
Det.: Well, I know it's out of your jurisdiction, but your name is on the tape.
Grissom: Where is he?
Det.: Inside. We left the recorder where we found it.
Catherine: Anything else?
Det.: Victim's wallet.
(The DETECTIVE hands the wallet to CATHERINE. He lifts up the crime scene tape for GRISSOM and CATHERINE.)
Grissom: Thank you.
(They head into the warehouse.)
CUT TO:
[INT. GOOD SPRINGS - WAREHOUSE -- NIGHT -- CONTINUOUS]
(Inside, the place is empty except for a single bathtub in the center of the large room. GRISSOM and CATHERINE walk to the tub.)
Catherine: (reading) Pete Walker, California. Date of birth: August 17, 1957. It's got to be the work of Paul Millander. What do you think brought him back out?
Grissom: (looks around) The rain?
Catherine: Hasn't changed his M.O .-- Kills men whose birthdays are on the anniversary of his father's m*rder.
Grissom: In descending order -- first victim was August 17, 1959; second victim, August 17, 1958; this guy, 1957.
(CATHERINE picks up the micro cassette tape recorder.)
Catherine: Ready for this?
Grissom: I have a pretty good idea what it's going to say.
Pete Walker: (anxiously) (on tape) My name is Pete Walker. I reside at 715 Lady El Sol and I'm 44 years of age. I'm going to k*ll myself. I'd like to say "I love you" to my mother. I'm so sorry, I never wanted to put you through this. I just can't do it anymore."
(On the tape, there's a g*n.)
Paul Millander's Voice: (on tape) Happy... birthday, Mr. Grissom.
Catherine: Isn't your birthday in August?
Grissom: August 17, 1956.
(CATHERINE looks shocked. GRISSOM doesn't.)
HARD CUT TO END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
[INT. GOOD SPRINGS - WAREHOUSE -- NIGHT]
(SARA, NICK and WARRICK walk in and up to GRISSOM and CATHERINE who are already working on the bathtub.)
Warrick: Hey. Is it true? Millander?
Sara: Yeah, it's true. g*n, su1c1de script leaves the body in a bathtub.
(GRISSOM bags the tape recorder.)
Grissom: Paul Millander. Remember the first victim? Royce Harmon?
(Quick flashback to: Scene from 1X01: Pilot and of ROYCE HARMON in the bathtub.)
(Quick flash to: Scene from 1X08: Anonymous and of STUART RAMPLER in the bathtub.)
Grissom: (V.O.) Stuart Rampler, second ...
(End of flashback. Resume to present.)
Grissom: ... and now ... Pete Walker.
Sara: Grissom, Catherine briefed us about your birth date.
Warrick: Yeah, what's up with that?
Grissom: Coincidence. Make anything more of it gives Millander more power than he deserves.
Nick: We work together; he can't outsmart all five of us.
Grissom: Yes, he can.
(CATHERINE looks at GRISSOM.)
Catherine: (takes over) Plan of att*ck -- split up. Nick, take the tape over to A-V. Break it down. Warrick, Sara -- examine the perimeter. We need to know how he got in and got out. We'll stay with the body.
(NICK, SARA and WARRICK pick up their kits and leave.)
Grissom: (to CATHERINE) Thanks.
Catherine: Anytime.
CUT TO:
[EXT. GOOD SPRINGS - WAREHOUSE -- NIGHT]
(SARA walks up to WARRICK.)
Sara: Rain washed away everything. What I got will never hold up in court.
Warrick: Well, I got some mud prints. Check these out.
Sara: This is the point of origin. They stop at the warehouse threshold.
Warrick: He must've taken off his boots before he stepped in.
Sara: Only one set of prints ...
Warrick: Check out the depth of the impression compared to mine.
Sara: He carried the body in. The extra weight explains the deeper impression.
Warrick: sh**t it.
(WARRICK puts a ruler down next to the print and SARA snaps a picture.)
CUT TO:
[INT. GOOD SPRINGS - WAREHOUSE - NIGHT -- CONTINUOUS]
(CATHERINE snaps a photograph.)
Grissom: Cath ... Come here, take a look at this.
(GRISSOM looks at the body in the bathtub. CATHERINE stands up to see what he wants her to look at.)
Grissom: It's not lividity.
Catherine: He's got stippling on the side of his face.
(Camera close up of the stippling on the skin.)
Grissom: From what I can tell, he was sh*t once in the chest. Unburned g*n wouldn't plume this way.
Catherine: No entry wounds near his face.
Grissom: I'll have Robbins check for leaks. Maybe he can find a hidden b*llet.
(CATHERINE stands up and walks over to the other side of the body. She finds a strand of hair.)
Catherine: Wait ... wait a minute. I got something.
(CATHERINE picks it up.)
Catherine: Hello, Dolly. Dark hair, 12 inches. Female?
Grissom: So another victim ... or an accomplice?
CUT TO:
[INT. CSI - A/V LAB -- NIGHT]
(NICK and ARCHIE go over the tape recording.)
Pete Walker: ( Recorded voice ): My name is Pete Walker. I reside at 715 Lady Del Sol ...
Archie Johnson: First things first. This tape was not recorded in the warehouse. No auditory echo.
Nick: Contained quarters first.
Archie Johnson: Yeah, a car, a small SUV. The tape was an inch from his mouth. Sibilant pops bear that out. Helps that the k*ller uses hi-fi mini-cassettes. Picks up everything let me get rid of the wipers.
(ARCHIE clicks on the keyboard and plays a sound extracted from the main tape. It's a low whirring noise.)
Nick: What is that, that whir sound?
Archie Johnson: I don't know yet. But ... recognize this?
(ARCHIE extracts another sound from the main tape. He plays it. It's a country song.)
Nick: Oh, yeah. Willie Hank's "Don't Pay the Ransom." I'll contact the local country and western stations get a time and tape on when the song aired. Establish a timeline. What else?
Archie Johnson: Now, here's where it gets funky. Watch my sensor levels.
Pete Walker: (on tape) My name is Pete Walker. I reside at ...
Archie Johnson: See how the color wands gravitate towards the bottom right corner?
Nick: Mm-hmm.
Archie Johnson: There's an auditory imbalance.
Nick: From what, a blown speaker?
Archie Johnson: A blown left speaker. Sounds like the driver's side one blew.
Nick: Pulling all of the sound bottom right. Now if that were true the victim may have been sitting in the passenger seat.
Archie Johnson: What does that get you?
Nick: Millander was driving.
CUT TO:
[EXT. GOOD SPRINGS - ROADSIDE -- NIGHT]
(SARA and WARRICK walk up to BRASS who is holding the "VEGAS" sign.)
Sara: I believe hitchhiking is illegal in Clark County.
Brass: Yeah, you got me. Came with the car along with the registration. The R.O.'S our vic Pete Walker.
Warrick: Who flagged it?
Brass: Nevada State Patrol.
Sara: So, this is Walker's car. Millander was hitchhiking. Guy stops to do a favor ... ends up d*ad.
Warrick: Yeah, but how would Millander know that the guy who'd pick him up had a birthday August 17, 1957?
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS goes over the initial findings with GRISSOM. He does a scan on the body and stops over the b*llet hole.)
Robbins: There's the initial b*llet hole. No other leaks. Died from a single g*n wound to the chest just like the others.
Grissom: The others didn't have stippling on the side of their faces. Unburned g*n doesn't change direction and stick.
(Quick CGI POV of a g*n sh*t in the chest and the g*n puffing away from the b*llet hole. End of CGI POV. Resume to present.)
Grissom: Unless ... he turned his face away from the g*n.
Robbins: Not likely due to the origin of the facial burn.
(Quick flashback to: Stippling adhering to the side of the victim's face. End of flashback. Resume to present.
Grissom: Nobody misses from this distance.
Robbins: True.
Grissom: I think this might be intentional.
(Quick flashback to: Scene from 1X08:Anonymous. Inside Halloweird, PAUL MILLANDER shows a sculpture to GRISSOM. Half of the face is normal, the other half is deformed.)
Paul Millander: I-I-I call it "good versus evil."
(End of flashback. Resume to present.)
Grissom: He's telling me he's going to show me both sides.
CUT TO:
[INT. PETE WALKER'S CAR -- NIGHT]
(SARA and WARRICK examine PETE WALKER'S car.)
Warrick: I found some G.S.R.
Sara: Nice.
(WARRICK takes a sample.)
Warrick: That's why Grissom didn't find a b*llet.
Sara: It went out the window.
Warrick: It went out the window.
(Quick flashback to: PETE WALKER sitting in his car reading from the script. The window is rolled down. PAUL MILLANDER turns the g*n on PETE WALKER and fires.)
Pete Walker: I'm so sorry. I never wanted to put you through this. I just can't do it anymore. I've lost hope.
(End of flashback. Resume to present.)
Warrick: I'm going to call Nick, tell him we found out what that unidentified whir sound was -- the window going down.
CUT TO:
[INT. CSI - DNA LAB]
(Scope view of the hair tag.)
Sanders: Your planted hair is full of information. It's got a complete follicular tag.
Catherine: Well, the vic had light brown hair so we know it's not his.
Grissom: Could be Millander's.
(GREG shows CATHERINE the results.)
Greg: Well, that's impossible. The amelogenin on the follicle came back xx-- female.
Catherine: So, back to that again. Another victim, or an accomplice?
Grissom: Yeah, but what decade?
Catherine: What do you mean?
Grissom: Look under 400-X. The tag cell is aged.
(CATHERINE looks at the scope. Scope POV shows the follicular tag.)
Catherine: So Millander planted an aged hair? But once exposed, the tag would dry up and fall off, especially in transport.
Grissom: Not if he nurtured it. Kept it in a freezer.
Greg: That would work.
Catherine: Okay, so what's he trying to tell us? That he used to k*ll women?
Grissom: Maybe just one.
Catherine: Grounds?
Grissom: (shakes his head) I don't know yet.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - GARAGE]
(NICK examines PETE WALKER'S car. He checks out the glove compartment, the dash and finds receipts in the front seat divider.)
(In the background, someone enters the garage.)
Greg: Is this the car the guy was k*lled in?
(NICK is startled by GREG.)
Nick: He was k*lled in the warehouse -- and don't sneak up on a person like that.
Greg: Now you know how I feel, like ten times a day. So what's this Millander guy's thing?
Nick: He saw his dad k*lled when he was a kid over some money dispute. Ends up k*lling guys himself.
(On the bottom of the front seat divider, NICK finds a number, 909987-23.)
Nick: Check that out. Eight digit number with a dash.
Greg: Hmm ... Pep boys receipt? Dry cleaning tags?
Nick: Well, whatever it is it happened during the summer. Paper only burns itself into plastic in high levels of heat.
Greg: So what kind of paper item would you she into the center console in the heat of summer?
Nick: Something you didn't want. Or something you had to keep.
(NICK'S pager beeps. He checks it.)
Nick: Pow-wow.
(NICK gets out of the car and leaves the garage.)
Nick: Later.
CUT TO:
[INT. CSI -- LAB]
(Everyone's in the lab around the table. They're talking about the case. Their voices muted. GRISSOM sits there thinking.)
Catherine: (muted) Nevada state patrol found the victim's vehicle here. Found the body in good springs here.
Sara: (muffled) Warrick and I found stippling on the passenger side seat back.
Warrick: (muffled) We were thinking Millander posed as a hitchhiker overpowered Walker, and then faked a g*n in the car.
(The audio clears when NICK speaks.)
Nick: I put a call into three area country and western stations. Got the FCC list ... during the time of the victim's su1c1de recording KWV had Willie Hank's "Don't Pay the Ransom" playing from 1:47 A.M. To 1:51 A.M.
Catherine: And what time was sunrise this morning?
Nick: 5:13 A.M. So that's about a three hour window. He was racing daylight.
Catherine: So in that time he had to get the recording and get rid of the body.
Nick: Made the recording in the car k*lled him in the warehouse.
Warrick: No, he carried him into the warehouse.
Nick: Yeah?
Sara: Mud prints -- one set in, one set out.
(SARA puts the footprint photos on the table. NICK looks at them.)
Catherine: Are we sure he didn't k*ll him in the car? He was sh*t in the warehouse. He was incapacitated in the car.
Sara: Okay, how?
(CATHERINE looks at GRISSOM.)
Catherine: Grissom, you want to add something to this?
Grissom: Yeah. None of it matters. It's one of those few cases where physical evidence isn't helping us much. I mean, put it in context. The victim's birthday is always on the anniversary of the m*rder of Millander's father. Staged like his father's death. A planted hair, a planted fingerprint ... it's all biographical. He's using the evidence to tell us a story.
(BRASS appears in the doorway.)
Brass: Hey... Peter Walker, our victim worked for cinema road services in Valencia, California. Drives the newly released film reels back and forth to Vegas.
(BRASS walks into the lab and joins them around the table.)
Brass: Drops off the new reels every Tuesday for Friday's release. Brings the old one back.
Warrick: Drives the same route all the time?
Brass: Yeah, according to his mileage log.
Sara: Did Walker have any kind of record?
Brass: Pretty much a boy scout except for a speeding ticket.
Nick: Speeding ticket? How long ago?
Brass: July 2, last year.
Nick: (nods) Summer.
CUT TO:
[INT. - BRASS'S OFFICE]
(BRASS does a search for the speeding ticket on the computer.)
Nick: 909987-23...
[Computer Screen 1:
Searched OL DEPARTMENT OF MOTOR VEHICLES, NV Dates searched 01/01/1992 THROUGH 12/20/2001
IDENTIFICATION INFORMATION ON FILE
NAME: PETE WALKER DOB: 08/17/1957
ADDRESS: 715 LADY DEL SOL, SANTA CLARITA, CA
REMARK/OTHER: DRIVER RECORD SERVICE REPORT FOR CALIFORNIA
Report Date: 05/26/01 142227422-000
==============================
*** DRIVING RECORD HISTORY *** ]
Brass: Pete Walker. Excessive speed. July 2, 2001.
Nick: Walker's birth date's on the ticket. August 17, 1957.
Grissom: Run the other two vics. Royce Harmon.
[Computer Screen 2:
STATEWIDE, NV
Searched DL DEPARTMENT OF MOTOR VEHICLES, NV
Dates searched 01/01/1992 THROUGH 09/20/2001
IDENTIFICATION INFORMATION ON FILE
NAME: ROYCE HARMON
DOB: 08/17/ ....
ADDRESS: 7642 CARPENTER ST.
EMPLOYMENT: DINNERS DELIVERED
Remark / Other Driver Record Service Report for California ]
Catherine: Employment -- Dinners Delivered. Need a car for that.
Nick: What about his driving record, Jim?
[Computer Screen 3:
Type -- Viol/Sus -- Conv/Rei -- Description
VIOL -- 10/14/98 - EXCESSIVE SPEED
STATUTE: VC
DOC#: 1893345 VEH LIC#928A83A9?
CT LOC: Nevada Officer on Duty: T. Knoll, NHP.
VIOL - 06/14/97 - EXCESSIVE SPEED
STATUTE: VC
DOC#: 1893345 VEH LIC#:928A83A9
CT LOC: Nevada Officer on Duty: Kevin Yarnell, NHP.
SUSP - 08/07/97 - SUSPENDED
FAILTURE TO APPEAR NOTICE
13365
SERV-TYPE: 1 SERV-DTE: 080598
FILE# MAILED:070898
RETURN UNCLAIMED
DRIVER RECORD SERVICE REPORT FO-
DEPT 602/03/99 ACTION TERM EFFECTIVE ]
Brass: He drove himself right out of a license.
Catherine: Try Stuart Rampler.
[COMPUTER SCREEN 4:
STATEWIDE, NV
Searched DL DEPARTMENT OF MOTOR VEHICLES, NV
Dates searched 01/01/1992 THROUGH 12/20/2001
IDENTIFICATION INFORMATION ON FILE
NAME: STUART RAMPLER
DOB: 08/1...
ADDRESS: 818 BOEING HILL COURT
EMPLOYMENT: TAPFORD PHARMACEUTICALS
Remark / Other: Driver Record Service Report For California
Report Date: 05/26/01 142227422-000
=====================================]
Computer Screen 5:
Type - Viol / Sus - Conv / Rei - Description
VIOL - 6/05/00 - EXCESSIVE SPEED
STATUTE: VC
DOC#: 1893345
VEH LIC#029836274
CT LOC: Nevada Officer on Duty: Kevin Yarnell, NHP.
VIOL - 2/11/97 - EXCESSIVE SPEED
STATUTE: VC
DOC#: 1893345
VEH LIC#029836274
CT LOC: Nevada
Officer on Duty: N. Phillips, NHP.
VIOL - 10/03/91 - BASIC SPEED LAW
STATUTE: VC
DOC#: 1893345
VEH LIC#029836274 ]
Nick: There's a few tickets.
Brass: Last violation -- excessive speed, June, 2000.
Grissom: So what's the commonality?
Catherine: Besides birth dates.
Brass: Beside birth dates ...
[COMPUTER SCREEN 6:
Box 1: NAME: PETE WALKER DOB: 08/17/1957
ADDRESS: VIOL 07/02/01 - EXCESSIVE SPEED
?2350: 1
Officer on Duty: Kevin Yarnell, NHP
Box 2: NAME: ROYCE HARMON DOB: 08/17/58
ADDRESS: VIOL ??? - EXCESSIVE SPEED
?2350: 1
Officer on Duty: Kevin Yarnell, NHP
Box 3: NAME: STUART RAMPLER DOB: 08/17/59
ADDRESS: VIOL 06/05/00 - EXCESSIVE SPEED
?2350: 1
Officer on Duty: Kevin Yarnell, NHP
Brass: All the tickets were written by the same cop.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT -- DAY]
(GRISSOM and CATHERINE question OFFICER KEVIN YARNELL.)
Grissom: Excuse me. Officer Yarnell?
Officer Kevin Yarnell: Yeah.
Grissom: My name's Gil Grissom, with the Las Vegas Crime Lab. May I ask you how many speeding tickets you issue a day?
Officer Kevin Yarnell: Why is it any business of yours?
Grissom: You wrote tickets to three people who ended up d*ad.
Officer Kevin Yarnell: You think I had something to do with it? Look, I'm a good cop. I protect and serve. I even go to court on my days off.
Catherine: You mean court dates for speeding tickets?
Officer Yarnell: Yeah. Sometimes, believe it or not, people actually contest them and I'm there fighting it tooth and nail.
Grissom: Court.
Officer Yarnell: Yeah. In fact, I just responded to a challenge this morning.
Catherine: Always the same judge?
Officer Yarnell: No, there's three traffic court judges. Session's about to start. Why don't you go bother them.
(GRISSOM and CATHERINE leave.)
CUT TO:
[INT. JUDGE MASON'S COURTROOM -- DAY]
Bailiff: All rise. Honorable Judge Douglas Mason presiding ... Municipal Court, City of Mulberry, State of Nevada.
(Behind the BALIFF, the Judge enters the room and makes his way to his chair.)
(GRISSOM watches as he looks up at the JUDGE and instantly recognizes him.)
(The JUDGE looks up. It's PAUL MILLANDER.)
(Quick flashback to: Scenes from 1X08: Anonymous. Flash of PAUL MILLANDER; Flash of PAUL MILLADER at Halloweird; and Flash of PAUL MILLANDER waving to the security camera at CSI. End of flashback. Resume to present.)
(GRISSOM is completely surprised. JUDGE DOUGLAS MASON looks up from the bench.)
Judge Douglas Mason (aka Paul Millander): You may be seated.
(CATHERINE and everyone sits. GRISSOM doesn't move. He stares at JUDGE MASON.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. JUDGE MASON'S COURTROOM]
(GRISSOM stands in the middle of the courtroom staring at JUDGE DOUGLAS MASON. Everyone waits for GRISSOM to take his seat. They all stare at him. CATHERINE looks at GRISSOM'S odd reaction with confusion.)
Catherine: Gil.
(Without taking his eyes off of JUDGE DOUGLAS MASON, GRISSOM removes his ID and makes his way to the officer standing off to the side.)
(He shows his ID to the officer.)
Grissom: Excuse me, Officer. I'm with the Las Vegas Crime Lab. I need you to arrest a m*rder suspect.
Court Room Officer: Where's the suspect?
Grissom: Judge Mason. His real name is Paul Millander.
Court Room Officer: You don't want to do this.
Judge Douglas Mason (Paul Millander): (to GRISSOM) Sir, please take a seat.
Grissom: Officer, this man is not who he's pretending to be.
Judge Douglas Mason (Paul Millander): Take a seat now or I'll have you removed from this courtroom and charged with contempt.
Grissom: He's wanted in Clark County for m*rder.
Judge Douglas Mason (Paul Millander): You are now in contempt of court. Bailiff?
Officer: Come on.
(The OFFICER leads GRISSOM out of the Courtroom. CATHERINE stands up to follow. JUDGE MASON stops her.)
Judge Douglas Mason (Paul Millander): I apologize for the disruption. Let's proceed. (to CATHERINE) You may be seated, Miss. You can leave this court when it has concluded its business. Or find yourself in contempt along with your friend.
(CATHERINE watches JUDGE MASON. She turns around and heads back to her seat.)
CUT TO:
[INT. JAIL CELL - DAY]
(GRISSOM sits on the bed in the cell ... thinking. JUDGE DOUGLAS MASON walks up to the cell. GRISSOM turns to look at him.)
Judge Douglas Mason (Paul Millander): Where are you from?
Grissom: You know where I'm from ... and I know who you are.
Judge Douglas Mason (Paul Millander): I'm not who you think I am. Local police have been out here twice this past year about this man -- Paul Millander, is it? Every time his story's in the paper. I've heard I look like him.
Grissom: Identical.
Judge Douglas Mason (Paul Millander): You've heard of the doppelganger syndrome?
Grissom: That every person is supposed to have an exact double somewhere in the world?
Judge Douglas Mason (Paul Millander): Do you believe in it?
Grissom: Never been proved.
Judge Douglas Mason (Paul Millander): A swiss neurobiologist recently published papers supporting its viability. Brugger, I think his name is. Stands to reason this Millander is my doppelganger. The monkey wrench for you is that we're both here in the State of Nevada.
(GRISSOM stands up.)
(JUDGE MASON grabs a-hold of the cell bar and leans in.)
Grissom: Well, you know, we could always do a DNA test.
Judge Douglas Mason (Paul Millander): You know, if you keep that up people are going to start calling you crazy. Guard.
(The jail cell door opens. JUDGE MASON hands GRISSOM back his things and ID.)
Judge Douglas Mason (Paul Millander): I trust you won't go near my courtroom again.
(JUDGE MASON turns to leave.)
Judge Douglas Mason (Paul Millander): Before you go back to Las Vegas why don't you come to dinner. I tell my wife stories about my day and this one she may need to hear in person. Six o'clock. (He gives GRISSOM a slip of paper.) That's my address. We live right here in Mulberry.
(The JUDGE leaves.)
(GRISSOM eyes the cell bar as he puts his jacket on. CATHERINE appears.)
Catherine: Any chance he's got a twin?
Grissom: A doppelganger, evidently. Do you have your mentholatum?
Catherine: Why, you getting a cold?
Grissom: No. The judge just got sloppy. (CATHERINE hands GRISSOM the container.) Thanks.
(GRISSOM opens the container and fumes the bar. Fingerprints appear.)
Catherine: Ah, fuming. (CATHERINE pulls out a tape.) I'll lift it and get it to the lab.
Grissom: Go ahead and take the Tahoe. Call me later. I'm going to dinner.
(As CATHERINE takes the prints, GRISSOM caps the container and walks out of the cell.)
CUT TO:
[INT. CSI - DNA LAB]
(SARA walks into the lab.)
Sara: Greg, did you look at the female hair from the crime scene tub?
Greg: When you say "jump I say "how high?" I found testosterone in female hair. Post pubescent female hair.
Sara: Well, men and women both have testosterone in their systems. No big deal, right?
Greg: Well, this is. This testosterone's endogenous.
Sara: What? What do you mean? Like outside the body?
Greg: Injections. Supplements.
(SARA looks at the results.)
Sara: So our mystery lady was trying to enhance her athletic performance?
Greg: Or increase her sex drive. (b*at) You know women do that. I read. None that I've ever met.
Sara: Not yet anyway. Okay, I'm not sure what this means yet, but thanks.
CUT TO:
[EXT. MASON'S RESIDENCE -- NIGHT]
(GRISSOM gets out of the darkened police car. He double checks the address with the slip of paper. He approaches the house.)
[PORCH OUTSIDE FRONT DOOR - NIGHT -- CONTINUOUS]
(GRISSOM rings the doorbell. As he waits for an answer, he looks down and sees the boots. He picks up the boots for a better look. The door opens and a woman answers.)
Mrs. Mason: Mr. Grissom?
Grissom: I was admiring these rain boots.
(GRISSOM puts the boots down.)
Mrs. Mason: Please come in.
(GRISSOM walks in.)
[INT. MASON'S RESIDENCE - NIGHT -- CONTINUOUS]
(He turns around.)
Grissom: You have a lovely home.
Mrs. Mason: We like it.
Grissom: May I ask how long you've lived here?
Mrs. Mason: We bought the year we adopted Craig, so that would be '92.
(She turns to look at the little boy in the living room.)
Mrs. Mason: Craig, what did I tell you you had to do when our dinner guest arrived?
Craig Mason: Hi, I'm Craig Mason. Nice to meet you.
Grissom: Nice to meet you, Craig.
Craig Mason: Want an I.D. Tag for safety?
(DOUGLAS MASON appears behind GRISSOM.)
Mrs. Mason: (explains) Craig's school is sponsoring an identification program for students. Parents get one, too.
Paul Millander (Judge Mason): Can't be too safe out there, can we, Mr. Grissom?
(GRISSOM turns around.)
Grissom: No, we can't.
Paul Millander (Judge Mason): Hungry?
SHORT TIME CUT TO:
[INT. MASON RESIDENCE - KITCHEN -- NIGHT]
(Everyone is sitting at the dinner table finishing up dinner.)
Mrs. Mason: That reminds me, Doug. Be sure to tell Mr. Grissom where you bought your rain boots. He was admiring them earlier.
Paul Millander (Judge Mason): Was he?
Mrs. Mason: My husband's only hobby is driving around the state looking for bargains, rain or shine. And I tell him, "you're a Judge now. We don't need bargains."
Paul Millander (Judge Mason): To which I reply, "old habits die hard."
Mrs. Mason: Truth is, I think he just enjoys his private time.
Paul Millander (Judge Mason): Dear. As a Judge, I don't want the outside world privy to my private life because they'll use it against me.
(A camera flashes in GRISSOM'S face. CRAIG MASON pulls the polaroid picture from the camera and puts it next to his dinner plate on the table.)
Craig Mason: You'll be safe now.
CUT TO:
[INT. CSI -- PRINT LAB - NIGHT]
(CATHERINE runs the print taken from JUDGE MASON on the database.)
(The computer finds a match.)
CUT TO:
[INT. MASON RESIDENCE - KITCHEN -- NIGHT]
(GRISSOM'S phone rings and steps away from the table when he answers it.)
Grissom: Excuse me. I'm sorry. (on phone) Grissom.
INTERCUT WITH:
Catherine: You're never going to believe who Judge Mason's fingerprints match. Judge Mason. As printed when he was sworn before the bar Nevada State Superior Court.
Grissom: Okay. Thank you.
(GRISSOM hangs up. He turns around.)
Paul Millander (Judge Douglas Mason): My prints came back sound.
(GRISSOM looks surprised.)
Mrs. Mason: Douglas?
Paul Millander (Judge Douglas Mason): As I told you earlier, dear, Mr. Grissom has confused me with a very bad man. I left him fingerprints so that he could confirm that I am who I say I am.
Grissom: Uh, I have to get back to my lab right away. I'm sorry. Thank you for a lovely dinner, Mrs. Mason.
(DOUGLAS MASON stands.)
Grissom: Craig ... your honor.
(CRAIG MASON looks down at the photograph next to his plate. Camera holds on the photograph as it develops into a picture of GRISSOM.)
CUT TO:
[INT. CSI - HALLWAY]
(GRISSOM walks through the hallway with CATHERINE.)
Grissom: I don't care what the computer says, that guy is Paul Millander.
Catherine: Yeah, we know that. How do we prove it?
Grissom: We have to disprove this Judge Mason. Birth certificate -- was he born in Mulberry?
Catherine: Well, that's the first thing Brass looked into. Apparently, the records building b*rned down in 1982.
Grissom: b*rned down?
Catherine: Ruled arson. No suspects ever found.
Grissom: So Judge Mason has no birth certificate. How convenient. Man, this guy plays way out in front.
Catherine: Here's some good news. Brass went to the new records building looking for anything on a Millander. Found current property-tax accounts.
(CATHERINE hands the file to GRISSOM.)
Grissom: (reading) In the name of Paul and Isabelle Millander.
Catherine: Mm-hmm.
CUT TO:
[EXT. MILLANDER RESIDENCE - NIGHT]
(GRISSOM and CATHERINE knock on the door. The door opens.)
Catherine: Isabelle Millander?
(The woman nods.)
Grissom: We're with the Las Vegas crime lab.
Isabelle Millander: Are you here about my husband? That happened over thirty years ago.
Catherine: It's our understanding that your child witnessed your husband's m*rder.
(ISABELLE MILLANDER steps aside. CATHERINE and GRISSOM walk into the house.)
[INT. MILLANDER RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]
(ISABELLE MILLANDER closes the door.)
Catherine: Thank you.
Isabelle Millander: My child was only ten years old. So brave to testify against those men. But it didn't matter. The Judge ruled it a su1c1de and those men went free.
Catherine: I hope we're not interrupting. It looks as if you're expecting someone for dinner.
Isabelle Millander: I always set an extra place for Paul.
Grissom: Your son?
Isabelle Millander: My husband. My way of being together.
(GRISSOM turns and looks at some pictures on the table.)
Isabelle Millander: Those are from his best years. He started a company out in Hollywood in the 1930s.
(Cut to: Camera close up of the building shop name: Halloweird.)
(Quick flashback to: Scene from 1X01: Pilot. GRISSOM walks through Halloweird, PAUL MILLANDER walks behind him.)
Grissom: (V.O.) Halloweird.
(End of flashback. Resume to present.)
Isabelle Millander: Movie makeup. He used himself as a model.
(Quick flashback to: Scene from 1X01: Pilot. GRISSOM holds up a rubber hand.)
Isabelle Millander: (V.O.) He made hand molds and masks, everything. Like a one-man company.
(End of flashback. Resume to present.)
Catherine: May I use your bathroom?
Isabelle Millander: Last door down the hall.
Catherine: Thank you.
(CATHERINE leaves the room.)
Grissom: Would you happen to have any of his work still?
Isabelle Millander: I kept only what's most sentimental.
Grissom: Might I take a look at it?
CUT TO:
(CATHERINE walks down the hallway. She opens a closed door to a bedroom. She walks out and opens the closed door at the end of the hallway to the bathroom. She closes the bathroom door and opens a third closed door to a pink little girl's room.)
(CATHERINE takes off her hat and looks around. She looks at the picture on the wall and a name plate for "PAULINE".)
CUT TO:
[INT. MILLANDER RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]
(ISABELLE MILLANDER unwraps a hand mold and shows it to GRISSOM.)
Grissom: Hmm, it's rudimentary. Almost childlike.
Isabelle Millander: Our child made it.
Grissom: It's an ashtray?
Isabelle Millander: My husband used his own hand to imprint the center.
(GRISSOM thinks.)
Grissom: May I?
(ISABELLE MILLANDER hesitates, but doesn't say anything. GRISSOM looks at the hand mold.)
(Quick camera zooms in to show a green substance at the tip of the finger impression of the mold. End of camera zoom.)
Grissom: I wonder what this green discoloration is.
Isabelle Millander: I was often curious about that.
Grissom: I could take this back to the lab and analyze it. I promise to bring it back.
(ISABELLE MILLANDER consents.)
CUT TO:
[INT. MILLANDER RESIDENCE - PAULINE'S BEDROOM - NIGHT - CONTINUOUS]
(CATHERINE looks around the bedroom. She opens the top drawer and looks inside. Underneath the little girl dresses, she finds a stack of baseball cards.)
(She closes the dresser drawer. She walks to the closet and opens it. She turns on the closet light and looks through the clothes on the hangers. On the clothes, she finds a strand of hair. She picks it up.)
Isabelle Millander: (from the doorway) What are you doing in my daughter's room?
(CATHERINE turns around and looks at ISABELLE MILLANDER. She smiles at being caught.)
Catherine: Oh ... I have a daughter myself. I was admiring the old clothes.
(GRISSOM appears in the doorway.)
Catherine: (indicating the photo on the wall) She's beautiful.
(ISABELLE MILLANDER turns to look at the photo.)
Isabelle Millander: She died.
Catherine: (sadly) I'm sorry.
Grissom: When did she die?
Isabelle Millander: A long time ago. A lifetime ago.
Grissom: What about your son Paul?
Isabelle Millander: I think it's time for you to go now.
Catherine: Mrs. Millander we're just trying to clarify ...
Isabelle Millander: (upset) Please?
(CATHERINE walks toward the door. GRISSOM turns to the hallway.)
CUT TO:
[EXT. MILLANDER RESIDENCE - FRONT WALK - NIGHT]
(CATHERINE and GRISSOM leave the house.)
Catherine: So, Paul Millander k*lled his sister.
Grissom: It's plausible. It's not provable ... yet.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[CONTAINER POV]
(Camera close up of green goo being poured into a container.)
CUT TO:
[INT. CSI - DNA LAB]
(GRISSOM lifts the green goo from the mold. He examines it closely.)
Greg: No, you were right. The substance is microcil-like but it's really old-school-- alginate. The book says that, uh ... makeup people used it up to the '70s to make molds and impressions. It's green, hence the "algin" in "alginate."
(Quick flashback to: Scene from: 1X01: Pilot. In Halloweird, GRISSOM looks at the rubber hand and listens to PAUL MILLANDER explain about the mold.)
Paul Millander: We sold 10,000 of those units last Halloween. Even used my own hand for the mold.
(End of flashback. Resume to present.)
Grissom: These were his father's prints. He was planting them as if they were his own.
(Quick flashback to: PAUL MILLANDER standing in the warehouse over the tub and placing a print on the tape recorder. The tip of his finger is green.)
Greg: (V.O.) The guy's pretty shrewd.
(End of flashback. Resume to present.)
Greg: Every m*rder comes back to a d*ad man.
Grissom: Greg, if I refer to Millander as smart, it's one thing but I mind if other people do it, okay?
Greg: (nods) Got it.
Grissom: What have you got on the hair Catherine recovered?
Greg: Processing it next, sir.
Grissom: Find me.
(GRISSOM takes off the latex gloves and leaves the lab.)
CUT TO:
[INT. CSI - PRINT LAB -- CONTINUOUS]
(GRISSOM walks into the lab to check with CATHERINE.)
Grissom: Did I miss something?
Catherine: It's a kid's fingerprint from the baseball card.
Grissom: Clear ... concise ... anonymous.
Catherine: Brass found no prints from little Pauline no birth records, no death certificate. I'm going to use the prints from the only other kid who lived in the Millander house.
Grissom: Here come de Judge.
(The computer shows a comparison match.)
Catherine: Ridge analysis proof. Judge Mason is ...
Grissom: ... Paul Millander.
(GRISSOM'S pager beeps. He checks it.)
Grissom: It's ... it's Greg.
(GRISSOM turns around to look at the DNA lab.)
Grissom: (to CATHERINE) Come on.
(GRISSOM heads back to the DNA lab. CATHERINE follows.)
CUT TO:
[INT. CSI - DNA LAB - CONTINUOUS]
(GRISSOM and CATHERINE walk into the lab. SARA is already there with GREG.)
Greg: Okay. The hair you found in Pauline Millander's bedroom two x chromosomes-- female.
Grissom: You didn't beep me for that.
Greg: Well, Sara had me compare it to the hair found in the tub at the crime scene. They're a perfect match. (b*at) DNA identical.
Catherine: So her brother planted it?
(GREG looks at SARA.)
Greg: Well ... not exactly.
Sara: Yeah, he planted it. He planted his own hair.
Catherine: Millander. It's a female hair.
Sara: With endogenous testosterone. Pauline was taking male hormone injections.
(GRISSOM looks at the test results.)
Grissom: Why?
Sara: My theory? Sex change.
Catherine: You know, when I was back at the house I saw several photographs of Pauline and nothing of Paul. In fact, the only proof of Paul is a hidden baseball card.
Sara: There is no birth or death record for Pauline.
Grissom: Paul k*lled Pauline. But he didn't m*rder her.
CUT TO:
[INT. MILLANDER RESIDENCE - LIVING ROOM -- NIGHT]
(Camera opens on the dining room table set for two.)
Grissom: So that's what you've been hiding? That your daughter is now your son?
Isabelle Millander: Pauline went away and came back a very strange man.
(Quick flashback to: PAULINE MILLANDER walking into the elevator carrying a yellow suitcase. The elevator doors open and a young PAUL MILLANDER in a wheelchair is wheeled out of the hospital carrying a yellow suitcase. End of flashback. Resume to present.)
Isabelle Millander: And I wouldn't let him stay here -- not like that.
Grissom: Mrs. Millander, we believe that your son has m*rder three people and that he's living under the assumed name of Judge Douglas Mason. I need your permission to collect some hairs from Pauline's bedroom for use in court.
(ISABELLE MILLANDER looks at GRISSOM.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(GRISSOM questions PAUL MILLANDER. They both sit at opposite ends of the table.)
Grissom: We took this hair from your childhood bedroom when you used to be Pauline.
Paul Millander (Judge Douglas Mason): They told my parents I had an "endocrinic ambiguity." My chromosomes said female, but my body wasn't that sure. The doctors told my parents to raise me as they saw fit. Unfortunately, they disagreed.
Grissom: So, uh ... you were a girl when you were inside the house and a boy when you were out in the world?
Paul Millander (Judge Douglas Mason): I managed. Until ... that night.
(Quick flashback to: PAULINE looks out from a crack in her bedroom door. She sees her father thrown into the bath tub and hears a g*n fired. She watches as two men leave. End of flashback. Resume to present.)
Paul Millander (Judge Mason): (upset) A boy ... could have saved his father.
Grissom: You did what you could do. You testified against them.
(Quick flashback to: PAULINE MILLANDER up on the courtroom stand.)
Lawyer: Do you see the man who k*lled your father in this courtroom?
(PAULINE stutters and struggles to get the answer out. End of flashback. Resume to present.)
Paul Millander (Judge Mason): (stuttering) Y ... yes.
(GRISSOM watches in surprise. PAUL MILLANDER sits back in his chair and looks at GRISSOM.)
Paul Millander (Judge Mason): They went free.
Grissom: And you started to identify with the aggressors.
(PAUL MILLANDER looks at GRISSOM and smiles proudly.)
Grissom: Why are you smiling?
Paul Millander (Judge Douglas Mason): I am ... comfortable sharing this with you. My, uh ... my mother wouldn't hear it. Against her wishes, I cut off my hair. Started wearing big shirts. Big boots. If I got tough enough ... no one would ever hurt me. I went to the clinic ... and became a man.
Grissom: Sexual reassignment. Not just a man, though-- a Judge. Doesn't get much more powerful than that
(PAUL MILLANDER sighs.)
Grissom: But none of it solved your problems, did it? Or else you wouldn't have k*lled three innocent men.
(PAUL MILLANDER doesn't respond. GRISSOM stands up and carries the warrant to PAUL MILLANDER. He puts it on the table in front of him and takes out a swab.)
Grissom: I have a warrant for your DNA.
Paul Millander: Identity is so fluid, you know.
(Holds out his hand for the swab.)
Paul Millander: May I?
(GRISSOM hands the swab to PAUL MILLANDER. PAUL MILLANDER takes the sample and caps the swab. He hands it back to GRISSOM.)
Grissom: See you in court.
(GRISSOM heads back to his seat to get his things.)
Paul Millander (Judge Douglas Mason): Aren't you wondering about your birthday? August 17, 1956.
Grissom: No.
(GRISSOM picks up his things and heads for the door.)
Paul Millander (Judge Douglas Mason): Why I didn't k*ll you, since you were next?
Grissom: No.
(GRISSOM opens the door.)
Paul Millander (Judge Douglas Mason): I've already picked my next victim, if you're curious.
(GRISSOM turns around and looks at PAUL MILLANDER.)
Grissom: It doesn't matter, Paul -- you'll be in jail.
(PAUL MILLANDER smiles. As GRISSOM walks out he signals the guard. The guard walks into the room.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. COURTROOM -- NIGHT]
Bailiff: Next up, People V. Landry. Are all the parties present?
(GRISSOM walks up to CATHERINE who is speaking with the prosecutor.)
Grissom: What is going on? I thought Millander was supposed to be arraigned at
8:00.
Catherine: Oh, this is just ridiculous. I mean, you'd think they'd make an exception in this case -- three m*rder. This guy's telling me that Millander is representing himself. Pro pers are always last on the docket.
(This concerns GRISSOM. He walks out of the courtroom. CATHERINE watches GRISSOM leave.)
CUT TO:
[INT. - HALLWAY -- NIGHT]
(GRISSOM walks through the hallway. He shows his ID to the guard and continues to walk through the hallway. He seems to know where he's going.)
(GRISSOM opens the door to the room and looks inside. On the chair in the small room is the red prison clothing and a cut ID wrist band. GRISSOM picks up the wrist band.)
(CATHERINE enters the room behind GRISSOM. He shows her the wrist band and levels her with a look. PAUL MILLANDER is gone.)
CUT TO:
[INT. CSI - A/V LAB - NIGHT]
(GRISSOM goes over the security camera video. BRASS stands behind GRISSOM and looks at the video over his shoulder.)
Brass: A clean-cut guy in a suit -- no one looks too close. He must have got a fake I.D.
Grissom: He had my I.D.
(Quick series of flashback to: PAUL MILLANDER copying GRISSOM'S ID badge. He smiles as he takes it off of the machine.)
(Cut to: The polaroid picture of GRISSOM taken by CRAIG MASON at dinner on the table among the other badge making pictures. PAUL MILLANDER cutting out his picture from his own "School Safety ID".)
(Cut to: PAUL MILLANDER walking through the front security door and showing the officer his badge which reads: )
(Picture of PAUL MILLANDER on the left with "C.S.I.", "Level 3".
[On the right:
LAS VEGAS POLICE DEPARTMENT CLARK COUNTY, NEVADA
Gil Grissom: PN 8690 EYES BRN / WEIGHT HAIR BRN / HEIGHT ]
(Cut to: PAUL MILLANDER looks up at the security camera and just as he did back in 1X08: Anonymous, he salutes to the video camera and walks out.)
CUT TO:
[INT. CSI -- HALLWAY]
(CATHERINE catches up with GRISSOM as he's on his way out.)
Catherine: You going home?
Grissom: Yeah. They know where to find me.
Catherine: I re-read the backgrounds of Millander's victims. I think that he slipped up. You know how every victim read the su1c1de note "I'd like to say 'I love you' to my mother"? Well, Pete Walker had no mother. (b*at) She died in childbirth.
(With this information, GRISSOM thinks.)
Grissom: He never slips up.
(GRISSOM starts for the door, gaining speed with every step.)
CUT TO:
[EXT./INT. MILLANDER'S RESIDENCE - NIGHT]
(GRISSOM walks up the front walkway. It's quiet inside. His g*n in his hand.)
(He pushes the door open and enters the darkened foyer.)
(The door closes behind him. GRISSOM turns on the flashlight. He takes a couple of steps forward and turns to look in the Dining Room. ISABELLE MILLANDER is sitting at the Dining Room Table with her back facing GRISSOM.)
Grissom: Mrs. Millander?
(She doesn't respond. GRISSOM walks up to her and sees the Kn*fe in her abdomen. The food in front of her is untouched.)
(GRISSOM turns and continues to look through the rest of the dark house.)
(He walks down the hallway toward the open bathroom door. He pauses briefly in front of PAULINE'S bedroom, but doesn't go inside. He continues toward the bathroom.)
(He pushes the door open and finds PAUL MILLANDER d*ad in the bathtub, a tape recorder left behind.)
(GRISSOM turns the tape recorder on.)
Paul Millander: My name is Paul Millander. I reside at 13891 Sand Creek Road. I'm 46 years of age and I'm going to k*ll myself. I'd like to say "I love you" to my mother, Isabelle.
(On the bathroom floor next to the tub is a piece of folded paper. GRISSOM picks it up.)
[It a birth certificate. It reads:
LINCOLN COUNTY, NEVADA DEPARTMENT OF HEALTH BUREAU OF VITAL RECORDS CERTIFICATION OF BIRTH
DATE OF BIRTH: AUG 17, 1956
TIME OF BIRTH: 4155 PM CERTIFICATE NO.: 158-60-1443
DATE ??? 08-20-56
DATE ??? 08-
NAME PAULINE PAUL MILLANDER SEX: FEMALE MOTHER'S NAME: ISABELLE MILLANDER FATHER'S NAME: PAUL MILLANDER
Paul Millander: (on tape) I'm so sorry. I never wanted to put you through this. I just can't do it anymore. I've lost hope.
(The g*n fires.)
(GRISSOM flinches when he hears the g*n. He turns his head incredibly saddened by it all.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x13 - Identity Crisis"} | foreverdreaming |
COLD OPEN:
[EXT. LAST VEGAS CITY (STOCK) - DAY]
[EXT. LAST VEGAS CITY (STOCK) - DAY]
CUT TO:
[INT. BANK - DAY]
(ROY LOGAN walks into the bank. He takes off his sunglasses and looks around. He's carrying a metal briefcase and appears to be very nervous. He glances up at the security camera, then approaches the bank teller.)
Teller: Good afternoon.
(ROY LOGAN puts his metal briefcase down.)
Roy Logan: I need to ... uh ... make a withdrawal.
(He places a withdrawal slip on the counter. It's dated 1-30-02 and for the amount of one million dollars ($1,000,000). There's a red smudge of blood on the bottom right corner of the slip.)
(The teller takes the withdrawal slip.)
Teller: I'll need to see some identification.
(ROY LOGAN nervously clears his throat and reaches for his wallet. He takes out a Nevada Driver's License and puts it on the counter. The teller glances down at the license. She picks it up and turns to her monitor.)
Roy Logan: There's sufficient funds in my account.
Teller: Just have to clear it with my manager.
(He picks up his metal briefcase and drops it flat on the counter, startling the teller.)
Roy Logan: Is that going to take long?
Teller: I'll be right back.
(The teller leaves ROY LOGAN and meets with her manager. She interrupts him while he meets with another client where they have an indistinct conversation in the back. The client walks away. The TELLER and the MANAGER glance over at ROY LOGAN. The conversation in the back continues. ROY LOGAN looks nervous and impatient.)
Roy Logan: (yells) Is there a problem here?!
Manager: It's a lot of money, Mr. Logan. It's going to take some time.
(ROY LOGAN nods his head and looks down at the ground. He's trying to be patient. He glances up at the bank's clock. 4:50 p.m. He breathes out. He glances at the security camera again.)
(Cut to Security Camera black and white POV of ROY LOGAN at the counter with a time stamp on the bottom right corner: 4:50 PM.)
(Dissolve to same Security Camera POV with time stamp reading: 5:14 PM. ROY LOGAN hands the metal briefcase to the manager over the counter.)
(Dissolve to time stamp reading: 5:22 PM. ROY LOGAN impatiently glances at his watch.)
(Dissolve to time stamp reading: 5:36 PM. ROY LOGAN is still waiting for the briefcase.)
(Dissolve to time stamp reading: 5:49 PM.)
RESUME TO REGULAR CAMERA VIEW:
(Cut to Close up of the MANAGER'S hands stacking the bills into the briefcase. He finishes and closes the case. ROY LOGAN sighs with relief. The MANAGER puts the case on the counter in front of ROY LOGAN.)
Manager: Mr. Logan, would you like an escort to your car?
(ROY LOGAN doesn't say anything. He takes the case off the counter and leaves.)
(Cut to top view of ROY LOGAN walking toward the front door. The security guard opens the doors for him.)
CUT TO:
[EXT. PARKING LOT OUTSIDE BANK - NIGHT -- CONTINUOUS]
(ROY LOGAN walks out along the sidewalk and to his car. He's just about to get into his car when he turns and sees a police car in the background. We can hear the indistinct sounds of the police radio transmissions.)
(ROY LOGAN pauses for a moment, then opens his car door and gets inside. He puts the metal briefcase on the passenger seat next to him. He closes the door and starts his engine. The tires screech as he reverses out of the parking stall.)
(As he exits the parking lot, the police car in the background turns into the bank's parking lot. The sirens and lights turned on, the police car follows.)
(ROY LOGAN goes out the other exit and is blocked by a parked car in front of him. Sandwiched between the cars, one in front and the other behind him, he slams on the breaks. He hits his steering wheel with his hands in frustration.)
(The POLICE OFFICER gets out of his car and cautiously approaches ROY LOGAN.)
Police Officer: Everything all right, sir?
(ROY LOGAN'S cell phone starts to ring. The POLICE OFFICER glances at the phone in the car.)
Police Officer: Do you want to get that?
(ROY LOGAN doesn't move to answer the phone. The POLICE OFFICER looks inside the car and notices the blood on ROY LOGAN'S hands.)
Police Officer: I think you should step out of the car. Keep your hands where I can see them. Let's go.
(The POLICE OFFICER opens ROY LOGAN'S car door. ROY LOGAN gets out of the car with his hands raised. He doesn't say anything and stands against the wire fence.)
Police Officer: Up.
(Camera focuses briefly on ROY LOGAN'S frustrated look and then to the dried blood stains on the palms of his hands.)
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
(CATHERINE and GRISSOM walk through the hallway to the interrogation room. They're both carrying their kits.)
Catherine: So how rich is this guy?
Grissom: Well, he had a million dollars in his checking account.
Catherine: Who doesn't?
Grissom: He's a real estate developer. On the mayor's committee to revitalize downtown.
Catherine: And he hasn't said a word to anyone?
Grissom: Nope. That's why we're here.
(They open the door to the room.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - NIGHT - CONTINUOUS]
(ROY LOGAN sits at the table. He looks up when the door opens. GRISSOM and CATHERINE walk in. They set their kits down at the back of the room.)
Roy Logan: No... I'm not saying anything without my lawyer.
(GRISSOM turns around and continues to get ready.)
Grissom: You don't have to say anything.
(They both put on their latex gloves.)
Catherine: Mr. Logan ... would you please put your hands out? Palms up.
(CATHERINE opens a bottle. ROY LOGAN puts the glasses that he was fiddling with down on the table. He nervously looks up at the wall clock. It reads 6:20 pm. He holds out his hands. Palms up.)
(CATHERINE swabs his left palm then caps the swab tip.)
Catherine: I'm also going to need you to strip.
Roy Logan: What?
(CATHERINE looks down at ROY LOGAN. ROY LOGAN looks over at GRISSOM. GRISSOM shrugs.)
Grissom: Vegas.
(Camera holds on ROY LOGAN'S confused look.)
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM - NIGHT]
(CATHERINE snaps a photo of MR. LOGAN'S bare back.)
Catherine: Thank you, Mr. Logan. You can put your shirt down. Left arm out, please.
(ROY LOGAN sighs. He holds out his left arm. CATHERINE looks at it. She take a picture of it. Behind them, GRISSOM is looking through ROY LOGAN'S clothes.)
Catherine: Right arm.
(ROY LOGAN drops his left arm and holds out his right arm. CATHERINE again looks at it then takes a picture.)
Catherine: No visible injuries.
Grissom: No blood on his clothes.
Roy Logan: How long is this going to take?
(GRISSOM holds out ROY LOGAN'S clothes. ROY LOGAN takes them from him. The clock on the back wall reads: 6:30 PM.)
Grissom: Sorry for the inconvenience.
(ROY LOGAN puts his clothes down on the table intending to put them back on. The door opens and PAUL, ROY LOGAN'S ATTORNEY, walks in.)
Paul: What the hell is going on here?
Roy Logan: Paul, get me out of here, now.
Paul: Roy, put your clothes back on. Don't say another word to these people. (to the CSIs) I'm taking my complaint directly to the District Attorney. You had no grounds to detain Mr. Logan let alone disrobe him.
(PAUL hands GRISSOM a business card. ROY LOGAN hurriedly puts on his clothes. GRISSOM looks at the card.)
Grissom: His hands were covered in blood and he had a million dollars in his briefcase.
Paul: It's not a crime to be rich.
Roy Logan: Where's my car?
Paul: It's right up front. My secretary drove it here.
(ROY LOGAN grabs his cell phone, picks up the metal briefcase and follows PAUL out the door.)
Paul: (to GRISSOM) You're going to be hearing from us.
(The two men leave.)
Catherine: Didn't Shakespeare say "let's k*ll all the lawyers"?
Grissom: Yeah. Henry VI. Where is he when we need him?
[Quote Note: William Shakespeare's, The Second Part of King Henry the Sixth, Act IV, Scene 2: Dick the Butcher: The first thing we do, let's k*ll all the lawyers. ]
(CATHERINE puts on her coat. She hands something to GRISSOM.)
Catherine: Yeah. Hey, can you do me a favor and drop this off at the lab? I'm due at a nursery rhyme recital. Lindsey's going to play the girl in the moon.
Grissom: What happen to the man in the moon?
Catherine: He got the mumps.
(CATHERINE picks up her case and heads toward the door. She glances back at the room and notices that ROY LOGAN left his sunglasses on the table.)
(She sighs and heads to pick them up.)
CUT TO:
[EXT. POLICE DEPARTMENT - PARKING LOT -- NIGHT]
(CATHERINE exits the building. She sees ROY LOGAN unlocking his car door and heads toward him.)
Catherine: Mr. Logan!
(His car alarm chirps and he has his car door open. He puts his case down and turns around. CATHERINE waves his sunglasses at him.)
Catherine: You forgot your sunglasses.
(She walks over to him and holds it out.)
Catherine: Service-oriented policing.
(ROY LOGAN shuts the car door closed and turns angrily to CATHERINE.)
Roy Logan: You don't understand. Get away from me.
(CATHERINE doesn't say anything. She puts the sunglasses in his left breast pocket and turns to leave. His cell phone rings. CATHERINE lingers.)
(ROY LOGAN reaches into his jacket and answers it.)
Roy Logan: Hello.
(He pauses and listens. CATHERINE still hasn't moved. He turns to her and looks at her. He holds the phone out to her.)
Roy Logan: It's for you.
Catherine: What?
(CATHERINE takes the phone from ROY LOGAN.)
Catherine: (on phone) Hello
Voice: (high-pitched and altered) Who are you?
Catherine: (to phone) CSI three Willows. Who are you?
Voice: (over phone) Are you a cop?
Catherine: (to phone) Criminalist.
Voice: (over phone) Good. Because if you had been a cop she'd already be d*ad.
Catherine: (to phone) Who would be d*ad?
Voice: (over phone) Do you have a w*apon?
Catherine: (to phone) Yes.
Voice: (over phone) Then put it on the ground, along with your pager, cell phone and that case you're holding.
Catherine: (to phone) Who is this?
Voice: (over phone) Do it! We're watching you, CSI three Willows. Attempt to go back into the police station and we'll k*ll her.
(CATHERINE looks around and doesn't see anything or anyone. She slowly puts her kit down on the ground.)
Voice: (over phone) Attempt to contact any coworkers and we'll k*ll her. Any false moves at all, and Amanda is d*ad.
(CATHERINE reaches into her coat pocket and takes out her cell phone and puts it on the case. She looks around again.)
Voice: (over phone) Now get back in the car. You drive, anywhere but here and await my next call.
(The person on the other end hangs up. CATHERINE pulls the cell phone away from her ear and closes it.)
Roy Logan: What did he say? Is Amanda all right?
(CATHERINE grabs the keys from ROY LOGAN.)
Catherine: Let's talk in the car.
(ROY LOGAN looks at CATHERINE for a very brief moment, then grabs his metal briefcase and heads for the passenger side of the car. CATHERINE opens the driver door. She gets in, starts the engine, then drives off.)
(GRISSOM exits the building. He's surprised to see CATHERINE driving ROY LOGAN'S car. He watches the car exit the parking lot. He puts his kit down and pulls out his cell phone. He dials and listens as it rings.)
(From somewhere to the left of him, he hears the chirp of a cell phone. He turns and sees CATHERINE'S stuff on the parking lot ground. He pulls the phone away from his ear, thoroughly concerned.)
FLASH TO WHITE.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI -- LAB]
(GRISSOM grabs his file from the reception area in the hallway and heads toward GREG. Through the glass, GREG sees GRISSOM and motions for him to come talk to him.)
Grissom: What'd you find?
Greg: The blood's female. Definitely not Logan's.
CUT TO:
[INT. CSI - HALLWAY]
(BRASS and GRISSOM walk through the hallway.)
Brass: I ran Roy Logan. No criminal record; no wants; no warrants.
Grissom: The blood on his hand was female.
Brass: The guy's married. He lives in Summerlin. He bucks up; got a seven year-old son. But I'll check him out.
Grissom: What about the car?
Brass: Code five: Keep vehicle under surveillance; do not make contact with occupants. You know, Catherine had a g*n. She could've used it.
(GRISSOM doesn't respond to this. He turns and walks away.)
CUT TO:
[INT. ROY LOGAN'S CAR -- NIGHT]
(The car speeds down the street.)
Catherine: You never answered my question. Who's Amanda?
Roy Logan: Amanda's my girlfriend.
(CATHERINE turns and looks over at ROY LOGAN, disapproval written all over her face.)
Roy Logan: Yeah. I know, I know. My, uh, my wife doesn't know.
Catherine: Somebody does. How did they make contact?
(ROY LOGAN opens something. CATHERINE watches.)
Roy Logan: I, uh, I probably left a dozen messages for her and, um, she, uh, never called me back so I went over to the condo ... to the condo and, uh ... this was waiting for me on the bed. I ... uh ...
(ROY LOGAN holds out a small Altoid's shaped metal container with a severed index finger in it. CATHERINE looks at the finger for a long moment. A car horn beeps drawing CATHERINE'S attention back to driving.)
Catherine: Got your attention.
Roy Logan: My cell phone rang; it was the kidnapper. He said, uh, he wanted a million dollars in cash by the end of the day, or he would ... he would send me the rest of her. He said if I ... talked to he cops ...
Catherine: Yeah, I heard that part. I need a drink.
CUT TO:
[INT. DINER -- NIGHT]
Hank Peddigrew: I can't believe you called. I actually got you outside of work.
(SARA smiles.)
Sara: This is nice.
Hank Peddigrew: I don't normally date women from work but there was ... something about you. And it definitely wasn't your perfume.
(SARA laughs and coughs.)
Sara: I cannot believe you brought that up.
(Cut to CATHERINE and ROY LOGAN getting out of the car just outside the diner.)
(Cut back to SARA.)
Sara: Yeah, that-that-that, uh, day we met that-that was, that was very gross.
(Cut to CATHERINE and ROY LOGAN crossing the street toward the diner.)
Sara: Um... I mean, not for me but for everyone else ... for you ...
(The door to the diner opens. CATHERINE and ROY LOGAN walk in. SARA and HANK occupy the first booth closest to the door. SARA definitely notices that it's CATHERINE.)
(CATHERINE doesn't acknowledge SARA. She and ROY LOGAN take two seats at the counter. SARA watches them walk by.)
Hank Peddigrew: Isn't that one of your coworkers?
Sara: Yeah.
CUT TO:
[INT. DINER - COUNTER - NIGHT -- CONTINUOUS]
(CATHERINE grabs a menu off the counter.)
Catherine: We don't know how long it's going to be before he calls. Why don't you order something?
Roy Logan: You expect me to eat? We should be in the car, waiting by the phone.
Catherine: I have the phone. Do us both a favor: Relax.
Waitress: What can I get you?
Catherine: Um, two glasses: One with ice; one without. Roy?
Roy Logan: Uh, coffee. Black.
Catherine: So, let's get to know each other. You first.
(ROY LOGAN looks at CATHERINE without saying anything.)
Catherine: You were born; you came home from the hospital. Then what?
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM sits behind his desk. WARRICK and NICK stand in front of it.)
Warrick: Maybe he wanted to confess. Take her to the body.
Nick: Catherine wouldn't have left her stuff behind.
(BRASS appears in the doorway.)
Brass: Hey. I sent a patrolman to Logan's house. Talked to Mrs. Logan. She's in perfect health. She's not our vic.
Warrick: So what do we do now?
Nick: We wait. Right?
Grissom: Yeah. We don't have a crime yet.
CUT TO:
[INT. DINER -- NIGHT]
(CATHERINE pours some of the ice into the empty glass.
Catherine: Give me the finger.
(ROY LOGAN looks at CATHERINE. CATHERINE meets his look. ROY LOGAN reaches into his pocket and takes out the case with the finger in it. He passes it to her under the counter. CATHERINE takes one of the glasses.)
Roy Logan: What if somebody sees you?
Catherine: I got to preserve this evidence.
(She reaches for the other glass of ice. The cell phone rings. CATHERINE puts the empty glass back on the table then reaches for the cell phone.)
Catherine: Hello.
Voice: (altered) (from phone) Take Boulder Highway South till it intersects ninety-three. Take the Yucca Exit, East, one mile. You'll see a sign: Horseshoe Tavern. You have one hour.
(CATHERINE hangs up and puts the cell phone back down on the counter.)
Roy Logan: What'd he say?
(CATHERINE reaches into her pocket and pulls out some bills. She tosses the money on the counter.)
Catherine: Let's go.
(ROY LOGAN takes his metal briefcase and stands up. CATHERINE also gets up to follow. She's holding the glass of ice with the finger in it.)
(As she passes SARA'S table, she casually and deliberately puts the glass in front of SARA.)
Hank Peddigrew: Is that a finger?
(SARA picks up the glass and looks at it. She then looks up at the door.
(Cut to SARA exiting out the Diner (#25861). She sees ROY LOGAN get into the passenger side of the car, the car door close and drive off. SARA looks down at the glass in her hand.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
[INT. ROY LOGAN'S CAR -- NIGHT]
Catherine: Open the briefcase. I've got an idea.
(ROY LOGAN opens the briefcase and CATHERINE reaches inside. She takes out a glo-paint marker.)
Catherine: I use this to paint my daughter's face. She was playing the moon tonight in the school play. I missed it. Mark the edges of the money.
(CATHERINE hands the glo-paint marking tool to ROY LOGAN. He doesn't say anything. He starts to mark the money.)
Catherine: Do you got any kids?
Roy Logan: Yeah, I've got a son. He's a soccer freak. His life's ambition is to be Roberto Baggio.
(Up ahead, ROY LOGAN sees a cop car parked on the side of the road.)
Roy Logan: Hey, there's a cop. There's cop. Slow down. Come on. We don't want to be pulled over. If we're seen with a cop, Amanda's d*ad.
(Cut to the officer inside the car as he notices the car passing him by. Nothing out of the ordinary. The car continues down the road.)
CUT TO:
[INT. CSI -- HALLWAY]
Nick: (o.s.) Catherine didn't say anything?
Sara: She barely made eye contact. She dropped the finger on the table and walked out.
Grissom: Where is it?
Sara: Locked up at the coroner's lab, waiting for Dr. Robbins. Unless you want me to wake him up in Kansas City. Brother's wedding, back tomorrow ...
Grissom: It was the right index finger?
Sara: Top half severed just below the right inter-costal joint.
Grissom: Any hemorrhagic tissue?
Sara: Yeah, I couldn't tell. There was blood, though.
Grissom: How did Catherine seem?
Sara: Like I told Nick, she completely ignored me.
Grissom: And her behavior toward Logan? Was she under duress? Agitated?
Sara: No ... no, looked to me like Catherine was running the show.
Grissom: A severed finger, a million bucks. And Catherine's not allowed to talk to anyone.
Nick: Kidnapping?
Warrick: So, who's worth one mil?
Grissom: It's time to speak to his wife.
Nick: I'll call Brass.
(NICK pulls out his cell phone.)
Sara: (wondering) It's a bit of a coincidence, though, don't you think? Catherine just showing up at the diner. It's not like she knew I was going to be there.
Nick: I knew.
(NICK puts the cell phone to his ear and walks away. WARRICK looks at SARA who in turn gives him a stern look and whacks him on his shoulder as she leaves.)
CUT TO:
[INT. ROY LOGAN'S CAR - NIGHT -- CONTINUOUS]
(The car drives up to the US 93 intersection. To the left, Yucca Ravine, to the right, Carson City.)
Roy Logan: That's it-- yucca.
Catherine: One more mile.
(CATHERINE clears the odometer from the current reading 9762 and sets it back to zero. She turns right and continues down the highway.)
(Cut to a close up of the odometer at 0.9. Just as soon as CATHERINE sees the horseshoe marker, she hits the breaks sending the car into a screeching halt. ROY LOGAN looks at CATHERINE in surprise.)
Roy Logan: Are you crazy?
Catherine: Sorry, it's been a while since I've driven a sports car.
(CATHERINE reaches over and takes the marking tool back from ROY LOGAN.)
Catherine: Thanks.
[EXT. HORSESHOE TAVERN - NIGHT - CONTINUOUS]
(They get out of the car. CATHERINE casually turns and looks at the skid marks she left behind. CATHERINE shuts her car door. They both start walking toward the meet site. CATHERINE reaches into her pocket and takes out a pair of gloves. As she walks, she drags her feet making large impressions in the direction she's walking.)
(She glances back at her impressions and continues.)
(They soon reach a wire fence with a "No Trespassing" sign on it blocking the road. They pass the gate. Over on the hill, another car with its lights on is parked. A figure wearing a rabbit outfit emerges from the car. The figure pauses by the car door and inhales something from a tube. The figure turns and makes its way over the hill wearing the rabbit mask, a trench coat and carrying a r*fle at its side.)
Voice: (altered) The briefcase.
(ROY LOGAN takes a step forward. CATHERINE stops him.)
Catherine: First we need to see Amanda.
Voice: (altered) Hand over the money get back in the car, and drive to a pay phone. The gas-and-go station Highway 582, South of Henderson. I will call you. I will tell you where she is.
Catherine: No. We need something more than just your word.
Voice: (altered) Then she's d*ad.
(The figure turns to walk away. ROY LOGAN rushes forward.)
Roy Logan: No, wait!
(ROY LOGAN reaches the figure and hands over the briefcase. CATHERINE sighs. He backs up and returns to CATHERINE.)
Roy Logan: The gas-and-go station, Highway 582, South of Henderson.
(CATHERINE shakes her head. ROY LOGAN hurries past CATHERINE and heads back to the car. Up on the hill, the rabbit-figure turns and walks back to the car.)
CUT TO:
[EXT. MRS. LOGAN'S HOUSE - DRIVEWAY - DAY]
(MRS. DIANE LOGAN exits the house. She walks to the car in the driveway. BRASS and NICK walk up the driveway.)
Brass: Mrs. Logan?
Diane Logan: Yes? Uh, one minute, please. (to her son) Oh, come on, honey, last time you got food all over the place, your father spent a fortune detailing the car.
(DIANE LOGAN shuts the car door.)
Brass: Mrs. Logan, I'm Jim Brass, Las Vegas PD. This is Nick Stokes, crime lab.
Nick: Hi.
Brass: Have you heard from your husband?
Diane Logan: No.
Brass: When he didn't come home last night did you find that unusual? Or maybe you're used to it.
(NICK peers into the car where he sees the little boy eating his sandwich. The little boy looks up at NICK.)
Diane Logan: Look, our lawyer has advised me not to speak to the police.
(DIANE LOGAN shuts the back door closed.)
Diane Logan: And until I hear from Roy, that's exactly what I'm going to do.
Nick: How about if we just have a look around?
Diane Logan: I don't think so.
CUT TO:
[EXT. LAS VEGAS DESERT (STOCK) -- DAY]
[EXT. GAS 'N GO STATION - DAY]
(The old gas station is closed and abandoned. ROY LOGAN and CATHERINE park their car outside and squeeze through the fence to gain entrance to the gas station.)
(They look inside the windows.)
Roy Logan: I don't see a phone.
(They search around the area.)
Roy Logan: Where's the phone?
(Out behind the gas station is an old telephone booth. ROY LOGAN spots it and runs to it. He lifts the phone and notices that it's severed from the box.)
Roy Logan: (frustrated) Dammit. They set us up. She's d*ad. I knew it!
Catherine: (reasons) He had a sh*t g*n. If all he wanted was the money, we'd both be d*ad.
(ROY LOGAN steps out of the telephone booth. CATHERINE steps inside and looks around. She notices something stuck in the yellow pages. It's a map of the location where AMANDA FREEMAN can be found. From the I-93 through the Texas Acres, through the Easelwood Hwy, toward the Easelwood Reservoir.)
Catherine: Give me the phone.
Roy Logan: (resists) No, no, no-- no, no! He said no phone calls. They may be watch ...
Catherine: We're past that. Give me the phone!
Roy Logan: Listen, please. What if it was someone you loved? What if it was your daughter?!
(CATHERINE doesn't say anything.)
CUT TO:
[INT. CSI -- LAB]
(GREG is going over the blood test results with GRISSOM and NICK.)
Greg: The blood from the finger was diluted due to the ice. But I made a positive match.
Grissom: To the blood on Logan's hands.
Greg: So it was kind of like Getty's ear? They cut it off, sent it to the house?
Nick: Wife was way too cool to have seen a severed finger. I don't think so.
Grissom: He's a real estate developer. Does he own any other properties?
(NICK looks down at the papers in his hand.)
Nick: Townhouse off Flamingo. Under the company name, not rented.
Grissom: But occupied?
Nick: I'll get a warrant. See if anybody's missing a finger over there.
(NICK leaves the room. He bumps into WARRICK who is just stepping inside.)
Nick: (to WARRICK) Hey.
Warrick: (to NICK) Hey. (to GRISSOM) State troopers just spotted Logan's car on the 582. Drove past him earlier this morning. Five minutes later, drove past him again other direction.
Grissom: Grab Sara. We're gone.
CUT TO:
[EXT. HORSESHOE TAVERN - DAY]
(GRISSOM'S Tahoe comes to a stop. Behind him is an accompanying officer car. GRISSOM, WARRICK and SARA exit the car. They immediately notice the tire treadmarks on the road.)
(A camera flashes. SARA is kneeling next to the tire treadmarks and is snapping pictures.)
(Quick CGI POV to the oil discharge in the treadmarks. End of CGI POV. Resume to SARA.)
Sara: Thank you, Catherine.
(SARA stands and heads further inside to where WARRICK is past the wire gate.)
(SARA stops midway and looks down. She takes a picture and picks up the glo-marker tool from the ground. SARA stands and continues on her way toward WARRICK. WARRICK also snaps photos of the footprints in the ground.)
Sara: She was burning some serious rubber. Definitely high-end tires -- there's colored flecks on the treads and they're fresh.
(Up on the hill, GRISSOM examines the ground where the other car was. He looks down and finds a small discarded tube. He picks it up.)
(Cut back to SARA.)
Sara: It's got to be the Lexus. Does this mean anything to you?
(SARA shows the glo-marker to WARRICK.)
(Cut to GRISSOM examining the metal tube he found.)
(Cut back to WARRICK.)
Warrick: Looks like some kind of glow paint stick. I think Catherine dragged her heels a little bit here.
Sara: Yeah.
(GRISSOM starts to walk back to WARRICK and SARA.)
Grissom: Helium canister.
Warrick: You mean like helium for balloons? You can also use it to change the pitch in your voice.
Grissom: The Lexus stopped there.
(GRISSOM points behind them.)
Grissom: Catherine walked up to here.
(GRISSOM points to where WARRICK and SARA are standing. He turns around to look behind him.)
[CLOSED CAPTIONED: GRISSOM: So the second set of fresh tire treads on the access road ... ]
Grissom: Could be the kidnapper's.
Sara: Looks like the drop-off went down.
Warrick: Then why hasn't Catherine contacted us yet?
(GRISSOM shakes his head slightly and doesn't respond.)
CUT TO:
[INT. AMANDA FREEMAN'S RESIDENCE -- DAY]
(NICK walks up to the front door. He knocks on it and pushes it open.)
Nick: Criminalistics. Anybody home?
(NICK enters the house. He puts his kit down near the door. He moves in further and pulls out a pair of gloves.)
Nick: Okay ... talk to me.
(NICK jumps as a loud squawk comes from behind him. He turns around and sees a white cockatoo in a cage. The bird squawks softly at NICK. NICK looks around and sees the answering machine on the counter.)
(NICK checks the messages.)
Roy Logan: (answering machine) Amanda, hi, it's Roy. Where are you? Call me on the cell.
(NICK sees the purse on the table and picks up the wallet. He opens it. It's AMANDA FREEMAN'S Nevada Driver's License. In the background the answering machine beeps and the next message comes on.)
Roy Logan: (answering machine) Amanda, I thought you'd be home all day. I wanted to swing by. Call me.
(NICK sees two wine glasses on the table next to an open bottle of wine.)
(Quick camera close up to the lipstick stains on both glasses.)
Mark: (answering machine) Amanda, it's Mark. At the gym. You missed your session. Call to reschedule.
(The answering machine hits a dial tone. NICK is once again startled by the cockatoo's squawk behind him. He turns around.)
Nick: Too bad you can't talk. Maybe you could tell me where she is.
(NICK walks over to the bird cage. He smiles at the bird then notices something else ... blood on the front of the bird's feathers.)
(Camera holds on NICK.)
CUT TO:
[EXT. LAS VEGAS DESERT - DAY]
[EXT. EASELWOOD RESERVOIR -- DAY]
(ROY LOGAN'S Lexus pulls up to the old abandoned Reservoir.)
(Cut to CATHERINE and ROY LOGAN walking through the area searching for AMANDA FREEMAN.)
Catherine: Well... according to the map she should be somewhere around here.
Roy Logan: (yells) Amanda! Amanda!
(CATHERINE looks around and sees the grill.)
Catherine: Why don't you give me a hand?
(They open the grill. They look inside and on the bottom, floating in some water, is AMANDA FREEMAN. She appears to be d*ad.)
(ROY LOGAN gets up and staggers around, distraught.)
Roy Logan: Oh, god ... oh, god ...
(CATHERINE isn't happy with the discovery.)
(Cut to a view of the body floating in the water.)
(ROY LOGAN sits down some distance away. He puts his head in his hands. CATHERINE gets up, walks over to him and puts her arm around his shoulders.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
Robbins: The finger was severed postmortem. No hemorrhagic tissue at the point of injury. And they used a serrated blade. Jagged teeth patterns on the bone. Not much else I can tell you. It's just a finger.
(GRISSOM'S cell phone rings.)
Grissom: (to phone) Grissom. (pause) Thank god.
INTERCUT WITH:
Catherine: There was a kidnapping.
Grissom: I know -- Amanda Freeman. She's d*ad ... and whoever touched the money probably has glow-in-the-dark paint on their hands.
Catherine: You got my clues?
Grissom: Yeah, nicely done. I know just about everything except ... where are you?
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI - HALLWAY TO BREAK ROOM]
(CATHERINE and WARRICK walk through the hallway to the break room.)
Warrick: She ate, but she didn't fall asleep till way late. We had her helping Greggo out in the lab.
Catherine: I bet she loved that.
Warrick: Yeah.
(They reach the break room. Through the glass window, CATHERINE sees LINDSEY asleep on the couch. CATHERINE turns to WARRICK.)
Catherine: I owe you. Thank you.
(CATHERINE gives WARRICK a kiss on the cheek, then opens the door and slips inside the room. WARRICK leaves. CATHERINE sits next to her daughter and watches her sleep. She reaches out and touches her daughter's forehead. LINDSEY doesn't wake up.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Just outside the doorway to the autopsy room, CATHERINE and GRISSOM are about to enter.)
Grissom: So, you couldn't see what he looked like?
Catherine: You're assuming it was a "he." Rabbit mask. Full-beam headlights. Truman Capote voice. Who can tell gender?
(They enter the autopsy room and walk up to the table.)
Robbins: Amanda Freeman.
(ROBBINS matches the finger to her right hand. It appears to be a match.)
Robbins: My guess is, she's been in the water about 24 hours.
(ROBBINS turns and lifts the blanket covering the feet. It's big and wrinkled.)
Robbins: Washerwoman effect. But no saponification.
(ROBBINS opens the deceased's mouth and lifts up her tongue. GRISSOM leans in to get a better look. The camera moves in to show a bunch of puffy rice-shaped eggs under her tongue.)
Grissom: Blowfly eggs?
Robbins: Mm-hmm.
Grissom: Unhatched ova. They're waterlogged.
Robbins: I found some in her nose and trachea, too. The decomposing body would need time to attract the bugs before submersion. Well, she's been d*ad 48 hours 24 hours above water, 24 hours under.
Catherine: Bloody nose, ecchymosis. She took a beating. Cause of death?
Robbins: Blunt-force trauma. Back of the head.
(ROBBINS puts his hand to the back of the deceased's head.)
(Quick CGI POV camera moves from the back of her head, through the hair and to the bloodied scalp. A pair of tweezers pick up something small stuck in the scalp.)
Robbins: Look at this.
(ROBBINS holds it up.)
Grissom: What is it?
Robbins: You'll have to get it under the microscope. My guess is some form of stone. Granite maybe.
Catherine: I'm going to head over to the townhouse check out those blood spots with Nick.
(CATHERINE leaves the autopsy room.)
CUT TO:
[INT. CSI - HALLWAY JUST OUTSIDE AUTOPSY ROOM -- CONTINUOUS]
(CATHERINE steps out of the autopsy room carrying her jacket. ROY LOGAN is leaning against the wall waiting for her. He straightens when she walks out.)
Catherine: Mr. Logan?
Roy Logan: I need to see her. Please.
(CATHERINE shakes her head.)
Catherine: I wouldn't advise that.
Roy Logan: Look, she ... was my life. I loved her. Please?
CUT TO:
[INT. CSI -- FORENSIC AUTOPSY]
(ROY LOGAN enter the autopsy room. GRISSOM and ROBBINS look up from the body. GRISSOM looks concerned at the interruption. ROY LOGAN walks up to the side of the table.)
Roy Logan: Ooh ... ooh ... it's my fault. If I'd only ... gotten to her sooner. If I'd only paid them sooner ...
Grissom: It wouldn't have made any difference. She was k*lled long before you could have helped her.
Roy Logan: When? Where?
Catherine: You've got to give us time. Why don't you go home, get some sleep?
Roy Logan: (to CATHERINE) I-I don't think I can face my wife right now.
(CATHERINE escorts ROY LOGAN out of the room.)
Catherine: This town is full of hotels.
Roy Logan: All right. You can find me at the Tangiers.
CUT TO:
[INT. AMANDA FREEMAN'S RESIDENCE -- DAY]
(NICK is in the living room spraying the rug looking for blood evidence. The rug glows. NICK also notices the crack on the table in the area where the blood is.)
Catherine: Marble.
Nick: Good to see you again. Yeah, somebody h*t the table. There's obvious signs of a struggle.
Catherine: Kidnapper probably broke in. She made a run for it. Got h*t in the face. Went down.
(Quick flashback to someone hitting AMANDA FREEMAN in the face. She falls to the floor and hits to table on her way down.)
Nick: Blood pool here. Spatter all the way to the bird. Birds have blood feathers and flight feathers. Flight feathers don't bleed. No capillaries, just cartilage.
Catherine: And you know this from ... ?
Nick: Discovery channel.
Catherine: So, how did the k*ller get the body out of the house?
Nick: There's no blood trail from here to the door, so my guess is he wrapped her in something.
Catherine: Bedsheets?
Nick: Checked. Bed's still made. Linen closet's full. Not to mention, a wet sheet leaks.
Catherine: Plastic, maybe. If she was m*rder here her finger was severed here where are the knives?
(NICK picks up one of the wine glasses. CATHERINE checks the kitchen drawers. Nothing. CATHERINE opens the dishwasher and finds all the knives in them washed clean.)
Catherine: Clever. Kidnapper washed all the knives.
Nick: Why wash the knives and leave the wine glasses?
Catherine: Get those glasses to Greg.
(CATHERINE looks around the apartment. She looks at the photos on the refrigerator. One of them shows AMANDA FREEMAN posing for the cameraman in the shower.)
CUT TO BATHROOM:
(NICK pushes the shower curtain aside. Camera focuses on the top of the shower hook where a piece of the liner is still attached to the hook. NICK picks off the piece.)
Nick: Yeah, looks like someone ripped the liner out.
Catherine: He wrapped her in it.
Nick: Must've gotten dumped when she did.
CUT TO:
[EXT. LAS VEGAS DESERT (STOCK) - DAY]
[INT. STORM DRAINS -- DAY]
(WARRICK turns the corner. SARA'S behind him.)
Warrick: Watch your step.
Sara: Thank you.
(They find the shower liner caught in the storm gate. WARRICK picks it up.)
Warrick: All right.
(SARA nods.)
CUT TO:
[INT. CSI -- HALLWAY]
(BRASS and GRISSOM walk through the hallway.)
Brass: Ran Amanda Freeman's phone records. Creature of habit. Mother, gym, Logan, pizza. But the last call made from that house was to a cell phone we traced to Mrs. Logan.
(They meet up with CATHERINE who stops them.)
Catherine: Greg got saliva off the wine glasses. Ran the DNA. One was Amanda, and the other a woman.
Grissom: Mrs. Logan, maybe. They would have had a lot to talk about.
Catherine: Or fight about.
CUT TO:
[INT CSI - LAYOUT LAB]
(SARA and WARRICK examine the shower curtain liner they found.)
(SARA finds something.)
Sara: Looks like a small tear.
(Camera close up of the tear.)
Warrick: Looks more like a slice. Could've happened when he cut through her finger.
(Quick CGI POV of a finger being sliced off and blood. End of CGI POV. Resume to present.)
(SARA looks at WARRICK.)
(WARRICK moves to another spot on the curtain.)
Warrick: Does this look like blood to you?
Sara: If the body was wrapped with this side that's on the outside.
(SARA flips the portion of the sheet over. They put on their protective eyewear and turn on the ALS. It doesn't glow.)
Sara: It's not blood.
Warrick: Yeah.
(SARA takes a sample of it.)
Sara: This is a grease stain. It's got an oily residue.
CUT TO:
[INT. CSI -- LAB]
(The Agilent Technologies (tm) machine picks up the vial and starts processing its contents. The machine prints out the results. GREG looks at it.)
Greg: Did you guys clean the table before putting the curtain on it?
Sara: Yeah.
Greg: 'Cause I think your evidence got contaminated.
Warrick: With what?
Greg: Oleic acid. Goes well with jelly.
Sara: Peanut butter.
Warrick: Great.
(WARRICK looks up and sees NICK walking by.)
Warrick: Hey, Nick?
Nick: Yeah?
Warrick: Have you been eating peanut butter in the layout room?
Nick: No, man, I hate the stuff.
Warrick: Well, we found it on the back of that shower curtain.
(Quick flashback to ROY LOGAN'S son eating his sandwich in the car. End of flashback. Resume to present.)
Nick: Mrs. Logan scolded her son for eating in the car. Peanut butter and jelly. Said her husband just had the car detailed.
CUT TO:
[INT. CSI -- GARAGE]
(SARA, WARRICK and NICK are examining the LOGANS' car.)
Warrick: I need to take my car to this detailer. Not bad.
Nick: Come on.
(Quick CGI POV to the car carpet being detailed. End of CGI POV. Resume to present.)
Nick: (V.O.) You know that treating the surface with a carpet cleaner only pushes the dirt further down?
(They find the stain.)
Nick: Warrick, you got those box cutters?
(NICK cuts out the carpet with the stain in it. He holds it.)
Nick: Did I mention how much I hate peanut butter?
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
Catherine: Mrs. Logan, do you know Amanda Freeman? Because she called you on your cell phone the day she was m*rder.
Paul: Could have been a wrong number.
Grissom: Then, uh, what did you talk about for three minutes and fifty-five seconds?
Catherine: We could compel a DNA sample which would confirm that you had a glass of wine with her that night.
Paul: Is it your intention to charge my client with Miss Freeman's kidnapping?
Grissom: I think you went to your husband's townhouse -- a townhouse you probably didn't know he had - and a civilized drink turned into a violent brawl.
(Quick flashback to the two women fighting. AMANDA FREEMAN gets h*t and falls down. She hits her head on the table before hitting the floor. End of flashback. Resume to present.)
Catherine: You tore down the shower curtain wrapped the body in it.
(Quick flashback to AMANDA FREEMAN'S body on the shower curtain and DIANE LOGAN wrapping her up in it. End of flashback. Resume to present.)
Grissom: Cut off her finger, stuck it in a mint tin and left it for your husband.
Catherine: You transported the body to the reservoir in the back of your SUV where some of your son's PB and J made it onto the shower curtain.
Diane Logan: Are you finished?
Paul: Diane?
Diane Logan: I had my drink with Miss Freeman. I listened to her rantings about how she and Roy were getting married.
Paul: That's enough, Diane.
Diane Logan: And I set her straight. Roy was not going to leave me for her. He loved his money more than both of us. I told her I was going to evict her from that tacky little townhouse and then Roy came in. You should have seen the look on his face.
(Quick flashback to DIANE LOGAN turning around to find ROY LOGAN in the doorway. End of flashback. Resume to present.)
Diane Logan: And I-I left them there to work it out.
Paul: Okay ... if you don't have anything else?
Catherine: One more thing. Mrs. Logan, can you hold your hands out palms up? Jim, can you h*t the lights?
(BRASS turns off the room lights.)
Paul: We don't have time for these games. Okay, you satisfied?
(PAUL reaches up to pull DIANE LOGAN'S hands away from the table when GRISSOM immediately spots it.)
Grissom: Whoa!
(GRISSOM reaches over and pulls PAUL'S hand over the light where we see the glo-stick marker all over the palms of his hands.)
Paul: Look, I can explain.
(COMMERCIAL BREAK)
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM - DAY]
(The rabbit mask hits the table. PAUL nervously takes off his glasses.)
Paul: Look, I put on a mask I made some phone calls I took the money but I did not break any laws.
Catherine: You k*lled Amanda Freeman.
Paul: Oh, no. I didn't k*ll anybody. I didn't even know she was d*ad. I'm a lawyer. I work for my client. I did what he asked me to do.
Catherine: Your client?
Paul: Roy Logan.
Catherine: What are you saying? That Mr. Logan paid you to dress up as a bunny rabbit?
Paul: That was my idea.
Grissom: So, Roy Logan set this whole thing up?
Paul: Yes. It started with a phone call. I just did what my client asked. I just played a part.
(Quick flashback to PAUL in his car putting on the rabbit mask and holding a presumably fake r*fle. Flash to white. ROY LOGAN handing the metal briefcase to PAUL. End of flashback. Resume to present.)
Catherine: So, basically, this was a stage play written by Mr. Logan.
Paul: That's right. Now you got it.
Grissom: During this elaborate farce you never thought to ask him why he was making you jump through these hoops?
Paul: I don't get paid to ask. I get paid to do.
Brass: What about the money? A million dollars cash?
Paul: Well, Roy was having marital problems so I figured he was just hiding his assets.
Brass: Where's the money now?
Paul: In a locker.
(PAUL puts the locker key on the table.)
Paul: At his Country Club.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY]
Brass: Where did Logan say he was staying?
Grissom: The Tangiers.
Catherine: I'll drive.
Grissom: I'll follow the money.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - TANGIERS - DAY]
[INT. TANGIERS - HOTEL ROOM #1003- DAY]
(CATHERINE knocks on the door.)
Catherine: Mr. Logan? Open the door. Please.
(The manager with the key unlocks the door. BRASS opens the door. No one's there. The room doesn't look like it's been used. CATHERINE checks the bathroom. Everything's bare.)
Brass: I'll call down, see if his car's in the parking lot.
Catherine: Fat chance. Son of a bitch. He had me completely fooled.
Catherine: I bet that locker's empty, too.
CUT TO:
[INT. LOCKER AT COUNTRY CLUB -- DAY]
(GRISSOM opens the locker door. The camera is inside the locker facing GRISSOM. We see his unsurprised reaction at finding the locker empty. He shuts the door.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
Grissom: Okay, let's run this. Amanda was tired of being number two, so she calls up Mrs. Logan to discuss her affair with her husband.
(Quick flashback to AMANDA FREEMAN and DIANE LOGAN drinking wine from the wine glasses. End of flashback. Resume to present.)
Grissom: But Mrs. Logan doesn't just discuss it she throws down the gauntlet.
(Quick flashback.)
Diane Logan: He's not going to leave me for you.
Amanda Freeman: He already has.
Diane Logan: No, he ...
(AMANDA FREEMAN looks up past DIANE LOGAN. DIANE LOGAN turns around and sees ROY LOGAN standing in the doorway. End of flashback. Resume to present.)
Catherine: Amanda broke the only rule. Don't call the missus.
(Quick flashback to ROY LOGAN fighting with AMANDA FREEMAN and knocking her down. AMANDA FREEMAN hits the table before hitting the floor. End of flashback. Resume to present.)
Nick: Now he really has a problem.
Warrick: Two problems. His wife is going to leave him, take half his money and he was going to jail.
Sara: You got to admit, his solution was ingenious.
(Quick flashback to AMANDA FREEMAN on the ground, d*ad. ROY LOGAN sitting on the couch thinking about his next move.
Grissom: (V.O.) Most K*llers take their time planning a m*rder. He took his time covering it up.
(ROY LOGAN looks at his watch and starts planning.)
Grissom: (V.O.) Forty-eight hours to be precise.
(ROY LOGAN taking down the shower curtain liner. ROY LOGAN kneeling down and cutting AMANDA FREEMAN'S finger off. Flash to white. End of flashback. Resume to present.)
Grissom: So Logan cleans up the crime scene and calls his lawyer. Asks him to help him with his little charade. I mean, what better way to protect your assets than to pay a kidnapper who's already on retainer?
Catherine: Everything from that point on was calculated.
(Quick flashback to ROY LOGAN making sure that there's blood on his hands. Flash to white.)
Catherine: (V.O.) Blood on his hands ...
(Cut to ROY LOGAN looking at the security camera in the bank. Flash to white.)
Catherine: (V.O.) ... he's the last customer of the day at the bank Acting suspiciously ...
(Cut to ROY LOGAN trying to get away from the police officer while leaving the bank parking lot. Flash to white.)
Catherine: (V.O.) ... driving recklessly.
(End of flashback. Resume to present.
Warrick: He knew he'd get hauled in to the cops.
(Quick flashback to ROY LOGAN picking up his cell phone off of the table and deliberately leaving his sunglasses behind. Flash to white. Resume to present.)
Catherine: You bet your ass. He didn't leave those sunglasses behind by accident. His cell phone rang on cue. The call's for me.
(Quick flashback to CATHERINE on the cell phone with the kidnapper. Resume to present.)
Catherine: He practically forced that money into his lawyer's hands.
Grissom: Out of one pocket into the other.
(Quick flashback to ROY LOGAN chasing after the kidnapper and handing the briefcase to him at Horseshoe Tavern. Resume to present.)
Grissom: I especially liked the little show he did for us in the coroner's lab. Trying to find out how much we knew.
(Quick flashback to ROY LOGAN asking ... )
Roy Logan: When? Where?
(End of flashback. Resume to present.)
Nick: Why make the map? Why lead Catherine to the body?
Grissom: Because without the body, Logan would always be under suspicion.
Sara: If not by the police, by his wife.
Warrick: So, he left these wine glasses for you to find.
Catherine: Sure, we wanted us to suspect the wife. That's why he used her SUV
(Quick flashback to AMANDA FREEMAN'S body wrapped in the shower curtain being dragged into the SUV'S back seat.)
Catherine: (V.O.) to transport the body.
(End of flashback. Resume to present.)
Catherine: And he let me mark the money because he knew that eventually his lawyer would touch it.
Sara: Why though? The money was in a suitcase.
Warrick: A million dollars. Pretty tempting.
Grissom: I saw the locker
(Quick flashback to inside the locker at the Country Club and to someone trying to fit the large metal briefcase into it. PAUL taking the money out of the briefcase and stacking it inside the locker. His hands are all over the money.)
Grissom: (V.O.) ... and I saw Logan's briefcase. It was too big to fit inside. His lawyer had to remove the cash by hand.
(End of flashback. Resume to present.)
Sara: How could he possibly know that Catherine was going to mark the money?
Warrick: He didn't. He probably thought the bank marked it.
Nick: Besides, there's always fingerprints.
Catherine: So I did everything in my power to help him.
Nick: Yeah, and he's probably long gone by now.
(CATHERINE'S cell phone starts ringing. She answers it.)
Catherine: Willows. (pause) Yeah.
INTERCUT WITH:
Officer: That's a beautiful car, that SC-430. Don't get to see a nice car like that in these parts too often. So when I see one twice in two days, I notice. Especially when the driver's exceeding the speed limit.
(The officer looks at ROY LOGAN who's sitting in the back seat of his police car.)
CUT TO:
[INT. POLICE DEPARTMENT - HOLDING CELL -- DAY]
(The doors open. CATHERINE walks in. She walks up to the bars of the holding cell with ROY LOGAN in it.
Catherine: Bravo.
(ROY LOGAN looks at CATHERINE and walks up to the bars.)
Roy Logan: You know, with all that money on my lap we could've driven to Mexico.
Catherine: That's right. You're short one mistress. I got to hand it to you that was a brilliant performance. But then again, any man who juggles a wife and mistress and god knows what else has to be a pro.
Roy Logan: I don't know. You get so used to lying you figure, what's one more?
Catherine: Try explaining that to your son.
(CATHERINE leaves.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x14 - The Finger"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[EXT. LAS VEGAS DESERT (STOCK) - EVENING]
CUT TO:
[EXT. - NIGHT]
(The camera moves low to the ground. The leaves on the floor are rustling in the night wind. The camera catches up to a pair of legs walking; a flashlight casting a beam on the ground.)
CUT TO:
(Man with flashlight looking for something.)
CUT TO:
(Fog on the surface of the lake. Flashlight beams on a body partially in the water, partially on the shore. The light beams on the d*ad body's face. GRISSOM kneels in for a closer look. His flashlight catches some bugs on the d*ad body's arm. Without a backward glance, he moves on.)
CUT TO:
(GRISSOM moves toward an old white pick-up truck. He looks into the carriage and sees a d*ad body behind the driver's wheel, a rodent on the cadaver's left shoulder.)
CUT TO:
(GRISSOM walks along and sees something. He kneels down for a closer look. Behind him, a figure of another man makes his way toward GRISSOM. GRISSOM examines the d*ad body on the ground. The figure behind GRISSOM approaches. The flashlight clutched in his right hand turned off and swinging ominously.)
(GRISSOM doesn't move and continues to examine the body on the ground, his back to the approaching figure. The figure behind reaches GRISSOM and kneels down. He looks at the d*ad body over GRISSOM'S shoulder.)
Edward Cormier: That one's not ours.
Grissom: You sure?
Edward Cormier: I authorize all cadavers and associated research. He's not ours.
WHITE FLASH CUT TO:
[EXT. BODY FARM - NIGHT]
(Sign on the fence reads: "University of Western Nevada / Anthropology Department / Private Property / KEEP OUT / All persons in violation will be prosecuted under section 4204-325.5470 of the Nevada State Penal Code.")
(BRASS and CATHERINE walk toward the body. GRISSOM is already there with DAVID PHILLIPS.)
Brass: People donate their body to science end up submerged in a pond? Crammed in a car?
Catherine: Body Farm; creepy.
Grissom: A Body Farm is not creepy. It's a controlled study of situational decomposition. All in all, a very healthy place.
Catherine: Tell that to Slim hanging from the tree.
(CATHERINE looks over at the skeleton hanging from the tree not too far away from the one they were called in to examine.)
Brass: Whoever placed our victim here knew that the body farm existed. What they didn't know is each body is tracked by a bunch of scientists.
Catherine: Can't just slip a card into the deck.
(CATHERINE starts taking pictures.)
David Phillips: Well, he's not in rigor. TSD is under six hours. I'll move him as soon as you're finished.
Brass: Any I.D.?
David Phillips: None.
(DAVID stands and steps away from the body.)
Brass: Okay, I'm going to move him.
(BRASS rolls the body over so that he's facing upward. CATHERINE takes more pictures.
Brass: g*n wound to the chest.
(Camera close up of a beetle walking out of the d*ad body's shirt.)
Catherine: Well, look. One of your friends.
(GRISSOM leans in an grabs the beetle.)
Grissom: It's a carpet beetle. It shouldn't be here.
Catherine: Vic seem more like a hardwood floors kind of guy to you?
Grissom: Carpet beetles are the last to arrive at a corpse -- when it's almost a skeleton. I mean, this guy's still fresh.
(GRISSOM looks around and sees the skeleton hanging from the tree. Camera close up on the carpet beetles on the skeleton's skull.)
Grissom: David! Get this body out of here now! We got cross contamination!
HARD CUT TO BLACK. END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
[INT. CSI -- HALLWAY]
(SARA and CATHERINE are walking from the hallway to the breakroom.)
Sara: Wow, you got to go to the body farm?
Catherine: Yeah.
Sara: I've always wanted to go there. What was it like?
Catherine: Quiet.
[INT. CSI - BREAK ROOM - CONTINUOUS]
Warrick: I hear Grissom goes there all the time. Like even on his nights off.
(WARRICK doesn't lift his head from the newspaper he's reading. NICK walks into camera view and heads for the refrigerator.)
Nick: Why does that not surprise me?
(He opens the refrigerator and sighs.)
Nick: Man, something stinks in here again.
(NICK grabs his paper package.)
Sara: What, bad milk? Cottage-cheese bad?
Nick: Worse. It's all over my sandwich. Smell that.
(He lifts his paper package and SARA reacts to the smell. She kneels and opens the refrigerator, glances in and notices the container on the top shelf.)
Sara: Yeah. He's got one of his experiments in there.
Nick: You're kidding me?
Catherine: Bugs or blood?
Sara: Not bugs.
Warrick: (still reading paper) Oh, that's so not cool. That's a community fridge.
Nick: Man, someone has got to talk to Grissom about this.
(GRISSOM walks in.)
Grissom: Talk to me about what?
Nick: You leaving your experiments in our refrigerator.
Grissom: Well, the lab fridge was full. I put in last night.
Nick: Well ...
Grissom: I'm going to test for horizontal motion on bloodstains. Vis-a-vis surface textures.
(NICK looks annoyed. CATHERINE takes a sip of her coffee and discretely tries to ignore the smell. GRISSOM is clueless as he takes out the container of blood from the fridge and opens it.)
Grissom: Hey, any of you guys got any linoleum at home?
(CATHERINE catches a whiff of the open container and this time, she discretely pinches her nose trying to avoid the smell. SARA is quiet.)
Nick: (sits down still annoyed at being ignored) That blood is rank, man.
Grissom: I know. That's why the Red Cross gives it to us 'cause it's past its expiration date.
(GRISSOM merrily closes the cap on the container, opens the fridge and puts it back on the top shelf. He shuts the door and stands up.)
Grissom: (to CATHERINE) Anything new on the body farm victim?
(CATHERINE takes another sip from her coffee mug.)
Catherine: I gave the prints to identification. They're running through the bases now.
Grissom: Okay.
(GRISSOM turns to leave the room. Someone's pager goes off. It's GRISSOM'S.)
Grissom: I'll be in autopsy. Let me know.
(GRISSOM leaves.)
Warrick: (doesn't look up from his paper) Way to go, Nick. You really told him.
Nick: I told him, he just ... doesn't hear it.
Warrick: (o.s.) Yeah.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Top view close up of d*ad body from the Body Farm. ROBBINS has his finger in the b*llet hole.)
Robbins: Well ... the entry wound tells me the body sustained a projectile.
Grissom: A b*llet.
Robbins: Uh, but there's no b*llet fragments in the tissue and no exit wound.
Grissom: So, how do you explain that?
Robbins: b*llet wounds usually leave b*llet evidence.
(Flash to white. Quick CGI POV of hand holding g*n and squeezing trigger. Sound of g*n f*ring. Camera close up of hammer cocking back and extreme close up of hammer hitting the 38 SPL b*llet. Quick FX to b*llet f*ring through the barrel of the g*n and penetrating through the skin with bits of flesh splattering out. b*llet continues its path through the body. Cut to inside view of the body where bits and pieces of bone and b*llet break up inside the body where some pieces embed themselves to the nearest organ. Flash to white. End of CGI POV. Resume to present.)
Robbins: There's no evidence of a b*llet in this wound tract.
Grissom: So, let's excise it. Do a more localized search.
Robbins: That was my next suggestion.
Grissom: What's your best tool for excising the tissue of our Mr. Doe?
(CATHERINE walks in.)
Catherine: Oh, it's not a John Doe anymore. Database says that our victim is Mike Kimble age 38. He has a townhouse in Summerlin. Brass is going to meet us there along with the rest of the unit. My bet says that it's the primary crime scene.
Grissom: Good.
(GRISSOM takes off his glasses. CATHERINE turns to leave and stops as she notices that GRISSOM'S not moving from his spot next to the autopsy table.)
Catherine: Aren't you coming?
Grissom: We're excising a wound tract.
Catherine: Sounds fascinating.
Grissom: It is.
(ROBBINS turns on the hand saw. The blade whirs.)
(Off a camera close up of the hand saw, we hear a f*re engine siren blaring.)
CUT TO:
[EXT. MIKE KIMBLE'S RESIDENCE -- NIGHT]
(Sirens blare. CATHERINE runs past firetruck #27 and finds WARRICK standing on the sidewalk with his CSI kit in his left hand staring at the house on f*re in front of him.)
Catherine: Is that Mike Kimble's house?
Warrick: That's it.
(A large expl*si*n emits from the second story window.)
Catherine: Seems like somebody b*at us here.
Warrick: You think? Neighbor called it in. She smelled the smoke. Thought he was barbecuing in his living room.
Catherine: Where's his neighbor now?
Warrick: Over there talking to Brass.
[EXT. -- CONTINUOUS]
Female Neighbor: Um, no, I didn't hear any noise coming from Mike's place last night. But, um ... I was wearing my headphones, doing my workout.
Brass: Did Mr. Kimble have many visitors to his house?
Female Neighbor: Other than his clients, just, um ... just his fiancée, Jane. Uh, but they usually stayed at her place.
Brass: Do you have the full name and address of the victim's fiancée, Jane?
Female Neighbor: Yes, actually I do. It's in my kitchen. Uhm ... As soon as they let me back in I can get for you.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS pulls out something gooey from the body.)
Robbins: Something. A metal fragment. It's not like any b*llet I've ever seen.
(Camera close up of the piece of metal ROBBINS holds.)
Robbins: Titanium ... maybe a pin.
Grissom: From the ribs?
Robbins: Oh, here's the manufacturer's number. I should've bought stock when I first started finding all these medical implants.
(GRISSOM doesn't say anything. He pulls out a maggot.)
Grissom: Bovine.
Robbins: Excuse me?
Grissom: Genus hypaderma. These are normally found in the intestinal tract of cows. These maggots aren't found in humans.
Robbins: Foreign tissue. Cow. Makes absolutely no sense.
Grissom: The body farm also studies animals, not just humans.
Robbins: This more of your cross contamination?
Grissom: Only one way to find out.
(GRISSOM smiles at the thought of yet another experiment.)
CUT TO:
[EXT. MIKE KIMBLE'S HOUSE - NIGHT]
(Firemen on a ladder and in the second floor of the burnt home. Water pours from the room onto the ground below.)
CUT TO:
[INT. MIKE KIMBLE'S HOUSE - NIGHT - CONTINUOUS]
(NICK walks through the hallway, his flashlight lighting his way. He turns the corner and sees WARRICK. He puts his CSI kit down.)
Warrick: What up, doc? Oh, there you are.
Nick: Sorry I'm late. D.A. Wanted an update on my robbery case.
Warrick: Oh, it's all good. I'm just starting my walk-through.
Nick: The desk is crispy.
Warrick: There's a burn pattern for you. f*re burns upward. This is moving downward.
Nick: Defies the laws of physics. f*re's drawn to f*re. Well, you know what we gotta do.
Warrick: Check out the upstairs?
CUT TO:
[INT. -- UPSTAIRS - CONTINUOUS]
Nick: The guy who started the f*re wanted to make sure the bedroom got it worse.
Warrick: How do you know it's a guy? Why are you jumping the g*n?
Nick: Well, according to Sara, 94% of all arsonists are male.
Warrick: Yeah, that sounds like Sara.
Nick: The f*re b*rned longest here.
Warrick: It's the point of origin.
Nick: Yeah, right here.
(WARRICK leans in and sniffs.)
Warrick: I don't smell any accelerant.
Nick: Could have b*rned off. Fabric would have fueled it.
Warrick: I don't know. It doesn't make any sense. A f*re burning downward?
(Flash to white. CGI POV of f*re burning near vent. Camera moves toward the vent and through the vent. Camera cut to inside the vent where the f*re quickly moves up the vent and to the second floor where it starts up again by burning the desk. Flash to white. More f*re flames getting larger and larger.)
Nick: (V.O.) Yeah, unless it was chasing after an accelerant.
Warrick: (V.O.) Furniture polish.
(Flash to white. End of flashback. Resume on NICK.)
Nick: Warrick ... is that blood?
(NICK casts the light of his flashlight at WARRICK'S feet. WARRICK looks down, steps off of the carpet and lifts it up to reveal a large blood stain.)
Warrick: Oh, man. Something bad happened here.
Nick: This f*re is just a cover up.
CUT TO:
[EXT./INT. JANE BRADLEY'S RESIDENCE - NIGHT]
(CATHERINE and BRASS ring the doorbell. JODY BRADLEY opens the door. She's on the phone.)
Jody (giggling): (to phone) Are you serious? Hold on a second. (to BRASS) Hi.
Brass: I'm Detective Jim Brass. Is Jane Bradley in?
Jody Bradley: She's in the kitchen. (to the phone) Really? No way.
(She holds the door open. CATHERINE and BRASS enter the house.)
SHORT TIME CUT TO:
[INT. JANE BRADLEY'S RESIDENCE - KITCHEN - NIGHT]
(Camera close up on several pictures of MIKE KIMBLE with the BRADLEY family.)
Jane Bradley: (o.s.) This can't be happening. Mike is d*ad? I don't know how I'm going to tell my kids. They love Mike.
Catherine: You and Mike were engaged?
Jane Bradley: The wedding was supposed to be in a week at the Tangiers.
(JAKE BRADLEY enters the kitchen. He has earphones on and walks straight for the refrigerator. He opens the door.)
Jane Bradley: No sweets after ten. What's the rule?
Jake Bradley: Oh, come on, mom, I'm starving.
(JANE BRADLEY takes the sweets out of her son's hand and replaces it with an apple.)
Jane Bradley: Have an apple.
(He groans and walks out of the kitchen.)
Jane Bradley: He's growing like a weed.
Brass: What was your fiancé's business?
Jane Bradley: He was a photographer. He did weddings, events. We argued over who'd do our wedding because he didn't trust anyone else's work.
(In the background a door opens and closes. RUSS BRADLEY enters.)
Russ Bradley: Hi.
Jane Bradley: How many times have I said you have to knock? You can't just barge in this house.
Russ Bradley: Maybe as many times as I've asked you to have the kids ready and out front on my nights?
Brass: You must be the ex-husband.
Russ Bradley: What's going on? Are the kids all right? Is Jake in some kind of trouble?
Jane Bradley: No.
Brass: Mike Kimble was k*lled tonight.
Russ Bradley: Are you serious?
Catherine: Would you mind showing us your hands?
Russ Bradley: My hands? Why?
Catherine: To see if there's any g*n powder or evidence of a burn on them.
Russ Bradley: Sure. (holds out his hands for CATHERINE) Look, uh, I don't want to be rude, but ... I stop paying alimony the day Mike and Jane get married. I mean, I'm the last person who would have k*lled him.
Brass: If we wanted to get in touch with you, how would we reach you?
Russ Bradley: You can reach me at any of my four grocery stores. Any time.
(RUSS BRADLEY pulls out a business card from his wallet and gives it to BRASS.)
Brass: We'll be in touch.
Russ Bradley: I'm going to get the kids, if that's all right.
Jane Bradley: They're in the den.
CUT TO:
[INT. MIKE KIMBALL'S HOUSE - NIGHT]
(Water drips from the ceiling. NICK is crouched low with a machine in his hands. The machine beeps steadily. GRISSOM enters the room from the hallway just as the machine starts to beep rapidly.)
Grissom: Accelerant.
(NICK looks up.)
Nick: Hey. Yeah, Warrick said the f*re was orange so low-temperature fuel. Something accessible ... gasoline, kerosene ... I thought you were at the post.
Grissom: I was.
Nick: So, anyway, this is where the f*re started. Victim's bedroom.
(GRISSOM starts looking around. NICK stands and starts looking around as well. GRISSOM moves off into another room. NICK glances at a burnt photograph in a frame.)
(GRISSOM finds a room that was not b*rned by the f*re. He examines the items that wasn't b*rned. NICK catches up with GRISSOM and follows.)
(GRISSOM pans the room with photographer equipment in it. Something catches his eye. A photograph in a frame of MIKE KIMBLE and the BRADLEYS holding a sign: "Mike: Welcome to the Family". The same sign in propped up on the file behind the picture frame.)
(GRISSOM moves in for a closer examination of the picture. He frowns. NICK enters the room.)
Nick: Grissom ... Gris ...
Grissom: Sometimes, it's about where the f*re isn't.
(GRISSOM removes the photo out of its frame. Behind the photo is a picture of JODY BRADLEY. Two photographs of her in suggestive poses, and a third with her naked back to the camera and looking over her shoulder. GRISSOM holds the photo comparatively to the family photograph where we can see that it's definitely JODY BRADLEY, the daughter, and not JANE BRADLEY, the fiancée.)
(Both GRISSOM and NICK are grim at the find and its implications.)
Nick: (quietly) Sometimes, I hate this job.
CUT TO BLACK.
(COMMERCIAL BREAK)
[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE BRASS' OFFICE]
(JODY BRADLEY is sitting on the waiting bench outside the interrogation room, her knees hugged close to her chest. An officer stands nearby. JANE BRADLEY watches her through the glass wall from inside the interrogation room.)
CAMERA PANS TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE - CONTINUOUS]
Catherine: (o.s.) We have evidence that Mike may have had an inappropriate relationship with your daughter.
Jane Bradley: What kind of evidence?
(JANE BRADLEY turns around and walks back to face BRASS and CATHERINE.)
Brass: (o.s.) Photographic and definitive.
Jane Bradley: That the man I was going to marry somehow sexually ... no, I don't believe that.
Catherine: Things like this happen sometimes right under our noses. We're going to have to talk with your daughter.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Catherine: Jody, we found pictures in Mike's house of you posing.
Jane Bradley: Tell her Mike would never do anything to hurt you.
Catherine: In some of the pictures ...
Jane Bradley: (interrupting) He truly was like a father to both kids.
Jody Bradley: (to her mom) I wish you would just listen once.
Catherine: In some of the pictures you're wearing a bathing suit. Do you remember Mike taking them?
(JODY BRADLEY looks at CATHERINE.)
(Quick flashback of camera flashes of JODY wearing a shirt and turning around; JODY taking the shirt off her shoulders; and three camera flashes of JODY close up. Flash to white. End of flashback. Resume to present.)
(JODY BRADLEY shakes her head, no.)
Catherine: Jody ... anything that he did to you was not your fault. You can tell me if Mike took those pictures.
Jane Bradley: Jody? Honey?
Jody Bradley: I loved Mike and he loved me.
(CATHERINE leaves the room. BRASS is waiting just outside where he was watching through the glass. CATHERINE closes the door.)
Catherine: The daughter clammed up. Seems to be in the protect-the-abuser trap. I'm going to take her over to the hospital for a SART exam.
Brass: What are the chances mom knew what her boyfriend was up to?
Catherine: I've seen it happen. As a mother, I hope not.
Brass: Yeah, right. I'm going to look into it.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(Camera close up of the computer screen with the JODY BRADLEY photo. WARRICK is working on it. NICK enters the room carrying a bagged camera.)
Nick: Well, our photo guys tell me those pictures were taken with Mike Kimble's type of camera.
(NICK puts the bagged camera down on the table.)
Warrick: Yeah?
Nick: Yeah. What are you doing here?
Warrick: A thousand points of light and I only need one to clear up this picture. The blur equals the length of the light.
(NICK moves closer to the screen to get a better look.)
(The computer screen shows the numbers for "CALCULATING REFRACTION - POINTS" change rapidly ... )
(Close up of a fuzzy JODY BRADLEY with the following on screen:
[LUMENS/BLUR RATIO: 20.5558%
REDUCING BLUR ] )
(which changes to ... )
[LUMENS/BLUR RATIO: 34.783%
REDUCING BLUR ]
(Extreme close up of an unfocused JODY BRADLEY being focused.)
Warrick: If I can compress this light back into a point then the rest of the picture gets clear. That's how they got Hinkley's image when he was sh**ting the prez.
Nick: What is that? There at the bottom right corner? Is that a finger?
Warrick: Yeah, I think so.
Nick: Well, that's unusual, isn't it? A professional photographer gets a finger in the sh*t?
Warrick: Maybe his good hand was otherwise engaged. I'm going to work on that for a while and see if I can get some ridge detail. Maybe even a fat print.
Nick: I'll ... I'll see you later.
(NICK leaves the room.)
CUT TO:
[INT. CSI - LAB]
(Camera focused on a chunk of raw meat covered with flies under a net. GRISSOM is peering at the experiment though a magnifying glass. SARA walks in.)
Sara: So, this is your experiment, huh? So, because you found beef in the wound tracts of the victim, you think the meat might be from one of the body farm cows?
Grissom: Did the fly find the beef in the wound and lay its eggs or did it bring the beef with him?
Sara: I did an experiment similar to this in San Francisco except the cross-contamination was blood. Wasn't a m*rder case, but it was instructional.
(GRISSOM straightens and puts the magnifying glass down.)
Grissom: None of these beef particles are as big as the tissue found in Mike Kimble's wound tract. And I found out the ex-husband is the proud owner of a registered g*n.
Sara: Hmm, what does that mean?
Grissom: It means I need to see that g*n.
(GRISSOM heads toward the door to leave. SARA stops him.)
Sara: Uh, Grissom ... aren't you going to tell me anything?
Grissom: About?
Sara: The case, the meat, what you found ...?
Grissom: I'm working it.
Sara: I thought I was working it with you.
Grissom: Yes. You're right, you are. So, take some photos of the experiment for the D.A. And then ... uh ... get rid of that stuff.
(GRISSOM turns to leave. SARA stops him again.)
Sara: That meat... the raw meat... me?
Grissom: Yeah.
Sara: How many meals have we shared together?
Grissom: I don't know.
Sara: Take a guess -- over a year working together.
Grissom: Thirty.
Sara: I'm a vegetarian. Everyone here knows I'm a vegetarian. I haven't eaten meat since we stayed up that night with that d*ad pig. It pains me to see ground beef; forget about cleaning it up.
Grissom: Okay. Have Nick do it.
(GRISSOM leaves. SARA seems ... extremely disappointed with the exchange.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY]
Russ Bradley: You're telling me this bastard took pictures of my daughter?
Brass: Yes, we found them at his house.
Russ Bradley: I never liked the way he looked at Jody. I've never liked it.
Brass: How did he look at her?
Russ Bradley: Touchy-feely.
(Quick flashback to MIKE KIMBLE standing with JODY BRADLEY, his hand caressing her cheek. Flash to white. RUSS BRADLEY noticing the caress. End of flashback.)
Russ Bradley: It wasn't normal. I told Jane when she started seeing him he's not a good guy. He's not good for our family. But you can't control who your ex-wife dates.
(GRISSOM turns the corner and approaches the men at the counter.)
Brass: Russ Bradley, Gil Grissom, CSI lab.
Grissom: Thanks for coming in. (They shake hands.) Is this your g*n?
Russ Bradley: Yes.
Grissom: May I take a look at it?
Russ Bradley: Please.
(GRISSOM puts on his glasses and picks up the g*n to examine it.)
Grissom: It's been cleaned.
Russ Bradley: Of course. You never, never store a dirty firearm.
Grissom: May I ask what kind of amm*nit*on you use?
Russ Bradley: A .38 special. It takes .38s.
(GRISSOM exchanges a look with BRASS.)
Russ Bradley: (amends) Whatever's on sale.
CUT TO:
[INT. CSI - LAB]
(SARA'S writing something and doesn't stop when WARRICK walks in.)
Warrick: There you are. I got something for you from trace.
(SARA doesn't look up from what she's doing. Neither does she respond.)
Warrick: Sara?
Sara: Almost finished.
(WARRICK starts to get curious at what SARA'S doing and turns his head to look at what she's writing. SARA notices and quickly stops writing. WARRICK looks up at SARA.)
Warrick: They isolated the accelerant used in the f*re. It's alcohol based.
Sara: Acetone, methyl methacrylate? Nail polish remover.
Warrick: Guess that's the six percent no one talks about. Female f*re starters.
(WARRICK leaves.)
CUT TO:
[INT. HOSPITAL - EXAMINATION ROOM]
(The doctor is starting her exam on JODY BRADLEY. CATHERINE stands nearby.)
Doctor: What's this... a burn?
Jody Bradley: Yeah.
Doctor: How'd that happen?
Jody Bradley: On a curling iron.
(Quick flashback to JODY BRADLEY standing in front of a mirror using a curling iron on her hair. Cut to her accidentally burning herself with the iron. Flash to white. Resume on JODY BRADLEY.)
(Camera cut to CATHERINE.)
(Quick Scenario POV of liquid being poured over a bed. JODY BRADLEY holding what looks like a nail polish remover bottle. Cut to JODY BRADLEY with a lighter. Flash to white. End of scenario POV. Resume on JODY BRADLEY.)
Doctor: I'll give you a prescription for antibiotics. Let's do the last portion of your exam now, okay?
Doctor (cont.): (to CATHERINE) Excuse me.
(The DOCTOR closes the curtain. CATHERINE takes a few steps to the right so that she can see JODY BRADLEY'S face. Through the curtain, we see them preparing for the pelvic examination.)
Doctor: Okay, lay back. Scoot back a little more. Just a little more. Very good. Take a deep breath. This won't hurt at all.
(Camera holds on JODY BRADLEY.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(Camera close up of the b*llet casing. GRISSOM separates the casing and puts it down. He reaches for his drink. He takes a sip and makes a face. It tastes funny. He puts his glass down and looks back at the b*llet he's holding. He glances down at his glass and notices the ice. He makes a connection.)
Grissom: It's melting.
(Flash to white.)
(Quick CGI POV of hand holding g*n and squeezing trigger. Sound of g*n f*ring. Camera close up of hammer cocking back and extreme close up of hammer hitting the 38 SPL b*llet. Quick FX to b*llet f*ring through the barrel of the g*n and penetrating through the skin with bits of flesh splattering out. b*llet continues its path through the body. Cut to inside view of the body where bits and pieces of bone, b*llet and ice break up inside the body where some pieces embed themselves to the nearest organ and melt. Flash to white.
(End of CGI POV. Resume to present. Camera on GRISSOM.)
(GRISSOM continues to stare at the ice swirling around in his glass. He's putting it all together and comes up with something highly improbable, but not impossible. GRISSOM looks at the b*llet. Camera refocuses on the b*llet.)
CUT TO:
[INT. CSI - BREAK ROOM]
(Close up of ground beef wrapped in white butchers' paper.)
(Cut to GRISSOM unrolling the ground beef.)
(Cut to piece of beef being cut and forced into a mold. GRISSOM is making molds of b*ll*ts using ground beef. He's doing this in the break room.)
(He opens the refrigerator door intending to put the experiment in there. CATHERINE walks in.)
Catherine: Sara's not going to be too happy with that experiment in the fridge.
Grissom: I'm putting it in the freezer.
(CATHERINE grimaces as GRISSOM doesn't catch the hint. She sighs.)
Catherine: The doctor finished the exam on Jody Bradley. Physical findings: Scarring, chronic sexual abuse.
(GRISSOM Sighs.)
Grissom: Well, have Brass get a warrant for the mother's house. Check the evidence we recovered from the d*ad boyfriend's house. They stayed in both places.
Catherine: Listen, there's a good chance the daughter's our arsonist. She had second-degree burns on her wrist.
Grissom: One thing at a time.
Catherine: Right. You coming with?
Grissom: I can't. Take Nick.
Catherine: Right. Experiment.
CUT TO:
[INT. JANE BRADLEY'S HOUSE -- NIGHT]
(Camera close up of JANE BRADLEY holding a Bench Warrant. NICK and CATHERINE enter her home. She watches as they walk by her. She doesn't say anything.)
CUT TO:
(Using an ALS, CATHERINE looks for body fluids in JODY BRADLEY'S bedroom, specifically on the bed as she moves the bed covers away from the sheets. She checks under the pillows.)
CUT TO:
(NICK is in the utility room going through the laundry in the laundry baskets by the washing machine. He, too, is looking for body fluids with an ALS.)
CUT TO:
(CATHERINE in JODY BRADLEY'S closet, going through the clothes on the hangers ... still looking for body fluids.)
CUT TO
(NICK walking into the bathroom. He scans the counter top and puts his CSI kit on the counter. NICK opens the laundry basket intending to go through the laundry. On the top of the laundry basket, he immediately sees something on JODY'S nightgown.)
(CATHERINE walks in.)
Catherine: That's the girl's nightgown.
(CATHERINE sighs.)
CUT TO:
[INT. JANE BRADLEY'S HOUSE - DOWNSTAIRS]
(CATHERINE and NICK are on their way out. NICK is on the phone. CATHERINE opens the door and NICK walks outside.)
Nick: (on phone) We've got some samples coming in. They're priority one.
Jane Bradley: What is that ... what did you find?
Catherine: Child Services will be remanding Jody to a foster home.
Jane Bradley: Was my fiancé involved in any way?
(BRASS appears in the doorway.)
Brass: He's not your fiancé. Not anymore, anyway.
Catherine: Jim?
Brass: I just got back from the events office at the Tangiers where you and Mike were supposed to be married. You canceled your wedding five days ago. I even have your credit card receipt for the ten percent cancellation charge. You didn't like the way he looked at your daughter any more than your ex did.
Jane Bradley: No. I just got cold feet.
Catherine: Convenient timing.
Jane Bradley: Look, when Russ and I got married 20 years ago you couldn't find two happier people and now we can barely stand to be civil. I didn't want to make another mistake.
Catherine: It wasn't that you 'sensed' what was going on?
Jane Bradley: Mike would not do what he's being accused of. Believe me.
Catherine: I'll believe the DNA.
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- LAB]
Greg: Kind of feels like blackjack, you know? You guys all fanned around the table, holding your breath waiting to see which card I'll reveal next.
Warrick: Greg, this is an abuse case involving a minor.
Greg: Right. Sorry. So, I have DNA samples from every male that lives with Jody Bradley full-time or weekends. First, I have Mike Kimble, the fiancé. d*ad fiancé.
(He holds up the results for everyone to read.)
Brass: "Match not found." You got to be kidding me.
Greg: Sorry, Captain.
Brass: The guy has naked pictures of her in his townhouse. The mother called off their wedding.
Greg: DNA takes a pair.
Catherine: So, whose is it, the father?
(Again, GREG holds up the results.)
Grissom: "Match not found."
Greg: Third and last.
(He holds up the test results. NICK sighs and grabs the sheet.)
Nick: Give me that.
(He glances down at the sheet. So do BRASS and GRISSOM.)
Nick: How'd we miss that?
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Jake Bradley: No. No, I never did anything like that to my sister, no.
(JANE and RUSS BRADLEY watch.)
Brass: How do you explain your semen on her nightgown?
Jake Bradley: I can't ... I can't.
Brass: The county automatically provides your son with an advocate. We can't proceed until he arrives.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(WARRICK continues working on isolating the thumbprint on the photo. GRISSOM walks in.)
Grissom: You getting anywhere with the print?
Warrick: I'm still trying to enhance it. It's kind of frustrating, that, uh this picture puts us at the very moment of the crime but we can't see what she's seeing.
Grissom: They say the eyes are the window to the soul.
Warrick: Yeah, my grandma used to say that all the time.
Grissom: In a way, it's true. The aqueous fluid and the vitreous in the human eye allows for an image to be reflected in it.
Warrick: Well, maybe ... if I enhanced the reflection in her eye with the right combination of algorithms ...
Grissom: I think my popsicles are ready.
(GRISSOM leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Brass: Jake, did you take pictures of your sister and plant them in Mike Kimble's house?
Jake Bradley: No.
Brass: You do have keys to his house, though. Right? I mean, your mother told us that both you kids do.
Jake Bradley: Yes, but I didn't plant anything.
Child Advocate: He didn't take the pictures. He didn't plant them. He has no idea how his DNA got in his sister's nightgown.
Brass: Well, maybe a little hobbit put it there.
(JAKE BRADLEY stares back at BRASS ... scared.)
Child Advocate: That's it, we're done.
Nick: All right, hold on. You mind if I talk to Jake alone?
Child Advocate: To what end?
Nick: I have a hunch.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- BENCH JUST OUTSIDE INTERROGATION ROOM]
Nick: Everyone does it, Jake. You just ... feel like you're the only one. Then when you don't do it, it happens in your sleep anyway, right? Yeah. And then you go to take a leak, dust off the equipment and just grab the first thing that's handy, huh?
Jake Bradley: (embarrassed) It was just... on the hamper.
Nick: Your sister's nightgown?
(They both laugh softly.)
Jake Bradley: The next thing I know, I'm getting, like ... questioned by the police and my parents are looking at me like I'm some sort of ... pervert.
Nick: Yeah, that's rough. Rough. Well, listen, in the future, dude ... even if the situation's embarrassing, the truth's probably the best policy there.
Jake Bradley: Yeah.
Nick: Hey, listen, you ever notice your mom's boyfriend acting weird around your sister? Like a little, uh ... too friendly, too forward?
Jake Bradley: (thinks about it) Mmm, no. No, I mean, my sister is the one that's kind of weird.
Nick: Really?
Jake Bradley: Yeah.
Nick: How?
Jake Bradley: She's just always just, you know, "Mike's coming over. I can't wait till Mike gets here."
Nick: Mm. Mm-hmm. You like the guy?
Jake Bradley: When, uh, my parents were getting divorced my mom, she cried, like, every day and, uh, Mike showed up and she stopped crying so ... yeah. I guess.
CUT TO:
[INT. CSI - BALLISTICS LAB]
(GRISSOM puts the frozen meat cap in the b*llet casing. ROBBINS enters the room and leans in close to see what GRISSOM'S doing.)
Grissom: What are you doing here? Isn't this your day off?
Robbins: On the day you plan to expend a meat b*llet? Ahh ... a frozen meat b*llet?
Grissom: Yeah, I had to freeze it with a touch of liquid nitrogen.
Robbins: Well, I'm ready to watch history.
(GRISSOM loads the frozen meat b*llet into the hand g*n. They both put on their ear gear and GRISSOM fires the g*n. ROBBINS steps up to examine the results.)
Robbins: b*llet-like entry wound.
(Flash to white. Same Quick CGI POV of hand holding g*n and squeezing trigger. Sound of g*n f*ring. Camera close up of hammer cocking back and extreme close up of hammer hitting the 38 SPL b*llet. Quick FX to b*llet f*ring through the barrel of the g*n and penetrating through the skin with bits of flesh splattering out. b*llet continues its path through the body. Cut to inside view of the body where bits and pieces of bone, b*llet and meat break up inside the body where pieces themselves to the nearest organ. Flash to white. End of CGI POV. Resume to present.)
Robbins: (V.O.) The meat disintegrates. Lost in the soft tissue. Hmm.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Brass: You're quite a marksman, Russ ... and inventive. You managed to build a b*llet made of meat.
Grissom: The meat from the projectile was visually indistinguishable from the victim's stomach tissue. We know that your g*n was clean but it turns out that your re-loader wasn't.
Brass: Yeah. We got this from your garage on a warrant. We figured a g*n enthusiast like yourself would have one of these. Packs g*n into used shell casings. Cheaper than buying new rounds, right?
Grissom: The material that was on your re-loader is consistent with the material we found in the victim's wound tract. Ground beef.
Russ Bradley: A father knows. I mean, he was giving her gifts, you know, cameras.
(Quick Flashback to MIKE KIMBLE putting the camera around JODY BRADLEY'S neck. Flash to white. JODY BRADLEY jumping up and down in delight. Flash to white. MIKE and JODY standing close to each other while MIKE shows the camera to JODY. Flash to white. End of Flashback.)
Grissom: He gave her a camera?
Russ Bradley: And the wedding was, like, a week off and he was going to be living under the same roof as my children full-time. When I went over there you know, I was just going to set him straight, right? You know what he says?
(Flashback.)
Mike Kimble: Now, I can't help it if she likes me. I guess it's like mother, like daughter.
Russ Bradley: You touch my little girl and I will k*ll you.
Mike Kimble: Too late.
(RUSS BRADLEY fires g*n. End of Flashback.)
Russ Bradley: That's when I lost it.
Brass: Then you dumped him at the body farm. Your grocery chain makes regular meat deliveries there for experimental purposes. Then what? You arsoned his place to cover up the m*rder?
(Flashback to RUSS BRADLEY at MIKE KIMBLE'S house dousing the bed with nail polish remover. Flash to white. Close up of nail polish remover pouring on floor. Flash to white. End of flashback.)
Brass: (V.O.) Grabbed the nail polish remover from the bedside table poured it all over the place?
Russ Bradley: I'll tell you the truth. I ... I feel relieved. I'd like to make a formal confession.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY]
Grissom: He can confess to the homicide but we're still examining evidence on the arson.
Brass: The guy wants to take the heat for his daughter on the arson well, where's the harm in that?
Grissom: The harm would be to the justice system unless I misunderstand our place in it.
Brass: Don't you think that little girl's been through enough?
Grissom: What I think and what the evidence proves are possibly two different things.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(CLOSE UP OF "Las Vegas Police Department - Request for Leave of Absence" Form for Sara Sidle. GRISSOM is holding the form.)
(SARA enters GRISSOM'S office.)
Grissom: What is this?
Sara: It's, uh, just what it says: It's a request for a leave of absence -- six months ... year, maybe.
Grissom: Why?
Sara: I was thinking of checking out the federal government system - FBI ...
(GRISSOM snorts.)
Grissom: We have the best lab in the country.
Sara: I need a different work environment.
Grissom: What does that mean?
Sara: One with, um, communication ... respect.
Grissom: Everybody here respects you.
Sara: You don't.
Grissom: Is this about that hamburger thing?
Sara: No, Grissom ... this is not about that "Hamburger" thing. I-I-I don't believe you. How can you reduce everything that I've said to some kind of single quirk? Do you think the problem here is just about me?
(GRISSOM seems surprised.)
Sara: If you don't sign my leave, I'm going to have to quit.
(SARA turns to leave. GRISSOM stops her.)
Grissom: Hey, Sara?
(She turns around.)
Grissom: The Lab needs you here.
Sara: Great.
(SARA walks out. Camera holds on GRISSOM.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI - LAB]
(GRISSOM enters the room. CATHERINE is holding a fake hand. She's preparing to conduct a test.)
Grissom: Did you hear the dad copped a plea on the m*rder and the D.A. expedited it?
Catherine: Voluntary man, first offense. Out on bail. Free in four. No jury was going to convict a father for k*lling his daughter's abuser. What do you have?
Grissom: Accelerant. Identical to the type found at the arson. Police got it out of Jody's gym locker.
(CATHERINE holds the hot curling iron to the wrist of the fake hand. She puts the curling iron down and compares the burn with a photograph of JODY BRADLEY'S burnt wrist.)
Catherine: Looks as if Jody was probably telling the truth. She did burn herself on a curling iron.
Grissom: So who started the f*re?
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(WARRICK continues working on the photograph. Instead of the thumbprint, he's concentrating on the eye. NICK enters the room.)
Nick: Hey.
Warrick: Hey.
Nick: You get anywhere with those fingerprints?
Warrick: Back burner. I've been working on this reflection in her eye. You see what I'm seeing?
Nick: No.
Warrick: Come on, man. I've been working on this enhancement all night. Look closer.
Nick: What is it? A clock, a mirror? It's got a latch, a lock. A porthole? ... It's a porthole?
Warrick: Yeah. These pictures were taken on a boat.
CUT TO:
[INT POLICE DEPARTMENT - HALLWAY]
Warrick: Miss Bradley.
Jane Bradley: Yes.
Warrick: Warrick Brown. Your fiancé, Mike, did he own a boat?
Jane Bradley: A boat? No.
Warrick: No? Did he borrow one or rent one?
Jane Bradley: He wanted to borrow my ex-husband's boat but he was too proud to ask.
Warrick: Your ex-husband owned a boat?
Jane Bradley: He bought one after our divorce. I've never been on it.
Warrick: (grimly) Okay. Thank you.
CUT TO:
[INT. RUSS BRADLEY'S BOAT -- NIGHT]
(WARRICK peers into the cabin. He's holding his flashlight and carrying his CSI kit. He puts the kit down and descends into the cabin without it.)
(He looks around. He sees the porthole. He snaps a couple of pictures of it.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(CATHERINE is carrying two glasses of refreshment. She puts it down on the table.)
Catherine: Jody? We know that Mike gave you his camera. We suspect that your father used it to take pictures of you on his boat.
(JODY looks at CATHERINE. She looks away.)
Catherine: We believe that he then placed the camera back at Mike's to implicate him along with the pictures.
Jody Bradley: He said I was like my mom when she was young and they were happy. He said having me was like having his family back.
(CATHERINE closes her eyes for a moment.)
Catherine: Did you ever tell your mom?
Jody Bradley: I tried.
<FLASHBACK>
Jody Bradley: I don't want to go to dad's.
Jane Bradley: You know what the judge said: Two weeks with dad, two with me.
</FLASHBACK>
Catherine: Jody, we have strong forensic evidence against your father. But cases like this are very difficult to prove. A victim testifying makes all the difference.
Jody Bradley: He told me if I ever talked, he'd k*ll me.
Catherine: Jody, if you don't talk ...
Jody Bradley: I told Mike and he was going to fix things.
(Quick Flashback to MIKE KIMBLE comforting an upset JODY BRADLEY. Cut to the exchange being witnessed by RUSS BRADLEY. Flash to white.)
Jody Bradley: And my dad k*lled him ... okay?
(JODY BRADLEY looks away. CATHERINE closes her eyes.)
(The door opens and WARRICK enters the room. He's carrying a large paper package. CATHERINE stands and meets him at the door.)
Warrick: Catherine.
Catherine: What is this?
(WARRICK opens the package. CATHERINE looks inside.)
Warrick: Found it on the boat. DNA just ran it. She's under 14, right?
Catherine: Yeah, 12.
(WARRICK looks at CATHERINE. The gravity of the crime hitting them hard. WARRICK closes the package, nods his head, and exits the room.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Brad Gottleib(lawyer): He didn't take pictures of his daughter. He never touched her. He's a loving, devoted father who works hard at his chain of grocery stores to keep her in good schools.
Grissom: Except when she's on his boat, right?
(GRISSOM is holding a file folder close to his chest. He pulls out a photograph from the folder and puts it on the table. It's a piece of plaid cloth with a large, white stain on it.)
Grissom: This is your sleeping bag we took off your boat. Our lab turned it inside-out. The discoloration you see is a mixture of vaginal and seminal fluid ... your daughter's and yours.
Russ Bradley: Okay.
Brad Gottleib: Don't say a word, Russ.
Brass: He doesn't have to. The sleeping bag's talking loud and clear.
Russ Bradley: Brad, make me a deal.
Brad Gottleib: I can't.
Russ Bradley: What do you mean you can't? You got me four years for m*rder.
Brad Gottleib: I can't.
Russ Bradley: (insisting) You can get me something.
Grissom: (interrupting) No, he can't. In the State of Nevada, we're all bound by a legal statute. The sexual as*ault of a minor age 14 and under is a mandatory life sentence with no possibility for parole.
CUT TO:
(Through the glass, we see RUSS BRADLEY in handcuffs and being taken away by an officer.)
[INT. POLICE DEPARTMENT - HALLWAY]
(CATHERINE walks down the hallway. JANE BRADLEY and JODY BRADLEY are walking toward her on their way out.)
Catherine: Excuse me. Could I talk to you for a moment?
Jane Bradley: Why don't you wait over there, sweetie.
Jody Bradley: Okay.
(JODY BRADLEY leaves CATHERINE and JANE BRADLEY alone.)
Catherine: I owe you an apology. I have an eight-year-old daughter.
Jane Bradley: It's okay. You were looking out for mine.
(JANE BRADLEY leaves. CATHERINE turns around to watch mother and daughter, hand-in-hand, walk out of the hallway.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. GRISSOM'S RESIDENCE - NIGHT]
Grissom: (o.s.) Tough case, huh?
(CATHERINE pours herself a drink and sighs.)
Catherine: Just give me a straight-ahead m*rder any day.
Grissom: Well, you wouldn't be human if it didn't affect you.
(GRISSOM is busy cutting something on a small cutting board.)
Catherine: I heard about you and ... uh ... Sara.
Grissom: (brushes it off) Sara, you know, she gets very emotional ...
(CATHERINE shakes her head.)
Catherine: Are you in denial? No, that's ... no, no ... way too analytical. Wow, you got b*rned bad, huh? Welcome to the club. I got third-degree burns from my marriage. Happens to everybody. Everybody just moves on.
Grissom: Good. Let's move on.
(CATHERINE'S not one to be put off. She tries again.)
Catherine: But you have to deal with it. You have to deal with it first. You got to deal with it before it goes away. You are the supervisor. You have responsibilities, and people are making a family around you whether you like it not, whether you give them permission or not. We don't have to go to the Grand Tetons together, just ... every now and then you got to lift your head up out of that microscope.
(GRISSOM nods thoughtfully at CATHERINE.)
Grissom: Yeah.
(CATHERINE watches GRISSOM as he absently wipes his hands clean on the blue dish rag. She smiles and seems satisfied that he's finally getting it. She moves to the living room where she takes a sip of her drink and looks out of the window. Her back is turned to him ... allowing him some privacy.)
(GRISSOM glances over at CATHERINE. CATHERINE looks back at GRISSOM and smiles.)
(GRISSOM puts the dish rag down and reaches for his little black address book. He sighs. He leafs through it and picks up the phone when he finds the number he's looking for.)
(CATHERINE looks out of the window, her back to GRISSOM.)
(GRISSOM dials the phone.)
Grissom: (awkwardly on phone) Yeah, hi. I-I-I'd like to get some flowers for a girl. No, no. Not flowers. A plant. A living plant. She likes vegetation.
(CATHERINE sits down on the sofa. She smiles and takes a sip from her glass.)
Grissom: Yeah, that'd be fine. To a Sara Sidle. Deliver it at the CSI division, Las Vegas Police Department the one out on North Trop Boulevard. Yeah, you can bill me at the same place. Gil Grissom. (pause) The sentiment? Oh-oh, on the card. Yeah. Um, uh ... have it say ... have it say, uh ... "From Grissom."
(He nods his head, satisfied.)
Grissom: (on phone) Thank you.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x15 - Burden of Proof"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (VARIOUS STOCK) - NIGHT]
CUT TO:
[INT. HOCKEY GAME - NIGHT]
(A hockey game is being played on the ice. A player gets smashed against the safety glass smearing blood on it. The crowd surges to its feet.)
Terry: What are you waiting for? Call it!
(The REFEREE blows the whistle. The game is on hold as the player makes his way to the bench. The DOCTOR pushes his way to get to the player. He puts his bag down.)
Doctor: Come on, come on. Coming through.
(The player steps off the ice.)
Doctor: Sit down and let me have a look. Okay, you're out. DOCTOR: Myles will move in from the second line.
Terry Rivers: Forget about Myles, I'm going back in. Stitch me.
Doctor: Terry, will you relax? It's a weekend league, it's not the NHL.
Terry Rivers: It is to me.
Doctor: You're not 100%.
Terry Rivers: What are you, a doctor or a coach? Do me a favor, stitch.
(The game commences on the ice. The doctors stitches up the cut under TERRY'S left eye.
Terry Rivers: Come on.
(The DOCTOR hands TERRY some pills and he swallows them. TERRY goes back out on the ice. The game continues.)
(TERRY gets control of the puck. He takes it to the goal. He hits the puck toward the goal, but doesn't stop. He slams into the Goalee and flies feet over head. He lands in front of the goal. The other players tackle him and pile up on him. It's a big mess in front of the goal.)
(The REFEREE blows the whistle stopping the game as the players get on their feet.)
(On the bottom of the stack, TERRY lies there unmoving. His eyes are open.)
Referee: Hey Jack, get over here. He's hurt bad.
(The woman player takes off her helmet. The other player looks down at TERRY, not liking how he looks just lying there on the ice.)
Player: (worried) Get the doc.
(Camera holds on TERRY RIVERS.)
CUT TO:
[INT. HOCKEY RINK]
(GRISSOM and CATHERINE walk out onto the ice. BRASS is already there in the center. GRISSOM looks around.)
Grissom: Where's the body?
Brass: On the bench -- he was moved there after he collapsed in front of the net. Apparently, uh the guy was responsive enough to be helped off the ice. He died a few minutes later.
(BRASS, GRISSOM and CATHERINE cautiously walk toward the bench. BRASS removes the blanket covering the body on the bench. GRISSOM leans in to look at it.)
Grissom: (pointing) This looks fresh.
Brass: Well, according to the on-site doctor, he took on across the cheek earlier in the second period.
(CATHERINE points to the large gash in the side of the neck.)
Catherine: Well, I guess is must be from the third period. Looks like that other team worked him over pretty good.
Brass: Hockey, rough game.
Grissom: Yeah, it's m*rder.
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
FADE IN.
[INT. HOCKEY RINK - STANDS -- NIGHT]
(GRISSOM and SARA sit side-by-side in the stands.)
Grissom: Two minutes for elbowing. Four minutes for high sticking. Ten minutes, unsportsman-like conduct.
Sara: Boys will be boys.
Grissom: Yeah, sounds like these boys went to a fight and a hockey game broke out.
Sara: You just don't like sports.
Grissom: That's not true-- I've been a baseball fan my whole life.
Sara: Baseball. Well, that figures. All those stats.
Grissom: It's a beautiful game.
Sara: Since when are you interested in beauty?
Grissom: (without looking up) Since I met you.
(Startled, SARA turns to look at GRISSOM.)
Grissom: So, we'll start at the opposite goal work our way across the blue line to center ice.
Sara: Sure.
(GRISSOM stands up and leaves.)
CUT TO:
[INT. ICE RINK -- CONTINUOUS]
(GRISSOM and SARA start to methodically walk the ice looking for evidence. They start at the far end of the ice.)
(Dissolve to: SARA and GRISSOM are at the middle of the ice ring.)
(Dissolve to: GRISSOM is up front. His kit is open and he puts his gloves on. SARA is in the middle of the rink and busy taking pictures.)
(Dissolve to: SARA is up front to the right of the rink. She's taking pictures of something on the ice. GRISSOM is in the middle to the left on his hands and knees looking at something.)
(Camera close up of a sliver of something off-white being picked up and put into a bindle.)
(Dissolve to: GRISSOM and SARA both on their feet and walking in opposite directions up and down the ice.)
(Dissolve to: GRISSOM on his hands and knees in the front left of the ice. SARA is on her feet in the middle right of the ice.)
(Dissolve to: SARA walks backward down the center of the ice. GRISSOM is way back on the left standing still.)
(Cut to: GRISSOM takes a swab sample of the blood on the safety glass. He caps the swab, turns and looks over at SARA. He walks over to her and kneels down looking at something on the ice. SARA puts something in a bindle.)
(GRISSOM takes a sample of the blood on the ice.)
Sara: It's not much to go on. Maybe we should be looking off the ice.
(And with that, an engine starts. SARA and GRISSOM turn their heads and see the zamboni machine enter the ice.)
CUT TO:
[INT. LOCKER ROOM]
(CATHERINE talks with the
Catherine: So, why did you move the body?
Doc: You ever tried treating someone on the ice wearing just street shoes?
Catherine: Then Mr. Rivers was still breathing?
Doc: When I brought him back to the bench, yes. Then I performed CPR, and he didn't respond.
Catherine: Did you also do the stitch work?
Doc: I'm the on-site doctor for this facility. The stitches held, and I advised Terry not to go back on the ice.
Catherine: So, if he'd listened, he'd still be alive.
(The DOCTOR sighs. CATHERINE turns around and looks at all the players in their towels.)
Catherine: What do these guys play for? A little money? Imitation Stanley Cup?
Tommy Sconzo: (quietly) We play for the pride of it.
(CATHERINE turns around to talk with the player dressing.)
Catherine: And the joy of kicking ass. You are...?
Tommy Sconzo: Tommy Sconzo.
(TOMMY turns around.)
Tommy Sconzo: Right wing, first line. Hitting's part of the game. Take away the physical aspect you've got figure skating. Guys out there doing triple lutzes.
Catherine: Is that how you lost the, uh...? The sit spin?
Tommy Sconzo: Second period, number nine. The guy's a real McCracken.
Catherine: Which means?
Tommy Sconzo: He gave me a high stick to the mouth. That's why my guys crashed the goalie. An eye for an eye, you know?
Catherine: That why your guy ended up d*ad?
(The question unsettles TOMMY.)
Tommy Sconzo: What can I tell you, lady? It all happened so fast, you know?
(He turns back to his locker.)
Catherine: Usually does.
CUT TO:
[INT. BACK ROOM]
(GRISSOM and SARA walk the hallway. At the end, they come upon the zamboni.)
Grissom: "There are three things in life that people like to stare at. A rippling stream, a f*re in a fireplace and a zamboni going round and round."
Sara: Charlie Brown. "I love a zamboni."
Grissom: We all do.
(Cut to: GRISSOM uses a mirror and looks under the machine at its tires.)
(SARA looks at the zamboni's engine.)
(GRISSOM finds something. He picks it up.)
Grissom: The thing I love about zambonis is they pick up everything. Hey.
Sara: Yeah?
Grissom: I'm afraid the other part of this tooth might be in there.
(SARA turns to look at the large pile of ice against the wall.)
Grissom: Time to combine Foyeer's Law of Conduction with Newton's Law of Cooling.
Sara: Pile of ice measures nine feet by five feet ... by ... nine feet. Without the calculus, I'd estimate ... a hundred cubic feet. Current temperature, one degree celsius.
Grissom: The heaters max out at 90 degrees, but the variables are constantly changing.
Sara: Let's ballpark it.
Grissom: I don't know, 50-cubic-foot melt per hour, if we're lucky?
Sara: 120 minutes for a tooth ... the whole tooth ... and nothing but the tooth.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. HOTEL]
(NICK and WARRICK cross the lobby. They hear bells ring and an excited woman screaming at her win.)
Warrick: Whoo! There's a winner.
Nick: Easy come, easy go.
CUT TO:
[INT. HOTEL - LOUNGE]
(LILLIE IVERS sings.)
Lyric: If I should die this very moment / I wouldn't fear / for I've never known completeness / like being here / wrapped in the warmth of you / loving every breath of you / still my heart this moment / oh, it might burst / could we stay right here / to the end of time / till the earth stops/turning?
(WARRICK and NICK enter the lounge. NICK meets up with LOCKWOOD.)
Lockwood: Lockwood, Homicide. DFO's in the back.
Nick: Lead the way.
(NICK turns around to look at WARRICK who is simply mesmerized by the lounge singer. NICK leaves to follow LOCKWOOD. WARRICK remains behind and watches the lounge singer.)
Lyric: ...Seas run dry / I've found the one / I have waited for / all this time ...
(WARRICK leaves the lounge.)
CUT TO:
[INT. HOTEL - BACKROOM - NIGHT -- CONTINUOUS]
Lockwood: Stan Grevey, 35. Backup sax player. One of the waitresses found him.
(NICK and WARRICK put their kits down and look at the scene.)
Nick: Tiny scrubbing bubbles.
(Camera zooms in to show the white powder at the corner of the victim's mouth.)
Warrick: Yeah, after somebody wiped them down. Paramedics?
Lockwood: Nope. Just pronounced, that's it.
Warrick: Just pronounced?
(NICK reaches over and lifts the victim's lip up. There's something caught in between his teeth.)
Nick: Had an interesting diet. Cowhide.
(WARRICK checks STAN GREVEY'S arm and finds needle marks.)
Warrick: He tied himself off.
Nick: Yup.
Warrick: All the signs of an O.D ... without any of the paraphernalia.
Nick: Your waitress say anything about a needle butane torch, that sort of thing?
Lockwood: No, not a word just said he reminded her of Coltrane.
Warrick: Coltrane, huh?
(WARRICK takes a sample of the powder on the table.)
Warrick: See if I can get this back to Gregor at the lab. He could tell us what we're dealing with. Two coasters, one glass?
Nick: What do you think? Our guy having a little party with the waitress?
Lockwood: She was just coming on shift. She came through me. Already cleared her.
Nick: Well, somebody was here ... grabbed the stuff took their glass.
(WARRICK takes the extra coaster. He looks over and also finds a soft contact lens on the table.)
Warrick: Forgot this on the way out.
Nick: Bet the contact wasn't his.
(LILLE IVERS walks into the back room checking up on her friend. She's smiling.)
Lillie Ivers: Hey, how's he doing?
(WARRICK stands up and stops LILLIE IVERS from walking in further to the room.)
Nick: Whoa, miss.
Warrick: Whoa, whoa ... miss, you can't come in here.
Lillie Ivers: Why not?
Warrick: I'm sorry, he's d*ad.
Lillie Ivers: (surprised) He's d*ad? What are you talking about? They told me he wasn't feeling well. He was backing me up an hour ago. (shocked) What happened to him?!
Warrick: (quietly) Miss ... why don't we step outside for a minute?
(NICK watches as WARRICK leads LILLIE IVERS out of the room. LILLIE turns her head to look back at STAN GREVEY.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(GRISSOM walks into the room.)
Robbins: What took you so long?
Grissom: I was watching ice melt.
Robbins: Tox screen came up empty except for quinine. Must have had malaria in the past six months. Either that or he's a big gin and tonic drinker. I've ordered up his medical records. If I was this guy I'd have been popping pain pills. Hairline fracture of the ulna bruised kidney, ten stitches off the orbital bone fractured nasal bone, all recent. Healed rib fractures.
(ROBBINS opens TERRY RIVERS' mouth.)
Robbins: He should have worn a cage.
(Holds up the tooth. He puts it on the side.)
Robbins: I bet he was proud of every last battle scar. What is it about organized sports?
Grissom: Well, organized sports is the paradigmatic model of a just society. Everyone knows the same language everyone knows the rules. And there's a specific punishment handed out the moment someone tries to cheat. Instant morality.
Robbins: So, uh, what did this guy do in real life?
Grissom: Stockbroker.
Robbins: Competition junkie.
Grissom: Aren't we all?
Robbins: Not me, not anymore.
Grissom: No? How'd you get to be Chief Medical Examiner? Look, we're all carrying prehistoric genes in a postmodern world. We get our meat from the grocery store instead of with a club or a Kn*fe. We have to work off our, uh, testosterone somehow.
Robbins: Foibles of youth.
Grissom: Yeah. So, cause of death?
Robbins: Not sure. (ROBBINS sighs. He points to the cut in the neck.) This cut nicked his carotid. Double-edged, clean blade, hockey skate, uh ...
(Quick flashback to the hockey skate cutting the neck. End of flashback. Resume to present.)
Robbins: Fun continues. Basilar artery also suffered significant trauma. Evidence of blood in the intimal space. Possibly enough to cause syncope.
Grissom: Loss of consciousness.
Robbins: Well, it could explain why the vic ended up in the bottom of that pile.
Grissom: So did his death cause his fall or did his fall cause his death?
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. ICE RINK - BACK HALLWAY]
(CATHERINE talks with BRASS. CATHERINE collects the team's gear.)
Catherine: What'd you get from area 51?
Brass: Terry Rivers was an instigator. Always stirring the pot.
Catherine: Every f*re needs a match. So, I guess this is their equipment?
Brass: Yeah, down to the last stick. Here's a copy of the team roster.
(BRASS hands CATHERINE the list.)
Catherine: Okay.
Brass: See you later.
Catherine: Okay.
CUT TO:
[EXT. ICE RINK -- NIGHT]
(CATHERINE looks at the list and calls out.)
Catherine: Ms. Gallagher?
(The woman near the motorcycle turns around.)
Jane Gallagher: Yeah.
Catherine: Catherine Willows Crime Lab. I understand you play for area 51. Did you see much ice time during the game?
Jane Gallagher: No, they just let me take off my cheerleader uniform and warm the bench.
Catherine: You know what? Been there, done that. Just asking a question here.
Jane Gallagher: I played 24 minutes, 12 seconds -- about my season average. I also lead the team in assists.
Catherine: Oh ... you've got good peripheral vision. You see the ice really well.
Jane Gallagher: I didn't see what happened to Terry.
Catherine: You're a real teammate. Down the line, just one of the guys.
Jane Gallagher: You're looking in the wrong direction. Now, we may have disliked Terry, but his own teammates ... hated him.
Catherine: Any reason why?
Jane Gallagher: How would I know? I'm just a girl. Can I go now?
(JANE GALLAGHER sits on the bike and puts on her helmet.)
Catherine: Nice bike.
(She rides off.)
CUT TO:
[INT. CSI - DNA LAB]
(GREG looks at the eye chart with one hand covering his right eye. NICK and WARRICK walk into the lab. NICK clears his throat.)
Greg: Just getting into the mind of a potential k*ller.
Warrick: Potential k*ller?
Nick: Why don't you just catch us up there, boss?
Greg: In a minute. First things first -- your contact lens was worn by a near-sighted person. And since I was born with perfect eyesight I'm experimenting with what it would feel like to be near-sighted.
Warrick: Don't tell us you're wearing our evidence.
Nick: Come on, Greg.
Greg: Give me some credit. Borrowing a pair of lenses from Archie in A/V. Giving me a headache, though.
(GREG picks up the results from the printer and hands it to WARRICK.)
Warrick: Mannitol-- that's that baby laxative used to cut heroin with.
Nick: China white? You sure?
Greg: The GSMS does not kid around.
Nick: West coast heroin is MEXICAN BROWN. 20, 30% pure, tops. What's china white, 75%?
Greg: Uh, your sample's 91.
Warrick: 91%? No wonder the guy O.D.'D. That's a death sentence.
Nick: Doesn't make any sense, man. The money from dealing heroin comes from the cutting. The more you cut, the more money you make. There's no profit margin in selling stuff that's too pure.
Warrick: Unless you're looking to k*ll someone.
CUT TO:
[INT. TERRY RIVERS' RESIDENCE]
(CATHERINE and GRISSOM walk into the apartment.)
Catherine: So, this is what being a stockbroker buys you.
(CATHERINE sighs. She looks at GRISSOM.)
Catherine: How do men live like this?
Greg: What's wrong with it?
Catherine: Well, it's a cave with hardwood floors.
Greg: It's clean. Television, couch. What else does a guy need?
Catherine: Well, how about a plant? Anything to makes it a little more ... human. I mean, it doesn't seem like this guy had any ... connection to anybody.
Grissom: (looking at the bed) I don't know about that.
(He walks into the closet. CATHERINE takes out her ALS and starts examining the bed.)
(CATHERINE clears throat.)
Catherine: It's never a good sign when the number of women a guy sleeps with is more than the number of chairs he owns.
Grissom: So, what's the ratio here?
Catherine: Well, uh, ballparking it, I'd say ... four women to every one piece of furniture he owns including the TV.
(She stands up and sighs.)
Catherine: So... I guess our guy is about three things - pucks, bucks, and ... chicks.
Grissom: Well, we still don't know how or why he died.
Catherine: Well, we know how he lived.
CUT TO:
[INT. CSI -- LAB]
(SARA stands in the middle of the lab looking at the jerseys and hockey gear. GREG walks in.)
Greg: Any blood?
Sara: Take your pick. Testing for blood on a hockey jersey it's like handing out jaywalking tickets at a marathon.
Grissom: Well, speaking on a meta-level ... isn't it obvious? The overbearing patriarchal structure of modern organised sports represents a socially palatable sublimation of what Jung refers to as the "Shadow of the Unconscious."
Sara: You sucked at team sports, huh?
Greg: I was captain of the high school chess squad.
(SARA turns to look at GREG.)
Sara: Chess is not a sport, Greg.
(SARA walks to the first set of shoes and starts spraying them with luminol. GREG follows.)
Greg: Then why is there a World Chess Champion?
Sara: I think sports are physical by definition.
Greg: Well, sex is physical. Is that a sport?
Sara: Not to me.
(She continues to luminol the skates.)
Sara: These blades skated through the blood pool.
(SARA continues to spray luminol on the skates. She finds something. She picks up the skate.)
Sara: Blood spatter. Good guess -- this is the one that did the damage.
Greg: You know, I had a roommate in college freshman year, from Edmonton, went on to play for the Swedish Elite league. Anyways, he set his blade at half an inch, tops. And I should know, because he made me get them sharpened.
Sara: These blades are probably set at a quarter of an inch.
(Quick flashback to: Skate blades being sharpened.)
Greg: (V.O.) Well, that's as sharp as it gets.
(End of flashback. Resume to present.)
Greg: It's a tough blade to skate on. We're talking Wayne Gretzky style
Sara: And deadly in a fight.
(SARA looks down at the card attached to the skate. It reads: "Hockey Skates /
JANE GALLAGHER / ICE STATION / 493 PYRAMID WAY, L.V. NV / Date 2-27 / TIME:
1420 / C. WILLOWS")
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HOTEL]
(WARRICK and NICK go through the garbage bags.)
Warrick: Yeah, that victim was out of L.A. and I don't think the singer, Lillie met him before last night, so she may be in the clear.
Nick: Sure you don't want to start in the dressing room?
Warrick: (chuckles): Right ... like you're going to take dumpster duty alone.
Nick: Hey, just 'cause I've been on a personal losing streak with the ladies doesn't mean you should be, too.
Warrick: Man, I don't even know if I'm going there the odds haven't gone my way in a long time.
Nick: I'm talking about chicks, not gambling.
Warrick: Same difference.
Nick: (testing) Mind if I go for her, then?
(WARRICK turns around and looks at NICK. Point taken. NICK turns back to his garbage bags. WARRICK return to his garbage bins. NICK finds something.)
Nick: Warrick.
(Wrapped in a black scarf is the drug paraphernalia.)
CUT TO:
[INT. HOTEL - DRESSING ROOM]
(NICK and WARRICK question LILLIE IVERS.)
Lillie Ivers: It's mine -- but anybody could have lifted this scarf from my dressing room.
Nick: It's still yours.
Lillie Ivers: You trying to pin this on me, now?
Warrick: We're just doing our jobs here.
Lillie Ivers: Well, did you find my fingerprints on anything?
Warrick: We won't know till we print you.
Lillie Ivers: Oh I'm not worried. What you see is what you get.
CUT TO:
[INT. BASKETBALL COURT]
(GRISSOM, SARA and BRASS question JANE GALLAGHER.)
Jane Gallagher: You're putting words in my mouth.
Brass: You said everybody hated him-- now we know why.
Grissom: We opened up terry's hard drive. It turns out he had your entire roster knee-deep in the stock market.
Jane Gallagher: I don't play for the rat pack.
Sara: Not now ... but you used to.
Jane Gallagher: Okay, so I changed teams. Big deal. I wanted to win.
Brass: The fact that Terry Rivers churned and b*rned your brokerage account out of ten grand that didn't enter into it?
Jane Gallagher: Terry was a stockbroker. He did really well for himself --
Rolex, Beemer. He said he could do the same for me. I gave him some money. If I wasn't willing to take a risk I'd have put it in a bank.
Brass: You weren't the only one, were you?
Jane Gallagher: No. All the guys had money with him. I mean, Terry was a salesman. You listened to him talk for five minutes and your hair was on f*re.
Grissom: Ms. Gallagher, your skate had a certain blood spatter on it. It indicates that you're the one that nicked Terry River's carotid artery.
Jane Gallagher: Look, it was pileup.
(Quick flashback to: The pile up in front of the goal. TERRY RIVERS on the bottom of the pile up with a cut in his neck.)
Jane Gallagher: (V.O.) Everything was a blur.
(End of flashback. Resume to present.)
Jane Gallagher: That's ten guys with blades on. Hey, I was just looking out for myself.
Sara: He was a stationary target. Terry was on the bottom of all those bodies.
Brass: Like you said, nobody saw anything.
Grissom: Including your skate intentionally coming down on his neck.
(JANE GALLAGHER starts to look nauseated.)
Jane Gallagher: Oh, god.
(She throws up on the floor.)
Sara: You okay? You all right?
Jane Gallagher: (chuckles): I knew I shouldn't have had that shrimp salad for dinner last night. If you'll excuse me I'll get that cleaned up.
(JANE GALLAGHER walks away. GRISSOM looks at the mess on the floor for a moment. He moves to gather it.)
Brass: Wait, you're not going to ... what are you doing?
(GRISSOM looks up.)
Grissom: It's evidence. Food poisoning especially anything with spoiled mayonnaise can induce vomiting within 15 minutes. She said last night -- that was 12 hours ago.
(GRISSOM takes a sample of the mess.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - DNA LAB]
(GREG holds up an evidence container of the sample GRISSOM took from JANE GALLAGHER. GREG shares his findings with GRISSOM and SARA.)
Greg: She's a liar, and a mother.
Sara: Morning sickness?
Greg: Yep.
Grissom: And you know this how?
Greg: Well, first I tested for the presence of shellfish -- crustacean free. And then I figured if she's hiding that what else is she hiding?
Sara: Little lie, big lie.
Greg: There was blood in the sample. Not uncommon in early pregnancy. Women get mucosal tears in their esophagus because they yak so much. So, I tested the blood for the presence of human choriogonadotropins. She is definitely with child.
Sara: She wasn't showing. She's skinny as a rail. But ... still, why lie about it?
Grissom: Maybe she didn't know she was pregnant. If she had, would she have gone out on the ice?
Sara: I wonder if she would know who the father is... or was.
Grissom: Well, if it was Terry Rivers he was definitely deadbeat dad material. Which speaks to motive.
Sara: It's enough to get us a warrant.
Grissom: Except you can't safely test for paternity before the baby's born.
Sara: We could search Jane Gallagher's apartment. See if Terry Rivers might have left anything behind.
Grissom: Yeah. Say goodbye to Greg.
(GRISSOM walks out of the lab.)
Sara: Bye, Greg.
(SARA walks out of the lab.)
CUT TO:
[INT. HOTEL - LOUNGE -- DAY]
(NICK and WARRICK question BILL, STAN'S friend.)
Nick: I've got twins here, Bill -- one set of prints from your work card; another set from the drug paraphernalia we found in the dumpster.
Bill: Look, what can I say? He's got a son.
Warrick: Well, that's fine. That's not the issue. You tampered with the evidence.
Bill: He's eight years old. I didn't want Stan's son to hear that he died in a lounge. Foam coming out of his mouth a needle in his arm. That's too much for a boy.
Nick: Yeah, but you got him the gig. You didn't know he was a junkie?
Bill: So am I. Former. Hell, we met in A.A. I thought he was clean. I got my fourth coming up.
Warrick: Could have lost your job.
Bill: Besides, Lillie's going places. You know, she's on her way up. I want to be along for the ride.
Warrick: So, you cleaned him up, threw away his works ... why Lillie's scarf?
Bill: I grabbed the first thing I could find.
Warrick: Lillie's scarf was there?
Bill: Yeah.
Warrick: Really? You mind rolling up your sleeves for us?
(BILL laughs softly. He rolls up his sleeves and shows NICK the scars on his arms.)
Bill: I've always had good veins.
Nick: Yeah, okay.
Warrick: Thanks.
Nick: Hey, one more thing, Bill. You wear contacts?
Bill: Not anymore. Lasik surgery.
Nick: How's that working out for you?
Bill: Great. One less thing I'm dependent on.
(BILL leaves.)
CUT TO:
[INT. HALLWAY TO LOUNGE]
(LILLIE IVERS walks through the hallway. She hears soft jazz piano music coming from inside the lounge. She pauses, curious. She follows the music.)
(She walks into the lounge and sees WARRICK playing piano. When WARRICK sees her, he stops playing and stands up.)
Lillie Ivers: No, no, no, no. Don't stop.
Warrick: (shyly) I don't like playing in front of an audience.
Lillie Ivers: It's just me. What, are you uncomfortable in front of strangers or something?
Warrick: No, I just came by to ask you a few questions and I got a little carried away.
Lillie Ivers: Oh. (LILLIE sits down.) Well, if you keep playing I'll keep talking.
(WARRICK sits down and starts playing again.)
Warrick: So, um, how well do you know these people you play with?
Lillie Ivers: Oh ... well enough. (listening to the music) Who is this?
Warrick: I thought I was the one asking questions here.
(After a moment, he answers anyway.
Warrick: Warrick Brown.
Lillie Ivers: Lillie Ivers. So I guess we're not strangers anymore.
(LILLI stands up and leaves.)
Lillie Ivers: Maybe you should come by later ... so we can talk some more.
(She smiles at him.)
CUT TO:
[INT. CSI - LAB]
(GRISSOM and SARA examine JANE GALLAGHER'S bed sheets.)
Grissom: Well, Jane may play hockey, but her sheets are distinctly female.
Sara: There are semen stains everywhere. Not very Victoria Secret.
Grissom: What is Victoria's Secret, I wonder?
Sara: Beauty, Grissom. Remember? (SARA takes off her goggles and examines the sheets.)
(GRISSOM looks through the sheet and a nail falls out. He picks it up and looks at it.)
Grissom: Sheets may be female, but this toenail belonged to a man.
Sara: With all the sex these people are having maybe I should take up hockey.
(GRISSOM looks at SARA. She smiles back at him.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. HOTEL -- LOUNGE]
(LILLIE IVERS and WARRICK talk.)
Lillie Ivers: I told you what I make. What do you bring in? Fifty, Sixty a year?
Warrick: So, that's what you're all about?
Lillie Ivers: No, that's what the business is all about.
Warrick: Then run.
Lillie Ivers: Hmm. I just thought that with your kind of talent you know, I could dial you in. I've got a manager with a pipeline to god.
(She laughs.)
Warrick: Sounds like you're pretty dependent on him.
Lillie Ivers: I've been booked solid for the past two years. Next stop ... blue note, motown ... anything I want. Studio time, recording contracts ...
Warrick: Great.
Lillie Ivers: I'm a musician, Warrick, and I recognize talent. And the way you look ... you might as well be dipped in gold.
Warrick: I don't know about all that.
Lillie Ivers: What are you holding back for? You could be out there making a difference.
Warrick: I already do make a difference.
Lillie Ivers: Yeah, riding around chasing ghosts with that partner of yours. Nobody even knows you exist.
Warrick: You do.
Bill: Show time.
Lillie Ivers: (to BILL) Okay. (to WARRICK) Okay ...
Warrick: So ... knock 'em d*ad.
Lillie Ivers: I'll try.
(WARRICK turns his attention back to the bar. He sees the BARTENDER take something out of his pocket and slip it between two coasters. He puts the two coasters under the drink and serves it.)
CUT TO:
[INT. CSI -- HALLWAY]
(GREG catches up with CATHERINE in the hallway.)
Greg: Catherine ... you seen any guys with a broken tooth lately?
Catherine: Yeah, I saw ten of them.
Greg: Yeah, well, one of them is your suspect.
(SARA catches up with them.)
Sara: I got your page. What's the big news?
Greg: Oh, that tooth that you found at the bottom of the snow pile ...
Catherine: You got a match. To what?
Greg: To the nasty-ass toenail that Sara found.
Sara: What? I thought it belonged to the d*ad guy.
Greg: No, it belongs to a live guy.
Catherine: So, what you're saying is whoever was in Jane Gallagher's bed was on the ice the night Terry Rivers died.
Greg: Gold.
CUT TO:
[INT. RESTAURANT KITCHEN ]
(SARA and GRISSOM interview a hockey player.)
Tommy Sconzo: It's a temp.
Grissom: What about the girl? Is she a temp, too?
Tommy Sconzo: You know, I treated Jane better than that Mutt Rivers ever did. And it never cost her a cent.
Sara: Is that why you hated Terry?
Tommy Sconzo: He was on my short list, yeah.
Grissom: You know, I got a list. It's got a negative figure of 12,000 after your name.
Tommy Sconzo: Well, money's kind of like my tooth. It don't grow back.
Grissom: Did you ever hear the story of the 19th century chinese goldsmith? He lost a lot of money for his goldsmith buddies due to his shoddy business practices so they decided to k*ll him by biting him to death. 123 goldsmiths took a bite out of the victim insuring that no one individual could be blamed for the m*rder. For who would know which one administered the lethal bite.
Sara: You're the captain of the rat pack. You make it so everyone gets a sh*t in and no one takes the blame -- it's a win-win situation.
Tommy Sconzo: Well, it's a nice little bedtime story for your kids, but it doesn't have a lick of truth.
Grissom: Well, there's truth in this: Your friend Jane is pregnant.
Tommy Sconzo: I'm going to be a dad?
(GRISSOM'S pager beeps. He pulls it out of his pocket and looks at it.)
CUT TO:
[INT. CSI - HALLWAY TO FORENSIC AUTOPSY]
(GRISSOM and ROBBINS walk down the hallway.)
Grissom: What kind of coronary anomaly?
Robbins: W.P.W.: Wolff-Parkinson-White syndrome. Interferes with the heart's electrical system.
Grissom: I never heard of it.
Robbins: Well, it didn't show during the post, but I looked at the tissue sections in histopath.
(Camera close up of the atrium as seen under the magifying glass.)
Robbins: They showed a small defect in the atrium of the heart.
(Camera zooms in to the defect.)
Grissom: So, the game had nothing to do with it? It was the heart?
Robbins: Not necessarily. You know the quinine I found in his system? Lethal for someone with W.P.W. Big scars didn't do him in. It was the little scar.
Grissom: Someone still gets an assist.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(WARRICK is in the lab. NICK walks in.)
Nick: Hey, "Sara". If you come up here on your nights off, people are going to start confusing the two of you.
Warrick: You're here.
Nick: (clears throat) What's up?
Warrick: New lead. The bartender. Purple.
Nick: Marquis Mecke Froede.
Warrick: Test for opiates.
(WARRICK tests a sample of the coaster.)
Warrick: Purple. You know what that means.
Nick: The coasters test positive for heroin.
(Quick flashback to: The BARTENDER puts a coaster down on the counter. He pours the drink. He serves the drink with the two coasters.)
Warrick: (V.O.) He sandwiched the drugs between the coasters. That's how he hid it. He was dealing from behind the bar.
(End of flashback. Resume to present.)
Warrick: When we found those two coasters in Stan Grevey's dressing room, we assumed that there was two people -- either a user or supplier. There weren't. Just our guy -- the victim.
(NICK is thoughtful and quiet.)
Warrick: What's wrong?
Nick: He wasn't the only one with two coasters, man.
Warrick: What do you mean?
Nick: Remember when we talked to Lillie about the scarf?
Warrick: Yeah?
(Quick flashback to: LILLIE holding a drink.)
Nick: (V.O.) She had a drink with two coasters.
(End of flashback. Resume to present.)
Warrick: So what? There could be a hundred reasons why she ...
Nick: Did you not hear me? She might be involved. You got to walk away from this fast.
Warrick: We got the dealer -- the bartender. Let's just take him out.
Nick: And we will. What about her?
Warrick: : What about her? Why don't you ... Why don't you just let me handle my business.
Nick: Then handle it.
(WARRICK walks out of the lab.)
CUT TO:
[INT. BASKETBALL GYM]
(In the stands, SARA and GRISSOM interview JANE GALLAGHER.)
Jane Gallagher: We were in the sack. Right in the middle of it. Next thing I know, he stopped ... how do I say this? He stopped ...
Grissom: ... "Doing it".
Jane Gallagher: Yes. Thank you. His face was flushed. He was sweating. It was all good, and then he just ...
(Quick flashback to: JANE GALLAGHER and TERRY RIVERS in bed. TERRY RIVERS passes out.)
Jane Gallagher: (V.O.) ... he went soft and passed out.
(End of flashback. Resume to present.)
Jane Gallagher: I was scared. I called the team doctor. The paramedics came and rushed him to the E.R.
Sara: You know we got his medical records. Let me ask you a question. When Terry came to did he tell you what had happened to him?
Jane Gallagher: He didn't tell me anything. Neither did the doctors. I wasn't family.
Sara: What did you do?
Jane Gallagher: Took off. I didn't want anybody to know I'd been with him.
Grissom: Worried that the father of your child might find out?
(Stunned that they know, JANE GALLAGHER sits down.)
Jane Gallagher: I was sleeping with Terry, but I was dating Tommy.
Sara: ... and what's the difference?
Jane Gallagher: Terry was a bad boy. The kind of guy you just can't get out of your system. who's on your mind all the time. He used to drive my friends crazy. Tommy ... husband material.
CUT TO:
[INT. CSI -- LOUNGE]
(CATHERINE fills GRISSOM and SARA in on what she's found.)
Catherine: So we just double-checked the search warrant returned from Terry Rivers apartment. There was no quinine found in the location. He never had a prescription for quinine.
Grissom: Well, according to Doc Robbins he never had malaria.
Catherine: Do you have his medical file?
Sara: Yeah.
Catherine: Let me see it.
Sara: Right here.
(SARA hands CATHERINE the file.)
Grissom: So Jane Gallagher is officially no longer a suspect.
Sara: Didn't have access to quinine let alone know it would k*ll him.
Grissom: So who did know?
Sara: Terry was a roughneck. He dished it out so the other players dished it out harder.
Grissom: Which they wouldn't have done if they had known about his heart. They would have played tentatively. Which in hockey is a sacrilege.
Sara: Someone besides Terry had to know.
(CATHERINE finds something.)
Catherine: Somebody did. You can withhold medical information from your friends all you want but it's still going to be in your hospital record.
Sara: Anyone with access to Terry's medical records knew how to k*ll him.
CUT TO:
[INT. OFFICE]
(BRASS, GRISSOM and SARA question the TEAM DOCTOR)
Grissom: How many patients do you have with malaria?
Team Doctor: I'm an orthopedist. None.
Brass: Not according to the pharmacy in your medical building. Last month you wrote a prescription for quinine -- an anti-malaria medication.
Sara: Malaria in Las Vegas. No wonder they were out of stock.
Team Doctor: Look, a friend of mine was going to Africa. I did him a favor. That's it. Now, is there a crime in that?
Grissom: Well ... a man is d*ad.
Team Doctor: It hurts getting stitched. It hurts even more when you get home. I always give the guys something for the pain.
Sara: So you're the go-to guy?
Team Doctor: I am the on-site doctor for this facility. Nothing more and nothing less.
(GRISSOM picks up a framed photograph of the TEAM DOCTOR with JANE GALLAGHER.)
Grissom: Is this Umbria or Tuscany?
Sara: Italy. That's pretty serious.
(The TEAM DOCTOR stands up and takes the photo from GRISSOM. He doesn't say anything.)
Grissom: But Jane's had a couple of boyfriends since that trip, right?
(Quick flashback to: JANE kissing TERRY RIVERS in the locker room. The TEAM DOCTOR is in his office and he sees this. He seems upset by it. Cut to: JANE kissing TERRY RIVERS in the car and the TEAM DOCTOR walking outside and seeing JANE in the car with him. End of flashback. Resume to present.)
Grissom: Terry was an injury waiting to happen, wasn't he? And when it did, you were there on the bench with two little pills in your hand.
(Quick flashback to: TERRY RIVERS gets his cut stitched up. The TEAM DOCTOR reaches into his bag and pulls out the quinine. He gives TERRY RIVERS two pills. TERRY swallows them and heads back out on the ice. End of flashback. Resume to present.)
Team Doctor: So what? So what if I gave him quinine?
Brass: It's like giving a candy bar to a diabetic if you know he's a diabetic.
Sara: And you knew, doctor. Terry Rivers had a heart condition.
(Quick flashback to: TERRY RIVERS in the hospital with the doctors working on him. The TEAM DOCTOR stands out in the hallway with JANE GALLAGHER.)
Jane Gallagher: I need you.
Team Doctor: Oh, yeah, since when?
Jane Gallagher: Look, we tried it out, it didn't work. We're friends. I don't want the whole world to know that I've been with Terry. Please?
(JANE reaches up and kisses The TEAM DOCTOR. He agrees.)
Team Doctor: Okay, okay. I'll stay with Terry.
(End of flashback. Resume to present.)
Brass: You were always cleaning up her messes weren't you, Doctor?
Sara: Jane told us she paid you a visit a couple of days ago. She thought she had the flu ... but she didn't. She's pregnant. And with the father out of the way, you knew who she would turn to.
Grissom: But Tommy Sconzo is the father.
(The DOCTOR turns around to look at GRISSOM. This news surprises him. GRISSOM nods.)
Grissom: You k*lled the wrong guy.
(The DOCTOR hangs his head and takes a deep breath.)
Brass: (o.s.) Let's take a little drive.
(The DOCTOR stands and leaves. BRASS follows him.)
CUT TO:
[INT. BAR]
(NICK and WARRICK talk with the BARTENDER. The BARTENDER takes his contact off.)
Nick: You're nearsighted? I bet this is going to match the contact lens we found at the crime scene. Let me ask you another question. Why deal 91% pure china white? Did you have a beef with the victim, or what?
Bartender: I never met the guy.
Nick: You're going to have to do better than that. You intentionally sold him stuff that was too pure.
Warrick: We know he's not the only guy you dealt it to.
Bartender: Look, I didn't mean to harm anybody, all right? I didn't know what I was cutting. Probably got a bad batch.
Warrick: Bad batch?
(LOCKWOOD puts the cuffs on the BARTENDER.)
Nick: Hey, do yourself a favor, slick. If you don't know enough about something, stay out of it.
Lockwood: It's too late for that.
(LOCKWOOD takes the BARTENDER away. NICK and WARRICK remain behind. NICK looks at WARRICK.)
Nick: You want to talk about it?
Warrick: No.
Nick: Okay.
Warrick: I'm going to meet Lillie. I'll see you back at the lab. Okay? You don't know me.
(WARRICK leaves. NICK watches him leave.)
Nick: (quietly) Obviously.
CUT TO:
[EXT. BALCONY -- NIGHT]
(LILLIE leans on the balcony railing. She looks out into the night sky.)
Warrick: (o.s.) You hiding from me?
(LILLIE turns around and sees WARRICK walking toward her.)
Lillie Ivers: Are you looking for me?
Warrick: Yeah. (LILLIE smiles at him.) I wanted to talk to you.
Lillie Ivers: Oh, yeah? About what? (WARRICK hesitates.) Come on, tell me. We're not strangers anymore, remember?
(LILLIE puts a hand on WARRICK'S cheek.)
Warrick: Yeah, you're right.
(WARRICK reaches out an cups LILLIE'S cheek. She leans into his hand and smiles.)
Lillie Ivers: Warrick Brown. (WARRICK looks at LILLIE. He's not smiling anymore.) What?
(WARRICK reaches over and pushes LILLIE'S sleeve up. He sees the needle marks up her inner arm.)
Warrick: I'm sorry, Lillie. Life's too short. Good-bye.
(WARRICK lets her go and he takes a step back. He turns around and walks away from her. WARRICK leaves LILLIE on the balcony.)
CUT TO:
[INT. HOTEL CASINO LOBBY]
(WARRICK walks across the lobby. He looks at the gaming table. He sits down. He pulls out his wallet and slides a bill at the dealer.
(NICK takes the seat next to him.)
Warrick: What are you doing here?
Nick: I'm playing cards ... with my friend.
(WARRICK looks over at NICK.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x16 - Primum Non Nocere"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. BUDDHIST TEMPLE (STOCK) - NIGHT]
Cue Sound: MONKS CHANTING
CUT TO:
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL -- NIGHT]
(Camera pans the room to show a group of Buddhist Monks praying and chanting. Their eyes are closed. The camera slowly moves toward the monk in the middle facing the large golden Buddha statute.)
(He raises his head and opens his eyes.)
(Someone raises a r*fle and cocks the trigger. He fires.)
(Blood spatters onto the lit candle in front of him. The monk falls backward to the floor, blood seeping from the b*llet hole in the middle of his forehead.)
FLASH TO WHITE:
[EXT. BUDDHIST TEMPLE (STOCK) - NIGHT]
CUE: THREE MORE g*n IN SUCCESSION
SHORT TIME CUT TO:
[EXT. BUDDHIST TEMPLE - FRONT WALK -- NIGHT]
(GRISSOM and SARA walk toward the front of the temple. NICK is walking down the temple stairs to meet them.)
Grissom: "Wherever you live is your temple, if you treat it like one."
Sara: State your source.
Grissom: Buddha.
(They meet up with NICK.)
Nick: Paramedics just pronounced. Four d*ad, no witnesses. Coroner's on his way. Guy in the robe flagged down an officer.
Grissom: "Guy in the robe" is a monk, Nick.
Nick: Yeah? Well ...
(NICK glances back at the lone monk dressed in orange robes standing on the stairs in front of the temple. He turns back to GRISSOM and SARA.)
Nick: He's a quiet monk. Non-native, from Thailand.
(They head for the temple.)
CUT TO:
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL -- CONTINUOUS]
(GRISSOM and SARA push the curtain aside and they all view the crime scene.)
Sara: Rug's low pile, smooth. I'll try to dust-lift.
Grissom: (nods slightly) Okay. Let's hug the walls.
(SARA nods.)
(They enter the room )
(Grissom shines his flashlight on the monks and sighs.)
Grissom: g*n to the head. Times four.
Sara: Gold statues ... money trees ... that's a lot of loot to leave behind.
Grissom: This wasn't a robbery. This was a h*t.
(They continue to survey the room. NICK leans down and examines the bodies. GRISSOM finds a symbol scratched into the wall.)
Grissom: Five years ago, West Vegas ... German tourist took a wrong turn, ended up d*ad. This "placa" was sprayed across the windshield of their rental car. It's the Snakebacks.
Sara: Gangbangers? At a Buddhist Temple?
Nick: Stippling around entry.
(GRISSOM and SARA turn around to look at NICK.)
Nick: Close range. Looks like they were sh*t one at a time. How do you get one vic -- let alone four-- to sit still while you put a b*llet between their eyes?
Grissom: They were praying.
Nick: Yeah, for mercy.
Grissom: For whoever was sh**ting them.
HARD CUT TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. BUDDHIST TEMPLE -- NIGHT]
(GRISSOM examines the garden out back. As he looks around, he finds the discarded r*fle.)
(Nearby, SGT. O'RILEY is questioning ANANDA, the lone monk.)
Sgt. O'Riley: What can you tell me about the victims?
Ananda: We came from Thailand to share Buddhism here in Nevada.
Sgt. O'Riley: But you didn't share the last couple hours together. Where were you?
Ananda: I was at the bank. We're raising money to build a school. I was making a deposit.
Sgt. O'Riley: Where are the other monks?
Ananda: On a retreat. They come back tomorrow.
Grissom: May I ask a question? This is a high-crime area. Have you had any problems here before? Like break-ins or burglaries?
Ananda: The past ... is in the past.
Grissom: True. But sometimes, it leaves its fingerprints on the future.
(GRISSOM pulls out the r*fle he found from the bag he's holding to show it to ANANDA.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. BAR -- NIGHT]
(CATHERINE walks into a bar to talk with her former mentor, JIMMY TADERO. She smiles at the man sitting at the bar as she passes him.)
Catherine: (pats him on his shoulder) Aren't you on duty?
(She reaches JIMMY TADERO. He stands to meet her.)
Jimmy Tadero: Hey.
Catherine: Hey.
Jimmy Tadero: How you doing, kiddo?
(They give each other a warm hug.)
Catherine: Okay. How are you.
Jimmy Tadero: Fine. Sit.
(CATHERINE sits. She signals the bartender for a drink.)
Catherine: Whew. Attitude adjustment?
Jimmy Tadero: For the wife. Says she can't face me without it.
Catherine: Ah. How is Mrs. Tadero?
Jimmy Tadero: Counting the days till I retire. Nice job on the Logan case.
Catherine: Oh.
Jimmy Tadero: Hoo-hoo! Wild ride!
Catherine: Mm-hmm.
Jimmy Tadero: You did good.
Catherine: Yeah?
Jimmy Tadero: Yeah.
Catherine: Well ... I had a good teacher.
(They each take a sip of their drink.)
Catherine: So, did you see it? The confession?
Jimmy Tadero: On tv, yeah.
Catherine: And what do you think?
Jimmy Tadero: I always regretted the jury didn't give him the chair but I'll take cancer, long as he's gone.
(Quick flashback to: [ON TELEVISION] MARK/DWIGHT KELSO is in the hospital bed with a nasal cannula on. The caption on the bottom of the television screen reads: Prison Hospital / MARK KELSO.)
Mark/Dwight Kelso: (raspy) I've made a lot of mistakes. I k*lled that guy in Reno. But I did not k*ll Stephanie Watson. (gasping breath) God is my witness, I did not k*ll her.
(End of flashback. Resume to present.)
Jimmy Tadero: Deathbed denial. Negotiate with god for a better seat in hell.
Catherine: What if Kelso didn't k*ll Stephanie?
Jimmy Tadero: I looked him in the eyes fifteen years ago. He did it.
(Quick flashback to: STEPHANIE WATSON walks down the back stairs to the alley. MARK/DWIGHT KELSO walks up to her and grabs her from behind. He takes the Kn*fe and s*ab her in the abdomen with it. She screams. He drops the Kn*fe and runs away.)
(End of flashback. Resume to present.)
Catherine: What if he didn't? I mean ...
Jimmy Tadero: Witnesses saw him bothering her in the club that night. Uniform picks him up a block from the alley. Kn*fe cut on his hand. Come on, Cath!
Catherine: (sighs) Well ... maybe I'm just afraid that if I accept that he k*lled her that it's over, and Stephanie's really d*ad.
(She hangs her head down.)
Catherine: (mutters) I ... I don't know.
(JIMMY TADERO puts his hand over CATHERINE'S on the bar.)
Jimmy Tadero: What never lies?
(CATHERINE sighs.)
Catherine: The evidence.
CUT TO:
[INT. CSI - EVIDENCE ROOM -- NIGHT]
(CATHERINE and WARRICK search through the darkened evidence room.)
Catherine: The statute says that once the convicted party is ex*cuted or dies, the evidence can be destroyed. I-it's not here.
Warrick: Relax. They said it'd be here.
Catherine: Yeah, well, people make mistakes.
Warrick: Well, that's why we have computer tracking. Fourteen ... it was fifteen, right?
Catherine: Yeah. Fifteen ...
(WARRICK finds the box.)
Warrick: Stephanie Watson, right?
Catherine: Yeah.
(WARRICK pulls the box down. They look at it.)
Catherine: Yeah, that's it.
SHORT TIME CUT TO:
[INT. CSI - EVIDENCE ROOM - NIGHT -- CONTINUOUS]
(The contents of the evidence box are out on the table. CATHERINE and WARRICK go through the old evidence.)
Catherine: This was my old life.
Warrick: Yeah? We all have a past, huh?
(CATHERINE picks up an old crime scene photo. The label reads:
WATSON, STEPHANIE
CASE #2548713
MARCH 9, 1987 ]
Catherine: (sighs) Stephanie was my best friend.
(Quick flashback to: At the club, the night of the m*rder, STEPHANIE WATSON meets up with CATHERINE backstage.)
Stephanie Watson: Hey, we still on for tonight?
Catherine: (smiles apologetically) I got a gig. I promised him I'd be there. Forgive me?
Stephanie Watson: Just this once.
(End of flashback. Resume to present.)
Catherine: I never saw her again.
Warrick: What exactly are we looking for?
Catherine: (sighs) Peace of mind that they got the k*ller.
(WARRICK picks up the bloodied Kn*fe and holds it out to CATHERINE.)
Warrick: Well, I'd start with this.
(CATHERINE stares at the Kn*fe.)
CUT TO:
[INT. BUDDHIST TEMPLE - HALLWAY -- NIGHT]
(O'RILEY interviews DAVID SUDDAHARA, the cook.)
David Suddahara: Forgive me. English is my second language.
O'Riley: I understand you fine. So, you're the part-time cook here? (DAVID SUDDAHARA nods.) How many days a week do you work at the temple?
David Suddahara: Three.
O'Riley: You have a key?
David Suddahara: No need. The door is always open. I told the monks.
O'Riley: Too trusting. In this neighborhood, yeah. They ever have any problems with gangs?
David Suddahara: Couple months ago I saw spray paints on the back wall. g*ng signs. I wanted to file a police report, but Ananda ... told me not to.
O'Riley: Why not?
David Suddahara: I told you.
O'Riley: "Monks are too trusting."
CUT TO:
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL - NIGHT -- CONTINUOUS]
(SARA takes a print off of the carpet.)
(Quick CGI to under the roller and the sheet to show between the sheet and the flat carpet and the electricity that's being generated. End of quick CGI.)
(SARA get the tape and uses the tape to mark where the sheet has been used on the carpet. She lifts it up carefully and sees the shoe print. She thinks about it for a moment, the flips the sheet back over.)
(Short time cut to: The camera slowly "walks" along the carpet to show the blocked area of masking tape markers of where SARA has already tested for shoe prints. We see evidence marker #1 where a print has been found. Several tape marker blocks up, we find evidence marker #2, evidence marker #3 and evidence marker #4.)
(Sara is examining the first of four cushions the monks were found on. She finds a stray b*llet cartridge.)
CUT TO:
[INT. BUDDHIST TEMPLE - NIGHT -- CONTINUOUS]
(NICK looks around and finds the Madonna, "Ray of Light", CD next to the portable CD player. He puts it back. He picks up another item, shakes his head then moves along.)
CUT TO:
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL - NIGHT -- CONTINUOUS]
(SARA examines the Buddha statute in the room. She looks at the blood spatter on the unlit candle. She examines one of the smaller Buddha statues and finds something.)
(Camera zooms in to the black thing stuck to the statue.)
(SARA picks up the statue. She looks up at the other statue and sees a wad of gum stuck the Buddha's forehead. She removes the soft gum.)
CUT TO:
[INT. BUDDHIST TEMPLE - NIGHT -- CONTINUOUS]
(NICK goes through the desk drawer where he finds a magazine, "Naughty Not Nice"
BIG BODACIOUS BADES.)
SHORT TIME CUT TO:
[EXT. BUDDHIST TEMPLE - FRONT STAIRS -- NIGHT]
(NICK and SARA sit on the stairs out front. NICK holds out the bagged magazine in front of him.)
Nick: Interesting reading for a man of the cloth. That monk had it in the bottom of his desk drawer. (He puts it aside.) And he was the guy handling the money. You hide one thing from your brothers, then maybe he was hiding more.
Sara: Yeah, but just 'cause you're stashing trash doesn't make you a k*ller.
Nick: Yeah, I'm just ... talking it out, Sara. What'd you find?
Sara: I found some boot prints on the prayer room rug. Monks don't wear boots, right, Nick?
Nick: No, no, or read p*rn or commit m*rder.
Sara: I also found a smudge with some trace material on a small statue. It was a partial, some ridge detail, but not make-able and a wad of gum that was stuck to the big Buddha. All of which is definitely pointing to an outside job.
Nick: Hey, whatever. Outside, inside. Why sh**t four people, then leave the m*rder w*apon behind the temple where even a blind man could find it?
(afterthought) And I hate taking off my shoes.
(SARA smiles. NICK stands up and walks down the rest of the stairs carrying his bagged magazine. SARA puts the sample back into her kit.)
CUT TO:
[INT. CSI - FORENSIC PATHOLOGY -- NIGHT]
(ROBBINS goes over the four autopsies with GRISSOM.)
Robbins: All were sh*t in the third eye, the sixth chakra, vortex of consciousness. I was a gray's anatomy man, until I lost my legs. I started getting phantom pains no drug or exercise could control. I began studying the chakras.
Grissom: Well, I do know that the seven chakras correspond to the body's seven energy centers.
Robbins: Each has a color and a vibration.
(Standing next to one of the bodies, ROBBINS points to the part of the monk's body he's referencing. Quick CGI colors the area with a burst of the image of the Chakra.)
Robbins: Muladhara, the root chakra, keeps us in the physical world. Svadisthana, seat of sexual energy. Manipura, melting pot of spiritual and earthly desires. Anahata, the loving heart. Visuddha, where feelings are given expression. Ajna, the third eye. Saharsrara, the crown connecting the mortal human to the timeless universe.
Grissom: Let's go back to the third eye.
Robbins: Ajna, the hub of higher consciousness.
Grissom: If someone were thr*at by that consciousness, that would be a logical target, yeah?
Robbins: Hmm, there's a very good chance your k*ller's a Buddhist.
CUT TO:
[INT. CSI - DNA LAB]
(GREG SANDERS goes over the blood evidence from the Kn*fe with CATHERINE.)
Greg Sanders: Now, this is where Ecklie swabbed the blood sample from the blade fifteen years ago. It's your friend's, Stephanie Watson. And we got the second sample from the handle end. Perfect match to Dwight Kelso, the guy convicted for Stephanie's m*rder.
(Close up of the evidence bag reads:
Place Handling Labels Here
Las Vegas Metropolitan Police Department
EVIDENCE
DATE PREPARED: 3/9/87
TIME PREPARED: 23:15
EVENT #: 2543...
[X] RECOVERED
SUSPECT: DWIGHT KELSO
ALLEY BEHIND STRIP
Officer's: CE ]
(CATHERINE looks at GREG.)
Catherine: Thank you, Greg. Thank you.
(CATHERINE looks down at the Kn*fe.)
Greg Sanders: Had to be hard on you. Losing a friend, someone that you ...
(CATHERINE abruptly walks out of the lab.)
Catherine: I'm taking this to Trace.
CUT TO:
[INT. CSI - TRACE LAB -- CONTINUOUS]
(CATHERINE examines the Kn*fe under a different color light.)
Greg Sanders: Did I miss something?
Catherine: You see that?
(GREG moves to stand next to CATHERINE to look at the Kn*fe.)
Greg Sanders: Hmm, it's blood. That's a weak sample. That's probably why Ecklie took the thicker one.
Catherine: Fifteen years ago, we figured, why light up something you can't analyze in the first place?
Greg Sanders: Yeah, except now, we can replicate DNA a million times, even from the most minute sample of blood.
Catherine: Priority.
Greg Sanders: Let me know what you find out.
(CATHERINE leaves.)
Greg Sanders: Yes, ma'am.
CUT TO:
[INT. CSI - BALLISTICS LAB -- NIGHT]
[SCOPE VIEW]
(Two b*ll*ts are being examined side by side.)
Nick: Bobby D. sh*t the test b*llet through the r*fle you found behind the temple. It's on the right.
(NICK steps aside and lets GRISSOM look through the scope.)
Nick: b*llet from vic number three on the left. Lans and grooves align perfectly.
[SCOPE VIEW]
(The two matching b*ll*ts are side by side.)
Grissom: Well, we've got ourselves a m*rder w*apon.
Nick: Well, we've got more than that. Sara and I found prints off the r*fle.
Grissom: And?
Nick: Well, I'll give you a hint. He's bald, he wears a robe and he likes his coeds bodacious.
Grissom: (sighs) One survivor, one suspect.
Nick: And a whole lot of bad karma.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY]
(NICK and GRISSOM interview ANANDA.)
Ananda: I entered through the back. The r*fle was on my desk. I walked into the prayer room to ask my brothers about the g*n. I returned to my office, placed the w*apon outside and went for help.
Nick: Tampering with evidence is against the law.
Ananda: The temple is a holy place.
Nick: Maybe, but a crime had been committed there.
Ananda: Please understand, I was obeying my teachings.
Grissom: Do your teachings allow you to keep p*rn?
Ananda: Someone left the magazine at the temple. I kept it in case this person came back.
Nick: Yeah, right.
Ananda: If you are no longer attached to seeking pleasure, pictures of naked women mean no more than pictures of waterfalls. I abstain from erotic behavior not because we believe sex is sinful but because preoccupation with worldly pleasure diverts us from the path.
Grissom: Got to be a lot easier to be a monk in a monastery on a mountaintop than one on Las Vegas Boulevard.
CUT TO:
[INT. CSI - HALLWAY]
(CATHERINE meets up with GREG SANDERS in the hallway where he gives her the test results.)
Greg Sanders: I ran that faint blood sample from the Kn*fe.
Catherine: Wow.
Greg Sanders: Yeah, I know.
(CONRAD ECKLIE calls out to CATHERINE. GREG leaves. They continue to walk down the hallway.)
Conrad Ecklie: Willows. Just the person I wanted to see. I just signed off on the authorization to destroy evidence in the Stephanie Watson homicides since I was the primary, and then I learned tonight that the evidence has been checked out by you and Warrick. You care to explain that?
Catherine: Found a third donor on the Kn*fe. Blood's from a male. Unknown.
Conrad Ecklie: But Kelso didn't have an accomplice.
Catherine: Then you know why we're looking at the file.
(CATHERINE walks into the layout room where WARRICK is examining the photos and the evidence. CONRAD ECKLIE follows her.)
[INT. CSI - LAYOUT ROOM -- CONTINUOUS]
Warrick: Hey.
Catherine: Hey.
Warrick: Here's the good news. Look at his hands. The cut on his left index finger -- it's just like the evidence log says.
(CATHERINE looks at two photos. One of a close up of a left hand with a cut on the index finger, and the other of DWIGHT KELSO holding a sign: "DWIGHT KELSO".)
(CATHERINE hands the photo to CONRAD ECKLIE.)
Warrick: Kelso's glove is not in any of the crime scene photos, any of the sketches, anywhere.
Ecklie: Pictures get lost, Warrick. I do remember that glove, though. Kelso's blood was all over it.
(CATHERINE looks at the log book.)
Catherine: It is in the evidence log.
Warrick: You see who logged it in?
Catherine: Jimmy Tadero. Booked two days after the m*rder. So why no photos?
Warrick: Want me to tag along?
Catherine: He's my mentor. If he screwed up, I don't think he's going to want an audience.
(CATHERINE puts the book down and leaves.)
CUT TO:
[INT. CSI -- LAB]
(SARA types on the computer, prepping it for the simulation to test out her theory. GRISSOM sits next to her as she explains her theory.)
Sara: You know those prints that Nick and I got off the r*fle?
Grissom: D.A. Says it's enough for a warrant. Ananda's already in custody.
Sara: Well, I better talk fast, then. The prints are only telling half the story. You know when a sh**t holds a g*n ...
(Quick flash to: Person demonstrating how a r*fle g*n is held.)
Sara: (V.O.) ... he grips the barrel and he wraps his index finger around the trigger?
(End of quick flash. Resume to present.)
Sara: Ananda never fingered the trigger.
Grissom: What about the prints?
Sara: On the w*apon, but definitely not where they should be.
(SARA starts the simulation. The computer beeps and the models on the monitor grip the r*fle handle and calculates the grip angle. Based upon where the prints where found, SARA figures it out.)
Sara: He held the r*fle by the stock, barrel pointing down.
Grissom: He never fired it.
Sara: No. Anticipating your next question, the r*fle's not registered.
Grissom: Well, Nevada doesn't require r*fle registration. What's my next question?
Sara: (smiles) That chewing gum -- is with DNA.
CUT TO:
[INT. CSI - DNA LAB]
(GREG SANDERS works on the wad of chewing gum. He takes a swab and tests the sample.)
CUT TO:
[INT. CSI -- LAB]
(NICK is in the lab studying the placa carved into the temple wall. The portion of the wall is in the lab. GRISSOM stands next to NICK as he explains his finds.)
Nick: Placa was carved into the panel with a straight-edged blade. Nondescript. Not much to work with. What's unusual is the placa itself.
Grissom: Bangers tag homicides all the time.
Nick: Yeah, but after those German tourists were k*lled the Snakebacks were pretty much wiped out. The cops really came down hard on those guys. Twenty-seven members were put away for ... for m*rder and w*apon possession, drugs, you name it. According to the g*ng unit, they've been out of business about a year.
Grissom: So we're looking at a Warhol.
(NICK's brow furrows as GRISSOM looses him with the reference.)
Nick: Hmm?
Grissom: Well, it's not a real soup can. It's a painting of a soup can.
Nick: Not a g*ng member, uh ... wannabe?
Grissom: Except, if you want to be in a g*ng, you can be.
Nick: (laughs) False clue.
(DAVID PHILLIPS walks inside the doorway.)
David Phillips: Excuse me, sir? I'm sorry to interrupt.
Grissom: David, stop calling me "sir." What's up with the Air Force?
David Phillips: You're all clear for tonight.
(GRISSOM turns to leave the room with DAVID PHILLIPS.)
Nick: Air Force?
(DAVID turns around to answer NICK.)
David Phillips: My dad's a Colonel out at Nellis. Grissom's requested a meeting.
Nick: Why?
(GRISSOM turns around and shrugs at NICK.)
Grissom: I'm enlisting.
(NICK chuckles.)
CUT TO:
[INT. CSI - TELEVIDEO CONFERENCING ROOM -- CONTINUOUS]
(GRISSOM talks with the COLONEL (PHILLIPS) over the teleconferencing video monitor.)
Colonel (Phillips): Since 9-11, geosynchronous government satellites have maintained a constant watch over U.S. Military installations.
Grissom: And the surrounding areas as well, right? This temple is less than two miles from your base. What's the chances your satellite's picked something up?
Colonel (Phillips): We can see a postage stamp on the sidewalk outside Lenin's tomb.
Grissom: Cool.
(Quick CGI to: The satellite out in orbit in space. The camera view passes through the satellite, out through its lens and straight downward to earth. The view passes through the atmosphere and clouds, straight down to the community to focus on the car below where it settles on the reflection of a NEVADA license plate that reads: PROUDUS.)
(End of CGI. Resume to present.)
WHITE FLASH TO:
[EXT. COFFEE SHOP PARKING LOT -- NIGHT]
(Camera opens on: NEVADA license plate: PROUDUS. The officer finds the car. NICK and SARA, both carrying their kits, meet up with GRISSOM who is standing on the sidewalk looking through a file.)
Grissom: Hey. Glad to see you're not in uniform. Only one vehicle passed through the temple gates around the time of the m*rder. Parked next to the monk's car.
Sara: "Proud U.S."
Grissom: Registered to a Peter Hutchins.
Nick: Did you get his picture from outer space?
Grissom: All photographs were intermittent. None included the driver.
(SARA looks at the building that GRISSOM is standing in front of
Sara: The coffee shop?
Grissom: Yep. Would you like to, uh, process the truck?
Sara: Sure.
(SARA takes the sheet that GRISSOM holds out to her. She turns to head for the car.)
Grissom: Thank you.
(NICK and GRISSOM walk into the coffee shop.
CUT TO:
[INT. THE COFFEE SHOP - NIGHT -- CONTINUOUS]
(NICK and GRISSOM walk into the Coffee Shop.)
Nick: Hi there.
Pete Hutchins, Jr.: Can I help you guys?
Nick: Yeah, I'm Nick Stokes. This is Gil Grissom. We're with the Vegas crime lab.
Pete Hutchins, Jr.: Pete Hutchins. Uh, cops are always welcome. Any sandwich, on the house, guys.
Nick: No, thanks. We're here about the m*rder at the Buddhist temple off crystal peak drive.
Pete Hutchins, Jr.: Yeah, I heard about it.
Grissom: I heard that, uh, some of the local business owners weren't very happy with the members of the temple.
Pete Hutchins, Jr.: The monks? Well, they didn't speak English and that bothered the other customers. And it's kind of hard to sell beer, sandwiches or videos when the monks didn't partake in any of those things.
(PETE HUTCHINS, SR., walks out from the back to the front to listen to GRISSOM and NICK.)
Pete Hutchins, Sr.: Those monks changed the whole feel of this neighborhood. I'm not surprised at any of these m*rder.
Grissom: Your name is ... ?
Peter Hutchins, Sr.: Peter Hutchins, Sr.
(SARA walks into the coffee shop.)
Peter Hutchins, Sr.: You know what? I've owned this shop for 20 years. Suddenly, these holy robers move in here and business takes a nose-dive. And I don't care what they say. It doesn't have a damn thing to do with the economy. Good night, Las Vegas; Good Morning, Vietnam.
Sara: Uh, Grissom, I found these on the front seat.
(SARA hands GRISSOM a plastic evidence bag.)
Grissom: Uh, which one of you two guys drives the truck outside?
Peter Hutchins, Sr.: I do.
Grissom: Well, these wouldn't be your prayer beads, would they?
Peter Hutchins, Sr.: No. Isn't there a law against her sniffing around inside my truck?
Grissom: She has a warrant.
(SARA holds up the warrant to show both PETER HUTCHINS.)
Nick: Sir, your vehicle was seen in the driveway of the temple around the time of the m*rder.
Peter Hutchins, Sr.: Now, why would I go to a Buddhist Temple?
Grissom: Probably not looking for salvation.
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. STRIP BAR -- NIGHT]
(CATHERINE sits at the bar with TED BENTON waiting for JIMMY TADERO to arrive.)
Ted Benton: Jimmy's running late. Nothing changes, huh?
Catherine: Oh, uh ...
(She laughs.)
Catherine: Some things do.
Ted Benton: Aw, you kidding, Catherine? Any day of the week, honey, you can still have them three deep, lined up at the bar.
Catherine: You were always nice to me, Ted.
Ted Benton: Nice has nothing to do with it, kid. Let's face it, you and this CSI stuff ... that's where you light up-- you're a natural.
Catherine: Jimmy changed my life. And no funny stuff, just mentor and pupil. Guy delivered me into a whole new life.
(Quick flashback to: CATHERINE is in the backroom putting on her make up. JIMMY TADERO stands next to her.)
Catherine: Hey! Jimmy! What's the case of the week?
Jimmy Tadero: Guy's up a tree, d*ad.
Catherine: Mm-hmm?
Jimmy Tadero: Ex-wife in the bedroom, with the pool man both very alive, if you know what I mean.
Catherine: Guy's spying on his ex. Has a heart att*ck when he sees her doing the nasty with the pool man.
Jimmy Tadero: You must have read the coroner's report.
Catherine: Just my woman's intuition.
(End of flashback. Resume to present.)
Ted Benton: I wish he could have done the same for Stephanie.
Catherine: Yeah.
(JIMMY arrives next to them.)
Jimmy Tadero: Hey, Cath. What's the case of the week?
Catherine: Wish I didn't know. You up for this?
Jimmy Tadero: (nods)Ted.
Ted Benton: I'll see you, kid.
CUT TO:
[EXT. ALLEYWAY -- NIGHT]
(CATHERINE and JIMMY TADERO stand in the alleyway. CATHERINE is holding an open file folder.)
Catherine: This is where Stephanie was found.
(Quick flashback to: STEPHANIE WATSON on the ground in the alley. Close up of JIMMY TADERO. End of flashback. Resume to present.)
Jimmy Tadero: (mutters) Worst day of my life.
(CATHERINE turns to look at JIMMY.)
Catherine: Over there is where the b*at cop grabbed Kelso as he was running out into the alley.
Jimmy Tadero: That's right.
Catherine: Now, do you remember where you found Kelso's bloody glove?
Jimmy Tadero: Up there, around the corner of that dumpster. I figure he'd dropped it, trying to get away.
Catherine: And then you logged it into evidence? No sketches, no photos. Just brought it in two days after the m*rder.
Jimmy Tadero: Yeah.
Catherine: Arresting Officer never saw a glove, according to the file.
Jimmy Tadero: He was busy trying to corral Kelso. It was dark. I came back in the daylight. What's going on?
Catherine: You always used to say if something doesn't feel right, it probably isn't.
Jimmy Tadero: What do you want? We got the guy.
Catherine: Jimmy, you're not hiding anything, are you? You didn't try to make things fit ... ?
Jimmy Tadero: I'm going to forget you ever asked that.
(JIMMY turns and walks away leaving CATHERINE in the alley.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - DNA LAB -- DAY]
(GREG SANDERS processes the black substance found on the golden Buddha statue. He dips it in a liquid and watches as the liquid turns blue.)
Greg Sanders: (quietly satisfied) I thought so.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(GRISSOM is looking through a stack of the geosynchronous surveillance photos on his desk. He examines it with a magnifying glass when NICK walks in.)
Grissom: Lot of activity in this neighborhood. You're going the wrong way on a one-way. Fender bender on the corner. Some guy running down the middle of the street ...
Nick: Good, we should go after him, then, 'cause the sandwich man's going to walk. His alibi checks out -- he was in Laughlin with his wife at a farmers market.
Grissom: What about the truck?
Nick: Took the van.
Grissom: Left the truck in the driveway. Junior?
Nick: Yeah. Teenage kid, no parents, keys to a ride. I'm all over him.
(GREG walks into the office. He hands GRISSOM the test results.)
Greg Sanders: Results from the colored material found at the crime scene. I'm trying to be humble, but once again I have the case breaker.
(GRISSOM reads the test results, then glances up at GREG.)
Grissom: You may be right. Paintball paint.
CUT TO:
[EXT. -- DAY]
(In the middle of a game in progress, SARA, NICK and GRISSOM walk out into the middle of the field. g*n erupts around them.)
Nick: Whoa, whoa, whoa, whoa! Knock it off!
(One of the players, PETE HUTCHINGS, JR., turns and looks at NICK. He promptly gets sh*t in the chest where a burst of red paint explodes on his jumper. He rips off his mask, frustrated at the interruption.)
(NICK signals him over.)
Nick: Come on over here, Rambo.
(As he makes his way toward them, SARA notices his boots.)
Nick: Wow! One pop to the chest and you're out. You got off easy.
Pete Hutchins, Jr.: What are you guys doing here?
(SARA takes out the shoe print photo and compares it to the green ink stain shoe print he just left on the wooden plank. It's a match.)
Grissom: Well, we know that your father's truck was at the temple at the time of the m*rder. And our lab identified boot prints and paint residue near the altar.
Pete Hutchins, Jr.: What kind of paint?
Grissom: Water soluble, with flecks of plastic coating like the kind on your clothes. Toss them in the wash, paint's gone.
(NICK looks at SARA. PETE HUTCHINS turns to look at SARA.)
Sara: You were there, weren't you?
(Camera holds on PETE HUTCHINS.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(PETE HUTCHINS, JR., and his father PETER, are both there as GRISSOM interviews PETE.)
Pete Hutchins, Jr.: I've never been to the temple. (b*at) Never.
Grissom: Well ... see ...
(GRISSOM takes out a photo of a boot print and puts it on the table.)
Grissom: This boot print says you were.
Peter Hutchins, Sr.: Tell him who you lent your boots to. Tell him, or they'll accuse you of something else.
Pete Hutchins, Jr.: Nobody else wears my boots.
Peter Hutchins, Sr.: Son ...
Pete Hutchins, Jr.: We heard that this place was freaky, that there was a money tree and drugs. We wanted to see for ourselves.
(Quick flashback to: PETE HUTCHINS and his friends run into the Buddhist temple. They rush over to the gold Buddha statues and the money trees.)
Looter: Look-- right there, baby.LOOTER: Check it out!LOOTER: That's got to be solid gold, man.
(The sound of a door opening startles the looting.)
Looter: Come on, come on ...
Pete Hutchins, Jr.: (V.O.) we heard someone coming, and we took off.
(End of flashback. Resume to present.)
Pete Hutchins, Jr.: That's why you found my boot prints.
Grissom: No. You see, our dust lifter is only effective on very recent prints. I think you were there the day of the m*rder.
(PETE HUTCHINS, JR. glances over at his father.)
Pete Hutchins, Jr.: It was a ... (clears throat) it was a week ago when I went there with my friends. But Tommy, he copped a statue. I went back to return it, and I was removing my boots when I looked inside and I saw them laying there.
(Quick flashback to: PETE HUTCHINS, JR. walks into the main prayer hall and stops when he sees the four monks on the floor d*ad. End of flashback. Resume to present.)
Pete Hutchins, Jr.: I wanted to call the police, but I knew if they found me there, they'd think I did it.
(GRISSOM leans back in his chair and crosses his arms.)
Grissom: How'd you know to remove your boots? You'd been there before?
Pete Hutchins, Jr.: (hesitates) Maybe.
Peter Hutchins, Sr.: (to GRISSOM) What are you accusing my son of now?
Pete Hutchins, Jr.: They were my friends.
Peter Hutchins, Sr.: Whoa, whoa. (disgusted) Those monks were your friends? I'm taking a walk.
(PETER HUTCHINS, SR. stands up and leaves the room. The door closes behind him.)
Pete Hutchins, Jr.: Someone once asked the Buddha, "How do we escape the heat of a summer's day?" And the Buddha said, "Why not leap into a blazing furnace?"
CUT TO:
[INT. CSI - LAB -- DAY]
(Camera opens on a crime scene photo of STEPHANIE WATSON.)
Catherine: I got your beep. Did you run those tests?
Warrick: Kelso's glove -- embedded in the fabric-- dog hair. I isolated motor oil on the thumb and the rest of the stains were bloodstains. Kelso's, just like in the report.
Catherine: From where he cut himself s*ab her?
Warrick: You'd think, but you kind of put me on a wild snipe hunt so I tested for all biologicals, and I ran amylase and I found saliva.
(WARRICK hands the test results to CATHERINE.)
Catherine: Kelso's saliva?
Warrick: Yeah.
Catherine: Well, blood mixed with saliva sounds like a mouth injury.
(Quick flashback to: Someone punches KELSO in the mouth. End of flashback. Resume to present.)
Catherine: Did you check the blood that Ecklie collected from the m*rder w*apon?
Warrick: Also amylase.
Catherine: Well, how did blood from Kelso's mouth end up on the glove as well as the Kn*fe?
(WARRICK knows, but he doesn't say anything. He looks at CATHERINE.)
Catherine: (realizes) Unless it was planted.
CUT TO:
[INT. STRIP BAR -- DAY]
(CATHERINE walks into the bar where JIMMY TADERO is sitting.)
Catherine: Jimmy. You set him up.
Jimmy Tadero: He k*lled her.
Catherine: You don't know that.
Jimmy Tadero: Yes, I do.
(Quick flashback to: JIMMY TADERO hits DWIGHT/MARK KELSO. He goes down and looks up at JIMMY.)
Dwight/Mark Kelso: (taunting) When I stuck her, she called out your name. Where's a cop when you need one?
(JIMMY kicks KELSO in the face.)
(End of flashback. Resume to present.)
Catherine: Guys like Kelso brag all the time about things they didn't do, cat-and-mouse ...
Jimmy Tadero: He had a history of roughing up girls. He had a Kn*fe cut on his hand. But the D.A .... got cold feet, released him.
(Quick flashback to: DWIGHT/MARK KELSO and JIMMY TADERO confront each other.)
Dwight/Mark Kelso: (taunting) You don't have jack on me.
(JIMMY starts to b*at KELSO up. He shoves the glove in KELSO'S bloodied mouth leaving blood stains on the glove. JIMMY pockets the glove.)
(Cut to: [TEMPORARY EVIDENCE ROOM] JIMMY glances behind him and rubs the bloodied glove on the Kn*fe.)
(End of flashback. Resume to present.)
Jimmy Tadero: I helped the evidence along.
Catherine: Good evidence doesn't need help. You taught me that one. I'm going to have to ask you for a sample of your blood.
Jimmy Tadero: What?
Catherine: New technology. We isolated male blood on the m*rder w*apon. It doesn't belong to Kelso.
Jimmy Tadero: You think I k*lled Stephanie?
Catherine: You were in love with her, Jimmy. That was no secret. But the ring was.
(This catches JIMMY'S attention.)
Catherine: Three karats and she turned you down. Same week she died. I never thought anything of it till now.
Jimmy Tadero: You're good. You are.
Catherine: I'll get a warrant.
Jimmy Tadero: Yeah, you do that. You go get a warrant.
(CATHERINE turns and leaves the bar.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - DNA LAB]
(GRISSOM gives GREG SANDERS instructions on how to process the gum.)
Greg Sanders: Well, I have to warn you, any food I find in the gum is not going to be unique. Why don't you just give me a suspect I can match to?
Grissom: I can't give you what I don't have, Greg. All we're going to have is what we get from this gum.
Greg Sanders: All right, then I guess it's slice and dice.
Grissom: Thank you.
(GRISSOM leaves the lab. GREG goes to work on the gum.)
CUT TO:
[INT. CSI - LOUNGE -- DAY]
(WARRICK walks into the lounge with CATHERINE'S test results.)
Warrick: Results on Jimmy Tadero's sample. I just got it back from DNA.
(He gives them to CATHERINE in an envelope. CATHERINE takes the envelope and sighs. She starts to open the envelope, then puts it abruptly back down on the table in front of her.)
Warrick: Not going to take a look at it?
(CATHERINE laughs.)
Catherine: There was a sh**ting one night in the club and Jimmy pulls out his revolver and takes down the bad guy. The guy's on the floor, dying. Even though this was fifteen years ago, we still knew about aids. Jimmy then puts his g*n away, he leans down -- he starts giving this guy mouth-to-mouth after having just sh*t him.
(CATHERINE smiles proudly at the memory.)
Catherine: Forget his own life, he's going to bring this guy back. And he did.
Warrick: You want me to open it?
(CATHERINE sighs heavily. WARRICK reaches for the envelope and opens it.)
(Camera holds on CATHERINE.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Inside the interview room, through the glass window in the door, we see JIMMY TADERO and a POLICE OFFICER laughing. CATHERINE pauses outside the doorway and looks in. JIMMY turns around and sees CATHERINE. The POLICE OFFICER steps aside.)
CAMERA SLOW MOTION
(CATHERINE reaches the door and opens it. JIMMY TADERO turns around.)
RESUME MOTION
(CATHERINE walks into the room.)
Catherine: You've been excluded on the m*rder w*apon.
Jimmy Tadero: I could have told you that. Did you compare the unknown against the club owner, Ted?
Catherine: Yeah, I compared it to Ted. I compared it to every male in CODIS. There were no hits, nowhere. Have a seat, Jimmy.
(They both sit down.)
Jimmy Tadero: I screwed up -- you want to hear me say it? I liked Kelso. Maybe I was wrong.
Catherine: (nods) Yeah, you were.
Jimmy Tadero: So now what?
Catherine: (shakes her head) You know now what.
Jimmy Tadero: You're not serious.
Catherine: You put a man away for life on planted evidence, Jimmy.
Jimmy Tadero: He was a scumbag. He copped to another m*rder.
Catherine: Scumbag or saint, what you did is a capital crime. You can't play with evidence, especially in a m*rder.
Jimmy Tadero: I can get life in prison if you turn me in, do you know that? Maybe even the death penalty. Do you know that?!
Catherine: What do you want me to do? What do you want me to do? Do you want me to look the other way? Do you want me to dummy my report?
Jimmy Tadero: I can't believe you're doing this to me. I gave you your career.
Catherine: I earned my career and you did this to yourself. You fabricated evidence, Jimmy.
Jimmy Tadero: You were two steps away from turning tricks. This is the thanks I get?
(CATHERINE doesn't say anything. JIMMY knows that he's gone too far.)
Catherine: (hurt) I danced, period. And instead of feeling sorry for yourself, think about this. When you were out there planting evidence on a case that you couldn't break, Stephanie's real k*ller got away. And he's still out there ... (pause) ... because you sold the one thing a cop can't afford to sell: Your integrity. So you tell me, between the two of us who's the whore?
Catherine: Arrest him.
(CATHERINE stands up to leave the room. JIMMY stands up and holds out his wrists as the POLICE OFFICER puts the handcuffs on him.)
(CATHERINE takes his jacket and puts it over the cuffs.)
Catherine: You can hate me all you want. I'm going to see you through this.
(JIMMY nods.)
(The OFFICER leads JIMMY out of the room. CATHERINE stands there with tears in her eyes.)
CUT TO:
[EXT. SIDEWALK MARKET -- DAY]
(ANANDA walks through the market carrying his bag of groceries. He greets people along the way.)
(GRISSOM pulls up in front of ANANDA.)
Grissom: If you see the Buddha on the side of the road, k*ll him.
Ananda: Because the true Buddha is inside of us so that is the false Buddha or a tired monk who doesn't drive because he can't control his anger.
(GRISSOM smiles at the humor.)
Grissom: Climb in, I'll give you a lift.
(ANANDA opens the car door and gets in.)
Grissom: We've cleared the father. The son has also been cleared.
Ananda: And you're looking for my help. You know my religion better than I know your science.
Grissom: There was a g*ng placa that was scrawled into the walls of your temple. It was put there to mislead us. The w*apon you found on your desk was also put there to mislead us. The only other unexplained evidence we have is the chewing gum. We found traces of curry and saffron.
Ananda: Somebody ate a meal, then chewed gum.
Grissom: Sometimes the best evidence we get comes from what people do when they're not thinking. Old habits, routines. I don't think the gum was put there to mislead us. I think it was just a mistake.
Ananda: And you want to know what I eat for dinner. (b*at) Curry and saffron.
CUT TO:
[INT. BUDDHIST TEMPLE - KITCHENS -- DAY]
(GRISSOM and ANANDA are in the kitchen.)
Grissom: It's the real stuff.
Ananda: The neighborhood kids thought we imported drugs. We just imported spices.
Grissom: And the five of you ate together that night? Any guests?
Ananda: No.
(SGT. O'RILEY walks into the kitchen.)
Sgt. O'Riley: How come you don't leave your cell phone on?
Grissom: We're in a temple, O'Riley.
Sgt. O'Riley: Oh, sorry. I just left the bank. Mr. Ananda here, you're playing fast and loose with the school fund money.
(SGT. O'RILEY hands GRISSOM the file folder. GRISSOM looks at it.)
Sgt. O'Riley: You raised just over $13,000 for the school fund, but you only deposited $12,000. You planning any more trips to Disneyland?
Grissom: According to the bank, you opened the school fund account on the same day as the m*rder. Where did you have the money before that?
Ananda: In a box in my office. CUT TO:
[INT. BUDDHIST TEMPLE - ANANDA'S OFFICE - DAY -- CONTINUOUS]
(GRISSOM opens the carved box.)
(Camera zooms in on a clump of yellow powder inside the box. GRISSOM leans in to look at the powder.)
Grissom: Curry powder. Your temple employs a part-time cook.
Ananda: Mr. Suddahara moved on.
Grissom: After you caught him with his hand in the till?
(Quick flashback to: Inside ANANDA'S office, DAVID SUDDAHARA opens the box and removes some of the money. He looks up and finds that ANANDA is in the doorway watching him.)
(End of flashback. Resume to present.)
Grissom: Why didn't you tell us about Mr. Suddahara before?
Ananda: Because a man steals doesn't mean he also kills.
(GRISSOM looks at SGT. O'RILEY.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(SGT. O'RILEY sits in the room with DAVID SUDDAHARA.)
Sgt. O'Riley: Got any more of that gum, Mr. Suddahara?
David Suddahara: Fresh out.
(The door opens and GRISSOM walks into the interview room reading a file folder.)
Grissom: Yep, his DNA matches the gum sample.
(GRISSOM sits down.)
Grissom: You thought Ananda was going to report you to the police for stealing the money.
Sgt. O'Riley: Went home, got his r*fle, came back to make sure he didn't talk.
Grissom: And he'd gone to the bank to protect the rest of the money but you didn't know that.
(Quick flashback to: Inside the Buddhist Temple, DAVID SUDDAHARA carries the r*fle.)
David Suddahara: Where is he?
(The monks continue to pray.)
David Suddahara: Did he go to the cops already? If they ask what I look like, here's your answer.
(He cocks the r*fle and sh**t. The first monk falls backward onto the floor.)
(End of flashback. Resume to present.)
Grissom: I'm curious about one thing, though. Why did you sh**t them all in their sixth chakra?
David Suddahara: I sh*t them between the eyes.
(Camera holds shortly on GRISSOM'S expression.)
CUT TO:
[EXT. TEMPLE SIDEWALK - NIGHT]
(GRISSOM walks up the sidewalk toward the temple. The monks can be heard chanting inside.)
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL -- NIGHT]
(Inside the temple, there are two figures sitting side-by-side chanting.)
(GRISSOM walks up to the veil-covered doorway and looks inside. He pushes the veil aside.)
(Sitting next to ANANDA is PETE HUTCHINS, JR. He turns his head slightly and looks back at GRISSOM.)
(GRISSOM watches them for a moment.)
(PETE turns back to chanting.)
(GRISSOM leaves.)
CUT TO:
[INT. CSI - TEMPORARY EVIDENCE ROOM -- NIGHT]
(CATHERINE updates the information on STEPHANIE WATSON'S evidence box. It reads: DO NOT DESTROY. She adds: CASE UNSOLVED and underlines it.)
(Camera holds on CATHERINE.)
BLUR OUT. FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x17 - Felonius Monk"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS DESERT (STOCK) - NIGHT]
[EXT. LAS VEGAS DESERT HIGHWAY (STOCK) - NIGHT]
CUT TO:
[INT. THE BUS - NIGHT]
(GWEN MURRAY sits behind the driver, MARTIN DRAPER, talking to him.)
Gwen Murray: (black woman) So, what do you think? Come on, I earned this vacation. You ever been married? When it's good, it's great. When it's over, it's even better, hmm?
Man (light tan suit & tie): I'm telling you, the seven comes up every six rolls. I've got a system.
Man (dark brown jacket): You know what the casinos say about guys with systems?
Man (light tan suit & tie): What?
Man (dark brown jacket): Welcome.
Heavy-set Man: He doesn't know what he's talking about. Everything you need to know about craps is right in this book.
Woman (in red): I was talking to Shirley -- she said the only way to make money in that town is slots.
(Cut to the "Mojave Express" bus driving on the roadway.)
(Cut back to inside the bus where a kid is listening to rock music on his walk-man.)
Walter: (old white haired man): I'm up 1,500.
Old Woman (red-haired): That's nice, dear. Oh, now. I've found the pictures. Now look at this.
(The young women around her gasp when they see the pictures.)
Blonde-haired Woman: Oh, look at him.
Old Woman (red-haired): He's just learning how to walk. Here's another one with his sister.
(Camera cut back to the photo album and a picture of two blonde-haired children.)
Old Woman (red-haired): Oh, there it is.
Tracy Logan: (dark-haired young woman): You have a beautiful family.
Old Woman (red-haired): Thank you.
Walter: We've been blessed.
Old Woman (red-haired): Yes, we sure have been blessed.
(Couple necking at the back of the bus. Dark-haired, bearded man comes out of the lavatory and makes his way to the front of the bus.)
Martin Draper: (driver) Well, folks, we just h*t mountain pass.
(CALVIN McBRIDE, the man drinking, walks up the aisle. He bumps into the young blonde-haired woman. She looks up at him annoyed.)
Martin Draper: (driver): (o.s.) Means we're about 40 miles outside of Vegas. Some of you are going to be driving back with me.
(The camera continues to follow the drinking man as he continues up to the front of the bus.)
Martin Draper: (driver): Some of you are going to be flying back with all the money you're going to win. In any case you just sit back, relax, we'll see if we can't get you there ahead of schedule.
(The drinking man makes it to his seat. He sits down and puts his earphones on. The driver puts the hand-held mike away. The drinking man takes a drink of the bottle in the paper package. He looks across the aisle at the driver.)
Calvin McBride: (drinker) Hey. Want a nip?
(The driver looks at the man, he smiles and shakes his head, no.)
Martin Draper: (driver): No, I know my limits.
(The driver continues to drive. The man watches him. The driver steps on the gas and the bus increases speed. The odometer reads 65 mph. 70 mph.)
(The bus starts to shake. The driver holds on to the bus. He looks down at the odometer which reads 75+ MPH. The steering wheel shakes some more. The passengers look up at the driver as they notice that something's wrong.)
(Cut to the outside of the bus with the camera on the tires.)
(Cut to a long angle of the bus as the wheel pops and the bus swerves out of control.)
(Cut to inside the bus with the passengers screaming.)
(The bus turns as the driver struggles to regain control of the bus.)
(The passengers scream.)
(The bus hits the guard rail and sparks fly.)
(The passengers inside the bus are being tossed around.)
(The bus continues to drive the guard rail.)
(The bus driver hits the brakes trying to stop the bus.)
(The bus drives over the side of the road.)
FADE TO BLACK:
FADE IN.
[EXT. CRASH SCENE -- NIGHT]
(Camera close up of the red road-side flare burning behind the CSIs standing on the edge of the roadway looking down upon the crash site below. Large generators power bright lights as the rescue team works to find any survivors.)
(The CSIs stand aside and watch. Down below, a rescue worker instructs the other workers.)
Rescue Worker 1: Everybody stand by. We do not touch this car until every victim is off the bus.
Rescue Worker 2: Got it.
(The CSIs watch as a rescue workers helps an injured man to the make-shift first aide area. A woman sits on the gurney comforting another woman. A rescue worker assists a woman to the aide area. Another rescue worker puts a body bag down among the many already piling up on the side.)
(The CSIs continue to stand on the side ... and watch.)
Sara: I feel so useless.
Catherine: It's still a rescue operation.
(Down below a group of rescue workers carry an injured survivor strapped tightly in a basket.)
Warrick: We're not running the show.
Nick: Yeah. Not yet.
(The basket carrying the injured man is being carried and pulled up the hillside. As it passes, the CSIs see that it's a dark-haired young man.)
Grissom: They do their job and then we do ours.
HARD CUT TO BLACK. END OF TEASER ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
FADE IN.
[EXT. CRASH SITE -- NIGHT]
(The rescue workers are in the bus still removing bodies. They have the old man, WALTER, strapped to a basket and they struggle to get him out of the bus. DAVID PHILLIPS stands just outside the bus' broken window.)
Rescue Worker 1: Okay, you got him there?
Rescue Worker 2: Yeah
David Phillips: Mine are lined up right over there.
(DAVID points to somewhere over behind him.)
Rescue Worker 1: Yeah.
(A second set of rescue workers carry a basket with the old woman strapped in it.)
Rescue Worker 2: Let me get under. All right. There we go.
Old Woman: Walt? Where's my husband? (calls out) Walter? Walter...
(The old woman cries out for her husband as they carry her off in the basket. The camera moves to the side and we now note that the CSIs are down in the crash site area. GRISSOM, SARA, and WARRICK watch as she's carried away.)
Grissom: All right, I want everybody thinking worst case scenario. The highway's finally ours. Cones and pictures, skid marks, ice patches, loose asphalt, anything and everything.
Warrick: All right.
Sara: It's a pretty wide area up there. Are we clear to call in for help?
Grissom: Every Las Vegas CSI is on their way here.
Warrick: Cadets?
Grissom: Call them.
(And with that, WARRICK and SARA pick up their kits and head back up the hill to the highway.)
(GRISSOM starts walking around. He hears women crying. He sees an old man lying with the other d*ad bodies as someone puts a tag around his neck. He sees a woman crying over a d*ad body in a bag.)
Woman (over radio): ... 1-25 roger ...
(GRISSOM continues to survey the site area. Off in the distance, he sees the survivors being tended to by the medics.)
Nick: You the only trauma doc?
Trauma Doctor: That's right. Lucky me. I personally black-tagged six. Excuse me. My line of work, that's a bad night.
Nick: Yeah, mine, too. (NICK glances over at the large man on the gurney.)
That the bus driver over there?
Trauma Doctor: Big surprise. The only person on the bus wearing a seat-belt.
Nick: Only one on a tour bus required to wear one. Thank you.
(GREG appears next to NICK.)
Greg: Hey. Got here as soon as I could.
Nick: Whoa, what are you doing here, Greg?
Greg: All hands on deck. That was the call, right? Crims on the scene.
Grissom: Crims with "field training".
Greg: (to GRISSOM) Come on. I'm capable.
Grissom: (to NICK) He does no collection.
(GRISSOM walks away. NICK reaches into his jacket pocket and pulls out a notepad and pen. He gives it to GREG.)
Nick: You're taking my notes. You didn't bring a warmer jacket?
Greg: No.
(NICK doesn't say anything. He walks away from GREG who has a concerned look on his face. In the background, we hear indistinct voices over the radio.)
CUT TO:
[CONTINUOUS]
(LARRY MADDOX talks with BRASS.)
Larry Maddox: Listen, I'll, uh ... I'll do anything that I can. I just want to help. Please.
Brass: No, sir, just, uh, uh, stick around.
Larry Maddox: I'll be right here. Thank you.
(BRASS walks away. In the distance, CATHERINE makes her way toward BRASS.)
Brass: Hey. Uh, Larry Maddox. Owns the bus company.
Catherine: Got here quick. That should tell you something.
Brass: Yeah, he coughed up the passenger manifest including the driver, Martin Draper. Twenty-four passengers, one PAL.
Catherine: Parolee-At-Large.
Brass: Calvin McBride. Seat one-C. California state pen, two years aggravated as*ault. He was paroled last week.
Catherine: And already over state lines.
Brass: It was news to his parole officer.
Catherine: I'm sure it was.
Brass: You know, my guys are matching names to faces both here and at the hospital. McBride tops the list. I'm going to talk to Maddox.
(BRASS walks away leaving CATHERINE standing there.)
CUT TO:
[EXT. HIGHWAY - NIGHT -- CONTINUOUS]
(Back up the highway, SARA, WARRICK and two others search the roadway for evidence.)
Sara: Four-point sweep.
Warrick: Let's roll.
(WARRICK signals and they start walking. As they walk, they mark the evidence with markers.)
CUT TO:
[EXT. CRASH SITE - NIGHT -- CONTINUOUS]
(CATHERINE walks up to GRISSOM who is looking at the tire.)
Catherine: f*re department says the driver of the Camaro's d*ad.
Grissom: Yeah, I heard, but I think I know why the bus pulled to the right.
Catherine: Now that is a serious blowout. And the front left tire's still intact.
Grissom: Newton's third law: "For every action there is an equal and opposite reaction."
Grissom: Tire to rim. Rim to axle. Axle to suspension. Suspension to frame. And the lower radius rod arm ... which connects the axle to the frame.
Catherine: Not anymore.
(Quick flashback to: View of under the bus as the car tires screech. The rod iron falls and drags along the road. End of flashback. Resume to present.)
Grissom: So, if the rod arm broke while he was driving ...
Catherine: Driver tried to maintain control. Veered to the left.
Grissom: But turning the wheel was probably going to make things worse.
Catherine: Putting pressure on the right front tire causing it to blow. The ... the bus then veers to the right and goes off the road.
Grissom: And we're back to Newton. The Theory's correct if the rod arm was the first action.
Catherine: I'm going to go see what's going on with that Camaro.
(CATHEIRNE leaves. GRISSOM continues to look at the bus.)
CUT TO:
(CATHERINE walks to the smashed Camaro around the bus #65326. She walks around the camaro looking around. She leans in and sees a male body inside the back seat of the car.)
Woman (b.g. on radio): ... 1-41 north ...
(As she looks inside, the MAN'S hand reaches up. CATHERINE'S eyes widen with shock that he's still alive. She reaches out and grabs the man's hand.)
Catherine: We're going to get you out of here, okay?. Rescue!
SHORT TIME CUT TO:
[EXT. LAS VEGAS RESIDENCE - NIGHT]
(The man is on the gurney and is being pushed to the medic area. He's holding on tightly to CATHERINE'S hand.)
Catherine: (loudly) Can you tell me your name?
(They begin working on the man.)
Rescue Worker: Miss, you need to let him go.
(The rescue worker pulls the grip apart.)
Rescue Worker: Let's go on three. RESCUE WORKER: One, two, three, in.
(CATHERINE watches as they put the man in the ambulance and close the doors shut. She stands there and stares at her hands covered with the man's blood.)
CUT TO:
(NICK questions MARTIN DRAPER, the bus driver, while GREG takes notes.)
Martin Draper (bus driver): This never happened to me before. The wheel just s-s-sh-shook right out of my hands.
Nick: How long after your scheduled stop in Barstow?
Martin Draper: We, uh, we-we always stop in Barstow.
(He takes off his glasses and rubs his eyes. GREG watches and takes notes.)
Martin Draper: Uh, McDonald's the, uh, the train station one.
Nick: I understand that, Mr. Draper, but how long after that did the wheel start to shake on you?
Martin Draper: (confused) Uh. (shakes his head) I don't, uh ... I don't ...
Nick: Sir, are you okay?
Martin Draper: (shakes his head) No. We're behind schedule. I got to get back to the bus.
(MARTIN DRAPER stands up and puts a hand out on GREG. Both GREG and NICK takes steps forward to catch MARTIN DRAPER.)
Nick: Hold on, hold on. Wait a second. Mr. Draper ...
(NICK looks at MARTIN DRAPER'S eyes.)
Nick: Mr. Draper, have you had anything to drink tonight? (pause) I'm going to do a preliminary field breath test. (to GREG) Keep an eye on Mr. Draper, will you, for me? Mr. Draper, you sit tight.
Martin Draper: I, uh, I got to go.
(NICK moves aside to get the things.)
Nick: Won't take a minute. I understand. I understand. Hang tight.
Martin Draper: See, uh, there's people ...
Nick: I understand. I want you to take a deep breath, and I want you to blow into the end of this for me, okay?
(NICK holds out the breathalizer and puts it toward MARTIN DRAPER'S mouth.)
(Martin Draper coughs up blood. He collapses against NICK who catches him and holds him up.)
Nick: I need a doctor over here. Greg, get some help.
(GREG doesn't move; he's frozen. His eyes are glued to MARTIN DRAPER.)
Nick: Greg!
(NICK struggles with MARTIN DRAPER who continues to cough. He looks up at GREG.)
Nick: Greg! Get some help!
(Camera holds on GREG.)
CUT TO:
(COMMERCIAL BREAK)
FADE IN.
[EXT. HIGHWAY HILLSIDE - NIGHT]
(NICK and GREG walk down the hill.)
Nick: It's all right, man. Stop apologizing.
Greg: Oh, I feel bad. I just froze up.
Nick: That's why we have fielding training, Greg. No disrespect, but you're not qualified to be out here.
Greg: I guess I just wasn't expecting blood to look like that. Pre-collection, so different.
Nick: Yup. I remember my first time in the field. CSI One. Green as could be. Initial call was a robbery. I get there, triple homicide. Blood all over the place, mother and two kids.
(NICK puts on his gloves as they reach the bottom of the hill, GREG close behind him.)
Greg: How do you deal?
Nick: You just do.
(GRISSOM is standing hear the front of the overturned bus. He's looking at the passenger list on a clipboard when NICK and GREG join him.)
Nick: Okay, what's next?
Grissom: Well, we're missing a passenger. The only one unaccounted for is an ex-con named Calvin McBride. According to Brass, he wasn't admitted to the hospital and he's not in any of the body bags.
Nick: What about the rest stop in Barstow
Grissom: CHP and the Barstow P.D. are looking.
(NICK nods.)
Greg: Anybody check the bus?
(NICK and GRISSOM look at each other.)
Nick: I'll find out.
(NICK takes off his jacket and walks inside the bus. He pulls out his flashlight and looks around. He sees the embroidery on the floor, blood spattered on it. A row behind that, he sees the magazines. A row behind that, he sees a photo album. He also sees a lot of blood on the bus.)
(Cut to: GRISSOM and GREG as they wait outside.)
Grissom: Firefighters only look in the obvious spots.
Greg: Just out of curiosity, what are the unobvious spots?
Grissom: For bodies?
Greg: Yeah.
Grissom: Walls, hot water heaters stuffed in the box spring of a hotel room bed. (adds) I found a head in a bucket of paint once.
Greg: I get the picture.
(Cut to: Inside the overturned bus, NICK checks out the lavatory. GRISSOM peers in and calls out to NICK.)
Grissom: What do you see?
Nick: Well ... McBride's not on the bus.
(NICK makes his way back to the front of the bus. He finds a paper package with the broken bottle of liquor inside.)
(Quick CGI POV of: The camera slowly zooms into the package and to the bottom of the broken bottle inside. End of CGI POV.)
Nick: Hey, Grissom. Cheap whiskey. Broken bottle. Brown paper bag. You know, I never gave the bus driver a breath test.
(GRISSOM holds out a bag to GREG.)
Grissom: Greg, bag this, take it to the lab, swab the rim for DNA.
(Automatically, GREG takes the evidence bag. He opens it and NICK puts the paper bag into it.)
Grissom: (to GREG) You should be wearing gloves.
Greg: Sorry.
(GREG seals the evidence bag and leaves. GRISSOM looks down at the passenger list.)
Grissom: This guy was in 1C.
(GRISSOM and NICK both look at the seat.)
Nick: Seat 1C was the only seat with an unobstructed path through the windshield.
(GRISSOM looks at the windshield. The windshield opposite the driver's side is completely missing. He turns around and checks the ground.)
Grissom: Where's the other half of this windshield?
(GRISSOM turns around and starts searching the area for the windshield. NICK walks out of the bus. They both look around for the windshield. They find it with an impact crack and blood on it.)
Nick: Laminated safety glass, pops in, pops out.
(They walk further and find CALVIN McBRIDE.)
Nick: Hello, Mr. McBride.
Grissom: I'm afraid our ex-con just got the death penalty.
FLASH TO WHITE:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
FLASH TO WHITE:
[INT. HOSPITAL - NIGHT]
(CATHERINE is at the nurse's station trying to get information about the Camaro driver.)
Catherine: He's one of the victims in the bus crash. He was in the Camaro. He was driving the Camaro.
(CATHERINE turns and sees them wheeling the Camaro driver into the ER on a gurney. She heads toward them.)
Catherine: Excuse me.
ER Doctor: (shakes his head) Ma'am, not now.
Catherine: Catherine Willows with the Las Vegas Crime Lab. This will just take a second. Can you tell me your name?
Eric Kevlin: Eric.
Catherine: Eric?
Eric Kevlin: I just wanted to surprise her. That's all. If I don't make it, please tell her I'm sorry.
ER Doctor: Ma'am, this is the operating room. You need to leave.
(The ER DOCTOR stops CATHERINE. They wheel ERIC into the OR and leave CATHERINE out in the hallway.)
CUT TO:
[EXT. CRASH SITE - DAY]
(GRISSOM instructs two men from DETAIL on what he wants taken back to the lab. The two men study the overturned bus.)
Grissom: I need the two front wheels, axle, suspension, all of it. The whole front undercarriage.
Detail: You got it.
(GRISSOM turns around and sees a woman pacing the dirt road aimlessly. She has her arm in a sling. GRISSOM walks up to her.)
Grissom: Excuse me, miss. This is a crime scene. It's off limits.
Woman: (short blk hair) (dazed) I know. I was, uh, I was on the bus.
Grissom: Why are you here?
Woman: I don't ... I don't know. (She starts to cry.) I'm sorry.
CUT TO:
[EXT. HIGHWAY - DAY - CONTINUOUS]
(Up on the highway, SARA walks the road looking at the rubber from the bus tire scattered along the road. WARRICK kneels down next to the guardrail taking pictures of the marks.)
(SARA kneels down and picks up a piece of rubber (evidence marker #41) and looks at it.)
(She sighs.)
Sara: Shreds of rubber everywhere. Between the crash, and all the other interstate traffic it might as well be the Indy 500. This stuff could be from any vehicle.
Warrick: There's no doubt that this bus body-checked this k-rail.
(SARA bags the piece of rubber she's holding and walks along the road looking at the tire treadmarks. She stops and kneels.)
(She pulls off her glasses and visualizes the buss and camaro coming down the road.)
(She turns to look at WARRICK walking toward her and still she visualizes the bus as it sideswipes the guardrail and heads straight for her and off the road, tires squealing.)
(Cut to: WARRICK follows the treadmarks and takes pictures along the way. He lifts his head from the camera and looks at SARA who is still deep in thought about the bus.)
Warrick: You've got that "Sara" look.
Sara: You mean that "Grissom" look? (WARRICK walks between the bus skid marks. Sara points.) Second set of skid marks. Camaro.
(SARA stands.)
Warrick: I got a theory. Grissom said the suspension gave on the bus, right? Broken rod arm.
(SARA walks toward WARRICK, her eyes on the skid marks.)
Warrick: Well, I'm thinking when that rod arm h*t the pavement it made this great first impression here.
(Quick flashback to: Under the bus view of the rod arm dragging on the road. End of flashback. Resume to present.)
Sara: If this is the bus ... the bus begins to slide right. Driver overcorrects.
(Quick flashback to: On the road, the bus swerves to the left, the bus turns right. End of flashback. Resume to present.)
Warrick: Crosses the highway slams into the k-rail.
(Quick flashback to: On the road, the bus hits the guardrail, sparks fly. End of flashback. Resume to present.)
Sara: Meanwhile the Camaro's holding steady in the right lane heading straight for us.
Warrick: Bus bounces off this k-rail ...
(Quick flashback to: On the road, the bus heads away from the guard rail. End of flashback. Resume to present.)
Warrick: ... heads back towards us.
Sara: Taking out anything in its path.
(Quick flashback to: On the road, the bus crosses lanes and into the Camaro. Both go off the highway. End of flashback. Resume to present.)
Sara: Bus crosses four lanes of traffic and only takes out the car behind it?
Warrick: Yeah. Someone upstairs was looking out big-time.
CUT TO:
[INT. CSI - HALLWAY / DNA LAB]
(GRISSOM walks through the hallway. In the DNA Lab, GREG sees GRISSOM and comes out of the lab to intercept him.)
Greg: Hey, boss. I had a feeling you were coming. I ran the DNA on that whiskey bottle. You'll never guess. It's not the bus driver but I do have an answer behind door number two. Seat number 1C. (He hands GRISSOM the results.)
Calvin McBride. He's an ex-con. Found his DNA in CODIS.
(GRISSOM looks at the results.)
Grissom: Good, Greg. Did you enjoy being in the field?
Greg: (warily) You heard about it, too?
(GRISSOM looks at GREG, puzzled.)
Grissom: What?
Greg: That I ... messed up.
Grissom: No.
Greg: (nods) Well, then ... I enjoyed it fine.
(GREG returns to his lab. GRISSOM watches him.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(ROBBINS goes over his findings for MARTIN DRAPER, the bus driver, with NICK.)
Nick: You're telling me this guy wasn't intoxicated.
Robbins: Not a drop of ethanol in his system not even from cough syrup.
Nick: He could barely put a sentence together. If he wasn't drunk, then what was he?
Robbins: My guess, hungry. Driver's medical eval taken just last month. Martin Draper, 40. (ROBBINS hands NICK the clipboard.) Overweight. One of 15 million people in this country suffering from Type II Diabetes.
Nick: On any medication?
Robbins: Primary course of treatment would have been exercise and weight loss to lower blood sugar.
Nick: Doesn't look like he was hitting the gym.
Robbins: But he was dieting.
(GRISSOM walks into the room.)
Robbins: Crash dieting. Didn't find any food in his stomach. Means he hadn't eaten anything in at least six hours. An empty stomach invites hypoglycemia.
Grissom: Symptoms of which can mirror intoxication.
Robbins: And in extreme cases?
Grissom: Loss of consciousness and seizure. Do I pass?
Robbins: Cum Laude.
Grissom: Cause of death?
Robbins: Just what you'd expect. Massive injuries, internal bleeding.
Nick: So, it's not the driver ...
Grissom: We're looking at the bus.
CUT TO:
[EXT. HIGHWAY - DAY]
(WARRICK kneels down and places evidence marker #11 on the road next to a bolt he finds near the guard rail. He takes a picture of it.)
(He picks up the bolt and stands up. He looks at the tip and walks over to SARA.)
Warrick: Check this out.
(She shows SARA the bolt.)
Sara: A bolt? Nice. I got twenty of them.
Warrick: Well, this one's sheared.
(SARA looks at the bolt again.)
Sara: It is, isn't it?
CUT TO:
[INT. CSI - LAB]
(SARA and WARRICK are in the lab running a test on the bolt found on the road. WARRICK puts the bolt in the machine. He starts running the test.)
[READINGS ON MONITOR:
[ MEAS HRC
CONV 67 HRA
APPROX 123 KSI
CYL OFF ]
(Camera zooms in on the bolt.)
[NEW READINGS ON MONITOR:
[ MEAS 25.37 HRC
REMOVE PART
APPROX 123 KSI
CYL OFF ]
(The machine finishes the test. WARRICK and SARA look at the results then turn to look at each other.)
CUT TO:
[INT. CSI - GARAGE ]
(NICK walks in with a fax.)
Nick: Bus company just faxed over a maintenance report. Bus was in perfect working order. Serviced last week.
Grissom: Does this look like it's in perfect working order?
(NICK looks down at the parts GRISSOM has on the garage floor. SARA and WARRICK walk into the garage.)
Nick: Uh ... no.
Grissom: What'd you get?
Warrick: Three-quarter inch bolt. It matches the bolt on the specs for this suspension system. The hex head says it's a grade eight.
(WARRICK hands the baggied bolt to GRISSOM. He looks at it and notices the sheared end.)
Grissom: Snapped in half?
Sara: Bolts are graded according to their hardness. The higher the grade, the stronger the steel.
Nick: A grade eight bolt shouldn't snap like a toothpick.
Grissom: Did you do a Rockwell hardness test?
Nick: Yeah, I h*t it with the tru-blue. It's not a grade eight. It's a grade five.
(GRISSOM look at the three bolts lined up on the parts on the floor. He picks on of the three bolts up and holds it up.)
Grissom: Often when there's one ... there's another one.
Sara: Bus company was using bogus bolts.
Grissom: Inferior bolts would cause the suspension to give the bus veers off the road. If the sheared bolts were the first action.
Warrick: No, the bolts snapped midway through the skid after the bus h*t the k-rail.
Grissom: Proof?
Sara: The gouge in the road.
(GRISSOM looks at the rod arm.)
Grissom: Broken rod arm, maybe?
Nick: Okay. Driver hits the brakes, initiates the skid.
(Quick flashback to: On the road, camera close up of the bus tire in skid. End of flashback. Resume to present.)
Grissom: Why'd he h*t the brakes?
Nick: Another vehicle.
Sara: Nope, only two sets of fresh skid marks on that stretch of highway.
Warrick: And the Camaro's skid marks place it behind the bus.
Grissom: So I ask again -- why'd he h*t the brakes?
(NICK chuckles.)
Nick: Man, there could be a million reasons.
Grissom: Well, fortunately, we're just looking for one.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. HOSPITAL WAITING ROOM / HALLWAY - DAY]
(CATHERINE is sitting in the waiting room reading a file. BRASS turns the corner and walks toward her. CATHERINE sees BRASS and stands up.)
Brass: The kid in the Camaro didn't make it.
Catherine: Eric Kevlin, 32. He was a resident at the UCLA Med Center. He was on his way to Vegas to surprise his girlfriend.
Brass: Only to end up pinned under a bus.
Catherine: But he's rescued. Given a second chance on life. and, uh ... he signs this.
(CATHERINE hands BRASS a form. It reads: )
[EMERGENCY MEDICAL SERVICES PREHOSPITAL DO NOT RESUSCITATE (DNR) FORM
An Advance Request to Limit the Scope of Emergency Medical ...
(print patient's name) ERIC KEVLIN, request limited emergency ...
... DNR means that if my heart stops beating or if I stop breathing, m ...
... or heart functioning will be instituted.
... will not prevent me from obtaining other emergency ...
... personnel and/or medical care directed ... ]
Catherine: It's a pre-op DNR.
Brass: "Do not resuscitate"? It doesn't make sense for a young person. Why refuse CPR?
(CATHERINE shakes her head.)
CUT TO:
[INT. MOJAVE EXPRESS - GARAGE - DAY]
(WARRICK and GRISSOM talk with LARRY MADDOX.)
Larry Maddox: Our company has an excellent safety record.
Warrick: Until last night.
Larry Maddox: Look, you own an airline or a bus company -- any transport business -- accidents are inevitable.
Grissom: Criminal acts, however, are another matter.
Larry Maddox: Wait a minute. I've got a family. Sometimes they ride my buses. I don't take a chance with their lives or anybody else's. I screen all my drivers. Zero tolerance for drugs or alcohol. I keep strict maintenance records. Vehicle inspection every 45 days as required by law. You're not going to find anything criminal here.
(GRISSOM show LARRY MADDOX the bolt.)
Grissom: I believe this belongs to you.
(LARRY MADDOX looks at the bolt carefully.)
Larry Maddox: Bolt, grade eight. Sheared. It doesn't happen.
Grissom: The front suspension was riddled with these.
Warrick: We have more questions about the accident but one thing we know: the suspension didn't hold.
Larry Maddox: I buy all my spare parts from reputable companies.
Warrick: We only care about the bolts.
Larry Maddox: Brillway Bolt Company. (thinks again) I just switched; they were low bid.
Warrick: The consequences of saving a buck.
Grissom: I think maybe it's time for another inspection.
Larry Maddox: (nods) I'll ground the fleet.
(LARRY MADDOX steps away from them.)
CUT TO:
[INT. CSI - LAB]
(SARA is in the lab with a piece of the tire found on the road. She holds it up against the tire sample on the monitor. She puts the piece in a large plastic container marked: "MATCH TO BUS". On the table, there's a second large plastic container marked: NO MATCH TO BUS".)
(SARA picks up a second piece of tire and compares it to the computer monitor. It's not a match. She puts it in the second plastic container.)
(She picks up a third piece of rubber and continues to compare it to the monitor.)
(Dissolve to: SARA continues to separate the rubber pieces. She's halfway through.)
(Dissolve to: SARA continues to separate the rubber pieces. She's almost through.)
(Dissolve to: SARA finishes and pushes the large container with the NO MATCHES to the side. She puts the other bin in front of her and takes a seat. She picks up a piece of rubber and examines it closely.)
CUT TO:
[EXT. GAS STATION -- DAY]
(BRASS questions various people at the GAS STATION.)
Brass: I get it. It's busy here in Barstow. But you do remember the bus?
Gas Station Attendant (man): Yeah, I knew the driver. Marty. Always fill him up on the return trip.
SHORT TIME CUT TO:
Woman: I remember this one guy kept checking me out. Bought a lot of turkey jerky. Oh, and this one couple was having a fight.
Brass: Did, uh, did they come off the bus?
Woman: I don't know.
Brass: But you do remember the bus?
SHORT TIME CUT TO:
Sean: Of course. Mojave Express. Always on time. Ten-minute rest stop, right back on the road.
Brass: Did you see a couple arguing?
Sean: No. But it was really busy.
CUT TO:
[INT. CSI - LAB]
(SARA picks up a piece of rubber tire and looks at it under a magnifying glass.)
[SCOPE VIEW OF THE TIRE]
(She finds something unusual on the tire. She takes a swabs of it, marks the box and stands up to leave the lab.)
CUT TO:
[EXT - CRASH SITE -- DAY]
(CATHERINE walks up to NICK who is sitting in the Camero examining the car.)
Catherine: Hey, Nick. We making any progress?
Nick: Just this jacket so far. Passenger seat. And you?
Catherine: We checked Kevlin's property at the hospital. There's no wallet.
Nick: Guy drives from L.A. Four and a half hours -- I got an idea.
(NICK reaches behind him and tries to open the middle seat divider. He grunts with the effort.)
Nick: Hand me that, uh, crowbar there, please.
(CATHERINE hands NICK the crowbar.)
Nick: Thank you.
(NICK opens the middle seat divider and pulls out a black leather wallet.)
Nick: Ha. Bingo. (He hands it to CATHERINE.) I always take mine out. Pain in the ass.
Catherine: Literally.
(CATHERINE checks the driver's license.)
[CALIFORNIA DRIVER'S LICENSE V833255
EXPIRES 12-15-02
ERIC KEVLIN
2440 GREENWOOD AVE LOS ANGELES, CA 90019
SEX: M / HAIR: BRN / EYES: GRN HT: 6'0" / WT: 185 / DOB: 01-05-74]
Catherine: Yeah, that's him.
Nick: Yeah.
(CATHERINE looks at the photos in the wallet. )
Catherine: Nice-looking girl.
(NICK takes a look at the pictures and recognizes the girl.)
Nick: Wait. I've seen her.
(Quick flashback to: On the night of the crash, a woman in a neckbrace is carried off in a gurney. End of flashback. Resume to present.)
Nick: Yeah. Yeah, I've seen her. She was in the accident.
CUT TO:
[INT. HOSPITAL ROOM -- DAY]
(CATHERINE and NICK question TRACEY LOGAN at the hospital.)
Catherine: He said he wanted to surprise you.
Tracy Logan: He did. In Barstow at the rest stop. It was supposed to be a girls' weekend.
(Quick flashback to: At the rest stop, ERIC KEVLIN meets up with TRACEY LOGAN just outside the bus.)
Eric Kevlin: Come back to L.A. with me, huh?
Tracy Logan: No! This is my weekend. If this is going to work, I need my space.
Eric Kevlin: I don't want to lose you.
Tracy Logan: Then go back home.
(End of flashback. Resume to present.)
Tracy Logan: I saw him pull out. Drive off.
Nick: Well, he didn't drive back to L.A.
Tracy Logan: (shakes her head) I wish I hadn't yelled at him.
Catherine: Is there any reason why Eric, in a medical crisis would refuse resuscitation?
Tracy Logan: What are you talking about?
Nick: He consented to lifesaving surgery, but ... signed a DNR.
(She closes her eyes and shakes her head.)
Tracy Logan: Oh, god. (explains) It's because he was a doctor. He saw it every day. People hooked up to machines waiting to die. He swore he wouldn't let anyone he loved go through that. And if his life was at stake, he wanted to make the hard decision so no one else would have to.
CUT TO:
[INT. CSI -- A/V LAB]
(GRISSOM is in the lab looking at the tire skidmarks on the monitor. He works on trying to find what's underneath.)
(After several passes, he finds the grooves.)
CUT TO:
[INT. CSI - DNA LAB - DAY]
(SARA paces the floor as she waits for her results. GREG watches her.)
Greg: I thought I told you I'd page you with the results.
Sara: I know. I want to wait.
(SARA continues to pace. She stops and looks at GREG.)
Sara: Greg? You're really good at what you do.
(GREG stops and is about to say something, but doesn't. The results are printed. SARA picks it up and looks at it.)
Sara: Sabotage.
(SARA walks out of the lab.)
CUT TO:
[INT. CSI - GARAGE - DAY - CONTINUOUS]
(GRISSOM is back in the garage surrounded by bus parts. He picks up a part and sighs. SARA enters the garage.)
Sara: Grissom.
Grissom: I finally know the first action. What initiated the skid? The right front tire started to come apart. When it blew, it left an indentation in the pavement.
(Quick flashback to: Camera close up of the tire rim on the asphalt. End of flashback. Resume to present.)
Sara: I didn't see it.
Grissom: You and me both. The Treads from the right rear tire obscured it.
(Quick flashback to: Camera close up of the bus tires skidding over the grooves in the asphalt. End of flashback. Resume to present.)
Grissom: So, the driver overcorrects but since there's no more tire, all that force is displaced on the suspension system. The bolt snaps, the rod arm breaks and the bus broadsides the camaro.
(Quick flashback to: The bus hits the Camaro and both vehicles go over the edge of the highway. End of flashback. Resume to present.)
Sara: But why did the tire come apart in the first place?
Grissom: I don't know.
Sara: I do. Chloroform. Inside the tire.
(SARA hands GRISSOM the test results. He takes it and reads: )
["No further materials can be found on related subject ... subject and info related to csi labeled "classified ... all relevant database files will continue search and ...
State and Federal Institutions yielded similar ... no other agencies have responded at this time Information must go through department with ...
Findings: Chloroform
Reported by
/s/ GREG SANDERS ]
Grissom: Newton's Third ... with a twist.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY]
(GRISSOM, SARA, WARRICK and NICK walk through the hallway.)
Grissom: Yeah, the front right tire was compromised.
Sara: I found chloroform in the interior fragments of the rubber.
Warrick: Oh, that's original. What happened to slashing tires?
Grissom: It wasn't vandalism. It was an act of premeditation.
Nick: Why chloroform?
Grissom: Chloroform destroys the elasticity of the rubber. Sooner or later, the air pressure inside the tire causes it to explode.
Nick: How much later?
Grissom: Well, that's what we're going to find out. We need a treadmill -- a big one.
Nick: All right, to do what?
Grissom: Exercise a bus. Warrick, tell Larry Maddox it's in his best interest to lend us one of his ...
Warrick: Right.
Grissom: ... and set it up in the empty police warehouse next door. Sara?
Sara: Yeah, I'll be at trace. They're going to love this.
CUT TO:
[INT. CSI - LAB - DAY -- CONTINUOUS]
(GRISSOM walks into the lab. BRASS and CATHERINE are already there.)
Catherine: Chloroform in the tire?
Grissom: Yeah. Weird, huh? So, where are we?
Brass: Body count jumped to nine d*ad.
(BRASS holds up a small photo of a blond-haired woman.)
Brass: Sabrina Wright, law student, 7-B.
(He tosses the photo on two other photos on the table. Underneath is a list of people with "d*ad" written in red at the top.)
Brass: Pronounced an hour ago.
Catherine: 23 passengers, plus the driver.
(On the table in front of them is a picture schematic of the bus seating and a list of names.)
[ PARTIAL LIST OF BUS SEATS:
MARTIN DRAPER / DRIVER
GWEN MURRAY 1B
JORDAN YOUNG 2B
NICK VALPO 3B
JACK FORBES 4A
MEL BENNETT 5A
EMPTY SEATS - ROW 6
KIMBERLY FRAM 7A
SABRINA WRIGHT 7B
NANCY WHITING 8A
TRACEY LOGAN 8B
CARRIE SHELTON 9A ]
Catherine: Whoever tampered with that tire was playing Russian roulette with people's lives.
Grissom: Or maybe one of them was a target.
Brass: Hmm .... Gwen Murray, 1-B ... was unemployed, but was clearing a bundle in alimony. Also got the porsche and the vacation home.
(Quick flashback/fade over to teaser with GWEN MURRAY smiling and talking with the driver, MARTIN DRAPER. End of flashback/fade over. Resume to present.)
Brass: Michael Goodman, 10-C was picked up a couple times by vice for making fake IDs.
(Quick flashback/fade over to teaser with MICHAEL GOODMAN reading a book and eating something. End of flashback/fade over. Resume to GRISSOM.)
(Quick flashback/fade over to teaser with RYAN HYDE smiling and talking with the person sitting across the aisle. End of flashback. Resume to present.)
Brass: Ryan Hyde, a Money Manager in 4-C, filed bankruptcy last year but carried a hefty life insurance policy. I mean, I could go on.
Catherine: Right. You look hard enough everybody's got a skeleton.
(GRISSOM picks up a photo of TRACEY LOGAN off of the table and shows it to CATHERINE.)
Grissom: What was her skeleton?
Catherine: Tracey Logan? Seat 8-B? Her boyfriend was Eric Kevlin, the camaro driver. He was a doctor. He followed her from L.A. They had an argument in Barstow.
Brass: He didn't want her in Vegas. First step to stopping her is stopping the bus.
Grissom: And he has access to chloroform.
Brass: Chloroform can be picked up at any chemical supply store.
Catherine: Wait a minute. Eric Kevlin was a nervous boyfriend. He wasn't a criminal.
Grissom: Still possible. Motive, access, opportunity.
Brass: Well, his car should be towed in by now.
Catherine: I'll check for residue.
(CATHERINE leaves the room.)
Grissom: So, who do you like?
Brass: The bus company. Larry Maddox -- he talks a good game but, he cheaped-out on his supplies and he's been way too helpful.
(GRISSOM nods slightly.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(VINCENT is working when SARA walks in.)
Sara: You busy?
Vincent: I got three minutes and, uh, five seconds.
Sara: Then I have a question for you.
Vincent: Bus case?
Sara: Uh-huh.
Vincent: (without looking up) I heard Sanders broke out of here, fared poorly and disgraced us all.
Sara: No, he didn't.
(VINCENT looks up at SARA.)
Sara: Listen, I-I found chloroform on the inside of a steel-belted radial and I need to know how it got there.
(VINCENT puts what he's working on down and stands up to look at SARA.)
Vincent: You ever hear the expression "pissing up a rope"?
Sara: Not in a scientific context, no.
Vincent: Well, I don't know if you can urinate up a rope but you can urinate against a rope and the urine will dribble down. Answer your question?
Sara: Yes.
CUT TO:
[INT. POLICE WAREHOUSE -- DAY]
(WARRICK leans down next to the bus tires checking his clipboard. GRISSOM walks around the bus toward WARRICK.)
Warrick: You know we need to document this for the journal of forensic science, right?
Grissom: Is this the twin?
Warrick: Yeah, this is the rear trailing tire of the crash bus. It has the same maintenance record as the tire that blew.
(SARA gets her supplies and walks toward them.)
Sara: Chloroform, glass rod, valve core remover .... (SARA kneels next to the bus tire.) according to Vincent and Trace, it's like pissing down a rope.
Warrick: Gravity, huh?
(SARA shakes her head at the comparison. She demonstrates how the chloroform was added to the tire.)
(Quick CGI POV of: Camera zooms through the valve, follows the glass rod and into the tire where the liquid sh**t out. End of CGI POV.)
Sara: Reattach the valve ... reinflate the tire ...
(The air hisses. SARA finishes up.)
Sara: ...and you're done. Minute, minute and a half tops.
(SARA puts a hand on the tire rim and pushes herself up. GRISSOM doesn't move.)
Grissom: Did you see that?
Warrick: Yeah. You used your left hand to prop yourself up. The perp may have done the same.
Sara: Ah, yeah, I'm going to go dust that right rim. I'll see you guys.
(SARA gets her jacket and turns to leave the warehouse.)
Grissom: Okay. "Drive," he said. Just the speed limit.
(The bus motor whirls.)
(Dissolve to: The bus tires on the treadmill.)
DISSOLVE TO:
[INT. CSI - LAB -- DAY]
(SARA dusts the tire rim. She finds a hand print.)
CUT TO:
[INT. CSI - LAB - DAY]
(SARA runs the print through the database and finds a match.
[MATCH FOUND: NOLAN, SEAN DOCKET#: 09273-4972-54 City: Las Vegas DMV INFORMATION: ON RECORD Case#: 23574 ]
(SARA clicks on the "DMV INFO" button. The following screen and information pops up: )
[Searched DL DEPARTMENT OF MOTOR VEHICLES, NV IDENTIFICATION INFORMAITON ON FILE
NAME: SEAN NOLAN DOB: 10/2... ADDRESS: 41733 CALLE MATRIA
LAS VEGAS, NV 89233
REMARK / OTHER: Class B license with passenger endorsement Report Date: 3/12/02
# on right corner: 187362733-320
**DRIVING RECORD HISTORY **
TYPE -- VIOL / BUS -- CONV / REL -- DESCRIPTION VIOL - 1/02/02 - EXCESSIVE SPEED
STATUTE: VC
DOC#: 15627-20 VEH LIC #: 0476362793
CT LOC: Nevada Officer on Duty: P. Leblane, NHP.
VIOL - 2/11/97 - excessive speed
STATUTE: VC
DOC#: 72850-04 VEH LIC #: 0476362793
CT LOC: Nevada Officer on Duty: M. Sabga, NHP.
VIOL - 10/03/91 - BASIC SPEED LAW
Staute: VC
DOC#: 318274-34 VEH LIC#: 0476362793
CT LOC: Nevada Officer on Duty: D. Denver, NHP.
DRIVER RECORD SERVICE REPORT FOR N... AUTHORITY: 13365
***End of Report*** ]
(SARA leans back in her seat satisfied.)
CUT TO:
[INT. POLICE WAREHOUSE - DAY]
(The bus on the treadmill continues.
TIME READS 01:03:21-25
MPH: 65.0 )
(Camera refocuses. In front of the machine is a chess game between GRISSOM and WARRICK.)
(WARRICK'S cell phone rings. He answers it.)
Warrick: Warrick. Okay. (pause) Yeah, okay. (pause) I'll be there.
(WARRICK hangs up.)
Warrick: Sara. She's at the print lab. (b*at) She needs me.
(GRISSOM looks at WARRICK. WARRICK studies the chess board and moves.)
Warrick: Checkmate.
(WARRICK stands up and grabs his jacket. He slings it over his shoulder and saunters off, leaving GRISSOM to study the board.)
(Cut to: The treadmill machine. TIME reads: 01:03:48-50.)
CUT TO:
[INT. CSI -- LAB]
(SARA fills WARRICK in on what she's found.)
Sara: Print off the rim maybe he had a work card on file-- a Sean Nolan.
Warrick: So, why are you paging me?
Sara: I pulled up his DMV records looking for an address. I found one, not recent, but ... he's got a class B license with passenger endorsement.
[ADDRESS: 41733 CALLE MATRIA
LAS VEGAS, NV 89233
REMARK / OTHER: Class B license with passenger endorsement Report Date: 3/12/02
# on right corner: 187362733-320 ]
Warrick: Oh ... so he can drive a vehicle with over ten passengers.
Sara: I cross-checked his name with the employee roster from Mojave Express.
Warrick: Mm-hmm?
Sara: He's a driver.
Warrick: Well, I guess I'll grab a uniform and pay Mr. Maddox another visit.
(SARA smiles. WARRICK leaves.)
CUT TO:
[INT. POLICE WAREHOUSE -- DAY]
(The bus continues to run on the treadmill. NICK and GRISSOM are in the warehouse. GRISSOM looks at the laptop monitor.)
Nick: Bus logged into Barstow at 8:03 P.M. Target would be two hours later.
Grissom: No, if the tire was tampered with in Barstow it should blow any minute.
Nick: If not, it was sabotaged in L.A. And we've got another two hours and 13 minutes.
(SARA and CATHERINE enter.)
Sara: Hello.
(GRISSOM watches the bus and sighs.)
(As if on cue, the bus starts to creak and groan. The tire gives out and explodes completely. The motor stops.)
Sara: Cool.
Grissom: Well, I guess it's Barstow.
Catherine: Listen I scanned Eric Kevlin's car and clothing with an ion detector. There was no chloroform. He was clean.
Sara: And I got a h*t off that print -- a Sean Nolan, employed by Mojave Express.
Catherine: Any chance he was in Barstow yesterday?
Sara: Uh, his route is ... Vegas/Grand Canyon but I'll call Warrick. He's on his way to the bus company right now.
Nick: You know, if this guy Nolan ;worked for the bus company, his print on the wheel could be legit.
Grissom: Well, I wish we had a "who" but at least we have a "where."
CUT TO:
[INT. MOJAVE EXPRESS - OFFICE - DAY]
(WARRICK talks with LARRY MADDOX.)
Larry Maddox: I have a zero tolerance policy. I found marijuana in Mr. Nolan's locker. He was out of here that afternoon.
Warrick: Well, we're still going to need those maintenance records.
(LARRY MADDOX nods his head and goes to the filing cabinet. He takes out a file and gives it to WARRICK.)
Larry Maddox: Everything from fill-ups to tune-ups the last six months.
Warrick: Thank you.
(WARRICK leaves.)
WHITE FLASH TO:
[EXT. LAS VEGAS DESERT HIGHWAY (STOCK) - DAY]
[EXT. BARSTOW - DAY]
Catherine: There were security cameras behind the counter but none of them were pointed out here.
Grissom: Five buses have pulled in in the last ten minutes.
Brass: Not to mention all the private vehicles, truckers-- nothing's changed since I was here yesterday.
Catherine: Forget about getting a usable print off that airhose.
Brass: Yeah, a guy putting air in a tire at a rest stop does not draw attention.
(GRISSOM'S cell phone rings. He answers it.)
Grissom: Grissom.
INTERCUT WITH:
[EXT. MOJAVE EXPRESS]
Warrick: Sean Nolan was fired two months ago. Maddox says he's working in Barstow and since then three of Maddox's buses had blowouts. They all went through Barstow.
Grissom: Did you check their maintenance records?
Warrick: Yeah, only last night's bus had been serviced since Maddox changed suppliers.
Grissom: Way to go, Warrick. I owe you.
Warrick: Yeah, you do. See you.
(GRISSOM hangs up.)
Grissom: We got a suspect. Sean Nolan.
CUT TO:
[EXT. BARSTOW - DAY -- CONTINUOUS]
(GRISSOM, CATHERINE and BRASS walk across the way to SEAN NOLAN.)
Brass: That's him. That's our boy. Sean Nolan?
Sean Nolan: Can I help you?
Grissom: Yeah, there was a bus crash up the road. About nine people died.
Sean Nolan: Yeah, it's all over the news. I already talked to him.
Brass: I forgot what you told me. Wasn't much to tell.
Catherine: Your prints were on the bus.
Sean Nolan: Not following.
Catherine: Front right wheel hub.
Sean Nolan: I work here.
Grissom: Julius Caesar, m*rder in 44 B.C. Legend has it that the molecules from his last breath spread all over the world. Probably like your fingerprints, right? They're everywhere.
Catherine: Uh ... Mr. Nolan, have you handled any chloroform lately?
Sean Nolan: No.
Catherine: You mind?
(CATHERINE checks.)
Sean Nolan: What are you doing?
Catherine: Would you turn around, please?
(As she nears the gauge in his back pocket, the monitor beeps rapidly.)
Grissom: Whoa. Is that a pickle in your pocket or are you just happy to see us?
(CATHERINE takes out his pressure gauge to check. She looks at it.)
(Quick flashback to: SEAN NOLAN uses the pressure gauge to put chloroform in the bus tire. He glances around and caps the tire. End of flashback. Resume to present.)
Sean Nolan: Just wanted to stick it to him. Give him a few problems.
Brass: Maddox?
Sean Nolan: Yeah. I smoke one joint on the weekend... my time. Now I got a jacket as a junkie. Can't get a job driving a bus to save my life.
Catherine: So, you figured, "I'll just blow a couple of his tires."
Sean Nolan: Even if a tire blows the suspension system should keep the bus on the road. I been driving buses for ten years. I've never seen a flat take out a bus.
Brass: Well, there's always a first time. You're under arrest.
(BRASS signals the officers to cuff SEAN NOLAN.)
Sean Nolan: I didn't mean to hurt anyone, okay?
(They take him away.)
Catherine: Well, I'd hate to be a juror on a case like this.
Grissom: Second-degree m*rder.
Catherine: Reckless disregard for safety and human life mitigated by bad bolts.
Grissom: Yeah, which was mitigated by greed.
(They turn and walk away just as the next bus pulls into BARSTOW.)
MAN (OVER P.A.): Well, folks, we're about two hours and 45 minutes from Vegas. Let's see if I can get you there ahead of schedule.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x18 - Chasing the Bus"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS (STOCK) - NIGHT]
(Off Screen, a phone rings.)
[EXT. LAS VEGAS (STOCK) - NIGHT]
(Off Screen, the phone continues to ring.)
[EXT. LAS VEGAS (STOCK) - NIGHT]
Answering Machine: No one is available. Please leave a message.
[CLOSED CAPTION READS: ANSWERING MACHINE: This is 469-5256. Please leave a message at the beep.]
WHITE FLASH TO:
[INT JANE HALLOWAY'S RESIDENCE -- NIGHT]
(The answering machine beeps.)
(Camera close up of a telephone. There are 64 messages on the answering machine.)
Man: (over phone) Jane, you there? Pick up. Okay ... I'll call back later.
(JANE GALLOWAY, a blond-haired woman, sits crouched and cowering on the floor against the hallway wall next to the answering machine table. She clutches a baseball bat tightly. The person on the answering machine hangs up. The phone begins ringing immediately. It rings once. The answering machine picks up.)
Answering Machine: No one is available. Please leave a message.
[CLOSED CAPTION: ANSWERING MACHINE: This is 469-5256. Please leave a message at the beep.]
(The answering machine beeps.)
Man: (over phone) Slut. You can't hide from me, bitch. Jane, you there?
(JANE GALLOWAY is terrorized by the sudden change of message. She looks at her front door. The three locks on her door don't move. She clutches her baseball bat and nervously chews on her fingernails.)
Man: (over phone) Now, didn't I tell you ... not to bite your nails?!
(JANE GALLOWAY freezes. She realizes that this person over the phone can see her. She gets up and rips the phone cord from the wall, stands and runs to the bathroom at the end of the hallway. She bangs against the bathroom window, both are covered and nailed shut.)
(Unable to get the window open, she runs out of the bathroom and back down the hallway into her bedroom and slams the door shut. She frantically looks around and backs herself into her closet. She shuts the door in front of her. She sits in the dark, cowering in fear.)
(She opens the closet door a crack and looks out. She sees the bedroom door slowly open wider. Other than that, nothing. Her dog whimpers and scratches at the closet door.)
Jane Galloway: Shoo, Peanut. Go away. Go away.
(The dog continues to whimper. She opens the closet door and grabs the dog and pulls him in with her. She shuts the closet door again. She pushes herself into the furthest corner of the closet away from the door.)
(Two gloved hands suddenly appear out of the darkness her and grab her from behind. She screams. The hands stifle her cries, they cover her mouth. She struggles. She screams. She tries to get away. She fights.)
WHITE FLASH TO:
[INT. JANE GALLOWAY'S RESIDENCE - BATHROOM -- NIGHT]
(JANE GALLOWAY, is bent over her toilet. Hugging it. CATHERINE snaps a photograph. GRISSOM stands on the side shining his flashlight on the victim. CATHERINE continues to snap photographs.)
Grissom: Posed?
Catherine: Reading my mind.
(CATHERINE moves the camera slightly and takes a picture of something across the room. GRISSOM immediately shines his light there. The bathtub has streaks of red on its rim.)
Grissom: What do you make of the smears?
(CATHERINE takes out a swab from her kit and moves to collect a sample.)
Catherine: It's definitely not blood. Wrong color, texture.
(She lifts it up to her nose and smells it.)
Catherine: It's hair dye.
Grissom: Her hair's still wet. You think the assailant surprised her while she was dyeing her hair?
Catherine: Who called it in?
Grissom: Neighbor lady -- doing the dishes with her window open. Heard the dog yelping, evidently. Called the cops.
(CATHERINE notices the bathroom windows.)
Catherine: There's no sign of forced entry. The bathroom window's nailed shut.
(GRISSOM and CATHERINE look around. GRISSOM walks out into the hallway and notices the doggie bed against the wall.)
Grissom: So, has anyone seen this dog?
Catherine: Dog bed, dog bowl, dog food ... no dog.
(They both walk out of the bathroom and through the hallway. CATHERINE notices the front door.)
Catherine: Triple locks on all the doors. Every shade drawn. State-of-the-art alarm system. As far as we know her place was perfectly hermetically sealed until the cops batter-rammed their way in.
Grissom: Prisoner in her own home?
Catherine: So, how did he get in?
Grissom: A better question -- how'd he get out?
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
FADE IN.
[INT. JANE GALLOWAY'S RESIDENCE - LIVING ROOM]
(GRISSOM pushes the curtain away. The living room windows are covered also.)
Grissom: Aluminum foil.
Catherine: Keeps the sunlight out. GRISSOM: Keeps the eyeballs out, too.
CUT TO:
[INT. JANE GALLOWAY'S RESIDENCE - BATHROOM]
(Camera close up on NICK. He's staring intently at the victim poised over the toilet bowl. For some unknown reason, this scene disturbs him. He's so intent on the scene in front of him that he doesn't notice GRISSOM enter the bathroom through the door behind him. He doesn't hear GRISSOM approach.)
(NICK jumps as GRISSOM appears right behind him.)
Grissom: Sorry, Nick. You've been staring at this girl for ten minutes. Do you know her?
Nick: (quietly) No.
Grissom: Why don't you go do the bedroom? I'll get the coroner in here and finish up in the bathroom.
Nick: Sure.
(GRISSOM motions to the bedroom. NICK leaves the bathroom.)
CUT TO:
[INT. JANE GALLOWAY'S RESIDENCE - BEDROOM -- CONTINUOUS]
(CATHERINE is looking for body fluids on JANE GALLOWAY'S bed with an ALS. NICK walks in and puts his kit down.)
Nick: Hey, Catherine, I'll get that.
Catherine: No. I got it.
(Without taking her eyes off the bed, she holds out her hand to NICK.)
Catherine: Tweeze me. Thank you.
(She picks up a single strand of hair and holds it up for NICK to look at.)
Catherine: So, what do you think?
Nick: A little thick for a human hair.
Catherine: No, I've seen them this thick.
Nick: Really?
Catherine: Yeah.
(NICK pulls out a bindle. CATHERINE puts the hair inside.)
Nick: I'll get it to the lab.
(NICK turns away. CATHERINE stops him.)
Catherine: Oh, and don't forget what's under the bed.
Nick: Why, what's under the bed?
Catherine: Something that you would have caught eventually ... "Crime Stopper" ...
(NICK chuckles.)
Nick: No one's going to let me live that one down, are they?
Catherine: No. You know, now that you're a celebrity, you may want to think about getting a new shirt.
Nick: Yeah? Well ... I'm short on options. Besides, the dry cleaners keeps losing my stuff.
(NICK lifts up the bedding and glances under the bed where he finds a plastic bag. GRISSOM enters the bedroom.)
Grissom: What'd you get?
Nick: Grocery bag with a red smudge.
Grissom: Good. Fume it. Tell Sara and Warrick to grab a couple shovels and dig in, too.
CUT TO:
[INT. CSI - HALLWAY]
(NICK walks through the hallway. As he passes the bulletin board, he stops to glance at the latest issue of the "Crime Stopper" newsletter posted on the boards. On the cover is a front page article on "Nick Stokes", complete with photograph on the right. He sighs and rips the newsletter off the hanging clipboard.)
CUT TO:
[INT. CSI - BREAK ROOM]
(As NICK enters the break room, we can hear laughter and giggling. NICK smiles and shakes his head. WARRICK and SARA are sitting at the break table, huddled over the latest "Crime Stopper" issue.)
Warrick: Who wrote this?
Nick: You're kidding me, right?
Warrick: "Nick Stokes, Crime Stopper."
(NICK chuckles.)
Warrick: You went Hollywood on me, man.
Sara: And I quote, "in his off time, he enjoys creating and inventing toys." That's fascinating. What kind of toys do you make, Nick?
Nick: I thought I got my hands on all those departmental newsletters. Where'd you get those?
(Both WARRICK and SARA look up innocently at NICK. NICK has the article that WARRICK and SARA were reading.)
Warrick: Greg.
Sara: Greg.
Nick: Yeah, that figures. All right, listen, Grissom wants us to divide and conquer. Blond hair for you, Warrick.
(NICK hands WARRICK the bagged strand of hair.)
Warrick: I do love a blond.
(NICK puts the file folder on the table in front of SARA.)
Nick: Sara, you're on phone records.
Sara: Yay.
(NICK slowly leaves the room. He crumples the newsletter on his way out.)
Warrick: Hey, I wasn't done reading that.
Nick: Yes, you are.
(NICK tosses it into the trash can as he leaves the room.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
Robbins: We know two things for certain. Jane Galloway died from a lack of O2 and she is a natural blond.
(ROBBINS and GRISSOM both pause and turn to look at CATHERINE.)
Catherine: What are you looking at me for?
Grissom: Sorry. So, what -- suffocation?
Robbins: It certainly looks that way.
(Quick CGI POV to close up of an eye being opened by two fingers. The eyes redden and the skin around the eye turns a blue-ish color. Flash to white. Resume to present.)
Robbins: Uh, petechial hemorrhaging in the eyes, deoxygenation led to cyanosis, hence the blue lips ...
(Quick Flash to close up of JANE GALLOWAY'S face with focus on her lips turning a bluish-color. Resume to present.)
Robbins: ... blue fingertips ...
(Quick Flash to close up of fingertips turning a bluish-color. Flash to close up of face with blue lips turning a bluish-color. Resume to CATHERINE.)
Robbins: ... and blue face.
Grissom: No ligature marks on her neck.
Robbins: If she had struggled with her assailant that effort alone could have limited her oxygen intake causing further O2 depletion of the brain ...
(Camera close up of JANE GALLOWAY'S head. The camera moves in closer to her forehead and goes through the brain and through the skull to show a tangled maze of nerves and veins as electrical impulses and flashes of light travel its path. Flash to white. Resume to present.)
Robbins: Easy k*ll.
Grissom: Sexual as*ault?
Robbins: No physical findings. You'll have to check the kit.
Catherine: So, he m*rder her, poses her, yet he doesn't rob her or r*pe her.
Grissom: So, what's his agenda?
CUT TO:
[INT. CSI -- LAB]
(WARRICK walks into the lab. GREG is sitting at the table reading a "Teen" magazine with Pink on the cover. He doesn't move when WARRICK enters.)
Warrick: How's that platinum blond coming?
Greg: Wrong question.
Warrick: Come on, Greg I'm not getting anything out of trace. I was hoping you could help me out here.
Greg: I took a snip, ran a crossed immuno-electrophoresis.
(GREG puts his magazine aside and picks up the bag with the hair sample. He tosses it to WARRICK.)
Greg: Didn't pass.
(GREG goes back to his magazine.)
Warrick: Not hair? Not human? What are you reading?
(GREG turns the cover over and shows it to WARRICK.)
Greg: This is Pink. Pink, this is Warrick.
(GREG looks at the cover.)
Greg: Do you know how hot you are? Ssss!
Warrick: Bet I know someone who's hotter and I'm not talking about looks.
(GREG looks at WARRICK.)
Greg: Yeah?
Warrick: Yeah.
Greg: How mad is he?
Warrick: Watch your back.
(WARRICK leaves the lab.)
CUT TO:
[INT. CSI - PRINT LAB]
(NICK is fuming the plastic bag when GREG walks in. He knocks lightly on the door.)
Greg: Heard you were looking for me?
Nick: Greg. Come here. I want to talk to you for a sec.
(GREG hesitates at the door.)
Nick: Come on.
(GREG walks in and stops when he reaches NICK.)
Greg: What's up?
(NICK slaps GREG on the back and grasps the back of his neck.)
Nick: Stop invading my privacy, man, I don't like it. I'm just trying to do my job around here. I don't need the extra attention.
Greg: Okay. But, I mean, you are the one who's doing the "Forensic Spotlight" in the department newsletter.
(NICK tightens his grip on GREG'S shoulder. GREG winces in pain.)
Nick: I didn't do anything, man. Someone from the community wrote a letter of commendation. Public affairs ran it. Cool?
(GREG nods.)
Greg: Cool.
(NICK lets go of GREG and walks around the t*nk. GREG sighs and looks into the t*nk.)
Greg: So, uh, what are you fuming?
Nick: Plastic bag from the crime scene. I'm trying to get lucky -- see if I can get some prints off it.
(NICK opens the top of the t*nk and starts to fan the fumes. GREG stares intently at the plastic bag inside.)
Greg: Did she die of suffocation?
(NICK stares at GREG, amazed that he got it in one. GREG still stares at the plastic bag inside the t*nk. He glances up at NICK when he doesn't get a response.)
(NICK catches on that GREG sees something. He moves back around the t*nk to stand next to GREG. On the plastic bag is the imprint of JANE GALLOWAY'S face.)
(Quick flashback to the plastic bag wrapped around JANE GALLOWAY'S head. She struggles and screams. Flash to white. End of flashback. Resume to NICK.)
(Camera holds on NICK.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(BRASS, GRISSOM and SARA walk through the hallway. GRISSOM is holding an open file folder.)
Brass: Did some digging on Jane Galloway. Her boyfriend had a TRO against him.
Sara: And according to the phone records the guy called Jane thirteen times the day of the m*rder.
Brass: And that's thirteen times too many according to the restraining order. We're going to check out his house.
Grissom: I'll be on my cell.
(GRISSOM hands the folder to SARA. She and BRASS leave. WARRICK appears in the hallway.)
Warrick: Grissom, you got a second? I got a mystery.
(WARRICK leads GRISSOM to the lab.)
CUT TO:
(Microscope view of the strand of "hair" found at JANE GALLOWAY'S residence.)
[INT. CSI - LAB - DAY -- CONTINUOUS]
Grissom: No becke line.
Warrick: Yeah.
Grissom: Hair refracts light under cross polarization but glass doesn't.
(GRISSOM looks at WARRICK.)
Warrick: Well, it's not a hair. It's a synthetic fiber. Glass-- what do you think, fiberglass?
Grissom: Maybe.
Warrick: This could be a lot of things.
Grissom: You'll figure it out.
(GRISSOM leaves. Camera holds on WARRICK.)
CUT TO:
[EXT. ADAM PIORIO'S RESIDENCE -- DAY]
(BRASS pounds on ADAM PIORIO'S front door. Both he and SARA wait for a response. There's no answer.)
Brass: Looks like the boyfriend skipped out on us.
(SARA and BRASS leave ADAM PIORIO'S house #25054. As they walk away from the house, SARA notices something.)
Sara: Hey, Brass? Isn't that his car?
(Sure enough, there's a car parked across the street in front of a Chevron Tahoe with Nevada Plates GRO-480.)
(BRASS approaches the car with his g*n drawn. SARA is on her cell phone calling it in. BRASS knocks lightly on the side of the car as he makes his way to the front seat to let whomever is in the car know that he's approaching.)
Sara: Control, this is P-9241 requesting backup and medical assistance. The 1800 block of Newhaven Road. Possible 419.
Dispatcher: P-9241, copy.
(In the front seat of the car, a man is hunched over the steering wheel, his face bloodied and bruised.)
(BRASS puts on a latex glove to check the man's pulse. SARA unholsters her g*n to cover him.)
(The man in the front seat jumps as BRASS touches him. This startles BRASS.)
Brass: All right, all right. Get out of the car, get out of the car.
(BRASS opens the car door and the man gets out of the car. He appears woozy and disoriented.)
Brass: Sit down on the ground. Sit down, sit down. Sit down; just sit.
(ADAM PIORIO sits down on the road, his back against his own car.)
Sara: Sir, are you okay? You all right? You seem injured.
Adam Piorio: No, I'm all right.
Brass: Are you Adam Piorio?
Adam Piorio: Yes.
Sara: Any idea how you got this blood?
(As if he were just made aware that he's been bleeding, ADAM PIORIO pauses to think about it.)
Adam Piorio: I don't remember.
Brass: We're going to take you to a place and help you remember.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Brass: Let's start again. What happened last night?
Adam Piorio: I'm telling you, I don't know.
Sara: Adam, we're analyzing the blood that we found on your shirt with the blood of your girlfriend. It's going to tell us everything that we want to know.
Adam Piorio: Look, we broke up a few weeks ago. She ... she started acting weird for no reason.
Sara: She had a TRO against you. Something must have happened to spook her.
Adam Piorio: She changed overnight. She... she wouldn't return any of my phone calls. She started calling in sick at work. Barricading herself in her own house.
Brass: So, you went to Jane's house. What next?
Adam Piorio: We started arguing.
(Quick flashback to ADAM PIORIO yelling through JANE GALLOWAY'S chained front door.)
Adam Piorio: Open this door. What do you mean I can't come within one thousand feet of you? Open the door.
Jane Galloway: (screaming) Stay away from me!
(The front door closes. Flash to white. End of flashback. Resume to present.)
Adam Piorio: I was afraid she was going to call the cops, so I-I left.
Sara: Well, that's interesting because according to her phone records, she never did ... call the cops.
Brass: But you called her thirteen times. Once, you're in love. Twice, you're obsessed. More than three, you're a stalker.
Adam Piorio: We just broke up. All right, I was ... I was rolling on "e" last night. Give me a break.
Sara: Adam? That's not all you were taking last night.
Adam Piorio: I was on a lot of stuff last night. I was a space cadet. I'm not a m*rder.
(CATHERINE walks in.)
Catherine: Blood doesn't match our victim. The girlfriend of a Ricco Manzo filed the police report last night. It seems that Adam here put Ricco in the hospital with a broken nose from a fight at bar 9-1-1.
Brass: Well, that's a lucky alibi. Roll him out of here.
(Two police officers escort ADAM PIORIO out of the interrogation room.)
CUT TO:
[EXT. (STOCK) - EVENING]
[EXT. SIDEWALK TO NICK'S HOUSE - EVENING]
(NICK walks up the sidewalk and to his driveway. He's reading the mail. He passes a person by on his trek from the sidewalk to the driveway.)
[INT. NICK STOKE'S RESIDENCE -- NIGHT]
(NICK opens his laptop, the basketball game on the television in the background.)
E-mail: You've got mail.
(He reaches for the remote and turns the television volume up a bit.)
On the laptop, the monitor reads:
FROM: HORNDOG(a)WEBCT.NET
DATE: THURS, 4 APR 2002 1:46:45 PM E FROM: <HORNDOG(a)WEBCT.NET>
VIEW PICTURES (284430 BYTES) ...
--- Original Message ----
From: Horndog(a)Webct.net
(NICK chuckles softly and clicks to view the pictures.)
Nick: (to himself) Horndog? It's a blast from the past.
(Picture #1's Caption Reads: "Me (sober) and my Mom". Two women standing side by side. The taller woman has her arm around the shoulders of the shorter red-headed woman who is dressed up for the night.)
(NICK takes a bite of whatever he's eating and scrolls to the next picture.)
(Picture #2's Caption Reads: "Me and Lisa Cutting a rug". Two women are standing back to back both in their party dresses, facing the camera as if dancing with each other. One dark-haired and the other the same red-haired woman from picture #1.)
(NICK smiles and nods his head.)
(Picture #3's Caption Reads: "Someone Spiked the Punch". The red-haired woman from the previous pictures hugging the toilet bowl in her party dress. She appears to be asleep.)
(NICK smiles at the picture and freezes at the realization that he's seen this before.)
(Quick flash to JANE GALLOWAY'S crime scene in her bathroom. Flash to white. Resume back to NICK.)
(Camera holds on NICK.)
CUT TO:
[INT. CSI -- LOCKEROOM]
Warrick: What did your prom date say when you called her?
Nick: She said that she was cleaning out the attic one day stumbled upon them thought she'd send them to me for a laugh.
Warrick: You think she's a suspect?
Nick: No. She lives in Bosnia, man. Maine or something. She's got three kids. What's she going to do, fly in for m*rder?
(NICK chuckles. Both he and WARRICK are getting ready for work. WARRICK sits on the bench between the lockers and NICK is standing in front of his open locker putting his things on. NICK finishes and closes the locker door. He sits on the bench next to WARRICK.)
Warrick: Stranger things have happened.
Nick: I don't know. Something in my gut tells me it isn't right. Hey, what if somebody from work tapped into my e-mail?
Warrick: No.
Nick: Yeah. Maybe I forgot to log off one day.
Warrick: No. You're tripping.
Nick: No. I'm serious. Somebody had to have read my e-mail.
Warrick: Change your password.
Nick: I already did.
(Camera holds on NICK.)
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
(GRISSOM and BRASS are walking through the hallway.)
Grissom: How does this relate to the case?
Brass: Well, he was an eyewitness, sort of. I mean, he says he had a vision of Jane Galloway's m*rder hours before it happened.
Grissom: He's a psychic?
Brass: Well, he has details. He has details that weren't on the news or the press release.
(MR. MORRIS PEARSON is sitting alone in the waiting room. He turns slowly when GRISSOM and BRASS enters.)
[INT. POLICE DEPARTMENT - WAITING ROOM -- CONTINUOUS]
Grissom: Mr. Pearson.
(Mr. Pearson nods his head and starts to get up then sits down when GRISSOM continues.)
Grissom: Sit down. Captain Brass tells me that ... uh ... you had some sort of "vision" regarding Jane Galloway's m*rder.
(GRISSOM takes a seat opposite MORRIS PEARSON. BRASS remains standing.)
Morris Pearson: Yes, I did.
Grissom: What kind of vision?
Morris Pearson: Screaming face in a plastic womb.
(Quick flashback to someone screaming in a haze of white. End of flashback. Resume to present.)
Morris Pearson: Blood shower.
(Quick flashback to a close up of a shower head with red blood-colored water. Another close up of red-blood colored water running down the drain. End of flashback. Resume to present.)
Grissom: Anything else?
Morris Pearson: Three hearts beating very fast. Two large, one small.
(Quick flashback to JANE GALLOWAY struggling against her attacker on the bed. Sounds of hearts beating. Sounds of JANE GALLOWAY'S muffled screams. Peanut, the dog, barks. End of flashback. Resume to present.)
(MORRIS PEARSON shakes his head. That's all he has.)
Grissom: Okay. Thank you.
(GRISSOM stands and starts to leave the room. As he passes BRASS, he whispers.)
Grissom: This is your eyewitness?
(GRISSOM continues to leave.)
Morris Pearson: (o.s.) The dog didn't make it, did it?
(This stops GRISSOM as he leaves. GRISSOM turns back to MORRIS PEARSON.)
CUT TO:
[INT. CSI -- BREAKROOM - DAY]
Catherine: What about Jane's work history?
(CATHERINE sits down at the table with her cup.)
Sara: Secretary at a brokerage firm. About three weeks from the day of her death she took a leave of absence.
Catherine: Medical records?
Sara: She saw Dr. Slater. Had a prescription for valium and librium.
(SARA shows the report to CATHERINE who takes it and looks at it.)
Sara: Severe anxiety due to personal reasons. One day back from leave, Jane quits her job. No notice. Hotel receipts show she checked into the Monaco for two nights.
(SARA hands the hotel receipts to CATHERINE.)
Sara (cont.): A week before that she goes on a frightened woman shopping spree.
(SARA shows CATHERINE the hardware receipts.)
Sara: Hardware shop receipts for locks. Locksmiths. Alarm installations. Phone screeners. The voice on her answering machine-- electronic. She change her telephone number. She cancels all but one of her credit cards.
Catherine: It's as if she's trying to make herself disappear.
Sara: Make no mistake. Jane Galloway was being stalked. Emotional terrorism at its finest.
Catherine: And her boyfriend had an alibi?
Sara: Here's the, uh, worst part. Uh, I ran a phone check on all her incoming calls. Guess where they were coming from.
(CATHERINE looks at the phone record SARA gives her.)
DATE / TIME / PLACE & NUMBER CALLED
4/16 / 2:44 pm / Las Vegas, NV 555-0146
4/16 / 2:56 pm / Las Vegas, NV 555-0198
4/16 / 5:15 pm / Las Vegas, NV 555-0287
4/16 / 5:18 pm / Las Vegas, NV 555-0188
4/16 / 5:18 pm / Las Vegas, NV 555-0188
4/16 / 5:18 pm / Las Vegas, NV 555-0188
4/16 / 5:19 pm / Las Vegas, NV 555-0188
4/16 / 5:19 pm / Las Vegas, NV 555-0188
4/16 / 5:19 pm / Las Vegas, NV 555-0188
4/16 / 5:20 pm / Las Vegas, NV 555-0188
4/16 / 5:20 pm / Las Vegas, NV 555-0188
4/16 / 5:20 pm / Las Vegas, NV 555-0188
4/16 / 5:21 pm / Las Vegas, NV 555-0188
4/16 / 5:21 pm / Las Vegas, NV 555-0188
4/16 / 5:21 pm / Las Vegas, NV 555-0188
4/16 / 5:22 pm / Las Vegas, NV 555-0188
4/17 / 10:48 am / Summerlin, NV 555-0173
4/17 / 04:16 am / Summerlin, NV 555-0189
4/17 / 3:43 pm / Las Vegas, NV 555-0132
4/17 / 12:04 pm / Henderson, NV 555-0173
(She looks shocked when she realizes what SARA found.)
Catherine: Inside her house.
CUT TO:
[INT. POLICE DEPARTMENT - OBSERVATION ROOM]
(In the room next door, MR. MORRIS PEARSON calmly dips a tea bag into his cup. In the observation room, BRASS and GRISSOM sit and watch as MORRIS PEARSON watches his tea bag.)
Brass: So I ran Merlin's, uh, credit card with his permission. Do you know where he was the night of the m*rder? Monaco Hotel. Room 834. Guess who was in the adjoining room? Jane Galloway.
(BRASS looks at GRISSOM. GRISSOM looks at the interrogation room next door. MORRIS PEARSON continues to calmly dip his tea bag into his cup. He raises his head and looks at them as if he knows that they're looking at him.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HOTEL MONACO - ROOM 834 -- DAY]
(MORRIS PEARSON stands facing the connecting room door.)
Grissom: Why didn't you tell us you were staying here?
Morris Pearson: I didn't know she was your victim.
Brass: According to the front desk you placed a call to Jane Galloway's room at, uh 9:12 P.M.? Lasting 21 seconds?
Grissom: May I ask what you two were talking about?
Morris Pearson: Energy.
(Quick flashback to JANE GALLOWAY in her room unpacking her bag when the phone rings. JANE GALLOWAY gasps and stares at the phone. Cut to JANE GALLOWAY answering the phone.)
Jane Galloway: Hello?
(Cut to MORRIS PEARSON on the phone.)
Morris Pearson: I'm calling from the next room. I don't mean to alarm you but I'm feeling some negative energy coming from your room.
(Cut back to JANE GALLOWAY slamming the phone on the receiver without responding. Flash to white. End of flashback. Resume on MORRIS PEARSON.)
(MORRIS PEARSON looks over at GRISSOM.)
Morris Pearson: S-she wouldn't talk to me. I-I get that a lot.
Grissom: But evidently, you called her back.
Morris Pearson: Yes, she picked up, and hung up.
Brass: Phone records say that she received three calls.
Morris Pearson: Twice, I believe.
Grissom: The front desk records also show that she checked out that night. And you checked out shortly thereafter. Why?
Morris Pearson: Well, she was suffering, and I shared her fear. Seems my intuition was accurate, as it turns out.
(MORRIS PEARSON turns back to face the connecting room door. He sighs. He puts out a hand to the closed door.)
Morris Pearson: You don't believe me, do you?
Grissom: Mr. Pearson, I'm a scientist.
Morris Pearson: And I am a clairvoyant. You see science without abstractions. I see visions with abstractions.
(MORRIS PEARSON turns to face GRISSOM.)
Morris Pearson: Am I less credible than you Mr. Grissom?
Grissom: These visions that you've had in the past ... nothing specific triggered them?
Morris Pearson: Sometimes a touch or an object.
Grissom: Fear?
Morris Pearson: Sure.
Grissom: And you were hoping to heal Jane Galloway?
Morris Pearson: I was only hoping to comfort her. I'm bound by that obligation.
Grissom: So, these visions you told us about earlier? These are the only ones you've experienced?
Morris Pearson: I have more.
(MORRIS PEARSON closes his eyes and takes a deep breath.)
Morris Pearson: Locks.
(Quick flashback to the three locks on JANE GALLOWAY'S front door and hands frantically locking them. Flash to white. Resume to present.)
Morris Pearson: Three locks. Hanging ... ghosts, hanging ghosts.
(Quick flashback to the inside of a closet. Cut to an attic. Flash to white. End of flashback.)
Morris Pearson: ... Chest to back, back to chest. A frames, wooden beams ... church dark.
(MORRIS PEARSON sighs.)
Morris Pearson: That's it.
CUT TO:
[EXT. LAS VEGAS SUBURBIA (STOCK) - DAY]
[INT. JANE GALLOWAY'S RESIDENCE -- DAY]
(Close up of JANE GALLOWAY'S front door and its three locks. The door slowly opens. GRISSOM walks in. MORRIS PEARSON follows. An officer stands outside the front door. GRISSOM closes the front door. MORRIS PEARSON looks around and turns to face GRISSOM. GRISSOM points to the locks.)
Grissom: Are these the three locks you saw?
Morris Pearson: Yeah ... they-they seem different, though. Perhaps it's the angle.
Grissom: What do you mean?
Morris Pearson: It seemed ... I was looking down on them.
(MORRIS PEARSON looks up at the ceiling. GRISSOM looks up at the ceiling.)
CUT TO:
[INT. JANE GALLOWAY'S RESIDENCE - BEDROOM - DAY -- CONTINUOUS]
(MORRIS PEARSON walks into the bedroom. GRISSOM follows. He watches MORRIS PEARSON. MORRIS PEARSON stops in front of the open closet door with hanging clothes in it.)
Grissom: Is this what you saw?
Morris Pearson: Yes ... only it was ...
Grissom: ... from above.
(MORRIS PEARSON nods slightly.)
(GRISSOM takes out his flashlight and shines the light into it. He looks up into the closet. In the back of the closet behind her things, he sees the hole in the ceiling.)
CUT TO:
[INT. JANE GALLOWAY'S HOME - ATTIC - DAY]
(GRISSOM walks gingerly across the attic floor. He sees some areas where the floorboards are removed with the insulation. He kneels down and notices a small corked hole in the board with a label, "LIVING ROOM". He uncorks the hole and peers through it.)
(Cut to CATHERINE walking in JANE GALLOWAY'S living room. She's carrying her CSI kit. Her cell phone rings. She answers it.)
Catherine: Hello?
Grissom: (on phone) Pick a number between two and five and indicate it with your fingers.
(CATHERINE puts her kit down.)
Catherine: Why?
Grissom: (on phone) Please humor me.
(CATHERINE does a complete turn around, scanning the room looking for GRISSOM. She doesn't see him. She holds up four fingers.)
Grissom: (on phone) Four. Thank you.
(CATHERINE'S eyes widen at his accuracy. She still can't see GRISSOM.)
Catherine: Where are you?
Grissom: (on phone) Look up. Jane's bedroom closet has a door to the attic.
(Cut back to close up of the hole looking down at CATHERINE one floor below. CATHERINE looks back up at the ceiling. She's holding four fingers up.)
(GRISSOM turns off his cell phone and puts it away. He notices the fiberglass insulation and picks up a small pinch of it for closer examination. He tosses it aside and continues his search in the attic.)
(On the far wall near the attic window, he sees a red phone hook-up spliced into the current phone system. He moves closer to look at it. He clips the phone to the exposed wires and picks up the phone.)
INTERCUT WITH:
[INT. CSI - LAB - DAY -- CONTINUOUS]
(WARRICK'S cell phone rings. He answers it.)
Warrick: Warrick.
Grissom: Warrick, Grissom. You know that blond fiber we were looking at?
Warrick: Fiberglass insulation -- comes in pink and yellow. But you already knew that. Is that why you're calling?
Grissom: Not really. I was checking a phone line. But good work.
Warrick: Yeah.
(WARRICK hangs up his phone.)
(Cut back to the attic. CATHERINE climbs up into the attic.)
Grissom: He tapped into her second line. He's got a peep hole into every room. They're labeled.
CATHERINE uncorks the hole labeled, "BATHROOM". She peers down at MORRIS PEARSON. He looks back up at her.)
Catherine: Uh, Gil, there's a, uh ...
Grissom: (casually) Yeah. He's our psychic -- Mr. Pearson.
Catherine: Right.
(CATHERINE stands up and starts looking around the attic.)
Grissom: You know, I don't think this thing was about sex at all. I think it was about control, voyeurism. Jane was like his, uh, little goldfish.
Catherine: Then why k*ll her? And why ... leave all this stuff behind?
(CATHERINE looks inside an uncovered box with a lot of electronic equipment inside. GRISSOM joins her.)
Catherine: Interesting collection of toys.
(She picks one up.)
Catherine: Digital camera ... with a fiber-optic lens.
(Quick flashback to JANE GALLOWAY in her bathroom sitting on the toilet. Flash to white. Resume to present.)
Grissom: Night vision goggles.
(Quick flashback to gloved hand uncorking the hole labeled, "BEDROOM." Green-tinged view of JANE GALLOWAY sleeping. Cut to view of person using the camera through the hole in the attic. Flash to white. Resume to present.)
Catherine: Digital recorder.
(Quick flashback to person holding the recorder over a hole in the attic. Camera focuses on JANE GALLOWAY'S toes and her painting her toenails red. Flash to white. Resume to present.)
(CATHERINE puts the camera down.)
Catherine: I'm guessing he's got microphones all over the house.
Grissom: Probably.
(CATHERINE sighs.)
Catherine: Same question -- how did he get in?
(GRISSOM looks up at the only window in the attic. CATHERINE stands to check the window latch out.)
Grissom: Well, this only opens from the inside. So at some point it's possible that Jane let him in.
CUT TO:
[EXT. JANE GALLOWAY'S ROOF -- DAY]
(CATHERINE walks down the attic roof. GRISSOM gives her hand.)
Catherine: Thank you.
(They both stand on top of the roof looking out at the neighborhood below.)
Catherine: So. Who do we let into our homes every day?
Grissom: Well, pretty much ... if you got a uniform on, you can walk right in the front door.
(On that day alone, the gasman closes his truck door. Across the street, another uniformed man in a yellow truck carrying a kit walks toward a house. The camera angles on the many satellite dishes on roofs of a couple of houses.)
Catherine: So, we go through her bills and we see which utility companies worked on her house.
CUT TO:
(SARA walks toward a man standing next to a truck. She's carrying a file folder and stops to speak with him.)
(Cut to CATHERINE stopping two men carrying a roll of carpet.)
(Cut to GRISSOM approaches the local meter reader.)
CUT TO:
[EXT. APARTMENT HOUSE #23422 -- DAY]
(NICK and WARRICK walk up the driveway to house #23422. NICK instantly recognizes the truck in the driveway. WARRICK follows behind.)
Nick: Luna Cable. Good company, same as mine. One hundred fifty channels. I'm telling you, you got to get it, man. The last three weeks have been heaven.
(They both walk up the outside stairs to the second floor front door. Behind them, a man with glasses walks by. He's wearing a utility belt and watches them walk up the stairs.)
CUT TO:
[INT. NIGEL CRANE'S RESIDENCE - DAY - CONTINUOUS]
(NICK knocks on the front door. It opens slowly. The door wasn't closed nicely.)
Nick: Mr. Crane?
(NICK and WARRICK slowly walk inside.)
Nick: Nick Stokes, Criminalistics.
(A cell phone rings. WARRICK answers it.)
Warrick: Hello. Hello? I-I can't hear you. H-hold on.
(WARRICK steps back outside the house to answer the phone. NICK continues deeper into the apartment.)
Nick: Mr. Crane, your door's open. Just want to ... ask you a couple questions.
(NICK glances down the empty hallway. Cut to WARRICK standing outside the front porch.)
Warrick: I can hardly hear you. We're at the, uh, satellite guy's house that installed Jane's cable.
(Cut back to inside the house where NICK notices drops of something on the floor. He puts on his latex gloves and moves toward it to investigate.)
(The drops end at the cabinet. NICK opens the cabinet and pulls out the trash bin. He digs through the trash. Behind him from above, a pair of legs silently lower themselves to the floor from the pantry ceiling.)
(NICK continues to dig through the trash where he finds on the bottom buried under everything else, a single red-stained latex glove. Behind him, the man successfully lowered himself to the kitchen floor without NICK noticing him at all. NICK holds up the latex gloves. NICK glances up.)
CUT TO:
[EXT. NIGEL CRANE'S RESIDENCE - FRONT PORCH - DAY - CONTINUOUS]
(Just outside the front door, WARRICK is still on the phone. From the window beside him, NICK crashes through the second story window and falls backward to the ground below.)
Warrick: Nick!
(WARRICK glances down below at NICK who is not moving. He turns around and pulls out his w*apon. He rushes cautiously into the house and peers down the empty hallway. He slowly backs out of the house and calls for assistance on his cell phone.)
Warrick: (to walkie-talkie) Patrol. Request immediate backup. Immediate backup. Officer down. I need emergency medical assistance! Eight-two-six ...
(He exits the house and back down the stairs to render aid to NICK who hasn't moved from his position down in the bushes below. WARRICK hangs up and checks NICK who still hasn't moved.)
Warrick: Nick! Nick.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. HOSPITAL - NICK'S ROOM]
(The doctor just finishes checking up on NICK who's asleep in the hospital bed. The doctor leaves and walks out of the room.)
[INT. HOSPITAL - HALLWAY OUTSIDE NICK'S ROOM - CONTINUOUS]
(SARA and CATHERINE stand as the doctor exits NICK'S room to give them an update. GRISSOM and WARRICK are also there.)
Doctor: Concussion, two cracked ribs, sprained wrist, five stitches to the forehead. It could have been a lot worse.
Warrick: But 's going to be all right?
Doctor: He needs rest. But I don't see why he can't go home relatively soon.
Grissom: Thank you, doctor.
(The doctor leaves.)
Warrick: Damn it. Grissom, this guy was right there. I could have had him.
Grissom: You helped out Nick. That was the right thing to do.
Warrick: Doesn't feel like the right thing.
Catherine: You know, Nick was alone. The Stalker could have k*lled him and didn't.
Grissom: Yeah, I wonder why. Let's go back over there.
(CATHERINE is already walking down the hallway, WARRICK straightens to follow.)
Warrick: I'm going with you.
(GRISSOM puts a restraining hand on his shoulder as he turns to leave.)
Grissom: No, no. You need to calm down a little. Talk to Nick when he wakes up.
(SARA remains behind in the hallway next to WARRICK.)
CUT TO:
[INT. NIGEL CRANE'S RESIDENCE -- NIGHT]
(CATHERINE and GRISSOM stand in front of the living room window. The same window NICK was pushed out from. GRISSOM is reading from a clip board he carries.)
Grissom: Nigel Crane, age 37. No criminal record. Working for Luna Cable for eleven years. No immediate family, lives alone. Last seen by co-workers two days ago. No priors.
Catherine: Not a stick of furniture ... except for a computer and a chair.
(GRISSOM and CATHERINE both look at the laptop on the crate against the wall and the chair in front of it. CATHERINE puts her kit down to examine the window more closely. GRISSOM walks forward examining the ceiling as he goes.)
(GRISSOM enters the kitchen and immediately notices the step ladder in the pantry. He puts the clip board on the counter and glances up at the door in the pantry ceiling. He turns off his flashlight and turns on the pantry light. He climbs the step ladder and pushes the ceiling door open.)
CUT TO:
[INT. NIGEL CRANE'S ATTIC - NIGHT - CONTINUOUS]
(GRISSOM reaches up and turns on the attic lights. He glances around and sees all the comforts of home. He also sees the video tape library and various electronic surveillance equipment. All the video tapes are labeled and dated.)
CUT BACK TO:
[INT. NIGEL CRANE'S KITCHEN - NIGHT - CONTINUOUS]
(CATHERINE opens the cabinet door and pulls out the trash bin. She starts going through the trash when GRISSOM falls to the pantry floor with a loud thud, scaring CATHERINE.)
Catherine: (startled) What the hell?!
(GRISSOM points to the attic.)
Grissom: He lives up there. Not down here. Works, sleeps changes his clothes ... everything in the attic. He looks down on the world separating himself from others. Fascinating, really.
Catherine: Well ... you're going to love this.
(CATHERINE points to the side of the trash bin. There's a long streak of red on its inside.)
Grissom: Red dye.
Catherine: Yup. Now what?
(GRISSOM holds up a digital tape.)
Grissom: Dinner and a movie?
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(On the television monitor, a montage of clips of various people walking on the streets of Las Vegas is shown.)
(GRISSOM, CATHERINE and ARCHIE JOHNSON watch NIGEL CRANE'S library. The stack of video tapes are on the table in front of GRISSOM.)
Nigel Crane: (v.o. on tape) Walking pukes. Soulless, lost, useless, sick puppets. Little sheep looking for direction. Gullible ... (video fizz) From an airplane they used to look like ants. And now ... they're all ants all the time. You squash one ...
(The video clips are intermixed with video clips of NIGEL CRANE himself.)
Catherine: Well. Just think, this is only tape one.
Nigel Crane: (v.o. on tape) They all start running around in a panic.
(Camera holds on GRISSOM as he watches the tape.)
CUT TO:
[INT. HOSPITAL HALLWAY]
Doctor: Now, these painkillers are the real deal, okay? Don't overdo it. Plenty of rest. No work for at least a week.
(The doctor hands the medication to WARRICK. NICK is sitting in a wheelchair and SARA'S behind him.)
Sara: Will do, thank you, doctor.
(The doctor leaves. SARA pushes the chair and they all walk down the hallway.)
Nick: The gloves, you find them?
Warrick: Catherine thinks he might have got away with them. But, uh, Grissom did find some wacky video collection.
Nick: Of what?
Sara: (interrupting) Now, did you not just hear the doctor? You're supposed to rest. We're on it, okay?
Warrick: Yeah, relax, Ironside.
CUT TO:
[INT. CSI - AUDIO/VIDEO LAB - NIGHT]
(CATHERINE, GRISSOM and ARCHIE JOHNSON continue to watch the video tapes. The current one in the machine is the night vision view of JANE GALLOWAY sleeping.)
Nigel Crane: (on video) I see you, Jane. Do you feel me? Do you feel me?
(The video tape fast forwards.)
Nigel Crane: (on video) You ... you will never get me. No. Not the way he does. And we all get what we deserve. And I ... I got a friend.
(SARA and WARRICK enter the lab.)
Sara: How's it going?
Grissom: How's Nick doing?
Sara: Well, groggy. How's the epic?
Catherine: Epic.
Warrick: Gotten any clues as to where this guy might be?
Grissom: Not really, not yet.
(CATHERINE sees something on the video screen.)
Catherine: Archie, freeze it.
(The video tape pauses. CATHERINE points to the screen.)
Catherine: Do you see that behind him? To the left hand of the screen? Can you focus the pixels?
(ARCHIE JOHNSON starts typing. He click and drags the area CATHERINE points to and enhances the image.)
Archie Johnson: Okay, we're now at 26 times magnification. Rendering at 1086 lines.
(The image enlarges and clears. It's the article of NICK.)
Catherine: That's the "Crime Stopper" article.
Grissom: Isn't our newsletter for in-house only?
Catherine: Do you think he knows Nick?
Warrick: He may know him well enough to read his e-mail.
Sara: Found that photo of Nick and his prom date. Used Jane Galloway to emulate the photo?
Grissom: Why would he do that? Why Nick?
Sara: Nick has satellite cable, right?
Warrick: Lunar Cable- a hundred and fifty channels.
Grissom: Wait a minute we've been doing this the wrong way. We need to see the last tape.
(GRISSOM turns around to the stack of tapes on the table behind him. He digs out the last tape and hands it to ARCHIE JOHNSON.)
Grissom: Archie, play this.
(ARCHIE hits play. Video camera close up of NIGEL CRANE instantly appears on screen.)
Nigel Crane: (on tape) It's like he, he's ... he's the kind of guy I always wanted to, um ... to be. And that's why it's so great, because ... we're friends now. I feel like I can count on him, you know? And you know what? I think if it came right down to it he would lay his life down for me. Ask him. A-a-ask Nick. Nick, would you let me stop your heart?
CUT TO:
(Camera close up of a prescription container with the following information on it:
DESERT PALMS HOSPITAL
(NAME) STOKES, NICK
(FILL DATE) 4/17/02
PHONE NO. 555-0190
TAKE ON TO TWO TABLETS ... EVERY FOUR HOURS. VICODIN
(EXPIRES) 04/17/03
(REFILL) 0 (BY) 11/17/02
[INT. NICK STOKE'S RESIDENCE -- NIGHT]
(NICK takes some tablets with a drink of water. He settles himself slowly and painfully on his sofa. He leans back and closes his eyes. There's a knock at the front door.)
Nick: Who is it?
Morris Pearson: (o.s.) My name is Pearson. Morris Pearson. We haven't met. I worked with Mr. Grissom on the Jane Galloway case.
(NICK gets up off the sofa and walks to the front door.)
Nick: It's almost one in the morning. What do you want?
(NICK peers through the peep hole. It's MORRIS PEARSON.)
Morris Pearson: I've had more visions. Please let me in.
(Nick opens the door.)
Nick: Yeah, maybe but look ...
(MORRIS PEARSON immediately steps into the house. NICK tries to get him to leave, but MORRIS PEARSON is insistent and continues to walk into the house. He rambles as he walks.)
Morris Pearson: Please, please let me in.
Nick: I can't just let you in my...
Morris Pearson: Please, please, please...
Nick: Hey, hold up.
Morris Pearson: I saw this house. I saw this house, I saw the number I saw the street name. Something is wrong here. Something terrible is going to happen here
Nick: Sir ...
Morris Pearson: I can feel it.
Nick: Sir. Sir ... You're going to have to leave.
Morris Pearson: Please, please, listen to me.
Nick: Get out of here.
Morris Pearson: (yells desperately) Listen to me!
(Both men stop yelling at each other.)
Morris Pearson: I saw the address. I saw this address.
Nick: You saw my address?
(NICK looks at MORRIS PEARSON. He walks slowly toward him. MORRIS PEARSON continues to walk into the house.)
Morris Pearson: Yeah, but that's not it, that's not it. I saw, I saw ... I saw crashing. I saw ... falling and crashing-- I saw somebody seeing through the back of his head. I don't know, I don't know ...
(MORRIS PEARSON stops walking in NICK'S living room. He suddenly swings around to look at NICK.)
Morris Pearson: Green tea! Green tea! Does that mean anything to you? Green tea?
Nick: I don't know.
(NICK sighs and shakes his head. NICK'S phone rings.)
Nick: Just ... (he answers it.) Hello?
Grissom: Nick, listen, he's been in your house.
Nick: Who?
INTERCUT WITH:
[INT. CSI - HALLWAY]
Grissom: Nigel Crane, the Stalker. Brass is one his way with two uniforms to put at your door.
Nick: Yeah, well, I'm not alone.
Grissom: What?
Nick: Your psychic's here.
Grissom: Good, keep him there.
(GRISSOM hangs up the phone.)
CUT BACK TO:
(NICK hangs up his phone. He takes out his w*apon from the cabinet beside the phone and turns to find MR. PEARSON. Only, he's not in the living room anymore.)
Nick: Mr. Pearson. (g*n cocking.) Mr. Pearson. Mr. Pearson ...
(NICK walks down the hallway. He checks the room. He checks the back door. It's locked and chained. He looks out the window. He doesn't see anything.)
Nick: Mr. Pearson, you back here?
(He walks back the hallway and looks in the next room. The wood floors creak. He hears a muffled thump.)
(NICK stands still and listens. He looks up at the ceiling. He holds his g*n pointed at the ceiling and slowly walks back to the living room. From up above, we see that his living room carpet has a large, green letter "T" in the center.)
(NICK holds his g*n drawn upward. A body crashes through the ceiling roof and down to the living room floor. Ceiling plaster and dust plumes everywhere. NICK drops his g*n. Through the dust, NICK recognizes MORRIS PEARSON. He moves closer to check the man's pulse when NIGEL CRANE jumps down through the hole in the ceiling startling NICK.)
(NICK notices NIGEL and reaches for his g*n. NIGEL'S quicker and picks it up first.)
Nigel Crane: Oh, man. You got to ... you got to watch who you let in here. Guy was snooping around all over the place. You know, smart move. Spare g*n.
(NIGEL CRANE slaps the side of the g*n twice. He moves backward and points to the cabinet by the phone.)
Nigel Crane: Ah. Keep it right by the phone right? Right next to your address book and, and take out menus.
(NIGEL CRANE checks the front door.)
Nick: Cops are on their way.
Nigel Crane: Yeah. I heard that.
(NIGEL CRANE moves to the living room and pulls down the blinds. That's when NICK notices it.)
Nick: You wearing my clothes?
Nigel Crane: Oh, yeah. I'm ...
(NIGEL CRANE looks back proudly at NICK. He exhales deeply.
Nigel Crane: You know, I-I-I picked these up at the dry cleaners and I ... I hope you don't mind. It's just that ... I'm sorry I, I just get a little confused about what's yours and what's mine.
Nick: You know what? I'm a little confused here myself. Uh, why don't you refresh my memory. When did we meet?
(NIGEL CRANE looks incredulously at NICK. He snorts.)
Nigel Crane: Sports package. Hundred fifty channels. I-I-I even threw in a few movie channels. Free. We-we-we talked, like, forever. I mean, it's like I knew you my entire life.
Nick: You installed my cable.
Nigel Crane: Yeah. The ... the minute I met you I knew we connected. Because you told me what you did and I knew exactly what you were talking about, because ... that's what I do. I do it, too. You know, I observe people. I-I-I notice everything about them. I watch them. All the time.
Nick: Like you watched Jane Galloway?
Nigel Crane: Jane was cool. But, um, it would have never worked out between us, you know. Never. I mean, she had a boyfriend and she was kind of stuck up. And you know what, she would have totally, totally gotten between us. So, you know, consider that a gift.
Nick: A gift?
Nigel Crane: Yeah. Prom night. Your date. Melissa.
(Quick flashback to the photograph of MELISSA over the toilet bowl fast asleep. White flash to JANE GALLOWAY poised over the toilet seat d*ad. End of flashback. Resume to present.)
Nigel Crane: Bent over the toilet puking her guts out. Is that ringing any bells, huh?
Nick: Yeah.
Nigel Crane: You know, I mean, Jane's hair was the wrong color but, you know obviously, I fixed that. Because I know how much you love redheads. You know, you ... you mentioned her name in your sleep.
Nick: You watch me sleep?
(NIGEL CRANE looks down at MORRIS PEARSON.)
Nigel Crane: You, um ... you want to open him up?
(NIGEL CRANE crouches low over the body.)
Nigel Crane: Hmm?
Nick: No, no, it's, uh ... it's not my job. You should know that. It's the coroner's gig.
(NICK crouches over the body.)
Nigel Crane: Are you humoring me, Nick?
(NICK shakes his head.)
Nick: No.
Nigel Crane: You know ... we made friends that day and every time since you just blew me off. Do you know that? You just completely blanked me.
(Quick flashback to NICK walking up the sidewalk looking through his mail. A man walks by on the sidewalk. NICK passes him and walks up his driveway.)
Nigel Crane: (V.O.) You are so self-absorbed.
(White flash to a close up of the man, NIGEL CRANE, looking back at NICK. White flash to NICK and WARRICK walking up the stairs to NIGEL CRANE'S house. NIGEL CRANE is down on the steps below watching them walk up to his front door.)
Nigel Crane: (V.O.) I was right in front of your face.
(Flash to white. Resume to present.)
(NIGEL CRANE stands up. Now that he thinks about it, he's pretty upset at being ignored.)
Nigel Crane: Manners, Nick! Manners!
Nick: Hey, now, Nigel, now we got a D.B. here, huh? You're going to help me with the crime scene, right?
Nigel Crane: No, no, I'm going to ... I'm going to ...
(NIGEL points the g*n at NICK.)
Nigel Crane: ... give you a brand-new one. I'm going to do better than that. I'm going to give you the best you ever had. Stand up, Nick. Stand up.
(NICK stands.)
Nigel Crane: Nick, you know what a nine-millimeter slug does to a skull at close range? You know?
(NIGEL CRANE pulls his g*n back and holds it in front of his face.)
Nick: Yeah.
Nigel Crane: Blow it right apart, right? Brains like strawberry swirled. Whipped cream, everywhere. And you.
(NIGEL points the g*n back at NICK.)
Nigel Crane: You'd have to scoop that stuff up, right? Yeah, little pieces of skull and bone and brains. All in individual baggies with the victim's name on the label.
Nick: You know I don't want to disappoint you, Nigel, but this isn't the first time I've had a g*n in my face.
(NICK takes a step toward NIGEL.)
Nick: How do you want this to end, Nigel?
Nigel Crane: How do I want this to end? I want you to be able to remember my name.
(NIGEL CRANE pulls the g*n back from NICK and toward his own throat. NICK quickly realizes what NIGEL CRANE has planned and lunges for the g*n. The two struggle for its possession.)
(At the same time, POLICE OFFICERS batter ram through the front door crashing it in and splintering the door frame. BRASS and several OFFICERS rush in to the house, their g*n drawn.)
Officer: g*n! OFFICER: Get down! Get down!
(NICK successfully gains possession of the g*n, holds it up at the ceiling and takes a step back. The OFFICERS manage to subdue NIGEL CRANE.)
Officer: Put him down. OFFICER: Cuff him. OFFICER: Get him secured.
Brass: Hey.
(BRASS turns to support NICK, who breathes heavily with the effort.)
Brass: It's, it's done. All right?
(NICK nods and breathes heavily.)
Nick: Yeah.
CUT TO:
(NIGEL CRANE sits alone at the table in the interrogation room continually murmuring the same line over and over again. Through the reflection in the glass, we see NICK watching from the observation room next door.)
Nigel Crane: (murmuring) I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I? I am one, and who am I?
[INT. OBSERVATION ROOM]
(Also in the Observation room, CATHERINE, GRISSOM, WARRICK and SARA watch with NICK.)
Nick: Why me?
Grissom: I don't think it was about you, Nick. Or Jane Galloway, for that matter. I think it was more about Maslow's Hierarchy of Needs. His premise is that social beings strive to belong. In Nigel's mind, Jane Galloway was someone he could control which was okay for a while but you ... you were someone he could actually become. See, Maslow's Fifth Tier of the Hierarchy is Self-Actualization.
Nigel Crane: (V.O.) I am one, and who am I? GRISSOM: The problem for Nigel is that you would have to die in order for that to happen. Or else he would.
(In the room next door, NIGEL STANDS up and slowly walks toward the two-way mirror.)
Nigel Crane: (background) I am one, and who am I?
(Cut to SARA and WARRICK sitting in the back of the observation room.)
Sara: Twenty-five years to life, Nick. It's over.
Nick: It's not over for me. It's over for Jane Galloway.
Catherine: (sighs) Well, we should get back to the lab.
(CATHERINE stands an puts a comforting hand on NICK'S shoulder.)
Grissom: Yeah.
(GRISSOM also stands. In the back, WARRICK and SARA move toward the door. They slowly exit the room.)
(NICK hasn't moved yet. Through the two-way mirror, he watches NIGEL CRANE who walks along the mirror murmuring to himself the same line over and over again.)
Nigel Crane: I am one, and who am I? I am one, and who am I?
(He holds out both his hands in front of him as if reaching for something in front of him. NICK still doesn't move.)
Nigel Crane: I am one, and who am I? I am one, and who am I? I am one, and who am I? And who am I?
(Two officers take NIGEL CRANE away. NICK is left standing there in front of the mirror.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x19 - Stalker"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
(Camera moves fast and low to the ground. Flash to white.)
[EXT. RESIDENTIAL AREA (STOCK) - NIGHT]
(Camera moves swiftly past residential homes. Past a home with a rickety wooden fence. The number painted on the sidewalk indicates that it's property lot #302. The camera turns into the driveway of this home, moving low to the ground. Flash to white.)
(The camera moves along the path past the lawn and the trash can. The camera moves along the sidewalk, still, low to the ground. It passes by an old car tire and turns up the porch stairs. The camera climbs up the porch stairs and heads straight into the house through the kitty door.)
CUT TO:
[INT. MRS. RUTH ELLIOT'S HOUSE -- NIGHT]
(Camera cuts into the house where we see a cat burst in through the kitty door. All during the intro, we were traveling through the eyes of the cat. The cat runs into the house and down the hallway.)
(The house is dark and unkempt. There are more cats. in the house. The cat we've been following heads to the living room where there are other cats also gathered. Cats meowing. They're gathered at the center of the living room. Growling. Hissing. Feeding.)
(The camera moves up along and we see that the cats are feeding on a d*ad body.)
CUT TO:
[EXT. MRS. RUTH ELLIOT'S HOUSE - NIGHT]
(Close up on the back of SGT. O'RILEY'S neck. The camera follows behind him as he makes his way toward GRISSOM and CATHERINE, both carrying their CSI kits. Indistinct radio transmissions can be heard in the background.)
Sgt. O'Riley: Welcome to the wild kingdom. Vic's Ruth Elliot, 80 years old. Had at least 20 roommates, all of them feline. Animal control's rounding them up now.
Catherine: Who alerted homicide?
Sgt. O'Riley: Mail was piling up. Mailman looked in the window and called 9-1-1.
(SGT. O'RILEY turns around and heads back into the house. He calls behind him ... )
Sgt. O'Riley: Take a deep breath before you go inside.
(GRISSOM and CATHERINE follow. As they walk up the pathway, several animal control personnel carry cages with cats in them.)
CUT TO:
[INT. MRS. RUTH ELLIOT'S HOUSE - NIGHT -- CONTINUOUS]
(CATHERINE and GRISSOM enter the house. CATHERINE'S reaction is instantaneous.)
Catherine: Oh, god! Ugh! I didn't think anything could mask the smell of a decomp.
Grissom: Male cat urine ... to us, smelly. To a female cat, it must be like aftershave.
Catherine: Me-ow.
(DAVID PHILLIPS walks up to them to give them his report.)
Grissom: David.
Catherine: You don't look so good.
David Phillips: Allergic to cats.
Catherine: Oh, bummer.
(DAVID PHILLIPS blows his nose.)
David Phillips: Rigor mortis has passed. Lividity is fixed. Extensive marbling on her limbs. She's been d*ad three or four days and I need a Benadryl. Excuse me.
(DAVID PHILLIPS walks out of the house past CATHERINE and GRISSOM.)
(GRISSOM hands the camera he was carrying to CATHERINE and turns on his flashlight. They approach the body.)
Grissom: Whoa.
Catherine: She could have died of natural causes. Three or four days, pets could have been looking for their next meal.
Grissom: Sure. Meat is meat.
(Behind them, a cat meows and hisses. They turn around to see Animal Control catch a white cat.)
Catherine: Or maybe they turned on her.
(They both crouch low to get a better look at the body. There are bloody injuries to the body's head and left side, the major feeding sites. Then GRISSOM sees it.)
Grissom: Whoa. Look at this. Flowing wound.
(Quick CGI POV from inside the wound as GRISSOM pulls it open with his fingers. The camera is inside the wound and pulls back to show us GRISSOM looking down through the wound. End of CGI POV. Resume on GRISSOM.)
Grissom: That's a deep wound track. This woman was s*ab. I guess the cats are off the hook.
FADE TO BLACK. END OF TEASER. ROLL TITLE CREDITS.
[Captioning sponsored by CBS CBS Productions and Volkswagen.]
(COMMERCIAL BREAK)
[EXT./INT. MRS. RUTH ELLIOT'S HOUSE - NIGHT]
(CATHERINE finds a single footprint on the hardwood floor. She dusts it and takes a print of it. GRISSOM enters the room.)
Catherine: Floor's covered with trash. Lots of partials. Mostly from animal control boots. But ... I got something here.
Grissom: Distinctive heel and toe. What, a high heel?
Catherine: Well ... an old lady wears flats or slippers. I can't imagine that this vic entertained.
Grissom: You got to be careful with isolation. It can escalate. Before you know it, you're the crazy cat lady living in the rundown house. People stop coming by to visit. You go outside, your neighbors run across the street to get away from you. Eventually, you stop going out altogether.
(WARRICK enters.)
Warrick: Whoo, man! It reeks in here. Who lives like this?
Catherine: Cat lover.
Warrick: You think? So, what do we know?
Grissom: Well, there's no signs of forced entry anywhere.
Warrick: Well, I can see why somebody would want to rob this place. I'll start in the bedroom.
(GRISSOM nods.)
CUT TO:
(WARRICK turns the corner and slowly makes his way to the bedroom. He pushes the door open and looks in on the messy bathroom. He turns and notices the bedroom closet. The large wall safe in the closet bears a large black scorch mark. He opens the safe door. It's empty.)
(Cut to WARRICK dusting the door for prints. He finds a set.)
CUT TO:
[INT. MRS. RUTH ELLIOT'S HOUSE - KITCHEN -- NIGHT]
(GRISSOM holds out a large kitchen Kn*fe for CATHERINE to test. She swabs both sides of the Kn*fe.)
Catherine: No reaction. Knives are clean.
Grissom: Well, k*ller could have brought his own ... took it with him when he left.
(WARRICK enters the kitchen holding the prints he lifted from the bedroom safe.)
Warrick: We might want to reconsider "burglary gone bad." I found a busted safe in the bedroom. Empty. I lifted prints.
Willows: A high-heeled thief who knew exactly what to look for and k*lled the only obstacle in their path.
(Camera holds on GRISSOM.)
CUT TO:
[EXT./INT. GARAGE -- NIGHT]
(NICK and SARA make their way to the garage. They meet up with BRASS who fills them in.)
Brass: Welcome to a 4-45.
Sara: expl*sives. It's been a while.
Nick: Fatalities?
Brass: Just this $50,000 Beemer. Marcie Tobin. Her car. And Marcus Remmick, mechanic, an eyewitness. So, divide and conquer?
Nick: Yeah, I'll take the rig.
Brass: I'll take the grease monkey.
Sara: I guess I got the driver.
(SARA makes her way to MARCIE TOBIN who is already speaking with a police officer.)
Marcie Tobin: (to the officer) How does that make any sense? I mean, why would somebody put a b*mb in my car?
Sara: Ms. Tobin? Hi. I'm with the Crime Lab. Mind if I ask you a few questions?
Marcie Tobin: Have you reached my husband?
Officer: I'll check on it, ma'am.
Sara: Thanks. Can you tell me what happened?
Marcie Tobin: I was on my way to my father's office.
(FLASHBACK of MARCIE TOBIN driving her car along the street.)
Marcie Tobin: (V.O.) On Thursdays we have dinner and then I help him with his payroll.
(Flash to white as MARCIE TOBIN drives, her car begins clanging. Flash to white as MARCIE TOBIN pulls into a garage. She gets out of the car and approaches MARCUS REMMICK, the mechanic.)
Marcie Tobin: Excuse me?
Marcus Remmick: We're closed.
Marcie Tobin: My car is making a really strange noise.
Marcus Remmick: Take it to the dealership in the morning.
(End of MARCIE TOBIN'S Flashback. Resume to MARCUS REMMICK talking with BRASS.)
Marcus Remmick: Lady's driving a brand-new Beemer. First service is 15,000 miles. Things don't go wrong.
Brass: Yeah. But you checked it out anyway, huh?
Marcus Remmick: You know how women get.
(Flashback to MARCUS REMMICK and MARCIE TOBIN at the garage.)
Marcus Remmick: Go ahead, pop the hood.
(Flash to white as the hood is up and MARCUS REMMICK checking the car out. MARCUS REMMICK sees the timer. He turns to MARCIE TOBIN.)
Marcus Remmick: Back away.
Marcie Tobin: Why?
Marcus Remmick: Run, run!
Marcie Tobin: Why?
Marcus Remmick: Run!
(Car explodes. End of flashback. Resume on MARCIE TOBIN.)
Sara: Ms. Tobin, where did you last park your car?
Marcie Tobin: In my house, in my garage.
Sara: And who would have access?
Marcie Tobin: Just me... and my husband. But Johnny had nothing to do with this. He's been at work all day. You can ask him as soon as he gets here.
CUT TO:
[INT. THE GARAGE - NIGHT -- CONTINUOUS]
(Still at the same crime scene, NICK is examining the damaged car ... back seat ... front seat. SARA approaches to lend a hand.)
Sara: Anything probative?
(NICK signals to her.)
Nick: Check out this displacement. Detritus blew backwards.
(Quick CGI POV Flashback of the car exploding from the perspective of the driver's front seat. The expl*si*n blows outward disintegrating the driver's seat. End of CGI POV Flashback. Resume to present.)
Nick: Right into the driver.
Sara: Uh-huh.
(NICK sighs. They both stand.)
Nick: That's intentional.
Sara: b*mb are personal.
Nick: So ... assuming Mrs. Tobin was the intended target the b*mb knew what he was doing.
Sara: Yeah, a hired h*t on a housewife.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Camera top view down on MRS. RUTH ELLIOT'S sheet-covered body. ROBBINS, GRISSOM and CATHERINE stand near the table.
Robbins: Glad I'm a dog person.
Grissom: You know, house cats have only been domesticated for 4,000 years. They still have predatory instincts.
Catherine: Only 4,000?
Grissom: Yeah.
Catherine: But a cat didn't k*ll her.
Robbins: You're right. No vital reactions around the bite marks. Predation is all postmortem. Cause of death: cardiac trauma. She was s*ab lateral to the sternal border, just below the fifth intercostal space
(Quick CGI POV that starts with a top view of the wound and goes straight down into the wound. Down, down, down into the flesh and past the bone and to the heart. Flash to white. End of CGI POV. Resume to present.)
Robbins: ... Straight into the right ventricle. Muscle layers decrease with age. Fascia and tissue layers are easy to penetrate. Can't tell you much about the w*apon but the wound track is slick.
(Quick CGI POV that again starts with a top view of the wound and goes straight down into the wound. It stops mid-way and shows muscles slick with dripping clear-colored liquid. Flash to white. End of CGI POV. Resume to present.)
Robbins: I swabbed the foreign substance sent it to Greg.
Grissom: Anything else?
Robbins: Well, vic's lungs were full of fluid. Probably not relevant to your investigation, but the lab cultured her blood. She had a severe staph infection.
(A cell phone rings. GRISSOM answers it.)
Grissom: Grissom. (pause) We'll be right there.
(He closes his phone.)
Grissom: Homicide has a witness.
CUT TO:
[EXT. TRENT'S HOME - PORCH -- DAY]
(On the porch of home #223, SGT. O'RILEY, GRISSOM and CATHERINE question MRS. JANET TRENT'S two daughters.)
Janet Trent: (prompting) Tell them what you told me. Come on, Jessica. What did you see?
Jessica Trent: Oh, the lady over there the one that died, she was nice. She had cats. Lots of them.
Jackie Trent: Yep.
Catherine: My name's Catherine. What is your name again?
Jessica Trent: Jessica Rachel Trent. I'm eight and a half.
Catherine: Oh, eight and a half. So, I bet you're in the third grade?
Jessica Trent: Yeah. My teacher's Mrs. Armstrong. She's really nice. Except I hate multiplication especially the eight's.
Catherine: You know, I have a daughter. She hates the eight's, too. So, Jessica, can you tell me what you told your mom?
Jackie Trent: I can. Jessica and I were playing handball against the garage door. We saw Mrs. Stein go into Mrs. Elliot's house and they were yelling.
Jessica Trent: When Mrs. Stein came out she looked really angry. K-Kind of like when mommy's boyfriend is late for dinner. She hates that.
Grissom: And, uh ... who is Mrs. Stein?
Sgt. O'Riley: Mrs. Elliot's next-door neighbor. Ran a background check. The good neighbor filed three nuisance complaints against the victim.
(In the house across the street, a woman stands in the window looking out at the crowd on the porch. She moves away when she sees them looking at her.)
(JESSICA TRENT and JACKIE TRENT whisper in each other's ears.)
Catherine: Hey, are you girls sharing secrets? Can you share it with me?
Jessica Trent: All right.
(JESSICA TRENT motions for CATHERINE to lean in close. She whispers something into her ear. CATHERINE smiles when done.)
Catherine: (smiles) Thank you.
Jessica Trent: No problem.
Catherine: (to GRISSOM) I think that we're done here.
Grissom: Okay. Thanks for your help.
Janet Trent: Sure.
(MRS. TRENT and her two daughters go back into the house. SGT. O'RILEY, GRISSOM and CATHERINE move off of the porch to discuss the case.)
Sgt. O'Riley: I'll get a warrant for Mrs. Stein's shoes. See if we can place her at the crime scene.
(O'RILEY walks away and out of screen presumably back to his car to get the warrant. GRISSOM and CATHERINE follow behind at a more leisurely pace.)
Grissom: Don't you have a secret to share with me now?
Catherine: Oh, uh, Mrs. Stein? She hates cats.
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI - GARAGE -- DAY]
(NICK and SARA work on the car. SARA picks up a package full of evidence or rather, parts of evidence and empties it all over the table. NICK helps spread it around as they go through it. NICK picks something up.)
Nick: Another spring.
Sara: Did you know there's a dozen moving parts inside a ticking clock?
Nick: I do now.
(NICK finds something else.)
Nick: Hmm ... hello, sweetheart.
Sara: End cap?
Nick: Pipe b*mb.
(He examines it under a hand-held magnifying light.)
Nick: End cap at both ends. Either one could have come in contact with the expl*sive inside the pipe. I'll swab it see if trace can identify it.
(SARA also found something.)
Sara: I will see your end cap and raise you a grommet.
Nick: A grommet? Inside a pipe b*mb?
Sara: Not in the b*mb, itself, but embedded in the end cap. The wires from the timing device enter the pipe through a hole in the grommet.
(Flash to white. CGI-POV of a pipe b*mb with end caps on both ends. There's the grommit in one of the end caps with a wire running through the hole, along the side, to the alarm clock attached to the side of the pipe. The clock has a nail where the 12 should be and when the clock alarm hits 12, an electrical pulse emits from the alarm clock, along the wire, in to the pipe through the grommit. The pipe b*mb explodes. Flash to white. End of CGI-POV. Resume to NICK.)
Sara: (V.O.) When the timing device is activated, it sets off an electrical charge that detonates the expl*sives inside the pipe.
Nick: Yet the grommet's fully intact. How did it survive the blast?
Sara: I don't know, but they always do.
Nick: And just when I thought you knew everything.
(SARA smiles, embarrassed. BRASS enters.)
Brass: How's the puzzle?
Nick: Hey. Pieces are small, but it's coming together.
Brass: Well, I got a corner piece. The 4-1-1 on Marcie Tobin's husband? Junior foreman on Tobin C & D, Incorporated. The "C" stands for "Construction" the "D" is for "Demolition."
CUT TO:
[INT. TOBIN C & D -- DAY]
(JONATHAN CLADDON is speaking with an employee when NICK and SARA enter the garage.)
Jonathon Claddon: I got to do my job, you got to do your job. So, if this stuff isn't taken down there then we all lose. So, you just make sure that you are in touch with me ...
(JONATHAN CLADDON sends the employee on his way and starts writing on his clip board when NICK gets his attention.)
Nick: Jonathan Claddon?
Jonathon Claddon: Yeah.
Nick: I'm Nick Stokes. This is Sara Sidle. We're with the Vegas Crime Lab. We're here about your wife's car.
Jonathon Claddon: Yeah, she told me you might stop by.
Sara: Mr. Claddon are you a Demolitions expert?
Jonathon Claddon: That's what we do. You must have seen our work on TV. We imploded most of the old strip hotels.
Sara: Do you personally know how to make a b*mb?
Jonathon Claddon: It's not hard. Anybody here could show you how.
Nick: So, I take that as a "yes"?
Jonathon Claddon: If you're implying I had anything to do with all this ... I love my wife.
Sara: Not enough, apparently, to be there for her last night.
(BARCLAY TOBIN approaches the group.)
Barclay Tobin: Johnny, Reynolds needs help loading the truck.
Jonathon Claddon: (to BARCLAY TOBIN) These folks are from the crime lab. They're here about Marcie.
Barclay Tobin: I'd like to talk to them. Alone.
Jonathon Claddon: (to BARCLAY TOBIN) Sorry. (to NICK and SARA) Well, let me know if I can help.
Nick: Will do.
(JONATHAN CLADDON leaves.)
Barclay Tobin: Oh. Barclay Tobin. This is my company. Any leads on my daughter's case? At this point, we're still asking questions.
Sara: Can you tell us about your son-in-law?
Barclay Tobin: Well, I got him his first and only job when he married Marcie.
Nick: You, uh ... you don't think too much of him, huh?
Barclay Tobin: Even less these days. Marcie says that he's cheating on her but I don't think he has the stones.
(He sighs.)
Barclay Tobin: But after last night ...
Sara: Does Johnny have access to expl*sives?
Barclay Tobin: All my foremen have access to dynamite.
Sara: Mr. Tobin, do you fingerprint your employees?
Barclay Tobin: Sure do. It's standard for the industry. Just let me know what you need.
CUT TO:
[INT. CSI - LAB -- DAY]
(NICK enters the lab. GREG is looking through the microscope. He stands when he sees NICK.)
Greg: Before you ask that swab of yours, from the end cap ... let's play "name that chemical compound." Today's category: "expl*sives." 30 seconds on the clock.
Nick: Get ...
(Using a black marker, GREG starts to compose a compound on the glass board. We see GREG write the following (please note that it's incomplete) ...)
H
|
H - C - ONO -
|
H - C - ONO -
|
H - C -
|
H
Nick: (reading) C-3 ... H-5 ... and three molecules of NO-3... nitroglycerin. The expl*sive component of dynamite.
Greg: Now, the other component for dynamite is either silica or sawdust. Your sample contains sawdust.
Nick: Thanks, Greg. What'd I win?
CUT TO:
[INT. CSI - PRINT LAB]
(SARA lifts the print off of the end cap and takes a photo of the print, then scans it into the computer.)
(From the current database on screen, she runs a comparison:
Tobin Construction
*Allen, P.
*Barrington, D.
*Claddon, J.
*Elwes, ...
From the above list, SARA selects "CLADDON, J.")
(The computer screen immediately brings up JOHN CLADDON'S prints from TOBIN CONSTRUCTION on the left side of the screen, and the extracted print from the end cap on the right - Ref#:_938-2038-4937.)
(From the TOBIN CONSTRUCTION fingerprint card, she selects a L. Index finger to compare the mystery print from the end cap. The click and drags the end cap print to the Card print. It immediately finds its fit. It's a perfect match.)
(SARA smiles. NICK enters the Print Lab.)
Nick: Hey.
Sara: Hey.
Nick: Well, you look ...
Sara: Happy?
Nick: Smug, actually.
Sara: I got a perfect print off the end cap. Husband.
Nick: Nice. I got the type of expl*sive used in the pipe b*mb. Dynamite -- nitro and sawdust. The same kind used at Tobin C & D.
(They both smile and laugh.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Jonathon Claddon: You found the end cap? That's not easy.
Nick: Hey, if I were you I'd worry about my fingerprint. How'd it get there?
Jonathon Claddon: My father-in-law's company is the largest purchaser of end caps in Nevada. I log inventory.
Brass: Well, speaking of inventory, I checked the books. As you know, per the A*F every stick of dynamite is catalogued. You logged-out a case of 24. When the demolition project was postponed you returned the case ... one stick short.
Jonathon Claddon: It was stolen. Look, I'm the one who reported the theft. I kept the dynamite in my SUV, inside a storage magazine.
Nick: So, you're telling us someone broke into your vehicle and stole a single stick of dynamite?
Jonathon Claddon: Yes.
(JONATHAN CLADDON looks at NICK, SARA and BRASS.)
Brass: Tell about your girlfriend.
Jonathon Claddon: Is that what Mr. Tobin told you? Marcie's the best thing that ever happened to me. Plus, I've got an ulcer. Do you have any idea what an affair would do to me? I work my butt off for her old man. I barely have enough time to sleep let alone Romeo some other girl. And the truth is, nothing I ever do is good enough. Tobin wouldn't even let Marcie take my name.
Brass: Cry me a river, Johnny.
Jonathon Claddon: You're looking at the wrong guy.
Brass: Then point us in the right direction.
Jonathon Claddon: Marcie handles the payroll and she has a rep for shortchanging overtime. Talk about pissing people off. Any one of those guys could have put that b*mb in her car.
Sara: Why didn't you tell us this before?
Jonathon Claddon: Because it's not her fault. She's just doing what her father tells her.
(Camera holds on SARA as she glances over at NICK.)
CUT TO:
[EXT. DEBBIE STEIN'S HOUSE -- DAY]
(Camera starts from MRS. ELLIOT'S front walkway and unkempt lawn and moves one house to the right to a cleaner, neater home. CATHERINE walks up the sidewalk carrying her CSI kit. She knocks on the door. It opens.)
Catherine: Debbie Stein?
Debbie Stein: Yes.
Catherine: I'm here for your shoes.
(CATHERINE holds out the warrant. DEBBIE STEIN takes it and reads it. She looks up at CATHERINE.)
CUT TO:
[INT. CSI -- LAB]
(Lined up on the table are DEBBIE STEIN'S shoes. Methodically, CATHERINE and WARRICK print the bottom of every left shoe trying to find a match to their print. WARRICK inks the bottom of the shoe, and CATHERINE puts the shoe to paper.)
(The next shoe WARRICK inks, he notices the smell.)
Warrick: Phew. Eau de cat.
(He hands the shoe to CATHERINE. She prints it. She smiles.)
Catherine: Eau de match.
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Debbie Stein: She was a pig. Her house stunk. She didn't belong in the neighborhood.
Grissom: So, I guess it's safe to say you weren't friends? Why were you in her house?
Debbie Stein: I wanted to give her a chance to find homes for her cats before I called the Humane Society. To report her. By law, you can only own three.
Catherine: Well, a witness heard you scream at her.
Debbie Stein: She was irrational. I was angry.
<FLASHBACK>
Debbie Stein: This is disgusting. Nobody lives like this. You've got to get rid of them.
Mrs. Ruth Elliot: These cats are my children, and no one's going to take them away from me.
Debbie Stein: Then you clean up after them. I can smell your house from my kitchen.
</FLASHBACK>
Grissom: When, exactly, did you confront Mrs. Elliot?
Debbie Stein: I don't know. Maybe ... six days ago. Before my trip to L.A. I went to visit my sister. Look, if you have any other questions, I want a lawyer.
Catherine: You're free to go.
(DEBBIE STEIN gets up and leaves the room.)
Catherine: Well, she had an answer for everything.
Grissom: You know, according to Mark Twain the most striking difference "between a cat and a lie is that a cat only has nine lives".
Catherine: What are you saying? That she's lying?
Grissom: Unless her alibi checks out.
CUT TO:
[INT. CSI -- LAB]
(NICK makes a casting of the striations found on the end cap. He examines the casting under a magnifying light.)
Nick: b*mb fastened the cap to the pipe leaving behind tool marks. Check it out.
Sara: What kind of tool leaves evenly-spaced vertical striations?
Nick: A vice grip.
(Flash to white. Quick CGI-POV of a vice grip around an end cap. The vice grip releases and the markings are left behind. End of CGI POV. Resume to present.)
Sara: A vice grip?
Nick: Yeah. Let's get a warrant for Johnny Claddon's home and for Tobin C & D.
(NICK puts the end cap casting in a plastic evidence baggie #1245689. They both exit the lab.)
CUT TO:
[INT. CSI - HALLWAY -- CONTINUOUS]
(NICK and SARA walk out of the lab. NICK, carrying the plastic evidence baggie and SARA taking off her latex gloves. They round the corner and encounter WARRICK walking toward them carrying a file.)
Warrick: Hey, guys.
(The camera focuses on WARRICK and follows him back up the hallway. He meets CATHERINE in the hallway. They both make their way back to the Print Lab.)
Catherine: Hey!
Warrick: Talked with O'Riley. The neighbor's alibi does check out. She was at her sister's in L.A. During the time of the m*rder.
Catherine: Well, there goes our only suspect.
Warrick: Not so fast. I got another one. We have a match on that print that we found on the wall safe.
Catherine: Right!
(WARRICK brings up the print and the identification on the bottom reads: )
TYLER ELLIOT Work Card Status: Non-Gaming Work History: Electrician 1997-1999
Work Location: Tangiers Age: 45 years
Warrick: Yeah. He has a non-gaming work card. He's 45 years old. He was an electrician at the Tangiers from '97 to '99. His name is Tyler Elliot.
Catherine: That's the same last name as the vic.
Warrick: Victim's son. Only child.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Tyler Elliot: I wasn't skipping town.
Sgt. O'Riley: That why you had a duffel bag in the back seat?
Tyler Elliot: I was going camping out at Red Rock. And suddenly, these cops pull me over. They take me into custody. My car's still up there.
Grissom: Your mother died and you never claimed the body. How come?
Tyler Elliot: Funerals are expensive. I'm broke.
Sgt. O'Riley: Records show he filed for bankruptcy last month.
Tyler Elliot: I figured ... let the county pick up the tab. No one was going to show up anyway. It's not like we were close.
Sgt. O'Riley: So, how often did you see her?
Tyler Elliot: Twice a month. Went over, made sure her bills got paid. Brought her medication. Stocked the fridge. All the stuff any good son is supposed to do.
Catherine: Mr. Elliot, we found your mother's safe. It was busted open and your prints were all over it.
(He scoffs.)
Sgt. O'Riley: Something funny?
Tyler Elliot: About a month ago, she called me up -- middle of the night -- hysterical. Her precious tabby was locked inside. She couldn't remember the combo.
(He sees CATHERINE and GRISSOM'S doubtful looks. He elaborates.)
Tyler Elliot: I didn't steal her money. She didn't have any. The only thing she owned was the house. And she left that to some damn cat sanctuary.
Grissom: And so ... that's it?
Tyler Elliot: I'm flat broke and she gives her house to complete strangers. Can, uh ... can somebody drive me back to my car, if we're done?
CUT TO:
[EXT. TOBIN RESIDENCE -- DAY]
(MARCIE TOBIN and JONATHAN CLADDON walk outside to meet with NICK and SARA.)
Marcie Tobin: You know, since my car blew up everybody is in my business. All of a sudden, everybody has something to say. You know, an opinion, a theory. My life is an open book and my father wants me to hire a bodyguard. For what? To protect me From who? You know what I think? Someone put the b*mb in the wrong car. I think they confused our house with somebody else's because stranger things have happened.
Sara: Marcie?
Marcie Tobin: Yeah. Sorry.
Sara: Maybe we should talk alone.
Marcie Tobin: Uh, we don't have any secrets.
Sara: Okay. Listen - about your marriage -- your father said ...
Marcie Tobin: ... oh, my god. My father shouldn't have said anything.
Jonathon Claddon: Your father ran his mouth about our personal life?
Marcie Tobin: Johnny, you know what? I, um ... a couple of weeks ago I thought that maybe Johnny was fooling around just because he was never home ...
Jonathon Claddon: I was working.
Marcie Tobin: And never interested ...
Jonathon Claddon: Marcie, we talked about this. You know the pressure your father has me under.
Marcie Tobin: I know. I know.
Jonathon Claddon: It's not fair.
Marcie Tobin: And you know what? You shouldn't put too much stock in this because every couple has their problems.
Jonathon Claddon: Marcie and I have had enough. That's it. Now, you have your warrant, fine. But please no more questions.
(JONATHAN CLADDON puts his arm around MARCIE TOBIN. Marcie sighs. With a hand to her head, she walks away.)
Marcie Tobin: Just take what you need.
CUT TO:
[INT. CSI -- LAB]
(NICK is in the lab working on getting samples on the vice grips. SARA walks in.)
Sara: Hey. You got a head start.
Nick: Yeah, didn't even have to wait for my warrant. I just rolled over to Tobin C & D and before I could say "vice grip" the senior foreman gave me every grip in the house.
Nick: Bad news, though. No matches.
Sara: Ah! One more vice grip compliments of the Tobin/Claddon household.
(SARA gives the baggied vice grip to NICK who immediately takes a sample of the grip markings and makes a casting of it. He compares it to the end cap sample. No match.)
Sara: Aw ... teeth aren't even the same size.
Nick: No. And we're out of vice grips.
Sara: We're out of luck.
Nick: Let's unwrap the Beemer.
(SARA smiles.)
CUT TO:
[INT. CSI -- GARAGE]
(NICK tears through the plastic wrap covering MARCIE TOBIN'S car.)
Nick: You know, when I was 16, I begged my mom for a car. Swore she'd come through.
Sara: What happened?
Nick: Encyclopedia Britannica.
(He chuckles at the thought.)
Nick: All 24 volumes. Still own them, still use them. Okay.
(NICK and SARA look at the decimated car engine.)
(CGI POV as the car engine morphs back into its pre-expl*si*n state as NICK speaks.)
Nick: Mechanic found the b*mb next to the engine mount closest point to the driver. b*mb was on a delay. Clock with a ticking second hand and a nail driven into "12."
(Quick CGI POV camera close up of the alarm clock ticking.)
Sara: That means the b*mb was triggered 60 seconds before detonation, one rotation of the second hand.
Nick: Question is, what started the clock?
(NICK and SARA ponder the possibilities.)
Sara: Something Marcie Tobin touched inside the car?
(SARA moves to look into the front seat of the car.)
(Quick CGI POV as the front driving panel and steering wheel morph back into pre-expl*si*n order.)
Sara: Ignition, door locks window, radio, A/C ... turning signals, hazard lights ...
Nick: Yeah, but we're only dealing with a 60-second time frame.
Sara: Okay, she pulls into the lot, she gets out of the car, and she asks for help.
Nick: Mechanic offers to take a look.
Sara: So, she pops the hood for him.
Nick: Hood release.
(NICK looks at SARA, then looks down at the hood release. The camera moves to close-in on the torn hood release.)
Nick: Whoa. The latch has been blown apart. Which means the hood was down when the b*mb was detonated.
(Flash to white. Quick Flashback with camera focused on the hood release with the hood closed. The car explodes and the latch tears the hood release. Flash to white. End of flashback.)
Sara: How is that possible? The mechanic saw the b*mb.
Nick: X-ray vision? (he laughs)
Sara: Okay, maybe he took one look at it, and he slammed the hood.
Nick: Sara, if you found a b*mb in your car would you close the hood?
Sara: No, I would back away fast. Um... maybe the hood dropped?
Nick: No way. BMW has built-in hood shocks.
Sara: Liar, liar, car on f*re.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(The camera moves down the hallway toward GREG'S Lab. The glass doors are closed. GREG'S sitting at his lab table with his back to the door.)
(Loud music is blaring. GREG is swinging and swaying to the b*at of the music.)
CUT TO:
[INT. CSI - GREG'S LAB - DAY - CONTINUOUS]
(GRISSOM and CATHERINE enter GREG'S Lab. He's wearing a latex glove blown up on his head, a paper mask with lips and teeth on the front, and plastic glasses. He's playing air drums to the extremely loud pulsating music with a test tube grasped in each hand as drumsticks while wearing thick black rubber gloves.)
MUSIC Lyrics: ... doesn't exist / I'm not a sl*ve to a world that doesn't give a shit / (chorus) And when we were good / You just close your eyes / So when we were bad / We'll ...
[Note: From Marilyn Manson, "The Fight Song"]
(CATHERINE looks amused. GRISSOM looks ... "Grissom-ish". CATHERINE turns the tape off. The music stops.)
(GREG stops. He takes the paper mask off of his mouth and smiles.)
Greg: I could have been a rock star.
Grissom: There's still time, Greg. Tell us about the foreign substance we found in the vic's wound track.
(GREG removes the goggles and glove from his head.)
Greg: Uh, well, I like to rub it all over a lady's body. Even better ... I, uh ... like it when she rubs it all over me. And it's also used as a stool softener.
Catherine: It's also the only open lead in our case. Spit it out, Greg.
Greg: Mineral oil.
Grissom: Possibly used as a preservative to prevent rusting of high-carbon steel.
Catherine: Like the blades of knives.
Greg: Old knives. New ones are made from stainless steel. Yeah, I'm like a sponge. I just absorb information.
Grissom: I thought that was my line.
Greg: Yeah, and I absorbed it.
Catherine: (clears her throat) Okay, so ... knives, screwdriver, ice pick, letter opener. We're looking for a w*apon with a splash of mineral oil. I'll grab the A.L.S.
Greg: An A.L.S. For mineral oil?
Grissom: Mineral oil fluoresces at 525 nanometers when filtered through a kv590. A little more absorbing ... a little less rock and roll.
CUT TO:
[EXT./INT. MRS. RUTH ELLIOT'S HOUSE]
(A dog can be heard barking outside the house.)
(Cut to Inside the house. CATHERINE turns the power on and goes through the items on the counter top.)
(Cut to GRISSOM using an ALS in the bedroom. Opening drawers.)
(Cut to CATHERINE in the kitchen going through the drawers.)
(Cut to GRISSOM looking at various items in the bedroom ... glasses ... and umbrella.)
(Cut to CATHERINE going through the unwashed dishes in the sink.)
(Cut to GRISSOM moving out of the bedroom and into the hallway.)
(Cut to CATHERINE finishing in the kitchen. GRISSOM finishes up and hangs in the doorway, leaning on the doorjam.)
Catherine: Now what?
(From behind him, a cat trots by past his legs and out the kitty door. GRISSOM looks at the cat thoughtfully.)
Catherine: I thought animal control rounded up all the cats.
(CATHERINE takes off her goggles. GRISSOM walks toward the door after the cat and opens it.)
Catherine: Where are you going?
Grissom: Following the evidence.
(He walks out of the kitchen to follow the cat.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[EXT. OUTSIDE TRENT HOUSE -- DAY]
(JESSICA and JACKIE TRENT are playing jump rope when the cat from MRS. ELLIOT'S house crosses the street toward them. The cat meows.)
Jessica Trent: Wait.
(They stop jumping rope and turn their attention to the cat.)
Jessica Trent: Rascal. Hi. How'd you get out?
(JESSICA TRENT picks the cat up.)
Catherine: Hi. Girls.
Jessica Trent: Say Hi, Rascal.
(The cat purrs in her arms.)
Catherine: Hi, Rascal.
(GRISSOM notices that the cat has an open wound.)
Grissom: Excuse me, uh ... may I hold your cat?
Jessica Trent: No. He doesn't like you.
(From the house, MRS. TRENT opens the door and calls out to her daughters.)
Janet Trent: Girls, dinner.
Jackie Trent: Doesn't she see we're playing?
Jessica Trent: Just ignore her.
Janet Trent: Girls. I see you've met rascal.
Grissom: Mrs. Trent, I noticed this cat has a sore on its leg. I'd be happy to swab it for you. Might need medical attention.
Jessica Trent: No.
Janet Trent: I don't think that that's really necessary. It's just a cut; it'll heal.
Grissom: But I mean, for your daughter's sake, wouldn't you rather be safe than sorry?
Jessica Trent: I think it's time to go inside.
Janet Trent: Uh, Jessica ... I-I think he might have a point.
Jessica Trent: I want her to do it.
(GRISSOM hands CATHERINE the swab and CATHERINE gives him the goggles to hold. He tucks them in his shirt pocket.)
Catherine: Okay. Rascal.
(CATHERINE swabs the wound. The cat growls.)
Catherine: All righty. Thank you.
Janet Trent: Okay, girls, go wash up.
Jessica Trent: Come on, Jackie, let's go.
(The two girls head back to the house.)
Janet Trent: Kids these days, they just don't listen.
Catherine: Two against one.
Janet Trent: Thank you. See you later.
(MRS. TRENT heads back to the house.)
Grissom: One thing about my mother even though she was deaf, she was always the boss.
Catherine: Huh. Well ... single mom ... juggling a job, a boyfriend. It's just easier to say yes than no and then eventually, they just keep asking for permission. You want to tell me why I swabbed their cat?
Grissom: That cat has an open sore and a missing patch of fur -- both indicative of possible staph infection.
Catherine: And we know that our victim had a staph infection.
Grissom: Staphylococcus bacteria can jump the species barrier -- be passed from human to animal.
CUT TO:
[INT. MARCUS REMMICK'S GARAGE]
Marcus Remmick: (o. s.) Guess I must have shut it, then. I wasn't thinking; I was reacting, you know? No harm, no foul.
Nick: No prints.
Marcus Remmick: Come again?
Nick: Well, if you were pawing all over the hood then your prints should be on it.
Sara: And they're not.
Marcus Remmick: I wear gloves.
Sara: You're not wearing them now.
Marcus Remmick: I wear them most of the time.
Sara: Mind if we take a look around the garage?
Marcus Remmick: Knock yourselves out.
(NICK and SARA look around the garage. They spot the vice grips on the table.)
Nick: Are you thinking what I'm thinking?
Sara: Mechanics use vice grips?
(NICK picks up the vice grips from the tool chest and looks at it.)
Nick: You got any clay?
Sara: No.
Nick: Well... we can't just take the tool without a warrant.
(SARA looks down into the trash bin and picks up a sandwich thrown in there.)
Sara: But ... we can improvise. Trash is trash.
Nick: Cheese. Nice.
(SARA hands the sandwich to NICK who works on making an imprint on the cheese.)
Nick: I'll compare this with our case toolmark.
(Behind him, MARCUS REMMICK reaches over the table to pick up a clipboard. He glances at what NICK is doing. He walks away.)
Marcus Remmick: You guys having fun?
Nick: A blast. Hey, man ... these yours?
Marcus Remmick: Don't use vice grips -- pipe wrench has a better feel. Must belong to one of my mechanics.
Sara: Thanks ... I'll take the prints on those.
(SARA takes the cheese and walks over to her CSI kit.)
Nick: Boy, you just have an answer for everything, don't you?
Marcus Remmick: Yeah, I guess I do.
(MARCUS REMMICK turns and walks away. Camera holds on NICK.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI -- LAB]
(NICK takes the cheese out of the plastic baggie and puts it under the microscope for comparison with their existing cast of the end cap. The prints match perfectly. NICK looks up. He walks over to the next lab where SARA is at the computer.)
Nick: Striae are identical. Auto body vice grip was definitely used to tighten the end cap. Mechanic's prints on file?
Sara: Marcus Remmick. Arrested for fraud in 1994. He was selling used parts as new. Prints are in AFIS, but they don't match the vice grip. And, in fact, AFIS drew a blank.
Nick: Hmmm. Then what are you running?
Sara: I'm running a Tobin C&D database.
Nick: Oh. sh*t in the dark.
(The computer beeps as it runs a print comparison from their existing print to the prints in the database.)
(It finds a match.)
Sara: Even a sh*t in the dark hits sometimes.
(SARA smiles.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Marcie Tobin: Why would I put a b*mb in my car?
Sara: Not only did you put a b*mb in your car -- you made it yourself.
Marcie Tobin: Why would I do that?
Brass: The business registration shows that you own 25% of your father's company. So Nevada's a community property State-- you divorce Johnny he becomes a part-owner of Tobin Construction. That wouldn't sit too well with dad, would it?
Sara: But if Johnny goes down for attempted m*rder, he goes to jail and you get to keep everything, because a criminal can't benefit from his own malfeasance.
Marcie Tobin: This is absurd.
(MARCIE TOBINS stands to leave. She stops at the door.)
Brass: You know, for your information, um ... your mechanic friend lawyered up. Guys with records roll fast.
Marcie Tobin: He's not my friend.
Nick: Really? Because we found your prints on a tool at the body shop. It was the same tool we know was used to make the pipe b*mb.
Brass: (quietly) Sit down.
(MARCIE TOBIN sits back down at the table.)
Sara: You and Marcus tag-teamed us. You never popped the hood; he never shut it-- it was latched.
Nick: Fortunately for you, you only worked Thursday nights, because your little plan took a lot of extra time and effort.
(Quick flashback to MARCIE TOBIN taking the one stick of dynamite out of her husband's car. She's wearing thick, black gloves to do the deed. Flash to white as MARCIE TOBIN removes an end cap from the box on the shelf. Flash to white. MARCIE TOBIN and MARCUS REMMICK standing at the work table in the back of his garage. Flash to white. MARCIE TOBIN tightening the end cap to the b*mb with the vice grips. Flash to white. The end cap on the pipe b*mb. Flash to white. End flashback. Resume on MARCIE TOBIN.)
Nick: (V.O.) You snagged a stick of dynamite out of Johnny's SUV, took an end cap out of inventory, knowing we'd trace it back to Johnny if we found it. And then at the body shop, you put it all together.
Marcie Tobin: So what if I made a b*mb? That's not a crime.
Nick: Really? You sure about that?
(MARCIE TOBIN swallows nervously.)
(Quick Flashback to MARCUS REMMICK putting the finished pipe b*mb in the engine. Flash to white as MARCUS REMMICK shuts the hood of the car. Flash to white as MARCUS REMMICK leans over the driver window.
Marcus Remmick: Ready.
(Flash to white as MARCIE TOBIN turns on the car's CD player (Track 12). She smiles.)
Marcie Tobin: 60 seconds.
(Quick CGI POV Close up as the electric charge starts with the CD player. Camera moves forward through the dash board and follows the electric pulse through the wires, through the engine, past the engine piece BMW 11.61-1729 / PA66+GF-3 ... )
( ... all the way through to the alarm clock that sets it off. Cut to clock ticking down 12 - 11 - 10 ... Cut to MARCUS REMMICK and MARCIE TOBIN move to stand behind the wall. Cut to a close up of the alarm clock running down ... 7 - 6 - 5 - 4 - 3- 2- 1. Cut to MARCUS REMMICK and MARCIE TOBIN watching as the car explodes. Flash to white. End of flashback. Resume on MARCIE TOBIN.)
Brass: You used to own a '92 volvo. I ran your credit card. You owe $20,000 in auto body repairs. Your dad kicked in $30,000. I ran his credit card, too. That's 50 g's for a leaky transmission.
Nick: You needed Marcus' help to wire the b*mb and substantiate your story. So the two of you paid him $50,000 for services rendered.
Marcie Tobin: Look, I'm fine, and my husband is fine, and it was my car that exploded so does this ... really need to go any further?
Brass: Ma'am, you and your father conspired to frame your husband for attempted m*rder.
Nick: So, you're both looking at, what, uh ... twenty-plus.
Sara: Oh, and Johnny's getting a promotion.
CUT TO:
(Camera close up of a petrie dish with culture growing. Time camera on fast forward.)
(GRISSOM opens the door and removes the petrie dish.)
Grissom: Girl's cat ... positive for staphylococcus.
Catherine: You know, I spoke with Janet Trent. She and her daughters are all healthy.
Grissom: Could their cat have been infected by Mrs. Elliot? Could rascal have been her cat at one time?
Catherine: What, and she ... gave it to the girls?
Grissom: No.
Catherine: So if it was hers, and she... didn't give it away ...
Grissom: Maybe someone in the Trent house adopted it.
CUT TO:
[EXT./INT. TRENT HOME -- NIGHT]
(JESSICA TRENT is holding Rascal. JACKIE TRENT stands nearby. Their front door is open and an officer stands next to it. A blue-ish colored light from the ALS glows inside.)
(Cut to GRISSOM using an ALS to search for the m*rder w*apon. Camera pans to the framed family photos on the table.)
(Cut to CATHERINE using an ALS in the girls' bedroom. She searches the shelf and sees something. She puts the light down and picks up a pen. Camera close up notes that the part of the pen that contained water is chipped and the water is missing.)
(CATHERINE opens her kit and tests for blood on the pen. The test is positive.)
(Quick CGI-POV close up of the pink floaty pen piercing through MRS. RUTH ELLIOT. End of CGI-POV.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(CATHERINE holds up a plastic evidence bag with the pen.)
Catherine: We know that Mrs. Elliot was k*lled by this pen. Can one of you tell me what happened?
Child Advocate: Girls, do you understand what Ms. Willows is asking you?
(The two sisters look at each other.)
Jackie Trent: I'll tell.
Jessica Trent: No. You promised.
Catherine: Jessica, in this room, the only promise you make is to tell the truth.
Jessica Trent: She didn't mean to do it. I'm sure she didn't.
Catherine: Who?
(JESSICA turns her head slightly toward the mirror.)
Jessica Trent: Mommy.
(Cut to inside the Observation Room where we see a reflection of JANET TRENT in the mirror. She looks absolutely shocked at what she's hearing. GRISSOM is there in the room standing next to her. CATHERINE looks up at them surprised at the girl's response.)
Catherine: What did your mother do?
Jessica Trent: Mrs. Elliot should have just given us the cat.
<FLASHBACK>
Janet Trent: He's always at our house. Rascal likes it there.
Mrs. Ruth Elliot: I won't give them away.
Janet Trent: Look, then I'll pay you for him.
Mrs. Ruth Elliot: I'm sorry. Every child should have a cat but these are mine.
Janet Trent: Just give me ...
Mrs. Ruth Elliot: Oh!
Janet Trent: Girls, take the cat and run. Go. Go.
Mrs. Ruth Elliot: (crying) No! Please... no!
</FLASHBACK>
Jessica Trent: So then we ran, and that's when we heard the old lady scream.
Catherine: Jackie?
(JACKIE TRENT doesn't say anything. She doesn't even look at CATHERINE.)
Catherine: Girls, do you ... know about fingerprints? When you ... touch something -- like this floaty pen, for instance -- you leave behind an invisible mark that's special, that's yours. I have a way to ... see these invisible marks. And we found these fingerprints on the pen. And they don't belong to an adult.
(JACKIE and JESSICA look at each other. JESSICA shakes her head. JACKIE looks back at CATHERINE.)
Jackie Trent: They're not mine.
Jessica Trent: Tattletales burn in hell.
(JESSICA turns to CATHERINE and sits back in her chair.)
Jessica Trent: The old lady should have just given me the cat. I lied before. She wasn't nice. She was mean.
<FLASHBACK>
Jessica Trent: My mom said we can keep him. Please?
Mrs. Ruth Elliot: These are my babies. I don't give them away.
Jessica Trent: But you have so many. We don't have even one.
Mrs. Ruth Elliot: I'm sorry.
(MRS. RUTH ELLIOT smiles and holds out her hands for the cat JESSICA'S holding. JESSICA doesn't move. MRS. ELLIOT doesn't smile as she realizes that JESSICA'S not going to give her cat back. JESSICA hands the cat to JACKIE.)
Jessica Trent: Run, Jackie!
(JESSICA runs toward MRS. ELLIOT and knocks her over.)
Mrs. Ruth Elliot: I'll tell your mother!
Jessica Trent: You won't!
(JESSICA uses her pen and s*ab MRS. ELLIOT. She looks down at her hand holding the pen and covered with blood. She rubs the blood off her hands onto her shirt. She stands and runs.)
</FLASHBACK>
(CATHERINE sits back in her chair. The CHILD ADVOCATE stands and moves to the two girls where she starts speaking with them.)
CUT TO:
[OBSERVATION ROOM NEXT DOOR]
Grissom: Did you know?
Janet Trent: (crying) I told the girls that they could have a cat if Mrs. Elliot gave them one. I knew she never would. That's why I made the promise.
Jessica Trent: No, I need mommy. (crying) Mommy. I want my mommy! No!
Jackie Trent: Jessica!
Jessica Trent: Please ... mommy ...
(JANET TRENT watches through the mirror.)
Jessica Trent: (crying) Mommy ...
(Camera holds on GRISSOM.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x20 - Cats in the Cradle"} | foreverdreaming |
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. LAS VEGAS CITY (STOCK) - DAY]
CUT TO:
[EXT. SUNSET PARK (STOCK) - DAY]
(It's a bright, beautiful day at the park. The camera passes by a couple of teenagers walking and holding hands, a family barbeque-ing, a couple of kids with water g*n and a group of children running and playing tag.)
(One particular little boy running and being chased by the others in his group, trips and falls on a patch of dirt. He starts screaming immediately. He gets up, holds his hands out in front of him and starts screaming.)
Little Boy: Mom! Mom! The dirt b*rned my hand!
(The camera focuses on the little boy's hands as it turns red ... burning his skin.)
FLASH TO WHITE:
[EXT. SUNSET PARK -- NIGHT]
(The little boy's hands are being wrapped. Sirens blip in the background. GRISSOM and SARA appear at the scene carrying their CSI kit. They meet up with BRASS, the three of them making their way toward the body. They walk between the ambulance on the left and the Clark County f*re Department Hazardous Materials' Truck on the right.)
Grissom: What's Hazmat doing here?
Brass: Kid's playing tag, takes a header in the dirt ends up with first-degree on his hands.
Sara: Wait. We got a call about a d*ad body.
Brass: Yeah, I'm getting there. So, Hazmat arrives figuring some sort of chemical spill. Starts removing the toxic soil, and bamm a shovel slams into a shoulder blade.
(BRASS indicates some area off screen and to his right.)
FLASH TO WHITE: SHORT TIME CUT TO:
(The forensic team surrounds the site.)
Sara: (V.O.) Clothing's been reduced to shreds. Epidermal tissue. Is virtually gone. The body's desiccated.
(The camera starts at the body's legs and feet then moves slowly up toward the head.)
Grissom: Viscous fluid the consistency of dishwashing soap. Hazmat guy was right. k*ller doused the body in lye.
Sara: Must have thought it would destroy the body.
Grissom: Yeah, ashes to ashes, dust to dust. Without the wait.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
[EXT. SUNSET PARK -- NIGHT]
(SARA is standing in the grave site with the body. Dispatcher noise can be heard in the background.)
HazMat: Ma'am, I'm sorry, but I need to neutralize the soil.
Sara: If you touch the soil you're going to contaminate my crime scene, but I'll let you know when I'm finished.
HazMat: Okay.
(The Hazmat man leaves, GRISSOM approaches SARA. He crouches down toward her.)
Grissom: What'd you get?
Sara: Vic's wallet, what's left of it. It's a Nevada License. Bob Martin. 31. He lived downtown. There's 20 bucks in the flap. Rules out robbery.
(SARA is holding a wallet in her hands with the following Nevada Driver's License information showing: )
283264064711?
(name) BOB MARTIN
(address) 45?? ??? MATRIA LAS VEGAS NV 89108
NONE
(weight) 175
BRN
(GRISSOM looks around the grave site and notices shiny white flecks. SARA picks up a sample for a closer look.)
Sara: Look at this.
Grissom: Looks like a paint fleck or metal chip, maybe.
Sara: What'd the ranger say?
Grissom: Nobody saw anything suspicious. Park closes up at 10 p.m. No security, minimal lighting. Basically, a pretty good place to dump a body.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
Robbins: You found this guy in the park?
Grissom: Actually, Hazmat found him.
Robbins: Well, that explains the postmortem scar tissue. Lye had a field day on his flesh.
(Quick flashback to powdery lye being poured over the d*ad body lying on the ground in a cloud of dust. Camera close up of the d*ad body's head and its burning flesh. Flash to white. Resume on SARA.)
Sara: Time of death?
Robbins: Approximately 24 hours ago. Tell me about the car.
Sara: Car? What car?
(ROBBINS pulls the sheet covering the lower body aside to expose the legs. He points to the wounds in the knees.)
Robbins: Comminuted fractures of the proximal tib-fib. Both legs. Bumper hits right below the knees. Sure sign he was h*t by a car.
(Quick flashback to car headlights on a pair of legs standing in the middle of the road. Cut to side view of the impact of the car on the legs. Flash to white. Resume on present.)
Grissom: Look at all the bruising. If he was struck and k*lled, ecchymosis would be nonexistent.
Robbins: Which suggests he survived the impact. Usual injuries. Ruptured patellar tendon, laceration of the saphenous vein and multiple incised wounds containing slivers of glass ...
(ROBBINS picks up a piece of glass from the d*ad body's cheek. He puts it aside.)
Robbins: ... which I will send over to trace and bruise legs, arms and chest. What I didn't find was arterial lacerations or underlying vessel damage.
Sara: Just confirms death wasn't immediate?
Robbins: Correct. Victim was like a leaky water balloon. Heart slowly pumped blood right out of his body and based on the coloration of the bruises, trauma was sustained approximately 48 hours before death. Three days ago, this man was injured. He bled out until he died yesterday.
Grissom: We didn't find any blood.
(Camera holds on GRISSOM.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT LAS VEGAS DESERT (STOCK) - NIGHT]
[EXT. LAS VEGAS DESERT - DIABLO CANYON -- NIGHT]
(NICK arrives at the site and walks toward the crime scene. He's carrying his CSI kit and is met up by DET. LOCKWOOD.)
Nick: Lockwood.
Det. Lockwood: Hey, Stokes.
Nick: Who called it in?
Det. Lockwood: BLM chopper pilot. They always buzz diablo canyon looking for hikers in distress. Or worse.
Nick: He see anyone else in the vicinity?
Det. Lockwood: No, just the vic: Stacy Warner, 26. Las Vegas resident. I scanned for a missing persons on her. Nothing.
(They arrive at the site where a woman lies d*ad on the ground.)
Nick: No tire treads. Whose are these?
Det. Lockwood: Paramedics and mine. Same path. Walked straight in, straight out.
Nick: Engagement ring, no wedding band.
(NICK puts his kit down and reaches out to brush the hair on the woman's forehead aside. He notes the wounds on the woman's right cheek. He opens her right eye lid to look at her pupils.)
Nick: Orbital bone looks fractured.
Det. Lockwood: Could have lost her footing and h*t her head.
Nick: Could've. Hold that for me?
(NICK hands his flashlight to the Detective beside him. He pulls out forceps to take a sample of some fibers found at the left corner of the woman's mouth. He holds it up to look at it.)
Nick: Down feather.
Det. Lockwood: But she's not wearing a jacket.
(NICK takes the sample. He notices something else.)
Nick: Shine that right here.
(DET. LOCKWOOD continues to hold the flashlight. From the woman's ear, he finds a larvae. He puts it in a plastic container.)
Nick: Grissom should enjoy this. Hey, Lockwood you got any food in your vehicle? Hamburger, anything like that?
Det. Lockwood: Gum, sugar-free.
Nick: No, gum'll k*ll him. I'll stop at the first place I see pick up some jerky.
(NICK caps the container and pulls out a second container and hands it to DET. LOCKWOOD.)
Nick: Will you get me a sample of the ground underneath the body?
Det. Lockwood: Soon as the coroner moves her.
Nick: Good.
(NICK picks up his case and leaves the scene. DET. LOCKWOOD follows.)
CUT TO:
[INT. REED COLLINS' RESIDENCE - LIVING ROOM -- NIGHT]
(REED COLLINS stands in front of the large screen television set. A baseball game is playing on screen. He turns around.)
Reed Collins: Bob is d*ad?
Brass: His body was found at Sunset Park. His license gave this address.
Sara: Are you his domestic partner?
Reed Collins: We're roommates. I got divorced last year. And about six months ago, Bob's wife kicked him out. He needed a place to crash and I needed help with the mortgage. He's two months late on the rent. How do I go about collecting under the circumstances?
(SARA doesn't say anything. She turns to look at BRASS. BRASS turns to look at REED COLLINS who clarifies.)
Reed Collins: Look, we were roommates. We weren't really friends.
Brass: When was the last time you saw him?
Reed Collins: We both work at the Tangiers. He managed the restaurant, and I work in maintenance. Last monday we drove in together.
Brass: But you didn't drive home together?
Reed Collins: Mondays? No. After shift, he'd walk over to the university. He's an amateur photographer. Take the bus home.
Sara: But he didn't come home Monday night ...
Reed Collins: I didn't think much of it. He's always going back and forth with Charlotte. His wife. What do I care? As long as the rent's paid.
CUT TO:
[EXT. UNIVERSITY - PHOTOGRAPHY BUILDING -- NIGHT]
(Standing at the side of the road outside the Photography Building at the University, GRISSOM looks around. He sees the bus stop across the street. SARA approaches from behind. She's carrying a stack of photographs.)
Sara: Photo department kept a log. Bob Martin reserved a darkroom on Mondays from 10:00 to 11:00 P.M. He was logged in Monday night.
Grissom: Good. We got a bus to catch.
(Taking a-hold of her elbow, GRISSOM guides SARA across the street. SARA is still looking through the photographs. A car beeps its horn as it rushes by them. They stop, startled. They continue across the road. SARA looks through the photos.)
Sara: He left these photos behind. They're all of the same woman. I bet it's his wife.
(The photos are of a dark-haired woman. While crossing the street, GRISSOM notices silver flecks on the road. He reaches down and shines his flashlight down the road. SARA notices it also. GRISSOM reaches down and picks one up to look more closely at it.)
Grissom: Silver flecks ... like the one you found with the body.
(SARA reaches down and notice something. She picks it up.)
Sara: I got a piece of plastic. Looks like a headlight cover, maybe. This could be our crime scene.
(Quick flashback to BOB MARTIN crossing the same roadway while holding a stack of photographs much in the same manner that SARA had. As he crosses, a car speeds by and makes contact with BOB MARTIN. BOB MARTIN flies up and hits the windshield. Flash to white. Resume on SARA.)
Sara: Assuming this was a h*t-and-run how does a guy with two broken legs end up on the other side of town buried in a park, covered in lye?
(GRISSOM doesn't answer her. He looks around.)
Sara: What are you looking for?
Grissom: No sign of blood. No evidence of a cleanup.
Sara: If this is our crime scene then somewhere between here and Sunset Park, Bob Martin lost eight to ten pints of blood.
(SARA looks around and shakes her head.)
Sara: Where is it?
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN
[INT. CSI - GREG'S LAB -- NIGHT]
(GRISSOM enters.)
Grissom: So do want to tell me about the silver flecks I found? Paint chips?
Greg: Aluminum and melamine in the color coat indicate that it's car paint. Factory job. Uh, body shop paint contains styrene, not melamine.
Grissom: Mm, what type of car
Greg: Trick question. Paint won't tell me that. But I do have an answer. It's not technically part of my job description but as you know, I'm always eager to expand my responsibilities. Take a look down the scope.
(Through the microscope, we see the piece of glass SARA picked up from the roadway. The magnification increases and we now see the cross hairs on the plastic.)
Grissom: Looks like some sort of insignia.
Greg: Crosshairs. That's the plastic you collected at the accident site. Now that mark is only found on the S-Class Mercedes. It's all about branding. Now knowing that the headlight came from a Mercedes, I was able to compare the infrared spectra with the paint spectra supplied by the manufacturer. Check this out.
(GREG hands GRISSOM the test results.)
Greg: Your vehicle was painted Sarasota Silver. Also, only available on the S-Series '99 models. I checked with the Mercedes State Rep. Five were sold in Nevada. Sara's tracking down the owners.
Grissom: You've, uh, already shared this information with Sara?
Greg: Yeah, an hour ago. And she was way more fascinated than you are.
Grissom: Well, I'm somewhat fascinated by the fact that I'm your boss, but you talked to her first.
Greg: Well, you were at dinner.
Grissom: I've been in the lab all day, Greg.
(Camera holds on GREG.)
CUT TO:
[INT. CSI - LAB/HALLWAY -- CONTINUOUS]
(GRISSOM leaves GREG and exits the lab to the hallway where he promptly meets up with SARA. GRISSOM is still holding his file.)
Sara: I've been looking for you.
Grissom: Well, it's hard to see me if you and Greg are out ahead of me.
Sara: Oh, uh, sorry about that but Brass got me a list of those Mercedes owners. One moved to Los Angeles, three are over 50. My guess, they would have stopped and rendered aid. Brass is checking them out which leaves a Ben Weston, 25. Leased the vehicle last week.
(GRISSOM takes the open file that SARA hands him. They walk out of camera frame.)
CUT TO:
[INT. BEN WESTON'S OFFICE - DAY]
Ben Weston: You found my car?
Grissom: Why? Is your car missing?
Ben Weston: Yeah, isn't that why you guys are here? I filed a police report a couple days ago. God, I love that car. Hocked my future on it. Tell me it hadn't been stripped.
Sara: You wouldn't happen to have a copy of that police report, would you?
Ben Weston: I'm a lawyer.
(BEN WESTON smiles. He reaches down and hands the file to SARA. There are boxes stacked all over his office. It's as if he just moved into it.)
Ben Weston: Here you go.
Sara: Sarasota Silver, S-Series, stolen Monday night.
Ben Weston: Yeah, I stopped for take-out after work. When I came out, it was gone.
Grissom: Don't most of these luxury vehicles have security systems?
Ben Weston: What's with all the questions?
Grissom: We're investigating a possible h*t-and-run.
Ben Weston: You think the bastard that stole my car h*t someone?
(Instead of answering him, GRISSOM looks around the room and his eyes instantly land on the young lawyer's diplomas. One from St. Ignacias High School and the other from Nevada State Law School.)
Grissom: Ignacias High, Nevada State University ... are you a local?
Ben Weston: Yeah. Great town. I studied my ass off in law school. Passed the bar first time.
Grissom: Good for you. Let me guess -- criminal defense?
Ben Weston: Everyone deserves representation.
Grissom: Yes, they do. Would you happen to remember what clothes you were wearing yesterday?
Ben Weston: A blue pinstripe, a light blue oxford, gray tie -- a gift from my girlfriend. First week as an associate -- firm like this you tend to pay attention to wardrobe.
Sara: Mr. Weston, we'd like to take a look at those clothes.
Ben Weston: Really? Well, you need a warrant.
(BEN WESTON looks at SARA. She shakes her head. She doesn't have one. BEN WESTON smiles.)
Ben Weston: But I'm a nice guy. I picked them up at lunch. Downstairs -- one-hour dry cleaning.
Sara: Nice suit.
Ben Weston: Thank you. I just bought it.
(SARA and GRISSOM both look at the shirt. Without removing the plastic covering, the both immediately notice the damage.)
Sara: I hope you didn't just buy the shirt.
Ben Weston: Oh, come on. I've been meaning to change dry cleaners.
(BEN WESTON looks at the shirt and takes the cleaning away from SARA.)
Sara: Well, maybe you shouldn't have gotten lye on it. Lye is an alkali and when it's mixed with water, it eats right through fabric. Mr. Weston ... you mind taking off your shirt?
Ben Weston: Excuse me?
Sara: Lye can burn through fabric. It can also burn through skin.
Ben Weston: I have my limits. You want me to strip, you're going to need a warrant. But since there's no basis for your request you can forget about it.
(Camera holds on GRISSOM.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(The table is pulled out of its storage unit. The sheet is pulled away from the body to show the woman from the desert.)
David Phillips: She drowned.
Nick: This is the girl I found in the desert.
David Phillips: I am aware of that. She drowned.
Nick: It's not possible, Dave-O. She was found in Diablo Canyon -- miles from the nearest water source. Lake Mead's got to be 20 miles away.
David Phillips: Desert, no desert -- I don't care. She drowned. Look, if it's any consolation she dry-drowned.
Nick: Dry-drowned?
David Phillips: Happens in about ten percent of all cases.
(DAVID PHILLIPS opens the woman's mouth.)
David Phillips: When dry-drowning occurs the larynx closes involuntarily ...
(Quick CGI POV. Camera moves down the woman's open mouth. Down her throat. Down her wind pipe. The wind pipe closes as liquid fills up. Flash to white. Resume on NICK.)
David Phillips: ... preventing air and water from entering the lungs resulting in hypoxia -- a reduced concentration of oxygen in the blood. Thus, water's kept out of the lungs -- dry-drowning.
(Quick CGI POV of the camera once again starting above the woman's head. It moves downward through her open mouth, down her throat and down her wind pipe. The wind pipe automatically closes as liquid fills up. The wind pipe relaxes and the liquid passes through, filling her lungs. Flash to white. Resume to present.)
David Phillips: In wet drowning, hypoxia also occurs but the larynx relaxes and water floods the lungs. Still, the question remains, how does a girl drown in the middle of the desert?
Nick: She doesn't. She was engaged. The guy never filed a missing persons on her.
CUT TO:
[INT. HUDSON/WARNER RESIDENCE -- NIGHT]
Matt Hudson: I didn't file a missing persons report on Stacy, because she wasn't missing. As far as I knew, she was on a solo trek up in Diablo working toward her NESTFS.
Det. Lockwood: NESTFS.?
Matt Hudson: Sorry. National Extreme Sports Trainer Finals. I took mine last week. Did it in three days total. So, I didn't expect her back for at least two more days.
Nick: Okay. You mind if I have a look around?
Matt Hudson: No, go ahead.
Nick: Thanks.
CUT TO:
[EXT. HUDSON/WARNER RESIDENCE - NIGHT - CONTINUOUS]
(NICK walks outside to the pool area. He puts his CSI kit down and takes a sample of the pool water. He looks around the edges of the pool and notices some blood underneath the far ledge on some tile above the waterline.)
Nick: Detective.
(NICK gets his swab kit from his case and sets it down. LOCKWOOD exits the house. )
Nick: Check that out. You see that?
Det. Lockwood: Yeah. Mr. Hudson ... you own this house with Stacy Warner, is that right?
Matt Hudson: That's right.
Det. Lockwood: Any idea how this blood got there?
(MATT HUDSON looks at the spot and shakes his head.)
Matt Hudson: No.
Nick: Stacy had a head trauma wound. You wouldn't know anything about that either, would you?
Matt Hudson: I'd never hurt Stacy.
Nick: No? How do you explain the domestic disturbance call to this address two weeks ago?
Matt Hudson: We told the officers then it was nothing.
Nick: I don't know ... the neighbor who filed the complaint said you were really yelling at Stacy. Said it sounded abusive.
Matt Hudson: We're sports trainers. We say some crazy things to get each other to do one more lap in the pool, one more crunch.
(Quick Flashback to MATT HUDSON standing over STACY WARNER while she does sit ups.)
Matt Hudson: Are you a liar?! Or are you going to give me more?! Are you weak? Are you worthless?!
(Flash to white. End of flashback. Resume on DET. LOCKWOOD.)
Det. Lockwood: Can you account for your whereabouts this week?
Matt Hudson: Big Sky Triathlon in Montana. You want to see a picture of me crossing the finish line?
Nick: No. No. We got what we need.
(NICK packs up his kit, preparing to leave.)
CUT TO:
[EXT. SALVAGE YARD -- NIGHT]
(BRASS, GRISSOM and SARA walk through a car salvage yard. They're headed toward the main office.)
Brass: So I sent out some bulletins. Got a h*t on Weston's missing Mercedes. Sullivan called it in. He's a typical tow guy. I'll run him.
CUT TO:
[INT. SALVAGE YARD - MAIN OFFICE - NIGHT -- CONTINUOUS]
Mitchell Sullivan: Yeah, I got a call. "You want a wrecked S-Class?"
(MITCHELL SULLIVAN chuckles.)
Mitchell Sullivan: You betcha. The parts alone are worth four or five times the blue book value of the car. I asked where do I pick it up. That's all I asked.
Brass: You didn't ask his name?
Mitchell Sullivan: Someone throws you three hundred thou in used parts the only response is "thank you very much."
Sara: So where is the vehicle now?
Mitchell Sullivan: Look around.
Brass: You work fast.
Mitchell Sullivan: Hey, I called it in. What more do you want?
Grissom: Aristotle said something about the whole being more than the sum of its parts. Of course, he never worked in a chop shop. We want all of the parts.
(Camera holds on MITCHELL SULLIVAN.)
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(GRISSOM sits on a stool in the garage. He's holding an open file folder. SARA swabs the passenger seat and checks for blood.)
Sara: Affirmative for blood -- passenger side.
Grissom: Well, that's just a trace amount. Where's the rest of it?
Sara: Want to pass me the luminol?
(GRISSOM hands SARA the spray bottle and turns off the light. SARA sprays the front passenger seat area. The seat glows.)
Grissom: Well, you do know how to light up a room. Location of the blood on the seats and the dash indicates that the victim was inside the vehicle.
Sara: Maybe the driver h*t Bob Martin, stopped and put him in the front seat.
Grissom: Okay. Where'd they go?
Sara: Well, not to the Emergency Room. Not to Sunset Park for 48 hours. I'll swab the rest of the car -- bring the samples to Greg and have him run it against Bob Martin's DNA.
Grissom: If you find any blood that isn't his then ...
Sara: ... maybe it belongs to an injured joyrider and we have a new suspect.
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- LAB]
(On the table in front of NICK, there are four water sample containers. He picks up the last container and looks at it. He writes something down. WARRICK walks in.)
Warrick: The one day I'm due in court and you pull a drowning in the desert.
Nick: How'd it go?
Warrick: Oh, it went great. The judge recessed right before my testimony. I'm on call. Catherine's on call.
(WARRICK opens the file on the lab table beside NICK and leafs through the pages.)
Warrick: Well, you're making progress. The blood from the poolside matches the female victim.
Nick: Yeah, the problem is the small amount of blood found in her own home isn't enough to prove anything, you know? People bump their heads and scrape their knees all the time.
Warrick: Yeah.
Nick: That musclehead boyfriend --he's a little shady. He's hiding something. I can feel it.
Warrick: Are you able to prove that he drowned her in their swimming pool?
Nick: Four samples: One from their swimming pool one from their bathroom, one from Lake Mead and one from Clark County Reservoir but none are consistent with the water I recovered from her stomach.
Warrick: What else did you collect from the scene?
Nick: Some rocks from under her body and a goose feather.
(Also on the lab table are two rocks in two evidence baggies. NICK picks up one baggie with the following information:
(article): ROCK
(exhibit No.): 147
(date) 4/29/02
(???): Under Body
Warrick: Goose feather? This looks like basalt rock. Didn't it say somewhere in here that she found her at 1,500 feet?
Nick: The desert, yeah.
Warrick: Well, you can only find this rock at high altitudes like 4,000 feet.
Nick: Really?
Warrick: Yeah.
Nick: You sure?
Warrick: Yeah. I went on this field trip up at table mountain in my senior year -- "rocks for jocks." Don't ask me why I remember any of this.
Nick: Hey, that helps. I think I'm going to head out there. You want to roll?
(NICK remembers.)
Nick: You're on call at court, right.
Warrick: Yeah.
(NICK gets up and leaves.)
CUT TO:
[INT. CSI - GARAGE]
(SARA walks in. She's holding a piece of paper. GRISSOM is examining under the car seat.)
Sara: All that blood belonged to the victim.
Grissom: Look at this. Visible blood drops under the passenger seat.
Sara: That's a strange place for blood.
Grissom: Radiated spatter. What do you think?
(Quick flashback of a single drop of blood falling and hitting a pool of blood. The blood spatters up onto the car seat. Flash to white. Resume to present.)
Grissom: Blood pooled onto the floormat. As more drops splashed down the impact projected the blood drops upward.
Sara: Okay. But where did it fall from?
Catherine: So Greg said you guys are processing an S-Class.
Grissom: (to CATHERINE) Yeah, what's left of it.
Catherine: Now, that's a crime. Oh, this would have broken my ex's heart. Every weekend the guy'd be test-driving another Mercedes. I'd get myself all dressed up make the dealer believe we could actually afford it. Damn.
(SARA smiles at the story. GRISSOM looks up at CATHERINE. CATHERINE leans in and takes a closer look at the driver dashboard.)
Catherine: Except if the car was stolen the ignition lock would be punched, right?
(Immediately, GRISSOM and SARA both look at CATHERINE. They hadn't thought of it from that angle.)
Sara: Huh?
Catherine: Anyway, I got to go. Warrick and I are due in court. Later.
(CATHERINE gets up and leaves the room.)
Sara: We ... we would have caught that.
Grissom: We were distracted by what we were looking for.
Sara: Yeah. So how did the thief turn the engine over without breaking that lock?
Grissom: Maybe there is no thief.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Ben Weston: All right, you got me. I ran into the Chinese restaurant. I wasn't in there more than two minutes but I left my keys in the car.
Brass: You left an $80,000 Mercedes idling.
Ben Weston: Yeah.
(SARA doesn't believe it.)
Ben Weston: Stupid, right? That's why I didn't say anything. Besides, if my insurance finds out it's contributory negligence.
Brass: Let's just cut to the chase.
Ben Weston: I told you everything. Chinese restaurant near my house. I couldn't find a parking spot. Parked in the handicapped zone, left the motor running. I wasn't in there more than a minute.
Sara: Take off your shirt, please.
Ben Weston: You're going to need a warrant, like I said. But you don't have basis.
Brass: Actually, the issuing judge disagrees.
(BRASS hands the bench warrant to BEN WESTON. He takes it.)
Ben Weston: I can call Judge Scott, contest your grounds.
Brass: But you won't.
Sara: You want to refuse? One of us will remove it for you.
Ben Weston: Yeah, all right.
(BEN WESTON stands and starts undoing the cuffs of his dress shirt. He rolls up his sleeves and holds out his arms.)
Ben Weston: Here you go. Look, no chemical burns. You satisfied?
(He unrolls his sleeves. SARA reaches for the warrant on the table and opens it flat.)
Sara: The warrant is for the whole shirt.
Ben Weston: Yeah.
(BEN WESTON takes off his tie and his shirt. From the top of his left shoulder blade down across his chest, he sports a large bruise.)
Brass: You don't have to be a scientist to know where that came from.
(Quick flashback to the driver's seat belt as the driver makes a hard stop. Tires screech in the background. Flash to white. Resume to present.)
Brass: We got enough for a h*t-and-run.
Ben Weston: All right, hold on. It's not what you think.
(Quick Flashback to BEN WESTON on his cell phone as seen through the reflection from the rear view mirror.)
Ben Weston: (V.O.) I called in my order. I looked down to put away my phone.
(Cut to BEN WESTON putting his phone down and his car hitting something. Cut to view of the seatbelt cutting through the driver on impact. Cut to BEN WESTON stopping the car, getting out and walking to the front of the car to take a look around.)
Ben Weston (cont.) : I h*t something. I stopped. I looked around. I couldn't see anything.
(End of flashback. Resume to present and BEN WESTON continuing to put his dress shirt back on.)
Ben Weston: I figured it must have been a dog and it ran off. So I drove to the restaurant and that's when my car was stolen. It was a rough night.
(SARA shakes her head and openly scoffs at the explanation.)
Ben Weston: (to SARA) Look, my car was stolen. What happened next, I don't know.
(BRASS holds up a hand.)
Brass: Save it. You're under arrest.
Ben Weston: All right.
(BEN WESTON grabs his tie off of the table and his coat from the back of his chair. He leaves the room.)
(SARA looks away and shakes her head.)
Sara: I hate lawyers.
Grissom: We need a warrant for his house. We need to find something we can use to keep that creep off the street.
FLASH TO WHITE:
[EXT. LAS VEGAS DESERT (STOCK) - DAY]
[EXT. LAS VEGAS DESERT - DAY]
(NICK and DET. LOCKWOOD hike up the trail STACY WARNER traveled.)
Det. Lockwood: I'm all for retracing the girl's steps but it wouldn't hurt to bring in some cadets.
Nick: If it was a little kid or a mass casualty maybe we'd get that kind of manpower but hey, exercise is good for us, right?
Det. Lockwood: Air feels thin to me.
(They continue to hike up the side of the mountain. DET. LOCKWOOD finds it.)
Det. Lockwood: Check it out.
(Some distance from them, a large jacket is wedged in the rocks. It leaks its down filling into the wind.)
Nick: Let's go.
(NICK puts on his gloves and checks out the jacket wedged in the rocks.)
Det. Lockwood: You said the vic was wearing light layers of clothing, right?
Nick: Yeah, several layers, tempered cotton. This is a men's extra large. This is too big for her. Goose down like I found on her body. What's this?
(NICK looks through the pockets and finds a map of Diablo Canyon and the Highlands with the following information: )
[MATT HUDSON From: request(a)trailmaps.webct.net
To: matthudson(a)webct.net
Sent: Friday, April 26, 2002 4:25 PM
Subject: Trail map request Diablo Canyon, NV
TOPOl map printed on 03/22/02 from *diablo ... ]
Nick: Ah. Property of Mr. Muscles.
Det. Lockwood: You want to run it?
Nick: Well, maybe he left a day later than he said for his little marathon, you know? Followed her out here, started arguing with her no neighbors around to call the cops.
(Quick Flashback to STACY WARNER hiking up the mountain and scrambling away from something (or someone) behind her. STACY WARNER hits her head against the rocks. Someone pulling STACY WARNER down the mountain where the two struggle.)
Nick: (V.O.) She manages to fight her way free finds higher ground, he follows her, takes her down.
(End of flashback. Resume on DET. LOCKWOOD.)
Det. Lockwood: So then what? He drowns her with canteen water?
(Quick flashback to STACY WARNER struggling with her attacker. Sounds of sloshing water from a canteen can be heard in the background. Flash to white. End of flashback. Resume on DET. LOCKWOOD.)
Det. Lockwood: I'm going to let you run that by the D.A.
Nick: You should try describing a scuba diver up in a tree, man. This is nothing. No, the evidence tells a story.
Det. Lockwood: So why'd a cagey guy like our suspect leave his jacket up here?
Nick: Everybody thinks they have a plan till things start to go wrong.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Matt Hudson: I gave Stacy my jacket the morning she left for Diablo for night layering. Extreme hikers can't carry bedrolls. That's what makes it extreme.
Det. Lockwood: And she just left your jacket wedged under some rocks.
Matt Hudson: Maybe. I don't know. Ok, I gave it to her to take care of her. I loved Stacy.
Nick: Then help us out here, man. I've got prior disturbance calls, her blood in the pool, her body drowned in the middle of the desert with your jacket nearby ... your map.
(NICK holds up the baggied trail map.)
Matt Hudson: That's my trail map. I'd like it back.
Nick: No. No, it's evidence now. You can put a request in for it when we complete our investigation, okay?
Matt Hudson: Am I free to go?
Det. Lockwood: You're not under arrest.
(MATT HUDSON gets up and leaves the room.)
Nick: I'm getting this to QD. He doesn't want me to have this map and I want to know why.
CUT TO:
[EXT. BEN WESTON'S RESIDENCE -- DAY]
(SARA and GRISSOM walk up BEN WESTON'S driveway. They're carrying their CSI kits. Standing out front is BEN WESTON with BRASS.)
(BRASS sighs.)
Brass: He made bail.
Sara: Yeah, that figures.
(BRASS reaches into his inner coat pocket and takes out a bench warrant. He hands it to BEN WESTON.)
Brass: Oh, I almost forgot. Here's a warrant to search your premises.
Grissom: We'd like to start in your garage.
Ben Weston: Yeah.
(BEN WESTON takes a step toward GRISSOM.)
Ben Weston: Look, I'm filing a complaint with your supervisor. You're harassing me.
Grissom: If you're a lawyer, you should know the legal definition of harassment. Investigating a crime doesn't quite fit the criteria. However, a false accusation of harassment within earshot of my colleagues could be construed as slander. I know the law, too and I've actually been in a courtroom.
(Camera holds on BEN WESTON.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
[INT. BEN WESTON'S GARAGE -- DAY]
(The garage door opens. GRISSOM, SARA and BRASS walk in. GRISSOM looks at the car.)
Grissom: This was parked in the driveway, wasn't it?
Ben Watson: Now that's a crime?
Grissom: Jim, could you get this car moved for us?
Brass: Unless the keys are in the ignition hand them over.
(BEN WATSON hands the keys over to BRASS.)
Ben Watson: It's a rental. You're not on my policy.
Brass: I'm a safe driver. Wait outside.
(BRASS moves the car revealing a large white stain on the concrete underneath. GRISSOM leans in close to smell the stain.)
Grissom: It smells like bleach to me.
Sara: I'll check for blood.
Grissom: Why would he leave his car outside with the sprinklers on instead of putting it in here?
Sara: Maybe the garage was full.
(GRISSOM looks around and thinks. SARA does a test for blood.)
CUT TO:
[INT. CSI -- LAB]
(MATT HUDSON'S map hangs from the vertical light.)
Ronnie Litre: What exactly do you want me to look for?
Stokes: Alterations, erasures, paper content. The guy was really nervous about me having these maps.
Ronnie Litre: Okay, I'll test the components in the inks and then b*mb the paper with different wavelengths of light. We'll see what's up.
Nick: Sounds good, man. Thanks, man.
Ronnie Litre: You bet.
(NICK happens to see GRISSOM passing by the hallway outside. He looks up when NICK calls out to him.)
Nick: Hey, Grissom ...
(GRISSOM stops.)
Nick (to Ronnie): Keep me posted.
Ronnie Litre: I will.
(NICK approaches GRISSOM. They talk as they walk down the hallway.)
[INT. CSI - HALLWAY - CONTINUOUS]
Nick: Did you take a look at that maggot from e desert yet?
Grissom: Yes.
Nick: And?
Grissom: Well, it belongs to the family of sarcophagids. That's as far as I got.
Nick: You mind taking another look for me?
Grissom: Your maggot never developed, Nick. It never will.
Nick: Why?
Grissom: It happens to sarcophagids when they're exposed to freezing temperatures before they're allowed to pupate.
Nick: So, my maggot was stunted?
Grissom: Probably by frozen air.
Nick: Yeah, but we found the vic in the desert.
Grissom: Well, maybe it was a very cold night. Mucho frio.
(They arrive at GRISSOM'S destination. GRISSOM leaves into the room. NICK turns back down the hallway they just came from.)
Nick: Muchas gracias.
(NICK walks out of camera frame.)
CUT TO:
[INT. CSI - LAB]
(GREG stands next to the glass wall to the lab. He faces the large wall monitor that shows what NICK is working on inside the room on the computer. NICK looks up and smiles.)
Nick: Come on in, Greg.
Greg: Hey.
Nick: Hey.
Greg: So I heard about your cold maggot.
Nick: News travels fast.
Greg: I was thinking -- most people figure Las Vegas means the strip. But it really means "the meadows."
Nick: I'm trying to calculate barometric pressures here, G.
Greg: Well, my point is Nevada is a Basin-and-Range State. Down in the desert basin, hardly any rain. But up in the mountain ranges, it's 40 inches a year. That's more than Seattle ... more than San Francisco. More than ...
Nick: Yeah, yeah, I see where you're going. Last week in Vegas -- perfect weather. Warm, steady barometric pressure, but ... out in Diablo, two days before I found Stacy Warner's body ...
(Camera shows the computer screen NICK works on. Camera moves in toward the screen.)
Greg: The Mountain Shadow Effect.
(Quick CGI POV as the camera moves in to the computer screen and through the computer-generated Diablo Canyon. Computer generated clouds above and sounds of thunder can be heard. End of CGI POV.)
Greg: That's what meteorologists call it.
(NICK nods.)
Nick: Right.
CUT TO:
[EXT. -- NIGHT]
(ROBBINS walks outside toward GRISSOM who is leaning in through the rear window of the car.)
Robbins: This is Ecklie's Mercedes?
Grissom: Well, actually, I sold it to him five years ago. It was in much better condition back then.
(SARA approaches from behind.)
Sara: Hey. So I checked with auto detail. Uh, obviously, if you fill a car up with enough water or, in our case, blood it's going to leak through the bottom.
Grissom: Dicing wounds with glass were limited to the upper torso, right?
Robbins: Top of the head, face, top of shoulders and forearms.
Grissom: Which would be consistent with a head-on crash.
Sara: The head of the victim crashed into the passenger side of the windshield.
Grissom: Well, this isn't the same model or year but it's close enough.
Sara: Okay, I'm thinking that the car clipped the victim here and he was catapulted ... and he was positioned something like this.
(SARA climbs onto the hood of the mercedes, her head facing the passenger windshield. GRISSOM looks in from the open driver's window.)
(Quick flashback to BOB MARTIN slamming head first through the wind shield. Flash to white. Resume to present.)
Grissom: So now he's bleeding and his blood is dripping onto the mat.
(Quick flashback to blood dripping from BOB MARTIN'S bleeding face. Cut to close up of blood drop spattering. Flash to white. Resume to present.)
Robbins: The victim bled out for two days.
Grissom: Yeah, but he could have been conscious, right? Until he lost a third of his circulating blood volume?
Robbins: Then the hypovolemic shock would have set in after approximately 12 hours.
Grissom: So it's possible that he was wedged into the windshield of Ben Weston's Mercedes which was parked in Ben Weston's garage.
Sara: We know where Bob Martin was. Where was Ben Weston?
Grissom: My guess? ... at work, making a good impression.
(Quick flashback to BEN WESTON on the phone in his office. He's smiling and laughing. Flash to white. Resume to present.)
Robbins: Sometimes I'm glad I only deal with d*ad people.
(ROBBINS walks away.)
Sara: You know ... the tow truck driver said Weston's Mercedes was totaled. But the only damage would have been to the bumper and the windshield. He's lying.
CUT TO:
[INT. SALVAGE YARD.]
(MITCHELL SULLIVAN washes the grime from his hands. Reflected in the mirror in front of him, we see BRASS standing there.)
Mitchell Sullivan: Maybe it wasn't totaled. I don't remember. I was only interested in the parts.
Brass: You don't know who phoned it in?
Mitchell Sullivan: It was a guy. What else can I tell you?
Brass: Mr. Sullivan, in '96 you were arrested for vandalism, right?
Mitchell Sullivan: I was 18. It was a prank. I hoisted the principal's station wagon onto the roof of the gym.
Brass: St. Ignacias High School, right?
Grissom: You know. It's funny, but the registered owner of the Mercedes also went to St. Ignacious. You were in the same class. Ben Weston.
Mitchell Sullivan: That might ring a bell. So what?
Grissom: He's been arrested on a h*t-and-run. He's also under suspicion for m*rder. That makes you an accomplice after the fact. Twenty to life.
(MITCHELL SULLIVAN turns around to face BRASS. He's not too thrilled with this disclosure.)
Mitchell Sullivan: Okay, look, all I did was take his call, take his car. I don't even like the guy. In high school, he's the one who turned me in. He said he wanted to make it up to me.
CUT TO:
[INT. CSI - GARAGE - NIGHT]
(SARA opens the car trunk and uses her flashlight to look inside. Behind her, GREG walks in.)
Greg: Just remind yourself that usually I bring the case home.
(GREG hands SARA the test results with the following information: )
Date: 5/01/02
PCR AMP #: 198456722
DNA STR TYPING RESULT ...
Sample # 1: "Blood In Concrete"
INC. INC. INC. INC. INC.
NR. NR. INC. INC. INC.
Greg: If that garage floor stain started out as blood the bleach just degraded it. There's nothing for me to work with. Sorry.
Sara: There goes the slam dunk. Blood in the garage would have conclusively linked victim to k*ller.
Greg: So is this his rental car?
Sara: Sunset Park is two miles from Ben Weston's house. I was thinking maybe he used this car to transport the body to the dump site.
Greg: So we should be able to find some of the vic's blood or hair or fibers from his clothes?
Sara: No visible trace of any kind. Except for this.
(At the bottom on the trunk is a large screw-like handle. She unscrews it and sticks her finger inside and we notice evidence of white power along the trunk edges.)
CUT TO:
[EXT. DIABLO CANYON -- DAY]
Det. Lockwood: So this Mountain Shadow Effect -- the barometric pressure spikes down the temperature strikes down ...
Nick: Right. Humidity spikes up. Moisture in the air condenses.
(Quick flashback to CGI recreation of clouds gathering in the canyon at night. Thunder can be heard. End of flashback. Resume to present.)
Det. Lockwood: The mountains get a flash flood.
Nick: I checked with the national weather service. This area got three inches of rain in 20 minutes the night Stacy died.
(Quick flashback to STACY WARNER hiking at night.)
Det. Lockwood: (V.O.) So, she was up here hiking when the weather changed.
(Clouds roll overhead. Thunder rumbles. Wind whistles.)
Nick: (V.O.) Got nasty in a hurry. Nothing she could really do about it.
Det. Lockwood: (V.O.) Takes one to the head ... on to the basalt rock. She's trying to clear the cobwebs when the rain h*t.
(STACY WARNER hits her head on the rocks. She looks up at the sky. It starts raining. She tries to continue to climb up the rocks and slide down as it continues to rain. Thunder rumbles. She gets caught in the flood of water pouring down from above.)
Nick: (V.O.) But it was too late. She drowns in the floodwater. Body gets carried to the base of the canyon.
(STACY WARNER loses her grip and gets swept down from the rocks by the flood water. Cut to CGI POV as the floodwaters push STACY WARNER'S body down to the canyon floor where NICK and DET. LOCKWOOD stand.)
Det. Lockwood: A couple hours worth of sun water dries up.
(As the body comes to a halt, it fades out. End of Flashback and CGI POV. Resume to present.)
Nick: No evidence of the storm anywhere except on the vic who carried traced amounts of basalt rock with her and rainwater in her throat.
(NICK'S cell phone rings.)
Nick: (to phone) Stokes.
INTERCUT WITH:
[INT. CSI - LAB]
Ronnie Litre: The map has definitely been tampered with.
Nick: (over phone) You sure about that?
Ronnie Litre: Positive. Chemical tag in the ink tells the tale. Then I sh*t the maps with 300 nanometers just to be sure.
Nick: (over phone) I need you to get those results to me.
Ronnie Litre: Thought you would. I have a messenger on call.
CUT TO:
[INT. HUDSON/WARNER RESIDENCE -- DAY]
(MATT HUDSON runs on the treadmill.)
Matt Hudson: Are you telling me Stacy's death was an accident?
Nick: An accident of nature, yeah. But you still had a hand in her death just the same, didn't you, Mr. Hudson?
Matt Hudson: What are you talking about?
Nick: Why don't you take a break. Come on over here for a sec.
(MATT HUDSON stops running on the treadmill and steps off. He grabs his towel and approaches NICK.)
Nick: You altered the map. You used the same color ink as the printer but the chemical tags in the ink are different. This is magic marker.
(Quick CGI POV Flashback to someone using a pen to alter the map.)
Nick: And when you shine ultraviolet light on it like this ...
(NICK uses the light and the hand-made changes become apparent.)
Nick: ... you can see exactly what you did. You made this look like an impenetrable ridge -- no way out, when it's actually a meadow.
Det. Lockwood: If she had a good map she might have been able to find her way out of the highlands by nightfall.
Matt Hudson: I didn't want her to die. I didn't.
Nick: Then why did you alter the map?
Matt Hudson: We competed. I'd just run the trail in three days. I didn't want her to b*at my time.
(NICK sighs.)
Matt Hudson: Am I being charged with m*rder?
Det. Lockwood: No. You altered the map, but you didn't make it rain.
Nick: What you did isn't a crime ... but it is criminal, isn't it?
(NICK and DET. LOCKWOOD leave.)
CUT TO:
SCENE #30
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Ben Weston: Oh, come on. Your entire case is circumstantial. Your physical evidence is pathetic. You've got, what, a wrecked car -- a white powder in a rental -- and a bleached-out stain in my garage. If that's all you've got you won't even get a filing.
(From under the file in front of him, GRISSOM pulls out a baggied cell phone.)
Ben Weston: My cell phone.
Grissom: Yeah. Mitchell Sullivan found it in your car at his chop shop.
Ben Weston: I hope he didn't make any long-distance calls. Thanks.
(BEN WESTON reaches for it. GRISSOM stops him.)
Grissom: It's evidence.
Ben Weston: Yeah.
(SARA walks in. BEN WESTON looks up.)
Ben Weston: Hey, now it's a party.
Sara: And I brought the music.
(She holds up a small micro-cassette recorder. She takes a seat at the table.)
Grissom: You'll be happy to know that there were no long-distanced calls made on your cell phone. But there was one call made -- to 9-1-1 at 2:30 A.M. On Tuesday morning while your car was still in your possession.
(SARA turns on the table recorder.)
911 Operator (woman): 9-1-1. What's your emergency?
Bob Martin (gasping): Please help me.
(Flashback to BOB MARTIN hanging over the front seat passenger dash. He's bloodied and gasping for breath. In front of him is the blue glow of the cell phone's LCD panel.)
Bob Martin: I need help ...
911 Operator (woman): I can't hear you. You'll have to speak up.
Bob Martin: Help ...
911 Operator (woman): Sir, our system is not compatible with your cellular phone. Where are you calling from?
Bob Martin: (swallows) I'm in a garage.
911 Operator (woman): Sir, can you see a street sign?
Bob Martin: It's dark ...
(BOB MARTIN passes out with the effort. Flash to white. End of flashback. Resume to present.)
(GRISSOM takes off his glasses.)
Grissom: Explain it to me, Ben. How does a lawyer rationalize something like this?
Sara: You know the law. You h*t a guy. It was an accident. Nothing criminal. But you let it escalate to first-degree m*rder. I spoke with your senior partner. It was your first day on the job. Big firm. Big welcome. How many drinks did you have that night?
(BEN WESTON looks at SARA.)
Grissom: Let me guess. You wanted the alcohol to wear off before you called it in, right? So you decided to wait it out. Have a cup of coffee, sober up and then call the cops. But unfortunately, Bob Martin woke up.
(Quick flashback. Door to garage opening. Light goes on. BEN WESTON appears in the doorway. BOB MARTIN is conscious.)
Bob Martin: Help me. Please, help ... help me...
(Camera close up of BEN WESTON. Garage lights go out. Garage door closes. End of flashback. Resume to present.)
Grissom: So what do you do now, hmm? Can't walk into the Emergency Room and say, "Hey, this guy was bleeding to death in my garage while I was eating mu shu pork."
(A soft knock sounds on the door to the interrogation room just before it opens.)
Officer Metcalf: (quietly) Sara, there's someone here to see you.
Sara: Not right now.
Officer Metcalf: You'll want to talk to him. It's relevant.
(SARA looks at GRISSOM. She stands and leaves the room.)
(GRISSOM looks at BEN WESTON.)
Ben Weston: I sacrificed to get where I am. My whole life was leading up to last Monday.
Grissom: Yeah. It's tough, huh? Fifteen years to build your dream and a fifteen-second phone call destroys it.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERROGATION ROOM]
(SARA holds a piece of paper.)
Sara: Where did you find this?
Reed Collins: Packing up Bob's stuff. Found it on his dresser. Thought you'd want to see it.
Sara: Thanks.
(SARA leaves the hallway and goes back into the room.)
CUT TO:
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM -- CONTINUOUS]
(SARA closes the door, sits down and hands the paper to GRISSOM. GRISSOM puts his glasses on to read it. He looks over at SARA. GRISSOM takes off his glasses and turns to BEN WESTON.)
Grissom: When a driver hits a pedestrian the presumption is the driver is negligent. When a driver's been drinking and he hits a pedestrian it's no longer negligence, it's reckless homicide. But when a pedestrian intentionally throws himself in front of a moving vehicle then the driver's no longer responsible. Legally, he's off the hook.
Sara: This su1c1de letter was written by Bob Martin to his wife Charlotte. When you h*t him Monday night it wasn't an accident.
(Quick flashback to close up of BOB MARTIN standing behind the bus stop. As the car driven by BEN WESTON approaches, BOB MARTIN deliberately walks toward it, stops and stands in front of the car waiting to be h*t. Cut to BEN WESTON looking to the side presumably to put his cell phone down. The car impacts BOB MARTIN and he crashes in through the passenger wind shield. End of flashback. Resume to present.)
Sara: You were off the hook.
Grissom: Until you let him die.
(Camera holds on BEN WESTON.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x21 - Anatomy of a Lye"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY -- MGM (STOCK) - NIGHT]
CUT TO:
[EXT. LAS VEGAS -- RITTLE RESIDENCE - NIGHT]
[INT. (LAS VEGAS) RITTLE RESIDENCE - NIGHT]
(Inside the residence, the RITTLES are hosting a party. There are lots of food, caviar, good music and conversation. Cut to a camera close up of a champagne bottle opening with a loud 'pop'.)
CUT TO:
[EXT. RITTLE RESIDENCE -- OUTSIDE - NIGHT - CONTINUOUS]
(The camera shows the backyard outside. The camera slowly rises up to show a little blonde-haired girl looking out of the second floor window.)
(Camera cuts to show the little girl's POV as she sees a man and a woman run playfully across the lawn below. They're laughing.)
CUT TO:
[INT. RESIDENCE - DOWNSTAIRS]
(A blonde-haired woman is sitting on a man's lap. A dark-haired woman runs up to him. She's laughing and throws herself into the man's arms. So, now he's got one arm wrapped around a different woman.)
Dark-haired Woman: We should have these parties more than once a month.
Chief Rittle: I would, but Mina tends to get jealous.
Dark-haired Woman: I love you, Chief, but if anybody should be jealous, it's you.
(They all laugh. The man "Chief" looks up and sees a dark male figure standing in the shadows. The man walks away.)
Chief Rittle: Who's that guy?
(The Dark-Haired woman wants the "Chief"s attention. She gently turns his head toward her.)
Dark-haired Woman: Hey, Chief ... didn't know you were into guys.
(MINA RITTLE looks up to look for the man. The man is gone.)
Mina Rittle: What guy?
(There's no sign on him.)
CUT TO:
[INT (LAS VEGAS) RESIDENCE UPSTAIRS - SASHA RITTLE'S BEDROOM - NIGHT]
(The door opens and the little blonde-haired girl peers through the door. She sees a man and two women go into the bedroom across the hall. Before closing the door, the man looks around to see if anyone sees them.)
(The little girl closes the door, retreating back into her room. She runs onto her bed and gets in under the covers. She glances over at that bedside clock. It reads 12:20 a.m. She settles in to go to sleep.)
DISSOLVE TO:
[INT (LAS VEGAS) RESIDENCE - UPSTAIRS - SASHA RITTLE'S BEDROOM - NIGHT]
(Camera close up on the alarm clock that now reads: 3:45 a.m.)
(Through the silence, two g*n abruptly wake up the blonde-haired girl. She sits up in bed and looks at the door.)
Sasha Rittle: Daddy?
(She gets out of bed and takes a cautious step toward the door.)
(The door opens. The light from the hallway filters in on SASHA RITTLE'S scared face as the camera focuses in on her.)
CUT TO:
[EXT. RITTLE RESIDENCE - DAY]
(Multiple police cars are parked in the driveway.)
[INT. (LAS VEGAS) RESIDENCE]
(BRASS walks into the foyer followed by GRISSOM and CATHERINE.)
Brass: So two nights ago he has a party. High-end guest list, very private. That was the last anyone saw of him. Housekeeper arrives 20 minutes ago. This is what she found.
(BRASS leads GRISSOM and CATHERINE to the dining room where they find CHIEF RITTLE on the dining room table, naked with an apple stuffed in his mouth. CATHERINE looks at BRASS. BRASS nods.)
Catherine: Ex-chief of detectives. Left to make the big bucks. Consultant with security at every major casino in town and couldn't even protect himself.
Grissom: There's only one interpretation for this: "k*ll the pig."
Catherine: And what about the rest of his family?
Brass: No sign of the wife.
Catherine: What about the daughter?
Brass: Housekeeper assumed that she spent the weekend with the grandmother.
(CATHERINE'S eyes widen at BRASS' choice of words.)
Catherine: Assumed?
(She immediately leaves the room and heads for the little girl's room.)
CUT TO:
[INT. (LAS VEGAS) SASHA RITTLE'S BEDROOM - CONTINUOUS]
(CATHERINE rushes in to the upstairs bedroom. She walks into the closet and looks inside. She goes to the bed and moves the covers aside.)
(GRISSOM enters the room, followed closely by BRASS. CATHERINE turns around and sighs.)
Catherine: She's gone.
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
FADE IN.
[EXT. (LAS VEGAS) RITTLE RESIDENCE - DAY]
(GRISSOM fills the rest of the team in as they walk up the driveway to the main house.)
Grissom: His wife and daughter are missing. His silver Cadillac DTS is also missing. We're looking for any signs of forced entry in the house, any signs of ransack that's not associated with the party.
Sara: Okay.
(SARA leaves. BRASS meets GRISSOM, WARRICK and NICK at the door.)
Brass: We need serious damage control. When the media gets a hold of it it's going to be bad for morale all around. Watch your step.
Warrick: I'll take the downstairs.
Nick: Yeah, I'll be above you.
(They walk out of frame.)
CUT TO:
[INT. RITTLE RESIDENCE - DINING ROOM - DAY -- CONTINUOUS]
(ROBBINS does a cursory exam for GRISSOM. CATHERINE is examining the rest of the room.)
Robbins: Looks execution-style. At least one sh*t to the back of the head. A lot of bruising around these handcuffs.
Grissom: So he probably fought back.
(Next to the dining room chair on the floor, CATHERINE finds something.)
Catherine: Found a shell casing.
(She picks it up and examines it.)
Catherine: Looks like one of ours.
Grissom: Nine millimeter standard issue.
Catherine: So where do you suppose the Chief keeps his g*n safe?
CUT TO:
SCENE #08
[INT. - RITTLE RESIDENCE - DAY]
(Camera close up on a safecracking technician using a drill on the door of a safe. BRASS puts on his gloves while he and CATHERINE watch from a distance.)
(The Technician puts the drill down and pushes a scope through the hole.)
(Quick CGI scope view of the lock mechanism of the safe inside the safe door. The gears turns. End of CGI POV.)
(The Technician turns the dial. BRASS and CATHERINE watch.)
(As he turns the dial, the inside mechanism releases the lock.)
Scott: We're in.
(He puts his equipment down and opens the safe. He moves aside.)
Catherine: Thank you, Scott.
Scott: No problem.
(The Technician leaves. CATHERINE looks inside the safe.)
Brass: What do you got?
(CATHERINE hands a g*n to BRASS. He checks it.)
Brass: Thirty-eight (.38).
(CATHERINE hands a second g*n to BRASS.)
Catherine: Nice.
Brass: Pearl handle Twenty-five (.25).
(He checks it.)
Brass: Clear?
Catherine: Still looking for that Nine (.9).
(CATHERINE takes out a box and opens it. The g*n is gone.)
Catherine: So you think the Chief might've kept his signature piece someplace else?
Brass: (reading) "For Twenty-Five years of distinguished service." An honor like that. Keep it in the case.
Catherine: (nods) Yeah.
CUT TO:
[EXT. RITTLE RESIDENCE - FRONT DRIVE - DAY]
(CATHERINE is walking down the driveway with GRISSOM. They're headed toward the gate.)
Catherine: So I'm thinking that the wife might be in on this.
Grissom: Why didn't she plan better? Pack the kid's clothes.
Catherine: What?
Grissom: The nanny told me that she only took one shirt -- one the kid wouldn't even wear.
(They reach the gate where DET. LOCKWOOD is questioning the gate security guard.)
Det. Lockwood: Security guard. No party list but he did see each car that left the night of the party and morning.
Security Guard: Chief Rittle left around 5:00 A.M. (checking the log) 5:14 to be exact.
(Quick flashback to the guard at the gate. In slow motion, the car drives pas the guard. He sees a man driving the car and MRS. RITTLE with SASHA sitting in the back seat. End of flashback. Resume to present.)
Grissom: You saw Chief Rittle leave?
Security Guard: Yeah, he was with his wife and kid. And he had his baseball cap and sunglasses on like he always does.
Catherine: So, you saw a baseball cap and sunglasses.
(A cell phone rings. GRISSOM turns away to answer it.)
Catherine: Did you actually see the chief's face
Grissom: (to phone) Grissom.
Security Guard: Well ... actually, I didn't.
(GRISSOM hangs up the phone and tells CATHERINE.)
Grissom: Brass found the Chief's Cadillac.
CUT TO:
[INT. PARKING GARAGE - DAY - CONTINUOUS]
(BRASS, GRISSOM and CATHERINE walk under the police tape and into the parking garage.)
Grissom: Who found it?
Brass: In-house security. Blue jacket. First time he saw the car was Saturday. Chalked the tires twice. Saw the bulletin on the Chief and called us.
Catherine: Any bodies, Joe?
Officer Joe: I already checked inside the car.
Brass: We were waiting on you to check the trunk.
(JOE pops the trunk. They find a d*ad body inside.)
Brass: Whoa.
(BRASS' cell phone rings.)
Brass: Excuse me.
Catherine: Who is this?
(CATHERINE and GRISSOM lean in for a better look. GRISSOM takes off the baseball cap and looks inside. The name reads: "Chief Rittle".)
Grissom: "Chief Rittle"?
Catherine: What is his connection to the chief?
Grissom: I don't know. But if he has g*n residue on him, could be our sh**t.
Brass: (to phone) Okay.
(BRASS hangs up the cell phone.)
Brass: Florida highway patrol called. Several motorists saw a girl matching Sasha's exact physical description walking along an access road.
Grissom: In Florida?
Brass: Miami-Dade county. Chief was sh*t Friday night. It's a two-day drive if you don't stop. It's national news with national attention. I'm not surprised we're getting call-ins.
Grissom: Well, if it is our little girl, she's got evidence on her from two Vegas homicides.
(GRISSOM looks at CATHERINE.)
Grissom: One of us should be down there to process.
(CATHERINE nods. She still doesn't get it. She looks up and suddenly realizes what GRISSOM'S saying.)
Grissom: Take Warrick. I don't think he's ever been to Florida.
(Off CATHERINE'S surprised look as her jaw drops.)
CUT TO:
[EXT. MIAMI-DADE CITY - HARBOR (STOCK) - DAY]
[EXT. MIAMI-DADE CITY - SKYLINE (STOCK) - DAY]
[EXT. MIAMI-DADE CITY (STOCK) - DAY]
[EXT. (MIAMI-DADE) ACCESS ROAD -- DAY]
(The PATROL CAPTAIN stands next to car #21291 and barks out instructions to the other officers assisting the search. Officers hand out information sheets. The access road is crawling with officers who will be used to look for the little girl.)
Patrol Captain: She's seven years old! She's wearing a pink shirt! She was last seen by a motorist there! She can be two kilometers in either direction. Think of this area as a quadrant. Divide up. You, north.
Officer 2: Got it!
Patrol Captain: You, south.
Officer 3: We got it!
(Standing off to the side amidst the scurry of Officers and FBI agents, HORATIO CAINE watches ... and thinks.)
Officers: All right, this way.
Officers: Let's go.
(A large mac truck passes by. He looks around the empty roadway.)
Officers: Clear out!
Officers: Watch your back!
(The road clears as officers go off to look for the little girl. HORATIO CAINE thinks about it for a moment, then starts to walk down the center of the road ... alone. He's startled by the sound of a pig squealing. He looks up and sees a pig crossing the road.)
(He stops some distance away and watches the pig cross the road.)
(HORATIO CAINE continues to walk. He looks on the ground and sees something on the dirt road. It's a pink plastic hair clip. He crouches down and picks it up. HORATIO pulls off his glasses to get a better look at it. It's a pink butterfly.)
SHORT TIME CUT TO:
[EXT. (MIAMI-DADE) ACCESS ROAD -- TREE GROVE - DAY]
(HORATIO CAINE is walking along the roadway, following a path that he suspects they took. It's noticeable that he's walking alone, everyone else is searching elsewhere for the little girl.)
(HORATIO comes across a well-trodden path between the trees. He stops. Deep inside is a little blonde-haired girl in a pink shirt. She's sitting alone on the ground under a tree.)
(HORATIO crouches down and pulls off his sunglasses.)
Horatio Caine: Sasha?!
(Immediately, the little girl turns her head. HORATIO stands and walks in closer.)
Horatio Caine: (quietly) Sasha. My name is Horatio Caine. I'm the head of the crime unit.
Sasha Rittle: Horatio?
(HORATIO settles himself down next to the little girl.)
HORTIO CAINE: Yeah. (he smiles) That's a funny name, isn't it? My mother named me after a famous writer named Horatio Alger. Ever hear of him?
(She sees his badge.)
Sasha Rittle: Is your badge real?
Horatio Caine: Yeah. Yeah, that's real.
Sasha Rittle: My daddy's a policeman.
(HORATIO nods.)
Horatio Caine: I know that. (he corrects himself) I "knew" that.
Sasha Rittle: They're looking for me, you know.
Horatio Caine: Me, too. Me, too. What do you say we sit here and get found together?
(SASHA RITTLE nods her head. She smiles slightly.)
(He looks out in the distance and sighs.)
Horatio Caine: (quietly) What a day.
(They both sit on the fallen tree stump on the ground, both looking out into the distance.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. MIAMI-DADE CITY (STOCK) -- NIGHT]
[EXT. (MIAMI-DADE) ACCESS ROAD -- NIGHT]
(A helicopter whirrs overhead. An officer fills HORATIO CAINE in on the investigation.)
Officer: g*n sedan. Caucasian female. Age 32. Traveling with a caucasian male indeterminate age.
Horatio Caine: I got a female in distress. I want the APB to extend the whole state.
Officer: Panhandle to the Keys. Yes, sir.
Horatio Caine: Good.
(The officer leaves. HORATIO turns and sees the helicopter land. CATHERINE exits the helicopter. WARRICK follows. HORATIO meets them.)
Horatio Caine: Horatio Caine.
Catherine: Catherine Willows.
(They shake hands.)
Horatio Caine: Caine.
Warrick: Brown.
(They shake hands.)
Horatio Caine: Child services has sent a doctor out.
Catherine: All right, let's just be clear. This is a Las Vegas case. This is our victim and we do the processing.
Horatio Caine: Okay, I didn't say he processed her. I just said he was here.
Catherine: I appreciate the respect.
Horatio Caine: You sure about that?
Warrick: Does she know about her father?
Horatio Caine: Not yet.
Warrick: Well, I'd like to get started processing. Can you show me who you found?
Horatio Caine: Okay, I found her right in here.
(HORATIO points to some area on the left of them.)
Horatio Caine: And ... this is the young lady right over here.
(HORATIO CAINE turns around to indicate SASHA RITTLE sitting on the back of a truck taking a sip of something and returning it to the female officer with her. CATHERINE walks up to SASHA.)
Catherine: Hi, Sasha. I'm Catherine Willows. And ... I need to ask you a few questions. Okay?
(SASHA nods. CATHERINE puts her kit on the truck back next to SASHA. She opens it.)
Catherine: My kit. Did the man touch you?
(CATHERINE starts to take samples off of SASHA'S clothing.)
Sasha Rittle: He h*t my mommy.
Catherine: Did he h*t you? Did he hurt you in any way?
Sasha Rittle: He acted like I wasn't there.
Catherine: Well, you know what always happens to bad people? They leave behind a part of themselves and that's how you can help us find your mommy. Now, I need to look underneath your fingernails.
(CATHERINE glances down at SASHA'S hand. She has it clenched in a fist and pulls it out of CATHERINE'S hold. She's hiding something.)
Catherine: You want to show me what's in your hand?
(SASHA looks up at HORATIO CAINE.)
Horatio Caine: It's okay.
(SASHA opens her fist revealing a shell casing.)
Catherine: Where did you get that?
(Quick flashback to earlier with SASHA outside the car and her mother leaning out the door.)
Mina Rittle: Go! Run, Sasha, run!
(Cut to SASH running. The kidnapper f*ring a g*n and a casing hitting the ground. End of flashback. Resume to present.)
Sasha Rittle: I ran out after they drove off. I picked that up.
Horatio Caine: I bet it felt cold when you picked it up.
Sasha Rittle: No. No ... hot.
Horatio Caine: Hmm.
Sasha Rittle: You're tricking me.
Horatio Caine: You're too smart for that.
(SASHA smiles.)
CUT TO:
[EXT. SAME PLACE -- SHORT TIME LATER -- NIGHT]
(Camera close up of a latex-gloved hand holding the casing. The camera pulls back and we see that it's not CATHERINE holding the b*llet, but another blonde-haired woman.)
Calleigh Duquesne: You can spot a Glock cartridge from a block away: rectangular, f*ring pin impression, breach face shear. This casing's no Glock. It's isn't your chief's w*apon.
Warrick: Well, whoever this guy is, he's a lousy sh*t.
Calleigh Duquesne: Five casings, no hits. Oh, by the way, I'm Calleigh Duquesne. Don't ask me how to spell it. Southern.
Catherine: Catherine Willows. Southern ... Nevada.
(Without looking up, HORATIO CAINE quietly laughs.)
Calleigh Duquesne: You got a theory on how the mother and daughter ended up all the way in Miami from Las Vegas?
Catherine: We don't really work theories. Do we, Warrick?
Warrick: No, just evidence.
Calleigh Duquesne: We're much more fanciful down here. Aren't we, Horatio?
Horatio Caine: I think that's a fair description.
Calleigh Duquesne: My guess is that this belongs to a Taurus 9, made in Brazil. It's a cheap beretta knockoff and you may not see many of them in Vegas but we get them down here all the time. Which makes me think this guy wasn't fleeing Las Vegas.
Horatio Caine: He was coming home to Miami.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS is running through the initial findings report with GRISSOM.)
Robbins: Well, it's no longer "trunk man." Identified him from his dental records. Jason Doyle. d*ad for three days; no GSR.
Grissom: So, I guess he didn't sh**t Rittle.
Robbins: We only recovered one slug from his cranium.
(ROBBINS turns and picks up a b*llet from the side table. He holds it up.)
Robbins: And I got this fragment from his lower back.
Grissom: His lower back? I thought he was sh*t twice in the head.
Robbins: Vascular embolization. b*llet got into his arterial system.
Grissom: That's rare.
Robbins: Well, it took a full-body x-ray for me to find the thing. b*llet entered here ...
(Camera close up of ROBBINS pointing to the b*llet hole just under the deceased's right ear.)
(Quick CGI POV to the sound of a g*n sh*t and a view of the b*llet traveling.)
Robbins: (V.O.) ... fragmenting at the neck and losing velocity upon penetration
(End of CGI POV. Resume to present.)
Robbins: ... of the carotid artery. Tube down the aorta, continually losing momentum.
(Quick CGI POV of the b*llet continuing it's path inside the deceased's body. The b*llet travels and breaks through bone and continues to travel.)
Robbins: As it exited the aorta, it struck the vertebral column and then was swept down to the base of the aorta ...
(End of CGI POV. Resume to present.)
Robbins: ... where I recovered it here at the lumbar region.
(GRISSOM puffs.)
Grissom: Pinball.
Robbins: Looks like nines, like we found in the Chief.
Grissom: I'll call Catherine. Thanks.
Robbins: Yeah.
(GRISSOM leaves the room.)
CUT TO:
[INT. CSI - PRINT LAB]
(NICK is dusting a champagne bottle. SARA is working on something else on the same table.)
Sara: Hey, Nick ... ?
Nick: Mm-hmm?
Sara: You ever been to a swingers' party?
Nick: Well, if it's the same thing as a frat party yeah, lots of them. You know, you get enough booze going things can get pretty wild.
Sara: Frat party, huh? I wouldn't know anything about that.
(For a moment, the two continue to work in silence.)
Sara: How wild?
Nick: Multiple-partner wild. And it'd be no big deal to have two, maybe three girls at once, just ...
(The computer beeps. A work card appears on the left of the computer screen and a finger print card appears on the right.)
[The info card on the left reads:
TIFFANY LANGER
78586 Ambers Avenue Las Vegas, NV 89108
ID#: 8006389904? DOB: 12/08/69
Sex: F Ht: 5'5"
Hair: Brown Wt: 110 lbs Eyes: Brown Occupation: Showgirl Employer: Orpheus Hotel ]
Nick: h*t on the rock glass. "Work card. Orpheus hotel. Tiffany Langer."
Sara: Who's she?
Nick: Showgirl.
CUT TO:
[INT. CSI - WAITING AREA]
(TIFFANY LANGER is being questioned by NICK and GRISSOM. They're sitting in the chairs in the waiting area.)
Tiffany Langer: Yes, I went to the party. No, I didn't go alone. And no, I'm not telling you my date's name or anyone else who was there. These people are important.
Grissom: Well, a very important police officer was m*rder there.
Tiffany Langer: I don't care. It took me a long time to get into the circle and I plan on staying there.
Nick: Was there anybody there you didn't know?
Grissom: Anybody who wasn't in "the circle"?
Tiffany Langer: Well, my date.
Nick: Do you know where he is?
Tiffany Langer: I haven't seen him since that night. He sent me home with a Judge and his wife.
Nick: So ... your date stayed at the party after you left?
Tiffany Langer: As far as I know.
Nick: Where does he live?
Tiffany Langer: I don't know. I've known him for five days.
Grissom: Well, that's 120 hours. There must be something you know about him that you could share with us.
Tiffany Langer: Right-handed, a libra, circumcised, rich ... back-east rich. Which kind of surprised me because he wore really cheap cologne.
Grissom: Cheap? How?
Tiffany Langer: Smelled funny ... sweet.
Grissom: Are you sure it was cologne?
Tiffany Langer: Or deodorant. Mouthwash maybe. All I know is it smelled sickly sweet. To be honest I thought he could have used a little help in that department.
Grissom: Would you happen to have an article of clothing of his by any chance?
Tiffany Langer: The only thing he gave me was a good time.
Grissom: Hey, guess what? This isn't about you. This is about a missing seven-year-old girl.
Nick: Why don't you give us his name.
Tiffany Langer: Adam Van Der Welk.
CUT TO:
[EXT. (MIAMI-DADE) ACCESS ROAD -- DAY]
(CATHERINE is on the phone with BRASS. She's on the roadway next to the vehicle.)
Catherine: Uh, no, the chief's little girl is with child services. We're still at the drop-off place. (pause) Yeah, right. Will do, Brass.
Warrick: I got a pill.
(CALLEIGH DUQUESNE picks up her case and heads to WARRICK.)
Warrick: Looks like sedative.
(WARRICK puts down an evidence marker #11 near the pill and CATHERINE takes a picture of it.)
Catherine: Okay.
(WARRICK picks it up.)
Warrick: Diazapam. Benzos..
Calleigh Duquesne: That could explain why the mother didn't escape with her daughter. She was incapacitated.
(CALLEIGH looks over at HORATIO CAINE who is standing off to the side looking away from everyone.)
(Quick flashback to beaten mother opening the car door for her daughter in the car. Cut to the package of pills falling to the dirt road. Cut to SASHA RITTLE outside the car.)
Mina Rittle: Go!
(End of flashback. Resume to present.)
(HORATIO turns around.)
Horatio Caine: How'd the little girl get away?
Catherine: We got some tire treads on the shoulder. Made an easy stop.
Horatio Caine: And why did he pick such a secluded area?
Warrick: Seems like a great place to ice someone.
Horatio Caine: Or take a leak. Maybe that's why he stopped the car here... to take a leak.
(Quick flashback to mother and daughter in the car. the mother turns her head to check on the man whose back is to them outside the car. White flash to the mother opening the car door. White flash to SASHA RITTLE standing outside the door.)
Mina Rittle: Run! Run, Sash, run!
(SASHA RITTLE runs away from the car. Cut to muzzle of g*n f*ring. End of flashback. Resume to present.)
(HORATIO looks straight down the pathway.)
Horatio Caine: Let me ask you another question: When you're home alone do you lock the bathroom door?
Catherine: I don't even know you.
Horatio Caine: Sure you do. We all do. It's human nature to avoid being vulnerable, isn't it? So, if that's the case then he would look for a tree to shield himself, wouldn't he?
(They start to walk down the pathway looking for signs.)
Horatio Caine: So Then the question becomes, how far along this path before he loses sight of them?
Catherine: Not very far.
Horatio Caine: Look at this. Bang. Footprints ... and this is urine.
(Quick flashback to MINA RITTLE in the car looking back. White flash to the man standing off to the side with his back to the car taking a leak. White flash to End of flashback. Resume to present.)
Catherine: If you're lucky, urethral cells with slough off with urine.
Horatio Caine: But if we get his DNA, there's a chance we'll get him.
(CATHERINE starts taking pictures. A cell phone rings. HORATIO answers it.)
Horatio Caine: (to phone) Yeah. Caine. What do you mean FBI?
CUT TO:
[EXT. (MIAMI-DADE) CITY COASTLINE (STOCK) -- DAY]
[EXT. POOL]
(A woman swimming lifts herself out of the pool.)
CUT TO:
[INT. (MIAMI-DADE) HOTEL - DAY]
(CATHERINE is on her phone speaking with GRISSOM.)
Catherine: The guy has B.O.?
Grissom: (on phone) Body odor, bad breath ...
INTERCUT WITH:
[INT. CSI - LAB]
Grissom: I don't know. There's something about Adam Van Der Welk that makes him smell.
Catherine: All this because some showgirl said he smelled sweet?
Grissom: (from phone) "Sickly sweet."
Grissom: Smells can be like fingerprints, my dear. Hey, what's going on there?
(from phone) I thought you were meeting the Feds?
Catherine: Uh, yeah, we are. They picked the place. The Shore Club. Later.
(CATHERINE hangs up.)
Catherine: What's taking so long?
Horatio Caine: That is a good question.
(TIM SPEEDLE walks into the waiting area. He checks out the woman in a sarong as he walks by.)
Tim Speedle: Hey, I just ran into a Fed in the lobby. He told me that apparently the Vegas case fits the profile of a serial the FBI's been tracking.
(to WARRICK) Hey, you're from Vegas?
(TIM SPEEDLE holds out his hand to WARRICK. They shake.)
Tim Speedle: Speedle.
Warrick: Brown.
Calleigh Duquesne: Where was the Fed?
Tim Speedle: He's right there in the lobby. He's got his little headphone on and his little tie.
Horatio Caine: And you talked to him?
Tim Speedle: Yeah.
Horatio Caine: Do they have an ID yet?
Tim Speedle: No ID yet, but their perp targets wealthy couples at their playgrounds ... Pebble Beach, Aspen, The Hamptons. Evidently the husbands get m*rder first and the wives later. After they've enjoyed 48 hours of fun and games.
(CATHERINE'S eyes widen at the specific time-frame.)
Catherine: 48?
Tim Speedle: (to CATHERINE) Vegas? (he holds out his hand) Speedle.
Catherine: Willows.
(They shake. SPEEDLE smiles slightly.)
Horatio Caine: That's it?
Tim Speedle: There's also a link to Miami.
Horatio Caine: (flatly) Of course there is.
(HORATIO walks out of the room. SPEEDLE spreads his arms wide.)
Tim Speedle: Or, you know, he could just be some geriatric dude that just digs the weather.
Catherine: I don't understand. Why didn't the Feds put this out on NCIC?
Calleigh Duquesne: Because they're Feds.
(CALLEIGH stands up.)
Calleigh Duquesne: Excuse me.
(CALLEIGH walks out of the room.)
CUT TO:
[INT. (MIAMI-DADE) HOTEL - LOBBY -- DAY]
(Two Feds walk through the lobby. One is just getting off of the cell phone. Behind them, HORATIO walks in and gets his attention.)
Horatio Caine: Dennis ... Dennis ... tick-tock, Dennis. While you're waiting to get your ducks in a row the guy with the "Miami link" just slipped through my hands.
FBI Agent Dennis Sackheim: Horatio, I didn't have federal approval ...
Horatio Caine: I need answers for this little girl. Her father's just been k*lled, maybe her mother, too. And that's your fault. You understand that.
FBI Agent Dennis Sackheim: It sounds like you're making this personal.
Horatio Caine: Dennis, you don't give me this link, I will make this very personal.
(FBI AGENT DENNIS SACKHEIM takes off his glasses.)
FBI Agent Dennis Sackheim: All of his victims stayed here in the last year.
Horatio Caine: Here? This hotel?
FBI Agent Dennis Sackheim: Rittle and his wife, too. Last winter.
Horatio Caine: Mm, I wish I would have known that. Maybe they'd still be alive. Yeah?
(CALLEIGH DUQUESNE approaches and begins to say something to HORATIO CAINE in Spanish.)
Horatio Caine: (to CALLEIGH) si ... vamos.
(CALLEIGH leaves.)
Horatio Caine: (to DENNIS) I had a bad feeling about this.
FBI Agent Dennis Sackheim: What'd she just say to you?
Horatio Caine: She just said that you need to learn the language.
(HORATIO puts on his glasses and runs to catch up with CALLEIGH.)
CUT TO:
[EXT. (MIAMI-DADE) CANAL ROADSIDE -- DAY]
(Several officers' cars gather. WARRICK approaches ERIC DELKO who is wearing a dive suit.)
Warrick: I don't see this g*n car. Where are you looking?
(ERIC DELKO removes his head gear and points to the ground near the water's edge.)
Eric Delko: Check the disturbance along the bank and follow it in.
Warrick: How did you find the disturbance? Drive up and down the canals all day?
Eric Delko: No, the thing about Miami is the entire city's watched from above. Coast guard choppers. Someone going to cover me?
Horatio Caine: I got you.
(CATHERINE stands next to WARRICK.)
Catherine: Cover you for what?
Eric Delko: Alligators.
Tim Speedle: Only way to out run a 'gator is to swim faster than the guy next to you. Isn't that right, Delko?
Eric Delko: Used to have a partner.
(WARRICK smiles.)
Horatio Caine: Guys ... please?
(DELKO goes into the water. HORATIO puts the r*fle up in alert. Several moments go by. DELKO breaks through the surface. He holds a thumb's up sign for a few moments, then sadly turns the thumb down.)
CUT TO:
(Close up of the tow rope being rolled.)
[EXT. (MIAMI-DADE) CANAL ROADSIDE - EARLY EVENING]
(The car is being towed out of the canal. They successfully get the car out on to the roadside.)
(HORATIO opens the car door. Along with the water, a d*ad woman tumbles out of the car. Her mouth is taped, she's naked and wrapped in plastic wrap. CATHERINE peers in to the window.)
Horatio Caine: That her?
Catherine: Yeah, that's Mina Rittle.
(CALLEIGH holds the camera up and starts taking pictures.)
(HORATIO walks off to the side and pulls off his glasses.)
Horatio Caine: Our guy's still in the wind, folks. Still in the wind.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. (MIAMI-DADE) FORENSIC AUTOPSY -- DAY]
(ALEXX WOODS starts the autopsy examination. CATHERINE is there in the room with HORATIO CAINE.)
Alexx Woods: What's her name?
Catherine: Mina Rittle.
Alexx Woods: Who wrapped you, Mina? The plastic wasn't for transport. Covering her intimates -- most likely sexual. Two g*n wounds, left temple. One sh*t was a through-and-through. Trace ASAP along with the plastic. My preliminary probe shows water in the lungs which indicates she was still alive when she was put in the canal.
(ALEXX WOODS looks at the deceased's face and notices something.)
Alexx Woods: Looks like the eyes are glued shut. Gold crusty substance underneath. What is that, Mina?
(HORATIO takes a sample of the substance.)
Horatio Caine: The substance is water-soluble.
Catherine: But somehow it got preserved in the water. My guess is the plastic was wrapped around her eyes at some point.
Alexx Woods: Wait a minute.
(ALEXX WOODS notices that there is the same sticky substance oozing out of the deceased's ears.)
(Quick CGI POV from outside the ear to inside the ear canal where se can see the yellowish-colored substance deep inside. End of CGI POV. Resume to present.)
Alexx Woods: There's a lot more of it. What do you want to bet this is in every orifice?
(ALEXX moves around to the bottom of the table. She checks between the woman's legs and definitely finds what she's looking for. She waves the swab around and looks at HORATIO and CATHERINE.)
Alexx Woods: You guys got a sick one.
(CATHERINE looks at HORATIO. Camera holds on HORATIO.)
CUT TO:
[EXT. (MIAMI-DADE) CANAL ROADSIDE -- DAY]
(TIM SPEEDLE is walking the docks. He's looking down at the water below. He paces the docks. ERIC DELKO breaks through the water surface. He peels off his mask and holds on to a plastic bag.)
Eric Delko: Aha!
Tim Speedle: Delko, you've been down there for 45 minutes. Do you know the level of bacteria in the water? You can get all kinds of infections. What do you got?
Eric Delko: Water p*stol.
(ERIC hands the bag over to SPEEDLE.)
Eric Delko: One water-logged beretta knock-off.
Tim Speedle: Suspect's personal g*n?
Eric Delko: That's it.
Tim Speedle: Congratulations.
Eric Delko: I'll put it over the wires that he's not carrying that Taurus anymore.
Tim Speedle: Do that, and take a shower.
Eric Delko: Nice shoes.
(SPEEDLE makes his way off the docks.)
CUT TO:
[INT. (LAS VEGAS) CSI - INTERROGATION ROOM]
(TIFFANY LANGER is sitting at the table with a composite artist.)
Composite Artist: Ma'am, you have to concentrate on the face. In parts, not just the whole.
Tiffany Langer: Ask me what he wore. Ask me if he was good in bed. Just don't ask me how close together his eyes were.
Nick: You said he kind of looked like Ricky Martin, right?
Tiffany Langer: Yeah, with a touch of Jude Law.
Composite Artist: Try to not just picture him. Try to think of an event.
Tiffany Langer: Okay ... three-way kiss. His lower lip was kind of pouty ...
(The artist turns to his pad and continues to draw.)
Tiffany Langer: and he had this Michael Douglas thing working, you know --- a cleft in his chin.
(The artist outlines a cleft chin and shows it to TIFFANY LANGER.)
Composite Artist: Kind of like that?
Tiffany Langer: Yeah. You're right. That is easier.
(Short time cut to a completed pencil drawing of a man on the pad.)
CUT TO:
[INT. (MIAMI-DADE) INTERROGATION ROOM]
(SASHA RITTLE works with a composite artist who is also drawing a picture of the
(The camera pulls back.)
(Through the window, CATHERINE observes the proceedings.)
(Cut back to the little girl and the artist inside the room.)
(Cut back to CATHERINE as she watches just outside the glass door.)
CUT TO:
(Close up of fax machine as it spews out the composite drawing from Las Vegas. CATHERINE picks it up and looks at it.)
[INT. (MIAMI-DADE) CSI OFFICES]
Catherine: (on phone) Adam Van Der Welk. Little girl saw a monster. Showgirl saw a husband. So this guy could be anybody.
Nick: Yeah, that's the problem with eyewitnesses. All the more reason to rely on evidence. Tell Warrick hey. Let me know if anything breaks.
Catherine: You, too.
(CATHERINE hangs up as she walks down the hallway. HORATIO walks through the hallway toward CATHERINE. He passes WARRICK with a hello.)
Horatio Caine: Hey.
Warrick: Hey.
Horatio Caine: So, how's your colleague Grissom doing on the aroma angle?
Catherine: I'm sure he's making progress but Grissom rarely says anything until he's good and ready.
Horatio Caine: Smart man. I just wanted to show you something. The sticky substance we got off the wife is, in fact, honey.
Catherine: You say that like it means something.
Horatio Caine: Well, honey on its own is just honey, but when you add plastic wrap, it's ... a different situation.
CUT TO:
[INT. (MIAMI-DADE) NIGHT CLUB -- NIGHT]
(A woman in plastic wrap walks the counter-top. There's a crowd around the counter and pulsating techno-pop music playing in the background. The crowd cheers and chants.)
(The woman in plastic wrap catwalks to the end of the counter where she sits down and lays back on her elbows. Two men hold up containers of honey as they dance to the b*at of the music.)
Crowd: Five... four... three ... ...two... one...
(When the crowd reaches one, the two men pour the honey on the woman on the counter. Up her legs and on her abdomen.)
(Another waitress carries out a tray with cut fruit on it. The crowd picks the fruit off the tray. The men stop pouring the honey, and the crowd dips their pieces of fruit in the honey on the woman.)
Catherine: Yum. This is where he got the idea.
Horatio Caine: Yep.
[CLOSED-CAPTIONING: HORATIO CAINE: This is Hives.]
(HORATIO pulls out a swab from his coat pocket.)
Horatio Caine: Wish me luck.
(He leaves CATHERINE'S side and makes his way to the woman on the counter.)
Horatio Caine: Excuse me. Excuse me.
(HORATIO reaches the woman. He looks down at her and proceeds to take a swab sample of the honey on her.)
Horatio Caine: Hi
Showgirl: Some guys like to lick it off.
Horatio Caine: Really? I'm partial to the swab myself.
(CATHERINE appears next to HORATIO.)
Catherine: Ready, honey?
Horatio Caine: Coming, dear.
(The SHOWGIRL smiles deliciously as they leave. Patrons of the club continue to dip their pieces of fruit into the honey on the woman.)
CUT TO:
[INT. (LAS VEGAS) CSI - GRISSOM'S OFFICE]
(Camera close-up of DR. ROBBINS as he reads. The camera cuts back and we see that both he and GRISSOM are pouring over text books on the desk in GRISSOM'S office.)
Robbins: Tuberculosis victims emit breath that smells like wet leaves.
(Behind them, BRASS appears in the doorway and pauses.)
Grissom: Maple, elm, ash, what?
Robbins: I'm not sure.
(BRASS takes a step into the office.)
Brass: Miami is pulling cars out of canals -- chasing leads, debriefing the kid -- and you guys are flipping through textbooks?
Grissom: This is how I work.
(BRASS picks up the books on the table and reads the bindings.)
Brass: Tuberculosis ... Cyanide poisoning ... Endocrinology.
(GRISSOM taps the side of his nose.)
Grissom: I'm following my nosino.
Brass: You're closer to this Van Der Welk guy than you're letting on aren't you?
(GRISSOM slowly looks up at BRASS. Oh yeah, BRASS is catching on ... Satisfied, he nods his head to each man.)
Brass: (to GRISSOM) Doctor ... (to ROBBINS) Doctor.
(BRASS leaves the room.)
Robbins: How about Darier disease?
Grissom: Doesn't that give you a rash that smells like human excrement we're looking for something a little sweeter.
Robbins: There's diabetic ketoacidosis. Body has excess glucose which converts to ketone ... Gets expelled through the pores. Has a fruity smell. It would help if we had a piece of the assailant's clothing.
(GRISSOM'S eyes widen as he realizes something.)
Robbins: What?
Grissom: I think I overlooked some evidence.
(GRISSOM stands and heads out the door.)
CUT TO:
[INT. (MIAMI-DADE) CSI -- LAB]
(Close of up the slide under a microscope and a sample of honey being placed on the slide.)
Tim Speedle: I'm going to isolate it using high-performance liquid chromatography. Once we identify the pollen we'll know if it's floral honey.
(Camera cut to the scope view of the focus on yellow honey.)
(SPEEDLE steps aside for HORATIO CAINE to look. HORATIO peers through the scope.)
Tim Speedle: So, H, when's the last time you were in Hives?
Horatio Caine: I was there opening night.
Tim Speedle: I didn't see you there.
Horatio Caine: I was, uh ... VIP.
(TIM SPEEDLE smiles and nods - he should have known.)
Horatio Caine: What is this?
Tim Speedle: It's tupelo honey. It's the purest of all honeys. Stays in liquid form for life. Doesn't crystallize or harden.
Horatio Caine: Where'd you get that?
Tim Speedle: CDC hipped me to it after that africanized bee problem.
Horatio Caine: Okay, let's swap this out. I want you to take a look at this.
(HORATIO changes slides.)
Horatio Caine: We got this off the chief's wife.
(SPEEDLE focuses the scope. Scope view shows us the yellow honey. SPEEDLE straightens and looks at HORATIO.)
Tim Speedle: It's a match.
(HORATIO nods his head.)
Horatio Caine: It's a match.
CUT TO:
[INT. THE HIVE -- DAY]
(HORATIO & WARRICK are rifling through the receipts. WARRICK looks at the honey.)
Warrick: $500 for five dollars worth of honey? I don't think it's worth it.
Nightclub Manager: Those are mostly for decoration but once in a while some bigwig comes takes one of them out of here.
Horatio Caine: Wouldn't it have been easier to put these in order? This is going to take forever.
Calleigh Duquesne: (o.s.) Maybe not. I've got a receipt from just two nights ago.
Horatio Caine: Let me see that.
(CALLEIGH hands the receipt to HORATIO.)
CUT TO:
(CATHERINE is interviewing the Security Guard.)
Catherine: Do you recognize this guy?
Security: Yeah, looks just like every other Joe that comes in here.
Catherine: Look, you work the door. Anybody come in here in the last 48 hours that bought some of that very expensive tupelo this is Miami.
Security: Every night's a weekend.
(HORATIO joins them.)
Horatio Caine: My people tell me that a customer came in here two nights ago to buy some.
Security: Wasn't a customer. It was a limo driver.
Catherine: A limo driver?
Security: Yeah, Gordon. Gave me a c-note just to double park.
Horatio Caine: Did this Gordon tell you who he had in back of his car?
Security: No. Just that it was some rich guy -- some high roller.
Catherine: Let me guess-- from Vegas.
Security: Yeah.
(Suddenly, the pieces are slowly coming together.)
CUT TO:
[EXT. (MIAMI-DADE) HIGHWAY (STOCK) - DAY]
(Top view of limo traveling along roadway and a police car with its siren on behind it.)
CUT TO:
[INT. (MIAMI-DADE) -- DAY]
(HORATIO and CATHERINE exit the car. They meet up with SPEEDLE.)
Horatio Caine: How'd you find him?
Tim Speedle: Figured, limo driver -- airport. I spotted Gordon here on Alton -- back way to Miami International. Lit him up, pulled him over here.
Horatio Caine: Nice work. You got a last name, Gordon?
Gordon Daimler: Daimler. Look, officer, the Corwins are coming in on their own private jet. They're two of my best customers. I really should be there.
Horatio Caine: Well, the Corwins are going to have to wait.
Catherine: We understand that another one of your customers bought some very expensive honey from a club.
Gordon Daimler: Yeah, well, I've had stranger requests.
Catherine: This customer of yours have a name?
Gordon Daimler: Never got it. He paid cash. Never saw a credit card.
Catherine: Well, did you notice anything unusual about him? Did he smell? Did he ... have an odor?
Gordon Daimler: Uh, his breath maybe. He'd been drinking a lot.
Horatio Caine: Remember what he was drinking? Was it sweet like irish whiskey?
Gordon Daimler: Whatever I have stocked.
Catherine: Well, we'd like to take a look.
Gordon Daimler: Sure. Go ahead.
(HORATIO checks out the front seat of the car; CATHERINE works on the back seat.)
(CATHERINE climbs in the back seat. She checks the first bottle and smells it.)
Catherine: Vodka.
(She smells the second bottle.)
Catherine: Gin.
(HORATIO starts the engine and turns on the air conditioner. He puts the window between the front and the back seats down. CATHERINE leans forward.)
Horatio Caine: Hmm. Smell that?
Catherine: Sickly sweet. That's exactly how Grissom described it.
CUT TO:
[INT. (LAS VEGAS) CSI - WAITING ROOM]
(GRISSOM opens the evidence package and takes out the baseball cap found on the d*ad body in the back of Chief Riddle's car. He holds it out to TIFFANY LANGER.)
Tiffany Langer: You want me to do what?
Grissom: Smell this.
(GRISSOM holds out the baseball cap. She gives him a look and takes off her sunglasses. She smells it.)
Tiffany Langer: That's it. That's Adam's smell.
Grissom: In the five days that you two were together, did you happen to notice what he was drinking?
Tiffany Langer: Champagne.
Grissom: Did he ever drink anything sweeter like whiskey or cognac?
Tiffany Langer: No, Are you kidding me? With him it was all dom, all the time.
(TIFFANY LANGER puts her sunglasses back on. GRISSOM smiles as he puts the hat away.)
CUT TO:
[EXT. (MIAMI-DADE) - DAY]
(CATHERINE is speaking on her cell phone. HORATIO CAINE is standing nearby listening in to CATHERINE'S side of the conversation.)
Catherine: You found a medical condition.
Grissom: Diabetic ketoacidosis -
INTERCUT WITH
[INT. (LAS VEGAS) CSI - DAY]
Grissom: it's an insulin deficiency. His body's been expelling excess glucose. Makes him smell fruity.
Catherine: Which I guess could easily be mistaken for whiskey breath. Hey, can you test for diabetic ketoacidosis off urine?
Grissom: Well, blood's the best but if you had a urine sample, maybe.
Horatio Caine: Ask him what medication you would take for that.
Catherine: What would a doctor prescribe?
Grissom: Novalin insulin.
CUT TO:
[EXT. MIAMI-DADE CITY - SUNSET (STOCK)]
[INT. (MIAMI-DADE) CSI - LAB]
(HORATIO CAINE makes his way down the steps and into the lab. CATHERINE is behind him.)
Horatio Caine: Lucky for us we found blood in his urine.
Catherine: Absence of c-peptide in the blood. Means the insulin in our guy's system isn't natural -- it's synthetic.
Horatio Caine: And prescribed. Right over here. It's our database.
(They reach the bottom area where HORATIO CAINE points to a work station on their left. He pulls up a chair.)
Horatio Caine: Okay, what we're looking for is a patient who's purchased synthetic insulin in the last 48 hours.
(At the computer screen, HORATIO CAINE does an Advanced Search on Prescriptions on the KeyWord: "Novalin Insulin" During the last: "48 hours - Current".)
Horatio Caine: Here we go.
(The results are immediate.)
Computer Screen 1:
[Your basic search for Synthetic insulin matches:
Prescription #: / Patient #: / Pr R# 63K1 / McCrary694
R# 916414 / Marie81
R# 783J38 / Bush571 / Order Amt: R# U1456JZ6 / Woodbury49 / Order Amt: R# IZ921 / Ziegler671
R# 15V445 / Reichenbach926
R# 54DT58 / Carlisle392
R# 8DJ223 / McBride654
R# 97H92 / Webber942
R# 69666 / Hutchinson306
R# N6479 / Willman126
R# 16W45S1 / Daimler408
R# 1Y0 / Andreou328
R# 514761 / Bruning 536 ]
Computer Screen 2:
[RESULTS RESULTS - PATIENT INFORMATION NAME: GORDON DAIMLER RX: INSULIN RX#44092-1084
ADDRESS: 2421 RIVIERA DRIVE
COCONUT GROVE, FL 33154 ]
Catherine: Gordon Daimler. That's the limo driver.
(HORATIO CAINE nods.)
Horatio Caine: That's him. And the reason that old Gordon probably didn't smell when we picked him up is because he'd just taken his insulin, hadn't he?
Catherine: But the scent was still in the limo's AC system. Well, now we have this guy's address.
Horatio Caine: Yes, take a look at this address. A limousine driver with a house on the water in Coconut Grove? I don't think so.
Catherine: Who's the owner of record?
Horatio Caine: Let's check it.
(HORATIO CAINE runs a second search.)
Computer Screen 3:
[RESULTS PROPERTY IS OWNED BY:
NAME: Dylan and Sissy Corwin ADDRESS: 2421 Riviera Drive
Coconut Grove, FL 33154
PROPERTY #: 09472-59573-29175 ]
Catherine: Sissy and Dylan Corwin. That's the couple he was picking up at the airport when we pulled him over.
Horatio Caine: That's right.
Catherine: So then maybe that's how he finds his victims -- driving a limo.
Horatio Caine: And when they're away at some posh resort he moves into their house, doesn't he?
Catherine: Hops over to Las Vegas. Visits the couple he met in Miami. Kills the husband...
Horatio Caine: mm-hmm.
Catherine: ...Brings the wife back here-- kills her.
Horatio Caine: And when the Corwins come home ... not good.
(Off CATHERINE'S look.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. (MIAMI-DADE) COCONUT GROVE - DRIVEWAY - DAY]
(A car pulls up and parks behind a black limo parked in the driveway. HORATIO CAINE exits the car, WARRICK behind him. Both of them have their g*n drawn.)
(Cautiously, they approach the house.)
Catherine: (o.s.) No one's answering inside.
CUT TO:
[INT. (MIAMI-DADE) COCONUT GROVE - DAY - CONTINUOUS]
(Through the open doorway, HORATIO CAINE yells into the house.)
Horatio Caine: Miami-Dade police!
(There's no response.)
(HORATIO CAINE, followed by WARRICK and CALLEIGH DUQUESNE who also has her g*n drawn, enter the home. HORATIO checks out the right while WARRICK and CALLEIGH head off to the left.)
(Cut to WARRICK and CALLEIGH walking through the hallway toward the stairs.)
(Cut to HORATIO rounding the corner. CATHERINE'S walking behind him. HORATIO looks up to the stairs leading to the second floor. He cautiously makes his way up the stairs. He stops at the first landing, g*n pointed upward.)
Horatio Caine: Slowly.
(CATHERINE walks up the stairs and passes HORATIO as he covers her.)
Horatio Caine: Slowly.
(By this time, HORATIO has his g*n down and before he follows CATHERINE the rest of the way up the stairs, he looks around and takes special notices of the framed photographs hanging on the stairway wall. The photo closest to him at his eye level is a photo of a plane.)
[STAIRWELL LEADING TO THE GARAGE]
(Cut to WARRICK rounds the corner at the top of the stairway leading down. WARRICK takes off his glasses and notices the blood immediately.)
Warrick: I got a blood trail here. Leading to the garage.
(He starts to descend the stairs. CALLEIGH follows close behind, covering his back.)
[MASTER BEDROOM]
(CATHERINE enters the master bedroom. She puts her kit down and puts on a pair of latex gloves. HORATIO enters the bedroom.)
(CATHERINE looks around. The bed is in disarray. She lifts up the covers looking for evidence. She finds a scrap of plastic wrap. She picks it up and looks at it.)
(Quick flashback to SISSY CORWIN on the bed, struggling with her captor. Cut to the assailant hitting her. Cut to SISSY CORWIN unconscious on the bed and the assailant unrolling a section of plastic wrap. End of flashback. Resume to present.)
CUT TO:
[INT. CORWIN RESIDENCE - GARAGE - DAY -- CONTINUOUS]
(WARRICK reaches the garage. He takes a few more steps, following the blood trail. CALLEIGH enters the garage.)
Warrick: He dragged the body to here ...
(WARRICK looks down at the large blood stain on the garage floor.)
Warrick: ... put her in that car.
Calleigh Duquesne: Nine mill.
(WARRICK turns around and notices CALLEIGH crouched down and staring at a slug in a wall. He joins her.)
Calleigh Duquesne: One sh*t's a through-and-through. Scalp hair. He fired this one first.
(Camera shows a slug in a wall. The wall around the slug is clear.)
Calleigh Duquesne: I don't know. To terrorize her.
(WARRICK looks at the second slug, the wall around which is dry with scalp and blood.)
Warrick: This strike here. That one's all business.
CUT TO:
[INT. CORWIN RESIDENCE - BEDROOM - DAY -- CONTINUOUS]
(HORATIO walks around. He turns his head and looks into the bathroom and notices something on the shower tile. He holsters his w*apon and opens the door for a closer look. The substance is shiny, sticky-looking and clear.)
(Quick flashback to a g*n being held against SISSY CORWIN'S HEAD. She's cowering on the floor of the shower with her back against the wall. White flash to honey being smeared on SISSY CORWIN'S cheek. End of flashback. Resume to present.)
(CATHERINE walks up behind HORATIO. She looks at the shower and without saying a word, HORATIO nods his head. They're both thinking of the same scenario.)
(CATHERINE holds up the piece of plastic wrap she found on the bed.)
Catherine: He wrapped her in plastic by the bed, r*ped her.
Horatio Caine: Then dragged her in here and cornered her like an animal.
Catherine: If Gordon's true to form, he's going to k*ll the Corwins.
(TIM SPEEDLE appears in the doorway and interrupts them.)
Tim Speedle: You guys should take a look at this.
CUT TO:
[EXT. CORWIN RESIDENCE - BACKYARD - DAY - CONTINUOUS]
(TIM SPEEDLE is walking somewhere, leading both HORATIO and CATHERINE out to the backyard.)
Tim Speedle: Well, people don't really buy these houses for the view. It's a place to put a million-dollar boat.
Horatio Caine: But what's your point?
(They reach the docks and CATHERINE notices it first.)
Catherine: The boat's missing and that's where he's k*lling them right now.
Horatio Caine: (urgently) Speed, get on that thing right now. Put the birds in the air and call the coast guard. Right now. Do it.
Tim Speedle: (on radio) Air and sea, this is Tim Speedle. I need you to be on the lookout for a yacht, T-45. R.O. Dylan and Sissy Corwin.
Horatio Caine: Commandeered by one Gordon Daimler. Gordon Daimler.
(SPEEDLE moves off to the back where he continues to call out on the radio.)
Tim Speedle: (b.g.) Air and sea ...
Horatio Caine: (quietly) ... Gordon Daimler.
(Camera close up of HORATIO CAINE.)
CUT TO:
[EXT. MIAMI-DADE CITY SKYLINE (STOCK) - NIGHT]
[EXT. DOCKS - NIGHT]
(HORATIO CAINE exits the vehicle and approaches the rest of the team trying to assess the situation from their vantage point behind the police vehicle. Out at the dock, the CORWIN'S boat is docked. No one has approached the boat yet. Behind the second car is FBI Agent DENNIS SACKHEIM and sharpsh**ter DETWEILER already set up with his finger behind the trigger.)
Dennis Sackheim: Coast guard found her adrift!
(CATHERINE also joins the group.)
Dennis Sackheim: No radio contact! We hailed her. No response.
Tim Speedle: Infrared's up. Blue means d*ad, red means alive.
(Camera close up of the Infrared's monitor which shows at least one red figure in the cabin. The other figure is ... )
Calleigh Duquesne: Pink. Body heat's fading. Person's dying.
Catherine: Identify the other players.
Horatio Caine: Speed?
Warrick: (pointing to the screen) Red. Is that our suspect?
Horatio Caine: I'm not sure.
Dennis Sackheim: I am.
(CATHERINE turns around to SACKHEIM.)
Catherine: How? We haven't identified all the players.
Dennis Sackheim: He's going back to finish off the job. Detweiler.
(DETWEILER is manning the g*n trained on the red figure inside the cabin.)
sharpsh**ter Detweiler: Getting a bead on him, sir.
Dennis Sackheim: The M.O. On this guy says husband's already d*ad. He's going back to finish off the wife. You're good to go.
Calleigh Duquesne: Body language does not look like an att*ck.
(HORATIO looks over at the boat, "Cor-winds".)
(Quick flashback to HORATIO taking off his glasses and looking at the framed photographs hanging on the wall on the stairway. He glances at one photograph of the boat, "Cor-winds", and the next photograph of the CORWINS standing in front of a private jet. End of flashback. Resume to present.)
Horatio Caine: (to SPEEDLE) Wait a minute, wait a minute. Don't the Corwins have a jet?
(SPEEDLE nods.)
Horatio Caine: (louder) The Corwins have a jet, right?! Gordon left them here to die.
[CLOSED-CAPTIONING: HORATIO CAINE: That's where Daimler is. It's the Corwins in there.]
Horatio Caine: Abort this, Sackheim! Abort this!
Dennis Sackheim: Interstate case, not your call! (to DETWEILER) Proceed!
Horatio Caine: Stand down!
Dennis Sackheim: (to DETWEILER) Take him out!
(HORATIO walks over to stand next to DETWEILER. He leans in close and proceeds to convince DETWEILER to stand down.)
Horatio Caine: Detweiler, I know you want to impress your boss but there's an innocent man on that boat. Now, if you take this sh*t I'm going to be in your grille for the rest of your natural life. I want you to think about what that might be like.
(Camera close up of DETWEILER considering the options. HORATIO stands up and takes a step back.)
Horatio Caine: Think about that.
(DETWEILER continues to consider the options. He looks at the darkness inside the boat cabin behind his scope and finally looks down. He moves his finger away from the trigger.)
Horatio Caine: (to DETWEILER) Thank you. (to SPEEDLE) Speed, the Corwins have a jet find the jet. Call the FAA and ground the jet by authority of ...
(HORATIO doesn't look at DENNIS SACKHEIM, but sticks it to him anyway.)
Horatio Caine: ... Miami-Dade County.
(CATHERINE is already unholstering her g*n.
Tim Speedle: (b.g.) Got it
Catherine: Give us thirty seconds.
(HORATIO, followed by CATHERINE head toward the boat.)
Horatio Caine: Then send backup!
(HORATIO CAINE bursts in through the boat and into the cabin as fast as he can get inside. He opens the door and finds ... )
Horatio Caine: Mr. Corwin!
(DYLAN CORWIN is performing CPR on his wife. They're both bloodied, remnants of tape restraints are still on her wrists. DYLAN CORWIN looks up at HORATIO CAINE.)
Dylan Corwin: I tried to save her. It's too late.
(CATHERINE pushes past HORATIO to get into the cabin. DYLAN CORINW hangs his head down and sobs.)
Dylan Corwin: (to his wife) I'm sorry.
Horatio Caine: (to radio) Get me f*re rescue.
CUT TO:
[EXT. MIAMI-DADE CITY LIGHTS (STOCK) - NIGHT]
[INT. CORWIN'S JET -- NIGHT]
(The pilot looks back at his lone passenger, GORDON DAIMLER.)
Pilot: Few more minutes, sir, we'll be on our way to Monaco. Sorry for the delay, sir. Technical difficulties. We'll be off shortly.
(GORDON DAIMLER raises his fluted champagne glass in silent salute to the pilot. He smiles and looks out the window. He takes a sip of champagne just as we hear the sounds of a car driving up and of a door slamming.)
(GORDON DAIMLER looks up.)
(HORATIO CAINE boards the plane, g*n drawn and aimed at GORDON DAIMLER. CATHERINE also boards the plane.)
Horatio Caine: Good evening. Mr. Van Der Welk.
(CATHERINE walks past HORATIO CAINE and up to GORDON DAIMER where she quickly and efficiently pats him down.)
Catherine: Gordon, did you drive your limo here?
(GORDON DAIMLER holds his arms outstretched. She finishes.)
Catherine: He's clean.
(GORDON DAIMLER shakes his head and explains calmly.)
Gordon Daimler: The Corwins ... are my friends. They lent me this plane.
Catherine: Like the lent you their boat?
(GORDON DAIMLER smiles smugly.)
Gordon Daimler: Speak to the pilot. Dylan Corwin called him personally. Directed him to fly me to Monaco.
Horatio Caine: I'd rather call "Dylan" at the hospital to confirm.
(The smile fades on GORDON DAIMLER'S face.)
Catherine: The husband didn't die. He left us a witness and enough evidence to convict you in two states.
Gordon Daimler: (smugly) Rich men don't go to jail.
Horatio Caine: You're not rich, Gordon.
CUT TO:
[EXT. AIRSTRIP - NEAR THE CORWIN'S JET -- NIGHT]
(Handcuffed, GORDON DAIMLER is escorted off of the plane, "Cor-wings". He's handed to the officer and exits camera frame. CATHERINE exits the plane followed by HORATIO. They walk out some distance away from the plane.)
Horatio Caine: I'm going to, uh ... I'm going to book this guy. You want to go with?
Catherine: Nah, you got it. I'll have my D.A. call your D.A.
(HORATIO chuckles.)
Horatio Caine: Sounds good. Sounds good.
(They stop walking.)
Horatio Caine: Uh ... thank you for your help on this.
Catherine: Thanks for yours, actually.
Horatio Caine: Right.
(CATHERINE smiles.)
Horatio Caine: You take care of yourself.
Catherine: (smiles) I always do.
(CATHERINE extends her hand. HORATIO grasps it. They shake hands.)
CUT TO:
[EXT. MIAMI-DADE CITY SKYLINE (STOCK) - EARLY MORNING]
[EXT. (MIAMI-DADE) THE BEACH - EARLY MORNING]
(HORATIO CAINE looks out toward the ocean.)
(Camera cut to two officers standing watch over SASHA RITTLE as she plays in the sand. The two officers leave as HORATIO CAINE sits down next to the little girl.)
Horatio Caine: Hey.
Sasha Rittle: My mommy and daddy are d*ad, aren't they?
Horatio Caine: Well, your aunt is flying in to talk to you.
Sasha Rittle: That's a yes.
Horatio Caine: I lost someone once.
Sasha Rittle: Who?
Horatio Caine: Well ...
Sasha Rittle: Did you feel sick?
Horatio Caine: Still do. Still do.
(SASHA turns back to the sand. HORATIO CAINE still has something to say to her.)
Horatio Caine: Sasha .... people are going to say a lot of things about your mom and dad and some of them are going to be true, but what I want you to remember is that they fought like heroes for you. Will you remember that for me?
(SASHA nods her head.)
Horatio Caine: Good. Good for you.
(The two lone figures continue to sit side-by-side on the beach. HORATIO turns back to look out into the ocean.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(CATHERINE knocks on the door to get GRISSOM'S attention. She walks in to his office. GRISSOM turns around. He's wearing a dark suit and fiddling with his tie.)
Catherine: Hello.
Grissom: Hey.
(CATHERINE stands in the doorway.)
Grissom: Nice tan.
(GRISSOM sits down in his chair.)
Catherine: Nice suit.
(CATHERINE walks into the office and stops in front of GRISSOM'S desk.)
Grissom: Yeah, well, I knew you were coming back today, so I dressed up.
Catherine: (snorts) Yeah. Right.
Grissom: Really.
(CATHERINE doesn't respond, although she does continue to look at GRISSOM.)
Grissom: What?
Catherine: Nothing. It's just ... unusual to see you dressed like that.
Grissom: I had to go to the Chief's funeral.
Catherine: Missed me that much, huh?
(CATHERINE turns around and heads out the doorway, but not before she looks over her shoulder to cast GRISSOM a final look and smile.)
(GRISSOM smiles as he watches her walk away. He shakes his head and turns back to his book ... still smiling.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x22 - Cross-Jurisdictions"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS (STOCK) - NIGHT]
[EXT. LAS VEGAS (STOCK) - NIGHT]
CUT TO:
[INT. BATHROOM - NIGHT]
(A woman is preparing to take a bath. She wraps a towel around her naked body. She removes her underwear while the water in the tub fills with hot water and bubbles.)
(She tests the temperature of the bath water with her foot.)
(She adds bath oil/bath scent to the water.)
DISSOLVE TO:
(Close up of a cosmetics kit being unrolled.)
DISSOLVE TO:
(The woman is sitting in front of a dressing mirror. She is facing the mirror and her back is to us. We can't see her face. She puts her hair up and holds it in place with a hair clip.)
(She selects a pair of tweezers from the cosmetics kit.)
CUT TO:
(Top view sh*t of the bath tub filling with water.)
(Cut to: The woman starts on her pre-bath ritual.)
(Cut to: A top view of the bath tub with bath bubbles and a fashion magazine, "VEGAS" on the floor nearby. The water flows over the lip of the tub onto the floor. The water and bath bubbles cover the magazine completely from our view.)
CUT TO:
[INT. WAITING ROOM -- NIGHT]
(GRISSOM is reading a book. It's very quiet.)
(The nurse looks up at GRISSOM. GRISSOM looks up at the nurse and we hear a cell phone ring. He answers his phone.)
Grissom: (on phone) Grissom. (pause) I'll be right there.
(GRISSOM stands and approaches the nurse.)
Grissom: Please tell the doctor that I have to reschedule my appointment. Thanks.
(GRISSOM doesn't wait for an answer. He leaves.)
Nurse: She should be right with ... you.
CUT TO:
[EXT. UNDER THE BRIDGE - NIGHT]
(BRASS is there talking with a man with a clipboard in a jacket. He's standing in front of a shopping cart ... and there's a d*ad body in the shopping cart, but you don't really notice it.)
(Behind them, GRISSOM'S SUV pulls up to the police tape, parks and GRISSOM emerges carrying his kit. He locks his car and approaches BRASS and the shopping cart with the body.)
Grissom: Any I.D. Yet?
Brass: Nothing but a blanket.
(GRISSOM flashes his light on the body and we see that it's a woman and she has cuts and blemishes on her face. She's wrapped in a blanket and her eyes are closed. He looks around at the environment. He turns left and right and sees some homeless people sleeping on the ground with their shopping carts near them.)
Grissom: She live here?
Brass: Ah ... we don't know. Patrol called it in. Well, whoever she is she's not talking.
(GRISSOM moves in closer to the body for a better look. As he does, her mouth begins to move. Her mouth suddenly opens and a rat crawls out.)
Brass: Whoa.
Grissom: I think she just ratted herself out.
(Camera holds on BRASS.)
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS
[Captioning sponsored by CBS CBS productions and Volkswagen. Captioned by media access group at WGBH access.Wgbh.Org]
(COMMERCIAL BREAK)
[EXT. GROUND VIEW OF THE HIGHWAY - NIGHT]
(The camera starts with the billboard and pans around the bridge to stop on an overhead sh*t of the crime scene. The Coroner's van pulls away. Police Radio Transmissions can be heard in the background.)
(GRISSOM walks around looking for evidence to mark for collection. In his left hand, he holds yellow markers. The number showing on the next marker is #4.)
(GRISSOM sees something on the ground and places the number 5 marker down next to something that could possibly be blood on a rock and a small pool of it near by. He continues to look around. He spots the shopping cart and approaches it.)
(GRISSOM starts looking through the cart. He moves the blanket away and sees a purse underneath. He pulls out a day planner. He goes through the bag and sees six syringes on the bottom of the purse.)
Grissom: (V.O.) Drug use?
CUT TO:
[INT. FORENSIC AUTOPSY]
Robbins: No visible track marks. Tox screen came up empty except for botulin.
Grissom: Food poisoning?
Robbins: I'll know more when I cut open her stomach. Heard about the rat. Hope he didn't have any children. Take a look at these tiny puncture wounds in her forehead. Indicates repeated injections. You sure she's homeless?
Grissom: Sometimes I'm not sure of anything.
Robbins: Educated guess: Beautification. She was injected with pig botulism.
(Flash to white. Flash CGI of syringe penetrating the skin in the forehead to the muscle beneath and liquid spurting out. The needle pulls out. End of CGI.)
Robbins: Botox ... the ultimate wrinkle cream.
Grissom: How did it get into her bloodstream?
Robbins: Bad doctor. Missed the muscle. sh*t directly into her supratrochlear vein.
Grissom: Amazing the advances we make in science and the primitive uses we find for them.
Robbins: People are still animals. Signs of possible t*rture. A lot of scarring. Some old, some new.
Grissom: What about the crater in her check?
Robbins: The dove-tail abrasion of the margins was caused by the scraping of the handle of some w*apon. Tells me the blade was completely inserted -- more than once.
(GRISSOM looks down at the woman's arm. We see only smooth skin.)
Grissom: There's no ligature marks anywhere. I'd think she would need to be restrained for something like that, wouldn't you?
Robbins: Give me a few hours; I'll know more.
CUT TO:
[INT. CSI -- LAB]
[SARA turns on the light for the overhead projector. She has the day planner open on screen. She flips the page to the date: 05/09/02 written in the top right corner. The page has the following:
(+) (-)
T 3
C 1023 - 10 ok
= 0
X COW -4 A PGOSF
---------------------------------
QP 4 1 EVO'D ...]
(WARRICK walks into the lab.)
Brown: Show and tell. Who?
Sara: Showing but not telling. I found a day planner in the shopping cart.
Warrick: Mm-hmm.
Sara: It's written in code. "T to the third power. C 1023, minus ten O.K. equals zero."
Warrick: Looks like ginkwork. It's the kind of thing speed freaks do when they've been up for ten days straight and they've already taken apart the radio.
Sara: Yeah. I write everything down in shorthand. You couldn't read it.
Warrick: Shorthand?
Sara: Keeps things in order.
Warrick: You're not a control freak or anything?
(SARA doesn't look at WARRICK. She smiles and mumbles ... )
Sara: No.
(WARRICK sees something across the room.)
Warrick: Sara ... what's a homeless woman doing with a day planner and a $300 handbag?
Sara: That handbag costs $300?
Warrick: Yeah.
Sara: How'd you know that?
Warrick: I bought one for an ex-girlfriend once.
Sara: Oh.
(Camera holds on WARRICK as he glances back at SARA and chuckles at her reaction.)
CUT TO:
[INT. CSI - A/V LAB]
(CATHERINE walks into DUSTY'S OFFICE. DUSTY is taking a image of the victim's mutilated face and is reconstructing it digitally on the computer.)
Catherine: Dusty, we got no hits on the fingerprints and no one fitting her description has been reported missing.
Dusty: Oh, she's not missing? She's in my world. I'm just mirroring some good cheek on top of some bad cheek.
Catherine: Okay.
Dusty: I'll fix her forehead.
(DUSTY works on clearing the injuries off of the victim's face so that they can better identify her.)
Dusty: Her chin ... what a mess.
Catherine: Mm-hmm.
Dusty: I'm going to do a little cloning here. She actually had a really nice complexion. Perfect porcelain face.
Catherine: What can you do about the hair?
Dusty: It's a macro. What kind of hair do you want her to have? Blonde? ... like Courtney love?
Catherine: Sounds good to me.
Dusty: Let's give her some eyes ... blue.
(DUSTY finishes the digital reconstruction and looks at the image of the woman. She frowns.)
Dusty: I know her from somewhere.
(This surprises CATHERINE.)
Catherine: You do?
Dusty: Yeah.
CUT TO:
[INT. GRISSOM'S OFFICE]
(CLOSE UP of a "SHOWBIZ WEEKLY" magazine cover with a picture of Ashleigh James on it and her name in large type on the right.)
[Above the magazine title, the headline reads: "Exclusive: Las Vegas Uncovered".]
[On the left side of the magazine it reads:
<<the magazine date>>
VEGAS.com
"Marvin Mancie / The Man and The Movie"
"Samantha Coy / Soft-Spoken, But Shrewd"
"Harlan Joseph / Banks of Success"
"John Russell / R & B's Rising New Star"]
[Headline on the bottom reads: "Bill Belt: magic act"]
[Ad on the back of the magazine: "Great Expectations"]
(GRISSOM glances down at the magazine and then looks back up at CATHERINE who put it there.)
Grissom: Why are you showing me this?
Catherine: The cover girl, Ashleigh James -- she's your girl in the shopping cart. P.D.'S tracking down her agency now. Somebody wanted her d*ad.
(GRISSOM takes out the post-mortem photograph of Ashleigh James and looks at the two pictures side by side. The magazine cover on the left and the post-mortem picture on the right.)
Grissom: They also wanted her ugly.
CUT TO:
[EXT. ASHLEIGH JAMES' LOFT - NIGHT]
(GRISSOM and CATHERINE get out of the car with their CSI kits just outside ASHLEIGH JAMES' loft. They meet BRASS outside. The officers behind him stand next to door #929.)
Brass: It's called gentrification.
Catherine: It's not doing anything to gentrify them.
Brass: Tell that to the mayor. The landlord's on vacation. It's a good thing because he's got a swimming pool in his basement.
CUT TO:
[INT. ASHLEIGH JAMES' LOFT - NIGHT - CONTINUOUS]
Brass: Ashleigh James apartment ...
[CLOSED-CAPTION READS: BRASS: ... tub overflowed.]
Grissom: Who turned the water off?
Brass: The first officer on the scene found the door open. After that, he didn't touch a thing.
Officer: (o.s.) Captain?
Brass: Yeah, what have you got?
(BRASS leaves the two alone to see what the officer wants. CATHERINE continues straight on into the loft. GRISSOM turns left and examines the many Ashleigh James pictures on the wall.)
Grissom: Well, Narcissus would be proud.
Catherine: Very much a woman, yet still a little girl.
(The camera notes the three rag dolls on the bed that CATHERINE'S referencing.)
(GRISSOM stops by a small table with b*rned candles and candle wax on the table top. There is also some white powdery substance on it.)
Grissom: I thought Doc Robbins said the victim's tox screen came back negative.
Catherine: No, she wasn't a user. But maybe the boyfriend was.
(CATHERINE finds a man's toiletry kit in the cabinet. She opens it and holds out a man's razor.)
Catherine: Let's hope he nicked himself.
(GRISSOM holds up a scoop of the white powdery stuff and smells it.)
Grissom: Smells like mint.
CUT TO:
[EXT. PARKING LOT -- NIGHT]
(The camera follows BRASS as he enters the parking lot where NICK and WARRICK are looking at ASHLEIGH JAMES' car. WARRICK is holding a camera.)
Brass: Hey.
Nick: Thanks.
(BRASS tosses the car keys to NICK.)
Brass: Find anything?
Nick: No. Nothing.
Brass: Anything out front?
Warrick: Just a couple of homeless guys.
(NICK opens the car and sees it littered with wrappers and other food junk. There are empty drinking cups and carriers. NICK picks up an empty wrapper and turns to BRASS.)
Nick: You, uh, you sure this is the vic's?
Brass: You are what you eat.
(BRASS leaves. WARRICK starts to photograph the car.)
CUT TO:
[INT. ASHLEIGH JAMES' LOFT - BATHROOM - NIGHT]
(CLOSE UP of substance being scraped off the small side table next to the bathtub.)
(CATHERINE sees GRISSOM busy collecting the sample and examines the rest of the bathroom.)
Catherine: Blood in the sink.
(She glances down and notes ... )
Catherine: None on the floor.
(She sees plastic wrapped green and white enema boxes. The label says: )
[Traynor-Shepherd
"For relief of occasional constipation and bowel cleansing"
Comfortip(c)
"The enema used most often in hospitals"]
Grissom: (o.s.) Enema. The secret life of women.
(GRISSOM holds up an empty plastic enema bottle.)
Catherine: Don't generalize. It's not very scientific of you.
Grissom: You're right. I'm sorry.
[GRISSOM is going through the trash and pulls out a ziploc'd bag of excrement or vomit (don't know which one).]
Grissom: Catherine ...
(Camera holds on CATHERINE.)
CUT TO:
[EXT. PARKING LOT - ASHLEIGH JAMES' CAR -- NIGHT]
[CLOSE UP of the junk food wrappers filling the back seat and the front seat. WARRICK picks up a magazine in the car. "POUT" (August 2001) with cover of ASHLEIGH JAMES.
Headlines down the right side of the magazine:
"31 secrets for a slimmer bottom half" (in yellow)
"Test your compatibility with your partner" (in yellow)]
Warrick: Hey.
(WARRICK tosses the magazine to NICK.)
Nick: Ooh, pretty girl.
(WARRICK snaps more pictures of the junk food wrappers in the car.)
Warrick: Yeah. Dangerous being a pretty girl in this town.
(NICK reaches over and picks up a piece of paper in the car.)
Nick: Listen to this: "Babe, he's not good enough for you. He doesn't have the history we do. You mean the world to me. I know you'll live to regret this decision."
Warrick: Hmmm.
CUT TO:
[INT. ASHLEIGH JAMES' LOFT - CLOSET - NIGHT]
(CATHERINE examines the contents of ASHLEIGH JAMES' closet. She looks through the clothes hanging there ... )
CUT TO:
[INT. ASHLEIGH JAMES' LOFT - LIVING ROOM - NIGHT]
(GRISSOM takes a photograph of a hand-sized smudge of blood on the wall.)
CUT TO:
[INT. ASHLEIGH JAMES' LOFT - CLOSET - NIGHT]
(CATHERINE looks around and notices a heavy black coat on the closet floor. She picks it up and examines it.)
CUT TO:
[INT. ASHLEIGH JAMES' LOFT - KITCHEN - NIGHT]
(GRISSOM opens the refrigerator door. The refrigerator is noticeably bare. There are a couple of yellow boxes on the second rack from the top. On the main shelf, there are bottles of water and a box rack or two of unused ampules. The box identifies it as ampules of "BOTOX".)
CUT TO:
[INT. ASHLEIGH JAMES' LOFT - CLOSET - NIGHT]
(CATHERINE finds a hole in the coat. The coat seems out of place in ASHLEIGH JAMES' closet. CATHERINE exits the closet carrying the coat.)
CUT TO:
[INT. ASHLEIGH JAMES' LOFT - KITCHEN - NIGHT]
(GRISSOM opens the utensil drawer and finds dozens of syringes. He picks them up.)
(CATHERINE walks into the living room with the coat. She holds it up.)
Catherine: Not exactly the victim's style.
(Camera holds on GRISSOM.)
CUT TO:
[EXT. SIDEWALK OUTSIDE ASHLEIGH JAMES' LOFT -- NIGHT]
(NICK and WARRICK are walking back from the parking lot. )
Warrick: What? You don't like cupcakes and candy bars?
(In front of them, GRISSOM crosses their path without noticing them.)
Warrick: Hey, Gris! Grissom!
Nick: Hey!
(GRISSOM doesn't respond. He keeps walking away from them.)
Nick: Where's he going?
Warrick: I don't know.
(NICK whistles trying to catch GRISSOM'S attention. It doesn't work.)
Warrick: Somewhere.
Nick: C'mon.
(The two leave him alone.)
CUT TO:
[GRISSOM WALKING]
Lyric: ... with eyes afire ...
(GRISSOM walks a path started from ASHLEIGH JAMES' loft. He sees a homeless woman sleeping on the side of the building. He keeps walking.)
... I am drawn ...
(He turns the corner and sees a homeless man playing with a dog on a leash in front of him. He keeps walking.)
... I am drawn to her ...
(He turns out of the alleyway and onto the main lit road. He glances back at the alleyway and heads down the sidewalk. He passes the regular nightly foot traffic of well-dressed people enjoying the Las Vegas nightlife. He keeps walking.)
(He rounds the final corner which takes him to the underpass where he's surprised to see ... )
CUT TO:
... unbound ...
(SARA is standing there. She turns when she hears him.)
[FULL LYRIC: Come on. / With eyes afire / no one can see / the smoke from / the sweet crimes / covers me / I am drawn / I am drawn to her / like a moth to flame / she leaves me now / Unbound.]
RESUMES:
[EXT. UNDER THE BRIDGE - NIGHT]
Grissom: What are you doing here?
Sara: Contextualizing. Shopping cart in the lab is like a lion in a zoo. I needed to see it in its natural habitat.
Grissom: Question: How did Ashleigh James get from her loft to this underpass?
Sara: She didn't walk.
Grissom: I'm pretty sure she was pushed.
(Both SARA and GRISSOM look thoughtfully back in the direction of ASHLEIGH JAMES' loft.)
(Then, like a dance, GRISSOM looks right, SARA looks right. Then GRISSOM looks left; SARA looks left. They're both thoughtful and thinking. They both turn to look to their right once more. Finally, SARA sees something.)
Sara: Grissom ... is that Ashleigh James?
(High above the highway overpass, ASHLEIGH JAMES' picture is on a billboard: )
["Welcome to Las Vegas Yours to Discover. Call 555-JACKPOT"]
Sara: She was under her own billboard.
Grissom: Coincidence?
Sara: Somebody was making a point.
CUT TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- LAB]
(SARA'S writing in a note pad copying the code she sees up on screen. The right page of the day planner shows the following: )
(+) (-)
CC/4 1 EVO'D
242 BC
304 BF 2 TU'D
900 S
16 G
12 noon ------------------------------
H??O 2 #1
GP/2 1 EVO'D
1256 BC 12 G
40 BF
2095? S 1 TU'D
116 TC 2 G
--------------------------------------
1 + 5.6 = 2.503
(SARA studies her notes when GRISSOM walks in. He's putting on his latex gloves.)
Sara: Hey. You like crossword puzzles. How are you at deciphering codes?
Grissom: Aren't you putting the shopping cart before the horse? In order to decipher a code you need to know the alphabet for the code. In order to know the alphabet, you need to know the author.
(GRISSOM moves to look at the shopping cart.)
Grissom: So, what's the cart telling us?
Sara: About the victim?
Grissom: Well, the victim had no relationship to the cart except for the fact that we found her in it. I'm more interested in the person who used to call this cart home.
Sara: Well, aside from the leather day runner and the Kate Swan bag -- which appear to be from Ashleigh James's world -- you got mostly collectibles. Newspapers, review journals, the Sun ... various editions going back several months. A couple of tennis rackets ...
(GRISSOM picks up a newspaper and begins leafing through it as SARA talks.)
Sara: ... a broom, an umbrella, a pot ... I guess some kind of glove or something.
(He flips the newspaper over and sees a full page photograph ad of ASHLEIGH JAMES.)
Grissom: I stand corrected.
(SARA picks up the next newspaper and notices the same thing: a full page photograph ad of ASHLEIGH JAMES on the back of the paper.)
Grissom: I have a feeling whoever owned this cart ... was an Ashleigh James fan.
(SARA grabs two magazines with ASHLEIGH JAMES on the cover: "SPA FASHION" and "POUT".)
Sara: Or a fanatic.
CUT TO:
[EXT. FRANK McBRIDE'S RESIDENCE -- DAY]
(NICK pounds on the front door and WARRICK peers in through the window. A dog barks in the background.)
Nick: Well, it looks like lover boy isn't home.
(NICK peers into the window; WARRICK peers around the side of the house.)
Warrick: Maybe he wrote her a letter and left town. It's trash day.
Nick: I don't know, man. We don't even have a warrant.
Warrick: It's on the street. It's fair game.
(WARRICK lifts the cover off of the trash can and goes through it. NICK examines the other stuff on the street.)
(WARRICK finds a paper package and looks inside. He opens it and spills out its contents on the car.)
Nick: What did you find?
Warrick: Photographic paper.
(And like a puzzle, he pieces it together and finds ... )
Nick: That's Ashleigh James.
CUT TO:
[EXT. LOCATION sh**t -- DAY]
(Models in bikinis & bathing suits and Photographers taking pictures of what's made up to look like boats in Venice.)
(ROD DARLING, the agent, notices one of his models struggling to get the top clasp hooked on her suit and approaches her.)
Rod Darling: The cow says, "moo".
Lola: I can hold my breath, I swear.
Rod Darling: Lola, if you exhale, you'll burst the bloody seams.
Lola: Rod, I'm sorry. I ...
(He grabs her arm and leads her to the food table.)
Rod Darling: The fitting was two days ago. Are you telling me you couldn't keep your face out of the trough for 48 hours? You want me to be your agent you better start doing your part, all right?
(LOLA leaves upset. BRASS and CATHERINE approach ROD DARLING from behind him.)
Brass: Rod Darling? Las Vegas Police.
Rod Darling: You're here about Ashleigh, right?
Catherine: Yeah.
Rod Darling: Sorry about what happened but she wasn't a client anymore. I dropped her a couple of months ago.
Catherine: Did you forget to pack? We found men's clothing and personal items at her place.
Rod Darling: She was a screwed up kid looking for a father figure.
(The camera shows BRASS' look then quickly refocuses on the blonde-haired man with glasses standing in the crowd some distance away. The man looks angry.)
Rod Darling: One minute booking a photo sh**t. The next minute, she's screaming for daddy.
(The blond-haired man from the crowd breaks into a run and launches himself at the agent, attacking ROD DARLING with a Kn*fe. He manages to cut his hand.)
Frank McBride: You son of a bitch!
(BRASS apprehends FRANK McBRIDE.)
Brass: All right, that's enough.
Frank McBride: He k*lled her. He k*lled her!
Rod Darling: (sporting his wounded hand) He's a psycho!
(Camera hold on CATHERINE.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Frank McBride: Rod did everything he could to make her dependent on him and only him. She shut me out.
Warrick: Is that why you tore up her photograph and tossed it in the trash?
Frank McBride: You just don't get it, do you?
Brass: No, I don't. I mean, I don't know. I care about a woman, I put her picture in a frame. Maybe put it on my desk but to tear it up and throw it in the garbage with old cole slaw that just doesn't say "love" to me.
Frank McBride: If you were in love with an amazing woman and you knew she was throwing away everything that was amazing about her on some scum ... would you still want her picture on your desk?
Brass: What did you use to cut up the picture? Same Kn*fe you were waving around at Rod? The same Kn*fe you used to cut up Ashleigh's face?
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Rod Darling: If you're suggesting I was sleeping with her, I wasn't.
Catherine: You run out of drawer space in your place?
Rod Darling: I was protecting my asset.
Catherine: I don't know what that means.
Rod Darling: You can't drive a mile in this town without seeing her face on a billboard on the side of a bus. Up in lights. The mantra in this business is you protect what's bankable in this business.
Catherine: So you didn't sleep with her. You just "stayed over." You brought a change of clothes, razor blade, toothbrush ... blah, blah, blah.
Rod Darling: Yeah. She needed constant attention, supervision. Leave her alone for a minute, fill in the blank.
CUT TO:
[INT. CSI -- LAB]
(GRISSOM is picking through the coat found in ASHLEIGH JAMES' closet. SARA is looking through the microscope. They're both working quietly, when ... )
Sara: I got crabs.
(GRISSOM stops and looks up from his magnifying glass.)
Grissom: Excuse me?
Sara: I got crabs. Take a look.
(Through the microscope view, we see ... crabs. Lots of little crabs moving and moving and moving ... )
Grissom: Pthirus pubis. Feeds on human blood. They prefer the pubic and perianal regions because their legs are adapted to grasp hairs which are widely spaced. They don't usually nest in clothing. But when the clothing is being worn by someone with substandard personal hygiene ...
(During GRISSOM'S mini-lecture, a Quick CGI clip of the Pthirus pubis climbing up two hair shafts with skill and grace. Flash to white.)
Sara: Like one of the victim's neighbors.
Grissom: We have a high-end handbag found in a street person's shopping cart a jacket covered in crabs in a closet full of designer clothes. What does that tell us?
Sara: Tells me the victim not only had a visitor but that visitor was most likely homeless.
Grissom: Tells me that whoever is missing a shopping cart is also missing his jacket.
CUT TO:
[EXT. ALLEYWAY NEAR ASHLEIGH JAMES' LOFT -- NIGHT]
(Once again, GRISSOM walks the homeless alleyway. He pulls the collar of his jacket up against his neck. As he walks down the same alley that ASHLEIGH JAMES traveled, he passes the homeless man and his dog. He sees a man digging through a trash can. He moves in closer to the man and looks himself into one of the garbage bins. He reaches inside the garbage bin.)
Grissom: Good stuff in here.
Tookie (homeless man): Hey, you got a smoke?
Grissom: No. Sorry.
Tookie: So, what good are you?
(GRISSOM notices the pricey scarf that the man's wearing. It also has a red stain on it.)
Grissom: It depends.
(GRISSOM moves in a little closer to the Homeless Man to take a better look at the scarf. The Homeless Man takes a wary step back.)
Tookie: Ooh, hey. Don't even think that you can play me, my man.
Grissom: I'm not playing. I've got a gal named Sara, and she would love that scarf. What do you say?
(GRISSOM takes off his jacket and holds it out to the man.)
Grissom: Trade me.
Tookie: Yeah. What the hell.
(The man takes the scarf off and gives it to GRISSOM. He grabs the jacket as he does so. He turns away and resumes exploring the trash.)
(GRISSOM turns on his flashlight and takes a closer look at the scarf he holds. A woman witnesses the trade and takes exception. Carrying a green plastic crate full of stuff, she approaches GRISSOM.)
Cassie James: Hey. Hey, hey, Mister. Hey, Mister, that is Tookie's scarf. That is his scarf.
(GRISSOM looks up just in time to pull the scarf away from the homeless woman's grasp as she tries to take it from him. He points the flashlight at her face. She shys away from the glare.)
Cassie James: I gave it to him. That is Tookie's. Are you a Taker ... or are you a Giver, Mister?
Grissom: I'm a Trader. I traded Tookie my jacket for this scarf.
Cassie James: Yeah ... and fleas can tell time.
Grissom: I think fleas can tell time.
(She laughs and starts muttering to herself. GRISSOM notices the ring on her finger.)
Grissom: That's a nice ring.
(He looks back at his flashlight.)
Grissom: I'll trade you
(CASSIE JAMES puts down her green plastic crate she's been carrying. GRISSOM notices the rolled up cosmetics kit in it.)
Grissom: I'll trade you for your kit, too.
(CASSIE JAMES takes off the ring from her finger with a little difficulty as the ring is a tad too small for her finger and has been rubbing into her skin.)
Cassie James: Ow.
(She grabs the flashlight from GRISSOM and puts the ring in the palm of his hand. She holds the flashlight up and around looking here ... looking there ...)
Cassie James: Now I can see what the dark looks like.
Grissom: I've been trying to do that for years.
(GRISSOM looks at the ring while CASSIE JAMES plays with the flashlight.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - TRACE LAB]
(GRISSOM picks up the scarf sealed up in an evidence bag.)
Grissom: Greg ran the blood on this scarf. It matches the victim's. (He puts the bag down.) How about the blood on the Kn*fe?
Nick: Yeah, we got a match, too, but it's not the vic's.
Warrick: Yeah, McBride clipped Rod Darling's right hand during his little hissy fit. Blood's his. And McBride's Kn*fe does not match these wounds.
(WARRICK hands the post-mortem photograph of ASHLEIGH JAMES' to GRISSOM. He looks up at the scissors, tweezers and other stuff from the beauty kit GRISSOM acquired from CASSIE JAMES.)
Grissom: The tools of the trade; the w*apon of beauty.
Warrick: Yeah. If other people inflicted as much t*rture as women inflict upon themselves, there would be lawsuits.
Nick: Someone forgot to clean these, too, for a long time. Positive for blood all over the place.
CUT TO:
[INT. CSI - LAB]
(GRISSOM walks down the hallway reading the file folder he's carrying when GREG catches his attention.)
Greg: Grissom ... I, uh, ran the DNA on the epithelials from the homeless lady's ring.
Grissom: Cassie?
(GREG hands GRISSOM the print out results.)
Greg: It's like prince and the pauper. No. Princess and the pauper. The Princess is a d*ad supermodel.
Grissom: Yeah. And her Pauper sister could be the k*ller.
CUT TO:
[EXT. -- NIGHT]
(GRISSOM holds out a hot dog in front of him like bait.)
Grissom: Hot dog?
(CASSIE JAMES looks up and takes it from him. He holds up the packet of ... )
Grissom: Relish?
Cassie James: (points at the packet and shakes her head) Mmm ... with all those preservatives, no, no, no. I-I don't want to be preserved, thank you very much. No. I mean, I mean ... do you know what-what relish can do to your insides, huh?
Grissom: I'd have to investigate.
Cassie James: Yeah, well, you know, you should. I mean, you know because our insides -- they can k*ll us.
Grissom: So, you're pretty careful about what you eat?
Cassie James: Yeah, you know, you-you have to be careful, you know 'cause what goes down, you know it's got to come out. It's got to come up. Out.
(GRISSOM chuckles.)
Grissom: Newton's theory twisted again.
Cassie James: (smiles and points her hot dog at GRISSOM) Everybody's twisted.
(GRISSOM nods. CASSIE stands up and we note that we are ... )
[EXT. PARK BENCH -- NIGHT]
Grissom: How about your sister?
Cassie James: My-my sister didn't have a sister. Protein's good, you know? C-carbs are bad. This is bad.
(CASSIE JAMES hands the hot dog bun back to GRISSOM and starts nibbling on the plain hot dog.)
Cassie James: That's bad.
Grissom: Hey, Cassie, you know that scarf you gave Tookie?
Cassie James: Yeah, I know it.
Grissom: Did your sister give that to you or ... did you steal it from her?
Cassie James: I should have stole it. Because sh-sh-she stole from me.
Grissom: What did she steal from you?
Cassie James: My life.
(Camera holds on GRISSOM.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. MODELING AGENCY -- DAY]
Rod Darling: I admit I gave up on Cassie. Washed my hands. Ashleigh was the only one who still gave a damn. Get together with her every couple of weeks. Make sure she had a decent meal, shower, clothes on her back.
Catherine: And what did you do for her?
Rod Darling: Let me tell you something. For every piece of meat, there has to be a butcher.
Catherine: So, you led her to the slaughter?
Rod Darling: Free will.
(ROD DARLING points to a "SPA FASHION" cover hanging on the wall.)
Rod Darling: Recognize this one?
Catherine: That's Cassie. It's the homeless sister.
Grissom: How long ago was this taken?
Rod Darling: Three years. See, Cassie got deep into freebase. No shortage of sleazebags around to keep her supplied. I knew she had this sister in Wichita falls.
(Quick Flashback showing us a photo sh**t.)
Photographer: All right, Cassie, let's go. Come on, chin up. Colin, will you get in there and get her hair out of her face?
Cassie James: (panics and steps away) Don't touch me! (tearing through the clothes rack) I hate this! I hate this place! I hate it! I hate my life! (to ROD DARLING) Get away from me!
(CASSIE starts muttering to herself. ROD DARLING looks off to the side where we see ASHLEIGH JAMES standing there. She looks worried for her sister. ROD DARLING has a look in his eye when he recognizes untapped money making potential. End of Flashback. Flash to white.)
(Close up of photograph of ASHLEIGH JAMES.)
Rod Darling: One look ... that was it. Camera ate her up.
Catherine: So, in Cassie's mind, she was a victim here. Makes sense that she'd be angry.
Rod Darling: Angry was five flights up. Cassie was an obsessed basehead. Cocaine already had her paranoid. Once Ashleigh started modeling, everything became this big conspiracy. Naturally, yours truly was Satan.
Grissom: Cassie threw her life away and her sister Ashleigh recycled it.
(Camera hold on GRISSOM.)
HARD CUT TO:
[INT. CSI - LAB]
(Close up of the following page of the notebook enlarged on the wall. This is only what we can see.)
[*** BLOCK ONE *** TO 12 NOON ***
(+) (-)
P/2
1256 BC
35 BF
2095 S 1 T'V'O
116 TC 7 G
*** BLOCK TWO *** FROM 12 NOON ***
NAGD
2 # 1
BFJ3
EVEN NIAGD!
PD/4 2 EVO'D
120 BC 10 G
30 BF
850 S 2 T'V'O'
55 TC 16 G ]
Grissom: It's like a crossword puzzle, isn't it? Once you pick it up, you can't put it down.
Sara: And go home? No way. You know, this day runner belonged to Ashleigh.
Sara: "BFJ3". BF: Bellagio Fountain.
(SARA looks at GRISSOM and smiles. Seems like a challenge is being issued.)
Grissom: J3? Date? January 3rd? June 3rd? July 3rd? Uh, third "J" month, July?
Sara: That's what I thought at first.
Grissom: Parking space in a parking garage?
Sara: Nope. "Once you pick it up, you can't put it down."
Grissom: J3 ... J3 ... city or state grid map?
Sara: You're cold. What's one thing a model always knows?
(GRISSOM shrugs. He doesn't have a clue.)
Sara: Who's sh**ting her. Three Js. Jay Jay Jarrett.
Grissom: Who?
Sara: Famous photographer. Compliments of P.D.: Ashleigh James's employment contracts for the last year. And, as an aside she stopped working two months ago.
Grissom: Why?
Sara: Good question.
(SARA sighs.)
Sara: Maybe the answer is in one of these pages.
(SARA flips through the pages of the day planner.)
CUT TO:
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM]
Brass: Nobody could blame you for being mad, Cassie. I mean, your sister took your career and you wanted to get back at her. If you couldn't have success, she couldn't either. Isn't that right?
Cassie James: The v-victims have victims, too.
Brass: So, which one of you is the victim?
Cassie James: I-I know... you know, I know, I tried to warn her. About the in-in and-and outing and the ... and the pick-pick. And the-and the and the counting the counting and the counting. I mean, I did, I tried. That's why I tried to really, really save her. I mean, I tried to save her.
Grissom: You tried to save her? Your sister?
Cassie James: Right. She could never be, you know ... she could never be ... pretty enough. And she could never b-be ... sk-skinny enough. And sh-she could never be ... perfect enough. And sh-she could never be any-anything enough.
(Quick Flashback showing us ROD DARLING approaching ASHLEIGH JAMES from behind and whispering in her ear: )
Rod Darling: Hey, fat girl. I got what you need. I got it.
(He holds out some cocaine for her to sniff. She does. )
(End of Flashback. Resume on CASSIE JAMES back in the present in the interrogation room. She's whimpering at the thought ... at the memory. Her eyes blinking rapidly.)
(Resume Flashback of ASHLEIGH JAMES ... that flashes briefly into CASSIE JAMES then back to ASHLEIGH JAMES. ROD DARLING holds out more cocaine for ASHLEIGH to take and she does.)
Rod Darling: (to ASHLEIGH) One more.
(The memory gets confusing as ASHLEIGH changes into CASSIE ... and CASSIE finishes up taking the cocaine.)
Rod Darling: (to CASSIE) Good girl.
(End of Flashback. Resume on CASSIE JAMES back in the interrogation room.)
Cassie James: (whispering) Mm. I mean, that's why I did, I did. I tried to stop her.
(GRISSOM watches CASSIE, her head turned away from him. Her expression very sad at the memory.)
Cassie James: (choked up) I tried to stop her. (she looks at GRISSOM) I tried to stop.
(Quick Flashback to ASHLEIGH JAMES throwing up. Cut to CASSIE JAMES. Both sisters alternately flash in the memory. The switch between sisters continues. Both sisters suffering their own little hell. Each living the same life. Camera holds on CASSIE JAMES. Flash to white. End of flashback.)
(Resume on CASSIE JAMES back in the interrogation room. She whimpers and breaks eye contact with GRISSOM. He blinks.)
Brass: She's a needle freak. She doesn't know what she's talking about.
Grissom: Yes, she does.
(CASSIE moans. Her eyes blinking rapidly. GRISSOM holds eye contact with her.)
Grissom: You tried to stop yourself, didn't you? But you couldn't.
(This is too much for CASSIE to take. She jumps the table and launches herself at GRISSOM. GRISSOM stands, trying to catch her. She grabs his neck and pins him against the wall, screaming and yelling at him.)
Cassie James: It's you! It's you! It's you! You! You!
(The officers in the room and BRASS move to restrain her.)
Brass: That's enough!
(They pull her off of GRISSOM who's left standing there watching CASSIE.)
Brass: All right, read her her rights.
CUT TO:
[INT. FORENSIC AUTOPSY BAY]
(CLOSE UP of post-mortem ASHLEIGH JAMES' face lying on the autopsy table. Camera moves to give us a lovely top view of the contents of the pan that DOC ROBBINS is working on. Or was working on. We see the red Y-shaped blood stain on the sheet covering the body. GRISSOM walks in.)
Robbins: I found blisters in the back of her throat.
Grissom: What? Forced oral?
Robbins: That's what I thought until I noticed worn enamel on the tooth. (holds up a tooth for GRISSOM to look at) In conjunction with this red mark on the knuckle of her middle finger. (lifts up her right hand from beneath the sheet to show GRISSOM) Which made me realize it wasn't sexual abuse.
Grissom: Eating disorder.
(Quick CGI Flash of ASHLEIGH JAMES sticking a finger down her throat. Accompanying gagging track and sloshing water for sound at appropriate cues. Camera continues down ASHLEIGH JAMES' throat ... all the way down till it hits the good stuff coming back up ... and up ... and up all the way back up ASHLEIGH JAMES' throat where the camera stays one step ahead of it ... till we get behind it and see it pass her teeth on its way out. How fun. End of CGI Flash. Resume on DOC ROBBINS.)
Robbins: She was bulimic and anorexic. Which explains the down on her skin. (he pulls away the sheet from her left shoulder) Lanugo. Characteristic of premature babies and anorexics.
Grissom: She doesn't seem that skinny.
Robbins: Not this week. Last week, or the week before, who knows? Binge-and-purge.
Grissom: Till her entire system is in a state of shock.
Robbins: You know what's next.
Grissom: Body starts feeding on its own muscle. Is that what k*lled her?
Robbins: Uh, starvation and purging weaken the immune system. But cause of death: Failed kidney, fueled by septicemia.
Grissom: Blood infection. Caused by the injuries to her face?
Robbins: Probably, but she's been septic for at least a month. She has anemia borne of chronic disease. Her red cell count's low, iron's low. ESR is extremely high.
Grissom: So she didn't just die. She's been dying for a long time.
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. GRISSOM'S OFFICE]
(Clicking sound of metal balls hitting each other. GRISSOM'S thinking. There's a knock on his door. He looks up as CATHERINE walks in.)
Catherine: What do you know that's good?
Grissom: Cassie James's psych profile.
[He hands the file to her. From what we can see, the report reads:
LAS VEGAS ...
2974 WESTFALL AVENUE LAS VEGAS, NEVADA ...
PSYCHOLOGICAL EVALUATION REPORT / CASE ... NAME: CASSIE JAMES / DATE ... EVALUATION: CLASSIC PARANOID SCHIZOPHRENIC
... patient appears to exhibit an unstable grasp of reality. During my o...
... multiple disorders while being examined. During routine questioning ...
... further questioning she exhibited classic signs of schizophren...
... a raging hatred of anything beautiful. She ... ]
Catherine: "Classic Paranoid Schizophrenic".
Grissom: Which explains why the interrogation room was too hard on her. For schizophrenics, you know, the tighter the space, the more unbearable the feelings tend to be.
Catherine: Well, if you ask me that's not the only psych evaluation we need.
Grissom: Ashleigh James?
Catherine: That poor girl. Definitely lacking in the self-image department.
Grissom: She suffered from septicemia, indicative of chronic abuse. But ... what if Cassie wasn't the one who inflicted Ashleigh's facial wounds?
Catherine: Well, we know it's not the ex-boyfriend -- no evidence. Not the agent -- wouldn't jeopardize an asset. And if it's not Cassie, who's left?
Grissom: I don't know.
CUT TO:
[INT. CSI - TRACE LAB]
(The camera pans over the evidence on the table: Starting from the left, there are two full page ads from two newspapers side by side. The newspaper on the right has marker #13 on it. Marker #17 free-floats above the newspaper ad on the left. Next to and above that is the stack of mail procured from ASHLEIGH JAMES' car with marker #18 on it. Next to the newspapers are two magazine covers. Next to that are four close-up post-mortem photographs of ASHLEIGH JAMES' face. The rest of the table is covered with junk food containers, cups and various wrappers from the car.)
(SARA is organizing the things on the table. She's grouping all the wrappers together. She collects the wrappers and stops. Something on the wrapper she's holding catches her eye. She goes back to the notebook on the overhead.)
Sara: (mumbling to herself) T 3. 1834 BC.
[The camera closes in on the block of the day planner that SARA'S reading.
(+)
T/3
1834 BC
48 BF
870 S
90 TC ]
Sara: 48 BF ...
(SARA goes back to the table and picks up the stack of wrappers for the snack food "Tweenks". She flips it over and looks at the snack contents listed at the back of the package.)
(She clears a spot on the table and pulls out a pen from her pocket. She begins to chart her theory based upon the information on the wrappers in her hands.)
Sara: (mumbling to herself as she writes) T 3... 1834 BC ... 48 BF.
(SARA goes back to the notebook and reads the information on the minus side of the column.)
Sara: 2 EVO'D ... 8 G ... (she looks up) 1 TU ...
[The camera shows us the minus side of the day planner:
2 EVO'D
8 G
1 T'U'D
7 G
2 # 1 ]
(SARA'S figured out ASHLEIGH JAMES' code. And yet, there is no joy with the revelation. A sad look of sympathy at the knowledge lingers with the discovery.)
Sara: (quietly) You must have been so desperate.
(Camera holds on SARA.)
CUT TO:
[INT. CSI - PRINT LAB]
(CATHERINE is at the computer. She's running a print comparison. GRISSOM is sitting next to her.)
Catherine: Cassie James's prints from booking on the left. Prints from the loft faucet on the right. Do we have a prom date?
Catherine: All right, well ...
(CATHERINE puts the right print over the left print. The bottom of the screen flashes, "Match for Cassie James".)
Catherine: Cassie James was definitely in her sister's apartment.
CUT TO:
[INT. CSI -- HALLWAY]
(GREG walks out of the break room with a cup of saimin (or ramen) and a mouthful of noodles.)
Nick: Hey, man. What you eatin'?
Greg: Little college cuisine.
Nick: That stuff will k*ll you, you know.
Greg: Hasn't k*lled me yet.
Warrick: Greg-o, find any time between meals to check out Grissom's scrapings?
Greg: You mean Ashleigh's fingernail scrapings?
Warrick: Yeah.
Greg: Yeah.
Nick: And?
Greg: Got a match.
Warrick: To Cassie, her sister.
Greg: No. To the vic.
Nick: Ashleigh?
Greg: Yeah. The DNA under her fingernails was her own. Excuse me.
CUT TO:
[INT. GRISSOM'S OFFICE]
(SARA is sitting on a stool next to the image of ASHLEIGH JAMES' day planner on the television monitor.)
Sara: ... So what I realized was bulimia is a zero sum disease. That's why she has a plus sign over here and a minus sign over there. Whatever went in had to be exactly canceled by what went out.
Catherine: You're talking about BDD: Body Dysmorphic Disorder.
Sara: Yes. One theory suggests it's neurobiological. Another psychological -- that people with extreme sexual or emotional anxiety unconsciously displace their feelings into the arena of appearance, because it's more manageable.
Nick: You feel like crap, blame your face.
Warrick: Or your skin, or your hair or that zit on your forehead.
Catherine: I knew this dancer. Every night she'd stare at herself in the mirror for three hours.
Sara: Meticulous grooming, when a person suffers from BDD becomes a destructive compulsion. There's one line in her daybook that keeps repeating over and over and over again: "I'm not even."
Warrick: So you're saying she knew she was slipping.
Sara: No. (she points to the screen) She literally means even. A large number of BDD sufferers are convinced that they're not symmetric. That one side of their body or their face doesn't match the other.
Grissom: All animals prefer symmetry in their mates. The male Japanese scorpion flies with the most symmetrical wings gets the most mates.
Warrick: So, really we're not talking about being beautiful at all.
Grissom: In terms of entomology being beautiful is about being even. It signals the fitness to procreate.
Nick: So, we're not really talking about looks. We're talking about survival of the species?
Sara: The bottom line is the same: Control and Perfectionism. That's what her code was all about.
[SARA adjusts the monitor to focus in on a particular grid in the day planner. This is a different (+)/(-) grid:
(+) (-)
HBWC / 3 3 EVO'D
1590 BC 14 G
90 BF 2 T'U'D
3930 S 9 G
114 TC
3 #1 ]
Sara: Let's take "HBWC/3, 1590 BC, 90 BF, 3930 S, 114 TC." Three hamburgers with cheese.
(Quick Flashback to ASHLEIGH JAMES eating the hamburgers quickly in her car. End of flashback.)
Sara: Content 530. 530 times three is where she gets 1590 BC. That's BC for "bad calories." And at 30 grams a pop 90 grams of BF.
Nick: Bad fat?
Sara: Yeah. The rest of her formula involves sodium, total carbohydrates and the actual weight of everything she ate.
(CATHERINE closes her eyes at the thought.)
Grissom: And so, she was, uh ... operating like a scientist seeking a perfect formula to take her pain away.
Sara: Or disappear altogether. Which brings me to the minus side of her equation. She would write down the number of times she T'U'D, threw up, in this case twice-- or EVO'D.
Nick: "Evo'd"?
Sara: Moving her bowels. The directions on her disposable enema box use the term "evacuate". So, after her burger binge, she "3 EVO'd, 14 G, 2 T'U'D, 9 G, 3 #1." She evo'd three times. But her calculations didn't stop there ... "G" stands for grams.
(Quick Flashback to ASHLEIGH JAMES carrying a ziploc'd baggie to the scale. Flash to white. ASHLEIGH JAMES looking down at the weight with a worried look on her face. Flash to white. Resume to present.)
Warrick: Fourteen gram ... wait a minute. You're telling me that she weighed her bowels?
Catherine: Yeah. We bagged it.
Sara: Input and output down to the last quarter gram.
Warrick: Well, that makes sense why the blood and skin under Ashleigh James's fingernails is a perfect match to Ashleigh James.
Grissom: She att*cked herself.
(Quick Flashback back to the teaser -- to ASHLEIGH JAMES sitting in front of her vanity mirror as in the teaser. Her hair is up. She's wrapped in a towel. She reaches for her cosmetics kit. The reflection in the side mirror shows a reflection of ASHLEIGH JAMES' face mutilated. Flash to white. Blood drips into the sink. Flash to white. Side camera view of ASHLEIGH picking and digging at her own face. Flash to white.)
Grissom: (V.O.) I mean, Ashleigh was convinced that everything about her needed to be fixed. The real problem was inside her head. She couldn't deal with that so she tried to fix the outside. Hence, the digging and picking and purging and bleeding.
(End of flashback. Resume to present. Camera on GRISSOM.)
Grissom: To us, it would be t*rture. To her ... some sort of release.
Catherine: Which is why Rod cut her loose. She was no longer "bankable".
Warrick: Also why Frank was so angry at Rod.
Nick: Yeah, he destroyed Frank's vision of her.
Grissom: So the victim and the k*ller became one and the same. The very nature of addiction -- whether it be self-medicating herself or self-mutilating -- is that the very behavior we use to survive it becomes a behavior that ends up k*lling us.
Nick: But wait, that still doesn't answer how Ashleigh ended up in a shopping cart by the freeway.
Grissom: Well, the fingerprints explain that.
(Quick Flashback to ASHLEIGH JAMES struggling out of the bathroom. She falls against the wall leaving a bloodied handprint behind. Flash to white. She barely makes it over to her bed where she collapses on it in a heap. Flash to white. CASSIE appearing in the doorway and finding her sister on the bed. Flash to white. CASSIE shutting the faucet off. Flash to white. CASSIE crying over her sister and dragging her off the bed. Flash to white. End of flashback. Resume to present on GRISSOM.)
Grissom: I think Cassie was trying to take care of her sister. She pushed her to a place where she thought she'd be safe. Where she thought she could see herself for how beautiful she really was.
(Quick Flashback to ASHLEIGH JAMES in the shopping cart. CASSIE is pushing her to the bridge. The billboard can be seen in the distance. Flash to white. CASSIE kisses her sister's hair and cries. Flash to white. CASSIE walking away, leaving her sister in the cart below the billboard. Flash to white. End of flashback.)
(Resume to present. Camera on pictures of CASSIE JAMES' mug sh*t on the right and ASHLEIGH JAMES' magazine cover on the left. WARRICK is looking at the photographs he's holding. He asks the final, lingering unanswered question: ...)
Warrick: What happened to these girls?
(WARRICK looks up at ... GRISSOM who glances over at ... SARA who looks across to ... NICK who turns to ... CATHERINE who shakes her head and closes her eyes. Everyone is lost in their own thoughts. Camera holds on CATHERINE.)
CUT TO:
[EXT. BUSY SIDEWALK - DAY]
(CASSIE is back out on the street. GRISSOM is with her carrying her shopping cart to the sidewalk. He puts it down as CASSIE starts rummaging through the sidewalk garbage bins.)
Grissom: I'm sorry about your sister, Cassie.
Cassie James: The d*ad don't bleed.
Grissom: True. Death does have some advantages. Would you like me to help you get in a shelter?
Cassie James: No, I would need a shelter from a shelter. No, no, no. Out here, I can hunt and I can range and I can find the things that I need out here. I mean, you never know what you need until you find it.
Grissom: Or until you lose it.
Cassie James: I mean, all we are is what we try to get rid of. Fat and newspapers and loneliness and cat food cans. And there are going-away people and there are left-behind people but, you know, everybody's secrets ... everybody's secrets are the same.
Grissom: Were your and your sister's secrets the same?
Cassie James: My sister didn't have secrets. Her secrets had her. That... I told you I didn't ... I don't know. I mean, you know, y-y-you-you can pick through a million lives and never have one of your own.
Grissom: Looking for things, analyzing them ... trying to figure out the world -- that's a life.
Cassie James: You never know what you need until you find it. And the next thing I find it might be the thing that changes everything.
Grissom: What will you do when you find it?
Cassie James: Sleep ... the most perfect sleep.
(GRISSOM stops walking and watches CASSIE continue on ahead of him pulling her cart behind her. She's muttering to herself ... continuing on with her life.)
CUT TO:
[EXT. LAS VEGAS (STOCK) -- DAY]
[EXT. LAS VEGAS - SIDEWALK -- DAY]
(The camera follows GRISSOM as he walks along the sidewalk. The usual noise of the bustling city is gradually reduced to general muffled sounds and the occasional clear, identifiable sound.)
(GRISSOM stops to look at the water fountain and we can hear the sounds of the water fountain as he stops to look at it. Even that sound is muffled and unclear.)
(He moves to cross the street and is startled by the sound of a car screeching to a halt when it's nearly upon him. Only then does he stop. Something's terribly wrong.)
(GRISSOM continues across the street and stops when he gets to the other side. We still can't hear anything other than muffled unrecognizable sounds. GRISSOM stands there and looks out at the silent world in front of him.)
Grissom (v.o.): Obviously most of crime scene investigation is about seeing. But much of it is about hearing as well. Listening. Knowing how to listen. Not just to what people are saying but how they say it ... how their tone of voice matches their facial expressions or body posture. So, even if I read lips and know what they're saying ... it's not enough.
CUT TO:
[INT. DOCTOR'S OFFICE]
Doctor: We're both scientists, Mr. Grissom, so let me tell you the science. You've got otosclerosis. Basically, this means a bony growth has g*n to form around the base of the stapes. What this does is prevent the stapes from moving and passing vibrations to the inner ear effectively neutralizing sound waves.
Grissom: (nods) It's hereditary -- my mother.
Doctor: Most doctors think so. But there's no way to know when it's going to show up and there's no way to reverse it once it does.
Grissom: Right. How long do you think?
Doctor: (shakes her head) I don't have that answer.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "02x23 - The Hunger Artist"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY RIO HOTEL (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
FLASH TO WHITE:
[INT. RIO HOTEL - BACK ROOM - NIGHT]
(Camera view looking in on a group of poker players in a quiet room. It's a high-stakes game.
Dealer: Start with you, sir?
(GRINDER knocks his fist on the table three times.)
Grinder: Check.
Matt: He doesn't bet, but he keeps a b*at. You check. Someone's on a flush draw. Mm, I'll take the free card. Check.
Lita Gibbons: I'll check.
(LITA puts some eye drops in her eyes.)
Matt: What do you got, Candyman?
(DOYLE PFEIFFER, the Candyman, puts some candy in his mouth. The waitress approaches the table to refresh the drinks. She stops by MATT first. He puts a chip on her tray as she serves the drinks.)
Doyle Pfeiffer: Check.
Waitress: (to Matt) Thank you very much.
(The waitress moves to serve DOYLE PFEIFFER. She puts a drink in front of him and he gives her his empty glass. MATT notices the slight.)
Matt: (mutters) "Stiff" ... typical.
(The Grinder looks at his cards.)
Grinder: I can bet. Make it ... $2,000.
(The Grinder puts a short stack of blue chips in the middle of the table.)
Matt: The Grinder speaks.
(Matt puts his chips in. DOYLE PFEIFFER doesn't hesitate.)
Doyle Pfeiffer: We raise $4,000.
Matt: Call the bet.
Dealer: $2,000. Raise you $2,000.
Matt: It's all about you, Grinder.
Grinder: I'm going to go get a $2,000 slice of pizza.
(The Grinder folds. LITA GIBBONS smiles.)
Matt: Well ... might as well make It a poker game. I'm all in. What do you got, Southern Iowa?
Lita Gibbons: A pain in the ass to my right side.
(LITA GIBBONS folds. There are only two players left in the game.)
Doyle Pfeiffer: Um... yeah, you might have a winning hand. You might be just trying to buy it. Johnny Chan thought I was too old, too back in the '86 series.
Matt: You mean, the series where the ball went through Buckner's legs?
Doyle Pfeiffer: Save the story, kid. Here's what's what. I got aces. What do you got? Maybe you got trips, maybe king, queen. Maybe you got two pair. Ace hits the board ... I win. Club hits the board ... I win.
(He pops in a piece of candy.)
Doyle Pfeiffer: Eight, nine hits the board ...
(He pops in another piece of candy.)
Doyle Pfeiffer: I win.
Matt: Here's the matter old man. Thirteen of every suit in the deck. I see three clubs. That means you've got ten coming 37 cards left in the deck. You like those odds?
Doyle Pfeiffer: I like 'em a lot better than I like you.
(DOYLE PFEIFFER moves to gather his chips. His hands freeze and he starts to convulse. His entire body starts to spasm uncontrollably. The players around the table stare aghast at the man.)
(DOYLE PFEIFFER lands face forward on the table. d*ad.)
FLASH TO WHITE:
[INT. RIO HOTEL -- CASINO MAIN FLOOR -- NIGHT]
(GRISSOM is standing next to a machine in the middle of the main floor. WARRICK approaches him.)
Warrick: You lost?
Grissom: I'm listening.
Warrick: For what?
Grissom: E-C-G ... C major chord. All the slots play the same notes -- perfect harmony. Makes people happy.
Warrick: Yeah, except when you're losing. Then you don't hear anything.
(WARRICK leaves. After a moment, GRISSOM follows. WARRICK and GRISSOM walk along the casino floor to the yellow taped off area. EMT HANK PEDDIGREW passes them on his way out.)
Hank: Hey, guys.
Warrick: Hey, Hank.
Hank: Sara with you?
Warrick: She's over there.
(WARRICK indicates somewhere in front.)
Hank: Tell her I said hi.
(GRISSOM glances back at HANK PEDDIGREW as WARRICK answers.)
Warrick: Will do.
Hank: Thank you.
(HANK continues on his way. WARRICK and GRISSOM reach the crime scene. They duck under the crime tape and head into the private gaming room.)
CUT TO:
[INT. RIO HOTEL - BACK ROOM - NIGHT -- CONTINUOUS]
(Camera close up of the body bag being zipped closed. BRASS watches. He turns around just as WARRICK and GRISSOM enter the room.)
Brass: Doyle Pfeiffer, best poker player in the world. Eighteen hours ago he sits down at the table a healthy man. A half an hour ago, he drops d*ad in his chair.
Warrick: That's a big pot. Casino's not satisfied with a heart att*ck?
Brass: We're not satisfied. This is high stakes. We're treating it like a m*rder.
Warrick: Suspicious circs.
Brass: Mmm.
Grissom: You ever played poker, Warrick?
(WARRICK ducks his head.)
Warrick: Nah. Poker's not gambling. It's playing against percentages. It's a skill. I like to play for the thrill.
(GRISSOM reaches for the hand nearest him and flips the two cards over. It's a King of Hearts and a King of Spades.)
Grissom: Whose hand was this?
(From beyond the doorway, MATT yells into the room.)
Matt: Mine! That pot's mine. He dropped d*ad before he went all in!
(OFFICERS lead MATT away from the doorway.)
Brass: Some young, loud-mouthed player thinks it's his pot.
Grissom: Mmm.
Brass: Excuse me.
(GRISSOM reaches for the hand nearest him and flips the card over.)
Grissom: Two cowboys -- one in the flop, trips.
(The camera pans slowly across the table to a hand that's flipped over showing a King of Clubs, a Queen of Clubs, an Eight of clubs and an unknown card of diamonds. GRISSOM reaches for another hand.)
Grissom: Pair of aces.
(It's an Ace of clubs and an Ace of diamonds.)
Grissom: No river card, though. Burn one, turn one.
(WARRICK puts the top card aside and flips over the second card.)
Warrick: Ace of spades.
Grissom: The Death Card.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
FADE IN:
[EXT. LAS VEGAS DESERT (STOCK) - DAY]
[EXT. FRENCHMAN AIR FIELD -- DAY]
(Camera low on the ground as CATHERINE exits the Tahoe. She joins NICK and they both walk to the body.)
Nick: Who called it in?
Lockwood: Western LVU ornithology student. Saw turkey vultures. Got curious.
(CATHERINE puts her kit down and crouches low to examine the body.)
Catherine: Birds of prey b*at maggots to a body-- impressive. g*n. Entry just below the cheek. Not much blood, no blood pools.
Nick: Means he wasn't sh*t here.
Catherine: Where exactly is "here?"
Lockwood: Frenchman airfield -- it's an old landing strip hasn't been used since the '60s.
Nick: Well, it's flat. You could still land a plane here.
Lockwood: Yeah, but in the middle of nowhere?
Catherine: Perfect place to dump a body.
(Camera holds on turkey vultures.)
CUT TO:
[INT. RIO HOTEL - BACK ROOM - NIGHT]
(WARRICK, GRISSOM and SARA examine the room. From outside the room, the camera moves in slow. SARA finds a single abandoned piece of "Choco-Bees" on the floor. She picks it up and stands. She holds it out in front of her.)
Sara: I got chocolate.
Warrick: What color is it?
Sara: Green ... You know what they say about the green ones.
(GRISSOM doesn't look up.)
Grissom: Bag it separately.
CUT TO:
[INT. RIO HOTEL & CASINO - OUTSIDE BACK ROOM -- CONTINUOUS]
(MATT, the person, who played poker against the deceased stands outside the crime scene area with BRASS. He's rather upset that the ownership of the pot is in question.)
Matt: But you agree with me, right? It's a forfeit. Doyle never went all in. He can wipe his ass with those aces river card or no river card. I b*at him. It's a forfeit.
(BRASS holds up a finger to get MATT'S attention.)
Brass: Look ... look. Shh ... see this badge? I'm not with the gaming commission. You got a problem with gaming, see the guy in the bad suit.
(Camera cuts to an older man standing off to the side speaking with an officer.)
Brass: Here's the deal: Pending an investigation, it's our pot.
(MATT doesn't like it one bit.)
CUT TO:
[INT. RIO HOTEL & CASINO - BACK GAMING ROOM -- CONTINUOUS]
(WARRICK holds an ALS to the seat of a chair. It glows.)
Warrick: Is that what I think it is?
Grissom: Urine, maybe. Game like this, leaving the table early could be perceived as a sign of weakness.
Sara: Tell me they Scotchguard these things.
Grissom: Why don't you tell me when you take it back to the lab and process it?
Sara: Yay.
(SARA picks up the chair and walks toward the exit.)
Warrick: How is it that you know so much about poker?
(GRISSOM writes on the plastic bag.)
Grissom: It's how I financed my first body farm in college.
Warrick: You're kidding. Wow. I'm impressed. I mean, the fact that you sat at a table with actual living beings.
Grissom: Well ... poker's not a game of interaction. It's a game of observation. I used to study people. And then I guess I, uh ... got bored. Now I study evidence.
Warrick: What I don't get is it's not like we've never talked about gambling before. How come you never mention it?
Grissom: Same reason a good player hides his "tells."
(WARRICK nods his head.)
Warrick: He doesn't want to be exposed.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - FAST-MOTION - NIGHT]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
Robbins: You know why Steve Wynn hired Bobby Baldwin to run The Nugget, then The Mirage, The Bellagio? He was a great poker player, Great Thinker.
Grissom: I did not know that.
Robbins: Stop the world. No violaceous lividity prominent above the level of the shoulders.
Grissom: So no heart att*ck?
Robbins: Not ruling out stroke, but check out the mees lines in his fingernails.
(ROBBINS lifts up the deceased's hands to show the fingernails. Camera close-up to the fingernails. Resume to present.)
Robbins: Milky, vomit-like fluid in the corners of his mouth ...
(Camera close-up to DOYLE PFEIFFER'S face and the white fluid in the corner of his mouth. Resume to present.)
Robbins: ... single blue line running across his gums ...
(ROBBINS opens the deceased's mouth. Camera moves in close-up to focus on the blue line above the teeth. Resume to present.)
Robbins: ... all the earmarks of lead poisoning.
Grissom: I haven't seen a case of lead poisoning in years.
Robbins: What's that look like to you?
(GRISSOM and ROBBINS move to the viewbox. ROBBINS points to a specific film.)
Grissom: It looks like he's got a b*llet in his thigh.
Robbins: It's probably been there quite a while leeching lead into his system.
Grissom: Enough to k*ll him?
Robbins: I'll know better when I get the tox screen back and examine the brain.
(ROBBINS smiles.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(GRISSOM sits alone in the Audio/Visual room viewing the security camera tape of the poker table. He fast-fowards and stops. The VCR whirring is the only sound in the room. GRISSOM doesn't take his eyes off of the screen.)
(From XX:XX:42 to XX:XX:48, the camera shows the poker game with the Candyman every now and then eating chocolate candies during the game.)
(From 1:01:XX the game continues.)
(From 1:03:21 to 1:03:32, camera angles change from directly above the game to a close up of The Grinder.)
(Fast forward to 1:04 to 1:05, the camera angle changes to show LITA GIBBONS using eye drops.)
(Something occurs to GRISSOM.)
Grissom: Everyone has a tell, don't they, Lita?
(Camera holds on LITA GIBBONS using eye drops.)
CUT TO:
[INT. CSI -- LAB]
Greg: A whiskey sour, huh? Yeah, I'm a "thug passion" man, myself. It's a Tupack thing. (GREG mispronounces Tupac.)
Sara: Tupac?
Greg: So, what does your paramedic like to drink? I bet with a name like "Hank," he's probably got some ho's sipping on 'yac.
Sara: "Yac"? Cognac? No. "Ho's?" I'm not going there and, um, that's none of your business. It's nobody's business, as a matter of fact.
Greg: All right, well, I won't tell Warrick and Nick about Hank on one condition ... you tell me what he's got that I don't got?
(SARA smiles at GREG just as the printer prints out the test results. SARA picks up the paper and reads it.)
Sara: There was tetrahydrozoline in the victim's drink.
(Taking the sheet of paper with her, SARA moves to leave the room. GREG stops her.)
Greg: Uh, I never got my answer.
Sara: I got mine. You don't even like Tupac, Greg.
(Camera holds on GREG.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(Security camera close up of LITA GIBBONS' eye drop label: Tetrahydrozoline Eye Redness re-liever Non-Staining)
(The VCR whirrs. The camera pulls back to show that LIGA GIBBONS is holding the eye drop container.)
Warrick: She k*lled him with eyedrops?
Sara: Well, it's not that far-fetched. Tetrahydrozoline is the active ingredient in eye drops. It's a vasoconstrictor. Obviously, it's great for bloodshot eyes.
(Quick CGI POV close up of a right eye with redness. Eye drop liquid is dropped into the eye and the redness disappears. Flash to white. Resume to present.)
Warrick: I can buy that: You ingest eyedrops it constricts the blood vessels throughout your body maybe even spike your blood pressure perhaps even cause a stroke.
Sara: It's a perfect poison. It's odorless, colorless, tasteless. Doyle would have never known it was in his drink.
Grissom: Only one thing.
Warrick: What's that?
Grissom: Lita Gibbons was the last one to sit down at the table and she never left her chair. So ... how'd the eye drops get into his drink?
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(CATHERINE enters the room. She's carrying a file.)
Robbins: Hey, Catherine. Nice timing. I just finished my prelim on your John Doe.
(CATHERINE walks to the other side of the examining table. She opens the file and reads the information.)
Catherine: No longer a John Doe. Got a name and a rap sheet. Jace Felder, busted for selling meth in '98. His prints are in AFIS. (She closes the file.) Your turn.
Robbins: Cause of death: Perforating g*n wound through and through. Wound penetrated the zygomatic arch exited the right temple.
(Quick CGI POV of a b*llet piercing through the deceased's left cheek and blood spattering out from the unseen right side. End of CGI POV. White flash to present.)
Robbins: Check out his right eardrum.
(ROBBINS hands the otoscope to CATHERINE. CATHERINE leans in and examines the deceased's ear.)
(Quick CGI POV from the outer ear camera moves in through the ear and through the bone. End of CGI POV. Resume to present.)
Catherine: His eardrum's gone.
Robbins: Presence of blood indicates the tympanic membrane was blown out shortly before death.
(CATHERINE hands the otoscope back to ROBBINS.)
Catherine: We found him on an airstrip. Maybe he was too close to a jet engine.
Robbins: Jet engine? Well, that would explain his clothing. A gasoline smell. Sent if off to trace. Here's something you don't see every day, though: Perimortem bruising on his torso. Two symmetrical lines.
(ROBBINS indicates the deceased's chest.)
Catherine: Looks like it could be from a harness or a seat belt.
Robbins: (nods) Maybe.
Catherine: What was this guy? A Top g*n?
CUT TO:
[EXT. FRENCHMAN AIR FIELD-- DAY]
(Camera long sh*t of NICK walking down the center of the air strip. He's carrying his CSI kit.)
(Dissolve to NICK on the right side of the air strip taking pictures. His CSI kit on the opposite side of the roadway. He's a little closer to the camera.)
(Dissolve to NICK on the left side of the roadway, camera still in his hands. His CSI kit on the ground on the right side of the roadway. He's working the road.)
(Dissolve to NICK standing even closer to the camera. He's on the right, his CSI kit on the left.)
(Dissolve to NICK on the right side of the roadway still closer to the camera. He takes his camera off and crouches low to the ground.)
(Dissolve to NICK placing his CSI kit down on the road directly in front of the camera. He crouches low to the ground.)
(Cut to NICK brushing the tire tread marks in the road. The treadmarks are long and pronounced. There appears to be two sets of treads.)
CUT TO:
[EXT. FRENCHMAN AIR FIELD-- DAY]
(CATHERINE picks up a smashed passenger side view mirror on the air strip.)
Catherine: Well, this was no plane. Marks are too narrow. No center wheel, and ... when was the last time a plane lost a rearview mirror?
(NICK walks closer to CATHERINE.)
Nick: Actually, we're looking at two.
Catherine: Two?
Nick: Yeah, I've got fresh marks at the head of the runway two sets, both parallel, so ... my guess is one car spun out here ...
Catherine: Man, you are way ahead of me.
Nick: Yeah, well, I been here a while. Over there another set of treads going straight ahead, so ...
Catherine: Right. And you only lay down treads when your wheels aren't rolling smoothly. Panic braking? Sudden boost of acceleration? Race?
(NICK nods his head.)
Nick: I think so, yeah.
Catherine: Drag racing?
Nick: Or street racing.
Catherine: Ah ...
Nick: There's a reason it's illegal.
Catherine: Yeah. Kids end up d*ad.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY STREET -- NIGHT]
(NICK and CATHERINE walk through the street. They're carrying their CSI kits. In the background, kids hang and car stereo music blares.)
Nick: Midnight drags. My brother was a gearhead. Rebuilt a '65 GTO with three carbs. Ran the thing flat out. Zero to a buck-13 in a quarter mile.
Catherine: So your brother's cooler than you.
(NICK Laughs )
Nick: No. No, not really.
(They meet up with DET. LOCKWOOD.)
Lockwood: Welcome to pre-game. Every gear-banger in Clark County all with the same question -- "What are you running under there?"
Catherine: Foreplay is foreplay. So, when do they race?
Lockwood: It's not so much when it's where; racing locations are always in play. Once the call comes in the street will empty out in seconds.
Catherine: They go all the way out to Frenchman airfield from here?
Lockwood: Only when it rains.
Catherine: It rained last night. Rain brings up the oil from the streets. They got to go somewhere to get some traction.
(CATHERINE looks at NICK. NICK nods.)
Nick: The desert.
(NICK moves forward toward the yellow car parked behind DET. LOCKWOOD.)
Nick: Centrifugal supercharger. Nice.
(NICK puts his CSI kit down. The owner of the car who was standing on the side with two women, moves toward NICK when he hears NICK'S admiring comment.)
Turbo Owner: Yeah, it's like the compressor side of a turbo but instead of spinning on the exhaust it goes through a gearset to the crank.
(The young man's voice fades as he notices CATHERINE standing there.)
Catherine: More power, no extra weight. Every girl's dream.
(The young man laughs. He takes a couple of steps forward and points to his car hood. NICK leans in to look at it.)
Turbo Owner: Ooh. I like that. Yeah, check the nitrous speed.
Nick: Nos. Nitrous oxide system.
Catherine: Nitrous oxide as in speed?
Turbo Owner: Well, speed is ultimately limited by how fast you can mix oxygen with fuel and ignite it.
Nick: Regular air is about 20% oxygen. Nitrous is 40. Double the burn, double the power.
(Quick CGI POV white flash to the meter under the hood as the indicator quickly moves from 0 to the red zone. Camera moves in double time through the coils where it ignites and causes the engine to power up. The engine revs. Camera moves out from the car to side close up of the tires moving along the road. Flash to white.)
Catherine: So the sudden boost of acceleration could account for the treads back at the airstrip.
(From behind them, another yellow car drives slowly up past them. NICK sees something.)
Nick: Check out that racing harness. Same as the bruises found on the victim.
(The yellow car passes them by. From another direction, another dark car drives up with its stereo noticeably louder than everything. There are two men in the car.)
Lyric: (stereo blasting):
["Lapdance" by N.E.R.D.]
It's so real / how I feel / 'cause this society / that makes A... wanna k*ll / I'm just straight ill / ridin' my motorcycle down the streets / while politicians is soundin' like strippers to me / they sayin'...
(NICK and CATHERINE turn around to see where the loud music is coming from. The man in the passenger seat gets out of the vehicle. CATHERINE opens her kit and takes out an AMPROBE(tm) Sound Meter. It reads 131.1dB.)
(CATHERINE holds up the meter and approaches the passenger who just exited the vehicle.)
Catherine: Hey! You deaf?
Thumpy G: Oh, thanks a lot. What's up? I'm Thumpy G.
Catherine: A jackhammer is about 50 decibels quieter.
Thumpy G: You know the only way to b*at a jackhammer is to bust 15,000 watts of Run DMC's "dumb girl" or-or L. L. Cool J's "Goin' back to Cali." You know?
(Off screen a car horn blares and a voice yells out.)
Man: (o.s.) Hey, G, what's up?
Thumpy G: (to the man) Yo, Dog.
Catherine: So, Thumpy ... you blow out a lot of eardrums?
Thumpy G: I try to.
(LOCKWOOD holds out a photo. THUMPY G barely looks at it.)
Lockwood: You know this cat? Jace Felder.
Thumpy G: (to LOCKWOOD) Negative.
(THUMPY G calls out to some women behind and off screen from the group.)
Thumpy G: What's up, baby?
Woman: Hi.
Thumpy G: (to the woman) Hey!
Catherine: Hey, Thumper! How about we impound your car, seize your stereo system and charge you with disturbing the peace?
Thumpy G: Oh, she is hot, but now it's real hot. All right. Yo, do. It's coming back to me.
Nick: We're all ears.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Camera close up of a whirring bone-cutting hand saw turned on, then off. DAVID PHILLIPS is admiring ROBBINS' hand saw.)
David Phillips: Wow, is this new?
Robbins: Yup. Turbo.
(With a scalpel, ROBBINS cuts into the deceased's forehead skin.)
David Phillips: I like it.
(DAVID PHILLIPS turns to look at the table.)
David Phillips: You need any help?
Robbins: Nope.
(ROBBINS finishes the cut and peels back the facial skin. It comes off in one beautiful piece. DAVID watches closely. He smiles and nods his head.)
David Phillips: Cool.
(ROBBINS glances up at DAVID and puts down his head gear's protective shielding. He holds out his hand for the hand saw. DAVID, still leaning in close, looks up and gives the hand saw to ROBBINS. ROBBINS turns it on and starts to saw into the skull. Blood spatters onto DAVID'S clothes and skin as he neglected to put down his head gear's protective shield. DAVID looks up at ROBBINS. ROBBINS turns off the saw and looks at DAVID.)
Robbins: Want to step back a little?
(DAVID puts the head shield down and takes a couple of steps backward.)
CUT TO:
[EXT. LAS VEGAS CITY -- PALMS HOTEL & CASINO (STOCK) - NIGHT]
[INT. PALMS CASINO -- POKER TABLE -- NIGHT]
(The man at the poker table throws his hand onto the table. LITA GIBBONS smiles as she collects the pot.)
Lita Gibbons: Hey, Al.
(Standing off to the side near the door are BRASS and GRISSOM.)
Brass: So, how many pots is that?
Grissom: Too many.
Brass: Yeah.
(BRASS approaches the poker table.
Brass: Lita Gibbons?
(LITA GIBBONS looks up, her smile freezing on her face. Off on the side still near the door, GRISSOM stands there holding his CSI kit.)
Brass: Why don't you sit this one out? Come with me.
(LITA GIBBONS looks at GRISSOM.)
CUT TO:
[INT. PALMS CASINO - EMPTY BALLROOM]
(LITA GIBBONS is sitting in a chair in an auditorium like setting in the ballroom. BRASS and GRISSOM stand next to her.)
Lita Gibbons: Yeah. I live here. Tangiers is a damn smokehouse. Bothers my eyes.
Brass: You use eyedrops?
Lita Gibbons: Bottles and bottles.
Brass: Can we see them?
Lita Gibbons: Pick a pocket.
(GRISSOM kneels in front of LITA GIBBONS as she takes out an eye drops bottle from her pocket. She looks up at GRISSOM.)
Grissom: Miss Gibbons, what color are your eyes?
Lita Gibbons: Brown.
Grissom: Well, why are you wearing just one contact lens?
Lita Gibbons: I have 10/30 vision in my right eye.
(GRISSOM shines his flashlight at LITA GIBBONS' right eye.)
Grissom: Why is it tinted? We're going to need to take that contact lens. And your eyedrops.
CUT TO:
[INT. CSI -- FORENSIC AUTOPSY]
(Camera close up of ROBBINS holding a bloodied brain. DAVID PHILLIPS is standing next to him. WARRICK enters the room.)
Robbins: You ever held a legend's brain?
David Phillips: Brain cried uncle.
Robbins: Correct spelling: U-N-C-A-L. Uncal herniation-- a swelling at the base of the temporal lobe which compresses the posterior cerebral artery resulting in a stroke.
(ROBBINS indicates the part of the brain that he's talking about.)
Warrick: Let's back up here. Victim had chronic lead poisoning from a b*llet that was left in his leg.
Robbins: Tox is pending.
Warrick: But what you're thinking is the lead from the b*llet made his brain swell up with ... uncal herniation?
Robbins: Wild card was blood pressure. If he kept that under control he might have had another twenty years.
Warrick: Except that someone put tetrahydrozoline in his drink which made his blood pressure spike and now we got his brain in a bowl.
Robbins: Yup.
(WARRICK turns around to look at the examining table.)
Warrick: Nasty.
CUT TO:
[INT. GARAGE -- DAY]
(NICK and CATHERINE enter the garage.)
Nick: Michelangelo?
Catherine: Yup.
Nick: It's an odd name for a mechanic.
Catherine: Well, Thumpy G said he was an artist.
(They approach the two men standing next to the open hooded car.)
Nick: Michael ... angelo. Nick Stokes, Catherine Willows. Vegas crime lab.
(One man looks up when he hears his name called. The other man leaves. NICK looks at the car with the open hood.)
Nick: Wow.
Catherine: Yeah. So how long you been racing cars?
Michelangelo: I don't race 'em. I soup 'em. And at six-fifty an hour, you're costing me money.
Catherine: And you're costing us time. We're investigating a m*rder.
Michelangelo: Jace Felder, right?
Catherine: That's right.
Nick: How do you know?
Michelangelo: Small world. Shame about what happened. He was the Steve McQueen of Southern Nevada.
Nick: We're looking for the kid he raced the night he was sh*t.
Michelangelo: Why come to me?
Nick: Thumpy G dropped your name, man. Said he was driving a "Michelangelo."
Michelangelo: I have many works of art. Which one?
Nick: A blue honda, blue rims, tinted windows.
(MICHELANGELO recognizes it immediately. He turns around and close the car hood. He walks away. CATHERINE smiles at NICK.)
Catherine: "Works of art".
(MICHELANGELO returns carrying a photograph. He hands it to CATHERINE. As MICHELANGELO speaks, she looks at it then hands it to NICK.)
Michelangelo: Billie Holiday. Built this baby for myself. Sold it to some punk kid. Never should have done that. Sold out. Kid walks in one day $100,000 price tag in his head. Wants a racer off the showroom floor. No custom, no waiting, right now. Paid by check.
Catherine: Silver spoon kid. You got a copy of the check?
Michelangelo: Tossed it.
Catherine: Tossed it?
Michelangelo: Never should have done that, either.
Catherine: No.
Michelangelo: All I know was, it was an insurance company check. Third party. Sat on it till it cleared.
(CATHERINE'S cell phone rings. She answers it.)
Catherine: (to phone) Yeah?
Lockwood: (from phone) Found Jace Felder's car.
Catherine: (to phone) Where?
INTERCUT WITH:
[EXT. HIGHWAY UNDERPASS - DAY]
Lockwood: Yeah, we were lucky. It was right under our noses. Uniform found it out on Gibson road. Tent sale. The, uh, VIN number was scratched off but I ran the firewall. Came back Jace Felder.
Catherine: Who's the seller?
Lockwood: Uh, some guy named Steven Masters. Well, make him an offer.
Catherine: We'll take the car.
CUT TO:
[INT. CSI -- LAB]
(GREG holds up a bottle of eye drops. He looks up.)
Greg: So, we meet again. Lita Gibbons wasn't putting this on her nipples, was she?
(SARA stands in front of his lab table.)
Sara: You have been drinking too many Thug Passions. The woman is twice your age. She may be three times your age, Greg.
(GREG chuckles and waves his hand.)
Greg: Old case. Sorry.
(The printer whirls out the test results. GREG stands and takes the read-out. He looks at it and compares it to the prior read out from the other test. He doesn't say anything.)
Sara: Well?
(GREG turns around to glance at SARA over his shoulder.)
Greg: Well, uh, you'll get your answer when I get mine.
(SARA doesn't say anything.)
CUT TO:
[INT. CSI -- LAB]
(RONNIE LITRE enters the room. He's carrying a small cloth bag and hands it to GRISSOM who is leaning over the table of cards.)
Ronnie Litre: Hey, Grissom. Hooked you up.
(GRISSOM opens the bag and pulls out a large blue-tinted eye glass.)
Grissom: Is this the same color as the contact lens?
Ronnie Litre: Only bigger. Glass is my life.
(RONNIE LITRE smiles.)
Grissom: All right, stick around. I need your eyes.
Ronnie Litre: As long as they stay in my head.
(GRISSOM uses the eye glass and looks at the cards spread out back side up on the table in rows. RONNIE stands on the side and watches. He hands the large eye glass to RONNIE.)
Grissom: Find the aces.
Ronnie Litre: How many are there?
(RONNIE takes the eye glass from GRISSOM. He waits for a response and finally looks up at GRISSOM when he doesn't get any.)
Grissom: Four.
(RONNIE scans the row nearest him. He notices the slight discoloration of a card's top left hand corner.)
Ronnie Litre: First row, third card.
(GRISSOM flips the card over. It's the Ace of Clubs.)
Ronnie Litre: Second row, fourth card.
(RONNIE finds the next card with a discoloration on the bottom right corner. It's the Ace of Hearts.)
Ronnie Litre: Third row, eighth card.
(The next card has discoloration on the top left corner. GRISSOM flips the card over.)
Ronnie Litre: And, fourth row, third card.
(GRISSOM flips that card over.)
Ronnie Litre: Anaglyphics. Color contrast to see hidden marks.
(In the background, we see SARA approach and enter the room.)
Grissom: Lita Gibbons was playing the daub. She was cheating. She marked the corners of the cards with lip balm.
Sara: And that's all she was doing. The victim's drink contained point-zero-five (.05%) tetrahydrozoline hydrachloride and point-two-five percent (.25%) zinc sulfate. There was no zinc sulfate in any of Lita Gibbons' eyedrops. It's a different formulation.
Grissom: So she didn't k*ll Doyle Pfeiffer.
Sara: No. But someone's eyedrops did.
FADE TO BLACK.
(COMMERCIAL BREAK)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CASINO -- NIGHT]
(WARRICK is interviewing NADINE, the waitress at the poker game the night DOYLE PFEIFFER died. GRISSOM stands on the side observing.)
Nadine: You're costing me money, here. I've got a second shift at the Monaco.
Warrick: Well, you didn't seem too worried about money the other night. We watched the surveillance tape. Doyle Pfeiffer didn't even pass you a nickel yet you were all over him.
Bartender: (in background and o.s.) Order's up.
(GRISSOM turns around and looks at the bar and the bartender. A dark-haired waitress walks over toward the bar. GRISSOM leaves the interview in progress and goes to the bar.)
Nadine: I can tell you've never served drinks. Catch him in the right mood with the right pot, he can make your month.
Warrick: Is that why you were giving eyes to the California kid?
Nadine: I wasn't making eyes with him.
CUT TO:
[INT. THE BAR - NIGHT]
(BRASS is interviewing MATT at the bar. MATT was the player in the blue beret.)
Brass: You tipped some waitress $1,500 the other night? You in business, or you in love?
(MATT shakes his head.)
Matt: I was running a hot streak, three k*ll pots in a row. Sixty grand in forty minutes - I threw her a bone.
Brass: That all you threw her? Put a sh*t in her? Anything else I should know? I mean, we're just talking here.
Matt: All I can say is for fifteen hundred bucks you get great service.
(MATT bites down on the end of his stirring straw.)
CUT BACK TO:
Nadine: I'm a waitress, not a call girl. I was playing one guy against the other. You want to make money? You bait. Besides ... I thought Doyle had a heart att*ck.
Warrick: He did, but he had help. Someone put something in his drink.
CUT TO:
[INT. THE BAR - NIGHT]
(Camera close up of the drink the bartender is filling. GRISSOM walks over to the bar and stands off to the side waiting. The waitress waiting for her tray looks at him and smiles. The bartender notices GRISSOM. The waitress leaves. GRISSOM walks up to the bartender.)
Bartender: What can I get you?
Grissom: I'd like some information.
CUT BACK TO:
Matt: Do you know what happens when you b*at a legend? People see you different. They-they play you different. I wanted that edge.
Brass: All right, let's go with that-- an edge.
Matt: It does not play into my hand to have the guy d*ad.
CUT BACK TO:
Bartender: The days of comping drinks ... sticking the hotel with the bill, those are done. Everything's computerized down to the last drop. Standard protocol. Down to the way the girls order their drinks: Sodas first, mixers second, beers last. No exceptions.
(GRISSOM looks around the bar.)
Grissom: Where's your alcohol? I don't see any bottles.
(BARTENDER smiles and throws a thumb over his shoulder.)
Bartender: Back of the house.
Grissom: Really? May I order a double bourbon on the rocks?
Bartender: Coming up.
(The BARTENDER puts a glass filled with ice on the counter. He pulls out the nozzle and begins to fill the glass.)
(Quick CGI POV as the camera focuses in on the bartender's thumb pressing the button. Camera moves in high speed through the back of the spray, through the pipes, through the various twists and turns to the back of the house where the alcohol is stored. The glass bubbles as liquor is released. The camera zooms back the path, up through the pipes to the front of the house where the bourbon fills the glass. End of CGI POV. Resume to present.)
(The BARTENDER places in a small stirring straw into the drink.)
Bartender: Eight dollars.
(GRISSOM pulls out a bill from his wallet.)
Grissom: You keep the drink and the change.
(The BARTENDER takes the bill.)
Bartender: Thank you.
CUT BACK TO:
Warrick: You mind if I take a look in your purse?
Nadine: Yes, I do mind.
(She sighs as WARRICK doesn't respond. She reluctantly opens her purse and pulls out a small bottle of "Original Fast Acting" eye drops with a red label.)
Nadine: I'll tell you this. You bust me, you better bust all of us.
(WARRICK takes the bottle.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. HIGHWAY UNDERPASS -- DAY]
(NICK walks toward the red car. He opens the passenger car door and crouches low. CATHERINE is already examining the driver's side with the car door open.)
Catherine: No glass no paint flecks, no personal effects. It's been cleaned.
(NICK sees something. He pulls out a Leatherman pliers from his pocket.)
Nick: Hold the phone. I've got what looks like ... ah. ...A nine-millimeter round. No visible body fluid. What do you think? Maybe a miss?
Catherine: Well, if he was sh*t in the car there's got to be some blood.
Nick: Spray it up.
(NICK stands and closes the passenger door. He puts the b*llet in an evidence envelope. CATHERINE begins spraying the driver's side. As she sprays, the blood begins to appear.)
Catherine: Well, the only void is in the driver's seat. Means it was occupied by our victim, Jace Felder. So he was sh*t in the head, left to right. Spatter on the passenger door is from the exit wound.
Nick: Well, what about the rest of this blood? It's everywhere.
Catherine: He was sh*t while the car was in motion? Bled out while the car was rolling?
(Quick flashback to an ext. sh*t of the car flying and flipping over at high speed. The car hits the ground, parts flying everywhere. End of flashback. Resume to present.)
Catherine: I want to meet this k*ller.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Steven Masters: Opportunity knocked. (he laughs) I answered.
Nick: Okay. Uh, let's back up and start over shall we, Mr. Masters? You and your brother were off-roading.
Steven Masters: Yes, sir.
Nick: And you stumbled upon a wrecked racer out near Mercury.
Steven Masters: Yes, sir.
Nick: Why didn't you just ... ?
Catherine: (interrupts) Wait a minute. Let me, uh, let me get in on this.
Nick: Please.
Catherine: What were you thinking? You-you took the car?
Steven Masters: Damn right. Engine alone's worth fifteen grand.
(Quick flashback to STEVEN MASTERS and ADAM MASTERS out on the air strip approaching the car.)
Steven Masters: The keys are still in the ignition. See if it runs.
Adam Masters: What about him?
Steven Masters: L-leave him here.
(End of flashback. Resume to CATHERINE.)
Catherine: And what does a person's life go for?
Steven Masters: Ma'am, he was already d*ad. (smiling) I drove the car home, washed it out.
Catherine: And you didn't think to call 911 or anything like that?
Steven Masters: No. You guys would have impounded the car.
CATHERINE Okay, Mr. Masters. You've just confessed to grand larceny. Tampering with a crime scene. Detective Lockwood will get back to you on the m*rder charge.
(CATHERINE opens the door and leaves the room. STEVEN MASTERS is not smiling anymore.)
Nick: Make yourself at home, boss.
(NICK leaves the room.)
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY OUTSIDE INTERROGATION ROOM - CONTINUOUS]
Catherine: Jackass.
Nick: Dumbass.
Catherine: "Opportunity knocked."
(From behind them, DET. LOCKWOOD calls out to catch their attention.)
Lockwood: Hey, guys. I got a name on that third-party check signed over to Michelangelo. Tony Del Nagro. 8824 Sandy Creek Road.
CUT TO:
[INT. DEL NAGRO RESIDENCE - LIVING ROOM -- DAY]
Tony Del Nagro: Yeah. I race.
Catherine: You race Jace Felder the other night?
Tony Del Nagro: I race a lot of people.
Mr. Del Nagro: Look, if you're looking to bust my son for street-racing you can get your partner out of my backyard. I mean ...
Catherine: Sir, we're investigating a m*rder. Jace Felder was sh*t and k*lled.
Mr. Del Nagro: He doesn't know anything about that.
Catherine: Tony ... tell me about the race.
Tony Del Nagro: We went head up.
(Quick flashback to the race out on the air strip. Two cars side-by-side racing at high speed. End of flashback. Resume to present.)
Tony Del Nagro: Put my pink slip up against his five grand. Guess you could say I won.
CUT TO:
[EXT. DEL NAGRO RESIDENCE - BACKYARD - CONTINUOUS]
(NICK uncovers the car. He holds up a hand at the passenger-side window and immediately notices the difference.)
Nick: New glass - less tint.
(Cut to NICK spraying the passenger side seat looking for evidence.)
(Cut to NICK rubbing the passenger side door just under the window. He looks at the pad in his hand. It's covered in black.)
CUT TO:
[INT. DEL NAGRO RESIDENCE - LIVING ROOM - CONTINUOUS]
Catherine: From what I hear, Jace Felder was ... Mario Andretti. Why would you...?
(The door opens and NICK enters the house.)
Catherine: Why would you risk your "Michelangelo" against the best?
Tony Del Nagro: The best? Yeah, right. Jace was nothing but a lip-flapper. Told me I was all flash and no dash. He wanted to nut up a title. I took it.
(Quick flashback to the race in progress. Two cars peeling it down the air strip. One car flips over and hits the ground, parts flying everywhere. Flash to white. Resume to TONY DEL NAGRO.)
Tony Del Nagro: Everybody scattered. No one wants to be there when the cops show up.
Nick: Did you replace one of your car windows recently?
Tony Del Nagro: Yeah. Last week. Some tweeker blew it out doing donuts.
Nick: Before or after you fired the g*n in your car?
Mr. Del Nagro: All right what is this all about? I mean, look, my son doesn't have to answer any more of your questions.
Tony Del Nagro: Dad, it's okay. It's fine. Yeah, I popped off a few rounds through the sunroof.
Nick: The sunroof?
Tony Del Nagro: Yeah, everybody does it. Music's bumping and everybody's showing off their wheels. You get hyped for a race. Everybody does it.
Catherine: Where's the g*n, Tony?
Mr. Del Nagro: It's not his; it's mine. It doesn't belong to him. It's registered to me.
Nick: Well, sir, we have reason to believe this g*n was used in a homicide.
Mr. Del Nagro: Well, sir ... My wife was m*rder two years ago and I couldn't even get a cop to return my phone calls and now here you are in my home harassing my son. Get out. Now. Take a walk.
Catherine: We'll be back with a warrant.
(MR. DEL NAGRO nods his head. He still wants them to leave. CATHERINE stands and they both leave. Camera holds on TONY DEL NAGRO.)
CUT TO:
[INT. CSI -- LAB]
Greg: What do cowboys drink?
Warrick: Whiskey.
Greg: And when I chew on a lemon wedge boy, is it ...
Warrick: Sour.
Greg: And vacuums are great because they ...
(GREG puts the test results in front of GRISSOM and WARRICK to look at.)
Warrick: Suck.
Grissom: Reverse suction.
(GREG nods.)
(Quick CGI POV to the drink in the glass. The eye drop bottle is squeezed to put liquid into the drink, the tip makes contact with the liquid and part of that liquid goes back into the eye drop bottle. Camera close up of the eye bottle tip. End of CGI POV. Resume to present.)
Warrick: His drink in her eyedrops; her eyedrops in his drinks.
Greg: Dr. Edmund Locard would be proud.
Warrick: Well, we got a bonded bartender, eye in the sky, other waitresses. How the hell did she get that into his drink without anyone seeing?
Grissom: Aye. There's the rub.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM is looking at the list of the Product Drink by Server List. A Mozart Aria playing in the background.)
(SARA walks in and turns the stereo-player off. GRISSOM looks up.)
Sara: What do you got?
Grissom: Suspicious waitress. Standard protocol for ordering drinks -- the sodas, then mixed drinks, then beers. First five rounds, she ordered correctly. The last round, however she ordered Doyle's whiskey sour first.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Nadine: You can't pin this on me.
Brass: Sure, we can. You put your eyedrops in Doyle Pfeiffer's drink. That's what k*lled him.
Nadine: (chuckling): My eyedrops. Look, you saw the way it works. I didn't have time.
Grissom: You made the time.
(Quick flashback to the night Nadine ordered the drinks at the bar.)
Nadine: Whiskey sour, decaf, bottled water, beer.
Bartender: Come on, Nadine. Order your drinks in the right order, okay? I'm swamped.
Nadine: Just give them to me. I am, too.
(The BARTENDER hands NADINE the Whiskey Sour and she takes it off the bar where she adds the eyedrops to it.)
(White flash to End of flashback. Resume to GRISSOM.)
Grissom: You changed the order of your drinks and the switch-up gave you ... opportunity.
Brass: So, let's talk motive.
Nadine: You want motive?
Warrick: Yes.
Nadine: He was a "Stiff". I gave him a standard eyedrop sh**t. I was trying to give the guy diarrhea, not k*ll him. Doyle sat at my table night after night and never even so much as tosses me one of those piddly-ass candies of his my way. In my line of work, there are two kinds of tippers: The "Georges" and the "Stiffs." Matt was a "George"; Doyle was a "Stiff". Now, if you want to charge me with conspiracy of trying to make a guy crap his pants then fine, go ahead. I'm guilty. But I didn't k*ll him.
CUT TO:
[INT. CSI - HALLWAY TO LAB]
(GRISSOM and SARA walk to the lab.)
Grissom: So, the kid gets the pot but he doesn't get the reputation.
Sara: Server's revenge.
Grissom: Yeah, that's what she said.
Sara: A pissed-off waitress and a rounder with a b*llet in him it could be a lethal combination.
Warrick: Got that tox report back.
(WARRICK hands the test results to GRISSOM.)
Grissom: Basophillic stippling?
(GRISSOM leans in to look at the microscope. Quick POV to the microscope shows red blood cells with white splotches on them. Cut back to present.)
Sara: Well, that can't be. Coarse basophillic stippling only occurs from massive infusions of lead.
(GRISSOM looks up from the microscope.)
Warrick: Yeah, and according to the tox report the b*llet in his leg wasn't degraded enough to account for the amount of lead in his body.
Grissom: So where'd the rest of the lead come from?
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI - BALLISTICS LAB]
(NICK enters the lab. BOBBY DAWSON is working on the b*llet NICK brought in.)
Nick: What do you got, Bobby?
Bobby Dawson: Yo, got your b*llet. You pulled this out of a CRX, huh?
Nick: Yeah.
Bobby Dawson: Well, it's a lead core of a b*llet. Looks like a ... medium caliber, just mangled upon impact. Can't get any stria, so, uh ... ... test f*ring the suspect's w*apon's a waste of time.
Nick: Great, so it's useless.
Bobby Dawson: Well, I don't know. Take a look at the tip there.
(NICK looks at the b*llet through the lighted magnifying glass. The b*llet tip is blunted and there are visible glass particles stuck to the tip.)
Nick: b*llet's got splinters. Light glass, tinted glass. Thanks, Bobby.
(NICK slaps BOBBY DAWSON on the shoulder and leaves.)
Bobby Dawson: Yeah, sure thing.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM, WARRICK, SARA and GREG sit around the table. Each has some playing cards either in front of them or in their hand. Across the room in the deceased's set, the television set plays the security camera tape of the poker game. They're reconstructing the events of the game that night.)
Grissom: Okay, the last hand. I'm Doyle, I've been sitting in the same chair for thirteen hours. Here comes the cocktail waitress. She serves me my drink.
(GRISSOM pauses the tape at 03:02:14:00.)
Grissom: Flashes me then she looks at Matt.
Sara: Question is, why?
(The tape resumes.)
Warrick: Let's not forget the eyedrops are already in the drink; maybe she's giving him a signal.
Greg: Yeah, maybe they're working together.
Grissom: It's irrelevant. We've been chasing eyedrops to death. We're looking for lead.
Greg: Well, maybe the lead came from the glasses. Lead crystal.
Warrick: Yeah, in a casino? Picture that.
Sara: Already tested them. Negative.
(GRISSOM puts a piece of choco-bee into his mouth and takes a bite. On video tape, DOYLE PFEIFFER does the same. GRISSOM makes a connection.)
(Without a word, he stands and leaves the table.)
CUT TO:
[INT. CSI - HALLWAY TO THE BALLISTICS LAB]
Catherine: So, I looked into Rita Del Nagro's death. The accident report says h*t-and-run. It was a two-car collision. It's still open. An arrest was made, but the suspect was released due to insufficient evidence. Now, guess his name.
Nick: Jace Felder?
Catherine: Gives Tony Del Nagro plenty of motive. He lost his mother. Wanted revenge.
(NICK and CATHERINE reach the Ballistics lab and start to put their head gear on.)
Nick: Maybe, but why try to g*n down Felder he in the middle of a street race?
Catherine: Well, if it looks like an accident the investigation would be abbreviated..
Bobby Dawson: All right, stand back, y'all.
Catherine: No full-on autopsy the b*llet could go undetected.
(BOBBY DAWSON aims the g*n and yells.)
Bobby Dawson: f*ring!
(He fires the g*n at a partial simulation of the driver in a car between two sheets of car glass, both of a different tint. He extracts the b*llet and examines it.)
Bobby Dawson: b*llet's nose picked up trace of both windows. Just like the one recovered from Jace Felder's car.
Catherine: You guys rock.
(BOBBY DAWSON laughs.)
Catherine: So, we know the b*llet can make the sh*t ... let's go see if the driver can.
(CATHERINE looks over at NICK and smiles.)
CUT TO:
[EXT. LAS VEGAS DESERT (STOCK) - DAY]
[EXT. FRENCHMAN AIR FIELD -- DAY]
(CATHERINE and NICK walk away from the Tahoe to the two racing cars waiting for them. They're both dressed in jumpsuits, CATHERINE in a red jumpsuit and NICK in a black jumpsuit. CATHERINE checks her p*stol. NICK watches.)
Technician: You're all set.
Catherine: Hey, thanks, we'll take care of them for you.
(NICK puts on his helmet.)
Nick: Hey, wait, hang on Cath, give me a test f*re, will you?
Catherine: Love to.
(CATHERINE aims her p*stol at NICK'S helmet. NICK stands still as CATHERINE fires. NICK'S car alarm blares. NICK smiles. CATHERINE smiles. NICK reaches into the car and turns the alarm off.)
Nick: I wired the target to the car's alarm system. Gotta make sure we hear it.
Catherine: Always thinking there, Nicky, aren't ya?
(They get into their respective cars and buckle up. CATHERINE puts on her helmet.)
Nick: Okay, remember full out the fifth then h*t the nitrous and hang on.
Catherine: You just try to keep up.
(Both drivers rev their engines and start their way down the air strip. As they gain speed, CATHERINE paces NICK'S car. She raises her p*stol and takes aim. She paces NICK and fires. NICK'S car alarm blares. NICK slows down and turns off the car alarm. CATHERINE peels past him.)
(NICK stops and gets out of his car. CATHERINE stops her car some distance away and gets out of her car. She takes out her helmet and raises her arms in mock victory. NICK smiles.)
Catherine: Thank you. Good night!
CUT TO:
[INT. CSI -- LAB]
(GRISSOM conducts an experiment to test his theory. He takes a single piece of Choco-Bees chocolate. The exact same chocolate brand that DOYLE PFEIFFER was eating that night. He cuts it in half. He puts the pieces in a test tube and adds clear liquid to it. The chocolate begins to bubble.)
(GRISSOM appears pleased. He takes a sample of the liquid which is now fizzing and puts it in a small glass bottle. He holds the glass bottle up.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Tony Del Nagro: Jace k*lled my mom. Everybody knew it. Everybody knew it, and nobody came forward. It was a street race. Jace's car just slammed right into us.
(Quick flashback to RITA DEL NAGRO and TONY DEL NAGRO in the car. Headlights beam at them, the sound of a car speeding fast approaching them. RITA DEL NAGRO ducks and screams. White flash to end of flashback. Resume to TONY DEL NAGRO.)
Tony Del Nagro: k*lled my mom instantly. He just plowed right into us. Kept going.
Catherine: You were in the car. Why didn't you just tell the police?
Tony Del Nagro: Because I didn't know it was Jace. I found out later on that it was a street racer.
Nick: And you weren't?
Tony Del Nagro: Not at the time, no. So I went to a couple of events and hooked into the world. I found out within one hour who k*lled her.
Nick: So, let me get this strait. You decide to become one of them. You buy a car with your mother's death benefit toss your hat in the ring and wait for your sh*t.
(TONY DEL NAGRO doesn't say anything. He looks at NICK. CATHERINE shakes her head.)
Catherine: Revenge is best served cold.
(Quick flashback to the night of the race. TONY DEL NAGRO is driving the car and just as CATHERINE had done, he raises his g*n while pacing himself with JACE FELDER. He fires. The glass between the two cars shatters. JACE FELDER'S car goes out of control, hits the ramp and hits the ground scattering pieces everywhere. TONY DEL NAGRO doesn't stop. He keeps on going. End of flashback. Resume to present.)
Tony Del Nagro: I never stopped. I just kept going. Never looked back.
Nick: (o.s.) Took his title and then took him down.
(TONY DEL NAGRO looks at NICK.)
Tony Del Nagro: He took my mother's life so I took his.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM puts a potted plant in the center of the table. He's wearing an apron over his clothes and is holding a spray bottle. WARRICK and SARA walk into GRISSOM'S office.)
Warrick: What's up, Griss?
Grissom: Did you guys know that seventy percent of the world's chocolate is produced in West Africa?
Warrick: Really?
Grissom: Yeah. The Ivory Coast, Ghana, Nigeria, and Cameroon.
Sara: No, I, uh, didn't know that.
Grissom: Doyle Pfeiffer didn't know either. Chocolate comes from cocoa plants, but in West Africa, the cars still use leaded gas. So when the exhaust fumes disperse into the atmosphere ... and it rains ... It pours lead.
(For visual effect, GRISSOM sprays the plant with the water. And like a light spray of rain, it falls onto the plant. SARA takes a seat.)
Sara: Like acid rain.
Warrick: Whatever's in the atmosphere gets into the soil, gets into the cocoa plants. Capillary action.
(WARRICK sits down.)
Grissom: Then the cocoa's harvested, processed, refined, sold into bulk, and eventually ...
Sara: Choco-bees.
(Quick flashback to the video tape of DOYLE PFEIFFER popping in a piece of chocolate on a couple of different flashes. End of flashback. Resume to GRISSOM.)
Grissom: Doyle Pfeiffer's nickname was the "Candyman." He got that name the night he won the World Championship in '86.
Warrick: Well, if he had those chocolates with him in '86 he's had them every night since. His lucky charm.
Grissom: By my calculations he might have consumed up to a pound of chocolate a night for sixteen years.
Warrick: Wow. That would explain all the lead in him.
Grissom: Ultimately the tetrahydrozoline in the eyedrops triggered it, but essentially, it was ... death by chocolate.
(Camera holds on GRISSOM.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x01 - Revenge Is Best Served Cold"} | foreverdreaming |
WHITE FLASH OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
INTERCUT WITH:
[INT. CASINO -- THE WALLFLOWERS - PERFORMANCE]
Lyric: ["Everybody Out of The Water", performed by The Wallflowers]
... on your mark, get set / let's go / you got to move now, before she explodes / look out the window, lookout below / back away from the glass / well, there she blows / the city's been leveled / the hills are in flames / the streets cracked open / and they're pushing up clay / temperature's dropped / the sky is gray / and it ain't even over / here comes drivin' rain / it ain't me that you feel / it's something moving around in here / well, that's blood, that's tears / this ain't a warning / everybody out of the water...
CUT TO:
Lyric: and up on dry land / take what you can / cuz you won't be here again / everybody out of the water ...
[INT. PALMS HOTEL & CASINO - NIGHT]
(A group of young women walk through the casino's lobby to enter the performance area. The camera runs in slow motion. They're dressed up for a night out on the town.)
(Cut to TOM HAVILAND sh**ting craps at the crap table. He's surrounded by a group of people and having a wonderful time.)
(Cut to one of the young women from the group walking through the crowd with her friends. She looks up and sees TOM HAVILAND at the crap table.)
Fan (woman): Tom Haviland! Oh, my god. It's really him. I loved him in "I-
95" and ... and that other movie with Julia Roberts.
(Cut to the crap table. TOM HAVILAND holds the dice. He blows on the dice and prepares to set his bet.)
Tom Haviland: Odds on six and eight. Give me thirty-five on the hop and a quarter on the horn for the boys.
House: Thank you, sir.
Tom Haviland: All right.
(TOM HAVILAND shakes the dice, blows on it and lets it go. In slow motion, the dice roll across the crap table, hits the back board and rolls back to where it finally stops on a three and a five.)
Lyric: ...Now I'm treadin' high water / to get back to you / looking for a little spot of something to cling to / there's too many bodies / there's not enough room /
God help me and God help you ...
(The table crowd lets out a loud cheer.)
Lyric: ...they say nobody panic / help is on its way, we're already on it / you've got to be brave / if you can fix it now then don't make us wait / man they're ain't nobody coming / back away from the gates ...
(RAYMOND LESTER walks up to TOM HAVILAND.)
Tom Haviland: Hey.
Raymond Lester: How you doing? So what are you in the mood for, huh? A little French, Italian ...
Tom Haviland: No, man, I had Italian last night. How about Chinese?
(TOM HAVILAND has his eyes somewhere across the crap table. RAYMOND LESTER follows his gaze and smiles.)
Raymond Lester: Oh yeah, Chinese. Hey, man. I've got you.
(RAYMOND LESTER leaves. TOM HAVILAND continues with his game. He blows on the dice and lets it roll. It stops on two fives. The table crowd goes wild.)
(Across the table, RAYMOND LESTER approaches two Chinese-looking women. He puts his arms around their shoulders and speaks to them. They both smile.)
Lyric: Everybody out of the water / get up on dry land / take what you can / 'cause you won't be here again / well, I loved you then / like I love you now / that won't matter anyhow / well, this is the new frontier / everybody out of the water ...
CUT TO:
[INT. PALMS HOTEL & CASINO -- BEDROOM - NIGHT]
(TOM HAVILAND and the two women from the Casino walk down the sunken bedroom floor to the large bed in the center of the room. They slowly discard their clothing as they reach the bed.)
INTERCUT WITH:
[THE WALLFLOWERS PERFORMANCE]
(The woman in the red dress falls back on the bed. TOM HAVILAND straddles her and the other woman in black straddles her behind him.)
(Camera close up of the women touching and caressing TOM HAVILAND. Camera close up of TOM HAVILAND in slow motion. Music fades. Slow deep breathing sounds louder.)
Lyric: ... everybody out of the water ...
FLASH TO WHITE:
[INT. PALMS HOTEL & CASINO -- BEDROOM -- NIGHT]
(GRISSOM is carrying his CSI kit and walking down the short steps to the sunken bedroom. He approaches the bed. BRASS is already there. He turns his cell phone off.)
Brass: The subject, Tom Haviland, says he had a romp with two ladies between
1:00 am and 2:00 am. Then he left them in the sheets and went back to the crap table. He returned a half an hour later and found Kim like this with her throat slashed.
(Sprawled out on the bloodied bed is the woman in black. GRISSOM crouches low next to the bed. He shines the light from his flashlight on the victim's neck.)
Grissom: The extent of the coagulation suggests she died before that. Possibly before 1:00 am.
Brass: When he puts himself in the room.
Grissom: You said "ladies." Where's the other one?
Brass: Uh ... Tonya. He said she was gone when he returned.
Grissom: Gone? That's an elastic term.
Brass: Yeah, Mr. Haviland's assistant a Raymond Lester, notified hotel security and called 9-1-1.
Grissom: What do we know about Raymond?
Brass: Eyewitnesses place him downstairs at the time this took place. Mr. Lester is in ... LA at a morning meeting. He's flying back this evening.
Grissom: And Mr. Haviland?
Brass: He's in the other room.
CUT TO:
[INT. PALMS HOTEL & CASINO - ROOM NEXT TO BEDROOM]
Man: (o.s.) Do you do your own stunts?
(TOM HAVILAND holds a stock publicity photograph and signs it. Surrounding him are three men talking with the movie star.)
Tom Haviland: Yeah, I do my own stunts, but, look, I don't want to dog on the guys who use stunt doubles, right? Believe me, when you're hand gliding over the Grand Canyon, you should think twice.
(The man laughs at the response.)
Man: (o.s.) I've always wanted to try that. Would you mind making it out to my girlfriend please ...
(The camera pulls back. Off to the side some distance away, WARRICK and GRISSOM watch. GRISSOM puts his glasses on and watches with no expression on his face. WARRICK turns from watching TOM HAVILAND and looks at GRISSOM'S non-expression.)
Warrick: You don't recognize that guy, do you? It's Tom Haviland, movie star.
(GRISSOM nods slightly.)
Grissom: Clark Gable was a movie star.
(GRISSOM approaches the group.)
Grissom: Excuse me, fellas.
Tom Haviland: Keep the peace, boys.
(The mini-crowd leaves.)
Grissom: Mr. Haviland, my name's Gil Grissom. I'm with the Las Vegas Crime Lab.
Tom Haviland: (smiles) Oh, well, do you have a sheet of paper? 'Cause I'm kind of running out of things to write on here.
Grissom: What?
Tom Haviland: Oh. My bad.
(TOM HAVILAND looks down and re-caps the pen in his hand.)
Grissom: I need to ask you did you, by any chance, touch the victim after you found her?
Tom Haviland: No.
Grissom: You sure?
Tom Haviland: Look, I wouldn't want people to know, but I got creeped out. I kept my distance waiting for the ambulance.
Grissom: That's all you did?
Tom Haviland: Well, I did ask her who did it. And she said Tonya.
Grissom: Really? The other girl.
(TOM HAVILAND nods.)
Grissom: Hey, Warrick?
(WARRICK, standing off to the side, walks toward the two men.)
Grissom: Would you mind if we took a look at your hands?
Tom Haviland: Yeah, sure.
(TOM HAVILAND holds both his hands out palms up.)
Grissom: Palms down, please.
(GRISSOM turns on his flashlight and shines it on TOM HAVILAND'S fingernails. WARRICK shifts slightly as he knows what GRISSOM is looking for.)
Grissom: You said you never touched the victim.
(TOM HAVILAND shakes his head. No. WARRICK uses a swab on TOM HAVILAND'S cuticles. Camera close up on the swab as it picks up a dark residue under the nailbeds. WARRICK looks at the swab tip.)
Warrick: It's blood. I guess you forgot to scrub the back of your hands, huh?
Tom Haviland: I get one phone call, right?
Grissom: Sure, just like in the movies.
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
[EXT. LAS VEGAS (STOCK) - NIGHT]
[INT. PALMS HOTEL & CASINO - LOBBY -- NIGHT]
(Camera view in slow motion. TOM HAVILAND, handcuffed behind his back and escorted by BRASS, GRISSOM, WARRICK and an officer, walk through the hallway. They turn the corner and just outside the glass doors in the center of the casino lobby is a large group of reporters intermixed with fans and curious onlookers.)
(Normal camera speed resumes when the security officers open the glass doors. The crowd pushes against the group of officers there to provide security.)
Reporter: Tom, did you do it?
Reporter: Tom! Tom!
Fan (male): You're the best, Tom. Stay strong.
Reporter 1 (woman): Captain, can you tell us exactly what prompted PD to arrest Tom for this m*rder?
Brass: Conflicting statements and forensic evidence.
Reporter 2 (man): Could you be more specific?
Brass: Blood evidence.
Reporter 3 (man): What kind? Where did you find it, exactly?
Brass: That's all for now. When we have more information, we'll release it to you. Thank you excuse us.
(BRASS with TOM HAVILAND push onward through the casino lobby. The reporters follow in their wake shouting their questions at the men. WARRICK and GRISSOM remain behind then turn to move to the side.)
Reporter: Tom, did you do it?
CUT TO:
[INT. PALMS HOTEL & CASINO - LOBBY - NIGHT -- CONTINUOUS]
(SARA, CATHERINE and NICK walk across the casino floor and meet up with GRISSOM and WARRICK. Each is carrying their CSI kit. CATHERINE is on her cell phone.)
Sara: I like his movies. (she shrugs) Some of them are good.
(GRISSOM has a thoughtful look on his face. CATHERINE pulls the phone away from her ear and puts it away.)
Catherine: DA just got the call. Tom's manager hired Marjorie Wescott to defend him.
(GRISSOM considers the news.)
Nick: "Soundbite" Wescott?
Catherine: Guilty, rich client, high-profile case it's right up her alley. Publicity for her new cable show.
Grissom: Forget about who's involved. We do this like we do any other case.
Warrick: Well, I'm going to get this blood evidence to DNA. I'll catch up with you guys later.
Nick: All right.
Catherine: So, we'll take the suite. It's the penthouse, right?
(CATHERINE leaves. SARA follows.)
Sara: Later.
(GRISSOM and NICK remain behind.)
CUT TO:
[INT. PALMS HOTEL & CASINO - CRAPS TABLE - NIGHT -- CONTINUOUS]
(NICK and GRISSOM walk through the crowd. They approach the craps table TOM HAVILAND played at in the teaser. The CASINO MANAGER stands off to the side looking at his watch.)
Grissom: Witnesses place Tom Haviland at this table before and after the time of the m*rder.
Nick: I'll look for transfers.
Grissom: Yeah, well, he's already admitting to sleeping with the victim so hair and fiber evidence won't mean anything.
Nick: Okay.
(NICK ducks under the crime scene tape, turns and holds it up for GRISSOM. GRISSOM doesn't move.)
Nick: You coming?
Grissom: I'm just going to supervise on this one.
Nick: All right.
(NICK turns around to process the craps table. GRISSOM remains outside the taped area.)
CUT TO:
[INT. PALMS HOTEL - BEDROOM -- NIGHT]
(Camera close up of KIM HSU'S body being placed on the gurney for removal A plastic sheet covers her face. The coroners take the body away.)
(SARA is crouched low next to the bed. She's taking picture of a bra on the bed. HANK PEDDIGREW appears next to her.)
Hank Peddigrew: Hey, Sara.
Sara: Hey. I thought you left.
Hank Peddigrew: I need to talk to you.
(SARA snaps a photo.)
Sara: Uh ... can it wait till after work?
Hank Peddigrew: It's about work. When I tried to revive the victim the bra was in the way, so I repositioned it. I didn't think about it until I was at the elevator.
Sara: Oh, um ... can you tell me where it was exactly?
Hank Peddigrew: A little ... a little over here.
(HANK PEDDIGREW points a little to the right of the bra. SARA moves the bra.)
Sara: You sure?
(He nods.)
Hank Peddigrew: Thanks.
Sara: Thanks? Thanks nothing. I'm going to have to put it in my report.
"Evidence moved due to life-saving efforts" with before and after pictures.
Hank Peddigrew: Sorry.
(SARA smiles. HANK PEDDIGREW leaves. SARA lifts the camera to take another picture. CATHERINE enters the bedroom.)
Catherine: I could live in that bathroom. So, I've checked every plumbing fixture in this place. There's no blood.
(CATHERINE rests her kit down and crouches next to SARA.)
Sara: Grissom said he found blood under movie boy's nailbeds.
Catherine: And that sheet looks like a butcher's apron. Movie boy had to wash his hands someplace.
(CATHERINE thinks about it. She stands and takes her kit. She leaves the bedroom.)
CUT TO:
[INT. PALMS HOTEL & CASINO -- HALLWAY]
(CATHERINE exits the TOM HAVILAND'S hotel room. She makes her way through the hall looking for something. A few feet away from the hotel room door on her left, she finds it. The Utility Room (Employees Only). CATHERINE opens the door and turns on the light but doesn't enter the room just yet.)
(The light above the sink flickers on. CATHERINE puts her kit down and puts a covering on her shoes before entering the Utility room. She uses her flashlight on the floor and carefully enters the room making her way to the sink.)
(She takes special note of the spot directly in front of the sink. She reaches into the sink and removes the drain stopper. On the underside, she finds blood.)
CUT TO:
[INT. PALMS HOTEL & CASINO - CRAP TABLE]
(Down in the casino, NICK swabs the crap table. Next to him, the CASINO MANAGER interrupts.)
Casino Manager: Can the casino do anything to hurry this up, Mr. Stokes?
Nick: I'm processing as fast as I can, sir. It would help if I had the dice used at this table.
Casino Manager: We replace the dice every hour.
Nick: I've got my work cut out for me then, don't I?
(The CASINO MANAGER nods slightly and leaves to get the dice. Camera holds on NICK.)
CUT TO:
[INT. PALMS HOTEL & CASINO - UTILITY ROOM]
(Under the sink, CATHERINE works to remove a portion of the pipe. She successfully removes the pipe and looks inside where she sees some evidence of blood.)
(Cut to CATHERINE dusting the floor between the sink and the door. She manages to successfully lift a bare footprint off the floor. CATHERINE smiles at the find..)
CUT TO:
[INT. PALMS HOTEL & CASINO - CRAP TABLE]
(On the crap table in front of him, NICK has five sets of dice evenly spaced. A stack of evidence envelopes is off to the side.)
(NICK swabs the dice in front of him and it shows up positive for blood. NICK smiles. He looks up directly into the security camera above the table.)
(Cut to the security camera black and white view of the crap table from above with NICK looking up at it. NICK signals to the CASINO MANAGER standing off to the side that he's finished. NICK starts putting the dice into the envelopes as people start to appear around the crap table.)
DISSOLVE TO:
[INT. WARRICK'S CAR -- ROADWAY IN FRONT OF THE CALIFORNIA HOTEL & CASINO --
NIGHT]
(WARRICK transporting the blood evidence taken from TOM HAVILAND. He drives on the roadway and comes to a stop behind some cars. The street light is red. Cars are honking their horns. In the middle of the intersection, there's a car accident. Indistinct radio transmissions sound in the background.)
Warrick: Great. What is this?
(WARRICK stops the car. He sees the accident and also notices the driver's door opening with the driver getting out of the car.)
Warrick: Oh, great. Here we go. (to phone) This is CSI Brown. I got a T&A, at Ogden and Main. Please send EMS, Emergency Medical Assistance as soon as you can. Hey ...
(The woman struggles out of the car. She's bloodied and in shock. She's standing on her feet. WARRICK puts his phone away and grabs her trying to steady her.)
ACCIDENT VICTIM (WOMAN): I can't see.
Warrick: You all right?
ACCIDENT VICTIM (WOMAN): I can't see. Help me.
Warrick: Okay. Okay, all right...
ACCIDENT VICTIM (WOMAN): Help me!
Warrick: Okay. Hey, stay with me. Stay with me. Let me look at you...
ACCIDENT VICTIM (WOMAN): I think I'm going to pass out.
(The woman collapses against WARRICK. She's still conscious.)
Warrick: Hey, no, no, no ...
(WARRICK holds the woman upright.)
Warrick: Okay. All right. All right, keep your head back. All right, I got to get a towel for your head.
ACCIDENT VICTIM (WOMAN): No, no, no! Don't leave me, please. Don't leave me, please.
Warrick: Okay, I'll be here with you for the ambulance, okay? Take a deep breath.
(WARRICK lifts his head and yells out to the crowd of curious onlookers.)
Warrick: Can someone give me a towel?!
(A camera flashes from someone in the crowd. No one moves to assist. A siren can be heard getting louder.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
Robbins: Wound tract tells us the w*apon was sharp, irregular with a tight curve.
(ROBBINS takes off his glasses and looks up at GRISSOM.)
Grissom: Well, let's see. Hotel suite. Probably a w*apon of opportunity. Corkscrew, maybe.
Robbins: Corkscrew would be consistent with this tissue damage.
Grissom: Is it all the way down to the larynx?
Robbins: Transected the superior thyroid artery external carotid, causing exsanguination. Both laryngeal branches of the vagus nerve and her larynx were severed. Vagus nerve controls the muscles in the larynx. Any injury to this nerve and its surrounding muscle results in immediate paralysis of the throat.
(Quick CGI POV of KIM HSU in a full open mouth scream. The camera zooms in through the mouth and through the larynx. A corkscrew pierces the muscles in the larynx. Blood spurts. The screaming stops. End of CGI POV.)
Robbins: Voice box was immobilized.
(GRISSOM doesn't respond. He looks at ROBBINS.)
Robbins: Why the look?
Grissom: Tom Haviland claimed that this victim told him the name of her m*rder before she died.
(ROBBINS shakes his head and scoffs.)
CUT TO:
[INT. CSI -- LAB]
(A group of people watch the television set both inside the lab across the hall and in the hallway. The camera shifts and a second television set is also on the news coverage inside the CSI Lab.)
Paula Francis (tv Reporter): (on tv) Detectives and forensics experts are sifting through evidence a this hour, making their case against actor Tom Haviland. We'll recap the story as we wait for a live feed from a downtown news conference with Haviland's attorney. Several witnesses have already spoken to police about Haviland's actions outside the m*rder ...
(With the remote, NICK turns of television.)
Nick: Proceed, sir.
Grissom: Okay, we got at least one m*rder charge on Haviland. I imagine we'll add another one.
Catherine: Tonya.
Grissom: So, let's run Kim Hsu's m*rder. Haviland slashed her throat probably with a corkscrew.
(Quick flashback to the hotel bedroom. A woman is screaming. TOM HAVILAND swings his hand and the woman's screaming stops. She falls back against the bed. Flash to white. TOM HAVILAND holds the corkscrew in his right hand. Flash to white. He opens the palm of his hand and looks down at his bloodied hand. Flash to white. End of flashback. Resume to CATHERINE.)
Catherine: Then, showing consciousness of guilt he washed the blood off in this room which is right around the corner from his suite.
(Quick flash back to TOM HAVILAND standing in front of the sink. Flashback is green-tinged to show that it was done without the light on and in darkness. Sounds of water running can be heard. TOM HAVILAND washes his hands and his chest from the blood. He glances behind him. White flash to camera view of TOM HAVILAND'S bare feet.)
Catherine: (V.O.) We found dilute blood in the sink, pipes and ... footprint ridges there.
(Flash to white. End of flashback. Resume to present.)
Grissom: Do we have the results on the blood from Haviland's hands?
Warrick: I got held up behind a traffic accident. I put it in with Greg. I'm not sure if he's done with it yet.
(GREG walks in holding the test results. He hands them to GRISSOM and gives his report.)
Greg: I got it right here. The forensic sample matches the reference. The blood on Tom's hands was definitely the victim's. Triple-checked the data.
Warrick: We got our guy then.
Nick: Oh, here she is.
(NICK picks up the remote and turns the television sound back up. Everyone's attention focuses back on the screen.)
(Captions on television screen: LIVE "m*rder Charge Unfounded / EYEWITNESS NEWS")
Marjorie Wescott: (on tv) Aside from the fact that the other woman in this case also known as Tonya is still at large and is still a likely suspect in this m*rder the evidence Las Vegas CSI did collect the evidence they're using to railroad my client, Tom Haviland, has been completely and irretrievably compromised. I'm holding in my hand compromised, contaminated evidence, ladies and gentlemen.
(CATHERINE gasps. She turns to look at GRISSOM who looks equally surprised at the announcement. He turns and looks at NICK who doesn't seem all that surprised at the defense attorney's tactics. He sighs.)
(Camera cuts back to GRISSOM who processes this information thoughtfully.)
Marjorie Wescott: CSI should be ashamed; and you, as citizens, should be outraged. This not how we do things in America.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI -- HALLWAY]
District Attorney: They're saying the chain of custody was broken. The sample was contaminated when you stopped to help the woman.
(The District Attorney walks through the hallway. CATHERINE walks next to him, WARRICK and GRISSOM behind them.)
Warrick: That blood was not contaminated. I recovered it from the back of Tom Haviland's hand sealed it, delivered it to sanders in DNA.
Catherine: Did you lock your car when you helped this driver?
Warrick: I was out of my car two, three minutes tops.
[CLOSED-CAPTIONED: CATHERINE (distantly): Dispatch put you out of your vehicle for seven minutes and 11 seconds.]
(Camera close up of GRISSOM in slow motion. The sound is extremely muffled as we hear what GRISSOM struggles to hear.)
(Still in slow motion, the camera cuts to the DISTRICT ATTORNEY from GRISSOM'S POV. We see his lips move only when they are in view. We can't hear what he's saying. Camera cuts back to GRISSOM who tries to follow the conversation. WARRICK speaks indistinctly. The DISTRICT ATTORNEY speaks indistinctly. The voices slowly get louder and clearer.)
... at the DA if you had.
Warrick: They day I do that is the day I turn in my badge.
(GRISSOM follows behind, but he's no longer trying to follow the conversation. He opens the folder he's carrying and begins to leaf through it.)
Catherine: Our evidence is solid. We can't let 'em take us out of our game.
District Attorney: That may be difficult. Marjorie's been flooding us with legal motions.
Catherine: Oh, that's what lawyers do; especially when their clients are guilty.
(The DISTRICT ATTORNEY stops in the hallway and turns around to face the three CSIs. GRISSOM is now reading a file in his hands.)
District Attorney: These motions are different.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
Grissom: Tom Haviland's attorneys are not waiving time.
(NICK is surprised by this.)
Nick: Are you serious?
Sara: They're actually exercising their right to a speedy trial?
Grissom: No requests for continuances, no stall tactics. They're pushing for their day in court.
Warrick: Good defense attorney always does the last thing you expect.
Catherine: Yeah. What typically drags on for months has now been put on the fast track and the prelim is less than seventy-two hours.
Greg: I'm only done processing half the evidence.
Catherine: You're going to have to call in help, because if the judge thinks that our evidence isn't strong enough to go to trial he's going to dismiss the charges on Tom.
Sara: Can't the DA drop the charges and we'll refile when we get our evidence together?
Catherine: Sure, but the odds are that Tom will relocate to Europe and pull a Polanski.
Greg: And what's a Polanski?
Grissom: Get-out-of-jail-free card. One more thing: Wescott just added a forensic scientist to their roster. She wants him to examine every piece of evidence we have against Haviland.
Nick: As soon as it's processed they'll get a copy of our report.
Grissom: They're entitled to see it as it's processed.
Nick: I've never done a case where the defendant took advantage of that rule of discovery.
Grissom: Well, when you can't att*ck the evidence itself, you att*ck the method of gathering the evidence.
Sara: So who's their guy?
Grissom: Dr. Phillip Gerard.
Sara: Phillip Gerard? Your mentor is their forensic scientist?
Grissom: Yeah. Marjorie Wescott's a smart lawyer.
CUT TO:
[INT. CSI -- HALLWAY]
(BRASS and GRISSOM walk through the hallway.)
Brass: Tom's best friend, Ray -- he's coming in tonight. Volunteering to give a blood sample.
Grissom: He knows his blood's not on those sheets. They're trying to choke us with evidence.
Brass: He also lawyered up. Guess who's paying the legal bills?
Grissom: The movie star.
Brass: Legalized hush money. Ought to be a law against it.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(NICK works on the security video tape from the camera above the crap table. The time on the monitor reads 11:58:06 PM. The video is of TOM HAVILAND sh**ting craps at the table.)
(The keyboard clicks as NICK works on it. His pager beeps. NICK looks at the pager. He turns his head. In the background in the next room, GREG is watching NICK. GREG holds up the pager and waves. NICK sighs and gets up to see what GREG wants.)
CUT TO:
[INT. CSI - DNA LAB -- CONTINUOUS]
(NICK pushes the glass door open and enters the DNA lab.)
Nick: You beeped me from across the hall?
Greg: Uh, yeah. I waved; you didn't look up.
(NICK smiles.)
Greg: The blood contributions on that die ...
Nick: Yeah?
Greg: ...Tom Haviland and Kim.
Nick: So when he blew on the dice, he blew victim blood.
(Quick flashback to the craps table that night. Close up of TOM HAVILAND holding the pair of dice and raising it close to his lips to blow on it. Cut to CGI POV of TOM HAVILAND bl*wing on the dice. Extreme camera close up of saliva particles passing from TOM HAVILAND to the dice. Camera moves in closer to a particular saliva particle in through a microscopic view to show red blood cells within the saliva. End of CGI POV. Cut back to TOM HAVILAND turning toward the crap table to roll the dice. End of flash back. Resume to present.)
Greg: Now, I know I haven't been getting out in the field very much, but how does a guy get a girl's blood in his mouth when he's k*lling her?
Nick: m*rder's messy, my friend.
(Quick flashback to TOM HAVILAND in the bedroom on the bed just after slashing KIM HSU'S throat. Flash to white. TOM HAVILAND wiping his mouth using his right arm. Flash to white. End of flashback. Resume to present.)
Greg: So, now you have to find it on the surveillance tape?
Nick: If I want to present it to a jury, yeah. Nowadays, people expect a show.
(NICK hands the test results back to GREG.)
Nick: I should've gone to film school.
(NICK turns to leave to go back to the Audio/Video Lab. GREG looks down at the test results.)
(In front of him, the reflection of an elderly man appears. We don't see the man, but we do know that he's watching GREG through the glass window. Unaware that he's being watched, GREG holds the dice from one hand to the other and rolls it on the table in front of him.)
(GREG looks up and notices the silver-haired man standing outside the glass window watching him. It's PHILLIP GERARD. GREG doesn't smile. Camera holds on GREG.)
CUT TO:
[INT. CSI -- LAB]
(SARA is examining the bloodied bed sheet. It hangs from the ceiling. GRISSOM walks in and stops next to SARA. He holds a flashlight like a pointer and uses it on the sheet as he talks. SARA holds a file folder that she references.)
Grissom: Okay... so the flowing pattern is from the victim's neck wound. This other pattern, though...
Sara: The waffle pattern -- I know, I'm trying to figure that out.
Grissom: No, no. Here-- the blood spatter.
(SARA looks down at the file.)
Sara: Vic didn't sustain any trauma that would've caused a medium velocity spatter.
Grissom: She wouldn't have. I think her throat was slashed, to shut her up.
(Quick flashback to the hotel bedroom. The girl behind TOM HAVILAND on the bed screams uncontrollably. TOM HAVILAND grabs her and flings her to the bed. There's a ripping sound and the screaming stops. The woman falls back to the bed with a thud. Flash to white. End of flashback. Resume to SARA looking at GRISSOM.)
Grissom: She was collateral damage. My guess ... these blood patterns mean that Tonya's d*ad.
(GRISSOM looks at the blood spatter on the sheet.)
(Quick flashback to a fist hitting the woman in red on the bed with so much force that blood spatters as she hits the bed. End of flashback. Resume to present.)
Grissom: And I bet she was the first to die. Rage k*lling.
(Quick flashback to the same clip of the fist hitting the woman in red on the bed. Blood spatters against the bed sheet. She falls back against the bed. End of flashback. Resume to present.)
Grissom: (V.O.) Sudden hand-to-hand combat.
Sara: I'll get all this to Greg but we are definitely going to need the DNA guy from days to pull all this together in time.
(Behind SARA and GRISSOM, PHILLIP GERARD enters the Lab. Neither SARA nor GRISSOM notice he's there. He lifts a camera up and takes a picture of the items on the table. The camera flashes.)
(GRISSOM and SARA turn around.)
Phillip Gerard: Sorry, Gil. Just doing my job.
(PHILLIP GERARD smiles. SARA turns slightly toward GRISSOM who makes the introduction.)
Grissom: Sara, this is Dr. Gerard. Anything you say to him will be considered testimony.
Phillip Gerard: Then, hopefully, you'll say I'm better-looking than I appear on TV.
(PHILLIP GERARD smiles. SARA smiles back easily.)
Phillip Gerard: You're the CSI who recovered the clothes from the crime scene.
Sara: Yes, and the bedsheets.
(As SARA answers and glances back at GRISSOM. GRISSOM watches the exchange closely.)
Phillip Gerard: Did you follow departmental procedures-- transporting this evidence back to the lab?
Sara: To the letter.
Phillip Gerard: Took multiple photos at the scene?
(Camera cuts to GRISSOM who doesn't say anything. SARA answers the question flawlessly.)
Sara: Our protocols stipulate we take overalls locator sh*ts and close-ups. I took multiples of each.
Phillip Gerard: That's great. Save your gloves from the scene?
Sara: Eight pair in the evidence room, in a sealed envelope.
(SARA nods.)
Phillip Gerard: Terrific. DA just provided me with copies of pictures of the victim's bra.
(PHILLIP GERARD holds out a file folder to GRISSOM. GRISSOM takes it. He opens it and replies.)
Grissom: Well, we already know the bra was moved. Sara filed a supplemental report to that effect.
Phillip Gerard: I know. I wish she'd mentioned her relationship with the EMT who moved the bra.
(Camera cuts to SARA who doesn't respond. She turns slightly toward GRISSOM. GRISSOM doesn't look at SARA, his eyes glued to PHILLIP GERARD.)
Grissom: Relationship?
Phillip Gerard: A Hank Peddigrew.
(GRISSOM turns to look at SARA who catches the look and turns away to look at PHILLIP GERARD.)
Phillip Gerard: We just interviewed him. He says he thanked her for letting him move the bra back.
(PHILLIP GERARD looks at SARA. SARA responds.)
Sara: He was just, uh, being polite and, um, it's not a relationship. We go to movies ...
Grissom: (interrupting) Doc? Why don't you and I go to my office. We can talk there.
Phillip Gerard: Thank you.
(PHILLIP GERARD turns to leave the room. GRISSOM walks around SARA and the table to follow. On his way out, GRISSOM stops and turns around to look at SARA.)
Sara: (subdued) I'll get the blood swatches to DNA identify any additional donors on the sheet.
(GRISSOM closes his mouth and doesn't say anything. He turns and leaves the room. Camera lingers on SARA.)
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
Paula Francis: When asked about the m*rder of Kim Hsu a spokesman for Tom Haviland says he sends his condolences to the Hsu family. Certainly, this is an event hat he won't soon forget and neither will the resort where the grisly crime played out. Now it's up to prosecutors ...
(CATHERINE sits at the break room table looking through some papers. The television is on. GRISSOM walks in.)
Grissom: Catherine?
(Behind her GRISSOM opens the refrigerator door and pulls out a bottle of water.)
Catherine: Marjorie's requesting copies of CSI's proficiency test records, by midnight.
Grissom: So relax. If any of us had failed the yearly proficiency test, we wouldn't be here.
(GRISSOM takes a sip of water and leans against the counter. CATHERINE sighs and shakes her head.)
Catherine: You completely forget, don't you? My test is on appeal.
Grissom: Oh, right.
Catherine: Board said I was wrong on one question. I said the question was ambiguous. They're going to rule my way, but not before the prelim.
(CATHERINE sighs again. She turns back to her papers.)
Catherine: (softly) Just trying to rattle me.
Grissom: Is it working?
(CATHERINE puts her paper down, annoyed.)
Catherine: Maybe I should just take a page out of your book. If I don't collect or analyze anything I don't have to testify. Of course, it helps to be boss. Very politic. Ecklie must be rubbing off on you.
(GRISSOM puts the bottle down on the counter.)
Grissom: Yeah, that's it. Ecklie.
(GRISSOM leaves the room.)
CUT TO:
[INT. CSI - HALLWAY - DAY -- CONTINUOUS]
(WARRICK walks down the hallway toward GRISSOM. He's holding some papers, an envelope and looking very unhappy. He sees GRISSOM and turns around to walk with GRISSOM in the direction he just came from.)
Warrick: I just got served.
(WARRICK hands the papers to GRISSOM.)
Warrick: Movie star's lawyer wants the shirt that I wore to the crime scene.
Grissom: So give it to him.
Warrick: I had to throw it out.
Grissom: Why?
Warrick: It was covered in the blood from the accident victim.
(GRISSOM and WARRICK stop walking.)
Grissom: Well, you have to find it; otherwise, it'll look like you've got something to hide.
Warrick: Oh, CSI's on trial now?
Grissom: CSI's always on trial, Warrick; you know this. Burden of proof is on us.
(GRISSOM hands the papers back to WARRICK and leaves. WARRICK sighs.)
CUT TO:
[INT. CSI - AUDIO/VIDEO LAB - DAY -- CONTINUOUS]
(NICK is still working on the camera surveillance tapes over the crap table. Time counter on screen is at 12:15:01 AM. Standing behind him is PHILLIP GERARD. GRISSOM walks into the lab.)
Phillip Gerard: I want to compliment you on how quickly you've organized the video forensics.
(Though he doesn't say anything, GRISSOM seems pleased with the comment.)
(Camera cuts back to the monitor. Time counter on screen indicates 1:31:07 AM. At the crap table, RAYMOND LESTER is shown talking on his cell phone.)
(Camera on monitor cuts to RAYMOND LESTER exiting the elevator to the lobby carrying a golf club set over his left shoulder while dragging a hard golf club shell bag with his right hand. Time counter on screen indicates 2:21:00 AM.)
Phillip Gerard: Raymond.
Grissom: Nicky, wait a minute. Go back. Zoom in on the club bag. He's jammed a lot more clubs into that bag. Without those clubs, the hard-shell bag could be big enough to fit a body.
Nick: Yeah, Tonya's. Looks like Raymond was disposing of the bodies for your client. You think he ran out of time before he could move Kim's out?
(Monitor cuts to RAYMOND LESTER passing the front lobby desk with the two golf bags.)
Phillip Gerard: Or Ray was disposing of them for himself. You've just supplied Tom Haviland with reasonable doubt.
Nick: No. What I showed you on video is Ray in the casino during the time the m*rder were committed.
(For emphasis, NICK, rewinds the video back to the clip of the casino with RAYMOND LESTER at the crap table while talking on his cell phone. A blinking red frame is around RAYMOND LESTER for easy identification. Time stamp on the monitor reads 1:31:12 AM.)
Phillip Gerard: His zeal is clouding his judgment. It's not what did happen; it's what the jury will believe could have happened.
(NICK doesn't respond. Neither does GRISSOM. Camera holds on GRISSOM.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[EXT. LAS VEGAS (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(The hard shell golf bag sits on the interrogation table. GRISSOM looks at it. RAYMOND LESTER and his LAWYER stand off to the side. BRASS is also in the room.)
Grissom: Very considerate of you to bring this golf bag in without insisting on a warrant.
Raymond Lester's Lawyer: Ray wants to help the investigation in any way he can.
Brass: Tell me, counselor does Tom Haviland pay in a timely fashion?
Raymond Lester's Lawyer: Ray and Tom are friends but we're just looking for the truth here, aren't we?
Brass: Great. Then you can confirm what we already know from Ray's cell phone records: Tom Haviland called you to his suite at 1:31 A.M. To help him clean up his double m*rder.
Raymond Lester: No, he called so I could hear him with the girls. He does that sometimes.
(GRISSOM examines the case while BRASS questions RAYMOND LESTER.)
Brass: Okay. We have a surveillance tape of you carrying what appears to be one of the bodies out of the casino an hour later in a golf bag identical to this one. Here are some photos from that tape.
(BRASS puts a file folder of photos on the table. RAYMOND LESTER'S LAWYER picks it up. Both he and RAYMOND LESTER look through the file folder.)
Raymond Lester's Lawyer: He was taking Mr. Haviland's clubs to the airport.
Brass: He's dumping a body. And as we speak the police department is out looking for it.
(GRISSOM opens the golf bag and notices the smell immediately.)
Grissom: Solvent. This bag's just been cleaned.
(GRISSOM turns to look at RAYMOND LESTER.)
CUT TO:
[INT. CSI - LAB -- DAY]
(NICK turns off the lights and puts on his protective eye wear. GRISSOM starts spraying luminol inside the bag. PHILLIP GERARD stands to the side observing.)
(The golf bag glows.)
Nick: Uh, Ray was caddying a d*ad body. We show him this he'll rat out Tommy Terrific in a heartbeat.
(Neither PHILLIP GERARD or GRISSOM respond. They all watch as the glow moves across the interior. This isn't good.)
Nick: Uh-oh.
Phillip Gerard: Glow's too uniform.
Grissom: The luminol's cross-reacting with the bleach.
Nick: I don't believe this.
Phillip Gerard: Any blood evidence in there has been destroyed.
Nick: This is B.S., man. Total B.S. This guy, Tom Haviland's, got blood all over his hands ...
Grissom: (warning) Nick ...
Nick: ... and friends to lie for him! This is B.S.!
Grissom: (firmly) Nick! Go get a soda.
(NICK takes off his goggles, puts it on the table and leaves the room. PHILLIP GERARD takes a step toward GRISSOM.)
Phillip Gerard: Marjorie's going to take him to the cleaners.
(PHILLIP GERARD leaves the room.)
(GRISSOM'S had enough. He takes off his latex gloves and follows PHILLIP GERARD out the room.)
CUT TO:
[INT. HALLWAY OUTSIDE INTERROGATION ROOM -- DAY -- CONTINUOUS]
(Out in the hallway, GRISSOM catches up to PHILLIP GERARD.)
Grissom: Hey. What happened to you? You were a pioneer in forensic science. How many bad guys did you put away in Hennepin County?
Phillip Gerard: My share. How many innocent men have been locked away since then because of sloppy investigating shortcut forensics?
Grissom: You look for mistakes in any lab you'll find them.
Phillip Gerard: I shouldn't be able to, Gil.
Grissom: Humans are fallible.
Phillip Gerard: Not this fallible -- compromised blood, sweetheart deals ...
Grissom: No, no, no, no. You're subverting good evidence. These are good people.
Phillip Gerard: "The Accused is entitled to the best defense possible."
Grissom: The Accused is entitled, yeah. He's a movie star, that's why he's entitled. He's k*lled two women. You know it. But you're willing to decimate these CSIs so that you can spoon-feed a jury into letting him walk.
Phillip Gerard: A jury believes me because of my reputation just like they do you.
Grissom: The difference is, Philip, I get the same paycheck regardless of what I testify to.
(PHILLIP GERARD sighs.)
Phillip Gerard: I'm saying this as a friend. For the reputation of CSI, tell the DA to drop this, re-file down the road.
(GRISSOM nods at his former mentor, truly seeing him for the first time.)
Grissom: What about the victims' families? Who's their friend?
(PHILLIP GERARD doesn't respond.)
Grissom: My guys will see you in court.
(PHILLIP GERARD leaves GRISSOM standing in the hallway. Camera holds on GRISSOM.)
CUT TO:
[INT. CSI - DNA LAB]
(Inside the DNA Lab, the usually boisterous GREG SANDERS is dressed completely covered. From the head wear to the protective mask. He isn't taking any chances.)
(GREG looks up from the test results on the table back into the microscope. He picks up the paper and heads out the door. He crosses the hallway and heads straight for GRISSOM'S office where GRISSOM sits behind his desk.)
[INT. CSI - GRISSOM'S OFFICE - DAY - CONTINUOUS]
Greg: Psst, Grissom. (speaking quietly): We got a development. I went over those swatches that Sara gave me from the bed sheet.
Grissom: Are you whispering?
Greg: I don't want that Gerard guy to hear me.
Grissom: Well, he's not here, so stop it.
(SARA appears next to GRISSOM'S desk. She looks from GREG to GRISSOM.)
Sara: What's, uh, going on?
(GREG straightens.)
Greg: Well, um ... I was testing those swatches that Sara gave me, and three of the swatches came up Kim. The other four, with the spatter amelogenin results are XY.
Grissom: Blood's from a male?
Sara: Tom Haviland's.
Greg: No. And not his friend Ray's, either.
Sara: There was another guy in that room. That's, that's great. The defense has us moving so fast we can't make sense of our own evidence.
(GRISSOM holds up a hand.)
Grissom: That's what they want.
Sara: Should we call the DA and let him know?
Grissom: Tell him what? That we might have found a motive for the movie star?
Sara: Motive. What are you talking about?
(Before GRISSOM can respond, NICK interrupts from the doorway.)
Nick: Hey, Grissom. Brass just called. They found the other victim, Tonya. Briarway golf course.
(Camera holds on GRISSOM.)
CUT TO:
[EXT. BRIARWAY GOLF COURSE -- DAY]
(Buried in a sand trap, NICK, along with another Forensic Member slowly digs up the body. Currently, her face is exposed. It's the woman in red from the teaser.)
Brass: (o.s.) Matches the description of Tonya. Maintenance guy found her a half an hour ago. The golf pro says they've closed the back nine down for months -- improvements.
(The camera pans back giving a top view of the scene. BRASS, GRISSOM and PHILLIP GERARD observe from the side.)
Brass: Did, uh, Tom Haviland ever play a boxer? Girl's face looks like hamburger meat.
Grissom: Looks like uncontrollable rage to me.
Nick: Grissom, you might want to come down here.
(GRISSOM doesn't move from the side.)
Grissom: Just say it, Nick.
Nick: Beans and franks. Tonya's a man.
Grissom: Looks like that old Hollywood saying: "Never get caught with a d*ad girl or a live boy." So, let's see Tom's in bed with what he thinks are two girls. He reaches down on one, becomes very confused.
(Quick flashback to the hotel bedroom. TOM HAVILAND kissing the woman in red. His hand moves on the woman's body. TOM HAVILAND looks up, confused. White flash to end of flashback. Resume to present.)
Grissom: Most guys would have just cleared the room and gargled with whiskey. But movie boy, who brags about doing his own stunts, couldn't take the thought of having a man in his bed so he freaked out.
(Quick Flashback to hotel bedroom. Sounds of a man throwing punches. TOM HAVILAND striking the woman in red on the bed, his chest spattered with blood. Flash to white as TOM HAVILAND doesn't stop and continues to throw punches in fast forward. White flash to end of flashback. Resume to present.)
(GRISSOM glances over at PHILLIP GERARD.)
Phillip Gerard: I'm just here to observe CSI's investigating techniques.
Grissom: Well, Nick is the Primary on this.
Phillip Gerard: You're not running evidence. Or have you changed your mind?
(GRISSOM doesn't respond.)
Phillip Gerard: By the way, tell your mother I say 'Hello' next time you talk. I was so impressed that night we all had dinner. The sign language ... how you interpreted for her. Fluid, didn't miss a b*at.
(Somehow, this doesn't surprise GRISSOM; it only annoys him.)
Grissom: What'd you do, subpoena my doctor?
Phillip Gerard: Knowing your genetic predisposition for hearing loss?
Grissom: You've become a bottom feeder, Philip.
Phillip Gerard: Your work is dependent upon your five senses. The fact that you're losing one of yours wouldn't bode well for any evidence you introduced.
Grissom: You know, all those years I worked for you, you never got to know me at all, did you?
(GRISSOM takes a few steps away from PHILLIP GERARD. Camera cuts to NICK continuing to process the scene with another Forensic member.)
CUT TO:
[EXT. BRIARWAY GOLF COURSE - DAY -- CONTINUOUS]
(GRISSOM walks away from the scene. He crosses over a white wooden bridge. His dark glasses are off and he's absently wiping them. Normal sounds associated with the outdoors can be heard as well as birds chirping and GRISSOM walking across the wooden bridge.)
(Camera changes to slow motion and the sounds are no longer heard. As he walks, GRISSOM notices a group of golfers not too far away from him. The woman swings. He tilts his head as we and he can only hear muffled sounds as they come and go.)
(Normal camera speed resumes and we hear the woman laugh and the man comment.)
Man: (o.s.) That sh*t was great.
(GRISSOM puts his dark glasses on and walks out of frame.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI - TEMPORARY EVIDENCE VAULT -- DAY]
(GRISSOM holds a digital camera to a wrist watch band. A close up of it's pattern appearing on the monitor in front of him. He visually compares the pattern to a photograph on the table of the unknown blood pattern found on bloodied bed sheet. It doesn't look like a match.)
(SARA appears. She folds her arms against her chest and leans against the doorway behind GRISSOM.)
Sara: I've looked at everything in that hotel room. Nothing matches that pattern.
(Without looking up at her, GRISSOM responds.)
Grissom: What about the booking photos of Tom? Were you able to make comparisons off those?
Sara: I told Brass that I needed them; he hasn't sent me anything yet.
(GRISSOM sighs and lifts his head up, his back still to SARA.)
Grissom: This case is a moving target.
(GRISSOM turns around.)
Grissom: I'll get ahold of Brass.
(GRISSOM notices that SARA is dressed for her court appearance.)
Grissom: You look nice.
Sara: Thanks.
(SARA pauses and doesn't smile at the compliment. Her thoughts turned to the upcoming proceedings.)
Sara: Wish me luck.
(SARA turns to leave.)
Grissom: Sara?
(She stops and turns back to look at GRISSOM.)
Grissom: Whatever happens in court, it's not because you're seeing this guy.
(SARA blinks. She doesn't respond.)
Grissom: You deserve to have a life.
(GRISSOM turns back to his work. Without a word, SARA leaves. Camera cuts back to GRISSOM as he watches SARA leave, her footsteps fading down the hallway. He turns back to look at the photograph of the unknown blood pattern.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(CATHERINE accompanies NICK down the hallway. She gives him last minute advice. NICK adjusts his tie and smiles.)
Catherine: Remember, if you get stuck just maintain the same posture. If there's any adjustments, you're seen as squirming. It's going to make you look shifty.
Nick: Thanks, Cath. You know, I've done this before.
Catherine: Well, I've done it longer.
Nick: Yeah.
(NICK continues down the hallway. CATHERINE turns to look into the locker room where WARRICK is going through the trash to look for his discarded shirt.)
Catherine: Hey, any luck?
Warrick: I've been through every dumpster on these premises.
(WARRICK takes off his latex glove and tosses it.)
Catherine: Better keep looking.
(WARRICK sighs.)
CUT TO:
[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]
(The door to the courtroom opens and the camera moves inside from the back of the room in slow motion. The courtroom is full with observers. Several of them turn around to see who's entering the courtroom.)
Bailiff: (V.O.) In the cause now pending before this court, do you swear to tell the truth, the whole truth and nothing but the truth?
(Cut to: Resume normal camera speed. NICK pushes the barrister door open and crosses toward the witness stand.)
(Cut to: NICK standing in the witness stand with his right hand raised.)
Nick: I do.
(NICK sits down.)
(Camera cuts to TOM HAVILAND, then to MARJORIE WESCOTT as she whispers something to PHILLIP GERARD. She absently points to NICK and continues to whisper to GERARD. NICK waits.)
(MARJORIE WESCOTT stands.)
Marjorie Wescott: Please state and spell your name for the record.
Nick: (almost inaudible) Nicholas Stokes. S-T-O-K-E-S.
Judge Peter Croft: (to the mike) Pull it closer, Mr. Stokes.
(NICK pulls the mike closer and adjusts it.)
Nick: Oh. Sorry. I'm used to the old ones.
(He clears his throat and continues.)
Nick: Nicholas Stokes.
CUT TO:
[INT. HALLWAY OUTSIDE COURTROOM - DAY]
(CATHERINE waits in the hallway outside the courtroom. NICK bursts out of the courtroom.)
Nick: (softly) Damn!
Catherine: What?
Nick: Damn, damn, damn. I blew it. I forgot to put case identifiers on my dice photos.
(Upset, NICK sits down on the bench outside the courtroom doors.)
Catherine: Date, time and file number?
Nick: Yeah.
(CATHERINE looks up and takes a deep breath. She doesn't say anything.)
Nick: Don't look at me that way, okay? I wrote it down on the evidence envelope. I had to move fast. The casino manager wanted us out of there.
Catherine: The dice places Tom at the m*rder. Victim's blood mixed with his saliva.
(NICK nods his head at his mistake. He puts his head down in his hand and covers his eyes. The poor guy is really not happy with this.)
(Quick flash back to the courtroom.)
Marjorie Wescott: How can we be confident in your collection if you can't be confident in your own documentation?
[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]
(NICK looks down at a set of four to five photographs of the dice that were tested. Each dice shows the same five dots face up. NICK looks down at the photos. He glances up at MARJORIE WESCOTT. The camera adjusts to show PHILLIP GERARD sitting at the defense table watching NICK struggle.)
(NICK looks down at the photographs of the dice in front of him. He chooses the fourth photo from the right.)
Nick: This is it.
Marjorie Wescott: You're sure you want to go with that one?
(NICK hesitates and glances back down at the photos. He nods his head.)
Nick: This is the one.
(Flash to white. End of flashback. Resume to NICK.)
Nick: I was sweating b*ll*ts looking at those photos.
Catherine: Did the judge exclude the dice?
Nick: No. No, just my credibility.
(NICK looks up at CATHERINE and nods his head. The courtroom doors open and the Bailiff exits. He looks around and calls out.)
Bailiff: Warrick Brown?
Nick: Yeah, he's, uh, he's in the men's room.
Catherine: We'll send him right in.
Bailiff: Two minutes grace, the court moves on.
CUT TO:
[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]
Marjorie Wescott: You're telling us the shirt just disappeared?
(WARRICK sits on the stand. The stenographer dictating the proceedings.)
Warrick: It would only prove that I got blood on my shirt from an accident victim. That blood never came in contact with the blood evidence that I was transporting.
Marjorie Wescott: But we can't verify that now, can we?
(WARRICK doesn't respond.)
Marjorie Wescott: Do you still have a gambling habit?
Warrick: I don't see what that has to do with this case.
Marjorie Wescott: It goes to the character of the witness, your honor.
Judge Peter Croft: (o.s.) I'll allow it.
(The camera cuts to PHILLIP GERARD as he watches WARRICK on the stand.)
Marjorie Wescott: For the record are you addicted to gambling?
(Camera holds on WARRICK.)
CUT TO:
[INT. HALLWAY OUTSIDE COURTROOM - DAY]
(NICK waits in the hallway outside the courtroom. WARRICK bursts out of the courtroom.)
Warrick: (softly) Damn! Why didn't I see that coming? Gambling?
Nick: Hey, we're all in Nevada. It's legal; don't worry about it.
Warrick: Legal doesn't matter in there. You know the judge is going to throw out our blood evidence, right?
Nick: Truth is, it is compromised, Warrick.
Warrick: The blood is fine. It's their methods that are dirty.
(Quick flashback to the courtroom. Camera close up of WARRICK.
Marjorie Wescott: (o.s.) For the record are you addicted to gambling?
(WARRICK takes a moment before answering.)
Warrick: I am.
(Flash to white. End of flashback. Resume to WARRICK. He shakes his head.)
Warrick: It's a low blow. Low blow.
(WARRICK walks away, disgusted. Camera holds on NICK. NICK turns around to watch WARRICK walk away.)
CUT TO:
[INT. CSI -- LAB]
(Camera close up of shuffling photographs. The first of a bare chest, the second, the back of a left hand. The next photo is the front palm of a right hand. The camera slowly rises to show GRISSOM perusing through the photos of TOM HAVILAND.)
Grissom: Your guys didn't get any extended body photos?
Brass: Chest, hands, arms right there.
Grissom: I need lower extremities for comparison.
Brass: Hey, Marjorie Wescott blew in here and shut us down. She said if we wanted full body sh*ts we were going to have to get a court order. So the D.A.'S working on it.
Grissom: When, between testimony?
Brass: No kidding. Meanwhile, we're presenting half a case to a judge.
(Disgusted, GRISSOM sighs, puts the photos aside and walks away.)
CUT TO:
[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]
(SARA is on the stand.)
Marjorie Wescott: Well, it certainly looks posed.
(SARA doesn't respond. She glances down at the photograph in front of her. It's the photograph of the bra.)
Marjorie Wescott: You date -- You and Hank. You share a subtle communication. Did he move the bra to where you might have wanted it?
(SARA responds confidently.)
Sara: I didn't want it anywhere. I collect evidence without emotion.
Marjorie Wescott: You do get emotionally involved, though with the men on your cases. Hank Peddigrew isn't the first time.
(Camera cuts to PHILLIP GERARD who watches SARA on the stand.)
Sara: Excuse me?
Marjorie Wescott: A m*rder investigation at the residence of one Charles Renteria*. Eyewitness stated he saw you and your supervisor Gil Grissom standing alone outside and ... you were touching him in a romantic gesture.
[*Note: This case mention is referencing "Scuba Doobie-Doo" (2X05) regarding Clifford Renteria.]
Sara: I brushed chalk from his face.
Marjorie Wescott: Is that what they're calling it now?
District Attorney: Objection, your honor.
Sara: (answers) Drywall dust. We were looking for a body.
Marjorie Wescott: It's a fair question, your honor. Just how far will Ms. Sidle go on the evidence to please her boss, Gil Grissom, whether he returns her attentions or not?
(SARA doesn't respond. She glances at PHILLIP GERARD who returns the look.)
CUT TO:
[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]
(On the courtroom monitor, the image of a large footprint with orange identifying markers is on screen. The camera sweeps to the stand to show CATHERINE peering over to look at the courtroom monitor.)
Marjorie Wescott: (o.s.) You have a Bachelor of Science from West Las Vegas University, am I right?
Catherine: Night school, yes.
Marjorie Wescott: And prior to joining CSI, you worked as an exotic dancer?
Catherine: That's correct.
Marjorie Wescott: Took your clothes off for a living.
(CATHERINE doesn't waiver. She answers the comment confidently.)
Catherine: For a very good living.
Marjorie Wescott: No doubt, Ms. Willows. Now, you recently failed your yearly proficiency test, didn't you?
Catherine: Technically, yes, but it's on appeal. I'm confident that I will prevail.
Marjorie Wescott: Did you treat this footprint evidence the same way? There's the truth and then there's your interpretation?
Catherine: No.
Marjorie Wescott: But you're appealing your test.
(CATHERINE doesn't respond to the comment.)
Marjorie Wescott: Actions speak louder than words.
(CATHERINE slowly and casually turns to look at the JUDGE. She turns back.)
Marjorie Wescott: (o.s.) I have no further questions, your honor. We are through with this witness.
(CATHERINE isn't pleased by what she saw in the JUDGE'S look.)
CUT TO:
[INT. CSI -- LAB]
(CATHERINE walks determinedly down the hallway. She's unhappy with her day on the stand. She sees GRISSOM rapidly leafing through a stack of photographs. He glances up at CATHERINE then turns back to the photos.)
Catherine: Grissom ... they're beating our heads in. Judge is going to dismiss -- you can feel it.
Grissom: Don't get ahead of yourself.
Catherine: (frustrated) I'm not ahead of myself. I'm up there front and center taking hits along with the rest of CSI. You know, you've turned into a really lousy leader.
(GRISSOM'S head sh**t up and he looks at CATHERINE as she continues on without missing a b*at.)
Catherine: I need your help, and you're on the sidelines.
(GRISSOM doesn't respond. CATHERINE stops talking. She looks at GRISSOM for some response as he continues to look at her. When he finally does, he throws her a curve.)
Grissom: Would you know where I could get pictures of Tom Haviland? Full body sh*ts. Like, uh ... an internet site ... or his fan club?
(As GRISSOM speaks, CATHERINE looks up at him. At first a little annoyed that he doesn't show concern over the case, then intrigued at the possibilities of the question. She glances down and notices the photographs in GRISSOM'S hands. Something's afoot. Camera holds on Catherine's look.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(GRISSOM, CATHERINE and GREG leaf through a table full of tabloid magazines. They are all looking for photographs of TOM HAVILAND.)
Greg: Ah, I hid all these when I heard Gerard would be snooping around.
(GRISSOM tosses a "The National Informer" magazine on the table and reaches for another issue of the same tabloid. Each magazine either has a picture of TOM HAVILAND or some mention of the movie star's name on its covers.)
Catherine: (reading) Tom Haviland ... "away from the set, between films and ... in paradise."
(CATHERINE puts the "National Informer" tabloid she was reading through down flat on the table for GRISSOM to examine. GRISSOM leans in and looks at the pictures.)
Grissom: Paparazzi; long lens.
(GRISSOM reaches for the magnifying glass and examines up close a particular photograph of TOM HAVILAND with a dark-haired woman on the beach. CATHERINE leans in. GRISSOM sees it and straightens. He's found what he's looking for. His mind rapidly making connections. CATHERINE looks up at GRISSOM with a glint of anticipation on her face.)
(GRISSOM turns to CATHERINE.)
Grissom: I'm going to go to court.
CUT TO:
[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING - DAY]
(On a large monitor set up in the courtroom, the image of the full bloodied bed sheet from the crime scene is up. The monitor is hooked up to a laptop in front of GRISSOM who is now on the stand.)
District Attorney: The defendant's statement is that when he left the room the victims were both alive and well. Now, does that statement support your new evidence?
Grissom: No, it does not.
(A small black frame appears around a single blood pattern on the sheet. The black framed blood pattern is enlarged full screen.)
Grissom: This unique blood pattern which I'm highlighting and resizing for the court's clarification, was made by the defendant during the att*ck.
(Quick flashback to TOM HAVILAND striking KIM HSU. She falls to the sheet. TOM HAVILAND continues to h*t the woman. Camera view under the bed sheet as something stamps the blood pattern on the sheet from above. Flash to white. End of flashback. Resume to present.)
District Attorney: Okay, thank you, Dr. Grissom. Nothing further, your honor.
(The District Attorney sits down.)
(PHILLIP GERARD leans toward MARJORIE WESCOTT and whispers something into her ear. From the stand, GRISSOM takes note of this.)
Phillip Gerard: (whispers) Speak in a very soft voice, okay?
(PHILLIP GERARD sits back in his seat and MARJORIE WESCOTT nods slightly. She looks at GRISSOM and stands. The camera passes PHILLIP GERARD as he looks over at GRISSOM.)
(MARJORIE WESCOTT looks at GRISSOM and nods as she asks her first question.)
Marjorie Wescott: (low, almost inaudible): Unique pattern. By what standard are you basing this "match"?
(As soon as she opens her mouth to speak, something is terribly wrong. We can't hear her. The camera cuts to GRISSOM whom we realize definitely cannot and did not hear her question.)
(GRISSOM remains silent. The camera cuts to PHILLIP GERARD who watches GRISSOM closely.)
(MARJORIE WESCOTT nods that she's finished asking her question and glances at JUDGE PETER CROFT.)
Judge Peter Croft: Dr. Grissom, please answer the question.
(GRISSOM can't answer the question, because he hasn't heard the question. The camera cuts to the CSI Team watching and waiting for his response.)
Grissom: Could she repeat the question, your honor?
(The camera once again cuts to PHILLIP GERARD who continues to look unsurprisingly at GRISSOM.)
Judge Peter Croft: Ms. Wescott?
(MARJORIE WESCOTT repeats the question once more. Again, we can barely hear her. We know that GRISSOM doesn't hear her at all.)
Marjorie Wescott: (almost inaudible) By what standard are you basing this
"match"?
(GRISSOM watches closely. He almost has it and boldly asks her again to repeat the question.)
Grissom: One more time, please.
(Camera cuts to the members of CSI sitting in the audience. First to SARA as a look of concern crosses her face. CATHERINE doesn't take her eyes off of GRISSOM.)
Marjorie Wescott: (Barely audible) By what standard are you basing this
"match"?
(Extreme camera close up of MARJORIE WESCOTT'S lips as she speaks. Now, though we can just barely make out the words as she says them, we definitely know what she's asking. GRISSOM has the question and answers it confidently.)
Grissom: On visual comparison.
(Camera immediately cuts to PHILLIP GERARD.)
Grissom: The Accused has a distinct waffle-like scar characterized by diamond-shaped patterns on his left knee.
(On the courtroom monitor, the photograph from "The National Informer" appears on screen. TOM HAVILAND and an unknown dark-haired woman are sitting on the beach. TOM HAVILAND'S knee is bent exposing an injury. The monitor does a close up on TOM HAVILAND'S scar.)
Marjorie Wescott: So, Tom has a scar on his leg. Whoop-de-do. There's no forensic database for scars. It's not a discipline.
Grissom: Yes, but it's unique to The Accused. He says he got it in a stunt on his last film.
(GRISSOM picks up TOM HAVILAND'S statement from the file in front of him.)
Grissom: According to Mr. Haviland in his statement and I quote, "It happened when I was rappelling down the Alps f*ring an AK-47 with my free hand."
(A soft rumble of laughter ripples through the courtroom's audience. NICK and CATHERINE both smile and laugh softly.)
Grissom: But he actually got it tripping on his way into the wardrobe trailer.
Marjorie Wescott: Objection. There's no question to the witness here, your honor.
Grissom: Your honor, it's a preliminary hearing. May I?
Judge Peter Croft: The witness may proceed.
(MARJORIE WESCOTT sighs.)
Grissom: The production report by the Unit Production Manager on the film that day and I quote, "Tom Haviland slipped on wardrobe trailer number thirty-eight, step number two. He sustained cuts to his knee and was bandaged by the company medic. The production was shut down for half a day." The company medic documented it with Polaroid photos and I have managed to acquire step number two ... from trailer thirty-eight.
(GRISSOM clicks on the laptop keyboard.)
Grissom: I think these graphics will help explain my findings.
(On the courtroom monitor, an extreme close up of the trailer step pattern appears on screen.)
Grissom: The Step.
(The full screen image of the trailer step reduces to half-size on the left of the screen with the image of the scar pattern of TOM HAVILAND'S knee appearing on the right half of the monitor.)
Grissom: The Scar.
(The image of the scar pattern is watermarked and layered over the image of the trailer step on the right. Digital identifiers appear on screen and mark the matching points on both scar and trailer step. It's a perfect match.)
Grissom: The Sheet.
(The blood pattern found on the bloodied bed sheet appears on the right half of the screen. The image of the blood pattern is watermarked and superimposed over the pre-existing image of the trailer step and scar pattern. Digital identifiers appear on screen and mark additional matching points on the cumulative image. There's no denying the evidence. From trailer step to The Accused's scar to the bloodied sheet. It's a perfect match.)
(PHILLIP GERARD looks at the evidence on the monitor. He blinks and raises his head slightly. JUDGE PETER CROFT glances from the monitor to the defense. MARJORIE WESCOTT turns away from the monitor and looks back at the defense table. TOM HAVILAND swallows. Camera cuts to NICK who looks very pleased with the evidence.)
Marjorie Wescott: No further questions, your honor.
Judge Peter Croft: You may be excused, Dr. Grissom.
(GRISSOM closes the file folder in front of him and stands. He picks up the folder and leaves the stand. The camera follows him as he makes his way through the courtroom. In the background, court proceeds.)
Judge Peter Croft: (o.s.) I'm binding this case over for trial sixty days from today.
Marjorie Wescott: (o.s.) We'd like a continuance, your honor.
Judge Peter Croft: (o.s.) I'll take it under submission.
(As GRISSOM passes the defense table, PHILLIP GERARD stops him.)
Phillip Gerard: Gil ... good work.
Grissom: My Team did it, Philip. I got good CSI's.
(As he smiles and speaks, GRISSOM signs the following to PHILLIP GERARD.)
Grissom: Oh, and, uh, my mother says hello.
(Without a backward glance to his former mentor, GRISSOM looks forward at and proceeds toward his CSI Team sitting in their seats waiting for him. They all stand and quietly slip into the aisle behind him as he walks past them. All of them leaving the courtroom together. In the background, the proceedings continue.)
Judge Peter Croft: (o.s.) Bailiff?
Marjorie Wescott: (o.s.) I'd like to make a motion for a bail hearing, your honor.
Judge Peter Croft: (o.s.) It's a double m*rder, Counselor. Request for bail is denied.
(GRISSOM and the CSI Team pause at the doorway. They turn around to look back at the courtroom just in time to hear the JUDGE and to see the Bailiff preparing to handcuff The Accused.)
Judge Peter Croft: The Accused is remanded into custody of county jail.
(The gavel sounds the JUDGE'S decision with finality. The CSI Team smiles and one after another they proudly exit the courtroom together. With a smile on his face, GRISSOM follows them out.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x02 - The Accused Is Entitled"} | foreverdreaming |
DUE TO ADULT CONTENT VIEWER DISCRETION IS ADVISED.
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. LAS VEGAS RESIDENTIAL (STOCK) - DAY]
[EXT. LAS VEGAS RESIDENTIAL (STOCK) - DAY]
FLASH TO WHITE:
[EXT. LAS VEGAS RESIDENTIAL HOME -- DAY]
(Camera focuses on a red, white & black "For Sale" sign for:
"AUGIE HEITZ Realtor
(702) 555-0111
Another fine home brought to you by Augie Heitz")
(A man, PETER BERGLUND, and a woman, JANINE WOOD, walk up the property walkway.)
Janine Wood: Wow, I love it already. I can't believe you're doing this.
(They stop at the front door. PETER BERGLUND goes to the lockbox and starts to open it.)
Janine Wood: Is that the lockbox?
Peter Berglund: Realtor gave me the combination. He's doing a walk-through in Seven Hills.
(JANINE WOOD smiles. PETER BERGLUND gets the lock box open and removes the lock. He looks back at JANINE WOOD and smiles.)
Peter Berglund: Owners are out.
(He opens the door and they walk in.)
[INT. NEWMAN'S RESIDENCE - FOYER - DAY - CONTINUOUS]
Janine Wood: Wow.
(JANINE WOOD looks out at the plush living room in front of her. She's thoroughly impressed.)
Peter Berglund: Wait till you see the master.
(PETER BERGLUND starts to climb the stairs. JANINE WOOD turns around and playfully runs up the stairs after him.)
CUT TO:
[INT. NEWMAN'S RESIDENCE -- BEDROOM - DAY -- CONTINUOUS]
(PETER BERGLUND and JANINE WOOD enter the bedroom.)
Janine Wood: Oh, my god. This is gorgeous. Wow. Amazing.
(She sits down on the bed. PETER BERGLUND follows her in the bedroom and also sits down on the bed. He turns to look at her. She catches the look.)
Janine Wood: What?
Peter Berglund: Want to snoop around?
(JANINE WOOD smiles at the thought.)
(Cut to PETER BERGLUND opening a dresser drawer.)
(Cut to JANINE WOOD trying on a scarf in the walk-in closet.)
(Cut to PETER BERGLUND picking something out of the dresser drawer and looking at it.)
(Cut to JANINE WOOD looking around and taking the scarf off.)
(Cut back to PETER BERGLUND.)
(Cut to JANINE WOOD trying on a brown hat.)
(Cut to PETER BERGLUND in the walk-in-closer.)
(Cut to JANINE WOOD trying on a black hat.)
(Cut to PETER BERGLUND trying on a jacket.)
(Cut to JANINE WOOD coming out of the closet. She's laughing.)
Peter Berglund: Hey.
(PETER BERGLUND straightens the jacket he's wearing. He turns to JANINE WOOD.)
Peter Berglund: What do you think?
Janine Wood: I don't know, yeah.
Peter Berglund: It's nice?
Janine Wood: Looks good.
(PETER BERGLUND starts to kiss her. She knows what he has in mind and pushes him away.)
Janine Wood: Cut it out. No, Seriously, I think I hear a car.
Peter Berglund: Will you relax?
Janine Wood: No, really.
Peter Berglund: You're paranoid.
(PETER BERGLUND resumes kissing her. He keeps on kissing her and backs her up toward the bed. She laughs as he pushes her onto the bed.)
CUT TO:
[INT. DOWNSTAIRS FOYER - DAY]
(JANINE WOOD walks out of the bedroom and into the hallway leading to the stairs. She's buttoning her blouse. While she walks down the stairs, PETER BERGLUND is following her. He's adjusting his pants.)
Janine Wood: (laughing) Ooh, my god. I could get used to this place.
(JANINE WOOD half-walks, half runs down the stairs in a playful manner. She's carrying her shoes as she goes.)
Peter Berglund: I bet you could.
Janine Wood: I could. You're an animal.
Peter Berglund: The backyard is the best part of the house.
Janine Wood: Really? Is there a jacuzzi?
CUT TO:
[EXT. BACKYARD - DAY]
(The two go out into the back yard. PETER BERGLUND walks past her and stops in front of the pool. His back is to the woman as he takes in the scenery in front of him. JANINE WOOD stops under the canopy.)
Janine Wood: Oh, my god. Looks like something out of a magazine.
(Something wet drips down from above and hits JANINE WOOD on the shoulder. She touches it. She looks up.)
(Directly above her is a large patch of blood on the awning. The camera refocuses on a single drop as it falls directly toward the camera ... )
FLASH TO WHITE:
[EXT. NEWMAN'S RESIDENCE -- NIGHT]
(From the second story top view, MONICA NEWMAN lies on the canopy awning. She's dressed in her underwear and a short robe.)
(The camera flashes several times. GRISSOM looks down on the d*ad body while CATHERINE continues to snap photographs of the scene below.)
(Cut to a black screen with a white-framed photograph of the d*ad body. Resume to present.)
(BRASS joins them against the railing. He holds out a framed photograph of the young dark-haired woman and an older man. They both are smiling at the camera.)
Brass: Cal and Monica Newman. Owners of the house. My guess, second marriage.
Catherine: 'Cause she's a babe and he's ...
Brass: He's, uhm ... got a good sense of humor.
(GRISSOM doesn't seem amused. BRASS returns GRISSOM'S look. CATHERINE, meanwhile, notices something on the floor of the balcony next to her. She picks it up. It's a shell casing. GRISSOM holds the flashlight on it while CATHERINE reads the etching on the bottom, "380 AUTO WLN".)
Catherine: .380 auto caliber.
(GRISSOM moves his light to the canopy below. Next to the d*ad body's right hand is a hand g*n. He moves the light to the woman's head where the b*llet wound is.)
Grissom: g*n, right temple. Women don't sh**t themselves in the head, do they, Catherine?
Catherine: Well, g*n do a number of your face, so typically, women prefer pills.
Brass: So what are we calling this, m*rder, su1c1de, what?
Grissom: Is the husband around?
(GRISSOM looks at BRASS.)
Brass: No.
Catherine: Well, you do the math: d*ad female spouse plus missing husband ... equals m*rder.
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
[EXT. NEWMAN'S RESIDENCE -- NIGHT]
(NICK cuts the canopy around MONICA NEWMAN.)
Nick: Okay, Warrick, h*t it.
(WARRICK starts the crane support under the awning to remove the body and the canopy area that NICK cut.)
Nick: White female, multiple bruising ... b*llet hole to the temple doesn't help. .380 auto on the side.
Warrick: Yeah, somebody man-handled her pretty good before they k*lled her.
Nick: Hmm ..
CUT TO:
[EXT. NEWMAN'S RESIDENCE - BACKYARD - NIGHT -- CONTINUOUS]
(GRISSOM notices the cigarette butts in the flower pot. He looks up at the second story open window directly above it and notices the torn screen. GRISSOM picks up one of the used cigarette butts. BRASS approaches GRISSOM and notices what GRISSOM is doing.)
Brass: Reminds me of my daughter. She used throw butts out the window, too.
Grissom: The Newmans have kids?
(GRISSOM starts to collect the cigarette butts in the flower bed. He puts them in a bindle.)
Brass: A kid. Son, 15, Max Newman. He's M.I.A. like the father. The secretary said he went out for lunch and never came back. I checked the garage -- three cars. None of the hoods are hot.
(GRISSOM tucks the bindle in his pocket and continues to look around.)
Grissom: We're missing something.
CUT TO:
[INT. NEWMAN'S RESIDENCE -- FOYER DOORWAY - NIGHT - CONTINUOUS]
(A man is talking to an officer.)
Augie Heitz: Grissom. A Mr. Grissom. Where would I find Mr. Grissom?
(The officer points to GRISSOM who is standing behind the man.)
Augie Heitz: Great, great. Thank you very much.
(AUGIE HEITZ turns around and walks toward GRISSOM and BRASS.)
Augie Heitz: Mr. Grissom? Hi, I'm Augie Heitz. This is my listing. Someone died, I know. It's a terrible thing. But you got people knocking down awnings stomping through the flower beds. How am I supposed to sell this house?
Grissom: You're not. It's a crime scene.
Brass: Mr. Heitz, you're Mr. Newman's realtor. Have you seen your client lately?
Augie Heitz: What, you kidding? I mean, this is actually the beauty of the service I provide. My clients never have to see me. They don't even have to be home when I show their house.
Brass: You always give out the combination to your lockboxes? It's illegal.
Augie Heitz: It's a hot market. Um ... you know, I had a fish on the line. Potential bidding w*r. Look ... (he clears his throat) I only give out the combination to people that I really trust.
(BRASS nods his head as this makes perfect sense to him. He looks over at GRISSOM who doesn't say anything.)
CUT TO:
[EXT. NEWMAN'S RESIDENCE - DRIVEWAY - NIGHT -- CONTINUOUS]
(CATHERINE is interviewing PETER BERGLUND and the WOMAN from the teaser. She's holding a bagged laptop in her arms.)
Catherine: All right, look, I read rooms for a living. That closet was tossed. The carpet lit up. So I'm going to ask you again. What were you doing in there besides copulating?
Peter Berglund: It was my idea.
Catherine: Right. Well, we found this laptop on the vanity still on. You didn't play with it, too, did you?
CUT TO:
[EXT. NEWMAN'S RESIDENCE - BACKYARD - POOL AREA - NIGHT -- CONTINUOUS]
(GRISSOM shines his flashlight on the ground in front of him as he makes his way to the pool area. NICK is already at the edge of the pool. He's kneeling in front of something on the ground. It looks like something reddish mixed with something else.)
Nick: Hey, Warrick.
(WARRICK walks over to where NICK is. He also crouches down to look at what has NICK'S attention.)
Warrick: Yeah.
Nick: Check this out.
(NICK points to the watery-looking liquid substance on the pool side.)
Nick: It's a little thin for blood, isn't it?
Warrick: Yeah.
(NICK watches as WARRICK sticks his finger into the red substance.)
Nick: What do you ...?
(WARRICK then tastes it.)
Warrick: Tastes like sugar.
Grissom: Erythrosine.
(GRISSOM stands a distance behind the two men. He has his flashlight pointed up at a hummingbird feeder hanging near the light. It has red liquid in it.)
Grissom: Red dye number three.
Nick: Hummingbirds do love the color red.
Warrick: You've been watching way too much Discovery Channel. (to GRISSOM about NICK) This guy needs a girl.
(Both WARRICK and NICK stand up.)
Warrick: I'm going to check out the cabana.
(WARRICK leaves. NICK continues to look at the pool side.)
Nick: No visible footprints.
Grissom: Doesn't mean someone wasn't out here. Grab the ALS.
Nick: Yeah.
(At this time, SARA arrives and walks to the pool making her way to GRISSOM. She's carrying her CSI kit. She passes NICK who is on his way to get the ALS.)
Sara: Hey. NICK: Sara. (SARA stops in front of GRISSOM who is still kneeling by the poolside.)
Sara: (to GRISSOM) I am so sorry.
(GRISSOM looks at his watch.)
Grissom: I paged you two hours ago. SARA: Right. Uh, it's my day off. I was up in Pahrump at some vineyard. You told me to get a life, remember?
(SARA smiles at GRISSOM.. GRISSOM doesn't return the smile.)
Grissom: Did I?
(SARA'S smiles slowly fades. GRISSOM doesn't say anything for a moment. He pulls out his orange-tinted goggles from his kit.)
Grissom: I'm sorry, but I needed you. Dispatch called in a 419 at Tuscadero High School. You're on your own.
(At any other time, SARA would jump at the chance. Under these circumstances however, this doesn't please SARA the least.)
Sara: On my own?
(GRISSOM looks back up at SARA. Their eyes meet.)
Grissom: Solo.
(GRISSOM puts on his goggles intending to go back to work and effectively dismissing her. SARA stands there a moment looking at GRISSOM. She is not pleased by what she just heard.)
Sara: See you around.
(SARA turns and leaves. On her way out, she passes NICK who has since returned with the ALS. He watches her with envy at getting a prime assignment.)
Nick: (to SARA) Solo?
(SARA shrugs and doesn't say anything. Her back is the only thing we see as she walks out. NICK, in the meantime, can't believe that SARA just walked in and out with the solo assignment.)
Nick: (to GRISSOM) So does this mean when I come in on my day off I get to work solo?
(NICK puts his goggles on. GRISSOM points to the equipment at NICK'S feet.)
Grissom: Process.
(NICK turns on the ALS and starts to examine the poolside. He sees the footprints immediately.)
Nick: Whoa. I got what looks like two sets of prints. Ballpark in a size ten from the house. And what looks like a ... size 12, possibly from the pool.
(NICK puts the portable machine down when he reaches GRISSOM. He kneels down low.)
Nick: There were definitely two guys here, Griss.
Grissom: Now we just need to figure out if one of them was Mr. Newman.
(WARRICK enters.)
Warrick: Hey, fellas. Looks like the husband pulled a Clark Kent and left all his clothes behind. Couldn't have gone far. I got his wallet, credit card and keys.
(WARRICK shows them the set of car keys he's holding in his hand. The camera holds close on GRISSOM. Both he and NICK stand up.)
Warrick: You hear that? What is that?
(As NICK and WARRICK speak, we're made aware of the sounds of water shloshing and of a generator that sounds stuck. GRISSOM looks from WARRICK to NICK as he tries to follow their conversation.)
Nick: (o.s.) Oh, yeah, it's the pool. It's been doing it all night.
Warrick: Sounds like it's clogged.
(At the mention of the pool, GRISSOM'S eyes look toward it.)
Grissom: Did someone check this pool?
Nick: First officer said it was clear.
(GRISSOM looks at NICK. He points back to the pool.)
Grissom: Does that pool look clear to you?
(NICK looks at the pool. The water looks a bit cloudy to the casual observer.)
Nick: Uh ... no.
(GRISSOM looks at NICK. He then turns to look at WARRICK. He points to the pool.)
Grissom: One of you guys is going in.
(GRISSOM leaves the two men to figure out who of the two it will be.)
(NICK looks over at WARRICK and points. WARRICK stands across the pool staring at NICK. He's still holding the camera. WARRICK shakes his head and points back at NICK.)
(NICK takes a deep breath and holds out his fist. They're going to decide who goes in by a brief round of rock, paper, and scissors. WARRICK understands this perfectly. He, too, also holds out his fist as they quickly decide who is going to jump into the pool.)
(WARRICK shows rock; NICK shows scissors. WARRICK nods and points back at NICK.)
(NICK nods.)
Nick: (to GRISSOM) I'll go in the pool.
(Standing at the edge of the pool, NICK takes his shirt off, tosses it to the side and slowly lowers himself into the pool.)
(NICK takes a deep breath and goes under the water. He makes his way across the pool. The water is cloudy and he's not able to se across to the other side. He barely can see directly in front of him. He dives in deeper toward the bottom. He pushes his way across the pools length when he swims smack into CAL NEWMAN, d*ad in the water.)
(NICK backs away and heads up for the surface.)
(He breaks the surface and sees GRISSOM and WARRICK standing at the pool's edge.)
Nick: Oh, man! Male D.B.
CUT TO:
[EXT. TUSCADERO HIGH SCHOOL - FOOTBALL FIELD - NIGHT]
(SARA and DET. LOCKWOOD make their way down from the seats and onto the field.)
Lockwood: You have dinner yet? SARA: Yeah. Why? LOCKWOOD: You might be seeing it again. (Across the field near the end zone, the body of a woman is on the ground. There are police cars at the end of the field. DAVID PHILLIPS stands over the body.)
Lockwood: Mandy Kirk. Seventeen.
Sara: Seventeen.
Lockwood: Senior. Janitor found her.
Sara: Hi, David.
David Phillips: Hey.
(SARA puts her kit down. She pulls out some latex gloves and puts them on.)
Sara: Eviscerated.
Lockwood: Maybe a wild animal? They picked up a mountain lion last week in Henderson.
David Phillips: Suburbs are encroaching on the hinterlands. We'll know more after the autopsy.
Sara: It's a cheerleader.
(SARA takes out a tweezer and pulls a piece of ribbon out from the wounds in the cheerleader's abdomen. She holds it up.)
Sara: She had to have good lungs. How come nobody heard her scream?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
[INT. CSI - FORENSIC AUTOPSY]
(DAVID PHILLIPS and SARA stand around the body.)
David Phillips: Didn't have to do much of a "Y." att*ck did it for me.
Sara: Died of exsanguination.
David Phillips: Bled out. Trauma to her internal organs. Spleen, liver, heart they all sustained multiple mastications.
Sara: Hmm. You able to isolate the species?
David Phillip: From the tooth mark on her left ninth rib.
(DAVID points to the area over the body. Quick CGI top view POV of the body. The camera speeds up and moves down and inward past the skin and to the rib where we can see teeth marks. Flash to white. End of CGI POV.)
(SARA leans in closer for a better look.)
Sara: Dog maybe? Teeth marks are too small for a mountain cat.
David Phillips: They're human.
(SARA looks up at DAVID.)
Sara: You're lying.
(DAVID looks at SARA. He points to the deceased's wounds.)
David Phillips: You can see the bridgework on this impression of a premolar and an adjoining molar.
Sara: Can you tell how old the attacker is?
David Phillips: Well, I can't give you the exact age but wisdom teeth erupt between 15 and 30. And there's no evidence of a wisdom molar on this impression.
Sara: Thanks.
(SARA hands the file back to DAVID and turns to leave. She stops at the door.)
David Phillips: Oh, one more thing. I found an infection in the mucus overlying the large intestine. This girl suffered from the e-coli bacteria.
Sara: E-coli? Unsanitary conditions?
David Phillips: Or a bad burger.
Sara: So whoever did this to her also has e-coli.
David Phillips: Oh, yeah. Spiked temp, vomiting, lower GI problems, the works.
Sara: Smoking g*n.
CUT TO:
[EXT. NEWMAN'S RESIDENCE -- BACK YARD POOL SIDE - NIGHT]
(NICK puts the pump tube into the pool.)
(Cut to the f*re engine out front. The Fireman lifts the lever and the pool water starts to spurt from the nozzle.)
(Quick CGI POV to the camera moving fast through the nozzle from the f*re engine pump in through the tube and out through the filter that NICK is closing. End of CGI POV. Resume to present.)
(WARRICK is also working on another filter next to NICK who seals his own filter.)
(Cut to a top view sh*t of the pool completely filled with water and the two men standing pool side.)
(Dissolve to same sh*t of the pool about halfway empty and NICK standing at the pool's edge.)
(Dissolve to same sh*t of the pool about a quarter filled and NICK still standing at the pool's edge.)
(Dissolve to sh*t of the pool empty with the d*ad body exposed. NICK and WARRICK detach the suction tubes from the filters.)
Nick: I mean, I don't get it. She's not even slated to work. She comes in on her day off and she gets to work solo.
Warrick: You still harping on the solo thing? You know every time you work with me you learn something.
(NICK starts to laugh.)
Nick: Is that right?
(Without looking up, WARRICK responds back.)
Warrick: Yes.
CUT TO:
[INT. NEWMAN RESIDENCE - FRONT FOYER - NIGHT - CONTINUOUS]
(CATHERINE stands in the doorway barring entrance to MAX NEWMAN and JERI NEWMAN, CAL NEWMAN'S ex-wife.)
Max Newman: I live here. Why can't I go in? I want to see my father.
Jeri Newman: I'm Cal's ex-wife, Jeri Newman, and this is our son Max. We have the right to an answer.
Catherine: And we have a right to protect the crime scene.
Jeri Newman: What's going on?
Catherine: I can't tell you anything until I get all the details. I'm sorry.
Officer: (o.s.) Catherine? Can I have a moment please?
(CATHERINE leaves to talk with the OFFICER.)
Officer: We need someone to identify the body.
(CATHERINE looks toward the two people standing in the doorway.)
Catherine: Ms. Newman. Would you come with me, please?
Max Newman: What about me?
(JERI NEWMAN stops her son.)
Jeri Newman: Uh, no, honey. You stay right here.
(She steps into the house to follow CATHERINE.)
CUT TO:
[INT. NEWMAN RESIDENCE - BACKYARD - NIGHT - CONTINUOUS]
(GRISSOM is on the pool floor examining the d*ad body, collecting evidence. BRASS is standing above near the pool's edge.)
Grissom: No skin separation. Minimal gaseous buildup. This guy's been in here under 12 hours. (BRASS looks at his watch.)
Brass: According to his office, he left work at 1:00. It's about right.
(GRISSOM looks at the cover near the body. He picks it up.)
Brass: What is that, some kind of filter?
Grissom: It's an anti-vortex filter.
Brass: Hey, I'm from Jersey, we swim at the shore.
Grissom: It's designed to keep his hand out of that pipe. But it's missing a few screws.
(CATHERINE and JERI NEWMAN appear next to BRASS.)
Catherine: Ms. Newman, is this your ex-husband?
(JERI NEWMAN starts to cry.)
Jeri Newman: It's Cal.
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. CSI - AUDIO/VISUAL LAB]
(On the large monitor, ARCHIE JOHNSON looks at photos of The Newman's residence. CATHERINE enters the lab.)
Catherine: Virtual tour. Right on, Archie. Before and after photos of the crime scene.
(ARCHIE smiles. CATHERINE takes a seat next to him.)
Archie Johnson: (Imitating Elvis Presley): Thank you, thank you very much. (normal voice) It was on the hard drive of the computer you got at the crime scene. Looks like a Peter Croft sculpture.
Catherine: You know your art. You a collector?
Archie Johnson: What? On my salary? Guggenheim's as close as I get to something like that.
Catherine: Oh, I haven't been yet.
Archie Johnson: Really? Well, if you want a tour, I know a docent.
Catherine: A docent. So, you think that's legit?
Archie Johnson: House like this, probably not a knock-off.
Catherine: You'd be surprised. The rich go cheap to stay rich, you know what I mean?
Archie Johnson: Yeah. Let me show you the "after" photos.
Catherine: Please.
Archie Johnson: Same spot.
Catherine: And, uh, what happened to the sculpture?
Archie Johnson: Good question.
Catherine: You saying somebody lifted it?
Archie Johnson: Well, they don't call them open houses for nothing.
Catherine: Put your house on the market your privacy's up for grabs, too.
Archie Johnson: The Newmans unlocked their door to anybody with internet access.
(Camera holds on CATHERINE.)
CUT TO:
[EXT. SCHOOL (STOCK) - DAY]
[INT. TUSCADERO HIGH SCHOOL - DAY]
(SARA and LOCKWOOD enter the school.)
Sara: Soccer bunnies? What are soccer bunnies?
Lockwood: Well, each cheerleader is assigned a soccer player. (They walk up the stairs.) She's his bunny. Gives him gifts the night before the big game places his wake-up call.
Sara: Sounds sexual.
Lockwood: Yeah, that's what I asked the principal but he said no. He said that, uh it's all good, clean fun. (There are kids crying in the hallway.) Gifts are inspirational videos like, uh, Rocky and wake-up calls are pep talks, nothing more.
(They pass more kids crying in the hallway.)
Sara: Yeah, well, I'm not sure the principal's up to speed on teenagers' sexual habits.
Lockwood: Yeah, well, victim Mandy was soccer bunny to a Chuck Darwell. And when I called him on his cell this morning he said that he hooked up with Mandy after every game except last night.
(They stop in front of MANDY KIRK'S locker which has been turned into a make-shift mini-shrine to the cheerleader. There's a young woman putting a photograph on large pink poster that reads: "To Mandy, the best cheerleader in heaven. Love Nicole.")
(In front of the locker there are candles, flowers, pedals, cards & ribbons.)
Lockwood: Said he hadn't seen her last night.
Sara: He in class?
Lockwood: Hospital. Got rushed there two minutes ago.
Sara: I bet I know why.
CUT TO:
[EXT. LAS VEGAS (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY]
(Stretched out on the autopsy table is CAL NEWMAN.)
Robbins: No surprise here. He drowned.
Grissom: We found his right hand caught in a pool filter.
Robbins: Lack of bruising, no bleeding wounds. Indicates his circulatory system had stopped. This was postmortem.
(Quick CGI POV to CAL NEWMAN floating d*ad in the swimming pool. The suction of the pool filter drags his body down. Cut to a camera angle from inside the filter as CAL NEWMAN'S hand gets caught in the hole. Cut back to the bottom of the swimming pool as CAL NEWMAN'S entire arm gets pulled into the filter. Flash to white. Resume to present.)
Grissom: Any significance to the marks on his chest?
Robbins: Uh, don't know. Not a rash. Some kind of abrasion. Maybe even a friction burn. Definitely peri-mortem. X-rays reveal several broken ribs and he's got a bruise on his forehead. He could have taken a bad fall.
Grissom: Or he could have been beaten.
Robbins: Maybe.
Grissom: How about the new wife?
(GRISSOM and ROBBINS turn to the autopsy table behind them and set up next to CAL NEWMAN'S table with MONICA NEWMAN on it.)
Robbins: No physical findings for sexual as*ault though I did send a kit to DNA. Looks like cause of death was a single g*n to the head. I'll know more later.
Grissom: You always tell me that.
Robbins: Yes, I do. Depth of bruising gives us a timeline. Apparent thumbprint on her neck came first the, uh, prints on her hands second. Major impression on top. It's some kind of recoil bruise on her palm.
Grissom: She didn't sh**t herself.
(Quick flashback to an unknown man forcing MONICA NEWMAN to hold the g*n. The g*n is cocked. MONICA NEWMAN yells. The g*n is forced to her temple. Sound of g*n as we flash to white. Resume to present.)
Grissom: She had help.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(MONICA NEWMAN walks to the pool.)
Monica Newman: (on video) Of course, no house is complete without a pool. Why live in Vegas if you don't have a pool?
(MONICA NEWMAN is wearing a bathing suit and standing in her backyard of the video to showcase her house. She smiles at the camera and steps into the pool.)
Monica Newman: Mmm ... water's warm.
(The camera cuts to show ARCHIE JOHNSON and NICK both watching the video.)
Monica Newman: (o.s.) You want to come by and take a dip?
(ARCHIE, NICK and CATHERINE are reviewing the sales video. Both ARCHIE and NICK have goofy smiles on their faces. CATHERINE isn't impressed.)
Catherine: Quite the saleswoman. (They are all in the Audio/Visual Lab watching the sales video on the monitor.)
Monica Newman: Come on, take a ... (The video fast forwards to the next scene where MONICA NEWMAN is wearing a short robe and is sitting on the sofa in her bedroom.)
Monica Newman: It's got to be a fantasy of yours, huh?
Archie: Huh, double feature.
(MONICA NEWMAN stands up and starts to undo her robe.)
Monica Newman: You know you want this.
(She walks out of camera range, however she's still visible through the wall mirror. We see her back as she drops the robe.)
Nick: Blam.
Archie Johnson: You can say that again.
Nick: Blam.
Catherine: Down, boys.
(MONICA NEWMAN walks back up to the camera.)
Monica Newman: I probably should even be saying this, but, uh ... sex is on my mind all the time.
Catherine: Hey, Archie, freeze it.
(ARCHIE hits the keyboard and the video pauses.)
Monica Newman: And, uh ...
(CATHERINE points to the screen.)
Catherine: Who's that in the background?
Nick: Hmm? Oh, that guy in the mirror. Good. Archie, help us out.
Archie Johnson: Yup, I got him.
(ARCHIE isolates a portion of the video reflected in the mirror behind MONICA NEWMAN. He enlarges the framed area and lightens it.)
Nick: Nice.
Brass: This is the realtor. I just did a background check on that guy. Half a dozen robberies in the houses he has listed. Art, antiques, stuff like that.
Catherine: Like the Peter Croft sculpture.
Brass: Exactly.
Nick: Looks like Augie was helping himself to a little bit more than the artwork.
CUT TO:
[INT. HOSPITAL ROOM - DAY]
Sara: I understand, Mr. Darwell. Have your son's wisdom teeth come in yet?
Mr. Darwell: What?
Lockwood: Whoever k*lled Amanda Kirk ingested her organs, Mr. Darwell. Left teeth marks.
(SARA notices that CHUCK DARWELL is awake.)
Sara: Excuse me.
(SARA turns to the teenager in bed.)
Sara: Hi, uh, Chuck, I'm with the crime lab. I'm going to ask you to show me your back teeth. Give us an odontological impression.
Chuck Darwell: I didn't see Mandy last night, I swear.
Mr. Darwell: You have no legal right to question or to touch my son. I want you out of here. Now.
(Instead of responding to MR. DARWELL, DET. LOCKWOOD turns to the nurse.)
Lockwood: Is that stomach contents?
Nurse: That's right, officer.
(The nurse stands next to the bed holding a large plastic bag of brownish-colored liquid. She hands the entire bag to DET. LOCKWOOD.)
Lockwood: Anything he throws up no longer belongs to him. PD, public domain.
(DET. LOCKWOOD holds the bag out. SARA walks over to him and takes a hold of it. She turns to MR. DARWOOD.)
Sara: It's going to tell us everything we need to know.
CUT TO:
[INT. AUGIE HEITZ'S OFFICE -- DAY]
(AUGIE HEITZ sits in his chair behind his desk.)
Augie Heitz: Look, anyone could have lifted that Peter Croft. I thought this was about m*rder.
Catherine: Oh, it is. (His cell phone rings. He turns to answer it.)
Augie Heitz: Excuse me. (pause) Yeah? (pause) Hey, yeah ... Hey, can I call you back? (pause) Okay, then. Bye-bye. (He hangs up his cell.) I'm sorry, where were we? BRASS: The tape. It wasn't anybody's face on that tape, it was your face.
Augie Heitz: I recorded their house for the virtual tour. That's what I do to sell houses.
Brass: Selling house as a front for p*rn a little blackmail on the side.
Augie Heitz: What are you talking about? I have done nothing wrong.
Catherine: Oh, you're innocent in all this?
Augie Heitz: I admit to having lust in my heart.
Brass: Lust doesn't live in your heart.
Catherine: I'm going to need that DNA sample.
Augie Heitz: Well, my DNA is your DNA.
Catherine: Great.
Augie Heitz: Look, for what it's worth I can tell you at least one guy other than her husband that saw Monica in the buff on a weekly basis.
(CATHERINE holds out the swab and waits for AUGIE HEITZ to finish speaking.)
Catherine: Say, "ah."
(AUGIE HEITZ opens his mouth.)
Augie Heitz: Ah.
CUT TO:
[EXT. UNKNOWN RESIDENCE - DRIVEWAY - DAY]
Warrick: You must get a lot of ass on a job like this, huh?
Jack Jarvis (poolman): I'm the pool guy, it's one of the perks of the job. One minute I'm scooping leaves the next I'm staring at ...
Warrick: Yeah, I get it. The last time you were there did you happen to see anything out of the ordinary?
Jack Jarvis (poolman): What? You mean sexual?
Warrick: Maybe.
Jack Jarvis (poolman): No. But, uh ... Newman had a temper. He and his kid Max were always going at it.
(Quick flashback to JACK JARVIS working at the pool. Up on the second floor balcony, CAL NEWMAN is yelling at his son. He's waving a piece of paper in front of MAX NEWMAN'S face.)
Cal Newman: What are these, huh? Where did you get these?!
(Flash to white. Resume to present.)
Jack Jarvis (poolman): I thought the old man was going to b*at his ass but ... Newman just screamed some more and took off.
Warrick: You mind if I take a look in your cab?
Jack Jarvis (poolman): Sure.
(WARRICK opens the driver's side door and looks around. On the clipboard above the dashboard, he finds a plastic ziploc baggie with three screws in it. JACK JARVIS walks to the passenger side window to watch. WARRICK picks up the clipboard and baggie and holds it up for JACK JARVIS to see.)
Warrick: Well, that's a coincidence.
(Camera close up of the three screws. Resume to present.)
Warrick: Newman's anti-vortex filter was missing three screws.
Jack Jarvis (poolman): I can explain, okay? I remove them screws from the filter so I'd have an excuse to go back.
Warrick: Oh, you mean, like, a "leave-behind"?
Jack Jarvis (poolman): Yeah, I figured the more I was around ...
Warrick: The more she'd want you.
Jack Jarvis (poolman): Oh, yeah.
(JACK JARVIS smiles.)
Warrick: Well, the lab wants more of you, too. We're going to need your fingerprints and a DNA sample.
(The smiles fades from the poolman's face.)
Jack Jarvis (poolman): Take whatever you want, I've got nothing to hide.
CUT TO:
[INT. CSI -- LAB]
(NICK sorts through the contents collected from the bottom of the swimming pool. He pushes old dry leafs to the side. He finds what looks like a tooth filling. NICK picks it up and looks at it. He ponders his own filling.)
(On the table next to NICK'S, GRISSOM works on his own evidence. He's looking through the microscope in front of him.
Grissom: Anything from the pool?
Nick: Some hairs, may have found a filling.
(GRISSOM puts his glasses back on and looks up something in the open textbook next to the microscope. NICK reads off of the test results.)
Nick: Tributlyltin oxide, aluminum sulfate quaternary ammonium. Chemicals in the vic's lungs match the chemicals in the pool water.
(GRISSOM takes his glass off and looks back into the microscope.)
Grissom: Anything from his head wound?
Nick: Trace matches the side of the pool. No surprises.
(GRISSOM puts his glasses back on and double checks the information in the text book. He picks it up.)
Grissom: Mildew.
Nick: Hmm?
Grissom: Aureobasidium pullulans. One of the very few fungi that can withstand the desert temperature.
Nick: Gives us possible transfer.
(Quick flashback to the hummingbird feeder hanging by the NEWMAN'S swimming pool. Camera moves toward the feeder then points straight downward in the direction as one of the red-colored sugar water in the feeder might take if it dropped to the ground.)
Grissom: (V.O.) Exactly. And here's the basic chemistry of the transfer.
(The camera speeds up and zooms down following the single drop as it falls from the hummingbird feeder. The drop of red colored sugar water hits the ground.)
Grissom: Add sugar water spoiled from the heat, ...
(The camera shows mildew growing on a microscopic level.)
Grissom: ... mix in some human biofilm you got yourself an all-you-can-eat mildew buffet.
(A large bare human male foot steps into the wet spot on the ground. End of flashback. Resume to present.)
Grissom: Cal Newman wore size tens. So assuming our k*ller wore the size twelve ...
Nick: He may have transferred mildew from the pool to the house.
(GREG walks into the lab.)
Greg: Normally I don't like to speak ill of the d*ad but, uh, Mr. Newman's sperm had company. Bad company.
(GREG hands GRISSOM the DNA test results.)
Greg: Look at D-7. Three alleles.
Grissom: Genetics only gives you one from each parent.
Greg: Which can only mean one thing -- menage d'allele.
(NICK isn't surprised by this.)
Nick: She was cheating on her husband.
Grissom: What about stutter?
(GREG hands GRISSOM another test results.)
Greg: Percentage is too high. We're looking at a minor and a major sample.
Grissom: Minor donor?
Greg: The husband.
Grissom: Major donor?
Nick: Pool man.
Greg: Nope.
(This surprises NICK. He looks up.)
Nick: The realtor?
Greg: Ibid. Major donor is still unaccounted for.
(Camera holds on GRISSOM who looks up from the test results.)
FADE TO BLACK.
(COMMERCIAL BREAK)
[EXT. LAS VEGAS RESIDENTIAL AREA (STOCK) - DAY]
[INT. NEWMAN RESIDENCE -- BEDROOM - DAY]
(NICK fiddles with the digital camera on a tripod. He's playing the sales video with MONICA NEWMAN'S bedroom segment. WARRICK stands against the wall ... he's a bit impatient.)
Warrick: How's it coming?
Nick: Good. I'm almost there. Hang on.
(NICK adjusts the camera. He's looking for the same moment that AUGIE HEITZ appears in the frame with MONICA NEWMAN.)
Warrick: Sometime this year.
(NICK finds the frame and pauses the camera.)
Nick: Okay, I think that's the angle.
(In front of the camera, WARRICK stands with his arms crossed.)
Warrick: All right, where do I stand?
Nick: Back up.
(WARRICK takes a few steps back. It's not enough.)
Nick: Keep going. Keep going.
Warrick: Big steps? Little steps?
(WARRICK backs up some more. Behind him are the bedroom closet doors.)
Nick: Big. Keep going. Keep going.
Warrick: I go any further, I'll be in the closet.
Nick: Well, go in the closet.
(WARRICK turns around and opens the closet door. Leaning against the wall is a cardboard cut out of AUGIE HEITZ.)
Warrick: Oh, you got to be kidding me.
Nick: What?
(WARRICK grabs the cardboard cut out and puts it in front so that NICK can see it too.)
Warrick: How's this?
Nick: What the hell is that?
(WARRICK scoffs. He puts the image on the side and holds out the Realtor Sign.)
Warrick: These slime will do anything to sell a house, huh?
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB - DAY]
(Camera shows the frame with MONICA NEWMAN in the bedroom and the AUGIE HEITZ cardboard cut out in the closet.)
(In the lab with ARCHIE are CATHERINE and GRISSOM. They're reviewing the sales video.)
Archie Johnson: Sometimes, reflections beget reflections. I figured if I could get a glimpse of the Augie cutout maybe I could get a glimpse of the cameraman.
(ARCHIE hits a key and lightens the frame a few shades.)
Archie Johnson: Check out the lamp.
(ARCHIE frames and enhances a reflection of something on the lamp. He refocuses the frame. He adjusts the angle of the lampshade. By this time, the figure, though still translucent, is identifiable. CATHERINE gasps.)
(ARCHIE lightens and sharpens the figure while dulling the background.)
Catherine: Her stepson, Max. Did you get any DNA off the cigarette butts?
Grissom: Yeah, we did. So, let's get Greg to compare the reference sample and see if we found our major donor.
CUT TO:
[INT. CSI - LAB]
(SARA is picking through CHUCK DARWELL'S stomach contents piece by piece. It's a gruesome job, but someone has to do it. From the doorway, a familiar voice chimes in.)
Greg: Driving someone else's porcelain bus?
Sara: Suspect's dinner from last night.
Greg: The coroner left this in your mail slot.
(GREG holds up a large manila envelope. Without looking up from her task, SARA asks.)
Sara: Can you read it for me?
(GREG takes a couple of steps into the room. He opens the envelope. SARA pulls out something green and flimsy from the flask of liquidy goo. She holds it up.)
Sara: What's this look like, Greg?
(GREG looks at what SARA'S holding. He pulls out the envelope contents.)
Greg: Uh, Caesar salad.
(GREG glances down at the test results and without missing a b*at, continues.)
Greg: Oh, and Pele used an interesting dressing. PCP.
(SARA looks up at GREG.)
Sara: Angel dust. Hallucinogen.
Greg: Well, it acts like one. But PCP's such a powerful drug it's in a class all its own: Disassociative anesthetic.
Sara: Brain disassociates from the body.
Greg: Yeah, after it takes you through the paces.
Sara: How many milligrams?
Greg: Uh ... twenty. Dude's dose was off the charts. I'm surprised he's still alive.
Sara: Yeah. Too bad everybody didn't make it.
(GREG doesn't respond. SARA goes back to picking through the stomach contents. She picks up something large, flimsy and pinkish-red. She doesn't look happy with the find. She holds it up for GREG to see. GREG leans in to look at it. He, too, is horrified by what he sees.)
Sara: Tell me this is raw chicken skin.
Greg: Well, it's raw ... and it's definitely skin.
(Camera holds on SARA.)
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- NIGHT]
Jeri Newman: My son was nowhere near that pool. He was at ...
Brass: Oh, no, no, no. Red Rock Canyon. A field trip. Oh, I'm getting that.
(BRASS takes a step closer to the table. He's holding a couple of photographs in his hands.)
Brass: What I'm not getting is this.
(BRASS places one of the photos he's holding onto the table in front of JERI NEWMAN and MAX NEWMAN. It's a picture of the late MONICA NEWMAN naked. She's leaning over another naked male body - the person who took the photograph - and she's smiling. JERI NEWMAN glances down at the photo. CATHERINE watches MAX NEWMAN. He looks a little worried.)
Jeri Newman: Oh, now, this is disgusting. Look, whatever Cal wanted to do behind closed doors, that was his business. This is not for my eyes or for his eyes.
(BRASS walks around to the other side of the table and takes a seat next to CAHTERINE.)
Brass: This is not the first time, is it, Max?
(BRASS shows them the second photo he's holding. He places it on the table. MAX NEWMAN sees the photo and sighs. He's busted. JERI NEWMAN pulls the second photo closer. It's a picture of both MAX NEWMAN and MONICA NEWMAN naked. MAX is holding the camera toward the mirror. The photo catches the camera flash.)
(The photo pains JERI NEWMAN. She closes her eyes. MAX NEWMAN shakes his head.)
Max Newman: Can I plead the fifth or something?
Catherine: Max, we found two sperm donors on the sample from your stepmother. Your father's and yours.
Jeri Newman: Now I know why you were spending all that time at your father's.
(MAX NEWMAN turns his head to try to explain.)
Max Newman: Mom, look, I ...
(JERI NEWMAN reaches out and slaps MAX NEWMAN on the cheek. MAX NEWMAN'S head turns from the force of the contact. CATHERINE gasps.)
Max Newman: Mom ...
(JERI NEWMAN holds out a finger silencing her son.)
Jeri Newman: I don't want to hear a word from you.
Brass: Well, let me lay it out for you.
(Quick flashback to MAX NEWMAN swimming in the pool. MONICA NEWMAN sits on the edge of the pool in her short robe. She takes the robe off. She's not wearing anything. MAX NEWMAN sees her and swims to her. Flash to white. Resume to present.)
Brass: So you must've thought you won the lottery. And the only thing standing between you and the winning ticket was your father.
(Quick flashback to both father and son fighting on the pool side. They fall into the pool. The son grabs his father's head and slams it against the pool's edge then drags him under. The son swims up toward the surface. The father remains under. Flash to white. Resume to present.)
Catherine: What's your shoe size, Max?
Max Newman: Twelve.
(Quick flashback to a man emerging from the swimming pool, his wet feet leaving footprints behind as he walks toward the house. Flash to white. Cut to MAX NEWMAN sitting on the bed, shaking his head.)
Max Newman: This can't be happening.
Monica Newman: Yes, it's happening. Okay, this is a fling. Okay, it's not real. You're confused. You're a kid.
(MAX NEWMAN pulls out a g*n and points it against MONICA NEWMAN'S forehead. He stands and advances on MONICA NEWMAN. She backs away from him.)
Max Newman: I k*lled my father for you.
(Sound of g*n as we flash to white. End of flashback. Resume to present.)
(JERI NEWMAN shakes her head.)
Jeri Newman: That's not possible.
Brass: How come?
Max Newman: Because I can't swim.
Jeri Newman: He's telling the truth. When Max was a child he had this terrible pool accident. He nearly drowned.
(BRASS turns to look at CATHERINE. Camera holds on CATHERINE'S surprised look.)
CUT TO:
[INT. HOSPITAL ROOM - DAY]
(A TECHNICIAN finishes taking a caste of CHUCK DARWELL'S teeth.)
Sara: We need that report, ASAP.
(THE TECHNICIAN stands and leaves.)
Sara: Your temperature is spiking. Of course, you didn't know Mandy had e. coli when you ... ate her, did you?
Chuck Darwell: No, no, I would never do that.
Lockwood: You would on PCP.
(Quick flashback to smoking cigarette. End of flashback. Resume to present.)
Sara: Normal brain, neurons send a message ...
(Quick CGI POV to 3-d image of a brain with a minimal amount of light and activity lighting on and off to indicate normalcy. End of CGI. Resume to present.)
Sara: ... synapses blink on and off. On PCP, synapses never stop f*ring like ...
(Quick CGI POV to the same 3-d image of the brain on PCP with an excessive amount of light and hyper-activity flashing on and off to indicate the brain on PCP.)
Sara: (V.O.) ... your entire brain is on constant DSL.
(Flash to white. Return to present.)
Lockwood: You and Mandy were on the soccer field. You were cranked up. SARA: Do you remember anything?
(CHUCK DARWELL remains quiet. His breathing quickens as he seems to recall something.)
(Quick flashback to Chuck Darwell eating something meaty with his two hands. His face is stained with blood. End of flashback. Resume to present.)
Chuck Darwell: Yeah. But I don't remember k*lling her. I swear to God.
Sara: (quietly) Lieutenant Lockwood's going to arrest you. We'll assign you an advocate.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(GRISSOM and CATHERINE walk along the hallway.)
Grissom: So, how does a kid who can't swim drown his father?
Catherine: The kid didn't do it. Look, we found the father's blood on the underside of the pool ledge.
Grissom: : And his body at the bottom of the pool with abrasions on his chest.
(Quick flashback to CAL NEWMAN being dragged under the pool, his chest rubbing against the side of the pool wall. End of flashback. Resume to present.)
Catherine: So there was a struggle in the water.
(Quick flashback to someone grabbing and hitting CAL NEWMAN'S head against the side of the pool wall underwater. End of flashback. Resume to present.)
Grissom: With someone who can swim.
(Quick flashback to CAL NEWMAN floating face down inside the pool. End of flashback. Resume to present.)
Catherine: Right.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
[EXT. LAS VEGAS (STOCK) -- NIGHT]
[INT. CSI -- LAB]
(NICK sits at the laptop computer.)
Nick: (frustrated) You cannot be serious!
(Behind him, WARRICK'S in the next lab. He enters the lab NICK'S in.)
Warrick: Hey, John McEnroe, where's the game?
Nick: All the prints are accounted for by people who had a reason to be in the Newman house all the way down to the vortex cover. Warrick?
Warrick: Prints came back to the pool boy.
Nick: Yeah.
(NICK rolls his chair over to the other table.)
Nick: Yeah, so all I've got is an errant blond hair, a tooth filling and some detritus from the bottom of the pool.
Warrick: All right, now, don't get your panties in a bunch. (WARRICK thinks about it.) Uh, so we got the blond hair, the tooth filling ... that's it, huh?
Nick: Yeah. I mean, I did identify some neoprene and it was white.
(Camera close up of the piece of white neoprene in the evidence bag.)
Warrick: White neoprene.
Nick: Yeah.
Warrick: Like in a wet suit neoprene?
(WARRICK reaches out and grabs the evidence bag from NICK.)
Warrick: Was the vic a diver?
Nick: Not that I know of. The son can't even swim.
Warrick: Let's think about that. Who wears a white wet suit in a pool?
Nick: Scuba diver. Or a professional.
Warrick: A professional.
Nick: No, I mean like a hired g*n professional.
Warrick: Yeah.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(PETER BERGLUND, the man from the teaser, is in the interrogation room. He's drinking from a glass of water.)
Grissom: Tooth hurt?
(PETER BERGLUND looks up at GRISSOM.)
Grissom: You might, uh, need your filling which we found at the bottom of the Newmans' pool.
(GRISSOM pulls out a small evidence bag with the filling. He puts it on the table.)
The information on the evidence bag reads:
(Article) TOOTH FILLING 0857
(Date Found) 10-7-02
(Where This Article was Found) NEWMAN POOL DECK
(Investigation Officer) N. STOKES
Brass: We also found your fingerprints and your hair.
Peter Berglund: Look, I'm sure you'll find me all over the house. I wanted to buy it. I was everywhere.
Brass: Well, you made sure you were everywhere, too, didn't you?
Peter Berglund: I wanted to thoroughly inspect the property. Caveat emptor, right?
Grissom: Or caveat venditor. Let the seller beware. Your prints came back military. Navy seal.
Peter: Ex-navy seal.
Brass: Oh, yeah, that's right. You rang the bell. You had the physical tools for the training but not the character.
Peter: And if you had anything more than a filling and a piece of neoprene we wouldn't be here.
Grissom: Berglund. That's a Scandinavian name, isn't it?
Peter Berglund: That's what my parents tell me.
CUT TO:
[INT. CSI -- LAB]
(SARA works on the cast of CHUCK DARWELL'S teeth matching the cast to the rib marks. It doesn't match. From the doorway, a familiar voice chimes in.)
Greg: Hey, heard you nailed soccer boy for the m*rder.
Sara: Not exactly. No match on the bite plate.
Greg: Well, maybe there was someone else with them.
Sara: Someone getting sicker by the minute.
(SARA stands and leaves the room.)
CUT TO:
[INT. CSI -- HALLWAY]
(GRISSOM walks down the hallway looking for someone in particular. He turns the corner to the locker room and finds him.)
[INT. CSI - LOCKER ROOM]
Grissom: Greg.
Greg: Yeah?
Grissom: I need you to take off your shoes and socks.
(GREG is sitting on the locker room bench putting on his jacket, presumably getting ready to leave.)
Greg: See, now we're getting into this whole strip forensics thing and I'm not so sure I can hang with that even if you are my boss.
(GREG reaches down and starts to comply with GRISSOM'S strange request.)
Grissom: Your mother's maiden name is Hojem, correct? Hojem is Norwegian?
Greg: Yeah. And you know, my grandfather got tossed from Norway for getting my grandmother pregnant before they got married. To this day, he still tells me "som man reder sa ligger man."
(GREG stops and looks up at GRISSOM. GRISSOM doesn't respond. GREG explains.)
Greg: "One must lie in the bed one has made."
Grissom: That's true. Right foot first, please.
(GRISSOM kneels down and pulls out a swab. GREG takes off his sock and GRISSOM swabs his right foot.)
Greg: Now, you're sure you want me to do this? Things could get loud in here.
Grissom: Left foot.
(GRISSOM swabs GREG'S left foot.)
Greg: So you want to tell me why we're doing this? GRISSOM: It's an experiment.
(GREG looks up at GRISSOM unsure whether he likes that particular response. GRISSOM pulls out a clean pair of socks and hands them to GREG.)
Grissom: Put these on. Come see me in six hours.
(GRISSOM STANDS AND leaves the room. GREG watches him leave. He looks at the socks.)
CUT TO:
[EXT. TUSCADERO HIGH SCHOOL - DAY]
[INT. TUSCADERO HIGH SCHOOL - HALLWAY TO LOCKER ROOM -- DAY]
(SARA and DET. LOCKWOOD walk through the high school hallway on their way to look for their other suspect.)
Lockwood: Nicole Exmoor, 18. School nurse said she couldn't stop throwing up. Teacher found her passed out in the locker room.
Sara: She have an explanation?
Lockwood: Said that she ate something that didn't agree with her.
CUT TO:
[INT. LOCKERROOM - DAY]
Sara: Nicole, do you know what e. coli is? Your friend Mandy was infected with it. We think we know how you got it. We can test your blood for PCP ...
Nicole Exmoor: (sniffling) Chuck brought the weed, not me. This guy told him it was a really great high.
Sara: These photographs are ... of Mandy's ribs. We believe these are your teeth marks.
(SARA shows NICOLE EXMOOR the photographs of MANDY KIRK'S abdomen. She points out where the teeth impressions are on the photo. NICOLE takes one look at the photo and throws up in the trash can in front of her.)
Lockwood: Ms. Sidle can make an impression of your teeth or you can help yourself and explain what happened.
Nicole Exmoor: When Chuck and I went to the field ... we were hooking up ...
(Quick flashback to NICOLE EXMOOR and CHUCK DARWELL. They're standing close together and smiling.)
Nicole Exmoor: (V.O.) ... behind Mandy's back.
(Cut to NICOLE EXMOORE inhaling PCP. Cut to both NICOLE EXMOOR and CHUCK DARWELL smoking and having a grand ole' time. In the background MANDY KIRK crosses the field toward them.)
Nicole Exmoor: She showed up -- she was like, "He's my player."
(MANDY KIRK reaches them. She stops and starts yelling at them. CHUCK DARWELL pushes NICOLE EXMOOR off of him, stands and goes to MANDY.)
Mandy Kirk: What the hell are you doing?!
Chuck Darwell: Mandy!
(CHUCK DARWELL reaches MANDY. He puts his hands on her upper arms and tries to explain himself to her. NICOLE EXMOOR is still sitting on the ground. She's watching MANDY and getting angrier with every passing moment.)
Nicole Exmoor: (V.O.) I don't know what happened. I started to feel weird like my blood was surging through me.
(End of flashback. Resume to present.)
Nicole Exmoor: It didn't make any sense I think I wanted to be her.
(Quick flashback to a montage of clips of MANDY KIRK screaming and of the camera focused on NICOLE EXMOOR watching, NICOLE EXMOOR snarling. Cut to NICOLE slowing standing up and getting a pin from the soccer goal. Cut to MANDY KIRK jumping up at down like a cheerleader. Flash to white. End of flashback. Resume to present.)
Nicole Exmoor: It felt ... it felt like somebody else walked over and did it. Like she was split from my body.
(Quick flashback to NICOLE EXMOOR still sitting on the ground where CHUCK DARWELL left her. CHUCK DARWELL is talking with MANDY KIRK. Like an apparition, a see-through version of NICOLE EXMOOR stands up while the rest of her remains sitting. The see-through NICOLE EXMOOR picks up the pin from the soccer goal and approaches MANDY KIRK.)
(Cut back to a camera close up of NICOLE EXMOOR watching as the see-though NICOLE sneaks up on MANDY and att*cks. Flash to white. Resume to present.)
Sara: It's called psychological detachment. It's a function of PCP.
(NICOLE EXMOOR has her arms wrapped around her middle. She continues to cry.)
(Quick flashback to NICOLE EXMOOR sitting over MANDY KIRK'S body. She has a wild-eyed look. Cut to CHUCK DARWELL standing behind her and running his nervous hands through his hair. Cut back to NICOLE as she continues to sit over MANDY'S body. CHUCK DARWELL moves toward her.)
(NICOLE EXMOOR bends over and takes a bite out of MANDY. NICOLE starts to eat. Cut to CHUCK DARWELL throwing up a distance away. Cut back to NICOLE EXMOOR with blood around her mouth as she continues to eat.)
(End of flashback. Resume to present.)
Nicole Exmoor: It's like out of a really bad dream.
Sara: Nicole, I was at Mandy's autopsy. It was not a dream.
(NICOLE cries. SARA looks up at LOCKWOOD who takes out his handcuffs and puts them on NICOLE.)
Lockwood: I'm placing you under arrest for the m*rder of Amanda Kirk.
(NICOLE EXMOOR bursts into tears.)
Nicole Exmoor: What's going to happen to me?
Lockwood: That's up to the D.A.
(The Officer standing off to the side takes NICOLE away. SARA and LOCKWOOD watch.)
Sara: Hey, Cyrus, next time somebody says experimenting with drugs is harmless remind me of this.
(They start to follow.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(GREG angrily limps into GRISSOM'S office and looms over GRISSOM'S desk.)
Greg: What did you do to me?
Grissom: You had a reaction.
(GREG sits down in the chair.)
Greg: I'm Hazmat meat. Quarantine, here I come.
(GREG pulls off the socks and puts both his feet up on GRISSOM'S desk. GRISSOM examines GREG'S right foot. It's clear.)
Grissom: Your right foot, I swabbed with a placebo, regular tap water.
Greg: Yeah, well, I'm not worried about the right foot.
(GRISSOM looks over at GREG'S left foot which is covered in a red rash.)
Grissom: Left foot ... eumycotic dermatitis.
(GREG stares at GRISSOM. He doesn't like the sound of that.)
Greg: Oh, great. It's probably fatal.
Grissom: It's a mildew-induced skin rash.
(GREG stares at GRISSOM, aghast. He can't believe what he just heard.)
Greg: You infected me with mildew?
(GRISSOM doesn't move for a moment. He reaches into his desk drawer and pulls out a small tube. He holds it up and tosses it to GREG.)
Grissom: Here. Hydrocortisone. Follow the directions, clear it right up.
(GREG looks at the tube's directions, wary of anything GRISSOM may be giving him. Camera holds on GREG.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
(GRISSOM puts on a pair of latex gloves. He's sitting in the interrogation room with PETER BERGLUND. Behind him is an officer.)
Grissom: It's called aureobasidium pullulans.
Peter Berglund: Is that supposed to mean something to me? GRISSOM: It may.
(GRISSOM holds out a sheet of paper to
PETER BERGLUND. He takes the paper and looks at it.)
Grissom: This is a warrant.
Peter Berglund: To see my feet?
Grissom: Yes, both of them. Take off your shoes and socks, please.
(PETER BERGLUND looks at GRISSOM for a moment, then reaches down and complies.)
Grissom: Aureobasidium pullulans is a mildew. We found it around the Newmans' pool. It induces rashes in people of Scandinavian descent -- and it does so in a predictable progression which provides us with a valuable timeline.
(GRISSOM kneels down and examines the man's feet.)
Grissom: You have the rash.
(PETER BERGLUND puts his hands across his eyes. He's been busted. GRISSOM takes out his measuring tape and measures the man's feet.)
Grissom: And size 12 feet.
(PETER BERGLUND doesn't say anything. GRISSOM stands up and sits down in his chair. He looks at PETER BERGLUND from across the table for a moment.)
Grissom: Let me tell you how you did this.
(Quick flashback to PETER BERGLUND in a white neoprene swimsuit slipping into the pool unnoticed. Above near the pool's edge preparing to go for a swim is CAL NEWMAN. Cut to PETER BERGLUND silently waiting under the water. CAL NEWMAN slips into the pool to swim.)
(Cut back to PETER BERGLUND under water waiting and watching for CAL NEWMAN to swim to him. Cut to CAL NEWMAN beginning his lap. From beneath him, PETER BERGLUND grabs CAL NEWMAN and drags him under the water. The two men struggle. CAL NEWMAN breaks free and manages to get a breath of air before being dragged back under the water. The men struggle. Under the water, CAL NEWMAN hits PETER BERGLUND in the mouth hard enough to knock out his tooth filling. The filling falls to the bottom of the pool.)
(Flash to white. PETER BERGLUND hitting CAL NEWMAN'S head against the pool side several times before he falls unconscious. PETER BERGLUND drags CAL NEWMAN under the pool and pushes aside the cap to the vortex filter at the bottom of the pool. The filter pulls CAL NEWMAN'S hand into it where he remains until he's found later. PETER BERGLUND exits the pool. Flash to white. Resume to GRISSOM.)
Grissom: ... and then you went upstairs.
(Quick flashback to MONICA NEWMAN peering over the second floor balcony calling to her husband.)
Monica Newman: Cal?
(From behind, PETER BERGLUND grabs MONICA NEWMAN and forces her to hold and f*re the g*n against her own temple. He then dumps her body over the side of the balcony railing. Flash to white. Resume to present.)
Peter Berglund: You're still going to have to convince a jury that I k*lled two strangers for no reason.
(GRISSOM doesn't look worried. He takes his gloves off and puts them on the table.)
Grissom: You ever been to the theater, Peter? There's a play called Six Degrees of Separation. It's about how all the people in the world are connected to each other by no more than six people. All it takes to connect you to the victims is one degree.
(Camera holds on PETER BERGLUND'S worried look.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Jeri Newman: Peter Berglund? No, I don't recall ever having met somebody by that name. (In the back of the room, CATHERINE is setting up a laptop computer with internet access.)
Catherine: Well, do you recall living in San Diego?
Jeri Newman: What does that have to do with anything?
Catherine: Oh, it just might help jog your memory. San Diego's a military town. Your sister married a guy in the navy, right?
Jeri Newman: Did you really bring me in here just for this?
Catherine: Well, we could go someplace else if you'd like.
(CATHERINE carries the laptop over to JERI NEWMAN.)
Catherine: How about your house? It's up for sale.
Jeri Newman: What's this?
Catherine: Well, you see, we didn't have enough evidence at this point to get a warrant, but you put your house on the internet. I didn't need a warrant. Gave me complete access via this virtual tour. And all with your permission.
(CATHERINE starts to navigate through JERI NEWMAN'S house on the internet. She virtually goes through the living room and focuses on the fireplace. She enhances a framed photograph on the mantle. She enlarges it. She sharpens it.)
Catherine: That's you ... that's Peter Berglund ... and that's the Pacific.
Jeri Newman: So what? I know Peter.
Catherine: Yeah. You hired him to k*ll your ex-husband and his new wife.
Jeri Newman: The picture doesn't prove anything.
Catherine: No, but it did give me access to Peter's financial information.
(CATHERINE pulls out a piece of paper and puts it on the table in front of JERI NEWMAN. It's the signature page of a loan application dated 09/19/02.)
Catherine: Loan application. Two signatures -- Peter Berglund and yours. You cosigned for Peter because he couldn't qualify on his own. Payment for the h*t. He gets your house you get your ex-husband's money.
Catherine: The thing about m*rder for hire ... there's always a paper trail.
(JERI NEWMAN looks up at CATHERINE. Camera holds.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(SARA appears in the doorway. She doesn't enter the office. Inside, GRISSOM sits at his desk and is going through his paperwork. He isn't aware that she's there. For a moment, she doesn't say anything. She simply stands there and watches him. SARA calls out lightly to him.)
Sara: Good night.
(GRISSOM looks up and sees SARA standing there. She smiles a bit.)
Grissom: Good night, Sara.
(SARA smiles. She starts to leave then stops when GRISSOM calls back out to here.)
Grissom: Hey. Nice work on the high school case.
(SARA walks back to the doorway. He smiles and nods his head. Twice. Sara smiles back. If that was his apology for his earlier attitude, she'd accept it. For a moment she doesn't say anything and continues to stand in the doorway. GRISSOM returns to his paperwork. SARA considers it for a moment, then says what's been on her mind since she was assigned to this case.)
Sara: I'm ... uh ... sorry I missed your page.
(GRISSOM looks up at her, a little surprised to see her still standing there.)
Sara: It's just, um ... you tell me to get a life and then I get one, and then you expect me to be there at a moment's notice. It's ... um ... confusing.
(GRISSOM doesn't know what to say. He takes his eyes off of SARA, removes his glasses and considers his response. He's caught off guard by her honesty and takes a moment to respond. A moment too long. When he finally figures out what he's going to say, he looks up at SARA ... )
( ... and finds that she's gone.)
(The camera holds on GRISSOM sitting behind his desk, holding his glasses and staring at the empty doorway.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x03 - Let the Seller Beware"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
WHITE FLASH TO:
[INT. HOTEL BALLROOM - NIGHT]
(In the darkness of the deserted auditorium, the back stage door opens. Someone walks in. She's one of the event coordinators making final checks for the show the next day. She walks up to the lighting console and turns on the switches for the main stage lights. She smiles as they go on.)
(She steps down from the console platform and walks past the curtains to the stage itself. She walks along the red-carpeted catwalk and stops at the end. She takes a moment and looks out into the empty seats in front of her.)
(The camera slowly moves lower and angles upward where we see the event sign hanging in the background for the "International Organization of Little People / Fashion". That's not all we see hanging in the background. The camera continues to angle upward where we see the shadow of a figure hanging from the rafters.)
(The event coordinator is satisfied with the stage preparations. She turns around to leave and gasps as she sees the figure hanging high above the stage.)
FLASH TO WHITE:
[INT. HOTEL LOBBY -- NIGHT]
Sara: Is this some kind of convention?
Grissom: Little People Convention. Every year they come from all over the world to a designated city. Socialize, network. It's their Prom, Olympics, and New Year's Eve all rolled into one.
(SARA, GRISSOM and NICK make their way across the hotel lobby. All around them, dozens of Little People mill about, the lobby a bustling as with any other convention.)
(As they walk, a man in a wheelchair rides in the opposite direction toward them. He nearly runs into NICK.)
Nick: Oh, hey. Excuse me.
Man In The Wheelchair: Don't think so, square jaw.
(The MAN IN THE WHEELCHAIR leaves NICK wide-eyed and jaw hanging. GRISSOM and SARA continue along the ballroom unaware of NICK'S close encounter.)
Sara: Grissom, how do you know this?
Grissom: I get the newsletter.
CUT TO:
[INT. HOTEL AUDITORIUM - NIGHT -- CONTINUOUS]
Brass: Lawrence Ames, clothing salesman from phoenix. He's 35, four foot, five inches tall.
(BRASS accompanies the CSIs into the crime scene. They make their way up the stairs leading to the stage. Off on the side talking with an officer is MELANIE GRACE, the event coordinator who discovered the body.)
Brass: One of the, uh, convention organizers found him. She was checking out the stage. There's a fashion show tomorrow if you're interested. She looked up and saw him.
(The body hanging from above is slowly lowered.)
Sara: Guy does a su1c1de in a public place. He was trying to make a statement.
Grissom: su1c1de?
Sara: It's a reasonable suspicion.
Nick: su1c1de among any disability group is above average.
Grissom: Being a dwarf doesn't mean you're disabled, Nick. It means you're ... short.
(The body stops just inches from the ground.)
Grissom: I think we've got a little m*rder.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
[EXT. RESIDENCE - DRIVEWAY -- NIGHT]
(CATHERINE slams the door to her Tahoe shut. She pockets the keys and with her CSI kits in hand, makes her way up the driveway. On the way, she's met by DET. DREW WOLF.)
Det. Drew Wolf: My favorite CSI. I was hoping you'd get the call out.
Catherine: Look who's back in town? So, what happened, Drew? You didn't like ... Idaho? Is that it?
Det. Drew Wolf: Had everything but you.
(CATHERINE laughs at the flattery.)
Catherine: Yeah, right. So, what have we got?
Det. Drew Wolf: One body, male caucasian. Looks like a home invasion. Listen, I'm headed next door. I'm going to talk to a neighbor who heard shouting, called 9-1-1. Keep me posted?
Catherine: Always did.
CUT TO:
[INT. RESIDENCE - NIGHT]
(Catherine walks into the large sunken living room. Standing guard over the body, preserving the crime scene, is FIRST OFFICER CLARK.)
Catherine: Hi.
(FIRST OFFICER CLARK turns to her and gags a little. He can't answer her. CATHERINE introduces herself.)
Catherine: Willows. (FIRST OFFICER CLARK gives CATHERINE his name.)
Catherine: You clear the place?
FIRST OFFICER CLARK: Just finishing.
Catherine: Okay.
(CATHERINE looks at the d*ad body. The man is lying face-up in the living room, blood spilled out in a pool under him from a wound in his head. CATHERINE takes out the camera and begins taking pictures. FIRST OFFICER CLARK, standing guard by the living room door, groans and looks green. He takes a deep breath.)
(CATHERINE'S cell phone rings. She puts her camera down and answers it.)
Catherine: Yeah? (pause) Hey, Warrick. (pause) Uh, yeah, it, uh ... some kind of home invasion gone bad. Don't run any lights. I'll just process till the coroner gets here. (pause) Okay. Cool.
(CATHERINE hangs up. FIRST OFFICER CLARK behind her swallows. The poor guy's turning green being in the same room with the d*ad body.)
FIRST OFFICER CLARK: We were just pulling out of the chili place when dispatch radio, uh, arrived on the scene at 1900 hours. My partner secured the perimeter. I've been in here ...
Catherine: This your first time on body watch?
(FIRST OFFICER CLARK gags and nods his head.)
Catherine: Well ... alive ... it's inside your bowels. d*ad, it ends up on the floor.
(The camera moves to the mess under the d*ad body to emphasize CATHERINE'S point. FIRST OFFICER CLARK'S eyes move to the mess also. He begins to gag uncontrollably and puts and arm up to stop himself from contaminating the crime scene.)
(CATHERINE sees his distress and waves him out of the room.)
Catherine: Go. Go, go, go. Just get some air.
(The Young Officer takes off out of the room. CATHERINE chuckles. She goes back to processing the crime scene.)
(She moves to her print kit and begins dusting the floor. She looks around. She stands up and carrying her print kit, moves to another portion of the living room.)
(She dusts the sides of the cabinet doors and moves along the wall. CATHERINE looks down at her hands. The shadow inside the cabinet moves. CATHERINE looks up.)
(The figure inside the cabinet bursts out and grabs CATHERINE. In a cloud of fingerprint dust, the two struggle. He pushes her along the living room. CATHERINE continues to struggle.)
Catherine: (yells) Suspect on location! Suspect on location!
(He pushes her up against the wall. CATHERINE continues to fight back against the intruder. She manages to knock the intruder across the head, releasing his hold on her. For all that she's worth, CATHERINE fights. The intruder knock's CATHERINE across the head and pushes her down. CATHERINE falls to the floor landing in the d*ad body's pool of blood.)
Officer: In here!
(The intruder runs out the back.)
(Two police officers with their w*apon drawn enter the living room. WARRICK follows, his g*n also draw.)
Catherine: Out back.
Warrick: Catherine, are you all right?
(The two officers cautiously follow in the direction the intruder left. WARRICK lingers behind. He kneels next to CATHERINE.)
Catherine: He went out back. (to WARRICK) I'm all right. I'm okay.
(WARRICK leaves CATHERINE and follows the officers.)
(CATHERINE slowly gets up. Her hands covered with the victim's blood, her own blood spilling from the gash in her forehead.)
(In the background, we hear: Warrick: Talk to me! Anything? )
(WARRICK returns to the house, FIRST OFFICER CLARK behind him.)
Warrick: He must have gotten out the back window.
(WARRICK turns around and holsters his g*n. For a brief moment, he's silent and thoughtful. He looks up at FIRST OFFICER CLARK in front of him.)
Warrick: (angry) You the First Officer on the scene?
(The officer nods his head.)
Warrick: When you clear a place you clear it, do you understand?
FIRST OFFICER CLARK: Yes, sir, I'm sorry.
Warrick: We lost a CSI two years ago because of the same mistake!
(Still on the floor, CATHERINE speaks up.)
Catherine: Warrick ... ease up. My fault. I sent him out.
Warrick: (to the officer) Use your radio and call for backup.
(FIRST OFFICER CLARK turns away and pulls out his radio. WARRICK kneels down next to CATHERINE.)
Warrick: (softly) Hey ...
Catherine: Hey.
Warrick: Are you okay?
Catherine: Yeah. I'm all right.
(WARRICK reaches out a hand to get a better look at the cut on CATHERINE'S forehead. CATHERINE moves back a little.)
Catherine: Don't touch me.
(She holds out her bloodied hand.)
Catherine: I'm evidence.
CUT TO:
[INT. HOTEL - AUDITORIUM]
(SARA lifts some fibers off of the deceased and envelopes it. The body of the deceased is resting on the gurney, the rope is still around his neck. DAVID PHILLIPS waits to accompany the body back to the Lab for processing.)
Sara: I got some fibers here. Possibly secondary. (NICK is walking back up to the stage. He's carrying a cord of rope.)
Nick: This rope was identical to the rope around the victim's neck. It's used as a hand rail. (DAVID PHILLIPS prepares to cut the rope loose. GRISSOM stops him.)
Grissom: Wait, David. Got a hair in the knot.
(Quick CGI POV to the knot and the single strand of hair tied with the rope. End of CGI POV. Resume to present.)
Sara: k*ller's in the rope.
Grissom: I want to preserve this as is, so cut higher.
David Phillips: Yes, sir.
(DAVID moves the Kn*fe up higher on the rope he was about to cut. He cuts the rope and the body falls back flat on the gurney. Camera lingers on the deceased's neck. GRISSOM uses his flashlight and looks up where the deceased was found.)
CUT TO:
[EXT. RESIDENCE -- NIGHT]
(CATHERINE puts on a pair of latex gloves.)
Catherine: Hey, um, hand me a swab, would you? (WARRICK turns around holding the swab out for CATHERINE.)
Warrick: You know I could do this for you. CATHERINE: Not going to hurt any less.
(CATHERINE takes the swab. She stands in front of the mirror and takes a sample from her head wound. She groans with the effort. Behind her, WARRICK winces.)
Warrick: That cut is deep.
(CATHERINE caps the swab tip and hands it to WARRICK.)
Catherine: Damn.
(CATHERINE turns back to the open van doors searching for some privacy.)
Catherine: All right, um, hey, uh, turn around.
Warrick: Huh?
Catherine: Privacy.
(WARRICK moves to the left side and turns his back to CATHERINE effectively blocking her from the driveway view. She starts to remove her clothing.)
Catherine: The guy bodied me full-on. I don't want trace to miss one hair or one fiber.
(WARRICK holds open the evidence bag while CATHERINE puts her clothes in it.)
Warrick: You decent?
(WARRICK turns around. The Coroner's office exits the home with the d*ad body on a gurney. They pass WARRICK and CATHERINE. WARRICK starts to put on his latex gloves while CATHERINE buttons up her work jumpsuit.)
Warrick: Looks like we're up.
(WARRICK and CATHERINE head back into the house to collect the evidence.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY ROOM -- NIGHT]
(The body is on the table. GRISSOM lifts the sheet covering the deceased's legs.)
Grissom: These scars are old. Tell me this wasn't bone-lengthening surgery. ROBBINS: Probably done when he was a teenager. Surgical pins are inserted into the bone ...
(Quick CGI POV of the apparatus externally attached to the surgical pins inside the leg bones. Camera passes through the skin to the bone as the bones are broken and CGI fills in the bone growing back.)
Robbins: (V.O.) ... and linked to an external screw. Turn the screw, it cracks the bones. Osteogenic cells flood in.
(End of Quick CGI POV. Resume to present.)
Robbins: Callus forms to bridge the gap. The fractures heal and the bone gets longer. You have to break the bones every four to six hours a quarter millimeter at a time. Excruciating pain ... for an extra few inches.
Grissom: What people will endure to be normal.
Robbins: "What fools these mortals be."
Grissom: Hmm.
Robbins: So ...
Grissom: Hanging?
Robbins: At least. C.O.D. was asphyxiation due to strangulation. Give me a hand here.
(GRISSOM and ROBBINS lift up the body so that they can see the back. ROBBINS pushes the deceased's left ear up.)
Robbins: Bruise behind the ear is characteristic of a hanging.
(ROBBINS pushes the hair at the back of the head away.)
Robbins: This bruise is not.
Grissom: What is that, blunt force?
Robbins: Take a look at this.
(ROBBINS and GRISSOM move to the X-ray viewbox.)
Robbins: Separation of the first and second vertebrae prior to death.
Grissom: He was paralyzed?
Robbins: That's something that would only happen to a dwarf with pseudoachondroplasia. Physiology can make for cervical spine instability.
Grissom: So it's possible that whoever did this knew something about dwarf anatomy.
(Quick CGI POV to someone hitting the back of someone else's neck. Cut to a close up of the skeletal frame breaking between the first and second vertebrae. End of CGI POV. Resume to present.)
(Both GRISSOM and ROBBINS turn to look back at the body on the table.)
Robbins: Hmmm ...
CUT TO:
[INT. RESIDENCE -- NIGHT]
(Back in the house, WARRICK examines the large blood stain left behind by the deceased. CATHERINE follows more slowly. WARRICK moves on to the kitchen area. CATHERINE walks past the large blood stain on the floor. CATHERINE looks up at the cabinets along the wall where the suspect hid.)
(Quick flashback to the suspect pushing CATHERINE up against the wall and the two struggling.)
Catherine: Suspect on location! (Flash to white. End of flashback. Resume back to CATHERINE.)
Catherine: He was drinking.
(WARRICK watches CATHERINE while he puts on his gloves.)
Catherine: It was beer. Warrick: I'll go process the back. (CATHERINE nods her head. WARRICK leaves the room.)
CUT TO:
[EXT. RESIDENCE - NIGHT - CONTINUOUS]
(WARRICK kneels at the back outside gate and lifts a footprint off of the door.)
(Quick flashback to the suspect hitting the door and boosting himself over the gate. Cut to the suspect falling over the back and getting away. End of flashback. Resume back to WARRICK.)
(WARRICK takes the print and stands. He heads back into the house.)
CUT TO:
[INT. RESIDENCE - NIGHT - CONTINUOUS]
(CATHERINE kneels in front of the living room cabinet door. She pulls off something and bags it. WARRICK enters.)
Catherine: Denim fiber from the cabinet. Could be nothing. And lots of smudges but no prints worthwhile.
Warrick: Yeah, I didn't get any prints either but I did get a partial shoe tread from the back gate. And I don't think our d*ad guy lived here.
Catherine: Based on ...?
(WARRICK stares at the photograph on the refrigerator door. He pulls takes one down and hands it to CATHERINE. She looks at it. It's a photograph of a black man and a light-skinned woman. Both are smiling.)
Warrick: These pictures. Got Detective Wolf looking for the homeowner's name from the real estate records.
Catherine: So, our home invasion robbery may be not a home invasion after all.
(WARRICK nods.)
CUT TO:
[INT. HOTEL & CASINO - NIGHT]
(GRISSOM and SARA stand next to the machine that MELANIE GRACE is playing. SARA puts on a pair of latex gloves.)
Sara: So, would you mind if we tape-lifted your shirt? Combed your hair for evidence?
Melanie Grace: Evidence of what?
Sara: Well, the first person at a crime scene often turns out to be a viable suspect.
Melanie Grace: I'm the one the found his body. I'm the one that called it in. SARA: If you're innocent it'll, rule you out.
(MELANI GRACE considers this and shakes her head slightly. She may not like it, but she consents.)
Melanie Grace: Go ahead.
(SARA digs into her kit to get her stuff out. MELANI GRACE continues to play the machine. She glances over at GRISSOM.)
Melanie Grace: Does he ever talk?
Sara: Yeah. At, uh, random intervals.
Grissom: I was admiring your reaching tool.
Melanie Grace: I have one I use to wipe my tush with. Would you like to take a look at that, too?
(SARA smiles as she collects the samples.)
Grissom: Hey, if the world doesn't adapt itself to you, you have to adapt yourself to it, right?
Melanie Grace: Yeah. You know, you probably think I'm cold. Pulling slots after I found Lawrence up there. This is the convention. Everything moves at warp speed.
Sara: I'm done. Thank you.
(MELANI GRACE gets up and off of her seat. She starts to leave then turns around.)
Melanie Grace: You know, fifty-one weeks in your hometown with nothing but average-sized people. I have to fit a lifetime into this week. We all do. Business connections, gambling, romance.
Grissom: Excuse me. Did Lawrence have any problems in those areas?
Melanie Grace: Romance? Not at all. Lawrence was a pseudo. He could have his pick of any girl in here.
(MELANI GRACE leaves. SARA takes off her gloves and watches her walk away.)
Sara: What's a pseudo? GRISSOM: Dwarfs with pseudoachondroplasia have features and head size like normal people. Dwarfs with achondroplasia have shortened limbs and enlarged heads.
Sara: Different types of dwarfs, different social status? GRISSOM: Hey ... discrimination isn't just for tall people. (SARA looks at GRISSOM.)
CUT TO:
[INT. LAWRENCE AMES' HOTEL ROOM]
(GRISSOM removes the crime scene tape across the hotel room door. He opens the door and finds a young woman sitting on the bed. Her back is to the door. GRISSOM looks at SARA. He's surprised to find anyone in the room at all. They both are.)
Grissom: Excuse me.
(The woman turns around.)
Grissom: Isn't this, uh, Lawrence Ames's room?
Jessica Marcus: Yes.
Grissom: Who are you?
(JESSICA MARCUS sighs. She gets up off the bed and approaches them. GRISSOM seems surprised that she's just as tall as he is. He looks at SARA. They both catch themselves and look back at JESSICA MARCUS.)
Jessica Marcus: I'm his fiancée. We always got those looks. I'm five-seven, in case you were wondering.
Sara: Our concern isn't your height; it's your proximity. You're standing in a potential crime scene.
(GRISSOM puts his kit down and pulls out the nearest chair.)
Grissom: Would you please sit down here? We want to keep the contamination to a minimum.
(SARA is on her cell phone.)
Sara: (on phone) This is CSI Sidle. We need a uniform in room 312 right away. Thanks.
(SARA hangs up the phone. JESSICA MARCUS sits in the chair.)
Grissom: Didn't the police tell you not to come in here?
Jessica Marcus: Yes. But I wanted to be near Lawrence's things.
Grissom: And, um... these are Lawrence's things?
Jessica Marcus: Yes.
(GRISSOM notices the reaching tool on the bedside table next to the laptop and a stack of magazines. He looks up and immediate notices the gouge in the far wall. He takes a couple steps closer to the wall.)
Grissom: Sara?
Sara: Yeah?
(SARA moves in to examine the mark on the wall.)
Sara: Gouge is deeper at the bottom than the top.
Grissom: So the strike was made coming down.
(GRISSOM goes back to the reaching tool. He picks it up and looks at it. SARA finds a piece of broken plastic on the floor near the wall. She picks it up.)
Sara: Grissom.
(They match the broken plastic to the reaching tool. GRISSOM takes the plastic from SARA. SARA looks up at JESSICA MARCUS.)
Sara: Did you and Mr. Ames have an argument, say last night?
Jessica Marcus: No.
(SARA looks at JESSICA MARCUS.)
Jessica Marcus: You don't believe me?
(GRISSOM holds up the broken plastic.)
Grissom: Well, right now, we believe the evidence.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY]
(DAVID PHILLIPS prepares the electric razor. CATHERINE and WARRICK visually look over the body.)
Catherine: What are the marks on his forearms? (DAVID PHILLIPS turns around and glances at the multiple indentations CATHERINE'S looking at.)
(Quick CGI POV focuses on a single round indention on the deceased's arm. End of CGI POV. Resume to present.)
David Phillips: Hmm, can't say. But I do know that Teddy Henders died from blunt force trauma.
Warrick: From what, do you think? A hammer, butt of a g*n? DAVID PHILLIPS: I was just going to see if I could figure that out. (DAVID uses an electric razor and starts to shave the deceased's head to see what's underneath his hair. After clearing the contact area, he turns the razor off. CATHERINE leans in to look at the impression.)
Catherine: "Z"?
(Quick flashback to CATHERINE dusting a z-mover video game box at the crime scene. End of flashback. Resume to present.)
Catherine: There was a z-mover video game on the floor next to the vic. m*rder by z-mover.
Warrick: The neighbors heard shouting. Two guys break and enter and get into some kind of an alternation.
(Quick flashback to two men arguing inside the house. One man picks up the video game box and hits the other with it. Quick CGI POV impression of the letter "Z" imprinted on the bloody scalp. End of CGI POV. End of flashback. Resume to present.)
Catherine: One ends up k*lling the other.
David Phillips: And almost Catherine.
(CATHERINE is surprised by DAVID'S comment. She's not amused by it either. DAVID looks up at CATHERINE and smiles lightly.)
David Phillips: That had to be scary, huh?
Catherine: (flatly) I didn't have time to be scared, David.
(DAVID'S smile fades.)
David Phillips: Oh.
(Without a word, CATHERINE leaves the room. WARRICK watches her leave, concerned for her. WARRICK takes off his gloves and looks back at DAVID.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HOTEL - LAWRENCE AMES' ROOM -- DAY]
(GRISSOM looks down at the champagne glass next to the bucket and bottle on the table. He kneels in close and slowly picks it up. The champagne glass has some drink still left on the bottom.)
Grissom: Is the lipstick on this champagne glass yours?
Jessica Marcus: No champagne for me. I'm ... pregnant. Only seven weeks. SARA: Is this your computer, or Lawrence's?
Jessica Marcus: Lawrence's.
Sara: We're going to have to take it with us.
(JESSICA MARCUS nods. GRISSOM opens an evidence bag for the champagne glass.)
CUT TO:
[EXT. -- DAY]
(WARRICK finds CATHERINE standing outside, leaning against her car.)
Warrick: Cath? You all right? (WARRICK reaches CATHERINE.)
Warrick: Don't let him get to you like that.
Catherine: I was scared ... and I still am.
(WARRICK puts his arms around CATHERINE.)
Catherine: Don't tell anyone, okay.
CUT TO:
[INT. CSI -- LAB]
Nick: Hey, Greg. GREG: Hey. NICK: Get anything off the rope? GREG: Yeah, a few brown hairs around the knot. Only one with a skin tag, though. And those fibers that Sara found on the body? NICK: Yeah? GREG: Polyester upholstery. Cheap rugs and tacky furniture.
(GRISSOM walks into the lab and looks at the samples on GREG'S table.)
Grissom: I need these hairs.
Greg: Uh, uh, no DNA tags on those.
Grissom: Doesn't matter.
(GRISSOM finds what he's looking for then leaves the lab as quick as he entered it. NICK looks at where GRISSOM goes, his back to GREG.)
Greg: (grumbling) You know, I hate it when he does that. I like to make a presentation, you know?
(NICK turns to look at GREG.)
Nick: So, present.
Greg: Eh, forget it. Scope's interesting.
(NICK looks into the scope. Scope View shows skin cells. Resume to present.)
Nick: All right, fresh epithelials.
Greg: Yeah, I found them on the rope near the anchor point. A minuscule sample, but useable.
Nick: How long for DNA?
Greg: Well, give me something to compare it to. Get me the fiancée's blood.
Nick: Well, I can't just give you her blood. That takes a court order.
Greg: I'm open 24 hours.
CUT TO:
[INT. CSI -- LAB]
(In the lab, SARA goes through LAWRENCE AMES' laptop's contents.)
Sara: (reading) "Met you in a pseudo chat room. Do you remember me?" "I remember you."
[THE FULL COMPUTER SCREEN READS:
"CHAT ARCHIVE INSTANT MESSAGE"
<DANIELLE256>
I met you in a pseudo chat room. do you remember me? I'm the one who liked French films and Soderberg.
<LAWRENCE1801>
I remember you. Love Soder too.
<DANIELLE256>
You going to the Convention this year? I'd love to meet you. See if you can pick me out. I'm four even. Perfect face. perfect body. All yours.
<LAWRENCE1801>
I'm dying to see your pic. C'mon
<DANIELLE256>
Count to three, Handsome.
<To View Attached File. Click Here> ]
Sara: (muttering) "...to the convention this year? "I'd love to meet you. See if you can pick me out. Perfect face perfect body. Count of three, handsome."
(SARA clicks on the attachment and the picture of an attractive dark-haired woman appears on screen. SARA stands and leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Sara: Jessica, you knew Lawrence was having an on-line affair with another woman didn't you?
Brass: You logged on at times when Lawrence was at work. We checked his work records.
Jessica Marcus: A lot of girls liked Lawrence. He was funny and smart and sweet.
Sara: Danielle was different. She was his size. She was ... perfect.
Nick: We found your skin cells on the rope that hung Lawrence.
Jessica Marcus: You're making that up.
Nick: No, I'm not.
Brass: Our court order ... your blood.
Jessica Marcus: I did not put a noose around my fiancé's neck.
Nick: Then explain how your skin cells got on the rope.
Jessica Marcus: I can't.
CUT TO:
[INT CSI -- LAB]
(GRISSOM is conducting a test on the strand of hair found in the rope. Using a Tinius Olsen(tm) machine, GRISSOM tests the strength of the single strand until it breaks.)
(SARA and NICK walk in.)
Sara: Hey. Confronted the fiancée; she stonewalled us.
Nick: Brass told her not to leave town.
(NICK turns to look at SARA)
Nick: He sounded a bit like Jack Lord, don't you think?
(SARA looks at NICK and smiles.)
Grissom: Well, she can go wherever she wants to. She didn't do it. Take a look. Hair from the knot.
(SARA and NICK move to look through the microscope. They see the hair.)
Sara: They look thin.
Grissom: Diameter's 60% less than normal. Tensile strength is also way below normal.
Nick: You have a cross section?
Grissom: (nods) Mm-hmm.
(GRISSOM adjusts the microscope. NICK and SARA look back at the sample.)
Nick: Hmm. No pigment at the central core. No color.
Grissom: Cartilage Hair Hypoplasia. C.H.H. It's characterized by fine, brittle body hair. It's an extremely rare syndrome. It's a form of Dwarfism.
Nick: Okay. So, back to the midgets.
(GRISSOM looks sharply at NICK.)
Grissom: Nick ... "Dwarfs" or "Little People".
(NICK nods at the correction.)
Grissom: You'll need to know what to look for. So, I'll put together a list of C.H.H. Attributes.
Nick: Well, you better do it fast. The convention's over in two days. After that, the "Little People" go home and we lose all our suspects.
(Camera hold on GRISSOM.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. HOTEL BAR -- NIGHT]
(MELANIE GRACE sits at a bar-side table with two other women. They're having drinks. GRISSOM approaches them.)
Grissom: Ms. Grace? (to the woman nearest him) Excuse me. (to MELANIE GRACE) I need your help. MELANIE GRACE: What now? My DNA? GRISSOM: No, actually ... your eyes. CUT TO:
[INT. HOTEL BAR - NIGHT - CONTINUOUS]
(GRISSOM shows MELANIE GRACE the picture of "DANIELLE256".)
Melanie Grace: I'm sorry, I don't recognize her and a girl this pretty I would remember. The guys would still be drooling.
Grissom: Well, according to the police, there's none named Danielle registered at the hotel or at the convention.
Melanie Grace: You expected an internet handle to be a real name? (GRISSOM shakes his head slightly.) Maybe the girl got cold feet. My first IOLP convention -- I walk in, see 200 Dwarfs staring back at me and what goes through my head? "There's no way I look like these people." I ran.
Grissom: But you went back. MELANIE GRACE: Eventually. I guess I realized it's nice to see eye-to-eye with someone.
Grissom: Mm. MELANIE GRACE: I get the impression that's a little tough for you. "The freaks have looked at her in a secret way and tried to connect their eyes with hers as though to say, we know who you are. We are you.'" (GRISSOM smiles.)
Grissom: Faulkner.
Melanie Grace: Close. Another southern writer. Carson McCullers.
Grissom: I think we look for the differences in each other to prove that we're not alone.
Melanie Grace: What's yours? Your difference? (GRISSOM doesn't respond.) Mine's the worst. Random gene. Anyone can have a dwarf. Sometimes I've even seen terror in average-size people's eyes. I remind them that their little carbon copies might not be such a copy after all.
Grissom: Well, mine's genetic, progressive and impossible to predict.
Melanie Grace: And hard to notice ... unless you tell someone.
(GRISSOM nods and smiles slightly at the insight.)
CUT TO:
[INT. CSI -- LAB]
(CATHERINE enters the lab. WARRICK is already there working in his lab coat.)
Catherine: Got your beep. What'd you get? Warrick: Denim fibers at 400x. (WARRICK motions to the microscope on the table behind him. CATHERINE peers into it.)
Warrick: The skin from the d*ad guy and the denim found in the cabinet were both coated in the same substance.
(Microscope view of the denim strand. CATHERINE looks up at WARRICK.) CATHERINE: You get a breakdown?
Warrick: Yeah, partially hydrogenated soy bean oil, traces of beef fat, sugar and potato starch.
Catherine: Cooking grease.
Warrick: That would explain the marks on the guy's forearms. Grease burns.
(Quick CGI POV to a hand lifting the wire basket out of a deep fryer. The oil splatters. Cut to a close up of the hot oil on skin. Flash to white. End of CGI POV. Resume to present.)
Catherine: So there's a good chance the victim worked in a fast food joint.
(WARRICK nods. DET. DREW WOLF enters the lab.)
Det. Drew Wolf: I got a feeling they both did. The owner of the house has a franchise of fast food places. Uh, fast and fresh burgers. I just got off the phone with him from Hawaii. Alvin Jackson. Three stores in the Vegas area. And he's on his yearly vacation.
Catherine: Something his employees would definitely know. Get any addresses?
Det. Drew Wolf: You bet.
Warrick: Let's go check it out.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(DANIELLE'S photograph is up on screen.)
Sara: We're looking for anything in the picture that might give us a way to find her. Something in the background that determines location a useful reflection, anything.
(ARCHIE takes a good look at the picture. He smiles and laughs a little.)
Archie Johnson: Huh ... oh, I get it. This is like a test, right?
Sara: What do you mean? ARCHIE JOHNSON: Individual hair shadows are amorphous when they should be distinct.
(ARCHIE stands and moves to the screen where he points to "DANIELLE" right cheek bone. A box frame on screen marks the points ARCHIE emphasizes.)
Archie Johnson: In these two areas -- here and here-- they're on the same focal plane but this one's sharp and this one's fuzzy.
Sara: This picture's a fake?
Archie Johnson: A composite. A very good one.
SHORT TIME CUT TO:
[INT CSI - AUDIO/VISUAL LAB]
(GRISSOM watches the monitor as ARCHIE works his magic.)
Grissom: This explains why nobody ever saw her. She only exists in pixels. Nat King Cole.
Sara: Excuse me?
Grissom: Archie would you separate the composite elements, please?
Archie Johnson: Yup.
(ARCHIE de-composites the photograph.)
Archie Johnson: The image was built out of these.
Grissom: Now if you could, pull up a photo of the victim, gray scale. There's a theory in art that the Mona Lisa was really a feminized version of Leonardo Da Vinci himself.
Sara: Concept suggests ... Deep down we're all narcissists?
Grissom: Yeah. What attracts us the most is ourselves.
Sara: (to ARCHIE) Scale to match the original picture with Danielle.
(BRASS walks in and stops to watch. ARCHIE works on the two photographs, matching it by hand.)
Sara: Danielle is a virtual woman created to attract and lure Lawrence Ames ... away from his fiancée, maybe?
Brass: Boy, do I have good timing, or what? I did a little checking with the phone company. In the past year, Lawrence Ames received over two hundred calls from Melanie Grace.
Sara: The same woman that found him d*ad.
Brass: He got call-blocking against her two months ago.
Sara: Well, that's interesting. That's the same time Danielle started sending him instant messages.
(Camera holds on GRISSOM'S thoughtful look.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
Melanie Grace: Yes, I called Lawrence. We met in a chat room. He also called me. Did you look at my phone records? BRASS: He eventually blocked your calls. The same week he got engaged to Jessica Marcus.
Grissom: It was at that time he began receiving messages from ... a perfect woman ...
(GRISSOM holds out a single sheet with two photos on it, LAWRENCE AMES and "DANIELLE".)
Grissom: ...who doesn't really exist.
Melanie Grace: You think that I would do that? Present myself to a man as anything other than who I am?
Brass: If it would break up his new engagement. So what happened? You went to the convention you saw him with his tall girlfriend and you go to plan B?
Melanie Grace: (to GRISSOM) You think I'm capable of that? k*lling because a woman has some height on me? Pretending to be an ideal ... if you think that ... then I was wrong about you.
CUT TO:
[INT. HOTEL - MAIN LOBBY - VENDOR AREA -- DAY]
(NICK walks through the lobby, looking around. He's reading through some papers in his hands. He gets some distance when the same man from the beginning of the episode riding a wheelchair deliberately blocks his path. NICK tries to walk to the left around the man in the wheelchair. The man turns his wheelchair to block NICK. NICK looks up from his papers. He sees the man and tries to walk around the man to the right. Again, the man turns his wheelchair to block NICK.)
Nick: Hey. Do you mind, little man? I'm trying to work here. Man In The Wheelchair: Really? NICK: Yeah. Man In The Wheelchair: You making any progress, CSI man? NICK: Some. Man In The Wheelchair: Uh-huh. Are we getting your A-game or your B-game?
(NICK smiles a little.)
Nick: Come again? Man In The Wheelchair: You see us little people we're used to getting the short end of the stick. (NICK chuckles.) Man In The Wheelchair: (sharply) You don't get to laugh at that.
(NICK stops smiling at all. The man in the wheelchair activates the wheelchair and the seat starts to rise. NICK notices the impressive gadgetry. It lifts him higher and higher till he's looking eye-to-eye with NICK.)
Man In The Wheelchair: What I want to know is are you treating this like a case or like a joke?
Nick: Well, a man was k*lled; that's no joke.
(NICK meets the man's eyes. He's completely serious.)
Nick: (quietly) You got my A-game. Man In The Wheelchair: Yeah? NICK: Yeah. (The MAN IN THE WHEELCHAIR is satisfied by what he sees in NICK'S eyes.)
Man In The Wheelchair: Carry on. (The man lowers the wheelchair seat and leaves NICK as he continues on his way. NICK watches him leave for a moment, then turns around. In the background at the nearest vendor booth, we hear the salesman giving pitch to his customer.)
Kevin Marcus: This is very easy to articulate. Comes in several different colors. You will enjoy this very, very much ...
CUT TO:
[INT. CSI -- LAB]
(GREG looks over his most recent test results. He sees GRISSOM walking purposefully through the hallway. GREG grabs an empty file folder and exits the lab with the test results to catch GRISSOM.)
Greg: Uh, Grissom.
(GRISSOM stops and turns around.)
Greg: There's, uh, something weird going on with the hairs from the ropes. Well, not weird. More like... hair-raising.
(GRISSOM doesn't crack a smile.)
Greg: Sorry, bad one. Um, okay, at first I thought that maybe I was doing something wrong -- running too many DNA samples, you know seeing things. GRISSOM: Greg?
(GREG exhales.)
Greg: Uh, the dwarf hair has seven alleles in common with Jessica Marcus's skin cells.
(This information surprises GRISSOM.)
Grissom: The two donors are related?
Greg: Profiles say so.
(GRISSOM'S cell phone rings. He answers it.)
Grissom: Grissom.
CUT TO:
[INT. HOTEL - LOBBY - VENDOR AREA -- DAY]
Nick: He looked like he fit your profile. So, I asked around. Two little people confirmed he has C.H.H.
Brass: Okay, thank you.
(BRASS and GRISSOM both make their way to vendor booth #107. KEVIN MARCUS is showing his products to potential clients.)
Brass: Kevin Marcus?
Kevin Marcus: Buying or browsing?
Brass: Maybe a little bit of both.
Grissom: Rope for makeshift banisters, huh?
Kevin Marcus: That rag rope ... cuts the hands. Now you feel this nylon. Go ahead feel that.
(KEVIN MARCUS holds out the rope for GRISSOM. GRISSOM kneels down and takes the rope.)
Kevin Marcus: I do trade shows mail order ... I even sold to this convention.
(KEVIN MARCUS pulls out a brochure and holds it out to GRISSOM.)
Grissom: So what do you, buy from wholesalers and then repackage in your home? KEVIN MARCUS: Yeah, Chicago. BRASS: Well, that explains how your daughter's skin cells got all over the rope that hung Lawrence Ames. GRISSOM: Your daughter's name is Jessica, right? (KEVIN MARCUS looks up at BRASS and nods his head.)
Brass: The lab also found your hair all over that rope.
Kevin Marcus: Well, I touch all the merchandise.
Brass: Nice try, Kev. They hair was caught in the noose.
(KEVIN MARCUS doesn't say anything. GRISSOM watches him closely.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Nick: Did you know your father k*lled Lawrence?
Jessica Marcus: That's what they told me, but I couldn't believe it. I still can't.
INTERCUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Brass: So you created Danielle to break up your daughter's engagement.
Kevin Marcus: That's an interesting theory.
(KEVIN MARCUS smiles. Neither BRASS nor GRISSOM say anything.)
Kevin Marcus: What? You guys trace an online account to my credit card or something like that? Oh, no, wait. Um, I use a free ISP. That means no name, no trail, no case.
(BRASS looks at GRISSOM.)
Grissom: Mr. Marcus, in your business you deal with proportions, correct? You provide Little People with what they need to compensate for their proportions and to live with them. You know what Little People aspire to be. Your, uh, logo is interesting.
(GRISSOM holds out a blue and white business card. On the left is the altered Da Vinci's image and on the right is the business information: REACH U? / KEVIN MARCUS / PRESIDENT / 3114 W. NILE ROAD, CHICAGO, IL 60603 / (312) 555-1247.)
Grissom: Da Vinci's "Vitruvian Man." In the perfect human form, arm span equals height. You're very aware of what, uh people are looking for in a mate aren't you?
INTERCUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Jessica Marcus: The night before he died, Lawrence and I had a fight about Danielle.
(Quick flashback to LAWRENCE AMES in front of his laptop. Behind him is JESSICA MARCUS.)
Jessica Marcus: Are still in contact with her?
Lawrence Ames: She e-mails or IM's. I don't answer. I love you.
(JESSICA picks up the reaching tool from the table and throws it across the wall.)
Jessica Marcus: You're cheating on me!
(The reaching tool hits the wall and the plastic tip breaks. End of flashback. Resume to NICK.)
Jessica Marcus: And I ran out of the house and I went to my dad. I was crying and he told me to leave Lawrence but I couldn't because ... I ... I loved him. And I'm having our baby. And I went back to our room and we made up.
(Through her tears, JESSICA smiles at the memory.)
Jessica Marcus: And the next night ... he said he was going out to meet a friend.
(Quick flashback to LAWRENCE AMES dressed up and headed out the door. JESSICA MARCUS leans down and gives him a kiss.)
Lawrence Ames: I'll be back in an hour, babe.
(End of flashback. Resume to present.)
Jessica Marcus: And he never came back.
(NICK nods.)
INTERCUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
Brass: So, what'd you have against the guy?
Kevin Marcus: What are you, blind? He was a dwarf. My wife and I ... Our daughter ... a Genetic Miracle. One-in-four sh*t she'd be an average. And she was a beautiful average.
Grissom: So your wife is also a dwarf.
Kevin Marcus: Yeah. Jessica didn't have to fight the world every day, like we did. We freed her from all that. But that little bastard kept dragging her right back down into it.
Brass: So you k*lled him.
Kevin Marcus: I said I didn't like the guy. I didn't k*ll anybody.
(GRISSOM looks grimly at BRASS, then back to KEVIN MARCUS. GRISSOM and BRASS leave the room. BRASS closes the door and takes a deep breath. He looks at GRISSOM.)
Brass: Can we prove it?
Grissom: Not yet. The rope was anchored to the lighting truss which was at least five feet over his head.
Brass: So?
(Inside the room, KEVIN MARCUS gets off his chair and puts his jacket back on.)
Grissom: He can barely lift his arms above his shoulders. He suffers from Lumbar Lordosis Swayback ... which is typical of C.H.H. And it limits his mobility even more.
Brass: Hey, the guy put a rope around the victim's neck.
Grissom: Yeah, but how did he hang him?
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. ALVIN JOHNSON'S FAST FOOD PLACE - PARKING LOT - DAY]
[INT. TAHOE -- DAY]
(CATHERINE moves to open her passenger side door. DET. DREW WOLF leans into the open window stopping her.)
Det. Drew Wolf: Listen, Catherine. Me and Warrick can handle this. (WARRICK glances at CATHERINE.)
Catherine: I'm going in. Warrick: Well, the guy as*ault you. You don't have to put yourself through this, you know. CATHERINE: I don't, I'll be scared of the next guy and the one after that.
(CATHERINE shakes her head, no. She opens the car door and gets out of the car. WARRICK gets out of the car also.)
CUT TO:
[INT. ALVIN JOHNSON'S FAST FOOD PLACE - DAY -- CONTINUOUS]
Warrick: Shoe tread, denim fiber, a lot of cooking grease. Based on that evidence, they all did it.
(WARRICK closes the file folder he's carrying and walks back to the DETECTIVE and CATHERINE.)
Det. Drew Wolf: All right, so we take them one by one.
Catherine: Transfer works both ways.
(CATHERINE steps up toward the line of cooks behind the counter. She unzips her bag and hands a stack of evidence paper sacks to WARRICK.)
Catherine: Warrick?
(CATHERINE also takes out a stack of clean tissue. She hands one to the YOUNG MAN standing first in line.)
Catherine: Blow your nose.
Young Man: I don't gotta.
(The YOUNG MAN looks at CATHERINE. CATHERINE doesn't break eye contact. She tilts her head up and holds the tissue out. The YOUNG MAN takes the tissue and blows his nose.)
(WARRICK hands CATHERINE the open evidence sack. The YOUNG MAN hands the tissue back to CATHERINE. She glances at it and puts it in the sack and puts it on the counter. She moves on to the next man standing in line. She holds out a tissue for him.)
Catherine: Guess.
(The man takes the tissue and nods his head. He blows his nose and hands the tissue back to CATHERINE. She puts it in the evidence sack and moves to the third man standing in line.)
(She holds out the tissue for the man, DWAYNE GALLO. DWAYNE GALLO looks down at the tissue and doesn't move to take it.)
Dwayne Gallo: I don't think so.
(He looks away.)
Catherine: Then I guess I'll just have to look for myself. (CATHERINE moves back to her kit.)
Dwayne Gallo: You want to look at my boogers, Lady, go ahead.
(WARRICK looks up.)
Warrick: Hey!
(DWAYNE GALLO stares at WARRICK. CATHERINE gets the instrument from her kit. She examines DWAYNE GALLO'S nose.)
Catherine: Nose hairs ... are nature's filter. Traps all kinds of things. Dust, dirt ...
(Quick CGI POV of what CATHERINE sees. Attached to the inner nose hairs are colored powder particles. End of CGI POV. Resume to present.)
Catherine: ... fingerprint powder.
(DWAYNE GALLO exhales and pulls his head away from CATHERINE.)
Catherine: You did it.
(Quick flashback to DWAYNE GALLO coming out of the cabinet and attacking CATHERINE. End of flashback. Resume to present.)
Catherine: You inhaled the fingerprint dust I was using.
(He begins to speak. CATHERINE takes a step back.)
Dwayne Gallo: We went up there to party 'cause the boss was out of town and I saw the z-mover first
(DET. DREW WOLF sees CATHERINE take the step back and he moves in to apprehend DWAYNE GALLO. He pushes DWAYNE GALLO down against the counter and maneuvering his hands behind his back.)
Dwayne Gallo: ... but Teddy ... Teddy ...
(Quick flashback as TEDDY HENDERS sees the box on the floor. He picks it up.)
Teddy Henders: Sweet ... z-mover ...
(DWAYNE GALLO stands and grabs the box out of TEDDY HENDER'S hands.)
Dwayne Gallo: I saw it first.
Teddy Henders: What? ...
(DWAYNE GALLO pushes TEDDY HENDERS back. And like two children, they begin to fight over the box.)
Dwayne Gallo: I saw it first.
Teddy Henders: It's mine.
Dwayne Gallo: I saw it first.
Teddy Henders: I called it.
Dwayne Gallo: You want it, you bastard?!
(DWAYNE GALLO swings the box and hits TEDDY HENDERS on the back of his head. TEDDY HENDERS falls to the floor d*ad. End of flashback. Resume to present.)
Dwayne Gallo: I didn't mean to k*ll him. It was an accident. I mean, I ...
Officer: Get up.
Dwayne Gallo: I didn't mean ...
(The officer escorts DWAYNE GALLO out of the diner. CATHERINE takes her gloves off.)
Det. Drew Wolf: You all right?
Catherine: Yeah.
CUT TO:
[INT. HOTEL - THEATRE -- DAY]
(NICK and SARA return to the crime scene to look for some answers. They slowly make their way up the stage to where the body was discovered.)
Nick: Hey, did you get anything else off that laptop?
Sara: No, a bunch of the files were corrupted. Archie's taking another run at them.
(NICK looks around the stage and out at the audience. He sighs. SARA walks to under the lighting. She looks up. NICK joins her.)
Nick: Victim was paralyzed, couldn't fight back. Kevin Marcus puts the rope around his neck makes a slip knot.
Sara: And ties off the other end on the truss even though there is no way he could have reached it.
Nick: No way he could've reached it.
(SARA turns her back and looks out at the empty audience seats. NICK sighs and takes off his jacket. He kneels down on the ground. SARA turns around and notices NICK.)
Sara: Nick, what are you doing?
Nick: Changing my perspective.
(On his knees underneath the lighting, NICK looks up and tries to grab the lights above. An impossible feat.)
Nick: (groans) Oh, man. Can you imagine going through life at this height?
(SARA doesn't hesitate.)
Sara: They do okay. If the world doesn't adapt itself to you, you ...
Nick: ... adapt yourself to it.
(NICK nods. He looks back up at the lighting above. Then it occurs to him.)
(Quick Perspective to the sound of the wheelchair's motor as the seat begins to rise. He imagines the rope being thrown over the truss. End of POV. Resume to present.)
(Still on his knees, NICK calls back to SARA.)
Nick: Where's Grissom?
CUT TO:
[INT. HOTEL LOBBY -- DAY]
(Off to the side, GRISSOM leans against the column watching the conventioneers mingling in the lobby. In the group across the room, he makes brief eye contact with MELANIE GRACE who is also aware that he's there watching everyone.)
(SARA and NICK approach GRISSOM from behind.)
Sara: Grissom?
(GRISSOM turns around.)
Nick: We know how he did it.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(GRISSOM puts something on the table. Presumably it's a sample of the fibers that BRASS is talking about.)
Brass: Your wheelchair was in the booth at the convention. The fibers from the seat cover to your wheelchair match the fibers we found on the victim. Uh, faux, fake sheepskin.
(KEVIN MARCUS looks up at his lawyer sitting next to him.)
Brass: We also know how you got Mr. Ames into the theater.
(GRISSOM takes the single sheet of paper out from his file and puts it on the table in front of them.)
Grissom: Our lab retrieved a final instant message to Lawrence from Danielle.
(GRISSOM PUTS THE E-MAIL DOWN ON THE TABLE. IT READS: LAWRENCE UNKNOWN
10/15/02
T. MORGAS
"FILES RECOVERED FROM LAWRENCE AMES' LAPTOP
MESSAGE ARCHIVE
<DANIELLE256> If you love Jessica, meet me in the theatre, nine o'clock
(Quick flashback to LAWRENCE AMES on the theatre stage. He turns around and sees KEVIN MARCUS riding up in his wheelchair.)
Lawrence Ames: Mr. Marcus, what are you doing here? (End of flashback. Resume to present.)
Brass: It's enough to convict you. GRISSOM: May I ask a question? How did you get him into the wheelchair? (KEVIN MARCUS laughs to himself.)
Kevin Marcus: Well ... I appealed to his vanity. I told him I needed a brochure model to sell my new chair.
(Quick flashback to the theatre. KEVIN MARCUS is seated in the wheelchair.)
Lawrence Ames: You don't want me near your daughter but you want me to hawk your chairs?
Kevin Marcus: I never said you weren't handsome. I mean, come on -- your face, your build -- a million chairs, "sold."
(KEVIN MARCUS gets up and out of the chair. He urges LAWRENCE AMES into it.)
Kevin Marcus: Great, come on. Hop in. Hop in, let me see you in there. Come on. Model for me.
(LAWRENCE AMES reluctantly sits down in the chair. Flash to white.)
Kevin Marcus: There you go. Wait, let me make an adjustment for you, here.
(KEVIN MARCUS goes behind the chair and while behind LAWRENCE AMES, strikes him on the back of his neck. Quick cut to a CGI POV close up of the skeletal frame breaking between the first and second vertebrae. End of CGI POV.)
Kevin Marcus: (V.O.) I paralyzed him.
(KEVIN MARCUS puts the rope around the man's neck and hanging on to the back of the chair, he hits the switch. The chair rises higher and higher till KEVIN MARCUS is able to reach the lighting truss. He throws the rope over and secures it. He lowers the chair and LAWRENCE AMES slowly hangs. KEVIN MARCUS looks up in success.)
(End of Flashback. Resume to present.)
Kevin Marcus: I couldn't let Jessica marry him. (he shakes his head) Any kid they have ... a fifty percent chance it would be a dwarf. You have to understand that.
(GRISSOM looks at BRASS. Disbelief written all over his face.)
Grissom: It's genetics.
Brass: Mr. Marcus, I think you should know ... your daughter is already pregnant by Lawrence Ames.
(KEVIN MARCUS looks from BRASS to GRISSOM.)
CUT TO:
SCENE #37
(KEVING MARCUS and his officer escort turn the corner and walk through the hallway. As he passes the waiting room, JESSICA MARCUS stands. She looks at her father. He looks back at her. She turns away. He averts his face and continues to walk the hallway.)
(GRISSOM, SARA and NICK watch.)
Grissom: You know what's really sad? This wasn't just a m*rder. It was a hate crime.
(SARA turns to look at GRISSOM.)
Grissom: Kevin Marcus hated himself.
(GRISSOM walks alone down the hallway leaving SARA and NICK behind.)
CUT TO:
[EXT. SCHOOL - DAY]
(GRISSOM leans casually against the large column. He looks around and watches the students going about their daily business. An older SIGNING STUDENT (FEMALE) recognizes GRISSOM and walks up to him. She taps him on his shoulder to get his attention. GRISSOM turns around.)
Signing Student (female): (spoken) Dr. Grissom, welcome back. GRISSOM: (signing) It's nice to see you.
Signing Student (female): (signing) Where are you going?
Grissom: (signing) I'm taking a class in lip-reading. (or as GRISSOM says it, "speech" reading.)
Signing Student (female): (signing) I think I should tell the teacher that you're a trouble-maker.
Grissom: (signing, laughing and shaking his head) No. See you around.
Signing Student (female): (signing and spoken) Take care of yourself.
(The Signing Student pats him on his shoulder and leaves. GRISSOM smiles. He sticks his hands in his jacket pocket and takes a deep breath. He settles back against the column he's leaning against. The camera slowly pans away.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x04 - A Little m*rder"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - MIRAGE -- NIGHT]
WHITE FLASH TO:
[INT. LAS VEGAS MAGIC SHOW - NIGHT]
(ZEPHYR walks out on stage, pulls out two show swords from a rack. He holds them up. His assistant presents him.)
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Overhead view of a large intersection on the strip taped in high-speed showing cars traveling at the intersection.)
WHITE FLASH TO:
[INT. LAS VEGAS MAGIC SHOW - NIGHT]
(ZEPHYR is on stage holding up the two swords in front of a large glass case. Cut to a scene of the audience clapping.)
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT
(Close up of an overhead view of a large intersection on the strip taped in high-speed showing cars traveling at the intersection.)
WHITE FLASH TO:
[INT. LAS VEGAS MAGIC SHOW - NIGHT]
(Back to ZEPHYR on stage. He holds up the two swords and hits them against each other to show that they're real.)
WHITE FLASH TO:
(ZEPHYR on stage looks out on the audience.)
Zephyr: I need one volunteer from the audience.
Audience (woman): Here! Here!
(The assistant looks out into the audience looking for a volunteer. ZEPHYR points to someone.)
Zephyr: You. In the blue dress.
(Sitting in the audience with her head slightly turned away from the stage is a red-haired woman in a dark blue dress. She's sitting in the seat nearest the aisle.)
(She turns around, looks around and stands. She walks to the stage as the audience applauds. The assistant escorts the woman volunteer up onto the stage. She opens the glass chamber door. ZEPHYR puts one of the swords he's carrying forcibly back into the piece of wood.)
Zephyr: Step into the box. Hands by your sides. Don't move.
(The woman steps into the chamber. The assistant closes the chamber door and it starts to fill with a white cloud of gas.)
(ZEPHYR puts the sword he's carrying through the slots in the chamber. The audience gasps. He moves to get another sword. He walks to the other side of the chamber and puts a sword through the slots. The audience gasps.)
(The Magician's Assistant hands the final sword to ZEPHYR. He takes the sword and plunges it through the slot in the side of the chamber facing the audience. The sword meets some resistance, but he forces it through. The audience gasps.)
(ZEPHYR turns around, stretches his arms and presents the chamber. The audience applauds. The gas dissipates inside the chamber revealing that it's completely empty.)
Zephyr: And ladies and gentleman I assure you she's quite all right. In fact, she's ... spotlight, please.
(The magician's assistant walks through the audience and stops next to a seat. She presents the seat where the woman should be just as the spotlight hits the seat.)
(It's empty.)
(The assistant looks around. ZEPHYR himself starts looking around the stage. He walks around the chamber to the front of the stage where his assistant meets with him.)
Matilda: (whispering): I don't know where she is.
(ZEPHYR looks out into the audience. He takes off his mask and addresses them.)
Zephyr: Ladies and gentlemen ... I can't quite explain ...
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CASINO - MAGIC SHOW - AUDITORIUM - NIGHT]
(Grissom enters the auditorium carrying his kit. He walks toward the stage where BRASS is waiting on the steps.)
Brass: Welcome to the house of illusion. This is bizarre. You're not going to believe this. Female volunteer goes on the stage, disappears and doesn't come back.
Grissom: Was she supposed to ... reappear?
Brass: The Amazing Zephyr won't say.
(GRISSOM climbs onto the stage and approaches the glass case with the three swords still in it.)
Brass: You know magicians, they never reveal their tricks, but we're working on him.
(GRISSOM looks closely at the swords in the chamber.)
Grissom: Well, I can understand why he doesn't want to reveal his trick ... but would he like to explain this blood?
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS HOTEL & CASINO (STOCK) - NIGHT]
[INT. LAS VEGAS HOTEL & CASINO - AUDITORIUM - NIGHT]
(BRASS fills GRISSOM in on what they've discovered in their initial investigation.)
Brass: I got a bunch of police officers, uh canvassing the theater right now. No sign yet, but we have traced the woman back to her aisle seat, 8A. Paid cash.
Grissom: Magic is fun, Jim, but it's not real. The woman is somewhere.
Brass: Thanks for that. Thanks.
(GRISSOM leaves BRASS. A tourist being detained by the police approaches BRASS.)
Tourist (woman): Excuse me.
Brass: Yeah?
Tourist (woman): Um, hi, are we finished here?
Brass: No. You were sitting in front of the volunteer, is that right?
Tourist (woman): Mm-hmm.
Brass: You take any photos during the show?
Tourist (woman): Uh ...
Brass: We're going to need your camera.
Tourist (woman): But our whole trip's on there.
Brass: We'll get the negatives back to you. (to the officer behind them)
Michael. (to the tourist woman) Excuse me. Thanks for your help.
(BRASS leaves the tourist couple to the other officer.)
CUT TO:
[INT. LAS VEGAS HOTEL & CASINO - AUDITORIUM - NIGHT]
(Up on stage, SARA is examining the swords from the glass chamber. She pulls one out just as GRISSOM arrives to check it out. He checks the edge of the sword.)
Grissom: Dull as a spoon.
Sara: From a distance, it looks razor-sharp.
Grissom: That's the point. So is it real blood?
Sara: Well, let's see.
(SARA checks.)
Sara: That's real blood, all right.
CUT TO:
[INT. LAS VEGAS HOTEL & CASINO - BACK STAGE - NIGHT]
(ZEPHYR is taking off his make-up in his dressing room. GRISSOM is there questioning him.)
Zephyr: Nothing is as it seems, is it?
Grissom: That's the conflict of magic -- the burden of knowledge versus the mystique of wonder.
Zephyr: And you're wondering right now -- I can hear your mind ticking-- "Was she a plant? Was it real?"
Grissom: Well, there are no secrets, are there? Only hidden answers.
Zephyr: I'm an honest liar, sir. In my line of work it's accepted. You could say it was my livelihood.
Grissom: Well, my livelihood is dispelling lies and finding the truth.
(ZEPHYR points to the box of tissues in front of GRISSOM. GRISSOM pulls out a tissue and hands it to ZEPHYR.)
Zephyr: My secrets can't be revealed by any microscope.
Grissom: Yeah ... but there's a woman missing.
(ZEPHYR reaches behind GRISSOM'S right ear and pulls out a large coin. He shows it to GRISSOM.)
Zephyr: The only thing missing ...
(ZEPHYR holds the coin in the palm of his left hand and uses his right hand to elaborately grab the coin from his left hand. He holds it loosely in a fist, shakes it a couple of times and opens it to reveal that the coin is missing.)
Zephyr: ... is this.
Grissom: Very nice. So, where'd she go?
Zephyr: From the salt in my marrow, I don't know. I mean, I can't give you this
(ZEPHYR holds out his empty right hand.)
Zephyr: ... but I can give you...
(ZEPHYR looks back at his left hand holding the coin.)
Zephyr: ... that.
(Amused, GRISSOM picks up the coin and looks at it. ZEPHYR resumes removing his make-up.)
Zephyr: It's as real as my answer.
(GRISSOM hands the coin back to ZEPHYR.)
Zephyr: No, you can keep it.
(ZEPHYR smiles.)
CUT TO:
[EXT. NEAR PARKED BUS -- NIGHT]
(CATHERINE and NICK make their way to the crime scene.)
Catherine: What's the name of the band again?
Nick: Pekinpah. Back in '93, first album was a moderate h*t. Don't you remember that song, it was pretty popular-- uh... "Symphony of Epiphanies"?
Both Humming: "Na, na, na, na, na, na come here, come here... "
Catherine: Yeah, that was good to dance to.
(On the side is the ROAD MANAGER speaking with an officer.)
Road Manager: (to the officer) He's been laying in the back of the bus for half an hour now.
Catherine: (o.s. to NICK) I'm guessing that's the road manager.
(CATHERINE and NICK continue to walk to the bus.)
Catherine: He does not look too happy.
Nick: Well, he just lost a lead singer.
(CATHERINE and NICK reach the bus. CATHERINE opens the trailer door.)
CUT TO:
[INT. BUS - NIGHT -- CONTINUOUS]
(CATHERINE enters the bus first, her flashlight held out so she can see inside. NICK walks in behind her. On the chair inside the bus is an electric guitar.)
Nick: Ooh ... rock and roll, baby.
(CATHERINE walks on to the back of the bus where GUS KENYON is d*ad on the bed with a needle sticking out of his right arm.)
Catherine: Gus Kenyon.
Nick: It's a shame, man. He had a good voice.
(CATHERINE leans in to look at the body.)
Catherine: Heroin. If this was an overdose, why leave some in the syringe?
(NICK looks down at the floor around the bed.)
Nick: No vomit around, either. That's a first for me.
(CATHERINE reaches out and notices something black-ish on the tip of GUS KENYON'S right index finger.)
Catherine: Wait a second, what's this? Doesn't look like a bruise.
Nick: How'd he do that?
Catherine: What's that?
Nick: The tourniquet. He's obviously left-handed if he sh*t up in the right arm. If he tied it off himself he would have pulled it towards him, like so. It's tied the other way, pulled away from him.
(Quick flashback to someone tying the red tourniquet around a well-muscled bicep. Flash to white. Resume to present.)
Catherine: By someone else standing over him?
(CATHERINE stands up and notices an empty BR Black Rush irish whiskey bottle next to the bed. She picks it up.)
Catherine: Easy ... if you're capacitated.
(Behind them, the manager of the band walks into the bus. He yells out from the doorway to them.)
Manager: You people seen enough? When can I put him to rest?
(NICK warns the manager.)
Nick: You really shouldn't be in here, sir.
(The manager takes a few more steps into the bus.)
Manager: Hey, look, I'm sorry. You know, this is a tragedy for all of us, and his family. I just don't want the press to see him like this.
Catherine: We understand that, sir, but this is a crime scene.
Manager: Crime scene? It's an O.D., Right? He k*lled himself.
Catherine: Then you knew he was a drug user?
Manager: Well, he was a drug user. I mean, he's been clean for a long time. A health freak, actually. It's a shock to us all.
(Camera holds on CATHERINE.)
CUT TO:
[INT. THEATRE - ON STAGE]
(WARRICK and SARA continue to process the glass box.)
Warrick: Big glass box and all I got is a partial thumb print.
(GRISSOM walks up to them and looks at the box.)
Grissom: Is this processed yet?
Warrick: Yeah. Want me to bag it for you?
Sara: Let's take it back to the lab. Maybe we can make Greg disappear.
Grissom: Who controls this stage, do we know?
Punky Dillinger: (o.s.) I do.
(They all turn toward the voice coming from behind them. Off to the side of the stage, a young man appears.)
Grissom: And you are ... ?
Punky Dillinger: Punky Dillinger. I'm Zephyr's stagehand.
Grissom: Well, Mr. Dillinger do you know how this trick works?
Punky Dillinger: I only control the stage part.
(GRISSOM looks at PUNKY DILLINGER without responding. He doesn't believe it for a moment.)
Punky Dillinger: (relents) Yeah.
Grissom: Good. Make me disappear.
(SARA and WARRICK who had been doing their own thing in the background, suddenly look up at GRISSOM. PUNKY DILLINGER laughs.)
SHORT TIME CUT TO:
(GRISSOM is standing inside the glass box. The lights inside the box flash several times and with a hiss, a white cloud fills the box, slowly obscuring GRISSOM from SARA and WARRICK who watch from the audience aisle.)
Sara: (waving) Bye-bye.
(The white cloud fills the box. The lights inside the box continue to flash. The cloud slowly dissipates and the lights stop flashing. The box is empty.)
(SARA and WARRICK look at each other for a moment. They both approach the stage to look for GRISSOM. SARA looks a big perplexed. WARRICK looks down and sees it. He walks to the side of the box. SARA follows him.)
Warrick: Oh, I get it. There's a chute inside the steps.
(WARRICK pushes the steps leading to the box aside. GRISSOM looks up at them from under the stage.)
Grissom: Still here.
(Camera cuts to SARA and WARRICK look down at GRISSOM from the stage above.)
CUT TO:
[INT. THEATRE - UNDER THE STAGE - CONTINUOUS]
(Everyone is under the stage looking around. PUNKY DILLINGER shows them around the place while explaining how the trick works in the show.)
Punky Dillinger: At this point of the trick, I'm supposed to escort the volunteer out of the basement. Now I only turned my back for a second and she was gone.
Grissom: Is there any other way out of here besides that door?
Punky Dillinger: No, that's the thing. Stage left's the only exit. I don't know.
Grissom: You have any lights in here besides red? We're looking for blood.
(SARA and WARRICK start looking around and walking in separate directions.)
Punky Dillinger: Mm-hmm.
(PUNKY DILLINGER reaches up above him and turns on the lights. He notices that SARA is almost to the end of the aisle where there's a locked wire cage.)
Punky Dillinger: Oh, hey? Hey?! Those are Zephyr's tricks in the corner. No one's allowed to go near them not even me.
(For a moment, SARA has her hand on the cage door. They all look at PUNKY.)
(Cut to SARA and WARRICK continuing to examine the area by the cage. SARA is looking inside the cage from the outside and WARRICK is examining the ground. He kneels down when he finds something.)
Warrick: I've got ovoid blood drops leading towards the wall.
Punky Dillinger: You guys want more lights?
Grissom: No. Turn them off.
(PUNKY turns the lights off. Using their flashlights, the team follows the blood trail. They follow the trail around a stack of crates, directly to a second door.)
CUT TO:
[EXT. BACK STAGE -- NIGHT]
(The door opens and GRISSOM walks out onto the catwalk. WARRICK follows.)
(Cut to SARA as she stays behind and examines the door and door frame.)
(Cut back to GRISSOM following the blood trail through the catwalk.)
Grissom: Magicians of Zephyr's caliber belong to a very secluded society. They barnstorm from city to city ... no contact with the outside world, no association with other magicians. They're like ghosts with skin.
(GRISSOM and WARRICK walk down the stairs and to the loading zone below. At the bottom of the steps, GRISSOM finds something. WARRICK walks down to the road level loading zone and examines the ground.)
Grissom: This looks like an admixture of blood and some sort of clear liquid.
Warrick: Someone bolted out of here pretty fast.
(GRISSOM raises his flashlight to look at what WARRICK is talking about.)
(Cut to SARA dusting the door and lifting a print from the door. She looks at the clear print she has on the sheet.)
Sara: (to herself) I'm no psychic, but I have been known to read palms.
(She smiles and yells out.)
Sara: Hey!
(Cut to outside where WARRICK and GRISSOM look up when they hear SARA yell.)
Sara: (o.s.) I got a print.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(CATHERINE and DR. ROBBINS stand around the deceased on the table.)
Catherine: You're kidding me.
Robbins: Nope. No heroin in his system. Lots of bourbon, but no heroin at all.
Catherine: So what k*lled him?
Robbins: Embolism to the heart.
Catherine: Air bubble.
Robbins: I withdrew air from his right ventricle and air can be deadlier the heroin.
(Flash to white. Quick CGI POV in fast motion of a syringe. The camera follows the path of the air bubble rapidly traveling from the exterior tip of the needle all the way to the open end then turns into the interior of the syringe where it travels out through the needle tip and into the bloodstream. The camera view travels through the bloodstream among a whir of red blood cells ... )
Robbins: (V.O.) It travels through the vein into the right ventricle to prevent blood from entering or leaving the chamber which eventually leads to heart failure.
( ... and out directly through to the heart where the camera slows to regular motion ... )
Catherine: (V.O.) Shock. Suffocation.
( ... and for a moment, we watch the heart b*at. White flash to end of CGI POV. Resume to present.)
Catherine: Explains why he didn't throw up.
Robbins: And why his pupils weren't pinpointed. They would have been bilaterally small after an overdose.
Catherine: There was heroin still in the needle. Why didn't it make it into his system?
Robbins: His blood alcohol count was point-three-one (.31). My guess is he was unconscious before his heart stopped.
(CATHERINE looks up for a moment, thinks about it, then turns to leave. ROBBINS stops her.)
Robbins: Catherine, wait. That black mark ...
(ROBBINS lifts up the deceased's right hand and shows CATHERINE the index finger.)
Catherine: Oh, right, on his index finger.
Robbins: Ink. Standard black printing ink.
CUT TO:
[INT. CASINO THEATRE - BACKSTAGE -- NIGHT]
(Camera close-up of the stage hands and everyone involved in the show production being palm printed by SARA. The blonde-haired magician's assistant, MATILDA, is printed. She leaves. PUNKY DILLINGER is next in line with ZEPHYR standing behind him.)
SARA (PRELAP): (V.O.) The stagehand was lying about another exit.
CUT TO:
[INT. CSI - LAB]
Sara: I got his palm print off the trap door.
(SARA is showing GRISSOM the palm print that matched the print taken off of the stage door. WARRICK enters the lab holding an envelope.)
Warrick: Try this one. It's a print from the "Chamber of Doom."
(WARRICK slips the contents of the envelope onto the table. It's a partial print taken from the glass box with "WB 11/06/02 CHAMBER DOOM PARTIAL" written on it. GRISSOM takes the print and visually compares it to the existing print they have. He looks up at WARRICK and at SARA, pleased.)
Sara: Hands on the trap door?
Warrick: Hands inside the trick?
Grissom: (nods slightly) There are no secrets.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(PUNKY DILLINGER lights up a cigarette and inhales.)
Brass: Hey, hey, hey. This is a non-smoking facility.
(PUNKY looks at BRASS, then makes a fist with his left hand and puts it on the table, thumb facing up. He takes his cigarette in his right hand and puts the cigarette flame end first into his fist as far as it will go. He covers the exposed filter with his right hand. He looks back up at BRASS and smiles.)
(After a moment, he slowly turns his left hand fist fingernails downward and continues to look at his "audience". With the deliberateness of a magician, he opens up his right hand palm up to show nothing there. He looks back up at his audience to see if they're paying attention, then slowly opens his left hand palm up. Nothing is there. Both hands are empty.)
(PUNKY smiles. GRISSOM also smiles.)
Punky Dillinger: I'm not a bad magician, you know.
Brass: When you find that, put that out.
Punky Dillinger: Okay. Truth is ... I lied.
Brass: We know that. That's why we're here.
Punky Dillinger: I love magic, you know? One of the fringe benefits of my job is knowing how the tricks work. Zephyr wouldn't let anyone go near his tricks. You think I want to be a stagehand the rest of my life? I got aspirations, too, you know? So, I snooped around. Climbed inside the "chamber" one night and tried it out. Is that a crime?
Brass: We don't know yet.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM]
(NICK sits down on the seat in the waiting room across from the members of the band, Pekinpah. A second member of the band sits across from him as well as a third who stands nearby. NICK is holding an evidence bag.)
Nick: The videotape from last night's show has you ... wearing this.
(NICK shows the evidence bag to the guitarist.)
Man 1: So what?
Nick: So, it was used as a tourniquet on Gus' arm.
Man 1: Look, I-I was with these guys the entire night last night.
(Guitarist KEITH CASTLE who was standing up takes a seat.)
Nick: Okay. When was the last time you saw him alive
Man 1: On the bus? Last night after the show. He said he wanted to be left alone so we left him alone.
Man 2: We finished the set with, uh, "City of Sin." You know, the hometown pleaser.
Man 1: He always hated that song. I don't know why. It was his best one.
Nick: I talked to your manager, and he said Gus was clean.
Man 2: Yeah. The whole band for six years now.
Man 1: We-we did it together as a band. You know, we kind of had to. We went gold three months after we signed our first contract. The next couple of years got pretty crazy.
Nick: Crazy?
Keith Castle: Dude, h*t single, 24 years old. Touring with Pearl Jam. I mean Gus had bitches lining up outside of his room 24 hours a day. Sleep ain't an option. So, by your next gig, you're going ... you know, need a little bop.
Nick: I obtained Gus's medical records from L.A. that said he was treated for depression. You guys know anything about that?
Keith Castle: Sober suits some better than others.
Man 2: He could get pretty dark. I mean, sometimes you couldn't even speak with him, you know?
Man 1: He's been wanting out for some time now.
CUT TO:
[INT. CSI - DNA LAB]
Sara: I know you didn't beep me for a magic trick.
(SARA is in GREG'S DNA lab waiting for the results of the test. GREG is on the other side of his lab table wearing a large turban-like hat on his head.)
Greg: Swami doesn't do magic tricks. Swami's here to reveal all of your DNA secrets.
(GREG grabs a folder off of the table in front of him.)
Sara: I'm very busy, Greg.
Greg: Blood from the "Chamber of Doom."
(GREG slaps the folder flat side to his forehead and holds it there.)
Greg: Same as the d-donor of the blood found on the basement floor but ... d-different than the blood found in the alleyway.
Sara: Different person?
Greg: Different ... animal.
Sara: Really? What kind of animal?
(GREG rolls his eyes upward and shakes his head.)
Greg: Oh, Swami needs more time.
(The printer next to him immediately begins to print out another set of results. GREG reaches for that paper.)
Greg: Now ... clear liquid found near the blood droplets.
(As he did with the folder, GREG holds the paper flat against his forehead, print side turned away from SARA.)
Greg: It's ...
(GRISSOM silently walks up behind GREG and starts reading the results for himself.)
Greg: ... not from Thora birch, but ...
Grissom: Thorazine.
(GREG'S eyes open in surprise. He immediately puts the test results down and quickly takes off the Swami hat.)
Greg: Thorazine.
Sara: Thorazine. That's an animal tranquilizer. Zephyr didn't use any live animals in his act.
Grissom: Maybe he didn't use it on animals.
(GRISSOM leaves. ERIC stands there looking quite embarrassed back at SARA who finally smiles.)
CUT TO:
(A couple of close-ups on photos of the tourist couple in front of various Las Vegas sites is being reviewed on the monitor.)
[INT. CSI - A/V LAB]
(Cut to a photo of Zephyr's Assistant assisting a red-haired woman in a blue dress up the stairs to the stage.)
(Cut to a photo of the tourist couple in front of another Las Vegas site.)
Grissom: Whoa. Go back one, Arch.
(ARCHIE hits a key and the photo goes back one.)
Archie Johnson: Is that her?
Grissom: Blue dress, red hair.
(They look at the picture for a moment.)
Grissom: Go on.
(The monitor changes to the next picture of the two tourists at the show with the red-haired woman sitting behind them with her hand covering her face. ARCHIE squints.)
Archie Johnson: Is that who I think it is?
Grissom: Who?
(ARCHIE highlights the people sitting at the table far behind the tourists. He enlarges the block and definitely recognizes the man sitting there.)
Archie Johnson: Toby Arcane. "Freak man".
Grissom: What makes him a "freak" besides that shirt?
Archie Johnson: All I can say he's not for the faint of heart.
(Looking at the photo, ARCHIE smiles. GRISSOM turns to look at ARCHIE.)
CUT TO:
[EXT. LAS VEGAS CASINO -- NIGHT]
(The hammer hits the nail with a loud clang. The nail pierces the flesh and cracks through the wood underneath.)
(TOBY ARCANE groans. The audience flinches at the sight of the magician being nailed to a large wooden "X". Blood drips through the wood; blood splatters across the magician's face. The audience reacts with fascinated horror.)
(As the large wooden "X" is being raised amidst the cheers, the audience grows and more people join in to watch the trick.)
(The cross is successfully standing upright and TOBY ARCANE lets out a loud roar. The audience cheers.)
(GRISSOM, SARA and WARRICK stand in the back of the crowd watching the magic show.)
(The music suddenly stops and the lights turn off. The silence is deafening. People immediately begin to look for the missing magician.)
(The lights go on and the music resumes. The cross is empty. The audience looks around for the magician to appear.)
(Behind them on the catwalk in a wall of f*re, TOBY ARCANE appears unhurt. The audience cheers. GRISSOM smiles, appreciating the trick. TOBY ARCANE shows the crowd the palms of his hands, skin unbroken. He salutes the crowd and leaves.)
CUT TO:
[INT. -- NIGHT]
(Inside some kind of enclosed area, presumably what TOBY ARCANE uses as his dressing room, GRISSOM, SARA and WARRICK question the magician.)
Toby Arcane: It's, uh, called "The Cross-ifixion." I get, uh, nailed to it every night.
Grissom: Well, miraculously, you've resurrected. Have you ever been to the Zephyr show?
Toby Arcane: He's a hack.
(TOBY takes a drink.)
Toby Arcane: I wouldn't be caught d*ad at that show.
Grissom: I know. But we caught you alive.
(GRISSOM shows TOBY the photo of him sitting at Zephyr's magic show. TOBY leans forward to get a better look at the picture. He reaches for the picture and GRISSOM pulls it away from him out of his reach.)
Toby Arcane: You should see my nudes, Grissom.
Grissom: The, uh, woman who disappeared -- do you think she was a plant?
Toby Arcane: Of course she's a plant. Zephyr's on life support. His way of doing magic -- it's d*ad as, uh ... d*ad. Fooling people from a hundred feet away.
(TOBY stands up and takes a few steps closer to GRISSOM.)
Toby Arcane: 'Cause I'm in your face. Right here.
(TOBY ARCANE smiles. He reaches for the towel hanging just behind GRISSOM. He turns around and sits back down in his chair.)
Warrick: We have reason to believe that that woman, planted or not ...
(Quick CGI POV flashback to a close up of the tip of the sword being pushed through the slot in the glass box. The camera follows the tip of the sword as it passes through skin and bleeds. In the background, a woman gasps.)
Warrick: (V.O.) ... sustained injury during the first insertion of the saber.
(End of flashback. Resume to present.)
Sara: Do you think it was part of the act or do you think it was some kind of mistake?
(TOBY touches up his stage make-up in the mirror.)
Toby Arcane: Uh, yeah, could have been a blood pouch but knowing him ... it was a mistake.
(TOBY looks up at GRISSOM.)
Grissom: Is it possible that he put his saber into the wrong slot?
Toby Arcane: Well, this is Vegas, baby.
CUT TO:
[INT. CSI -- HALLWAY]
(GREG, NICK and CATHERINE walk through the hallway. GREG hands two CD's to CATHERINE.)
Greg: The band's last two albums, and the DVD. You know, I heard that they were splitting up.
(NICK stops walking and turns around.)
Nick: Where did you hear that?
GREG Uh, the New World Library -- internet. This contains, uh, TV appearances live footage, things like that.
(GREG hands the DVD to NICK. CATHERINE finds something on the CD covers she's looking at.)
Catherine: He wrote every song.
Nick: Who, the singer, Gus?
Catherine: His name's on every title. If they were splitting up and he took his songs back ...
Nick: No more Pekinpah; no more money for the band. (to GREG) Why don't you get back on the internet for us? See if there's any gossip floating around.
(GREG raises his hands and turns to leave. He walks back in the direction they came from. GREG and CATHERINE continue on.)
Catherine: We need to get back to the crime scene. I'm looking for ink.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EARLY EVENING SUNSET]
[INT. GUS KENYON'S BUS]
(CATHERINE returns back to bus to search it again. Looking around, she finds something. It appears to be the key pad numbers for a cell phone. She thinks for a moment and starts searching the place for the cell phone. She finds it under the bed. The cell phone is broken.)
(Quick flashback to GUS KENYON on his cell phone, looking at it, then smashing it against the wall in frustration. He throws the cell phone to the ground. End of flashback. Resume to present.)
(NICK enters the bus. He's putting on his gloves.)
Nick: I showed the road manager a copy of the warrant. He went nuts. He's on the phone with his lawyer right now.
Catherine: Why do they want us off this bus so badly?
(NICK picks up a nearby bag and opens it. Inside, we see a CD player and headphones.)
(Cut back to CATHERINE who once again starts looking around. She notices the
"Las Vegas White Pages" stuck between the bed and the wall. She settles down and looks through the book. The book opens up to a page listing for "Dean". In the middle of the list there is a finger smudge.)
Catherine: Standard printing ink.
(Quick flashback to GUS KENYON flipping through the pages, finding the page he's looking for and with uses his right index finger against the page to look for the name. End of flashback. Resume to present.)
(CATHERINE looks around.)
Catherine: (quietly to herself) What to do when your cell phone's not working?
(She slowly gets up.)
CUT TO:
[EXT. GUS KENYON'S BUS - NIGHT]
(The bus door opens and CATHERINE walks out. She's still carrying the white pages with her. She finds the nearest telephone booth not far from the bus and steps inside it. She looks for the telephone book and finds that it's ... )
Catherine: Gone.
(NICK appears behind her. He taps on the telephone booth glass. CATHERINE turns around. He holds up the CD player he found.)
Nick: This doesn't work.
Catherine: Seems like nothing on that bus does.
Nick: Yeah, but this doesn't work, 'cause the batteries suck.
(NICK opens up the battery compartment and pulls out a bag of heroin. He shows it to CATHERINE.)
Catherine: Oh.
Nick: Belongs to the guitarist. Looks like Mr. Clean and Sober had a habit.
Catherine: Bet it matches that smack we found on the needle.
Nick: Yeah. You, uh, trying to make a call?
Catherine: No ... but somebody did.
(Quick flashback to GUS KENYON walking into the telephone booth and looking through the white pages. He finds what he's looking for and rips the book out of its hard-covered binding. He turns around and leaves. End of flashback. Resume to present.)
Catherine: I got a smudged name. "Dean."
(Camera close up of the telephone book listing and CATHERINE pointing to the name, "Dean, Samantha 55 Vista Ct LV".)
CUT TO:
[INT. CSI -- LAB]
(The computer runs through the tire print database. The computer beeps and someone pulls up the tire details showing that the tire belongs to a "Goodyear Wrangler, Letter Design, 2, Ford, F-150.")
Warrick: Goodyear Wrangler. Ford F-150. Hallelujah.
(GREG enters the lab and pulls up a chair. He sits down.)
Greg: Okay, your vanishing act. Did a DNA profile on your blood. Ran it through CODIS. Guess who I found?
Warrick: Who?
Greg: Zoe Clein. White caucasian. Female. Red hair.
Warrick: Wait a minute. CODIS? What database?
Greg: Missing persons.
Warrick: (surprised) She's in the database already?
Greg: Yeah. She's been in there for six months. Same time she's been missing. Brass is working on an address.
CUT TO:
[EXT. CLEIN RESIDENCE -- DAY]
(GRISSOM, SARA and WARRICK walk up the front steps toward the front door. They're all carrying their kits. They meet up with an officer already waiting for them outside the front door.)
Sara: (looking around) Nice house.
(In the background train whistles sound continuously.)
Warrick: Built it so close to the railroad.
Grissom: (looking around) I bet this house was here first.
(The officer knocks on the door.)
CUT TO:
[INT. CLEIN RESIDENCE -- DAY]
(The front door opens. The officer and three CSIs walk into the house.)
Grissom: (calling out) Las Vegas Crime Lab.
(Inside the house, the large pieces of furniture are covered with dust cloths.)
Warrick: (looking around) It's a little too calm in here.
Sara: Yeah. I'll take upstairs.
(SARA leaves the men and starts up the stairs. WARRICK indicates the kitchen on the left of them and heads to check that room out. GRISSOM turns toward the right and starts looking around the main room.)
(Cut to WARRICK entering the kitchen which also looks like it hasn't been used recently. There are a couple of stools around the island and one stool still turned on its side on the island counter.)
(Cut to GRISSOM walking into the dining room area.)
(Cut to WARRICK opening the refrigerator and finding bags of red blood.)
Warrick: Wow.
Grissom: What?
Warrick: Six pints of "A" positive.
(Cut back to GRISSOM as he checks the dining room area out. Outside another train whistle roars. Sounds of train cars clattering and a loud rumble as the room shakes when the train passes by the house can be heard and seen. GRISSOM watches the walls as they paintings hanging on them shake, shudder and tremble. For some reason, he's drawn to a particular painting hanging on a wall that isn't moving at all because it's nailed to the wall.)
(GRISSOM notices this and puts his CSI kit down. He examines the panel and finds that the panel is really a door. He pushes the door inward. It opens.)
(Cut to SARA walking down the staircase.)
Sara: Hey, guys?
(SARA stops halfway down the stairs, leans over the staircase rail and talks in the direction of the dining room.)
Sara: Zoe's bedroom seems intact. Suitcases, purses, clothes. It looks like she never left.
(She waits for a response and gets none. She walks the rest of the way down the stairs.)
Sara: Guys?
CUT TO:
[INT. CLEIN RESIDENCE - HIDDEN ROOM]
(GRISSOM is standing at the top of the spiral stairs leading down to another room. Using his flashlight, GRISSOM looks around. He turns and makes his way down the spiral stairs to the room below.)
(On the ground floor, GRISSOM looks around. He walks over to the worktable at the far end of the room. On the work table is an open set of blueprints. He leans over them to get a better look.)
(Behind GRISSOM, the camera approaches. The music gets louder. A hand reaches out to grab GRISSOM'S shoulder.)
(GRISSOM startles.)
Sara: Sorry.
(SARA pulls her hand back and smiles.)
Warrick: You keep disappearing.
Grissom: Take a look at this.
Sara: Huh. Looks like the "chamber of doom."
Grissom: Designed by Zoe Clein.
(The bottom of the blueprints read: "Property of Zoe Clein. All Rights Reserved.")
Sara: So, she's an inventor.
(WARRICK looks around at what else is in the room. On the work table on the opposite wall, he finds a framed photograph.)
Warrick: Hey, guys, check out this old photo. The "Clein Magical Tour". I guess the old man with beard must be the father.
Sara: Zoe Clein the daughter. Young Zephyr ...
Grissom: What's he doing there? And who's that baby in his arms?
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(NICK walks in with CATHERINE.)
Nick: What's up, G?
Greg: Well, I did my snooping around. Obviously everyone's upset about Kenyon croaking.
Nick: And?
Greg: And they were planning a "Best of..." album.
Catherine: No surprise. Cash cow, everybody does it.
Greg: Well, someone e-mailed me a clip of Gus on MTV2 a few months ago.
(GREG loads the clip on his computer and plays a portion of the interview with GUS KENYON.)
Gus Kenyon: (on video) (laughing) Compilation albums are for has-beens. They can release one over my d*ad body. As long as I'm alive, I'm going to continue to write originals.
(End of clip.)
Nick: Who's planning the album?
Greg: Keith Castle.
Nick: The guitarist?
Greg: (nods) Mm-hmm.
Nick: I'm chasing the smack.
Catherine: I'm chasing the phone book.
CUT TO:
[INT. ZOE CLEIN'S RESIDENCE - HIDDEN ROOM -- DAY]
(GRISSOM opens a magician's top hat. The audio is low and we can hear SARA talking to WARRICK in the background. The sound is muffled to indicate that GRISSOM'S not paying attention to the conversation and that it's not really important.)
Sara: (b.g.) There's got to be twelve to thirteen ...
Warrick: (b.g.) Yes.
(GRISSOM hangs the hat on the nearby hatpost. He looks around and notices a moth on the window sill. He walks to the window, then grasps onto the nearest coat hook attached to the wall and hoists himself up for a better look at the moth.)
(GRISSOM gently grabs the moth.)
Grissom: (quietly) Warrick, come here.
(WARRICK leaves SARA sitting at the work station and walks over to GRISSOM. He notices immediately that GRISSOM is holding something.)
Warrick: What is that, a butterfly?
Grissom: A male IO moth. One of the largest in North America.
Warrick: How'd it get in here?
Grissom: I don't know. It feeds on trees and foliage.
Warrick: There's none of that in here.
Grissom: See the eye-like spots on the back of its wings?
Warrick: Yeah.
Grissom: It's an illusion to confuse predators. Birds get fooled into thinking it's an owl. I have a similar one in my office.
(They hear the soft thud of footsteps coming from up above them. GRISSOM, WARRICK and SARA quiet down and listen. SARA turns around to look at GRISSOM and WARRICK. There's definitely someone up there.)
Sara: Didn't we release Officer Henderson?
CUT TO:
[INT. ZOE CLEIN'S RESIDENCE - MAIN FLOOR - DAY -- CONTINUOUS]
(WARRICK and SARA walk out of the hidden room. SARA looks down the hallway and calls out.)
Sara: Hello?
(There's no response. Behind her, WARRICK unholsters his g*n. SARA turns around and looks at WARRICK. WARRICK points to his right to indicate that he's going to check that side of the house out. SARA looks down the hallway and unholsters her g*n. She walks down the hallway.)
Sara: Hello?
(There's no response. SARA turns around and looks back at where she just came from. Listening.)
A FIGURE RUNS ACROSS THE HALLWAY BEHIND SARA
(SARA turns around again, now facing the direction she was originally headed toward. She continues down the hallway. The hallway opens up where SARA sees a door ajar. She continues to move forward walking toward the door.)
(SARA reaches for the door knob ... )
(The door bursts open and a blonde-haired woman slips out.)
Matilda: (rapidly explaining herself) Okay, I'm sorry ...
(It's Zephyr's Assistant. Her hands are raised. Surprised, SARA reaches for her g*n and takes a couple steps backward. She starts yelling instructions to the woman who's still trying to explain herself.)
Sara: Hold up! Back up!
Matilda: I really didn't realize that anyone was ...
Sara: Warrick!
(WARRICK appears, his g*n aimed at the woman.)
Warrick: Hey! Back up.
(The woman becomes quiet and looks from WARRICK to SARA.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(NICK puts the evidence bag on the table in front of KEITH CASTLE.)
Keith Castle: Look, I got a family, okay? They think I'm clean. The band, too.
Nick: Did you give some to Gus last night?
(KEITH looks away and clears his throat.)
Nick: Needle, too?
(KEITH looks at NICK.)
Keith Castle: No, no, no, man. I don't sh**t up. That's just for snorting.
Nick: Well, Keith ...
(NICK takes a seat at the table.)
Nick: ... think Gus would get messed up enough to k*ll himself? That'd help you sell a few more albums, wouldn't it?
Keith Castle: Gus is d*ad, okay? You never had the pleasure of finding out what an ass he was in person. Yeah, we made some money off his talent but he made us feel worthless. At least when he was high he'd shut up.
CUT TO:
[EXT. LAS VEGAS RESIDENTIAL (STOCK) - DAY]
[EXT. SAMANTHA DEAN'S RESIDENCE -- DAY]
(CATHERINE walks up the path to the front door. She rings the doorbell and waits. As she waits, she notices something on the red front door just above the peep hole.)
(She rings the door bell and gets something from her kit to take a sample of the door. She starts to take a sample when the door opens.)
Catherine: Samantha Dean? I'm with the Las Vegas Crime Lab. Do you know Gus Kenyon?
CUT TO:
[INT. SAMANTHA DEAN'S RESIDENCE - DAY -- CONTINUOUS]
Catherine: Gus Kenyon looked up your number and address in this directory and, uh, called you last night ...
(CATHERINE hands SAMANTHA DEAN the evidence bag with a piece of paper in it.)
Catherine: ... from a phone booth outside of his tour bus. Records indicate the call was made around 2:00 A.M.
Samantha Dean: I must have been asleep.
(She hands the bag back to CATHERINE.)
Catherine: It lasted 20 seconds.
Samantha Dean: I didn't answer.
Catherine: So it rang?
Samantha Dean: No, I mean, I can't remember. We're both in bed by nine.
(SAMANTHA indicates her son playing with a soccer ball outside. He's wearing a green sweater and a pair of dark glasses. CATHERINE looks outside and watches the little boy play.)
Catherine: What's your son's name?
Samantha Dean: Brandon. You a mother?
Catherine: Yeah, yeah. I have a-a daughter who is nine. Yeah, I know how hard it is to do it alone.
(SAMANTHA turns to look at CATHERINE. CATHERINE notices the glasses that BRANDON is wearing.)
Catherine: Now those are some cool shades Brandon has on. Are those Silhouettes? Those are expensive.
Samantha Dean: Um, do you have any more questions because, uh, Brandon needs to go to my mother's. I have to go to work.
Catherine: All right. Thanks for your time.
(SAMANTHA nods and CATHERINE turns and leaves.)
CUT TO:
[EXT. SAMANTHA DEAN'S RESIDENCE - DAY -- CONTINUOUS]
(CATHERINE walks down the pathway toward her car. She gets in the car and takes out the PEKINPAH's CD. She pops it into the player and takes out the CD booklet. She turns up the volume and reads the lyrics to the song, "City of Sin".)
Lyric: Down in the city of sin / that's where I've been / and I caught a glance / of what could be, yeah, you and me ...
CUT TO:
[INT. ZOE CLEIN'S RESIDENCE - MAIN FLOOR - DAY]
(On the ground floor main room, BRASS and GRISSOM question Zephyr's Assistant, MATILDA. SARA and WARRICK sit nearby.)
Brass: How long have you been working for the Zephyr?
Matilda: A year. The magician I used to assist for retired.
Grissom: What are you doing here?
Matilda: I came to talk to Zoe, and the door was open so I thought I'd snoop around a little.
Brass: A lot of people are snooping around these days. You know, everybody who works for the Zephyr wants to be a magician. How come?
Matilda: 'Cause we do everything. I mean, what does he do? Wave his arms around? I work my butt off for that guy. Bring this out, bring that out keep proper timing, inspect the tricks. You know, follow his lead. Zoe is the best inventor in the business. You know, she sells me just one of her tricks and I can be in business myself.
Grissom: So you know Zoe Clein.
Matilda: Through Zephyr. Yeah.
Grissom: Was she a plant the night she disappeared?
Matilda: Yeah. It's one of her stipulations that she's the volunteer opening night.
Brass: Zoe Clein has been missing for six months. And you saw her the night she ... disappeared. How do you explain that?
Matilda: I don't know.
Brass: By the way how'd you get here?
Matilda: Drove. My car's parked down the street.
Warrick: What kind of car do you drive?
Matilda: A Ford F-150.
CUT TO:
[EXT. ZOE CLEIN'S RESIDENCE - DAY -- CONTINUOUS]
Warrick: Ford F-150.
(WARRICK and SARA carry their kits and check out MATILDA'S Ford. WARRICK checks the tires out and compares it to a photo of the treads they took outside the back of the stage.)
Warrick: It's a match.
(SARA opens the back hatch. Inside the back of the Ford is a caged black panther. The panther growls. SARA and WARRICK take a precautionary step back.)
Warrick: Whoa. Well, at least we know the animal. Black panther.
(SARA takes out her cell phone and dials.)
Sara: Dispatch, this is P-4981. We need animal control at, uh ... Oh, my god.
(SARA glances inside the back of the Ford and finds smudges of blood. Next to the blood are empty vials and used syringes.)
Warrick: Thorazine.
Sara: What did they do? Drug her and feed her to the panther?
CUT TO:
[INT. CSI - A/V LAB]
(CATHERINE takes out the CD booklet and flips it open to a page with various photos on it. She sticks it under the fluorescent magnifying glass and shows what she found to NICK.)
Catherine: There.
Nick: What?
Catherine: There.
Nick: Where?
(The photo that CATHERINE is talking about is one of SAMANTHA DEAN and GUS KENYON sitting side by side on a couch.)
Catherine: Samantha Dean. She knows him. She's backstage with him.
Nick: And?
Catherine: Backstage with a rock star. Trust me, it's a big deal. See that VIP pass around her neck? That's like diamonds.
(Camera Close up of the "PEKINPAH 1996 VIP" pass around SAMANTHA'S neck. Also passing notice is taken of the pair of shades that GUS KENYON is wearing in the photo.)
Nick: Really? Hmm. So ... groupie?
Catherine: Girlfriend?
(Camera close up of SAMANTHA and GUS holding hands in the photo and the ring on GUS' finger.)
CUT TO:
[INT. CSI - EVIDENCE LOCKER ROOM -- DAY]
(CATHERINE walks into the room and heads for the locker. She opens the drawer and takes out a paper package. Behind her NICK grabs a pair of latex gloves and puts them on. CATHERINE empties the package on the table. Various kinds of silver jewelry spill onto the table.)
(CATHERINE picks up GUS' ring and looks at it. She holds it out to NICK. He takes it and looks at it.)
Catherine: There was a scuff on Samantha Dean's door.
Nick: Was it a red door?
Catherine: Uh-huh.
(NICK grabs a magnifying glass and looks at the ring. There's some red stuff on the head of the ring.)
(Quick flashback to GUS KENYON pounding on SAMANTHA DEAN'S front door using the back of his hand.)
Gus: Samantha! Samantha!
(End of flashback. Resume to present.)
(CATHERINE looks at NICK.)
Catherine: Kick ass.
CUT TO:
[EXT. ZOE CLEIN'S RESIDENCE - DAY]
(MATILDA is standing outside next to the back of her Ford. She explains her cat to GRISSOM. SARA and WARRICK stand nearby listening.)
Matilda: Sadie's my cat. She's my pet. I got her from a previous gig. Zephyr hates animals so I just keep her in my truck during the show. I let her out between shows so she can get some air and she cut her leg on the tailgate. So I sedated her.
(Quick flashback camera close up of a syringe being filled with Thorazine and being pulled out of the vial. Liquid squirts out from the end of the needle up into the air. The needle is then inserted into the black fur.)
(End of flashback. Resume to present.)
Matilda: Can I go? I've got a lot of work to do. Tonight's a really big night. We're sold out for the first time and Zephyr's debuting a new trick.
(This catches GRISSOM'S attention.)
Grissom: Really? New trick.
CUT TO:
[EXT. LAS VEGAS HOTEL/CASINO (STOCK) - NIGHT]
CUE: AUDIENCE APPLAUSE (PRELAP) TO:
[INT. THEATRE -- NIGHT]
(ZEPHYR steps out on stage as the audience continues to applaud. His arms are outstretched toward the audience. Behind him is the Chamber of Doom.)
(GRISSOM, SARA and WARRICK step down into the back of the audience They remain standing as they watch the show.)
(ZEPHYR walks to the middle of the stage and addresses the audience.)
Zephyr: Ladies and gentlemen: I know you all want to disappear. But tonight, there'll be no sabers, no surprises and no volunteers.
(The audience groans. ZEPHYR takes off his mask.)
Zephyr: Tonight, I will attempt to make myself disappear.
(There is little response from the audience. ZEPHYR chuckles. He turns around and walks to the side of the stage. He also puts his mask back on.)
(An assistant holds out ZEPHYR'S jacket. He puts it on, then heads back to the Chamber of Doom. MATILDA opens the chamber door and ZEPHYR walks in. She closes the glass door and white smoke fills the chamber.)
(The audience watches carefully. Lights flash within the chamber and soon it's completely covered in white smoke.)
(To everyone's horror, the smoke bursts into flames as the f*re within the chamber consumes the man still inside. The audience shrieks and stands. They watch as the man inside pounds on the glass and struggles to get out.)
(Camera cut to GRISSOM, SARA and WARRICK stunned by what they're watching on stage.)
(The audience continues to shriek. The flame-engulfed man inside the chamber continues to pound on the glass walls as he slowly falls to the floor.)
(Assistants with hammers appear on stage. They break through the glass, but it's way too late. They get the chamber door open and manage to put out the f*re with extinguishers.)
(Camera close up of GRISSOM with SARA and WARRICK in frame.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. THEATRE - UNDER THE STAGE -- NIGHT]
(Camera close up of a large nail stuck in the trap door preventing it from opening.)
Sara: (o.s.) It's been rigged.
Grissom: With a metal stake.
(GRISSOM, SARA and WARRICK are once again under the stage looking up at the trap door under the glass box. WARRICK reaches up and pulls the stake out. The trap door immediately falls open. He looks at it.)
Warrick: Someone just got nailed to the cross.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS and GRISSOM go over the preliminary autopsy findings.)
Robbins: He's got external burns covering approximately eighty percent of his body. Majority are second-and third-degree. Extensive damage to his hands. Curled and closed.
Grissom: The human body protecting its prints.
Robbins: You're going to have a tough time finding anything substantial here.
Grissom: Better run his dental records, then, huh?
Robbins: Yeah, sure.
Grissom: COD?
Robbins: Laryngeal spasm. We usually see this in drownings. Only instead of swallowing water, he swallowed f*re.
(Quick flashback to ZEPHYR standing in the glass box. His arms spread out and he opens his mouth as he screams in pain. Switch to CGI POV of f*re starting from the ground up and moving higher. The camera zooms into ZEPHYR'S mouth along with the f*re. The view continuously travels down through the mouth, through the wind pipe and down to the lungs. It follows the path of the f*re and camera holds at the end with a close up of the f*re in the lungs.)
(The camera pulls back a little and the muscles close.)
Robbins: (V.O.) It causes the larynx to pinch shut protecting itself ...
(End of CGI POV and flashback. Resume to present.)
Robbins: ... yet cutting off his air supply and that leads to immediate unconsciousness and death. Another example of the body trying to protect itself. And, uh, I'd say in this case, it didn't work.
Grissom: Unusual, though.
Robbins: Not as unusual as what I found in his mouth.
(Quick CGI POV as the camera speeds forward and travels to the open mouth and shows us the burnt palate inside.)
Robbins: (V.O.) ... Surgically created soft tissue pouches within the gingivae. It's like pockets of skin.
(End of CGI POV. Resume to present.)
Grissom: In the lining. I've never seen this before.
Robbins: Neither have I.
Grissom: I knew that Houdini could swallow and regurgitate keys on cue, but I've never heard of skin pockets.
Robbins: Learn something new every day don't you?
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(A bag full of magician's supplies is emptied onto the table. SARA and WARRICK go through the malicious-looking items as TOBY ARCANE stands nearby watching.)
(They lift up various items. SARA finds the metal stake. She hands it to WARRICK. TOBY ARCANE takes a step forward and immediately pulls the stake out of WARRICK'S grasp. With his other hand, he grabs WARRICK'S wrist. WARRICK resists.)
Toby Arcane: Come on, trust me.
Warrick: Okay.
(Without breaking eye contact and finding it entirely amusing, TOBY ARCANE puts WARRICK'S hand flat against the table, palm up.)
(TOBY carefully places the metal stake in the middle of WARRICK'S open palm. With his free hand, he reaches over and picks up the mallet. He looks up at SARA.)
(SARA takes a cautionary step backward.)
(TOBY pounds the table with the mallet a couple of times to show that the mallet is real.)
(With a loud thud, he hits the metal stake with the mallet. SARA flinches at the contact. The stake inches down into WARRICK'S palm with the first h*t. WARRICK doesn't react, although a puzzled look crosses his face.)
(TOBY laughs.)
(He lifts the metal stake off of WARRICK'S perfectly intact palm leaving behind some dark-reddish looking "blood". He holds up the stake and plays with the tip pushing it in and out to show how easily it collapses at the mere touch of his fingertip.)
Toby Arcane: This, uh, collapsible stake right here breaks a tiny little blood capsule inside ...
(TOBY tosses the metal stake back on to the table.)
Toby Arcane: ... giving the illusion that I'm bleeding.
(He holds up his hands palms open for emphasis. After a moment, he turns to SARA, who no longer looks impressed at all the nifty gadgetry in front of her.)
Toby Arcane: Look it doesn't suit me to k*ll Zephyr. See, I've been k*lling him for years. Come on, people, this is magic.
(TOBY hits the stuff on the table making it rattle loudly.)
Toby Arcane: It's B.S. It's all fake.
(He sticks an index finger in his mouth. He opens his shirt and starts rubbing his "tattoo" off.)
Toby Arcane: Look at this. Even this tattoo.
(He chuckles.)
Toby Arcane: I'm from Orange County, dude.
Sara: Thanks for your time.
Warrick: Yeah. On earth.
Toby Arcane: You're welcome.
(SARA and WARRICK leave the room ... and TOBY ARCANE.)
CUT TO:
[INT. SAMANTHA DEAN'S RESIDENCE -- DAY]
(BRANDON DEAN sits on the living room floor while and officer keeps him occupied while NICK and CATHERINE interview SAMANTHA DEAN at the dining room table.)
Samantha Dean: This is ridiculous. I don't even own a stereo.
Nick: So, you never met Gus Kenyon?
Samantha Dean: No.
Nick: You sure? We know he was here. We matched the paint from your door to the paint on Gus's ring.
(NICK puts a small evidence card on the table. CATHERINE also pulls out an evidence bag with an enlarged picture of the photograph from the CD and shows it to SAMANTHA.)
Catherine: And it's not so much that this girl in the photograph looks exactly like you. It's that the sunglasses that Gus is wearing ... familiar?
Samantha Dean: (shakes her head) Of course not.
Catherine: Very rare, custom-made graduated lenses. Your son is holding them in his hands.
(SAMANTHA turns around to look at the glasses that BRANDON is holding.)
Catherine: Were they a gift for him?
Samantha Dean: No.
Catherine: He has his father's eyes. The two of you met on a video sh**t in Vegas six years ago.
(Quick flashback to SAMANTHA DEAN'S front porch and the red front door opening.)
Catherine: (V.O.) Last night ...
(SAMANTHA opens the door and GUS KENYON is standing there. SAMANTHA has a surprised look on her face. She is not happy to see him there.)
Gus Kenyon: Hey, baby.
Catherine: (V.O.): ... Alone and depressed ...
Gus Kenyon: I tried to call you.
Catherine: (V.O.) ...He just decided to look you up.
(He walks in through the door and sees BRANDON standing there.)
Gus Kenyon: Who's that? Huh?
Catherine: (V.O.) He knew immediately that it was his son. Any father would.
(GUS KENYON takes off his sunglasses and puts them on BRANDON.)
Catherine: (V.O.) For some reason you had kept Brandon a secret.
Gus Kenyon: (to SAMANTHA) Why didn't you tell me?
(SAMANTHA starts to push GUS toward the door.)
Samantha Dean: (yelling) Please, just leave! Just go! Please!
Catherine: (V.O.) Gus gets angry. He can't understand why you won't let him be a parent.
(SAMANTHA pushes GUS out the front door and closes it in his face. Inside in the background, we can hear him pounding on the door. SAMANTHA turns to look at BRANDON.)
Samantha Dean: (to BRANDON) Honey, it's okay.
(End of flashback. Resume to present.)
Catherine: (quietly) You've changed a lot since your days with Gus. You were protecting your son from his father's lifestyle.
Nick: Miss Dean, you're a Registered Nurse, is that correct? That means you have access to medical supplies. Needles?
(SAMANTHA doesn't say anything.)
(Quick flashback to the night GUS KENYON died. Gus is both frustrated and wired. He grabs the CD case and takes a drink from the bottle of Irish Whiskey. GUS looks at the drugs in his hand. He lies down on the bed.)
Nick: (V.O.) Gus left here and he went back on the bus. He thought about doing some of Mr. Castle's drugs but he didn't. He said he just passed out from the booze.
(End of flashback. Resume to present.)
Nick: But you, you've been around heroin before, haven't you? You know how to cook it. Did you think you put just enough in the syringe to make it look like a su1c1de?
Samantha Dean: Am I under arrest?
Nick: No. No, we're just here for your son's DNA.
Samantha Dean: (she nods) Then I think I should hire a lawyer.
Catherine: I just have one other thing, Miss Dean. I'm just guessing that when you found out you were pregnant that you stopped listening to Gus' band and that you haven't heard any of his latest songs.
(CATHERINE opens the CD booklet and starts to read.)
Catherine: (reading) "I'm drying up like rain and sand without you wiping away my tears with your hand, you saw through the lies that make up my disguise I need you back to set me free just give me one last chance come back to me." I think that he wrote this for you. I think that he loved you very much and ... that he missed you.
(SAMANTHA starts to cry.)
Samantha Dean: When I made him leave, he said he'd call an L.A. Lawyer and take Brandon away from me.
(Quick flashback to SAMANTHA stepping into GUS KENYON'S trailer/bus. She looks inside and sees GUS KENYON passed out on the bed.)
Samantha Dean: (V.O.) I'm not sure now what I was going to do but ...
(End of flashback. Resume to present.)
Samantha Dean: ... when I saw him with the heroin next to him ... I knew nothing had changed.
(Quick flashback to SAMANTHA holding the guitarist's red scarf in her hands. Cut to SAMANTHA walking toward the bed. Cut to SAMANTHA taking the tourniquet and wrapping it around GUS KENYON'S arm.)
Samantha Dean: (V.O.) I carry needles in my kit.
(Cut to SAMANTHA preparing the needle. Cut to SAMANTHA injecting GUS KENYON with air.)
[CLOSED CAPTIONING: SAMANTHA DEAN: (V.O.) Took a tourniquet from the dresser. Injected him with air multiple times.]
(End of flashback. Resume to present.)
Samantha Dean: I am not proud of my youth and my son was never going to be a part of that world. You're a mother. What would you be willing to do to save the life of your child?
(Thinks about it for a moment.)
Catherine: I think that I'd rather have my daughter know a bad father than no father at all.
(Camera holds on SAMANTHA DEAN.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(GRISSOM sits at his desk holding the coin that he got from ZEPHYR. He tries to do a magic trick in slow motion. He holds the coin in his left hand and grabs it with his right hand. He opens his right hand and there's no coin. He clasps his left hand as if catching something, then opens it to show the coin.)
(The coin is heads up. He flips the coin over and it again shows heads up again. He looks at the coin and flips it over one more time. He looks at it making connections. He thinks about it for a moment, then looks at his shelf where he has an IO moth in a glass container displayed. Something clicks within.)
(Camera holds on the IO Moth.)
CUT TO:
[INT. CSI - HALLWAY]
(GRISSOM exits his office and walks down the hallway. He's got a purpose in his step and an inkling in his mind.)
(He walks a short distance when he finds SARA and WARRICK in one of the labs. He barks out orders.)
Grissom: Warrick. I need you to find out everything you can about Zephyr and his crew. Sara, check web sites. Concentrate on Punky. I've got a hunch about these guys.
Sara: Where are you going?
Grissom: Coroner. I need a piece of the Zephyr.
(GRISSOM is already leaving.)
CUT TO:
[INT. CSI - MORGUE - NIGHT -- CONTINUOUS]
(The refrigeration unit is opened and the table with the body on it is pulled out. ROBBINS finds the hand and holds it out while GRISSOM cuts off the tip of an index finger.)
CUT TO:
[INT. CSI -- LAB]
(Camera close up of a website about the "Amazing ZEPHYR". The main page graphic clouds up with white smoke and a picture of ZEPHYR appears with his name underneath.)
Warrick: Zephyr Dillinger and Punky the stagehand. They're related?
Sara: Father and son?
Warrick: (looks at SARA) Magician and his double.
CUT TO:
[INT. CSI -- LAB]
(With the piece of finger tip that GRISSOM cut off from the body, he pulls the bone out of the skin casing. He places the skin shell on his own right hand pinky finger. He then proceeds to take a fingerprint of the body they have down at the morgue. He rolls the finger tip onto an ink pad and rolls it again on a piece of paper.)
CUT TO:
[INT. CSI - PRINT LAB]
(Close up of the computer screen. The finger print they're matching appears on the right with identifiers. It runs it against the prints in the database and a match is found immediately.)
(The computer screen reads: "PRINT MATCH: PUNKY DILLINGER" which is a direct match to the reference print.)
Grissom: He fooled us. It was Punky burning in that box. Zephyr m*rder his son.
Warrick: The little boy from the picture.
Grissom: They pulled a switch.
(Quick flashback as one masked man in black walks away from the stage and past another masked man in black walking back on stage.)
(End of flashback. Resume to present.)
(GRISSOM tosses the coin up and catches it. He holds it out for SARA and WARRICK to see. He flips it over so that they can see both sides of the coin.)
Grissom: See this coin?
Sara: It's two-headed.
Grissom: Two heads as one. One and the same. Zephyr and his son are interchangeable in physical appearance like the IO moth. You know what that means?
Warrick: Zephyr's still out there.
Grissom: So, if you're a master of deception where do you hide?
(GRISSOM turns his head to SARA.)
Grissom: Or do you?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. ZOE CLEIN'S RESIDENCE - HIDDEN ROOM - NIGHT]
(GRISSOM walks cautiously down the spiral staircase. His flashlight the only light in the dark room. He reaches the bottom and looks around the room. He sighs and looks around some more. He sees it.)
(On the ground under the window, he sees the hook broken. It's a curious sight. He walks over to it and picks it up. He looks at it carefully and definitely recognizes it.)
(Quick flashback to GRISSOM grabbing on to the wall hook to hoist himself up to the window sill to look at the IO moth. End of flashback. Resume to present.)
(GRISSOM looks at the hook. He looks at the wall. He tries to match the hook to it's place on the wall, but doesn't find it. He looks at the large wall in front of him from side to top and makes an amazing assessment.)
Grissom: I think this room is shrinking.
(GRISSOM places his two hands flat against the wall and starts to push the wall back. With some effort, the entire wall moves slightly back. As it does, a doorway appears on his right.)
(Another hidden passage.)
CUT TO:
[INT. ZOE CLEIN'S RESIDENCE - HIDDEN PASSAGEWAY- NIGHT -- CONTINUOUS]
(GRISSOM walks through the passageway. It's a corridor that leads him to another lit room. He turns the corner and sees ZEPHYR sitting at the far table working on something, his back to the doorway.)
[INT. ZOE CLEIN'S RESIDENCE - HIDDEN ROOM 2 - NIGHT -- CONTINUOUS]
Zephyr: Nothing is what it seems. But I fooled them all. Even that ungrateful masochist.
(Quick flashback to the night of ZOE CLEIN'S purported disappearance.)
"ZEPHYR": (o.s.) You, in the blue dress.
(Cut to ZEPHYR in disguise, dressed in the blue dress, red wig and dark sunglasses, looking up and smiling.)
(Cut to TONY ARCANE sitting at the back table between two women.)
Toby Arcane: Who's he kidding? That's a plant.
Zephyr: (V.O.) His arrogance blinded his perception.
(Cut to the ZEPHYR in his disguise smiling and standing up to do the trick.)
(Cut back to TOBY ARCANE pointing and muttering.)
Toby Arcane: That was a plant.
(End of flashback. Resume to present.)
Zephyr: It-it's amazing what you can do with a stagehand and a masquerade mask. You know, not to mention a prop like a packet full of Zoe's blood.
(Quick flashback and close camera angle of the tip of the sword blade sliding through the glass box slots from the outside; then into the box where we see ZEPHYR lift up the blue dress where he has a packet of blood taped underneath. The sword then pierces through the packet to deliberately leave behind the blood evidence that was eventually found.)
(End of flashback. Resume to present.)
Zephyr: You know, lucky for me she let me have some before she mysteriously disappeared.
Grissom: You made her disappear.
(ZEPHYR turns around to look at GRISSOM.)
Zephyr: No, I "assumed" her.
(Quick flashback to the night of the trick. ZEPHYR jumps down through the trap door and starts removing his wig. He tosses it aside. He tears off the dress. He tosses that aside also. All the while on the move. Cut to one masked man in black walking away from the stage and past another masked man in black walking back on stage. End of flashback. Resume to present.)
Zephyr: (proudly) Quick-change artistry. A magical transformation. With a good seamstress and some velcro, you ...
Grissom: (interrupting) We know that you switched with your son, Punky to set up Toby Arcane for your m*rder. That trick didn't work so well, did it?
Zephyr: (confesses and sounding slightly disappointed) Not as planned. And your finding me here has thwarted my transmutation.
(He turns to GRISSOM and smiles.)
Zephyr: Abracadabra.
Grissom: "Abracadabra". That's a cabalistic charm said to be made up from three Hebrew words meaning, father, son and the holy spirit. You're the father who took his son's life ... so that you could disappear and become the holy spirit?
Zephyr: No.
(ZEPHYR stands and walks to GRISSOM.)
Zephyr: From caterpillar to cocoon. From cocoon ...
(ZEPHYR reaches out and grabs something from GRISSOM. It's a magic trick, but instead of the coin, he reveals the IO moth.)
Zephyr: ... to moth. And from moth ...
(ZEPHYR puts the moth in his hand and shakes it. He tips his closed fist over and a stream of gold glitter pours out.)
Zephyr: ... to dust.
(GRISSOM is unamused and doesn't crack a smile. ZEPHYR finds his trick humorous and smiles. He even chuckles slightly.)
Grissom: Your son aspired to be a great magician, didn't he?
Zephyr: Yeah, but he served better as a prop.
Grissom: You're about to be arrested for his m*rder.
Zephyr: You don't want to know how I did that trick?
Grissom: No. Magicians shouldn't reveal their tricks.
Zephyr: And they say, they save their best trick for last.
(And with that, ZEPHYR smiles.)
CUT TO:
[EXT. ZOE CLEIN'S RESIDENCE - NIGHT]
(ZEPHYR is handcuffed behind his back and being escorted by an officer to the waiting car. GRISSOM rushes to catch up to the pair. He's putting on a pair of latex gloves.)
Grissom: Officer?
(GRISSOM catches up to the pair.)
Grissom: Officer, wait a minute. Turn him around, please.
(ZEPHYR turns around. He looks at GRISSOM.)
Grissom: Open your mouth, please.
(ZEPHYR opens his mouth. GRISSOM uses his flashlight and checks ZEPHYR'S mouth. He checks thoroughly. He finds nothing.)
Zephyr: Satisfied?
Grissom: Yeah.
(ZEPHYR looks at GRISSOM and nods slightly. He turns around and goes into the police car. GRISSOM watches as the car door is closed. He takes off his latex gloves and turns away as the car drives off.)
CUT TO:
[INT. POLICE CAR - NIGHT -- CONTINUOUS]
(Sitting in the back seat of the car, ZEPHYR makes a face. He works his throat muscles and swallows several times. He continues to work the muscles in his upper chest area.)
(After a moment, ZEPHYR opens his mouth and exposes a black key sitting on his tongue.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x05 - Abra Cadaver"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS PRISON (STOCK) - NIGHT]
(The bright white guard light turns toward the camera.)
FLASH TO WHITE:
[INT LAS VEGAS PRISON - NIGHT]
(Guards strap the PRISONER in orange to his chair.)
(Cut to: The wall clock reads: 11:58 p.m.)
(Cut to: The guards strap The PRISONER'S legs to the table, uncuffs his hands and straps his arms down to the table. They cut his orange prison uniform and stick a needle in his arm. His cut shirt is pushed aside and electrodes are attached to his chest to monitor his hearbeat.)
(The guards leave.)
(The camera pans from the execution cell, through the observation mirror and down to the next room where six large syringes are laid out on the table in front of the warden and other officials.)
(Cut to: The PRISONER is spread out on the table and strapped down so he can't move.)
(The clock reads: 11:59:00.)
(The PRISONER breathes rapidly. He looks to the side at the window where the curtain to the observation room is closed. The curtains open and behind the window are several rows of witnesses. The camera lingers on the man and woman sitting up front and center. The woman is startled at the sight in front of her and reaches for her husband's hand.)
(The PRISONER sees them, then turns his head away. The woman clutches in her lap, a picture of a young woman, her daughter.)
(The audience waits. The clock counts down with every passing second ...
11:59:54 ... 11:59:55 ... )
(Camera cuts to focus on the man's neck where his pulse beats rapidly just beneath his skin.)
(Quick CGI POV to the blood flowing rapidly through his veins. Through his veins, where it comes out to his heart. We watch the heart b*at for a moment. End of CGI POV. Resume to present.)
(The man picks up the first syringe (#1) filled with a clear liquid. He uncaps the needle and injects the liquid into the IV tube.)
(Quick CGI POV to: The liquid flows through the IV tubes, then through the man's veins where we see red blood cells ... and we see more red blood cells. End of CGI POV. Resume to present.)
(Cut to: Camera close up of the PRISONER'S left eye where we see the pupil dilating.)
(Quick CGI POV cut to the heart beating slower than before. End of CGI POV. Resume to present.)
(Cut to: Camera close up of the man's face as his eyes start to close. His eye lids close.)
(For a moment, there is silence in the execution room. There is silence in the observation room. The solid tone of the heart monitor flatlining is heard.)
(A telephone rings cuts through the silence.)
(The medic answers it.)
CUT TO:
[INT LAS VEGAS PRISON - NIGHT -- CONTINUOUS]
(The door to the Execution Room bursts open and life-resuscitating machines are wheeled into the room.)
Medic: Let's go. We have a stay of execution. We've got thirty seconds to revive him.
(Two medics and a physician works on reviving the condemned prisoner. The medics perform CPR while the physician injects something into the IV.)
FLASH TO WHITE:
[INT. CSI - HALLWAY - NIGHT -- CONTINUOUS]
(GRISSOM is walking down the hallway while reading a file folder. CATHERINE catches up to him and fills him in. She hands him some papers.)
Catherine: Grissom ... a stay. New evidence appeal: Hair analysis. I already over-nighted the six pubic hairs found on the victim to norfolk -- Department of Criminal Justice -- for mitochondrial DNA analysis.
FLASH TO WHITE:
(Close up of Mailing label to "MT DNA LAB / DEPARTMENT ... ". White flash to man pushing cart with SENDEX box stamped RUSH on it. White flash to man tossing the SENDEX box in the back of a truck. White flash to SENDEX box (stamped RUSH) on the mailing conveyer belt and the box being picked up by a pair of hands. Flash to white.)
RESUME TO PRESENT:
(CATHERINE and GRISSOM continue to walk through the hallway.)
Catherine: Defense thinks DNA's a magic pill for exoneration. I doubt if it's going to change the outcome.
(They turn and enter the office.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - NIGHT - CONTINUOUS]
(GRISSOM walks into his office and heads for his desk. He hasn't said a word back to CATHERINE. CATHERINE steps into the office.)
Catherine: (shakes her head) You don't know what I'm talking about.
Grissom: Not really.
(GRISSOM sits down at his desk.)
Catherine: People v. John Mathers. Serial. Western LVU. I was a rookie ...
Grissom: Three d*ad co-eds?
Catherine: All sexually as*ault, but no semen was found. Suspected he wore a condom.
Grissom: Dumped in garbage bags.
Catherine: Case with the strongest evidence was victim number three: Charlene Roth. Mathers, a campus security guard got m*rder One for that.
Grissom: When are you going to get the test back?
Catherine: I put a rush on it.
(Flash to white. Camera view of the SENDEX box and label. A hand with a stamp stamps "RUSH" on it in red. Flash to white. Resume to present.)
Grissom: Is this your first one?
Catherine: First to exhaust all of his appeals and get an execution date.
(CATHERINE sits down in the seat across GRISSOM'S desk.)
Catherine: How many have you had?
Grissom: Two.
(GRISSOM goes back to the papers he's looking at and flips a page over.)
Grissom: So, how do you feel about it?
Catherine: Mathers was convicted and sent to death row by a jury of his peers. I played a small part. I presented my findings ...
Grissom: Non-responsive.
(GRISSOM interrupts CATHERINE. CATHERINE looks at GRISSOM.)
Catherine: Okay. I haven't figured out how I feel yet.
Grissom: It's just about evidence. It's not up to you whether he lives or dies.
(GRISSOM flips the papers back over.)
Grissom: Case has no face.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
WHITE FLASH IN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. RESTON'S RESIDENCE -- NIGHT]
(Camera close up of a man in a blood-stained shirt sitting on the side walk. He looks completely out of it. Police sirens are heard in the background.)
Brass: Cops did a welfare check on this residence. A girl, 17, didn't show up for work and they found dad passed out on the sofa in a blood-soaked t-shirt.
(BRASS, GRISSOM and SARA approach the man.)
Grissom: Did he have anything to say about his daughter?
Brass: Mr. Reston, uh, can't remember what day it is. Claims he was in a bar fight.
Sara: "Pass" test?
Brass: His blood alcohol level is .37.
Grissom: Ooh ... alcoholic.
Brass: Yeah.
(GRISSOM walks away to leave it to SARA.)
Sara: Lucky me.
Grissom: Yeah.
(SARA kneels down in front of the man and puts her case down. BRASS also kneels down and speaks to the man.)
Brass: (loudly) Hey, buddy! This is Sara Sidle of the Las Vegas Crime Lab. She's going to ask you some questions.
Sara: Sir, I need your shirt and I need to see your hands.
Brass: Shirt and hands!
CUT TO:
[INT. RESTON'S RESIDENCE -- NIGHT]
(GRISSOM looks around the living room. There are open containers, food and trash all over the place. The television is on. NICK walks in.)
Grissom: Hey.
Nick: Hey.
(NICK looks around at the messy place. GRISSOM moves to stand next to NICK.)
Nick: People are pigs.
Grissom: Don't insult the pigs, Nick. They're actually very clean.
CUT TO:
[INT. RESTON'S RESIDENCE - DEBBIE'S BEDROOM - NIGHT - CONTINUOUS]
(The door opens. GRISSOM and NICK walk into the daughter's bedroom. He turns on the light. The differences are immediately.)
Grissom: And this would be the girl's room.
Nick: Doesn't seem like the same house.
(There are two d*ad bolt locks on the bedroom door.)
Grissom: d*ad bolts on her bedroom door.
Nick: Trying to keep something out.
Grissom: Hmm.
(NICK snaps a picture of the locks. GRISSOM turns to look at the bedroom.)
Grissom: A bedroom refrigerator?
(He opens it to check out its contents.)
Grissom: There's milk, fruit ... a toaster?
Nick: Guess they weren't much on family dinners.
(NICK snaps more pictures. GRISSOM checks out the closet.)
Grissom: Nick?
(GRISSOM holds up a hanger.)
Nick: A gi and a black belt.
Grissom: Trained in the art of self-defense.
(GRISSOM puts it back. He looks inside the hamper and notices blood on the towel. NICK snaps pictures of it.)
Nick: (takes the towel) I'll bag it.
CUT TO:
[INT. CSI - LAB]
(CATHERINE has photographs spread out all over the table. She holds a stack of photographs in her hands and looks through it.)
(She flips the next photo over and looks at "PHOTO 2A", a picture of a girl's hand stained with paint.)
(Quick flashback to: A MAN tying a WOMAN'S hands together. End of flashback. Resume to present.)
(CATHERINE looks at another photo, a picture of a woman gagged, eyes open, and hands tied.)
(Quick flashback to: A MAN tying a WOMAN'S hands together. She's gagged and her eyes are open. End of flashback. Resume to present.)
(CATHERINE looks at another photo, a d*ad woman found wrapped in a garbage bag.)
(Quick flashback to: A MAN tying the ends of the garbage bag together. End of flashback. Resume to present.)
(WARRICK walks into the lab.)
Brown: I heard Mathers had that I.V. In his arm and everything, when that call came in. Never had a death penalty case get that far. Just working it all out?
Catherine: Yeah. Old case, new eyes, new technology.
Warrick: This evidence was processed, what, fifteen years ago?
Catherine: That was before DNA. Now that the case has been reopened I can re-evaluate all three m*rder. We always thought Mathers was good for the other two, but if they overturn Charlene Roth with the new DNA, we can go back and try Mathers with the other two m*rder with the new evidence.
Warrick: Keep Mathers in prison.
(WARRICK looks at the file. CATHERINE watches WARRICK for a moment ... wondering ... )
Catherine: You pro or con?
Warrick: Pro, if he did it. The applications sucks, though. There's a lot of brown skin on that row.
Catherine: Yeah.
Warrick: What about you?
Catherine: I try not to give it much thought. I stick to the work.
Warrick: Really?
Catherine: Campus police found the victim Charlene Roth in this trash bag.
Warrick: The trash bag, yeah. I was looking at that. Processed with superglue, rhodamine, laser. No prints found though.
(WARRICK opens the file again and looks at the report and photo of CHARLENE ROTH found d*ad in the trash bag.)
Catherine: Who's working the print lab tonight?
Warrick: Franco. Just off of days.
(CATHERINE walks out of the lab carrying an evidence bag.)
CUT TO:
[INT. CSI - STAIRWAY/HALLWAY - NIGHT -- CONTINUOUS]
(CATHERINE walks down the stairs to the print lab. She's carrying an evidence bag. GREG catches up to her. He walks with her.)
Greg: Hey, I hear you're cheating on me with an out-of-state DNA analyst.
Catherine: Apples and oranges, Greg. Fifteen-year-old hair samples no roots, room-temperature storage.
Greg: Room temp?
Catherine: Yeah, that's how we stored hair evidence back then. Microscopy was king.
Greg: Really? I thought Elvis was king.
Catherine: And you are how old?
Greg: Age is irrelevant in our relationship.
Catherine: Maybe so, but face it, Greg you just don't have the equipment.
Greg: The government results won't give you an individual profile and you can't put them through CODIS.
Catherine: Well, maternal lineage is good enough on this one. No one else on Mathers' mother's side is a suspect. So, if it's a match, the stay is lifted he's back in the chamber. If not, we're back in court.
(CATHERINE walks away from GREG.)
CUT TO:
LEGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA
(On the monitor, a technician pushes the lab door open and carries the SendEx package into the lab.)
(Cut to: The technician puts the package on the desk.)
CUT TO:
[INT. CSI - PRINT LAB - NIGHT]
(CATHERINE walks into the lab. JACQUI FRANCO lifts her head and looks at CATHERINE.)
Catherine: Jacqui ... I'm so glad you're back on nights. Got a good one for you.
(CATHERINE puts the evidence package on the table. JACQUI turns it and reads the label.)
Jacqui Franco: Trash bag? Yeah, love it.
(She shakes her head and goes back to work.)
Catherine: Give it some vacuum metal deposition.
Jacqui Franco: Hottest thing going for plastic. If there's anything to be found, my machine'll find it.
Catherine: And, um, super-rush. You're in a race with the federal lab.
Jacqui Franco: Make my night; love to compete with the Feds. You and me need to catch up. How's Lindsey?
Catherine: Second grade, tons of homework.
Jacqui Franco: Lucky for her she got your smarts, not Eddie's.
Catherine: Hmmph. Now I know why I missed you so much. So, page me as soon as you're done.
Jacqui Franco: Mm-hmm. Putting you up first. You owe me a beer.
Catherine: Yep.
(CATHERINE walks out of the lab.)
CUT TO:
[EXT. RESTON'S RESIDENCE - BACKYARD -- NIGHT]
(GRISSOM and NICK examine the backyard. They pass a bar-b-que and a shovel leaning against a log.)
Grissom: Looks like somebody's been doing some digging.
(In the back of the yard there is a tool shed. They head for the tool shed.)
[INT. RESTON'S RESIDENCE - TOOL SHED - NIGHT - CONTINUOUS]
(GRISSOM and NICK look around inside. NICK finds a g*n on the shelf. He picks it up and looks at it.)
Nick: Glock. Laser sight. Slide's missing. Mr. Reston was a bit of a garage tinkerer.
Grissom: Great. Drunks with g*n.
(SARA enters the tool shed. She lingers by the door. GRISSOM picks up a g*n case and opens it.)
Sara: Hey.
Nick: Hey.
Grissom: M11-9. Empty box.
Sara: He didn't have any kind of w*apon on him.
Nick: Okay, we're into it.
Sara: I'm going to take Reston's shirt back to Greg.
Nick: Mm-hm. Do me a favor?
Sara: Yeah?
Nick: Inside, bloody towel, bagged and tagged.
Sara: You got it.
Nick: Thanks.
Sara: Woo. After this place, I need a shower.
(SARA leaves. GRISSOM looks around. He gets up and turns to leave. He steps on a creaky floorboard. It's obvious that there's something there. GRISSOM and NICK roll away the blanket on the floor and remove the floorboard.)
(Underneath there are over a dozen g*n.)
Nick: There's our M-11. 16-round magazine. Two remaining. One in the chamber. Modified to fully a*t*matic.
Grissom: Up to 14 rounds expended and unaccounted for.
Nick: Missing girl's old man's got blood all over him. Blood in her room ...
Grissom: I think it's time for dear old dad to go to detox.
CUT TO:
[INT. COFFEE SHOP -- NIGHT]
(CATHERINE is inside the shop ordering a latte.)
Catherine: (placing her order) I would like a vanilla ice soy blended latte, please.
(A WOMAN approaches CATHERINE.)
Sally Roth: Ms. Willows.
Catherine: Yes?
Sally Roth: Sally Roth. My husband Tom heard from a friend that you came here.
Catherine: I'm sorry. Do I know you?
Sally Roth: We're Charlene Roth's parents.
Catherine: (sighs) Mr. and Mrs. Roth. I'm sorry. I didn't recognize you.
Sally Roth: We were just wondering if you had any news.
Catherine: You know any news has to go through the attorney general's office. I can't divulge any information on an open case.
Sally Roth: He-he was convicted. It is not an open case to us.
Catherine: I was confident at trial. I'm still confident. The evidence is solid.
Sally Roth: If the court overturns the convic ...
Tom Roth: We just can't go through another trial.
(CATHERINE'S phone rings.)
Catherine: Uh, well, you will have an answer very soon. I'm sure of it. (CATHERINE looks at her phone.) Excuse me. I need to go.
(CATHERINE walks away.)
CUT TO:
[EXT. UNIVERSITY - LIBRARY -- NIGHT]
(CATHERINE walks up to SGT. O'RILEY. He meets her and they walk to the body.)
Catherine: What's going on? I'm not on call.
Sgt. O'Riley: I know. I called you because your name's on the memo.
Catherine: Which memo?
Sgt. O'Riley: Young female, bound, trash bag. Copycats come out of the woodwork every time there's an execution.
Catherine: Mather's attorney is going to have a field day.
O'Riley: Come on, Cath. Everybody liked Mathers for the Kent and Reese cases but the DA wouldn't file because he already had a slam dunk with Charlene Roth. How many times can you fry a guy?
(CATHERINE looks at the garbage bag.)
Catherine: (softly) Right.
O'Riley: Maintenance guy thought it was trash. Picked it up, broke open.
Catherine: Body dump. Just like 15 years ago.
(Quick flashback to: Photograph of the body in a garbage bag. End of flashback. Resume to present.)
(CATHERINE leans in and looks at the girl in the garbage bag, her hands bound and stained.)
(Quick flash to photograph of the old case in the garbage bag. Resume to present.)
(Camera holds on CATHERINE.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. UNIVERSITY - LIBRARY -- NIGHT]
(CATHERINE takes photographs of the body.)
(Flash to: Photographs from the old case where the body is in the garbage bag.)
CUT TO:
LEGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA
(A piece of hair is removed from the evidence envelope.)
(The information on the Crime Scene Search Evidence Report is: )
[Name of Subject: Mathers, John Date of Incident: 3-3-87
Time 23:47 PM Search Officer: C. Willows Evidence Description: Six Crime Scene Hairs ]
CUT TO:
[EXT. UNIVERSITY - LIBRARY -- NIGHT]
(CATHERINE takes photos of the girl's tied hands.)
(Flash to: Photographs of the old case where the girls' hands are tied.)
CUT TO:
[INT. FEDERAL LAB - CONTINUOUS]
(The hair is removed from the machine and put in a tube. The technician works in his lab.)
(Camera zooms to a close up of the hair. Camera zooms even closer to the cells in the hair.)
(Quick CGI POV to: Camera zooms closer to a single cell. Camera zooms to the DNA chain in the cell. End of CGI POV.)
CUT TO:
[EXT. UNIVERSITY - LIBRARY -- NIGHT - CONTINUOUS]
(CATHERINE works on the body.)
David Phillips: (o.s.) You ready for me?
Catherine: Not yet.
(CATHERINE takes a forceps out of her kit. She shows it to DAVID PHILLIPS and asks permission to remove something from the body.)
Catherine: May I?
David Phillips: Sure.
(CATHERINE pulls something out of the girl's hair. She holds it up for DAVID to look at.)
Catherine: What do you think this is?
David Phillips: That's Grissom's bailiwick, not mine.
Catherine: That's what I was thinking -- bug.
(Camera zooms in to show a bug.)
(WARRICK approaches the body and puts his kit down. He leans in to look at what CATHERINE picked up.)
Warrick: What you got?
Catherine: Two-fer. Looks like some kind of a bug casing and black fibers.
(Camera zooms in to the bug and shows the fiber on the bug's back.)
Catherine: She's all yours, David.
(CATHERINE takes a bindle and puts the bug in it. DAVID stands up and starts to instruct his group.)
David Phillips: Ok guys, we're clear.
Catherine: (to WARRICK) How come I get you?
Warrick: Grissom says it's precautionary in case Mathers gets overturned and you get swamped.
Catherine: (nods) I'm glad to have the help.
(WARRICK shines his flashlight on the body.)
Warrick: This looks familiar.
Catherine: A little too familiar. Let's figure out how she got here.
Warrick: Yeah.
(CATHERINE and WARRICK get to work as the Coroner's Office puts the body on a gurney.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. RESTON'S RESIDENCE - DAY]
(GRISSOM is cataloging the firearms found on the property. NICK is with a machine running it over the ground, looking for a body.)
(The machine beeps steadily. As he gets closer to something under the dirt, the beeping picks up.)
Nick: Hey, Griss ... found a density change. The screen's showing something.
(GRISSOM stands up and approaches NICK.)
Grissom: What's your depth estimate?
Nick: Two and a half feet.
Grissom: Oh, dear. Shovels and screens, chutes and ladders.
Nick: Yeah.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(DOC ROBBINS and DAVID PHILLIPS are going to work on the body in the garbage bag. ROBBINS cuts the garbage bag away from the body. DAVID PHILLIPS assists.)
(They remove the bag.)
Robbins: A little more. There we go.
(DAVID picks up a camera and starts taking pictures.)
Robbins: She's in rigor. At least 12 hours.
(DAVID cuts the bindings on the body's wrists. ROBBINS removes the bindings.)
Robbins: Get out your ten card and print her. But look out for this blue paint. Catherine's going to need to see it.
CUT TO:
[EXT. RESTON'S RESIDENCE - DAY]
(After escavating the body buried in the backyard, GRISSOM and NICK kneel next to the site.)
Nick: Well, we got something else to hold Reston on: Illegal burial of a domestic animal.
Grissom: Weak.
Nick: I'll cover him back up.
Grissom: So Debbie Reston never showed up at work and she's not buried in the backyard. Where did Debbie go?
CUT TO:
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM - DAY]
(BRASS questions MR. RESTON.)
Reston: I don't know her schedule. She works, goes to school. I hardly ever see her.
Brass: She's 17. She lives in your house. You're going to have to do better than that.
Reston: Stuck-up bitch is ashamed of me. Can't wait to graduate high school and move out. She's already got a job: Coffee shop. Got a car.
Brass: What kind of car?
Reston: VW convertible, blue.
Brass: And as a concerned parent, you're going to ask me to put out a broadcast, aren't you?
[OBSERVATION ROOM]
(GRISSOM watches the interview from the observation room.)
Reston: Whatever.
Brass: Is the car in her name or yours? I'm going to need the license plate number. You listening to me?
(SARA walks in.)
Sara: I just left Greg in DNA. Blood on Reston's shirt is his own.
Grissom: Blood on the towel?
Sara: Eight markers match family member. There's only two people in the house. It's probably Debbie's but there isn't that much blood on the towel.
Grissom: So what? Innocuous injury?
Sara: That's what I'm thinking.
Reston: You got kids? They think it's all about them. Like I owe her.
[INTERROGATION ROOM]
Brass: Well, you owe your daughter more than being a drunk. You know, I think that maybe jail might be the best thing for you right now.
Reston: I think she just took off ... like her mother.
[OBSERVATION ROOM]
Sara: Can you believe this guy? I wouldn't blame his kid if she just took off.
(GRISSOM doesn't say anything. He just nods his head slightly.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]
(GRISSOM and SARA walk through the hallway. SGT. O'RILEY catches up with them.)
Sgt. O'Riley: Hey. Catherine and I got a case at the university -- d*ad female. Prints just came back. Matches your missing girl, Debbie Reston.
Grissom: Brass just put a broadcast out on her car.
Sgt. O'Riley: Then my guys will find it. They're posting her now.
CUT TO:
[INT. CSI -- FORENSIC AUTOPSY - DAY -- CONTINUOUS]
(DEBBIE RESTON is on the table. GRISSOM walks into the autopsy room.)
Robbins: Crazy world out there.
Grissom: Sorry I'm late. So, where are we?
Catherine: Debbie Reston, 17. She was taking a night class at Western LVU. Pre-req for early admission.
Grissom: So technically she was a Western LVU student.
Catherine: Yep. Just like Mathers' other victims.
Robbins: Thought Mathers was on death row.
Catherine: Mm-hmm. Doc, you were here back then. Tell me why this one's different.
Robbins: Suspect must be intimately familiar with the minutiae of the prior cases. What's identical: Cause of Death-- strangulation. Bruising on her wrists plastic zip tie, navy-blue paint. There is one new element: Defensive wounds on the hands. Whatever she grabbed onto shattered and caused these lacerations.
Grissom: Is that before or after she got the paint on her hands?
Robbins: After. One of these cuts sliced right through the paint.
(ROBBINS picks up a piece of glass from the cut on DEBBIE RESTON'S palm. He holds it up. Camera zooms in for a close up of the glass. The glass has blue paint on it. Resume to present.)
Robbins: The paint was there first.
(GRISSOM reaches out and touches the paint on the palm of her hand.)
Grissom: It's still wet.
Catherine: So she's been d*ad at least 12 hours, right?
Robbins: Right.
Grissom: What kind of paint doesn't dry in 12 hours, I wonder.
CUT TO:
[INT. FEDERAL LAB]
LEDGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA
(The technician continues to process the DNA sample.)
CUT TO:
[INT. CSI - LOUNGE/HALLWAY - DAY]
(The lawyer for the defense, MS. CAMPBELL, approaches CATHERINE in the lounge.)
Ms. Campbell: Ms. Willows. I heard you're investigating the m*rder at Western LVU. Female, young, bound dumped in a trash bag.
(CATHERINE clears her throat and closes the file she's reading.)
Catherine: You know that I can't confirm or deny any information regarding an active investigation. Excuse me.
(CATHERINE stands up and heads out of the lounge. MS. CAMPBELL follows CATHERINE down the hallway.)
Ms. Campbell: Ms. Willows, my client's life is on the line here. We've always maintained John Mathers' innocence.
Catherine: Ms. Campbell, I have no personal opinion about your client. I tested the evidence in his case and that evidence failed to exonerate him.
Ms. Campbell: Fifteen years ago. Before DNA. Before the real k*ller struck again. You are going to test the pubic hair sent to the federal lab against the new suspect ...
Catherine: What suspect? I can't help you.
Ms. Campbell: (accusing) You CSIs are biased for the prosecution. You decide ahead of time how you want the evidence to come out.
Catherine: Ms. Campbell, I am only an interpreter of the evidence. I know how to make the evidence speak to me. I don't care about the outcome.
Ms. Campbell: How about guilt or innocence? John was 15 seconds from execution. Sure you're not biased? I hear the same evidence speaking. You know what it's telling me? The k*ller's still out there.
(MS. CAMPBELL leaves CATHERINE standing in the hallway.)
CUT TO:
[EXT. UNIVERSITY -- DAY]
(SARA and WARRICK gather evidence from a blue VW convertible.)
Sara: It's Debbie Reston's car. Looks like you and I are officially running with the same case.
Warrick: Yeah? It's got to be the cleanest tape lift I've ever seen. There's no stains of any kind in this car.
(DET. O'RILEY walks toward SARA. He's reading a piece of paper.)
Sara: Whatever happened to her happened after she left her car.
Sgt. O'Riley: Debbie Reston was taking economics 101. 6:00 to 8:00 P.M. Never missed a class before last night.
Warrick: Well, this is my alma mater. Econ 101-- that's Sabian Hall. It's a long walk from here but I know the way.
(SGT. O'RILEY'S pager beeps.)
Sgt. O'Riley: I'll have to catch up with you.
CUT TO:
[EXT. UNIVERSITY - BACK PASS - DAY -- CONTINUOUS]
(WARRICK and SARA walk the back path to Sabian Hall. WARRICK trips and grabs the blue metal rail with his hand.)
Warrick: Damn. It's still wet.
(WARRICK looks at the blue paint stain in the middle of his palm. He looks around and notices the water fountain off the path.)
Warrick: What's the first thing you'd do if you got paint on your hands?
(Quick flashback to: DEBBIE RESTON trips on the path and grabs the blue metal rail. End of flashback. Resume to present.)
Sara: Wash it off.
(Quick flashback to: DEBBIE RESTON looking down at the paint on her hand. End of flashback. Resume to present.)
CUT TO:
[EXT. UNIVERSITY - BACK PASS -- DAY]
(GRISSOM stands in front of the water fountain. He looks up and sees the lamp without a light bulb in it.)
Grissom: We found glass in the lacerations on her right hand.
(WARRICK kneels down and finds something on the ground. He picks it up.)
Warrick: I'll see if I can get a match from this.
Sara: He painted the railing and just waited by the water fountain. Victim was like a fly in a spiderweb.
(Quick flashback to: DEBBIE RESTON in front of the water fountain trying to wash the paint stain off of her hand. In the bushes, someone wearing glasses is watching her. DEBBIE RESTON turns her head and looks directly at the man in the bushes. End of flashback. Resume to present.)
Grissom: We just learned something we didn't know about the prior m*rder.
Catherine: Yes, what the paint was all about.
Grissom: And if we just learned about it now, how did the copycat k*ller know?
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. UNIVERSITY - BACK PASS -- DAY]
(SARA examines the metal rail.)
Sara: Looks like Debbie isn't the only one who got paint on her hands.
(Camera close up of the different prints on the rail.)
(GRISSOM takes a swab sample of the paint.)
Grissom: Well, maybe he was waiting till he saw the girl he wanted.
(He turns his head and looks at SARA. She looks up at him.)
Sara: That's creepy.
(Quick flashback to: A blonde-haired student using the water fountain to wash her hands. Cut to: The blonde-haired student slinging her backpack over her shoulder and walking away. End of flashback. Resume to present.)
Sara: I'll call the f*re department, get a circular saw. Take this back to the lab.
[WATER FOUNTAIN]
(In the bushes next to the water fountain, WARRICK finds something.)
Warrick: I've got a backpack. Wallet ... Debbie Reston. Credit cards ... money, keys.
(Kneeling in front of the tree, CATHERINE is examining the bugs on the tree surface.)
Catherine: Not what he was looking for.
(Camera zooms in to a particular bug on the bark of the tree. It's the same kind of bug that CATHERINE took off of DEBBIE RESTON'S hair the night she examined the body.)
Grissom: What are you doing?
Catherine: I found pieces of this in the victim's hair. What's it look like to you?
Grissom: Hmm, what does it sound like? (pause) With the exception of the termite queen, the cicada is the longest-living insect. Spends seventeen years dormant underground and then the cicada nymph emerges and sheds its skin.
(Quick CGI POV of a cicada crawling out of a hole in the ground and up the tree. It sheds its skin and grows wings, hardens, then flies away. End of CGI POV. Resume to present.)
Grissom: As adults they flit around for about five weeks of activity in the hot sun and then they die.
Catherine: They spend their whole lives waiting for the end.
Grissom: Not unlike death row.
CUT TO:
[INT. FEDERAL LAB]
LEGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA
(The machines comes to a whirring stop. The sample is removed.)
(It's put into another machine that maps out the DNA chains.)
CUT TO:
[EXT. UNIVERSITY - BACK PASS - DAY]
Warrick: This is the spot. You can see the path and the rail.
(WARRICK stands in the spot that the attacker positioned himself in.)
Grissom: Well, and if she was trying to clean off her right hand in this fountain she would have had to be in this position.
(GRISSOM uses the fountain to wash his right hand, simulating the victim, with his back to WARRICK still in the bushes.)
Warrick: And he waited till her back was turned ... and came up behind her.
(WARRICK steps out of the bushes and taps GRISSOM on the shoulder.)
Catherine: I found some more glass. (CATHERINE picks up a piece of glass. Camera zooms in.) Looks polarized.
(GRISSOM looks up.)
Grissom: Well, lightbulb glass isn't polarized. Eyeglasses are.
Catherine: Yeah.
Grissom: You know, she was a black belt. Maybe she fought back.
Warrick: That would explain why she had defensive wounds and none of the other victims did.
(Quick flashback to: DEBBIE RESTON washes her hands. The attacker comes up behind her. She fights back. She breaks his glasses. End of flashback. Resume to present.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
SCENE #32
[INT. CSI - PRINT LAB -- NIGHT]
Jacqui Franco: Sorry about the "no print" results on the Mathers' case.
Catherine: Make it up to me. I got a new case. New bag.
(CATHERINE hands the evidence bag to JACQUI FRANCO. JACQUI opens it up and takes out the garbage bag. She opens the fume machine and puts the bag in it.)
(She closes the door to the machine.)
(Quick CGI POV: The camera moves through the window of the machine and shows the particles inside being disbursed onto the garbage bag and adhering to the prints on the bag. End of CGI POV. Resume to present.)
(JACQUI opens the machine door. and removes the bag. She lays the bag out on the table. They definitely find something.)
Jacqui Franco: It's only partial but I've got a h*t off less.
Catherine: Great.
CUT TO:
[INT. CSI -- LAB]
Sara: Hey, you know that black fiber that Catherine pulled from Debbie Reston's hair?
(SARA looks at the fiber in her scope. NICK lifts his head from his scope to look at SARA.)
Nick: Yeah.
Sara: It's trilobal.
Nick: Vehicle upholstery.
Warrick: It's not from her car. Her upholstery is red.
Sara: That's good for us. She was k*lled at the water fountain but the body was dumped at the library.
Nick: You can't carry a body in plain sight on campus even in at night.
Sara: Odds are decent we're looking at a fiber from the k*ller's vehicle.
(SARA runs the sample through the database and returns a list of possibles.)
Sara: Generic chevy.
Nick: (smiling) Well, that kind of narrows it down.
(Camera view: Scope view of the glass sample WARRICK'S looking at.)
Warrick: The glass on the left is not polarized. There's not color change.
Nick: What, from the busted security light?
Warrick: Yeah, the one found in the path. Not the one found in her hand.
Nick: Okay, the guy broke the bulb on purpose.
Sara: Gives him an advantage -- cover of darkness.
Warrick: I'll buy that, but the glass on the right was the one extracted from the cuts on her hand. And it matches the glass that Catherine found near the water fountain.
Sara: Confirms that Debbie fought with her attacker.
Nick: Suspect's minus one point two five.
Warrick: What is that, 20/80? That's like half of mine. It's not much of a correction.
Sara: Great. We're looking for a guy with a 20/80 prescription who drives a Chevy with black interior.
CUT TO:
[INT. CSI - HALLWAY]
(CATHERINE walks rapidly through the hallway. GREG runs out of his lab to catch her.)
Greg: Hey. Got your report from the Feds.
Catherine: Why did it come to you?
Greg: Because they returned the DNA evidence to me. I took a look at the results. Didn't think you'd mind.
Catherine: I do.
(GREG hands the results to CATHERINE)
Catherine: All six hairs are a match to Mathers.
FLASH TO:
[INT. FEDERAL LAB]
LEGEND: DEPARTMENT OF CRIMINAL JUSTICE MITOCHONDRIAL DNA LAB NORFOLK, VIRGINIA
(The machine matches the DNA samples to John Mathers.)
WHITE FLASH TO:
[INT. CSI -- HALLWAY]
(CATHERINE nods at the results.)
Catherine: He r*ped and m*rder Charlene Roth.
Greg: d*ad bang. Airtight. Good night, John.
Catherine: (slightly annoyed) How are you coming with that twist tie, Greg?
Greg: The new case?
Catherine: Yeah.
Greg: Working on it.
Catherine: Good. Keep working on it.
(GREG returns back to his lab. CATHERINE turns and walks away.)
CUT TO:
[INT. CSI - GARAGE -- CONTINUOUS]
(CATHERINE walks into the garage. GRISSOM is examining the metal hand rail.)
Catherine: Slam dunk on Mathers.
Grissom: Good. The paint on Debbie Reston's hands ...
Catherine: Yeah?
Grissom: ...Oil-based blue.
Catherine: Oil-based? That's for canvases, not railings.
Grissom: Not only that, it was mixed with 30-weight motor oil. Which isn't a component of any commercial paint. As an additive however ... keeps paint from drying.
(GRISSOM touches the paint on the metal rail. It's still wet. He shows the tip of his blue finger to CATHERINE.)
Catherine: Okay ... he knew what he was doing. Expanding his window of opportunity.
(GRISSOM continues to examine the metal rail under his magnifying glass. He finds something.)
Grissom: Hello? Hairs. Hopefully from his paintbrush.
Catherine: And the paint matches Western LVU shade of blue.
Grissom: He knows a lot about paint.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Willows: (V.O.) He knows a lot about that campus.
CUT TO:
[INT. UNIVERSITY - ART DEPARTMENT -- NIGHT]
(CATHERINE and GRISSOM interview someone from the University's art department. He's painting as they question him.)
Man: I don't know what I can tell you. I've only been here since '95.
Catherine: Well, is there anyone in the art department who was here when the first m*rder took place?
Man: A couple of the guys predate me. I'll ask around.
(GRISSOM examines the can of brushes.)
Grissom: Are any of these brushes made with badger hair?
Man: We artists covet our brushes. (The MAN puts his brush down and picks up his glasses. He puts them on.) That's Russian Blue Squirrel ... Japanese Synthetic ... Badger.
(He takes his glasses off and resumes painting.)
Grissom: In the oil paint sample we collected we found both badger hair and nylon bristles.
Man: Anyone who's studied art would never use nylon with oils unless they were using the paint for something else. When brushes age ...
(Camera close up of a blue paint can. A brush is dipped into the paint and when removed, leaves behind brush hairs.)
Man: (V.O.) ... they shed hairs. Then, if they used a nylon brush the next time ...
(A second brush is dipped into the same paint. End of close up. Resume to present.)
Catherine: Say I wanted a badger hair paintbrush -- where would I buy one?
Man: Student union sells them. Most art stores. You can get them cheaper on the internet.
(GRISSOM examines the MAN'S glass lens. The MAN stops and looks at GRISSOM.)
Grissom: Sorry. I was admiring your frames. Nice.
(GRISSOM puts the glasses back down on the table.)
CUT TO:
[INT. CSI - DNA LAB/HALLWAY]
(GREG walks out into the hallway to catch GRISSOM and CATHERINE.)
Greg: The results are back on the zip tie you removed from Debbie Reston's wrists. No foreign epithelials, but I did find an errant hair DNA tag still attached. It's not Debbie Reston's.
(GREG gives the results to CATHERINE.)
Greg: Catherine asked me to cross-check everything with the old cases. It actually belongs to Janet Kent.
Catherine: Janet Kent-- the first victim?
Greg: I know.
Grissom: So Janet Kent's k*ller saved some of her hair and planted it on Debbie Reston fifteen years later on the night that John Mathers was set to be ex*cuted.
Catherine: John Mathers is the copycat.
Grissom: Yeah. And the original k*ller's still out there playing a really twisted game.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB]
(GRISSOM is in the lab testing the paint samples.)
(He puts a bit on the card marked "Paint Sample #3". He places the card in the machine, closes it and starts it.)
(Quick CGI POV of the light beam reading the sample. End of CGI POV. Resume to present.)
(GRISSOM waits for the results. On the monitor the results for "Charlene Roth" appear.)
(The monitor clears then shows a paint comparison of the four paint samples for the four victims: DEBBIE RESTON, CHARLENE ROTH, JANET KENT and MARCIA REESE. The test comparison shows that the only different sample is the sample from CHARLENE ROTH.)
(Camera holds on GRISSOM.)
CUT TO:
[INT. CSI -- LOCKER ROOM]
(CATHERINE opens her locker and removes her bag. She closes the locker and heads out.)
[HALLWAY]
(She sees GRISSOM in the hallway. She walks down the hallway, GRISSOM follows her.)
Catherine: Oh. Hey. Mathers' execution's back on. The Roths asked me to sit with them.
Grissom: Is that a good idea?
Catherine: I just need to do it.
Grissom: Why?
Catherine: It's like your first autopsy ... your first m*rder child. You can make it through that you can keep doing this work.
(GRISSOM shows CATHERINE the results of the paint sample comparison.)
Grissom: All the paints match all the victims except for Charlene Roth. See, being capable of matching paint samples that are fifteen years apart that's why I keep doing this work.
Catherine: (smiles) Well, that's the difference between you and me.
(CATHERINE leaves. She passes SARA on her way out walking in toward GRISSOM.)
Catherine: Hey.
Sara: (to CATHERINE) Hey. (to GRISSOM) Dean of the art school came up with a name. A Cody Lewis. He was a grad student at WLVU in the late '80s same time the three girls were m*rder. He left just after the Roth case for a post-doc in Louisiana.
Grissom: Where is he now?
Sara: WLVU since September. He's an assistant professor there.
CUT TO:
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM]
(BRASS looks at a photo of CODY LEWIS' painting. It's of a woman with her hands tied.)
Brass: So you like to paint d*ad girls?
Cody Lewis: I paint what I feel.
(BRASS turns around and looks at CODY LEWIS.)
Brass: Yeah, sure. You know, you're an artist. So back in '87 when you painted this girl what were you feeling? That you wanted her to die? (pause)
What's the subject matter this week? More d*ad girls?
Cody Lewis: I haven't been doing a lot of painting lately.
Brass: Uh-huh. So it's just a coincidence that another coed gets m*rder right after you show up in Vegas, right?
Cody Lewis: Listen, I painted that fifteen years ago. Right after that second girl was m*rder ... Marjorie something. Really affected me. Affected everyone.
Brass: Yeah, but it affected you more. Because you knew the first victim. Right? Janet Kent.
Cody Lewis: Yeah, I knew Janet.
Brass: Come on, Cody, man. You two had a thing.
Cody Lewis: We had a date. I took her to a Springsteen show. We had drinks afterwards and that was it.
Brass: So what, did she reject you? Did she give you the, uh ... "Cody, we can still be friends"? That speech?
Cody Lewis: No. Never got that far.
Brass: I was just wondering, because some guys can't take "no" for an answer. But that's not you, right?
(Camera holds on CODY LEWIS.)
CUT TO:
[INT. CSI -- GARAGE]
(NICK, SARA and WARRICK checks out CODY LEWIS' car.)
Nick: Okay, I'm getting this to trace. Hey, check out the vehicle's upholstery. It's black and it's a Chevy ...
Sara: We got nothing. Nobody cleans a car this good. There is no evidence that Debbie Reston was transported in this vehicle.
Warrick: Still doesn't rule out Cody Lewis as a suspect.
CUT TO:
[INT. CSI - PRINT LAB -- NIGHT]
(JACQUI checks out the print. NICK waits for the results.)
Jacqui Franco: You got to wonder when a guy gives it up this easily. Prints, DNA, his car ...
Nick: Yeah, well ... maybe he's thinks he's some kind of smart guy you know, covering all the bases.
Jacqui Franco: Or maybe he didn't do it.
Nick: What's that?
Jacqui Franco: His prints don't match the partial on the Debbie Reston trash bag.
Nick: Wonderful.
(JACQUI nods her head.)
Nick: Thanks.
(NICK turns to leave.)
CUT TO:
[EXT. PRISON - NIGHT]
[INT. EXECUTION OBSERVATION ROOM]
(The GUARD near the door puts a small packet of ammonia in CATHERINE'S palm.)
Catherine: Thanks.
Guard: Ammonia ... in case anyone starts to feel ... unsteady.
(CATHERINE takes a seat next to SALLY ROTH in the front row. CATHERINE looks around a bit, then turns to face the front. The curtains to the window are closed.)
(Cut to: In the next room, the GUARDS tie JOHN MATHERS' arms down to the table. They secure his ankles to the table. They strap on the belt at his waist. They remove his handcuffs to secure his right hand. They inject the needle into his arm and secure the heart monitor electrodes to his chest. Camera close up of his eyes as he's being prepared.)
(The curtains to the observation room window open. JOHN MATHERS turns his head and sees CATHERINE up front and center.)
(The last guard leaves the room.)
CUT TO:
SCENE #46
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]
(On his laptop, BRASS scrolls through the photographs of the m*rder cases.)
Brass: I keep racking my brain going over these unsolved m*rder cases and I keep coming back to the fact that they're fifteen years apart. That means he's either out of town or in the joint.
Grissom: Why wouldn't he take his business to some other college if it was only about young girls?
Brass: It's got to be personal. He wanted to k*ll those girls.
CUT TO:
SCENE #47
[INT. EXECUTION OBSERVATION ROOM]
(The first syringe is injected into the I.V. tube.)
(Quick CGI POV through the tube and fast forward with the liquid to the red blood cells. End of CGI POV.)
(Cut to: A close up of JOHN MATHERS' left eye with pupil dilating.)
(Cut to: CGI POV of the heart beating very slowly. Resume to present.)
(Cut to: JOHN MATHERS on the table struggling to breathe and CATHERINE watching in the background.)
(Cut to: TOM ROTH looks at SALLY ROTH. SALLY ROTH watches JOHN MATHERS, a picture of her daughter CHARLENE is clutched in her hands.)
(Quick flashback to CHARLENE ROTH struggling against her attacker. End of flashback. Resume to present.)
(Cut back to: TOM ROTH.)
(Cut to: JOHN MATHERS on the table.)
(Cut to: Close up of JOHN MATHERS chest and his breathing. Camera hold on his ear. Camera cut to his dilated eye.)
(Cut to: CATHERINE watches through the window. SALLY ROTH reaches over and holds CATHERINE'S hand. She looks at CATHERINE.)
(JOHN MATHERS' eyes flutter closed. The heart monitor flatlines.)
(Camera holds on CATHERINE.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]
Brass: I mean, I don't know much about bugs, but most animals hunt in their own backyard.
Grissom: True of insects as well. You know why?
Brass: It's where they feel most comfortable.
Grissom: And where they can blend in the best.
(Quick flash to: Students walk across the campus. Special note of the men wearing glasses. End of flashback. Resume to present.)
Grissom: This guy had ties to Western LVU. He paints a railing on a campus walkway. I tried it; took me about five minutes.
Brass: My guys were all over that school. Nobody remembers seeing anything.
Grissom: Probably because there wasn't much to see.
(Quick flash to: Students walk across the campus. Nothing special there.)
Grissom: (V.O.) He must've looked as though he belonged.
(End of flashback. Resume to present.)
Grissom: Like the insects, he blended in.
(BRASS sighs heavily.)
Brass: Yeah.
(BRASS opens his desk drawer and pulls out a bottle.)
Brass: You off the clock?
Grissom: I guess.
CUT TO:
[EXT. PRISON -- NIGHT]
(CATHERINE walks back to her car. On the other side of the wire fence are protesters with signs. The guard opens the wire gate, she walks through it and into the crowd.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]
Brass: He's going to k*ll again.
Grissom: Yeah. And all we've got is a partial fingerprint and an M.O. that may lead us in the right direction.
Brass: You know sometimes in this job I'd rather be lucky than good. Maybe next time we'll get lucky.
Grissom: I don't believe in luck. My only real purpose is to be smarter than the bad guys to find the evidence that they didn't know they left behind and make sense of it all. Makes me very uncomfortable to realize that this guy may be smarter than me.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x06 - The Execution of Catherine Willows"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT./INT. VENETIAN HOTEL -- NIGHT]
(Billboard with the picture of the two fighters.)
(The guests walk on the red carpet to the front door. The doorman opens the door for them.)
(The hotel door opens and the guests walk inside.)
(Cut to: The fight inside.)
(Cut to: The sign outside the lobby reads: "STEELE vs. MOLINA", "Revenge of the Century" and "November 9, 2002".)
(Cut to: Inside the ring. / Photographers snap pictures.)
(The fighter throws a punch.)
(The MAN and The WOMAN wave to the crowd as photographers take their pictures. They enter the hotel.)
(Cut to: Fight scenes inside the ring.)
(The Man and the WOMAN walk across the hotel lobby. A MAN runs across the lobby floor. A group of young, black men saunter across the lobby floor after him. The leader wears a thick silver necklace.)
(Cut to: The Man and The Woman walk through the double doors and into the tunnel. Scenes of the main audience area.)
(Close up of the Everlast Belt around the fighter's waist.)
(The Man and The Woman walk under the tunnel. They enter the main audience area. They move to the side to take their seats. The audience cheers.)
(The camera moves in toward the main ring where the fight is happening.)
Man: (shouting) Put your hands up! Put your hands up!
(Bell dings. The round ends.)
Referee: That's enough!
(The audience applauds and cheers.)
(MOLINA raises his hands high in the air.)
(LAROI takes a seat in his corner.)
Trainer: Come on, Laroi. TRAINER: He's okay! TRAINER: We're going to dry it up, Laroi. TRAINER: We're going to dry it up.
(The Manager claps from outside the ring.)
(A woman in a bikini holds up a card and walks around the ring. She flirts with the man with the black cowboy hat on. The woman in red standing next to him is not pleased with it.)
Woman in Red: (hits the man next to her in black) Cut it out!
Cut Man: Suck it up. Suck it up, son. Suck it up, son.
From Molina's Corner: (in Spanish) Lo teine donde deseas! Me entiendes lo que te digo? El cuerpo ... siempre moviendo ...
From Steele's Corner: Laroi, listen to me! You keep your hands up, hear? He's k*lling you with that left.
Laroi: Bum don't got the heart to put me down.
From Steele's Corner: Yeah, well, you better start throwing your hands, hook to the body hook to the head, upper cut. Like we worked it in the gym.
(The Bell dings signaling the start of the next round.)
(MOLINA stands up and is ready. He immediately starts throwing a series of punches at LAROI.)
(LAROI STEELE is backed into a corner and is taking a beating. MOLINA turns to look at the REFEREE. Not seeing any sign to stop the fight, MOLINA throws a final punch that brings LAROI STEELE to his knees. He falls bleeding to the floor.)
Referee: One! Two! Three! That's it!
(MOLINA jumps up and holds his arms high in victory. The REFEREE checks LAROI STEELE. LAROI'S trainers rush into the ring to check on him. They crowd around him.)
Trainer: Laroi! Laroi, talk to me! Come on, Laroi! Come on, baby, talk to me. Laroi! Come on, get the doctor! Step it!
WHITE FLASH TO:
[INT. HOTEL - FIGHT RING -- NIGHT]
(LAROI STEELE is face down in the fight ring. Above him are a pair of feet that turns and walks toward the side of the ring. GRISSOM and WARRICK approach the ring. BRASS is already inside the ring. BRASS sighs.)
Brass: Laroi, "The Fists Of" Steele.
Warrick: WFB Welterweight Champion. Nineteen wins.
Grissom: One loss. Boxers have died in the ring before. Why is this one a crime?
Brass: Casino management got a heads-up from the sports book. Five hours before the opening bell Steele goes from a two-to-one favorite to a five-to-one underdog.
Warrick: Fight fixing?
Brass: Yeah.
Grissom: That's a felony. And if death occurs during commission of a felony, that's a m*rder.
CUE TITLE MUSIC: (PRELAP)
(GRISSOM'S pager beeps.)
STOP MUSIC:
CUT TO:
[EXT. ROADWAY -- NIGHT]
(The OFFICER lifts the crime scene tape for GRISSOM as he makes his way to the site. CATHERINE is already there taking pictures.)
Catherine: g*ng member.
Vega: Tenth street vandal
Grissom: Isolated incident or they having a w*r?
Vega: It's hard to tell. Vandals are based in L.A. But on a weekend like this ... brings knuckleheads in from all over.
Grissom: Witnesses?
Catherine: They were all in the bathroom.
Grissom: Aren't they always?
(GRISSOM looks down at the d*ad man. Next to his head is a flyer for: "STEELE VS. MOLINA", "Revenge of the Century", "Saturday, November 9, 2002" and "To Win a 2003 Corvette")
(GRISSOM'S pager beeps. He looks at it. The message reads: (11:24 pm) "Call Nick Stokes".)
CUT TO:
[INT. JEWELRY STORE -- NIGHT]
(The MANAGER holds an ice pack to her forehead. In front of her is a customer, MRS. RAMSEY. They're arguing with each other.)
Manager: We are just trying to be reasonable here.
Mrs. Ramsey: I am not giving this back unless I get my ring.
Manager: Mrs. Ramsey, it is not our policy to allow clients to ...
Mrs. Ramsey: Oh, really? I guess you need a new policy, don't you?
Manager: Now you are being unreasonable.
Mrs. Ramsey: Now you ...
(The argument continues in the background. Deeper inside the store, GRISSOM walks in. NICK is already there looking around.)
Nick: Smash and grab. Left that behind.
(NICK indicates the metal rod left inside the smashed display case.)
Grissom: How many guys?
Nick: One. Yeah. Waited till the manager was alone knocked her down and hopped the counter. Got away with a whole sack full of stones. It takes some stones to pull off a job like this.
(SARA walks in carrying her kit.)
Sara: Good evening, gentlemen. What have we got?
Grissom: (to SARA) Well, you and I have got a d*ad boxer. Nick, you're going to get to run this solo.
Nick: Yeah?
Grissom: Yeah. We're tapped out. Welcome to fight night.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. HOTEL - ARENA -- NIGHT]
(SARA opens her kit and takes out a pair of latex gloves. WARRICK works on the opposite corner.)
Sara: Okay. What are we looking for?
Warrick: Blinding agents in the vaseline, stimulants in the water...
Sara: So ... basically, everything goes to tox.
Warrick: Yeah.
Sara: Nice sport.
Warrick: Well, it's only dirty if you make it dirty. You know, boxing's about discipline.
Sara: It's two guys beating their brains out in a race for early-onset Parkinson's.
Warrick: No, no, you know, it's mind and body. (WARRICK stands up.) Mind and body. If you train one and not the other you're half a person. What'd you find?
(SARA looks in the plastic tub and finds nothing but bloody saliva. She fixes a smile on her face and keeps it there.)
Sara: Saliva.
Warrick: Oh, the spit bucket.
(SARA picks the bucket up and turns around to face WARRICK.)
Warrick: What's so funny?
Sara: Smiling, uh, represses the gag reflex.
Warrick: This is coming from the same woman who processed fecal fat from a ruptured colon.
Sara: Every crim's got at least one problem area. Mine's saliva.
Warrick: Want me to get that for you?
Sara: No, no.
Warrick: You're sure.
Sara: Mind and body, right?
(WARRICK nods and turns away to go back to his corner. SARA's left carrying the bucket.)
CUT TO:
[INT. HOTEL -- ARENA]
(Out in the stands, GRISSOM and BRASS talk with the REFEREE.)
Referee: Everybody knew they hated each other. They fought two times before. Title wasn't even on the line tonight. Just pride.
Brass: How'd the other fights go down?
Referee: I didn't get to ref them, but I saw them ... $39.95 a pop. Goddamned Pay-Per-View's just like stealing, but they were good fights. Laroi won both of them. First one was a knockout in the eighth off this sweet right hook. The other was a ... a TKO in the tenth, yeah. Uh, he really dropped the hammer on Molina that time.
Grissom: Well, evidently, Molina hammered back tonight.
Brass: Two previous wins by knockout ... tonight, he dies. What's up with that?
Referee: What do you mean?
Grissom: Did you notice anything out of the ordinary about either fighter? Slowed reactions, unusual strength?
Referee: All I noticed is that boy took one hell of a beating.
(GRISSOM nods.)
CUT TO:
[EXT. PARKING LOT -- NIGHT]
(CATHERINE examines the ground in between the parked cars. In the background, DET. VEGA also examines the ground.)
(CATHERINE finds a b*llet. She puts down evidence marker #1 to mark the find. Near the b*llet she finds a g*n.)
Catherine: (smiling) I got a g*n.
Vega: Make that two.
(CATHERINE looks up and sees VEGA holding up the second g*n.)
(CATHERINE continues to look around. She finds a third g*n inside the back seat of a g*n. She puts down evidence marker #3 on the car and picks up the g*n to look at it.)
Catherine: Put up a couple of booths we could have ourselves a g*n show out here.
Vega: Disposable firearms.
(Quick flashback to: A couple of young men run in between the cars throwing the g*n around as they flee.)
Vega: (V.O.) They know we can't link them to the w*apon if we can't find the w*apon on them.
Man: Let's go!
(End of flashback. Resume to present.)
Catherine: Smith & Wesson .40. High end.
Vega: They're stealing their way to better g*n.
Catherine: And bringing them to Vegas for target practice. Great.
CUT TO:
[INT. JEWELRY STORE -- NIGHT]
(NICK examines the glass casing. He finds a smudge of blood on the glass inside.)
(Quick flashback to: The thief smashes the glass and starts grabbing the jewelry from the case. The thief reaches into the case and cuts his/her arm on the jagged edge. A large drop of blood falls on the glass in the case. End of flashback. Resume to present.)
(NICK reaches in and takes a swab of the blood.)
(The MANAGER hands NICK a slip of paper with the stolen items listed.)
Manager: That's everything he got.
Nick: What's it highlighted for?
Manager: It's a Riviera necklace. We loaned it to a couple for the fight and they refuse to return it until we return the ring that they brought in for cleaning.
Nick: Which was stolen along with the other items, right?
Manager: Exactly-- and they won't leave until we get this sorted out. Can you help me out here?
Nick: (declines) Sorry, mediation's not really my thing.
Manager: Thanks.
(NICK reaches for his phone and dials.)
Nick: Mm-hmm. O'Riley? Stokes, listen, I'm at a smash and grab. Lots of glass, a little blood. Do me a favor: Check the local hospitals. Anyone comes in with a forearm laceration, it could be our guy. Thanks, man.
(NICK hangs up. While he was on the phone, NICK notices MR. RAMSEY watching him.)
CUT TO:
[INT. HOTEL - LOCKER ROOM -- NIGHT]
(GRISSOM interviews ADELLE CROSS, the Fight Promoter.)
Adelle Cross: I promoted this match, Mr. Grissom. I spent sixteen months of my life stroking fighters, managers, handlers, and kissing a whole lot of ass that never got past junior high and I resent the implication that the fight was fixed, or that Laroi Steele's death was anything other than a tragedy.
(GRISSOM puts his gloves on and looks at the locker room.)
Grissom: These photographs are from...?
Adelle Cross: The last Steele-Molina fight.
Grissom: What, does he use them for motivation?
Adelle Cross: And for show. Boxing is theater.
Grissom: Well, according to your poster, this fight was about revenge.
Adelle Cross: Boxers fight for money. The rest of it is just hype.
(From the locker, GRISSOM takes out the gloves.)
Grissom: These Mr. Molina's?
Adelle Cross: Yeah.
Grissom: From tonight's fight?
(GRISSOM puts the gloves in a bag.)
Adelle Cross: Yeah. Technically, after a fit those gloves become property of the boxing commission.
Grissom: Right now, they're evidence, so they belong to me.
Adelle Cross: What do you think you're going to find on those gloves -- liniment? Like Sonny Liston used to blind Cassius Clay? The sport has come a long way since then.
Grissom: It's still two skulls and four fists. It hasn't come that far.
(GRISSOM looks at the top shelf of the locker where he got the gloves. He sees something.)
Adelle Cross: What did you find?
(He taps the shelf with his flashlight.)
Grissom: What appears to be a unique metal: Mercury.
Adelle Cross: Like in a thermometer?
Grissom: Amongst other things.
CUT TO:
[INT. HALLWAY -- NIGHT]
(WARRICK and SARA walk through the hospital hallway. Seated in the hallway is a man with a bloodied cut on his forearm.)
Warrick: Looks like it was fight night for a lot of people.
Sara: It sure does. And some guys get paid a million bucks for it.
CUT TO:
[INT. HOSPITAL - ROOM -- NIGHT]
(WARRICK and SARA question JAVIER MOLINA who is giving a urine sample.)
Javier Molina: Sorry to keep you waiting, but, uh, commission rules, you know? Before and after a fight. Boxing and drugs don't mix, you know?
(He finishes and gives the sample to the man waiting in the doorway.)
Javier Molina: All yours.
(The MAN leaves. JAVIER MOLINA washes his hands.)
Javier Molina: So ... que onda? What's the crime lab want with me?
Warrick: Well, for starters, we need to see your hands.
Javier Molina: Why?
Sara: Is that a "no"?
Javier Molina: No.
(JAVIER MOLINA holds out his hands. SARA takes a swab of his knuckles.)
Sara: One more.
(SARA swabs his other hand.)
Javier Molina: Now, who do you think you're looking at -- Felix Trinidad?
(JAVIER MOLINA moves to look at his injuries in the mirror.)
Sara: (shakes her head) Who is that?
Warrick: Felix Trinidad is a fighter who was once accused of dipping his wraps in ice water before a fight. It turns the tape and gauze into a hardened cast. It's like punching with concrete.
Javier Molina: And it also shreds your hands. Mine are clean.
(JAVIER MOLINA picks up his thick silver chain necklace off of the shelf in front of him.)
Warrick: A fighter's lost his life. We're just making sure that there was no unfair advantage.
Javier Molina: All I did was out-punch Laroi. Okay, you think I wanted it to go down like this? I mean, people are going to remember me now like Ray Mancini when he k*lled that Korean guy. That's my legacy now. Ah, this wasn't my fault, all right? He brought it upon himself talking all that trash saying I could never b*at him. (He puts his chain on.) Look ... he should have never came out in the seventh round. He could barely stand up. I knew it was over right then.
Sara: So why did you keep hitting because real fighters don't stop hitting until somebody makes them, all right? When you're in the ring, your life's in the ref's hands.
(Quick flashback to: Inside the ring, JAVIER MOLINA swings at LAROI STEELE. He waits and looks at the REFEREE. End of flashback. Resume to present.)
Javier Molina: Now, one word from that ref, and I would have stopped.
(Quick flashback to: Inside the ring, MOLINA turns away from looking at the REFEREE and swings at STEELE again.)
Javier Molina: (V.O.) But he never gave the word.
(End of flashback.)
CUT TO:
[INT. CSI - BALLISTICS LAB]
(Cut to: Camera close up of a b*llet being fired into water. Resume to present.)
(BOBBY takes the b*llet out of the t*nk and walks it over to the scope. CATHERINE walks into the lab.)
Catherine: How we doing, Bobby?
Bobby Dawson: Hey. Well, good news. All the b*ll*ts pulled from the vic are from the same g*n. Six right, .380.
Catherine: The bad news?
Bobby Dawson: We're oh for two matching the b*ll*ts to the g*n y'all recovered. I did find something, though on one of them shells, if you want to take a look. It's set up for you over there.
(CATHERINE looks into the scope.)
Catherine: Could be biological. I'll send it to trace.
Bobby Dawson: Well, I hope it gets you somewhere 'cause all we got here is strike three.
CUT TO:
[INT. HOSPITAL - HALLWAY]
(In the hallway, a couple of kids play mock boxing with each other. WARRICK talks on the phone with BRASS. WARRICK and SARA make their way down the hallway.)
Warrick: Brass, Brown. I need as much information as you can give me on a referee.
(HANK PEDDIGREW calls out to SARA.)
Hank Peddigrew: Hey, Sara.
Sara: (to HANK) Hey. (to WARRICK) I'll be right there.
(WARRICK continues down the hallway. SARA stops to talk with HANK.)
Hank Peddigrew: I have something to show you.
CUT TO:
[EXT. HOSPITAL - EMERGENCY ROOM - NIGHT -- CONTINUOUS]
(HANK and SARA walk across the Emergency Room lot.)
Hank Peddigrew: We gave Molina a ride in.
Sara: You did?
Hank Peddigrew: He didn't say much which is no big surprise, considering. There's not much in here but, uh, I know how you like to see everything.
Sara: Thanks.
(SARA climbs into the back of the Ambulance.)
Hank Peddigrew: We checked vitals, cleaned his lacerations and he wanted his hand wraps cut off, so we cut them off.
(SARA puts her kit down. The cut wraps are on the gurney in front of her.)
Sara: Is this it?
Hank Peddigrew: Right.
(She picks up a piece and looks at it.)
Sara: (smiles) He autographed it.
Hank Peddigrew: Nah, that's the inspector's signature. Whoever watched him wrap up.
Sara: It looks like there's some kind of metal in the gauze.
(Camera zooms in extreme close up to show the mercury in the gauze.)
Sara: Mercury, maybe?
Hank Peddigrew: No, there's no mercury in any of our instruments. We're fully digital. How do you think it got there?
Sara: I don't know.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(DOC ROBBINS goes over the preliminary findings for LAROI STEELE with GRISSOM.)
Robbins: Massive soft tissue damage, severe facial fractures. Are they letting guys go at each other with clubs these days?
Grissom: Only on cable.
Robbins: It never ceases to amaze me the damage one human being can inflict on another.
Grissom: Or how much damage a human body can sustain. A heavyweight can land a punch at a thousand pounds per square inch.
(Quick CGI POV to: Black and white top view of a boxer taking a h*t. The view includes a red-colored brain inside the boxer's head. When the boxer takes the punch, the brain takes the h*t.)
Grissom: (V.O.) The energy of the punch is transferred through the cerebrospinal fluid compressing the brain against the skull temporarily disrupting neural activity. (The boxer falls to the ground.) Like a short circuit. Too many short circuits and the brain shuts down.
(End of CGI POV. Resume to present.)
Grissom: And hence, a knockout.
Robbins: This guy should have been so lucky.
Grissom: This, uh, bruising under the chin seems heavy.
Robbins: Yeah, I thought so, too. I did a postmortem angiogram.
(They walk toward the x-rays on the display.)
Robbins: It's a basilar subarachnoid hematoma the result of a massive ...
(Quick Flashback to: The boxer receives a punch. Blood spurts out through his mouth. His head twists around to absorb the punch.)
(Quick CGI POV to: Inside the neck where the artery breaks and bleeds out.)
Robbins: (V.O.) ... vertical blunt force trauma to the chin. The sudden forced rotation of the neck tears the vertebral artery ...
(End of CGI POV. End of flashback. Resume to present.)
Robbins: ... and blood pours out into the surrounding soft tissue.
(GRISSOM turns and walks back toward the body. ROBBINS follows.)
Grissom: It's called an uppercut.
Robbins: You say tomato and I say Cause of Death ... Gil, I never had you pegged as a fight fan.
Grissom: I'm not, really. My first year as a criminalist, I thought boxing would be a good place to observe live blood spatter. So, I went to a couple of bouts. There wasn't much spatter. Some interesting bruise formations, though.
Robbins: So, uh, this is a socially acceptable live-subject laboratory for you?
Grissom: (shakes his head) Yeah. Not in this case.
(A TECH walks in and hands ROBBINS a file. He looks at it.)
Robbins: Thank you.
Grissom: Preliminary tox?
Robbins: Yeah. (ROBBINS takes a moment to read the results. GRISSOM leans in to look at the body.) Professional athlete. Would have expected performance enhancers -- uh, creatine, dianobol. This man had sufentanil in his system.
Grissom: Sufentanil? A sedative?
Robbins: Yeah.
Grissom: So, if the fighter won't take a dive ... help him take a dive.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. HOTEL -- LOBBY]
(BRASS re-questions the REFEREE.)
Referee: What's my cousin got to do with the fight?
Brass: Your cousin bet 20 large on Javier Molina at five-to-one against.
Referee: Hey, he's always been a lucky guy.
Brass: Yeah, I know, I'm sure he is. Well, you know how this works. I mean, you hear the fight's fixed you tip off your cousin for a piece of the action he tells a couple of friends, so on, so on. They make a bet at the last minute, and the odds go south.
Referee: Hey, big fight, money moves around.
Brass: Oh, yeah, that's cool. This is Vegas. Money flows. As long as it doesn't flow out of your pocket. (pause) Maybe that's why you let the fight go on so long. Yeah, you see a fighter in trouble you give him a standing eight. If he comes out a winner, you're in the poorhouse.
Referee: So, what are you saying, that if I'd stopped the fight Laroi Steele would still be alive? (BRASS doesn't say anything.) You charging me with something?
Brass: No. Not yet.
Referee: You know where to find me.
(The REFEREE walks away.)
CUT TO:
[INT. HOSPITAL: ]
(The curtains open. NICK and O'RILEY question RANDY WATKINS.)
O'Riley: Randy Watkins. I'm Detective O'Riley. This is Nick Stokes of the crime lab.
Nick: (steps up) Hi, there. Where'd you get the cut on your forearm, man? You practicing for a job at Benihana?
Randy Watkins: Hey, this is a hospital. I got doctor-client privilege here, huh?
Nick: Well, you don't get any privileges, Randy. You're wearing stolen property.
(NICK notices the new watch on RANDY WATKINS' wrist.)
O'Riley: Let me trade that bracelet in for this one.
(O'RILEY puts a cuffs on WATKINS.)
CUT TO:
[INT. CSI - DNA LAB]
Greg: (announcer's voice) Ladies and Gentlemen, in this corner wearing red leather coming from the great fighting city of Everlast, USA ...
(GREG turns around and puts the plastic bag with JAVIER MOLINA'S gloves on the table in front of GRISSOM and WARRICK.)
Greg: The gloves that Javier Molina wore when he k*lled Laroi Steele. This is a piece of boxing history. Do you know how much this would go for on ebay?
Grissom: Greg, the residue on the gloves, what is it?
Greg: Half inorganic salts: Magnesium, potassium, etcetera and half organic derivatives: Urea, choline and uric acid.
Grissom: Sweat.
Warrick: Occasionally found at a boxing match.
Grissom: Oh, but wait. (GREG turns around and picks up another bag.) In this corner fighting way out of his weight class coming from ... that place that textiles come from a cotton swab soaked in sufentanil.
(GRISSOM looks at the evidence bag.)
Brown: Sufentanil? I did recover this swab from the victim's corner.
Grissom: Time to talk to the cut man.
CUT TO:
[INT. PRACTICE GYM ]
(BRASS and WARRICK question LAROI STEELE'S CUT MAN.)
Cut Man: I would have got a bonus if we won. Why would I mess with the guy who pays me?
Brass: Why is for the lawyers.
Warrick: Your corner, your swab, your drugs.
(Quick flashback to: The CUT MAN sticks a swab up LAROI STEELE'S nose and instructs.)
Cut Man: Suck it up.
(End of flashback. Resume to present.)
Cut Man: (turns around) I been doing this 28 years. Back when every cut man around was using monsels solution getting it in kids' eyes blinding them. I wouldn't touch the stuff. And I didn't hurt Laroi. I been in his corner six fights. Every one, he fought hard and never stiffed me. Him dying was a tragedy.
Warrick: Molina trains here?
Cut Man: Yeah, maybe. He owns the place.
Brass: And you're looking for work.
Cut Man: Work comes to me.
Brass: Well, here's something else that's coming to you.
(BRASS hands the warrant to The CUT MAN who puts on his glasses to read it.)
Cut Man: What, you want me to give you my bag?
Brass: We're not asking.
(He pushes his bag toward WARRICK. WARRICK opens it and looks through it.)
Warrick: It's kind of primitive.
Cut Man: So is boxing.
CUT TO:
[INT. CSI -- STAIRWAY]
(GRISSOM and SARA walk down the stairs.)
Grissom: Did you get anywhere with that mercury?
Sara: Yeah. Ensenada, Mexico. Molina has a personal physician down there. It turns out that mercury is used in a folk remedy for empacho. It's a chronic stomach condition.
Grissom: And Molina has it?
Sara: Medical history confirms it. The guy eats metal.
Grissom: It's not the eating that will get you. The poison's in the mercury vapor. It's toxic.
Sara: Well, I guess we're left with the sedative. Any luck?
Grissom: Greg's working on it.
CUT TO:
[INT. CSI - BALLISTICS LAB -- CONTINUOUS]
(CATHERINE'S in the Ballistics Lab with BOBBY DAWSON.)
Catherine: Three g*n found at the scene. None match the b*ll*ts recovered from the victim. What does that tell us?
Bobby Dawson: The sh**t kept his w*apon.
Catherine: Means he likes his g*n and may have used it before.
Bobby Dawson: Which is where the shell case and IBIS come in. I'll run it against the national database.
Catherine: f*ring pin impressions and breech face marks a closer look.
Bobby Dawson: Well, okay. Got us a h*t. Los Angeles County sheriff's department found shell casings from the same g*n used in a g*ng m*rder two years ago.
Catherine: They get a conviction on the suspect?
Bobby Dawson: No. Guy b*at the rap. "Timothy Fontaine, aka 'Tiny Tim.'"
Member of the Snakebacks current residence unknown.
Catherine: I bet I could find where he stays in Vegas.
Bobby Dawson: Hey.
CUT TO:
[EXT. POOLSIDE -- DAY]
Catherine: I guess Tiny's mother can be proud of her son for one thing. He sure knows how to clean a room.
Vega: Well, there is one Snakeback still in town.
Catherine: Who's that?
Vega: That guy right over there.
Catherine: What's his Dealio?
Jerome Anderson: Okay, I'm the man, I take care of my people.
Vega: That is Jerome Anderson. Aka, The Man.
Catherine: The man?
Vega: The man. Technically a former snakeback who shed his skin and worked his way into the real world. Record producer, clothing designer, sports agent.
Catherine: Why didn't you get a warrant for his room?
Vega: We're working on it. He's got an entire law firm on retainer.
(CATHERINE and DET. VEGA reach JEROME ANDERSON and his group.)
Jerome Anderson: ...Five percent here, ten percent there. Better get back in the ring, Laroi, and keep fighting. See, what Laroi needed was a giver not a taker. That's why he came to me, the man so I could stand by his side and give him honest representation. Police. Another thing that the man understands because he comes from the same place as today's athletes.
Vega: I'm Detective Vega. This is Catherine Willows from the crime lab. We'd like to ask you a few questions.
Catherine: Hello.
Jerome Anderson: The man ain't got nothing to hide.
Vega: We're looking for members of the snakebacks. A Timothy Fontaine, in particular.
Jerome Anderson: No idea. The man is here on business.
Catherine: So are we. Do you mind if I ask how the man got the burn mark on his neck?
(JEROME stands up.)
Jerome Anderson: Well, all the ladies say that the man is hot. I guess I must have just b*rned myself and forgot all about it.
(JEROME jumps up and talks with another man.)
Jerome Anderson: No, you didn't. Are you crazy? No, no, no, no. Hold on, hold on, hold on, hold on. Ooh, ooh ...
(The Man walking by leaves.)
Catherine: I guess you are hot.
Jerome Anderson: Oh, that's old. The man is all about the new.
CUT TO:
[INT. CSI - PRINT LAB]
(WARRICK is in front of the computer. GRISSOM walks in.)
Grissom: Did you get a hold of that cut man?
Warrick: Yeah, we found sufentanil in a bottle of coagulant in the guy's kit.
Grissom: Doesn't make sense. If the cut man did it why would he hold on to the evidence?
Warrick: I was thinking the same thing. I'm not convinced he actually knew it was in his kit. The prints that I got off the bottle came back to ... Gerry Barone, the victim's manager.
Grissom: And I thought Don King was bad.
FADE TO BLACK.
(COMMERCIAL BREAK)
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(BRASS and WARRICK interview GERRY BARONE.)
Gerry Barone: The reason my prints are in the system is I'm a foster parent. Six kids in thirty years. Treated them like my own. Trained them, took them off the streets.
Brass: We know that. We know you're a good guy. So what made you dope up Laroi Steele?
Warrick: We found your prints on a bottle of coagulant. It was laced with a sedative. Found it in the cut man's kit.
(WARRICK sits down.)
Gerry Barone: I was trying to save Laroi.
Warrick: By drugging him?
Gerry Barone: We kept it out of the press but in their last fight, Molina hurt him bad.
Warrick: How bad?
Gerry Barone: The signs were all there in training-- sagging eye, drooping shoulder, brain damage down the road. Laroi couldn't handle another beating. But I couldn't talk him out of this fight. Molina got under his skin. Laroi wouldn't let it go. (b*at) taught him not to quit.
(Quick flashback to: In the ring, LAROI STEELE takes a beating from MOLINA. GERRY BARONE drops the bottle into the CUT MAN'S kit.)
Gerry Barone: (V.O.) I was trying to get him out alive.
(End of flashback. Resume to present.)
Gerry Barone: Laroi was 16 years old the first time I saw him fight. And the only thing faster than his hands was his mouth. There was this one time he made his sparring partner laugh so hard the man pissed his trunks before he h*t the mat. (A look of pride for his fighter graces his face and laces his voice.)
Can you imagine that?
CUT TO:
[INT. POLICE DEPARTMENT - MAIN DESK]
(NICK returns MRS. RAMSEY'S ring to her. MR. RAMSEY looks at the ring.)
Nick: Yeah. We arrested the guy and recovered all the jewelry.
Mrs. Ramsey: Thank you so much, Mr. Stokes.
Nick: Not a problem. I just need you to fill out some documentation and then I can release your ring back to you, okay?
Mr. Ramsey: That's not your ring.
Mrs. Ramsey: Of course it is.
Mr. Ramsey: I'm telling you, that is not the ring I gave you. That's a different cut.
Mrs. Ramsey: Now I wore this ring on my finger every day for five years. I think that I ...
Mr. Ramsey: I bought you that ring. Who do you think spent the week looking for the perfect stone for our first anniversary?
Nick: Sir, I matched every item recovered to a log provided by the jewelry store piece for piece.
Mr. Ramsey: Then maybe you should explain to me why I'm not looking at my wife's ring.
Nick: I need to explain to you?
Mrs. Ramsey: Come on, Mack.
Mr. Ramsey: How do I know you didn't switch this ring out?
Nick: Man, I would N ... 'cause that's not the way it works.
Mr. Ramsey: Oh, we screw the out-of-towners and nobody's going to care, right?
Nick: Are you making a formal accusation?
Mr. Ramsey: You bet I am.
Nick: Knock yourself out, Big Dog. Forms are at the front desk.
CUT TO:
[INT. CSI - A/V LAB]
(WARRICK watches the pre-fight press conference video with SARA.)
Warrick: Okay ... it's about a month ago at a pre-fight press conference.
Steele: (on video) Check it out, he lost the last couple of times. I'm the one who did all the whupping. And I'm just going to do a three-peat, baby, you know?
Molina: (on video) What I'm saying is anytime, anyplace, Laroi.
Steele: (on video) You can't wait to get whupped, is that it?
(On the video, MOLINA stands up.)
Sara: Steele is slurring his words.
Warrick: Fast forward to the fight. (WARRICK starts the tape.) Watch his shoulder, how he keeps dropping it.
Sara: The manager was right. Pugilistic dementia.
Warrick: They say eight out of ten boxers suffer some form of brain damage later on in life.
Sara: The greatest-- muhammad ali. Steele must've known what was happening to him.
Warrick: He would never admit it. Fighters need to psych themselves up before a fight. They got to believe they're going to win. Or they'd never fight.
Sara: In a way, every opponent Laroi Steele fought contributed to his death.
(wonderingly) I don't know if he was incredibly stupid or just ... brave.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
Lawyer: We'll contest this on the grounds that your request to the Judge was based on a specious connection to the Snakebacks.
Catherine: Contest all you want. It's still coming after the fact. Open.
(JEROME ANDERSON turns toward CATHERINE and opens his mouth. CATHERINE turns her head away.)
Vega: The warrant was based on physical findings.
Lawyer: A burn mark? Could have happened anywhere.
(CATHERINE takes the sample.)
Catherine: Well ... Jerome is under the misguided impression that he's a one-man pyrotechnic display. Watch too many movies and kids start to think that people actually sh**t like that.
(Quick flashback to: JEROME ANDERSON fires the g*n as he holds it sideways. The empty shell ejects and hits him on the side of the neck, leaving the small burn mark. End of flashback. Resume to present.)
Lawyer: The most you're going to prove is my client was in the vicinity. Period. That's it.
Catherine: If his DNA matches what we found on the shell casing we'll be able to extend the scope of the warrant.
Lawyer: If it matches.
Vega: File says you're a smart guy. Three years in Georgetown. Why turn stupid all of a sudden? Give us the guy we're looking for.
Catherine: Look, we all know that you forget what the word "Loyalty" means as soon as you step away from the mirror so what do the Snakebacks get you?
Jerome Anderson: R-E-S-P-E-C-T, baby.
Catherine: I thought that's what college was for.
Jerome Anderson: (chuckles) I went to school. In fact, I have carefully analyzed business models of African American entrepreneurs such as Darian Daze at Dis-Kard Enterprises which grosses $250 million a year. And my analysis has led me to understand that an emerging CEO needs to have as solid a command of flow charts and spreadsheets as he does a bad-ass street rep. And let me tell you something, Sweetness, I got it all coming and going. So the more you try to stress me the more you're just selling me to the people on the streets.
Catherine: So crime pays.
Jerome Anderson: Oh, don't hate the player, hate the game.
Catherine: Right, you don't make the rules, you just exploit them.
Jerome Anderson: Ain't that a bitch.
(He smiles.)
CUT TO:
[INT. CSI -- LAB]
(NICK looks at MRS. RAMSEY'S ring under the scope. He swabs the ring.)
(Cut to: NICK takes the stone out of the ring. He compares it to a real diamond. He shines light on it and sees the difference immediately.)
CUT TO:
[INT. CSI - HALLWAY -- CONTINUOUS]
(NICK walks out of the lab. He runs into GRISSOM.)
Grissom: Nice work on that jewelry heist.
Nick: Yeah, well, it's not done yet, but ...
Grissom: You got the guy.
Nick: Oh, yeah, it was a little rough. We had to check a few ER's, but we snatched him up.
Grissom: Being efficient is not a bad thing, Nick.
Nick: Yeah. Why are you tossing me a softball and putting everyone else on real cases?
Grissom: You wanted to work solo.
Nick: Yeah, but it's like Night of the Pifflings out there and I'm on a smash and grab.
Grissom: Pifflings?
Nick: (explains) Puffin offspring. First time out of the nest every year they crash land in this town near iceland because they are attracted to the lights of human civilization. It's the same way people flock to Vegas for a fight.
(For a moment, GRISSOM stares a NICK. Then his face lights up as though he's finally figured it out.)
Grissom: Animal Planet.
(GRISSOM turns and walks down the hallway.)
Nick: (calls out) How come when you talk about bugs everyone says you're a genius but when I talk about birds everyone says I watch too much television?
Grissom: I don't know. Look, the next night of the pifflings you get the first d*ad body.
Nick: Copy that.
CUT TO:
[INT. CSI - LAYOUT LAB]
(GRISSOM turns the corner and walks into the room. ROBBINS is already there with SARA and WARRICK. On the table are x-ray photographs.)
Robbins: The victim suffered tripod fractures of the zygomatic arch in two places. There's also a fracture of the orbital floor. (Points to a x-ray photo.) This tripod fracture of the zygoma that caused the flattening of the victim's face. It indicates that he was struck with an extremely powerful blow.
Grissom: Which couldn't be caused by normal boxing gloves.
Sara: We checked Molina's gloves. There's nothing in them or on them.
Grissom: We're missing something.
(GREG walks in.)
Greg: We have a problem.
Warrick: Pile it on.
Greg: Well, in the interests of posterity I took it upon myself to establish provenance for the k*ller gloves I mean DNA-wise. On my own time, of course of which I have precious little so that should count for something.
Grissom: (exasperated) Greg, why are you always doing this?
Greg: (simply) Because you make me nervous. (b*at) My point is, the epithelials found on the surface of the glove. They're not Laroi Steele's. Those aren't the gloves that k*lled him.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. LOCKER ROOM - DAY]
(WARRICK breaks the lock on the locker and opens it. GRISSOM remains a distance away and looks around.)
(WARRICK picks up the boxing gloves.)
Warrick: Gloves look brand-new. Padding's still stiff. It's like they've never been used.
(WARRICK bags the gloves. GRISSOM still looks at the locker from the distance. WARRICK finds something on the ground.)
Warrick: What are all these dots?
(He picks it up. Camera zooms in for a close up.)
Warrick: Looks like a little piece of red leather.
(WARRICK keeps a sample. GRISSOM kneels down and looks at the grating on the ground. Camera zooms in for a close up.)
Grissom: Hmm ... and more mercury.
Warrick: Well, Molina does take it for his stomach, right?
Grissom: He's a sloppy eater.
Warrick: Hmm.
CUT TO:
[INT. PRACTICE GYM -- DAY]
(GRISSOM and WARRICK enter the gym.)
Grissom: Mercury's volatile. It emits a toxic vapor at room temperature.
Warrick: So you're saying if I find the vapor I find the mercury.
(WARRICK plugs the machine in. He turns off the lights. He and GRISSOM check out the boxing ring and the various gym apparatus.)
Warrick: Grissom.
(GRISSOM looks at and sees the vapors.)
CUT TO:
[INT. CSI -- LAB]
(SARA takes out MOLINA'S tape. She pieces together the signature for "ADELLE CROSS".)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and SARA interview ADELLE CROSS, the fight promoter.)
Brass: That your signature?
Adelle Cross: Yeah. That's my signature. So what?
Brass: Well, according to fight rules you were supposed to watch Molina wrap his hands and sign them, then watch him put on his gloves and then sign those.
Adelle Cross: Which is what I did.
Sara: Okay, you signed his wraps but the gloves that we found were not the gloves used in the fight. Molina switched them.
Adelle Cross: There's no way.
Brass: You watched Molina glove up?
Adelle Cross: Not exactly.
(Quick flashback to: JAVIER MOLINA is getting ready in the locker room. His gloves aren't on yet. He tells everyone to get out.)
Javier Molina: Come on. Get her out of here.
(End of flashback. Resume to present.)
Adelle Cross: Look. It was a big fight. There was a lot of pressure. You've got to give the fighters a little space.
Sara: So, no one saw him put his gloves on.
Adelle Cross: I guess not.
CUT TO:
[INT. HOTEL LOBBY]
(MRS. RAMSEY walks through the lobby with NICK.)
Mrs. Ramsey: I should have called you first to apologize for my husband's unfortunate outburst.
Nick: You know what? You should apologize. But not for your husband.
Mrs. Ramsey: Excuse me?
Nick: You know damn well your diamond isn't a diamond. It's a substance called moissanite.
Mrs. Ramsey: Really?
Nick: Really. White light refractions and inclusions of your stone are inconsistent with a real diamond's.
Mrs. Ramsey: Then the thief must have switched the stone before you caught him.
Nick: The thief ... Yeah ... I don't think so. Because before the store could clean your ring I was able to collect DNA.
Mrs. Ramsey: Wow, that's very thorough of you. Isn't it?
Nick: You know, it's my guess you switched out the stone some time ago because judging from your husband's response he knew nothing about it.
Mrs. Ramsey: Mr. Stokes, can I ... ? You're from Texas, aren't you? 'Cause I can always tell.
Nick: I'm a criminalist for Clark Country, Nevada.
Mrs. Ramsey: Yes, well, one's body might reside elsewhere but one's heart never really leaves home, does it? Look, all you have to do is say that you recovered a fake diamond which is the truth.
Nick: So you can file a false insurance claim which is a felony? Better yet, why don't I have an adjuster come over to your place and check out all your rocks see which ones are real and which ones you've switched out? No? Look, if you find yourself in a hole, the best thing to do is stop digging. You know what I mean?
Mrs. Ramsey: Sounds like a plan.
Nick: Put it in motion.
CUT TO:
[INT. CSI -- LAB]
(GRISSOM watches as they wheel in racks of clothes.)
Grissom: I guess clothes do make "The Man."
Catherine: In this case, "The Man" makes the clothes ... and produces the music ... and represents the athletes ... when he's not involved in street sh**t, of course.
Grissom: And when you asked him what he was wearing the night of the m*rder, he couldn't remember?
Catherine: As far as he's concerned m*rder is just another way to separate himself from the Calvins and Ralphs of the world.
Grissom: Calvin and Ralph?
Catherine: Klein and Lauren. Fashion.
Grissom: Oh. Well, for most CSIs, fashion is irrelevant.
Catherine: Speak for yourself. The only thing between me and a wardrobe like this is a few extra zeros on my paycheck.
Grissom: Well, what's standing between you and this Tiny Tim character?
Catherine: The mojave. Highway patrol is out looking for our guy. Odds are that Tiny Tim is back in L.A. Evidence disposed of along the way. That means my last chance of connecting the dots is somewhere along these racks. Fibers, GSR, blood.
Vega: Hey. Guess who never left town?
CUT TO:
[EXT. -- NIGHT]
(VEGA shows CATHERINE the body. A 10 of clubs playing card is tucked in the victim's shirt.)
Catherine: Calling card?
Vega: 10th street vandals.
(CATHERINE leans down and looks at the firearm next to the victim.)
Catherine: .380 a*t*matic. Tiny's favorite piece.
Vega: Odds are it traces back to the original m*rder.
Catherine: Same as it always does.
Vega: Somebody gets dissed.
(Quick flashback to: The fight. The first victim walks along side the ring. He's on the phone and just happens to step on JEROME ANDERSON'S foot.)
Catherine: (V.O.) Wrong place, wrong time. It doesn't take much to set someone off.
(JEROME ANDERSON stands up and pushes the man aside. He starts running across the lobby as he did in the teaser. JEROME ANDERSON and his g*ng follow behind him.)
(They catch up with him in the parking lot. One of the g*ng fires the g*n k*lling the man in the parking lot.)
(End of flashback. Resume to present.)
Catherine: The snakebacks k*ll a vandal. Then the vandals k*ll a snakeback.
Vega: Everyone goes home satisfied.
Catherine: Round and round and round it goes. Where it stops, nobody knows.
(CATHERINE snaps a photo.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK and GRISSOM walk through the hallway on their way to the lab.)
Warrick: There was this one case where a boxer put lead sh*t in his gloves to increase his punching power. And also ancient greek limapulists used a glove weighted with metal, called a "cestus."
Grissom: You making a classical reference?
Warrick: Yeah. I thought you'd like that.
(They walk into the lab where SARA is looking through the scope.)
Grissom: Question is, if Molina was using mercury to load up how'd it get into his gloves?
Sara: Well, he injected it. (SARA rolls away from the scope allowing WARRICK to look through it.) Those circular pieces of leather that you found in Molina's locker are the same diameter as a 14-gauge needle.
Grissom: Well, mercury's incredibly dense.
(Quick CGI POV of the needle piercing through the red leather glove and inserting the mercury inside the glove.)
Grissom: (V.O.) It could easily be contained in the leather in the form of a boxing glove.
(End of CGI POV. Resume to present.)
Sara: The boxing gloves weighed eight ounces so the question is, would a few ounces of mercury be enough to cause the damage that we observed on the victim?
Warrick: Right.
Grissom: I smell an experiment.
(GRISSOM looks at SARA. SARA smiles.)
CUT TO:
[INT. CSI -- LAB]
(GRISSOM ties the gloves on WARRICK.)
Warrick: All right. Normal gloves. (WARRICK takes his position in front of the punching bag.) Ready.
Sara: And ... go.
(WARRICK starts punching the bag. The machine records the force of the hits. WARRICK looks over at SARA.)
Warrick: Good?
Sara: Little more. (SARA looks at WARRICK and smiles.) Good.
(WARRICK stops.)
(Cut to: SARA loads the gloves with mercury. She hands the gloves to GRISSOM.)
Sara: Loaded gloves.
Warrick: Ready?
Sara: And ... go.
(WARRICK hits the punching bag.)
Warrick: Ooh, these things are heavy.
(The monitor recording the force of the punches goes on "OVERLOAD". SARA stops WARRICK.)
Sara: Good. Good, good.
(WARRICK stops. He raises his hands and walks over to see the results.)
Grissom: And mercury kills Steele.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(SARA, BRASS and WARRICK re-question JAVIER MOLINA.)
Javier Molina: Boxing is a combat sport. Sometimes fighters die, okay? That's all part of the game.
Lawyer: Laroi Steele's death was a tragedy not a m*rder.
Brass: It became when your client injected mercury into his gloves.
Sara: And your hands, Molina literally, became lethal w*apon.
(Quick flashback to: MOLINA warming up in the locker room. He opens the locker and takes the syringe. He injects the mercury into the tips of the gloves.)
(Cut to: In the ring, MOLINA fights STEELE. When he's not throwing a punch, his hands are down at his sides.)
Warrick: (V.O.) Heavy gloves. That's why you kept your hands to your side. It also kept the mercury on the tip of your glove.
(Cut to: MOLINA punching the bag during practice. Little beads of mercury fall to the floor. Cut to: MOLINA throwing punches in the ring.)
Sara: (V.O.) With every punch a little bit got forced down through the padding through the seams and on to your hands. That's how it got on your wraps.
(End of flashback. Resume to present.)
Warrick: And into your lungs.
Sara: And finally out into your urine. We tested the sample that you gave the boxing commission after the fight. It came back positive for mercury.
Javier Molina: I have empacho. I take mercury for my stomach problems.
Warrick: We didn't find mercury in your stomach. We found it in your locker, on your gym bags, on your wraps ...
Sara: When the fight was over, your trainer cut the tape off your gloves and you took the pieces and put them in the hamper along with a pair of sparring gloves, just in case anybody wondered what had happened to them.
Warrick: But the real gloves were in your gym bag at that hospital, weren't they?
Sara: Steele had already kicked your ass ... twice before? Must have been humiliating.
Javier Molina: You push a man too far, there are consequences.
(Quick flashback to: At the press conference, LAROI STEELE smiles at MOLINA. MOLINA glares at STEELE. Cut to: MOLINA in the ring glaring at STEELE. Cut to: MOLINA punching STEELE. End of flashback. Resume to present.)
Sara: You knew there was no way you could b*at Steele in a fair fight.
Warrick: The best way to punish a guy is to b*at him to death in the ring in front of two million people on pay-per-view.
Javier Molina: (smiling) That's boxing.
Brass: No, that's m*rder. I'll see you in court.
CUT TO:
[INT. OBSERVATION ROOM/HALLWAY -- CONTINUOUS]
(GRISSOM watches from the Observation Room and smiles. He leaves the room and walks through the hallway.)
Officer 1: So that means the title's vacant, right?
Officer 2: Not for long. I heard it's Lopez versus Lewis at Caesar's in six months.
(GRISSOM shakes his head and leaves.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x07 - Fight Night"} | foreverdreaming |
THIS PROGRAM CONTAINS ADULT CONTENT
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY STRATOSPHERE TOWER / MOON (STOCK) - NIGHT]
[INT. FILM DEVELOPERS - NIGHT]
(GRISSOM and CATHERINE stand next to a film projector and watch the film on screen. The FILM PROCESSOR, who called it in, stands on the opposite side of the projector. On screen, she's showing them the p*rn film she recently developed.)
(On screen, the man finishes and the woman lies back on the bed.)
FILM PROCESSOR (WOMAN): Okay, this is where it got weird.
(On screen, the man pulls the woman off of the bed by the wrist. He holds her up close, his back to the camera. He pulls a Kn*fe. The woman struggles to get out of his grip.)
(The man puts the Kn*fe against the woman's neck.)
Woman: (on film) Don't ...
(He pulls the Kn*fe and cuts the woman's neck, blood spatters everywhere. The woman struggles to breathe, then falls to the floor and out of camera frame.)
(CATHERINE isn't unaffected by the film.)
FILM PROCESSOR (WOMAN): I've processed hundreds of bogus snuff films. But this, this one just felt different.
Catherine: (closes her eyes for a moment) Yeah, it should. arterial spray was real.
(GRISSOM watches grimly as the blood drops on the camera lens slowly slide downward.)
Grissom: It's not fake blood. It's human. That was a m*rder ... on 16 millimeter.
HARD CUT TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
THIS PROGRAM CONTAINS ADULT CONTENT
[INT. FILM DEVELOPERS - NIGHT]
(GRISSOM puts on his gloves to handle the film.)
Grissom: Has this p*rn sent you film to be developed in the past?
FILM PROCESSOR (WOMAN): I'm sure he has. We get raw film from hundreds of adult film companies. No names, just those private boxes. You can film p*rn, develop it, sell it, buy it but you can't send it through the U.S. Mail.
Catherine: I've got several envelopes here from various private shipping companies.
Grissom: We'll be taking those with us as well.
FILM PROCESSOR (WOMAN): Whatever.
(GRISSOM'S cell phone rings. He answers it.)
Grissom: Grissom.
Brass: (over phone) It's Brass.
INTERCUT WITH:
[EXT. HENDERSON ROAD - NIGHT]
Brass: I got a D.B. Out on Henderson Road.
Grissom: I'm already on a case.
Brass: Yeah, well, reconsider. I mean, these ants came flying out of the body. They're taking chunks out of the coroner. The CSI day guy says he's not going near the body again!
Grissom: They're f*re ants, Brass. Keep everyone away from the colony. They're evidence.
(Behind BRASS, DAVID PHILLIPS tries to get the ants off of him.)
Brass: Reconsider. Bring bug spray.
Grissom: No bug spray!
CUT TO:
[EXT. HENDERSON ROAD - NIGHT]
(BRASS escorts GRISSOM to the d*ad body.)
Brass: So a kid was driving along and spotted the tool box. He thought it would look good in his pickup truck. So he looked inside and freaked out. Ran to call for help.
(GRISSOM and BRASS reach DAVID PHILLIPS.)
David Phillips: Hey ... Grissom. You ever see anything like this?
(DAVID holds his arm out for GRISSOM to look at. There are angry puffy bite marks on his arm.)
Grissom: Well, any species that finds itself in a place it doesn't belong can do this kind of damage. What are you using?
David Phillips: Cortisone.
Grissom: That'll help.
(GRISSOM and BRASS continue on to the body.)
Brass: You know, I heard that these things can k*ll a deer. Is that ... is that right?
Grissom: Well, with enough colonies they can k*ll people.
Brass: What about our person?
Grissom: Well, only if they also learned how to put him in a box and dump him in a ditch.
CUT TO:
[EXT. HENDERSON ROAD - NIGHT]
(The tool box lid opens. Inside is a d*ad body eaten away down to its bones. The entire body is covered with f*re ants.)
(Behind him, BRASS coughs at the smell.)
Brass: Man or woman?
(GRISSOM brushes away some of the flying ants from his sight.)
Grissom: Ant hill. They're using this body as a colony site. I'm going to have to take this box and the specimen back to the lab as is. These insects are evidence.
CUT TO:
[INT. CSI - HALLWAY -- NIGHT]
(CATHERINE and DET. SULIK walk in the hallway as he fills her in on the info about the snuff film.)
Det. Sulik: I followed up on the private mail depot for our snuff movie. The place has got over a thousand boxes no records of renters and they deal in cash only.
Catherine: d*ad trail.
Det. Sulik: Yeah.
Catherine: I got Archie to digitize that film blow up a head sh*t of our victim.
(CATHERINE hands DET. SULIK a photograph of the woman.)
Det. Sulik: I find any missing persons that match her description, I'll beep you.
Catherine: Thanks, Sulik.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(SARA is looking at the film negative with a magnifying glass. CATHERINE walks into the lab.)
Catherine: Find any fingerprints?
Sara: I should be able to. Imaging components on a filmstrip are held together by gelatin. Same stuff that makes jell-o jiggle, but they're smudged. I can tell you that the film was manufactured in 2002 by a big company. Homicide's contacting them now to get a buyer's list.
(CATHERINE puts on a pair of gloves.)
Catherine: Won't help. p*rn buy "short ends" from legitimate clearing houses. Saves money and they're impossible to trace.
Sara: (impressed) Really?
Catherine: I pulled a p*rn ring using teenage girls a couple years ago. Learned all you want to know about the adult entertainment industry.
(CATHERING picks up a film negative strip and looks at it through a magnifying glass.)
Catherine: Hell of a way to go.
(SARA'S silent for a moment.)
Sara: I always thought that snuff films were an urban myth. I mean, outside of urban Bangkok.
(CATHERINE puts the film down and looks at SARA.)
Catherine: FBI's official position on snuff films in the U.S. Of a? No such thing.
Sara: What's their unofficial position?
Catherine: Single film goes for hundred grand ... original negative.
(CATHERINE goes back to looking at the negative.)
Sara: And this snuff filmmaker decided to send his film out to get processed.
Catherine: Greedy doesn't mean smart.
CUT TO:
[INT. CSI - OUTSIDE FORENSIC AUTOPSY -- NIGHT]
(DOC ROBBINS struggles to put on his protective suit around his leg. Next to him, GRISSOM also puts on his suit.)
Robbins: Come on, you bitch! I'm allergic to red ants, you know.
(GRISSOM puts his head gear on and works to put his gloves on. ROBBINS does the same.)
Grissom: Yeah? I put them on my eggs.
Robbins: If they're d*ad, I hope.
(They both enter the autopsy room.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(GRISSOM and ROBBINS carry the body to the examining table. The entire room is covered with plastic to keep the insects inside. GRISSOM starts to sprinkle white powder along the edge of the table.)
Robbins: Something tells me that isn't black flag.
Grissom: Ecozone pyrethrum. Toxic to ants, fleas, roaches and silverfish.
Robbins: And how does an entomologist feel about putting ants to death?
Grissom: I view them as martyrs in a scientist's holy w*r.
Robbins: I see. (looks at the body) Man without a face.
Grissom: Timeline for death?
Robbins: Hard to say between the insects and the elements. At least a year.
Grissom: It smells more like two.
Robbins: Multiple fractures of both clavicles.
(Quick CGI POV to the right clavicle of the body. The ants and grime disappear and only the clean bone is left for us to view. The bone breaks.)
Robbins: (V.O.) Right clavicle healed ... broken four months before death.
(The bone heals up. Camera moves over the ant-infested body to the left clavicle and focuses in on the second break.)
Robbins: (V.O.) Left was more recent ... hairline fractures are still present.
(End of CGI POV. Resume to present.)
Robbins: Give me a hand turning him over, will you?
(They turn the body over.)
Grissom: What are these?
(GRISSOM sticks his fingers in two almost identical wounds on the body's back.)
Robbins: I'm not sure. Sharp impact wounds to the interscapular. Same trauma here in the vertebrel.
Grissom: s*ab wounds?
Robbins: I can't say. Uh, maybe some round w*apon of some sort.
Grissom: What, two feet apart? More like 18 inches.
(GRISSOM sees something. He digs in his pocket for a forceps and removes something from the body. He holds it up.)
Robbins: What?
Grissom: A pupa case.
Robbins: Is that a good thing or a bad thing?
Grissom: It's a good thing. If I can postdate the pupa I can establish an entomological timeline.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]
(WARRICK and ARCHIE work on getting information from the snuff film.)
Warrick: Okay, all right, let's run this back again from the beginning. This time without the sound.
(ARCHIE clicks on the keyboard and the film rewinds.)
Warrick: All right.
(They reach the beginning of the film where the woman is on the bed and the man in the robe walks into the room. The man disrobes.)
Warrick: Stop.
(ARCHIE punches a key on the keyboard and the film pauses.)
Warrick: Can you zoom in on his back?
(ARCHIE boxes and enlarges a mark on the man's back.)
Warrick: What is that? A mole?
Archie Johnson: Non-cancerous.
Warrick: You think? Too bad, the bastard. (The film resumes.) This room is like a dime a dozen it could be anywhere in Vegas. Between the drapes can you get any other detail outside of that window?
Archie Johnson: Uh ... I'll reverse the polarization see if we can get any more information from this frame.
Warrick: That looks like a blob outside of the window. It's spherical.
Archie Johnson: Blow it up. Times ten.
Warrick: The Stratosphere Tower. South face maybe? Using that Stratosphere Tower as a point of reference could you triangulate and pinpoint the street that this was filmed on?
Archie Johnson: (smiles and nods) I can.
(ARCHIE gets to work.)
CUT TO:
[EXT. LAS VEGAS CITY -- STRATOSPHERE TOWER (STOCK) - DAY]
[EXT. MANDOLIN TOWER HOTEL - DRIVEWAY -- DAY]
(DET. SULIK, CATHERINE, SARA and WARRICK make their way up the driveway.)
Det. Sulik: Hotel's in receivership. The security guy says the elevator still works.
Warrick: We're going to need to talk to him.
Det. Sulik: Soon as he gets off the phone with the owner.
CUT TO:
[INT. MANDOLIN TOWER HOTEL - LOBBY -- DAY]
(The group walks into the lobby. CATHERINE pauses and looks around. She stops and stares at a lamp in the lobby. WARRICK notices and stops to stand next to her.)
Warrick: What's up?
Catherine: (looking at the lamp) Oh, nothing. Only difference between Kitsch and beautiful is time.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(GRISSOM is holding a stack of bug samples in baggies.)
Greg: (o.s.) Heard you're doing a timeline on the ant man.
Grissom: Slow day in DNA, Greg?
(GRISSOM starts to tape the baggies to the glass board.)
Greg: Yeah. (pause) You know, I, uh ... I can take notes.
(GREG walks up to GRISSOM from the other side of the glass board and pulls out a small notepad and pen.)
Grissom: Very good. Go right ahead.
(GRISSOM starts the timeline. He talks out loud as he writes.)
Grissom: (writing) Week zero: Body dies. Week two: Green blowflies arrive ... and leave their pupal casings.
(GRISSOM grabs one of the baggied samples and tapes it under "Week 2". He continues.)
Grissom: Week four: Black soldier flies move in. At Week 28 ... they leave their pupa casings.
(GRISSOM grabs the second baggied sample and sticks it under "Week 28". He continues.)
Grissom: Now, the presence of winged reproductive f*re ants suggests that their colony was in existence for at least a year.
(At this, GRISSOM takes the final bag and tags it at the end. He writes a large
"52" over it and circles it. He continues.)
Grissom: Now, since we found no more pupa casings after the black soldier flies left at week 28, we know that this is when the f*re ants must've first arrived.
(GRISSOM writes a "1" and circles it.)
Grissom: So, calculating the gestation period between ants and flies, we get...
(GREG starts counting. He reaches over and grabs the blue pen.)
Greg: One year plus the 28 weeks ... the guy's been d*ad 19 months.
(GREG writes a big "19" on the board and circles it.)
Grissom: (pleased) Very good. It's an approximation, but it's a start.
CUT TO:
[INT. MANDOLIN TOWER HOTEL - HALLWAY ON FLOOR -- DAY]
(As they walk down the hallway, CATHERINE assigns the rooms to each of them.)
Catherine: Well ... Sara, you take that one.
(SARA enters the first room.)
Catherine: Warrick, you go there, I'll go in here.
(They each walk into their assigned rooms.)
CUT TO:
(CATHERINE walks into her room and looks around.)
(Cut to: WARRICK is inside his room and holds up a large clear image of the stratosphere tower from the film. They try to find the room by matching the tower in the negative to the tower in the window. He looks at the negative and pulls it down to look at the window: no match.)
(Cut to: CATHERINE holding up the large clear image against the window. She looks at the image and pulls it down to look at the window: no match.)
(Cut to: SARA holding up the same large clear image against the window. She looks at the image and sees the stratosphere tower line up perfectly with the tower in the window.)
CUT TO:
[INT. MANDOLIN TOWER HOTEL - ROOM 918- DAY -- CONTINUOUS]
Sara: Hey, guys?
(CATHERINE and WARRICK walk into the room.)
Sara: We got it.
Warrick: (looking around) Somebody moved out all the furniture.
Catherine: And painted the wall.
(CATHERINE puts her kit down.)
Warrick: If they can't see it, we can't, huh?
Catherine: Right.
(WARRICK puts his kit down and picks up his ALS. He shines it on the wall. Under the light, the blood spatter is obvious.)
Catherine: Arterial spray
(Quick flashback to the Kn*fe slicing through the woman's neck. She gasps. The blood spatters on the wall. End of flashback. Resume to present.)
Sara: (pointing) There's a void. Could be a face?
Catherine: Yeah, maybe.
Sara: How does somebody cross the line where k*lling a woman is a turn-on?
Catherine: Oh, I don't think snuff makers cross a line, I think they start on the other side of it.
Sara: Biology determining pathology.
Warrick: Yeah, some people were just born bad.
Catherine: Where's that security guard?
CUT TO:
[INT. MANDOLIN TOWER HOTEL - LOBBY -- DAY]
Det. Sulik: How long you been a day guard here?
Security Guard: Four months. But I don't know anything about this m*rder you're talking about.
Warrick: Do you anything about who painted Room 918?
Security Guard: No idea.
(CATHERINE notices the white spots on the SECURITY GUARD'S shoulder.)
Catherine: You should try a scalp conditioner.
Security Guard: What?
Catherine: Your dandruff. (on closer look) Oh, my bad ... primer. Alkyd-based. Never comes out in the wash but you already know that.
(CATHERINE walks behind the SECURITY GUARD. Her eyes widen as she finds something unexpected.)
Catherine: (alarmed) Warrick?
(WARRICK goes to stand next to CATHERINE and he sees it, too. There's a large mole on the man's neck, above his shirt collar.)
Warrick: You were in that snuff film.
Catherine: You s*ab that girl.
Security Guard: I let them use the room to make a movie, that's all.
Warrick: Yeah, we saw you in the movie. You and your nice mole.
Security Guard: The guy threw in another two hundred ($200) if I had sex with the girl. She was hot, so I figured why not? Did her and left. She was breathing fine.
Warrick: So when you came back in the room and you saw the blood on the wall did you think to call the police?
Security Guard: I didn't want to lose my job.
Catherine: Oh, touching. (to SULIK) Arrest him.
Det. Sulik: Turn around.
(SULIK cuffs the SECURITY GUARD and leads him out of the lobby.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(GRISSOM is busy stirring something in a large pot on a hot plate.)
Teri Miller: (o.s.) I see you're now learning to cook for yourself.
(TERI MILLER walks into frame. GRISSOM looks up at her.)
Grissom: Well, I had to, Teri. I heard you were married. Hopefully not to a criminalist.
(She chuckles.)
Teri Miller: You think I'm stupid? He's a teacher.
Grissom: Well, congratulations.
Teri Miller: Thank you. So what's the special occasion?
Grissom: I have someone I'd like you to introduce me to.
(GRISSOM pulls out the strainer he's holding and the clean skull with it. TERI leans in and notices something.)
Grissom: What, did I miss something?
Teri Miller: Actually, yes.
(GRISSOM twists his arm and looks on the other side of the skull. He picks up the forceps and removes a cooked beetle.)
Grissom: It's a dung beetle.
Teri Miller: Probably hid in the nasal cavity.
Grissom: The ants ate everything but the exoskeleton.
Teri Miller: Mm-hmm.
Grissom: So he was probably m*rder near some large animals. Maybe a farm or a zoo. Anyway, as to who ... I'll leave that up to you.
Teri Miller: (smiles) Will do.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(Back at the Audio/Visual Lab, WARRICK works on the film on the computer. He takes screen captures of the man in the film at two different points of the film. One screen cap is of the man before he sleeps with the woman. The other screen cap is of the man after he sleeps with the woman, just before he kills her and when puts his robe back on.)
(He pulls both screen caps side by side on the monitor and does a height estimation of the two men. The computer runs a comparative scale and comes to the conclusion that the man on the left is 5'10.00" tall; and the man on the right is 5'11.75" tall.)
Warrick: Damn, Security Guard was telling the truth. There is another guy there. He's almost one and three-quarter inches taller than the security guard.
Sara: Our minds must've filled in the negative space.
Catherine: Look, the Security Guard just left the room. You see the door shadow right there ... at the foot of the bed.
Sara: The camera stopped moving.
Warrick: That's because he's not behind it, he's in front of it.
Catherine: Well, then, that's our guy. There's got to be some way to I.D. him.
Warrick: I have enlarged and re-enlarged every frame. There's no tats, there's no birthmarks, nothing.
Catherine: What about the rest of the room?
Warrick: The film picks up everything there is to see, Catherine. We've seen everything.
Sara: Maybe there's a short end.
Warrick: What?
Sara: p*rn use short ends of film which means they never know when the film is going to run out.
Catherine: Roll out. Camera slows down, the last frame stutters gets h*t with more light.
(Quick CGI POV to: Front view of a film camera. The camera turns to the side to show the view screen on the bottom. As the reel runs out of film, the picture on the view screen stutters and gets brighter as more light goes through. Camera zooms in on the view screen and shows the bed with blood spatter on the camera lens. The screen stutters and gets even brighter. End of CGI POV. Resume to present.)
Warrick: So there's more visual information on the negative.
Catherine: Right. Good editors always cut the roll out.
CUT TO:
[INT. FILM PROCESSING PLACE -- NIGHT]
(The FILM PROCESSOR leads CATHERINE and SARA to the room where the bins are kept till collection. Outside, it's raining.)
Catherine: So all your editors' cuttings are in there?
FILM PROCESSOR (WOMAN): Yep. Negatives and unused dailies. Collection guy comes by once a week. Silver on the film makes it environmentally unsafe for landfill, so ...
Sara: Be nice if people were as concerned about the women in these films ...
FILM PROCESSOR (WOMAN): I am the one who called y'all, remember? Knock yourselves out, ladies.
Sara/Catherine: Thank you. Thank you.
(The FILM PROCESSOR leaves them.)
Catherine: Bins of sin.
(CATHERINE and SARA put their kits down.)
Sara: Well, looks like mostly 35 millimeter. Our 16 should've settled ... at the bottom.
(CATHERINE grabs the bin and tips it over. She pours all the negatives out on the ground.)
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(NICK examines the tool kit that the "Ant Man" was discovered in. He opens the lid and examines it inside. Inside, he notices something. He finds a piece of metal on the bottom of the kit.)
Nick: (quietly) What the heck is that?
CUT TO:
[INT. CSI -- HALLWAY]
(GRISSOM holds the bagged piece of metal that NICK found in the tool box. They walk down the hallway as NICK fills GRISSOM in on the information about the metal.)
Grissom: What did trace say?
Nick: Carbon steel. There was some rust on it.
Grissom: Carbon steel? 19th century. Mostly used for surgical instruments.
Nick: Well, you found some s*ab wounds on the vic, right? Underneath all those ants? Maybe it's somebody's old scalpel.
Grissom: This prong-like extension could be part of a repeating pattern.
Nick: Geometrical extrapolation?
Grissom: That would give us possibilities.
Nick: You got a pencil?
(NICK turns into the nearest lab. GRISSOM follows.)
CUT TO:
[INT. CSI -- LAB]
(NICK places the metal on a sheet of graph paper. He traces the shape of the piece on the paper.)
Nick: From the tip down, the slope looks to be slightly curved. Now, if I extend that trace outward ...
(NICK repeats the pattern shape on the paper. It looks ruffled when he's done. He looks at GRISSOM.)
Nick: What do you think? Blade of saw ...
Grissom: Keep doing the math, maybe we won't have to guess.
Nick: You see how the base of the fragment curves downward? Suggesting something circular.
(NICK picks up a compass and places the piece of metal on the outside of the circle. He draws the same pattern, only around the circle.)
Nick: Repeating pattern. Circular saw, maybe.
(GRISSOM picks up the piece and holds it up close to his face.)
Grissom: This doesn't seem sharp enough for a saw.
(He puts it back down on the paper. NICK picks it up.)
Nick: Wait a minute. (smiles) I've seen one of these before, man. A spur ... cheap spur.
Grissom: What's that old cowboy expression? Got to see a man about a horse.
Nick: (nods) Yeah.
Grissom: That reminds me. I've got to see a woman about a face.
(GRISSOM leaves the room.)
Nick: Yee-haw.
CUT TO:
[INT. FILM PROCESSING PLACE -- NIGHT]
(CATHERINE and SARA sit on their kits and go through the film strips one by one.)
Sara: You notice all the guys in these movies are wearing condoms?
Catherine: Yeah, industry policy. Ever since '98. Even have a quarantine list: Who's positive, who's not. And that security guy wore one, too. Pretty surprising for unregulated p*rn.
Sara: Maybe she made him wear one.
(SARA lifts up a negative and smiles.)
Sara: I got it.
Catherine: You did?
Sara: I got it, I found it.
Catherine: Thank god.
(SARA hands the strip to CATHERINE and she looks at it.)
Catherine: Hot frame, all right. (She shakes her head.) I still can't see who it is.
Sara: You can see a little more of the room, though. There's a small table and a lamp in the left corner.
(CATHERINE sees it and smiles. She also recognizes the lamp.)
Catherine: Good eye, Sara.
(Camera zooms into the frame and it changes color.)
Catherine: Yeah, that Kitsch lamp. Somebody moved it out to the lobby. I'll have Warrick go back to the hotel and grab it.
CUT TO:
[INT. CSI -- LAB]
(Close up of the clean skull with markers already stuck on it. TERI MILLER works methodically on reconstructing the skull. GRISSOM watches her over her shoulder.)
Grissom: Tissue depth markers. Twenty-one of them, right?
Teri Miller: Sixteen actually. Excluding five nasal markers.
Grissom: Like I said ...
Teri Miller: (smiles) This one's very interesting. (She picks up the skull and turns it around to show GRISSOM.) The occiput the bump on the back center of the head unusually flat.
(Dissolve to: TERI securing the molding clay on the skull's chin. She also puts in the skull's left eye.)
Teri Miller: The eyes have epicanthal folds. A triangular flap of skin that gives a vaguely asian appearance.
(Dissolve to: TERI securing the right ear to the skull.)
Teri Miller: You see how the bridge of the nose is poorly developed? Almost too small for the size of his head.
Grissom: The ears seem slightly odd.
(White flash to: TERI is working on the right ear.)
Teri Miller: Like the nose they too, are disproportionate to the head. Almost childlike.
(Dissolve to: TERI finishing the face reconstruction and dusting the forehead with a brush.)
Teri Miller: These elements are small for the head which, in itself, is almost too short and wide. Your victim was born with trisomy of the twenty-first chromosome.
Grissom: Down's syndrome.
(Finished, TERI turns the bust around toward the camera. Camera holds on the figure.)
FADE OUT.
(COMMERCIAL BREAK)
[INT. CSI -- LAB]
(A photo of RANDY TRASCHEL runs through the fax machine.)
CUT TO:
Brass: So I sent out a community fax to every Downs syndrome link in Clark and the surrounding counties. Special Olympics-type groups, societies, schools and I got lucky. Randy Traschel, age 25. Been missing for seventeen months.
Grissom: I guess my ants were off a little.
(BRASS hands GRISSOM a sheet of paper with RANDY TRASCHEL'S picture and information:
[Name: Randy Traschel Address: 2074 Westfall, LV, NV, 89 ... D.O.B.: 02/25/77
Age: 25
Missing: 17 months Last Employer: Las Vegas Ranch ]
Grissom: "Last employer: Las Vegas Ranch." (he thinks about it and makes a connection) Horses. (b*at) Dung beetles.
CUT TO:
[EXT. LAS VEGAS RANCH -- DAY]
(BRASS, NICK and GRISSOM walks down the front dirt road to the ranch.)
Brass: Hey, where's the tote board? Every time I see a horse, I want to place a bet. Smells like Belmont Park, doesn't it?
Nick: You ever ridden a horse, Grissom?
Grissom: Nope, just roller coaster
(They make their way toward the corral where most of the men are.
(One of the older men sees them, turns and approaches them.)
Pete Banson: Howdy. Pete Banson. Ranch manager.
Brass: Howdy. Jim Brass, Las Vegas police. This is Gil Grissom, Nick Stokes of the crime lab.
Pete Banson: What seems to be the trouble?
(BRASS holds open the picture of RANDY TRASCHEL.)
Brass: Have you ever seen this man?
Pete Banson: Yeah, he's one of my stall muckers. Hired him about two years ago. A little slow in the head, but got the work done. And all of a sudden, he up and disappeared never heard from him since then.
Grissom: Did he ever ride horses for you, Mr. Banson?
Pete Banson: No, he just mucked the stalls and went home.
Nick: Who mucks your stalls now?
Pete Banson: Look, guys, am I in some kind of trouble here?
Nick: A former employee of yours was m*rder. Now, who mucks?
Pete Banson: Enrique. He's an illegal.
Brass: Shocking. Where is he?
CUT TO:
[INT. CSI -- LAB]
(WARRICK and CATHERINE go through the short-end frame by frame. WARRICK puts a sheet of paper in front of the camera so that they can better see what they're looking at.)
Warrick: There's the lamp I got from the lobby. The bulb is red ... in the film and here.
Catherine: Guy thinks he's Zalman King, playing with the lighting.
Warrick: I guess he was going for a certain look.
(WARRICK turns around and looks at the lamp. Something occurs to him.)
Warrick: You know, if I had screwed a hot light bulb I'd probably lick my fingers.
Catherine: Saliva.
(Quick CGI POV to: A camera close up of someone licking their fingers then twisting the red light bulb off. End of CGI POV. Resume to present.)
Catherine: Guy replaced it with a red bulb. Got residual saliva on it. I'll process for DNA, run it through CODIS.
(CATHERINE takes the red light bulb from WARRICK and leaves the room.)
CUT TO:
[INT. CSI -- LAB]
(The computer printer beeps. CATHERINE takes the computer results. It's the CODIS match results. She reads it and leaves the room.)
CUT TO:
[EXT. URBAN LAS VEGAS -- DAY]
[EXT./INT. SAMPSON RESIDENCE - DAY]
(The door bell rings and the front door opens to DET. SULIK and CATHERINE. DET. SULIK holds his badge open.)
Det. Sulik: Douglas Sampson?
(A man leans against the door frame.)
Douglas Sampson: Yeah.
Catherine: The same Douglas Sampson who did three years for sexual as*ault and battery?
(DOUGLAS SAMPSON coughs.)
Douglas Sampson: Did. Past tense.
Det. Sulik: We want to talk to you about a recent homicide at the Mandolin Tower Hotel, off Fremont.
Douglas Sampson: I'm working.
(Both CATHERINE and DET. SULIK turn around. Standing behind them near the car with WARRICK is the SECURITY GUARD. He looks at DOUGLAS SAMPSON and nods to them.)
(They turn back to DOUGLAS SAMPSON.)
Catherine: Take a break.
(DOUGLAS SAMPSON moves away from the door. DET. SULIK and CATHERINE enter the house.)
[INT. SAMPSON RESIDENCE - DAY -- CONTINUOUS]
Douglas Sampson: Take ten. Give it a rest, guys.
(The man and the woman in front of the camera put their clothes back on and leave the room.)
Catherine: I bet I could guess your exact height.
Douglas Sampson: What?
Det. Sulik: That guy out front just confirmed you sh*t a snuff film with this girl at the Mandolin Tower Hotel.
Douglas Sampson: I've stayed there over the years. I never saw her with that guy out front.
Catherine: We've got you on film, k*lling her.
Douglas Sampson: If you had me from any angle I could be identified you would've arrested me already.
Catherine: We've got ourselves a film student here. DOUGLAS SAMPSON: I'm one of the best in adult film and I'm going to be making the jump to mainstream, you watch.
Catherine: Financed by a snuff film?
Douglas Sampson: You have no right to be in my house. I'm not breaking any laws. I have a permit for adult film production. You leave now or I'm going to file a complaint.
(DOUGLAS SAMPSON sniffles and wipes his nose.)
Catherine: Getting a cold? Maybe you should raise the heat. I'm sure they wouldn't mind.
CUT TO:
[EXT. SAMPSON RESIDENCE - DAY]
(CATHERINE and DET. SULIK walk down the front walkway.)
Catherine: Hey, what do you got?
(WARRICK has been busy examining SAMPSON'S car parked out on the side of the road.)
Warrick: This is Sampson's car, right? Some soil up in his wheel well. He washed the tire and forgot the well.
Catherine: Butterscotch?
Warrick: Yeah. Remember that body dump a couple years back?
Catherine: Yeah.
Warrick: Down near the Colorado?
Catherine: Bidahochy range. Butterscotch-colored soil.
Det. Sulik: I'll radio the sheriff up there. And the Park Rangers.
Catherine: Great.
CUT TO:
[INT. LAS VEGAS RANCH -- DAY]
(BRASS, GRISSOM and NICK question ENRIQUE who is busy working.)
Brass: You never met this man?
Enrique: No.
Brass: Stop the shoveling. Take a closer look.
Enrique: All I know about him is they call him "Stubs."
Nick: Stubs. What is that, some kind of nickname?
Enrique: I guess. I hear the cowboys joking about him. I think they call him that because of his fingers.
(GRISSOM walks away and looks around. He picks up the hay fork and looks at its prongs.)
Brass: Did the other cowboys ever make fun of him?
(NICK looks down at ENRIQUE'S spurs.)
Enrique: I really don't know.
Nick: Do you ride, Mr. Vasquez?
Enrique: Every day.
Nick: You wear spurs when you ride?
Enrique: When I'm breaking a horse, yes.
(GRISSOM listens to the response and walks back to the group.)
Brass: You don't call this breaking a horse, do you?
Enrique: I forgot to take them off.
Nick: I'm going to need to take a look at those spurs, Mr. Vasquez.
CUT TO:
[INT. CSI -- LAB]
(In the lab, GRISSOM takes the spurs out of the plastic evidence bag. One of the teeth is missing. He spins the spur. He picks up the broken piece of metal found in the tool box with the body and matches the two together. Camera zooms in to show that it is a match.)
(GRISSOM smiles.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(NICK questions PETE BANSON. NICK puts a photograph on the table.)
Nick: Enrique said he got those boots an spurs from Hero's Row.
Pete Banson: Mm-hmm. That's where the cowboys toss all their unwanted gear.
Nick: And they just leave them there for anyone to pick up?
Pete Banson: It's either that or Goodwill.
Nick: Hmm. Mr. Banson, the pro Rodeo Association banned sharp rowels on spurs back in the early '70s because they were found to be cruel to horses.
Pete Banson: Yeah, I know all about that. I don't particularly agree with it
'cause as far as I'm concerned horses are on this earth to service human beings. There's an order to this.
Grissom: Well, somebody on your ranch is stuck in the '70s. Do you have any idea who this spur could belong to?
Pete Banson: Billy Rattison. Pro bronc rider.
CUT TO:
[INT. CSI - HALLWAY]
(A cell phone rings. WARRICK answers it.)
Warrick: Brown.
Det. Sulik: I think we got your snuff film girl.
Warrick: Where?
Det. Sulik: [CLOSED-CAPTIONED: By the river.]
Warrick: Okay, I'll be right there.
CUT TO:
[EXT. RIVERBED - DAY]
(WARRICK makes his way toward the body. OFFICERS stand in the background.)
(The body is dirty and covered with grass and debris. It's also wrapped in a large curtain. WARRICK kneels next to the body.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Camera opens on the monitor with a close up of SUSAN HODAP'S face. CATHERINE and SARA walk in.)
Robbins: Warrick stick you with post?
Catherine: He's working evidence from the riverbed.
Sara: You going to be able to I.D. her?
Robbins: Already did from her dental records. Susan Hodap, 26. Exsanguination from a trans-section of the carotid artery. Slicing s*ab.
Catherine: Any chance of finding any serration marks on the bone?
Robbins: To tie to a Kn*fe? Eh, that'll entail a boil, but sure, I can try. What I can tell you conclusively is that Susan Hodap was already on borrowed time. I tapped her cerebral spinal fluid didn't wait for a batch, had the lab run it solo. She was HIV positive.
(CATHERINE turns and looks at SARA.)
CUT TO:
[INT. CSI -- LAB]
(CATHERINE and SARA sit behind the computer.)
Sara: Susan Hodap ...
Catherine: There it is.
(CATHERINE runs her finger across the screen that reads: Hodap, Susan ... HIV + ...)
Catherine: Tested positive six months ago.
Sara: I can't believe that p*rn actors' monthly health records are on the internet.
Catherine: Yeah, right. The rule is, the actor tests positive twice they go on permanent quarantine.
(They find the second listing under May 2002: Hodap, Susan ... HIV + Quarantined ... )
Sara: That's why she ended up in that snuff film. She got bounced out of regular p*rn.
Catherine: Walked right into her own death scene. The thing is ... p*rn director may have, too.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS RANCH -- DAY]
(GRISSOM and NICK make their way toward BILLY RATTISON'S truck.)
Nick: This would be a pretty cool little truck if it weren't for the shiny new toolbox.
Grissom: Yeah. And it might be his.
(PETE BANSON walks over to them.)
Pete Banson: See you boys are back again.
Grissom: Mr. Banson, is this Billy Rattison's truck?
Pete Banson: Yes, sir. It is.
Grissom: We need to speak with him.
CUT TO:
[EXT. LAS VEGAS RANCH -- DAY]
Billy Rattison: I don't know nothing about no damn ret*rd.
Grissom: He wasn't a "ret*rd," Mr. Rattison. He had what we call Down's syndrome.
Billy Rattison: I don't care what he had. Always sticking his nose where it don't belong.
(Quick flashback to RANDY TRASCHEL noticing the snuff box on the corral metal fence. He grabs it and takes it to BILLY RATTISON. He holds it up to him.)
Randy Traschel: You left this?
Billy Rattison: I left it on the post. I don't want it in my pocket when I ride.
(BILLY RATTISON takes the piece of snuff in his mouth and throws it at RANDY TRASCHEL. It hits him in the face.)
Randy Traschel: Damn!
(RANDY TRASCHEL steps back to wipe it off as the other men watching laugh. End of quick flashback. Resume to present.)
Grissom: The, uh, toolbox in your truck, is that new?
Billy Rattison: Nope. Bought it a couple months ago. Somebody stole the last one. See, we got a big problem with that around here the help walking off with stuff.
Grissom: Nick, where did you acquire this photo?
Nick: Pro rodeo Association.
(GRISSOM takes a photo out of the envelope he's carrying. He shows the photograph to BILLY RATTISON.)
Grissom: That is you.
Billy Rattison: Yeah.
Grissom: Do you remember where this was taken?
(BILLY RATTISON takes the picture and looks at it.)
Billy Rattison: Looks like bronc finals, Wichita, Kansas. Spent a month there training for the finals.
(He gives the photo back to GRISSOM.)
Nick: But you live here normally, right?
Billy Rattison: (nods) Mm-hmm.
Grissom: What month, exactly?
(GRISSOM puts the photo in front of BILLY RATTISON again.)
Billy Rattison: (sighs heavily) This photo here ... uh, March, 2000.
Nick: 19 months ago.
CUT TO:
[EXT. LAS VEGAS RANCH - DAY -- CONTINUOUS]
(GRISSOM and NICK walk through the stalls to leave the ranch.)
Nick: Your ants put the time of death at 19 months Rattison puts being out of town at 19 months yet Randy Traschel's been missing 17 months so... (chuckles) ... now what?
Grissom: We need a more precise timeline.
Nick: Yeah ... so ... back to the bugs?
Grissom: On to the rust.
Nick: Ahh.
CUT TO:
[INT. CSI - HALLWAY / LAB --- DAY]
(SARA walks through the hallway.)
Warrick: (o.s.) Damn.
(A flying phonebook flies out of the lab door and hits the floor in front of her with a thud just barely missing her. She turns and enters the lab. WARRICK is inside looking at the curtain hanging in front of him.)
Sara: Why are you throwing phone books?
Warrick: (frustrated) 'Cause a beaker gets glass all over the place.
Sara: What's wrong?
Warrick: It's this curtain that the p*rn girl was found wrapped in. I've got no prints, no second donor. I've got nothing to link this p*rn guy to the girl's m*rder. It's just driving me nuts.
Sara: I'm fine.
Warrick: I'm sorry. Are you okay?
Sara: Yeah. You missed me by a mile. We may have something.
Warrick: Really.
Sara: Right here. I wanted to show you. (SARA holds up a single film frame negative for WARRICK to look at.) When he's s*ab her, she's bleeding all over him.
Warrick: Well, a void proves that, but we still can't prove it's him.
Sara: Yeah, but her blood might. Catherine and I suspect transference. She had HIV.
Warrick: Well, how are we going to get a sample of Sampson's blood?
Sara: Warrant, based on the butterscotch dirt that you found on his car.
Warrick: (pleased) Oh. I like that.
Sara: You might want to apologize to the phone book.
(SARA turns and walks out of the lab.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(Inside the room, a Lab Tech draws a sample of DOUGLAS SAMPSON'S blood while a detective stands nearby and watches.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(GRISSOM and NICK work on the piece of metal with ARCHIE.)
Grissom: We sliced the shard into layers of one hundred microns to measure the level of oxidation. Moisture from the body hits the carbon steel and then corrosion begins.
(Quick CGI POV to: Camera zooms from RANDY TRASCHEL'S body in the box and pans down the box from his head to his feet. The camera finds the single piece of metal near his feet, drops of moisture on it.)
Grissom: (V.O.) And we can be certain that there was moisture right away.
(End of CGI POV. Resume to present.)
Nick: So it's like slicing the mold off of bread ...
Grissom: ... and measuring it. The rust penetrated the thirteenth layer and just barely in the fourteenth. Archie, run the weather.
Archie: National weather service for Las Vegas. Average relative humidity
30.29. Temperature 22.61 Celsius.
Grissom: So, corrosion versus time ...
Archie: May 2000.
Nick: Spur exposure time was exactly 17 months.
Grissom: And we can testify to this.
Nick: Missing persons was right. The ants were off.
Grissom: Yeah, so was Rattison. He was in town.
CUT TO:
[INT. CSI -- GRISSOM'S OFFICE]
(GRISSOM puts a photo of the ant-infested body on his desk alongside other photos. He picks up a ruler and puts it down on the table.)
(He then takes a rubber band and stretches it between two pencils till he hits eighteen inches, the length between the puncture wounds on the body.)
(He holds it at this length, lifts it up and looks at it. Thinking about it, he deliberately tilts the tips of the pencils inward.)
(He gets an idea.)
CUT TO:
[EXT. LAS VEGAS RANCH - DAY]
(Curly, the bull, with his large horns is contained so that NICK can measure the distance of his horns.)
Nick: (shakes his head) Two feet.
Grissom: We have reason to believe the wounds that k*lled Randy Traschel were made by one of your bulls.
Pete Banson: That's why we cut the horns, to prevent such.
Nick: We're looking for horns with points attached.
Grissom: Yeah. We need to see your other bulls.
Pete Banson: Curly's the only one I got.
CUT TO:
[EXT. LAS VEGAS RANCH - DAY -- CONTINUOUS]
(BILLY RATTISON walks past the corral and sees BRASS, NICK and GRISSOM standing next to his truck.)
Billy Rattison: What do you all want now?
Brass: We're waiting on you, actually. Mr. Rattison, we have reason to believe you were in town the month that Randy Traschel was m*rder.
Grissom: Could you tell us what used to be here?
(GRISSOM points to a hole in the hood of the truck.)
Billy Rattison: My belt buckles. Somebody stole it last year, like I said.
Grissom: You do get a lot of stuff stolen, don't you? Mind if we look around your truck?
Billy Rattison: Sure.
(GRISSOM opens the lid to the tool box and starts looking through it's contents.)
Brass: (to BILLY RATTISON) Don't get any tobacco juice on my shoe.
(GRISSOM digs and pulls things out. Then he sees it. Under the saddle, he finds a mounted set of bull horns with its points in tact. He takes it out of the box and holds it for NICK to see.)
Grissom: Got a tape measure?
(NICK measures it from point to point.)
Nick: Eighteen inches.
Grissom: Phenolphthalein.
(NICK tests the horn tips. The swab turns pink.)
Nick: Positive for blood.
Grissom: Looks like the only thing stolen around here was Randy Traschel's life.
(GRISSOM looks behind NICK at BILLY RATTISON.)
Grissom: Mr. Rattison, want to explain this?
(Quick flashback to: Riding practice at the corral at night. BILLY'S on the bronco. He falls on the ground. When he looks up, he sees RANDY TRASCHEL smiling on the side.)
Billy Rattison: (angry and humiliated) What you laughing at, huh? You want to come over here and try it?
(RANDY loses his smile. BILLY RATTISON walks up to RANDY.)
(Cut to: BILLY ties RANDY'S hand to the bronco saddle. When he's done, he steps back and laughs.)
Randy Traschel: No. No.! I didn't mean it! No!
(The bronco is let loose. After a moment of hanging on, RANDY falls to the ground, injuring his shoulder. BILLY and the other guys stand on the side and laugh. RANDY gets up clutching his shoulder. He's in pain.)
(Cut to: BILLY walking away and RANDY running to catch up with him.)
Randy Traschel: Wait, Billy! Wait!
(BILLY turns around, grabs RANDY and throws him toward his truck. RANDY hits the bull horns which hang from the hood like an ornament.)
(BILLY stops at what he's done.)
(Cut to: BILLY putting RANDY'S body in the tool box and trying to close the lid. It won't close, so BILLY sticks his foot inside to push down RANDY'S body so that the lid can close. The spur breaks off.)
(End of flashback. Resume to present.)
(GRISSOM walks past BILLY RATTISON. He turns around and leans toward him over his shoulder. BILLY doesn't turn around.)
Grissom: By the way, the definition of the word "ret*rd" is "to hinder" or "to hold someone back." I think your life is about to become 'ret*rd'.
(GRISSOM walks away.)
CUT TO:
[INT. POLICE DEPARTMENT -- OBSERVATION ROOM - DAY]
(CATHERINE and SARA are in the observation room watching DET. SULIK begin to question DOUGLAS SAMPSON.)
Det. Sulik: Okay, one more time, for the record: You have never had sexual intercourse with Susan Hodap?
Douglas Sampson: I told you, I've never even met her.
Det. Sulik: I know, but I got to ask. You've never had sex with her?
Douglas Sampson: Not ever.
(CATHERINE smiles. SARA nods her head. They both leave the observation room.)
CUT TO:
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM -- CONTINUOUS
(The door opens. CATHERINE and SARA walk in.)
Catherine: You still have those chills, Mr. Sampson? Feeling hot, achy? Back of your throat scratchy?
Douglas Sampson: Yeah, it is.
Catherine: Original flu happens at the onset of HIV. Seroconversion. Usually presents two to six weeks after the exchange of fluids.
Douglas Sampson: Exchange of fluids?
Catherine: That temperature is your body working up a resistance to the virus.
Douglas Sampson: HIV? Me? Now, come on. You just took my blood a few days ago.
Catherine: A private lab can run a virus test within a day. CDC doesn't broadcast that. Tests are very expensive.
Sara: We dipped into the budget ... just for you.
Douglas Sampson: You're playing me. I don't have HIV.
Sara: Susan Hodap had it. The exact same strain that you have.
Catherine: We had that lab do what's called a phylogenetic analysis of your HIV's DNA and Susan's.
(CATHERINE puts the results on the table in front of DOUGLAS SAMPSON. He looks down at it.)
Sara: As you can see, the genes are identical. Which means Susan gave it directly to you.
Douglas Sampson: But we never had sex.
Catherine: You did s*ab her, though. And at that moment
(Quick flashback to DOUGLAS SAMPSON in the room after he s*ab SUSAN HODAP. Blood splatters on him. Camera zooms in as more blood continues to splatter on DOUGLAS SAMPSON'S face and into his eyes.)
Catherine: (V.O.) ... her arterial blood h*t your eyes entering your body through the conjunctival membrane.
(DOUGLAS SAMPSON raises his hand holding the Kn*fe and wiping the blood from his eyes. End of quick flashback. Resume to present.)
Sara: Non-sexual transmission is extremely difficult but obviously it's possible.
(Quick flashback to: Camera close up of the blood on DOUGLAS SAMPSON'S face.)
Sara: (V.O.) Susan's blood was absorbed into your bloodstream.
(Quick CGI POV to: Camera zooms in to the eye and to SUSAN HODAP'S blood on DOUGLAS SAMPSON'S eye, near and around the blood vessels.)
(End of CGI POV. End of flashback. Resume to present.)
(DOUGLAS SAMPSON stares at the womeen. He doesn't say anything.
Catherine: Where the new HIV cells immediately started attaching to your healthy white blood cells. Gets inside one, replicates about 2,000 times. Disables the host cell, pinches back out, infecting more good cells ... lowering your immune system until your body loses its ability to fight off even the simplest inv*de.
Sara: Of course, the strains will have changed by then and you and Susan Hodap will have a different strain of HIV. The sooner you see a doctor, the better your chances for longevity.
Catherine: But for now, we got you.
(DOUGLAS SAMPSON says nothing. He's completely surprised by what they're saying.)
Catherine: You k*lled her.
(DOUGLAS SAMPSON looks over at SARA.)
Sara: I guess she k*lled you back.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x08 - Snuff"} | foreverdreaming |
COLD OPEN:
[EXT. (VARIOUS) LAS VEGAS CITY (STOCK) - NIGHT]
CUT TO:
[EXT. ROADWAY -- NIGHT]
(A long taxi travels on the road.)
(Quick flash of the MULLERS TAXICAB DRIVER'S PERMIT for Rajeeb Khandelwahl.)
(There is a beautiful woman sitting in the back of the cab. The driver looks in the rear view mirror at the woman. He turns the radio off.)
Woman: The last time I was out here, this was all desert.
(She looks out the window and sees at the approaching gas station, a group of men with their bikes.)
Rajeeb Khandelwahl (driver): One day, I'm looking at cactus; the next day a mini mall. What brings you all the way out here?
Woman: Work.
(She sees a young boy stagger out onto the street.)
Woman: Stop!
(The taxi cab driver tries to stop, but runs into the boy. The tires squeal. The men at the gas station look up.)
Rajeeb Khandelwahl (driver): Miss, you okay? Stay here.
(RAJEEB KHANDELWAHL gets out of his cab to see what happened. The young boy is under his tires, his insides spilled out into the road. The men at the gas station watch as RAJEEB KHANDELWAHL gets back into his cab.)
Graham Cooper: Hey!
(The group of bike riders rush over to the cab, open the driver's door and pull the driver out. The woman in the back seat is stunned by what she's seeing.)
(The men continue to shout as they b*at the driver up.)
Bike Rider: Where do you think you're going? Bike Rider: Get out of there!
(They push him to the ground and continue to b*at him up until he falls back onto the road, unconscious.)
CUT TO:
[EXT. ROADWAY -- NIGHT]
(GRISSOM walks up toward the scene. BRASS meets him halfway.)
Brass: Where's your posse?
Grissom: I have no idea. I was actually on a date.
Brass: Hmm?
(DAVID PHILLIPS is kneeling next to the body with a clipboard.)
Grissom: My god, what am I looking at?
Brass: Taxi h*t a kid crossing the boulevard. The crowd over there saw the driver Rajeeb Khandelwahl, trying to get away. So, they pull him out of the front seat of the cab and they b*at him up. I mean, they ... they b*at him up bad. He's on his way to Desert Palm.
Grissom: His insides are on the outside. Did you move this body, David?
David Phillips: No, sir.
Brass: Auto detail hoisted the cab off the kid.
David Phillips: Yeah, but supervised. No one's touched him.
Grissom: Have you ever seen anything like this?
Brass: What do you mean?
Grissom: Well, how many h*t-and-runs have you pulled?
Brass: Too many to count.
Grissom: How many times have you seen the victim's viscera exposed?
Brass: (thinks about it) First time.
Grissom: There's a first time for everything.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. CRIME SCENE -- ROADWAY]
(DAVID PHILLIPS kneels over the body. GRISSOM sits on his kit and takes picture of the little boy. BRASS walks over to them.)
David Phillips: My high school science teacher used to say that your small and large intestines could stretch across the Brooklyn Bridge.
Grissom: But in reality?
David Phillips: Only 25 feet combined.
Grissom: Fiction is often more compelling.BRASS: We got the eyewitnesses lined up, ready to go.
Grissom: Testimonials, Jim? I don't consider that evidence.
Brass: But easier to clean up.
(GRISSOM hands DAVID a bag. He stands up and joins BRASS. They make their way to the WOMAN who was riding in the taxi cab.)
Grissom: Keep them all together, David.
David Phillips: I'll tuck the viscera in the bio-hazard bag.
Brass: Good plan.
(DAVID starts to pick up the insides and put them in the bag.)
CUT TO:
[EXT. ROADWAY - NIGHT -- CONTINUOUS]
(GRISSOM and BRASS question the WOMAN.)
Woman: I picked up the taxi at McCarran. I'm in town on business staying with my cousin who's a few blocks away.
Brass: Did you see the pedestrian?WOMAN: Crossing the street. I don't think he saw the cab.
Brass: Did the cabbie see him?
Woman: No, he was looking at me.
(Quick flashback to: RAJEEB KHANDELWAHL looking in the rear view mirror at the WOMAN in the back seat.)
Rajeeb Khandelwahl (driver): What brings you all the way out here?
(End of flashback. Resume to present.)
Woman: I think I yelled, "stop," but it was too late.
Brass: And that's when Rajeeb, the taxi driver tried to leave, to drive away?
Woman: No, no, no, no. He got out of the cab to see what happened and ... then he freaked and he got back in and he reached for his radio. That's when the guys att*cked him.
Brass: His radio? He wasn't fleeing the scene?
Woman: No, he was calling for help.
(GRISSOM looks into the front seat of the cab and sees the handheld radio out on the passenger seat.)
Brass: Oh. Okay, what can you tell me about the men who att*cked him?
Woman: You always think you'll be a great witness but ...
(Quick flashback to: The group of men converging on the taxi cab. All yelling and shouting. End of flashback. Resume to present.)
Woman: There were so many of them and it happened so fast.
(She shakes her head.)
Woman: He was just begging for his life.
(GRISSOM looks over at the bike riders laughing at the gas station.)
Woman: I couldn't see their faces but I know it was them; all of them. They were the only ones around.
CUT TO:
[EXT. ROADSIDE GAS STATION - NIGHT -- CONTINUOUS]
(BRASS questions the MOB MEMBERS at the gas station near the accident site.)
Joey Gillman: We're heroes, man.
Barry Lawrence: They have no respect for our laws.
Brass: Who?
Graham Cooper: The damn cabbie!
Brass: Why, because he's not from Vegas?
Claude Allen: No, because he's not from here, this country.
Brass: Oh, and you know that because you saw his birth certificate?
Graham Cooper: We didn't exactly need to see it.
Brass: Tell me what you did see.
Graham Cooper: He h*t the boy.
(Quick flashback to: The taxi cab hitting the boy. The boy hits the taxi cab hood, then falls off in front of the cab and onto the road. End of flashback. Resume to present.)
Joey Gillman: Then he hits his brakes, and I figured he's going to stop and do the right thing.
Claude Allen: Instead, he jumps back into his cab.
Barry Lawrence: Hey! If it weren't for us, he'd have gotten away.
Graham Cooper: Citizen's arrest, yo!
Bill Kendal: People are going to want our autograph.
Grissom: I don't want your autograph, but I would like a photo and a bit of your DNA.
Brass: So line up.
Bike Rider (unknown): What?!
Brass: Look, the guy that you "arrested" is in critical condition. That makes you all suspects in a battery ...
Graham Cooper: Figures. We do something good, you guys try to turn around and pin it on us.
Joey Gillman: Yeah, if we were wearing badges you'd be throwing us a ticker tape parade.
Brass: If you're wearing badges, I'm playing left-wing in the NHL.
Claude Allen: I know my rights. I don't have to give you squat.BRASS: Oh yeah, you're the lawyer. Let me tell you how this goes down if you don't cooperate. You all get a free ride in the cruiser down to the station where I hold you there until the warrants clear. So what's it going to be? It's your choice. Line up ... single file.
(GRISSOM steps up and looks at CLAUDE ALLEN.)
Grissom: Say, "cheese."
(He takes the picture. JOEY GILLMAN sighs. GRISSOM shows CLAUDE ALLEN the swab and takes a sample.)
Grissom: Open up, please. Thank you.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. HOSPITAL - RAJEEB'S ROOM -- NIGHT]
(GRISSOM is at the hospital talking with the NURSE.)
Nurse: He's critical. Ruptured spleen, collapsed lung, fractured ulna, possible intercranial bleeding. Doctors are still waiting on the labs.
Grissom: Do you have his clothes?
Nurse: His personals are bagged -- top shelf. They're ripped up pretty bad.
Grissom: That's good. That'll help.
Nurse: He said he k*lled a boy -- ran over him?
Grissom: Did he say anything else?
Nurse: No, that was it.
CUT TO:
[INT. CSI - DNA LAB]
(GREG puts his stuff on the table. GRISSOM is standing in the lab holding a bag of evidence.)
Grissom: Gene Rayburn.
Greg: What?
Grissom: Point of reference.
Greg: Uh ... Match Game ... Nipsey Russell, Fannie Flagg game show network. Look, I don't have time for your humor. Ecklie's got a multiple, Warrick tells me his home invasion is my top priority and I'm still backed up on Catherine's no-suspect r*pe. One servant, many masters. You know what I'm saying?
Grissom: Greg, this is your DNA lab. You are the master. We serve you.
Greg: Well, your stuff just moved to the top of the pile.
(GRISSOM smiles.)
Greg: What do you got?
Grissom: Individual DNA from a mob att*ck on a cabbie ... and the cabbie's clothes.
(GRISSOM puts the evidence package on the table.)
Greg: "Get ready to match the stars."
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(GRISSOM walks into the room.)
Grissom: Okay, Doc, tell me something I don't know.
Robbins: Okay. In fourth grade, I dropped out of karate class because a kid half my size made me cry.
(ROBBINS smiles.)
Grissom: About the body.
Robbins: No pedestrian fracture. Almost without exception, when a pedestrian's h*t by a car, there's certain expected wounds in his lower extremities most significantly the pedestrian fracture.
(Quick CGI POV to: The side view of a car hitting a person and the x-ray view of the impact where the bone breaks. End of CGI POV. Resume to present.)
Robbins: Tip of the triangle always points in the direction the car was moving. His tibia's intact.
(Quick CGI POV to: The camera moves down to the body's leg, through the skin, down to the bone and across the length of the bone to show that it's in tact.)
Robbins: (V.O.) In fact, there's no bruising to the lower extremities.
(End of CGI POV. Resume to present.)
Grissom: So, no fractures, no bruising. Cause of death?
(Quick camera close up of the boy's chest to show bruising.)
Robbins: Chest was crushed. Multiple rib fractures and hence the white bucket you and David filled with his intestines. They literally popped out.
Grissom: So he wasn't h*t by the taxi; he was run over?
(Quick flashback to: The taxi cab literally runs over the boy. The body goes under the car's wheels. The taxi's tires screech. End of flashback. Resume to present.)
Robbins: Well, he would've died anyway. (He pulls the sheet aside to show an abdomen wound.) He was s*ab. Clean incised wound to the abdomen. Five inches deep.
(Quick CGI POV to: ROBBINS mimics plunging a Kn*fe into the wound. The camera shows a black gloved hand plunging a Kn*fe into the skin. End of CGI POV. Resume to present.)
Grissom: So how much time elapsed between when he was s*ab and when he encountered the taxi?
Robbins: I can't give you an exact time frame except to say it wasn't immediate ... and before you ask, we don't have an ID, but missing persons called. A woman called and said her son didn't come home last night. She's on her way in.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. CRIME SCENE -- DAY]
(At the cordoned off crime scene, a Yukon drives up. SARA gets out of the car.)
Sara: You know you pulled me away from a forensic anthropology seminar, right? It's required. It's part of the continuing education program.
Grissom: Well, I'm sorry, but everyone seems to have something to do today. I have a teenager who was run over by a taxi. He wasn't h*t by it; that's not what k*lled him. He was s*ab, fatally. For now, I have no ID, no suspects and no primary crime scene. I need you.
(SARA smiles.)
Sara: How can I help?
(GRISSOM lifts the crime scene tape and holds out a stack of evidence markers. SARA takes the markers and enters the crime scene.)
(They each go off in a direction and start looking for evidence. SARA finds a blood stain on the ground and places evidence marker #1 next to it.)
(GRISSOM kneels down next to his kit.)
(She walks several steps away in the direction of the spatter and finds another blood stain on the sidewalk and outside the crime scene taped off area. She places evidence marker #2 next to it.)
Sara: Hey, Grissom?
(GRISSOM looks up at SARA. He stands up and walks over toward her.)
Sara: The directionality of this drop is facing the boulevard. I think the primary crime scene is ... this way.
(GRISSOM takes a picture of the blood drop.)
(Camera POV of: Blood Drop #2; Marker Note reads: S.S. #2 / 12-02-02. With
"N" and an up arrow. Camera info reads: 125 f15p [2].)
(GRISSOM looks back at the scene. SARA takes a couple of steps onto the sidewalk and finds another blood drop. She places evidence marker #3 next to it.)
(SARA stands up and looks at GRISSOM.)
Sara: Blood trail.
Grissom: Want to go for a walk?
(SARA smiles.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. CRIME SCENE -- SIDEWALK -- DAY]
(Scene opens on a close up of evidence marker #3. Camera moves up and shows evidence markers #4, #5, #6, #7 and #8 already on the ground. Some distance away, SARA puts evidence marker #9 down on the sidewalk. GRISSOM hands her the note card and takes a picture of the blood drop.)
(Camera POV of: Blood Drop #9; Marker Note reads: S.S. #9 / 12-02-02. With
"N" and an up arrow. Camera info reads: 125 f16p [6].)
(SARA removes the card and they continue down the sidewalk.)
FAST FOWARD TO:
[EXT. CRIME SCENE -- SIDEWALK - DAY -- CONTINUOUS]
(They find another blood drop and place evidence marker #18 next to it.)
(GRISSOM takes a picture of it.)
FAST FORWARD TO:
[EXT. CRIME SCENE -- SIDEWALK - DAY -- CONTINUOUS]
(They find another blood drop and place evidence marker #31 next to it.)
(SARA marks the note card and places it next to the blood drop. GRISSOM snaps a picture of it.)
(It's getting later in the day. Thunder rolls overhead. They pick up their things and continue down the sidewalk.)
FAST FORWARD TO:
[EXT. CRIME SCENE -- SIDEWALK -- DAY]
(GRISSOM snaps a picture.)
(Cut to: SARA puts down evidence marker #49 next to the blood drop. GRISSOM snaps a picture. SARA picks up her things and they continue down the sidewalk.)
FAST FORWARD TO:
[EXT. CRIME SCENE -- SIDEWALK -- DAY]
(SARA puts down evidence marker #54 next to the blood drop near the edge of the sidewalk. GRISSOM snaps a picture.)
(SARA puts down evidence marker #55 next to the blood drop at the edge of the sidewalk.)
Sara: Blood leads into the grass. Trail's obscured.
(GRISSOM looks around.)
Grissom: Okay. So, where do we pick up the trail?
(SARA looks around at the playground equipment.)
Sara: Well, vic's in his teens ... probably wasn't on the playground. My money's on the basketball court.
(GRISSOM looks at SARA and approves. They head for the basketball court.)
(They reach the basketball court and start looking on the ground for evidence. GRISSOM looks around the court.)
Grissom: He crossed Lake Mead Boulevard at 8:15 and it gets dark at 5:00.
Sara: He was here after dark.
Grissom: And I don't see any lights.
(SARA sees something.)
Sara: Droplets and castoff. This is our primary crime scene.
(GRISSOM looks around.)
Grissom: So, maybe the k*ller tossed the Kn*fe. It's a big dump site.
Sara: Yeah. I'll, uh, order up some scent dogs ... get some uniforms.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS opens the cabinet and pulls out the table with the body on it. He lifts up the sheet. JAN BRANSON looks down at her son and gasps.)
Jan Branson: That's him. That's my boy.
Robbins: I'm so sorry.
(ROBBINS puts the sheet back.)
Jan Branson: How did something like this happen? He's only 14 years old.
Robbins: Mrs. Branson, I'm afraid you'll have to talk with the detectives.
CUT TO:
[INT. CSI -- LAB]
(SARA is sitting at the table with an evidence bag open in front of her. WARRICK walks out of the cage.)
Warrick: Hey, Sara.
Sara: Hey.
Warrick: You working that case where some mob b*at up an Indian cab driver for hitting a kid?
Sara: Cabbie didn't actually h*t the kid. He was in the wrong place at the wrong time.
Warrick: You think it was racially motivated?
Sara: Yeah, I do. White mob, white kid, dark-skinned cabbie -- I don't like the math.
Warrick: Yeah. We got to wait for the science, don't we?
Sara: I'm trying.
Warrick: That's the job. Good luck.
(WARRICK leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(An OFFICER walks by BRASS' door.)
Joe: Captain, there's a Mrs. Branson here to see you.
Brass: Oh good. Send her in, Joe. Thanks.
(BRASS stands up as JAN BRANSON walks into the office.)
Brass: Mrs. Branson, thank you for coming in ...
(They shake hands.)
Jan Branson: Have you arrested that taxi driver?
Brass: He's in intensive care.
Jan Branson: (yelling) How did he not see my son? That's a well-lit intersection. My son is five foot six!
Brass: Please, Mrs. Branson ... please, sit down.
(JAN BRANSON sits down.)
Brass: Um ...
(He clears his throat.)
Brass: Your son was s*ab in Haskell Park and you live on Loring Avenue. My best guess is that he was on his way home when the accident occurred.
Jan Branson: No, I don't understand.
Brass: The taxi didn't k*ll your son, but someone did.
(JAN BRANSON is shocked at this information.)
Brass: Did Todd have any problems that you're aware of? Did he have any problems at school?
Jan Branson: No, no, nothing like that. He's a ... he's a great kid. He's-he's athletic. He's popular. He's, uh, he's a good student. We-we moved here from Portland nine months ago. He fit right in.
Brass: Did you know he was in the park after sundown?
Jan Branson: No. I thought he was at a friend's for dinner. He was supposed to call me, but you know teenagers.
Brass: (nods) Yeah, I do ... and they don't often confide in their parents, I know.
Jan Branson: Uh, I've been on the run from my ex-husband. He's thr*at to k*ll me and my boys. I just try and stay one step ahead of him.
Brass: When was the last time you saw him?
Jan Branson: In Portland. He showed up outside of Todd's school. The boys and I were on a bus that evening. You know, a couple days ago, the phone rang. I answered it. It was him. I don't know how he found us here ... but this weekend, the boys and I were going to disappear.
Brass: Why didn't you call the police?
(She looks at BRASS and doesn't say anything.)
Brass: Because you knew we couldn't protect you.
(She swallows and nods ever so slightly.)
CUT TO:
[EXT. PARK -- DAY]
(SARA takes out the boy's clothes and lets the dogs smell them. GRISSOM checks the area with a metal detector. The metal detector beeps and hums as GRISSOM finds something next to the tree.)
(SARA looks up. She approaches GRISSOM.)
Sara: What have you got?
Grissom: You got the gloves on.
(SARA pushes the leaves aside and finds the w*apon.)
Sara: Looking for a Kn*fe; uncover a g*n.
Grissom: What is happening to our parks?
(SARA looks at GRISSOM.)
(Off in the distance, the dogs start barking at something in the bushes. SARA puts the g*n down and goes to check on the dogs. GRISSOM calls an officer to aid him.)
Grissom: Officer ...
(The dogs definitely found something in the bushes. SARA and GRISSOM go to check it out.)
Sara: Back the dogs off, please. (SARA kneels down.) d*ad body found twenty yards from where our vic was knifed. You think they're related?
Grissom: Well they're related by geography ... but for now it's just a d*ad guy in the park.
(GRISSOM looks a the body, SARA turns to look at GRISSOM.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(SARA empties the evidence bag on the table. Inside is the victim's jacket. She tests the jacket for GSR.)
Sara: Hey.
Catherine: Hey.
Sara: I thought you had a couple days off?
Catherine: I do, but I left these on my desk. (shows SARA the tubes of wrapping paper) I'm on my way to Circus Circus with five nine-year-olds. It's Lindsey's birthday. Got to wrap a Bridal Barbie.
Sara: What's a Bridal Barbie?
Catherine: Funny. Oh, blue ... g*n sh*t residue.
Sara: On our s*ab victim's jacket.
Catherine: So it means that he may have fired the revolver that you and Grissom found in the park?
(Quick CGI POV to: A revolver being sh*t and the residue flying backward and adhering to the jacket. End of CGI POV. Resume to present.)
Sara: Yeah. Too bad GSR testing can't tie the vic to a particular g*n.
Catherine: Right. Hmm ... but maybe Grissom can.
Sara: Grissom?
Catherine: Yeah, I just passed him in ballistics. He was meditating on your revolver. Didn't even look up.
Sara: (smiles) Excuse me.
(SARA stands up and leaves the lab.)
Catherine: Mm-hmm.
Sara: Have fun.
Catherine: Thanks.
(CATHERINE smiles.)
CUT TO:
[INT. CSI - BALLISTICS LAB -- CONTINUOUS]
(GRISSOM is looking through the scope when SARA walks in.)
Sara: You know, you could've waited for me.
(GRISSOM lifts his head and pushes away from the scope.)
Grissom: Take a look at this.
(SCOPE VIEW)
Sara: Looks like burnt skin.
Grissom: I think maybe someone palmed the cylinder gap.
(Quick CGI POV of: A hand over the barrel of the revolver as its being fired. End of CGI POV. Resume to present.)
Sara: Todd Branson had GSR on his jacket. If we could get his DNA off this revolver we could tie him to this.
Grissom: Burnt skin is useless for DNA.
Sara: Yeah, but, what about sweat? There's a 17% chance of DNA recovery from the sh**t's perspiration.
Grissom: 17%?
Sara: Yeah. New paper out of Australia. You haven't seen it? (reciting) 17% chance of DNA recovery from the grip of a g*n, 67% chance from a cigarette, 32% chance from the brim of a hat. Would you like a copy?
Grissom: I don't need one. I have you. (b*at) Swab the p*stol grip; get it to DNA.
(GRISSOM stands up and walks away. SARA sits there staring in the direction GRISSOM just left. She shakes her head.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(GRISSOM walks into the room. ROBBINS is working on the body found in the park.)
Grissom: Albert, did you notice if Todd Branson had any burn marks on his palms?
Robbins: No.
Grissom: What about this guy?
Robbins: Negative. What are you looking for?
Grissom: A specific injury.
Robbins: Well, I can't help you with burns but you'll want to check out this guy's right palm.
(GRISSOM lifts up the palm and finds a Kn*fe wound.)
Grissom: An incised wound. Well, that's a common injury sustained by Kn*fe-wielding K*llers.
(Quick flashback to: The hand carrying the Kn*fe s*ab a person. The hand opens to show the wound. End of flashback. Resume to present.)
Grissom: So assuming that this is the man who s*ab Todd Branson, what k*lled this guy?
Robbins: A b*llet. It's lodged in the left ventricle.
(ROBBINS peels back the outer skin to show the b*llet inside.)
Robbins: I was contemplating my method of extraction when you arrived.
Grissom: You reach in and pull it out.
Robbins: Not if it's only a jacket fragment.
Grissom: Maybe a frangible b*llet designed to fragment on impact?
Robbins: That would explain the mystery of the shattered femur. It's covered in copper dust.
(GRISSOM leans over and checks out the body's leg.)
(Quick CGI POV of: A b*llet approaches the femur and pierces through the clothes and the skin. The b*llet shatters when it hits the bone. End of CGI POV. Resume to present.)
Robbins: I'll remove the heart, peel back the myocardium and get you what's left of that b*llet.
(GRISSOM walks up to the x-rays.)
Grissom: Did he have a dislocated shoulder?
Robbins: Yeah, torn musculature, but no inflammatory response.
Grissom: It happened postmortem?
(The door opens and DAVID PHILLIPS sticks his head inside to report to ROBBINS.)
David Phillips: Excuse me, I'm headed over to the hospital. Taxi driver didn't make it.
(He leaves and the door closes behind him.)
Robbins: (sighs) Another one for my table.
Grissom: Emerson once said "The mob is man voluntarily descending to the nature of the beast." The beast is up for m*rder.
CUT TO:
[EXT. BRANSON RESIDENCE - DRIVEWAY -- DAY]
(ERIC BRANSON plays basketball in his driveway. BRASS walks up to him.)
Brass: Hey, buddy, how's it going?
(BRASS holds out his hands for the basketball. ERIC tosses it to him. BRASS catches it and holds it.)
Brass: I'm Detective Jim Brass from Las Vegas Police. Is your mother home?
Eric Branson: (shakes his head) No.
Brass: What's your name?
Eric Branson: Eric.
Brass: Sorry about your brother, Eric.
Eric Branson: Mom's out getting more boxes.
Brass: Yeah, she said that you were moving. Where are you going to? (he shrugs) You know, when I was a kid we moved around a lot. It's not easy. So you're going to be seeing your dad?
Eric Branson: My dad's d*ad. Died when I was two.
Brass: Hey, Eric, will you do me a favor? (BRASS hands the basketball back to ERIC.) When you see your mom ask her to give me a call, okay?
(BRASS gives ERIC his business card.)
Eric Branson: Okay.
Brass: Take care.
(BRASS leaves.)
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(GRISSOM walks into the lab. BOBBY DAWSON looks through the scope.)
Grissom: Is that the frangible?
Bobby Dawson: Yep. These were originally used in indoor sh**ting ranges where lead buildup's a problem. Copper's less toxic than lead. Take a look.
(BOBBY steps aside to let GRISSOM look.)
Bobby Dawson: On the left, b*llet from the vic's heart. On the right, b*llet test-fired from the revolver recovered at the scene.
Grissom: Oh, serendipity.
Bobby Dawson: Yep.
(SARA walks in.)
Sara: Hey.
Bobby Dawson: Hey. Just made a match to your revolver.
Sara: Nice. I ran the serial number through NCIC. It's registered to a Jonathan Raurk of San Jose, California.
(GRISSOM looks up from the scope.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(BRASS and GRISSOM question JAN BRANSON.)
Jan Branson: John's my ex. Is he in Las Vegas?
Brass: Well, we, uh ... we found a g*n registered to him in the park where your son was m*rder but when I spoke to your son Eric he told me that his father died years ago.
Jan Branson: That's what I told both my boys. I told them that John was k*lled in a car accident. It's not easy to lie to them like that but every time I move I have to make up some crazy story. I just want them to be able to sleep at night.
Grissom: Ms. Branson we also found a d*ad body in the park -- a white male in his mid-30s.
Jan Branson: You think it's John?
Grissom: We have no ID, but we have a photograph.
(GRISSOM hands the photograph to JAN BRANSON. She looks at it and recognizes it instantly.)
Jan Branson: No ... no, this ... this isn't John. This isn't my ex. This is Stewart. It's Stewart Bradley. He's my boyfriend.
CUT TO:
[INT. PARK -- EVENING]
(SARA walks around the park looking for evidence. She kneels down and finds some groves in the dirt. She follows the groves to the bushes.)
(She puts her flashlight down and takes some pictures. She follows the groves and takes more pictures. She looks at the bushes.)
CUT TO:
[INT. CSI -- LAB]
(Back at the lab, SARA pours over a large topview map of the park and surrounding site spread out on the table.)
(GRISSOM walks in carrying a file. He leans over the map next to SARA.)
Grissom: Where have you been?
Sara: I went back to the park. I kept thinking there must be some physical evidence connecting the s*ab to the sh**ting.
(Camera close up of the park map that shows the places where they found the Cast Off, The Body, The g*n and The Drag Marks.)
Grissom: Drag marks?
Sara: Leading from the basketball court to Stewart Bradley's body. We know Todd was bleeding but there were no blood drops around the drag marks.
Grissom: So you're thinking someone else was there? Now, the revolver was registered to the boy's biological father but they haven't seen each other in ten years.
Sara: Assuming Todd fired the g*n, how did he get ahold of it?
Grissom: Well, maybe dad gave it to him behind mom's back.
Sara: Or ... maybe Todd wasn't the sh**t.
Grissom: True. Presence of GSR only places Todd in the vicinity of the g*n.
Sara: And since there were no burn marks on Todd's palms, evidence is suggesting someone else fired that g*n.
Grissom: Which brings us back to dad.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS questions the Ex, JONATHAN RAURK.)
Brass: You know something, John, you don't scare me. According to your ex-wife, you're some kind of monster -- thr*at her life, setting her car on f*re in Boston breaking and entering in Chicago, showing up at your kid's school in Portland ... I don't know, I mean, I thought maybe you'd be like the guy in "Sleeping with the Enemy". You're more like Gumby, aren't you?
Jonathon Raurk: Look, if this is about my ex ... cop pulled me over outside Moapa. Jane lives in Vegas. I didn't violate any damn court order, all right?
Brass: You know where she lives.
Jonathon Raurk: Is that a crime?
Brass: Yesterday, your son Todd was m*rder and that is a crime.
(JOHN stops at the news. He's dazed for a moment.)
Brass: Hey! John, baby I'm not talking about the weather here, man. I'm talking about your son.
Jonathon Raurk: I haven't seen that kid since he was in his diapers.
[OBSERVATION ROOM]
Jonathon Raurk: Geez, I didn't k*ll him, if that's where you're going to.
Brass: Hey, what about Stewart Bradley? You know? Yesterday, he was m*rder, too. He was sh*t with your g*n.
[INTERVIEW ROOM]
Jonathon Raurk: Which one?
Brass: Revolver. Smith & Wesson.
Jonathon Raurk: No, I don't have a Smith & Wesson.
Brass: It's registered to you, John. Has your name on it.
Jonathon Raurk: That got stolen.
Brass: Oh, you file a police report? But I know, you're busy. You forgot. That's okay. You know what I think happened? Here's what I think. You called up Todd, you said, "Hey, Todd. Why don't you meet me down at Haskell Park? You know what? Why don't you bring mom's new boyfriend along?"
Jonathon Raurk: No, no. Come on, man, whoa, whoa, hey. You know what? Last night, I was at Taos, New Mexico, okay? I didn't cross over until ... it was the afternoon in Nevada. Check it out. Adobe Inn. Watched pay-per-view and I had a pizza, okay?
(JOHN tosses the receipt at BRASS. BRASS looks at it and sighs.)
(GRISSOM knocks on the interview room door and walks inside.)
Grissom: May I see your hands, please?
Brass: You better do what he says. He's in crime lab.
(JOHN holds out his hands. GRISSOM looks at them. He turns to BRASS.)
Grissom: Can you hold him?
Brass: He's got some unpaid speeding tickets. There's warrants that have been issued. Is three days good enough?
Grissom: For now.
(GRISSOM turns to leave the room.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY/LOUNGE]
(GRISSOM walks through the hallway. He walks straight into the lounge where WARRICK and SARA sit.)
Grissom: (to WARRICK) What do you weigh?
Warrick: Uh, that's between me and my trainer.
Grissom: Do I have to get a scale?
Warrick: A buck 95, give or take a doughnut.
(GRISSOM turns and looks at SARA. SARA responds without lifting her head from her file.)
Sara: Don't even ask. I'm not telling you.
Grissom: Warrick, would you lie down on the floor?
Warrick: I don't get paid enough to play d*ad.
Grissom: Please?
(WARRICK sighs. He gets off his chair and lies down on the floor.)
Grissom: Sara, grab Warrick's right arm. See if you can drag him across the room.
Sara: This does have something to do with the case, right?
Grissom: You don't trust me?
(SARA looks up at GRISSOM and sighs. She puts her file aside, stands and takes ahold of WARRICK'S arm. She starts dragging him across the lounge floor. GRISSOM watches, dissatisfied with the results.)
Warrick: (murmurs) You're such a drag.
(SARA laughs.)
(GRISSOM looks around and notices a couple of young women standing out in the hallway.)
Grissom: (to WARRICK) Stay there a minute.
(GRISSOM walks outside to the women. He approaches the smaller woman.)
Grissom: Excuse me. Hi. (she turns around) Judy, right? (she nods) Judy, would you like to be part of a little experiment?
Judy: (warily) I-I'm a secretary. Besides, I heard what you did to Greg's feet.
Grissom: You'll keep your shoes on, I promise.
(He takes her hand and leads her back into the Lounge.)
Warrick: Can I get up?
Grissom: No. Spin around. Judy, would you take Warrick by the right arm and try and drag him across the room?
Warrick: Hi, Judy.
Judy: Hi.
(JUDY takes WARRICK'S arm and tries to move him. She jerks hard on his arm to get the leverage to pull him a few inches. WARRICK grunts at the treatment.)
Warrick: Hey, I like it gentle, okay?
(JULY continues to try to move WARRICK. He grunts some more with her effort.)
Grissom: Thank you, Judy. You've been a big help.
Warrick: Thanks.
Grissom: (to JUDY) You can go back to the water cooler.
(JUDY leaves the lounge. WARRICK stands up.)
Warrick: You want to tell me what's going on here?
Grissom: Stewart Bradley had a dislocated shoulder postmortem. He's about the same weight as you. How does your shoulder feel?
Warrick: You saw her dragging me around. You know, I'm glad I can help. I, uh, I'm late for the chiropractor's. I'll send you the bill.
(WARRICK rushes out of the room.)
Sara: I get it. I'm bigger than Judy. In order to get momentum, she had to start and stop. Which could explain Stewart Bradley's postmortem dislocated shoulder.
Grissom: Especially if he was dragged by somebody with limited upper body strength.
Sara: Where does that get us?
Grissom: Well, maybe Jan Branson. She's about Judy's size.
Sara: Why would Jan Branson sh**t her boyfriend?
Grissom: He s*ab her son.
Sara: Motive?
Grissom: (thinks) I don't know. But mothers protect their children, don't they?
Sara: Okay ... okay, so ... she sends Todd home, not knowing the severity of his wound. She buries her boyfriend's body. She ditches the Kn*fe, which we still haven't found. She hides the revolver ...
Grissom: ... so perhaps the evidence is in Mrs. Branson's hands.
(SARA shrugs.)
CUT TO:
[EXT. BRANSON RESIDENCE - DRIVEWAY -- DAY]
(JAN BRANSON carries a bag to her already filled car. BRASS and GRISSOM walk up the sidewalk to her driveway.)
Brass: Mrs. Branson, you got a minute?
Jan Branson: Uh, Eric and I are leaving town.
Brass: Well, your Ex has been picked up on an unrelated matter. Even if he makes bail, you still got a day or two head start.
Jan Branson: Good.
Grissom: Ms. Branson, may I see your hands?
Jan Branson: Excuse me?
Grissom: Could be important. Palms up, please.
(JAN BRANSON holds out her palms. GRISSOM looks at her palms and doesn't see anything. GRISSOM looks over at BRASS. In the sideview mirror, BRASS sees ERIC BRANSON watching them. BRASS looks back at GRISSOM.)
(GRISSOM turns to talk with ERIC BRANSON.
Grissom: Hi, pal.
Eric Branson: Hi.
Brass: Hey, Eric. This is Mr. Grissom. We work together.
Grissom: May I see your hands, please?
(ERIC looks at his mom.)
Jan Branson: We have to get going.
Brass: As soon as Eric shows Mr. Grissom his hands you're on your way.
Grissom: Palms up.
(ERIC holds out his palms. On his left hand there's a burn mark.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and GRISSOM question ERIC. The Child Advocate, MS. KARPELL as well as JAN BRANSON is also there.)
Grissom: Eric ... I need to know how you b*rned your hand.
Brass: Look at Mr. Grissom, Eric. Not your mother, okay? Ms. Karpell.
Ms. Karpell: Eric, it's okay to answer the question.
Eric Branson: I b*rned it on an iron.
Brass: I think something a lot more dangerous than that b*rned your hand.
(GRISSOM takes out a photograph from the file in front of him. He shows it to ERIC.)
Grissom: We recovered a g*n ... in the park. Your burn indicates that your hand was over this gap when the g*n was fired.
(SARA enters the room.)
(Quick CGI POV of: The revolver being fired and a hand covering the barrel of the g*n. A person gasps in pain. End of CGI POV. Resume to present.)
Eric Branson: (swallows) I followed Todd to the park.
(Quick flashback to: TODD BRANSON meeting with STEWART BRADLEY in the park.)
Stewart Bradley: Todd, I got your e-mail. What's up?
Todd Branson: We're not moving again. I want you to tell mom you're passing on that promotion.
Stewart Bradley: You should discuss this with your mother.
Todd Branson: She'll do whatever you say.
Stewart Bradley: You don't understand.
Todd Branson: I am not leaving my friends 'cause of you!
Stewart Bradley: Todd, this has nothing to do with me.
(TODD pulls out a g*n and points it at STEWART BRADLEY. ERIC runs out and pushes the g*n away. His hand covers the g*n when it fires.)
Eric Branson: Todd, no!
(The g*n fires and hits STEWART BRADLEY in the knee. STEWART goes down on one knee and takes out his Kn*fe. He s*ab TODD in the abdomen and the g*n fires a second time.)
(STEWART BRADLEY falls to the ground d*ad. TODD gets up to his feet, clutching his injury.)
Todd Branson: Gotta get home.
(He drops the g*n and turns to leave.)
Todd Branson: You gotta hide the body.
(ERIC looks down at the body and starts to drag the body into the bushes.)
(End of flashback. Resume to present.)
Eric Branson: I was just looking out for my brother.
Sara: I swabbed the p*stol grip of the revolver. The DNA from the suspect's perspiration isn't a match to Todd's. But it is male. With eight markers in common and familial relationship.
Grissom: We found g*n residue on Todd's jacket. We assumed that Todd fired the g*n. But I think maybe he was standing next to you when you fired the g*n. You didn't go to the park to stop Todd, did you? He went to the park to stop you.
(Quick flashback to: STEWART BRADLEY walks up to ERIC in the park.)
Stewart Bradley: Eric, what's up?
(ERIC takes out the g*n and points it at STEWART. TODD shows up and tries to stop ERIC.)
Todd Branson: Whoa! Eric, Eric! Eric, don't be stupid.
Eric Branson: I'm not moving again! Not 'cause of him!
(TODD tries to take the g*n away from ERIC.)
Eric Branson: Todd! Let go!
(The g*n fires and hits STEWART BRADLEY in the knee. STEWART takes out a Kn*fe and s*ab TODD.)
(ERIC points the g*n at STEWART and fires a second time. This time, he burns his hand.)
Eric Branson: Go home!
(End of flashback. Return to present.)
Brass: Where'd you get the revolver, Eric?
Jan Branson: From me.
(ERIC looks at his mom.)
Brass: Ms. Karpell ...
Ms. Karpell: Eric, why don't we step out in the hall for a few minutes.
(MS. KARPELL and ERIC leave the room.)
Brass: So, the g*n was in your possession and you didn't say anything.
Jan Branson: I, um ... I hid it in a lock box. And, uh, when I got that call from John a couple of days ago I took it out and I put in my nightstand. I didn't even know it was missing until this morning. And then, I thought that John must've gotten in the house and taken it. I was so sure that he was the one who k*lled Stewart. I've spent the last ten years looking over my shoulder every day.
Brass: Your boyfriend was found carrying a Kn*fe the night he died. I spoke to some of his friends and associates, and no one ever remembers him carrying a Kn*fe.
Sara: Ms. Branson? You warned your boyfriend about your ex-husband, didn't you?
Jan Branson: He asked me what was wrong and I shouldn't have said anything. He panicked. He overreacted. He started carrying a Kn*fe. What's going to happen to Eric?
Brass: He'll be remanded to a juvenile detention center, awaiting trial.
Jan Branson: And then?
(In the hallway, ERIC is being escorted away by an OFFICER and MS. KARPELL.)
Brass: (V.O.) If he's convicted of a homicide he'll be sent to a state custodial facility until he's 21.
(Camera holds on JAN BRANSON. She puts her head down in her hands in the empty interview room.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(GRISSOM walks into the DNA lab where GREG waits.)
Grissom: Where we at, Greg?
Greg: I paged you, like, ten times.
Grissom: I was busy.
Greg: Well, so was I. First, I processed Mr. Khandelwahl's clothing. Then I compared the DNA I lifted from said clothing to the DNA from the dirty dozen.
(GREG indicates the board covered with a sheet.)
Grissom: All I see is a sheet.
Greg: But what I do is art. And now, I'm ready to unveil it. Welcome to the new and improved match game.
(GREG removes the sheet to show GRISSOM a board with the photos of the mob members and RAJEEB'S clothes. GREG matched the DNA found on the clothes to the mob members they match.)
Greg: Now, Graham Cooper grabbed Rajeeb's collar...
(Quick flashback to: RAJEEB is sitting in the cab when GRAHAM COOPER grabs him by the collar and drags him out of the cab. End of flashback. Resume to present.)
Greg: Claude Allen and Barry Lawrence used their fists ...
(Quick flashback to: The men punching RAJEEB out on the street outside the taxi. End of flashback. Resume to present.)
Greg: Joey Gillman, Bill Kendal and Rick Midgen got into it, too.
Grissom: Very nice presentation, Greg. What about the others? They all participated. They even bragged about it.
Greg: Well, only six of the twelve left behind their epithelials when their skin made contact with the vic's clothing. I've got no physical evidence to tie the others to the crime.
(GRISSOM looks at the board and shakes his head.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. GAS STATION -- NIGHT]
(GRISSOM stands alone at the gas station and looks over at the corner where everything happened.)
(In a haze, he visualizes as TODD BRANSON stumbles across the sidewalk, clutching his injury.)
(GRISSOM turns his head and visualizes the taxi cab as it travels down the road.)
(GRISSOM turns around and visualizes the g*ng of bike riders gathered and talking.)
(GRISSOM turns back to the corner and visualizes as TODD BRANSON stumbles and falls into the roadway.)
Woman: Stop!
(The taxi cab's tires screech as it runs over the boy.)
(GRISSOM turns around and visualizes the g*ng of bike riders lift their heads when they hear the accident.)
(RAJEEB stops the car and gets out to look at the damage.)
(The BIKE RIDERS perk up and take note of RAJEEB'S behavior. They watch as he rushes back into the cab and close the door. Thinking that he's fleeing, they rush to stop him.)
Graham Cooper: Hey!
(GRISSOM turns and visualizes the mob as they drag RAJEEB out of the cab and proceed to b*at him up there on the street.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]
Grissom: The mob mentality ... relieves individuals from having to distinguish between right and wrong.
Brass: Anonymity shields them from prosecution, though.
Grissom: Yeah, six of them, to be exact.
Brass: Hmmm ...
Grissom: Unfortunately, physical evidence is limited by human action.
Brass: Well, nothing's absolute, Gil ... even forensics.
Grissom: Yeah, well ... this is as far as we can take it. It's up to you guys.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
(BRASS questions GRAHAM COOPER with his LAWYER next to him. On the table are pictures of the twelve people who were there the night of the beating.)
Brass: The physical evidence confirms that you're the "hero" who pulled the driver out of the cab.
Graham Cooper: I'd do it again, too.
Cooper's Lawyer: Mr. Cooper, why don't we just hear what Captain Brass has to say.
Brass: You're looking at first degree m*rder.
Graham Cooper: What?!
Brass: Mr. Khandelwhal didn't make it.
(BRASS sighs. GRAHAM COOPER is stunned silent.)
Brass: ... and, for the record, he didn't h*t that boy. He wasn't trying to flee the scene. He was reaching for his radio trying to call for help. You know who the real hero of this is? Rajeeb Khandelwhal. The taxi driver. So ... what does that make you?
Cooper's Lawyer: D.A. willing to deal?
(BRASS sighs heavily and takes a seat.)
[OBSERVATION ROOM]
Brass: (over speaker): We want your buddies. I mean, either you talk or they'll talk. I mean, it doesn't matter. And the clock is ticking, so ...
(GRISSOM watches and nods his head.)
Lyric: everything ... everything in its right place...
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x09 - Blood Lust"} | foreverdreaming |
COLD OPEN:
[EXT. (VARIOUS) LAS VEGAS CITY (STOCK) - NIGHT]
CUT TO:
[EXT. SIDEWALK -- NIGHT]
(A couple of roller bladers play on the sidewalk.)
(Camera close up of the roller blades of the first person as he jumps on the metal rail and rides it from one end to the other. He jumps off, excited.)
Blader 1: All the way across! Did you see that! Dude! Dude! Come on, bust it, bro.
Blader 2: Relax man! I'm going!
Blader 1: You've got it. Don't puss out on me!
(The second blader takes a running leap and tries the same trick. He jumps off excited when he's done.)
Blader 1: Oh!
Blader 2: Oh! (raises his hands in triumph) Sick yeah!
Blader 1: Yeah, I thought for sure you were going to eat it, though.
Blader 2: No, way, man. I had that thing hooked up.
Blader 1: Oh you got lucky, man.
(The two roller bladers stop by the side of the building. From above, a body falls to the ground with a loud thud. SKATER 1 edges closer for a look.)
Blader 1: (looking down at the body) Ugh! Oh, my god!
CUT TO:
[EXT. BUILDING -- NIGHT]
(Camera opens on the d*ad body. The Emergency Personnel are already there. NICK and WARRICK make their way toward BRASS.)
Nick: We b*at Grissom here? That's a first.
Warrick: Yeah? Maybe for you.
(BRASS leads them under the crime scene tape and toward the body.)
Brass: Hey, how you doing? The jumper's John Doe. No wallet no keys, no ID.
(NICK leans in to look at the body.)
Nick: Yeah, that's the least of this guy's problem.
(BRASS looks up at the building top.)
Brass: The building's gotta be what? Six stories high?
Warrick: Six stories, sixty stories. It's not how you fall, it's how you land.
Nick: You know, if you landed head first, there should be more blood.
Warrick: Yeah, and more brain matter.
(WARRICK'S phone beeps.)
Grissom: (over phone) He didn't jump.
(It beeps again.)
Grissom: Up here.
(They look up to see GRISSOM looking down at them from the top of the building.)
[TOP OF BUILDING]
(Where GRISSOM stands, there's a whole lot of blood mess on the rooftop.)
Grissom: It's never the fall that kills you.
HARD CUT TO END OF TEASER. ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. BUILDING - ROOF -- NIGHT]
(GRISSOM and NICK check out the building rooftop.)
Nick: Rain or not, I'm not finding any shoe prints.
Grissom: High velocity spatter usually implies a g*n.
Nick: No casings or b*ll*ts, either.
Grissom: (indicating the blood mess) Severe head trauma. It happened before the fall.
Nick: Sure looks like it. Hand to hand combat?
Grissom: (shakes his head) k*ll and dump.
(Quick visualization to: A person pushes the body off the roof of the building. The body falls down on the ground in front of WARRICK ... End of visualization. Resume to present.)
[DOWN ON THE GROUND]
(WARRICK snaps pictures of the body in front of him. He puts the camera aside and looks at the body. He finds something on the pants hem. Camera zooms in for a close up of white specks on the cloth. WARRICK takes a tape lift of it.)
(DAVID PHILLIPS walks up to WARRICK.
David Phillips: Hey.
Warrick: Hey. I think the prints are out. Bones burst right through the skin.
(DAVID checks out the victim's hand.)
David Phillips: Compound fracture of the long bones including the phalanges. Extensive laceration.
Warrick: What about dental?
(DAVID checks out the victim's teeth.)
David Phillips: Yeah. There might be enough to work with.
Warrick: You think? Hey, wait a minute. Look. You might have another option. Check out that artwork.
David Phillips: Tattoo.
Warrick: You think you can stretch that out?
David Phillips: Yeah, no problem.
(WARRICK takes a picture of the tattoo.)
CUT TO:
[EXT. PARKING LOT -- NIGHT]
(O'RILEY and CATHERINE walk to the crime scene.)
O'Riley: Wallet was with the vic. Money, cards, I.D.'S. Name's Roger Edmonds. Car's his, too.
(CATHERINE puts her kit down and they both kneel to look at the body.
Catherine: Single g*n wound to the chest, through and through. Entry wound is massive.
(CATHERINE takes a picture of the wound.)
Catherine: Unburned g*n. He was sh*t at close range.
(Camera close up of the wound to show the g*n. CATHERINE stands up to look at the car.)
Catherine: Car door ... is closed ... but not latched. Vic was in a hurry?
O'Riley: To get in or get out?
Catherine: Good question. I don't see any b*llet holes.
(They walk around the car where CATHERINE finds something on the front license plate.)
Catherine: What's this? Ah, blood and hair. Maybe the vic got a piece of the perp.
O'Riley: Waitress phoned it in.
CUT TO:
[INT. RESTAURANT -- NIGHT]
(CATHERINE and O'RILEY question the WAITRESS.)
Waitress: Look, I got to get out of here, okay? My kid's with a sitter and it's not like this gig covers day care.
Catherine: Yeah, I know what that's like. I got a kid at home myself.
Waitress: (retorts) So what, now we're, like, related?
Catherine: Ah, you know what, get it off your chest. It sucks. You're living for everybody but yourself. But you know what? You're still breathing.
O'Riley: So?
Waitress: So, I'm out here busing tables, and I hear voices.
(Quick flashback to: The WAITRESS looks out the window and sees two men arguing.)
Waitress: (V.O.) It's nothing new around here.
(The WAITRESS doesn't think anything of it. She turns away and continues to work. A few moments later, she's startled by a g*n. End of flashback. Resume to present.)
Waitress: And it's like a b*mb goes off. I mean ... I thought I was deaf.
O'Riley: Then what?
Waitress: And then one guy's on the ground and the other guy's taking off. And no, I didn't see his face.
Catherine: Did you see a license plate?
Waitress: No.
Catherine: Can you describe the vehicle?
Waitress: It was a pickup.
(Quick flashback to: The pickup truck drives away, tires screeching. End of flashback. Resume to present.)
Waitress: With one of those cover things on the back, you know, a ...
O'Riley: Camper top.
Waitress: I know what it's called. Look, Roger was a regular, okay? Draft beer. Tonight, he's drinking J.D. Straight up, six in an hour. If you ask me, he was looking for trouble.CUT TO:
[EXT. BUILDING ROOF -- NIGHT]
(NICK is on the rooftop looking around. He walks to GRISSOM and stops to stand right in front of him.)
Nick: I've been searching high and low for a blunt object. Crow bar, two-by-four, brick, something like that. Nothing. But I did find this crack pipe. I'll get it back to the lab see if I can get some prints off of it.
(As NICK speaks, GRISSOM starts to lose his hearing and for a moment, he can't hear what NICK'S saying at all.)
Nick: (sound muffled to no sound at all) This roof's not that accessible, you know? Besides, coming all the way up here to get high and low. But still, little extreme for this part of town don't you think?
(GRISSOM looks at NICK and takes his best guess.)
Grissom: Swab it, print it, bag it. See if you can find out who smoked it.
(GRISSOM picks up his stuff and leaves.)
Nick: Okay.
CUT TO:
[EXT. RESTAURANT - PARKING LOT -- NIGHT]
(CATHERINE walks along the parking lot looking for evidence. She kneels down and sees a b*llet casing.)
O'Riley: 50 caliber.
Catherine: Yeah, you need a cannon to f*re a hunk of lead that big.
O'Riley: Feel like hunting for a b*llet?
(CATHERINE bags it.)
Catherine: Anything that might have h*t it would have ripped right through. Thing's probably still moving.
CUT TO:
[INT. CSI -- LAB]
(WARRICK walks to the lab.)
Warrick: Leah! Good to have you back on nights.
Leah: I know. I hate days.
Warrick: I came to see you for your expert opinion.
Leah: sh**t.
Warrick: See what you can make of this.
(WARRICK takes out a photograph of the tattoo. LEAH looks at it with magnifying glass.)
Leah: Hmm. Use of only black and gray ink is known as fine-line. Not a
"scratcher" job.
Warrick: You recognize this?
Leah: Signed by the artist himself. Take a look.
Warrick: I-I?
Leah: In roman numerals, two. As in "tat-too." Premier skin artist in Vegas. Also a Ph.D. in psychology.
Warrick: He's a shrink?
Leah: Mm-hmm.
Warrick: So he gets in your head and under your skin, huh? You're a gem.
Leah: Thank you. I got a new one.
Warrick: Really?
Leah: Check it out.
(LEAH takes her coat off to show WARRICK a butterfly tattoo on her right shoulder.)
Warrick: Nice. The rose is still my favorite, though.
(WARRICK smiles at her and leaves. Camera holds on LEAH.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. TATTOO PARLOR -- NIGHT]
(NICK and WARRICK walk in to the establishment.)
Nick: Is the doctor in?
Doctor: Yes, I am.
SHORT TIME CUT TO:
(The DOCTOR looks at a photograph of the tattoo. NICK looks at something off of the shelf next to a stack of books on mythology. He looks at the DOCTOR and notices him watching. NICK puts the thing back on the shelf.)
Nick: Hmm.
Doctor: Skin and ink, ink and skin -- one makes the other one live. You see, that's strength ...
(The DOCTOR points to the "wings" in the tattoo. Camera focuses in for a close up of the "wings".)
Doctor: ... and that's superiority ...
(Camera flashes to the entire tattoo.)
Doctor: ... and that's ambition without limit. See, it's the chosen one.
(He holds up the photograph for them to look at. NICK nods.)
Nick: Hmm.
(The DOCTOR pushes his chair back to get a binder that a customer is looking at.)
Doctor: Can I borrow that? Excuse me. (He shows them the binder.) It's my book. All my victims. (He flips a page.) His name was Jimmy Maurer.
(He shows them the photo of a young, blonde man proudly showing off his new tattoo for the camera.)
(Quick flashback to: JIMMY MAURER looking at his tattoo. End of flashback. Resume to present.)
Nick: Was? What do you mean, that's not his name anymore?
Doctor: He died, didn't he? Well, his fate was inevitable. I simply gave it form.
Warrick: (looking at the photo) Strength, superiority, and ambition, huh? Not exactly the characteristics of an angel.
Doctor: No, it's not an angel. It's Greek mythology. Icarus. He flew too close to the sun on wings of feathers and wax.
Warrick: And when the wax melted, he plunged to his death.
Doctor: Hubris. Is that what brought Jimmy down, as well?
Nick: Hey, man, you tell us.
Doctor: How should I know?
CUT TO:
[INT. CSI - DNA LAB]
(CATHERINE walks into the lab.)
Catherine: Hey, Greggy, any luck on those blood and hair samples?
Greg: Don't insult me. Luck is for those without skill.
Catherine: Hmm, spoken like a man who's never h*t a jackpot.
Greg: Hmm, sad but true. (GREG grabs the results from the printer.) Slot plot on the blood and hair ... came back negative. Not human. They're animal.
(CATHERINE looks at the results.)
Catherine: Hmm.
(She turns and heads out of the lab.)
Greg: You can take that with you if you want.
Catherine: Thanks, I will.
CUT TO:
[INT. CSI - HALLWAY]
(NICK and WARRICK walk through the door to the hallway on their way to the Autopsy room.)
Nick: And I spoke with Brass. That squirrelly tattoo artist had a record.
Warrick: For what?
Nick: Drug conviction: Crack, cocaine.
Warrick: You got a print off of that pipe?
Nick: Lab's working on it.
(They enter the Autopsy Room.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- CONTINUOUS]
(DOC ROBBINS is already there.)
Nick: Hey, Doc.
Robbins: Hi, fellows. Cause of Death -- any takers?
Nick: (sighs) Blunt force trauma.
Warrick: You know if he's asking we're not going to figure it out.
Robbins: Nicely played. It's suffocation. After I cleaned him up, noticed bluish discolorations on his lips (Camera moves slowly down the victim's right side to show the bluish colored skin.) ... and on what's left of his nail beds.
(Camera zooms in to the victim's fingernails.)
Nick: Cyanosis? Body was starved for oxygen.
Warrick: Strangled, and then thrown off of the roof?
Robbins: Found no ligature marks on his neck no petechial hemorrhaging. Hence, no forcible suffocation.
Nick: Okay, not beaten to death, not strangled to death. But something bad went down on that roof. He left half his head up there, man
Robbins: uh, more like... uh ... 25%.
(Camera shows the victim's damaged head.)
Warrick: Suffocation means he died with his brain still in his head.
Nick: Yeah, but there's no evidence of anyone else at the scene. How do you suffocate alone on a rooftop?
Robbins: You don't.
Warrick: All right. High impact from a high altitude.
Robbins: Well, above 15,000 feet, hypoxia can occur in minutes.
Nick: (nods) He died in the sky.
Warrick: Yeah... and the rest is gravity.
(Quick flashback to: JIMMY MAURER falls from the sky at a high speed. He hits the side of the building rooftop and continues to fall to the ground below.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- HALLWAY]
(WARRICK and BRASS walk down the hallway. )
Brass: You know, your vic was an interesting guy. He had no home address. Just post office boxes in California, Utah, Vegas.
(BRASS hands WARRICK a file.)
Warrick: Drive a car?
Brass: Nissan Xterra. Cali tags and license, but he was all squared away.
Warrick: None of this explains how he dropped out of the sky.
Brass: Well, the, uh, possibilities are limited. Either he was pushed out of a plane or he stowed away in the landing gear, or, um ... skydiving gone bad.
Warrick: All right, none of that works. I talked to air traffic control and they had no aircraft operating in that area at that time.
(BRASS walks into his office. After a b*at, he walks back out.)
Brass: "La lluvia de peces."
Warrick: What?
Brass: The raining of fish. Occasionally, usually in the early spring in Yoro, Honduras, it rains, um ... (nods) ... sardines.
Warrick: (scoffs) Sardines? That's funny.
Brass: Really. I've seen it. (rambling) I mean, the scientific explanation is ... this sounds like a Grissom thing ... is that they get sucked out of the ocean by these waterspouts that are like, you know you know, tornadoes, and, uh, then ... look, the point is, Rick they got to come from somewhere. They gotta come from somewhere.
(BRASS walks back into his office. WARRICK gets ready to leave, when he stops.)
Warrick: What the hell were you doing in Honduras?
CUT TO:
[INT. CSI - BALLISTICS LAB]
(CATHERINE walks into the Ballistics Lab.)
Catherine: Bobby.
Bobby: Not a lot of g*n chambered for 50 AE. It kind of narrows the field. Got AMT auto mag five, LAR grizzly...
Catherine: Desert eagle?
Bobby: Yeah, how'd you know?
Catherine: Had O'Riley run the vic for registered firearms. It turns out that Roger Mitchel purchased a magnum research desert eagle mark-seven three weeks ago.
Bobby: I know the g*n. Idiot-big and shiny.
Catherine: Right, well, you know some men feel the need to compensate.
Bobby: Actually, a g*n like that intimidates, makes a statement.
Catherine: Yes, it does. Beer drinker switches to bourbon. He's got himself a brand-new g*n. He's just looking for a fight. Statement is, "bring it on."
(Quick flashback to: The two men fight. One man swings and misses. The other man runs to his car and gets out his g*n. He absently shuts the door.)
Catherine: (V.O.) So, full of liquid courage, he hauls out the big iron.
(End of flashback. Resume to present.)
Catherine: But a drunk is not hard to disarm.
(Quick flashback to: The two men struggle for the g*n. The g*n goes off. End of flashback. Resume to present.)
Bobby: (nods) Vic gets sh*t with his own w*apon.
Catherine: And the perp walks away with the m*rder w*apon.
CUT TO:
[INT. CSI -- LAB]
(NICK works on the computer)
Nick: According to trace, the yellow dust on Jimmy Maurer's leg was pinion pine pollen.
Warrick: Say that three times fast.
Nick: Pinion's a desert tree found in higher elevations 4,500 feet and up.
Warrick: 4,500 feet ... Mount Potosi.
Nick: Yeah, it fits the bill to a tee. Think our vic was there before he died.
Warrick: That's on the ground. Let's get on the net and figure out how he got into the air.
Nick: Yeah, look under what? Hot air balloons? There was nothing in the air. I mean, we can ...
(WARRICK types in "Flying" for a search.)
Nick: Flying? You're a genius.
Warrick: Of course.
(The computer spews out some results:
[Adventures Development Corp.
(702) 555-0189
Potosi Glide Center
702-555-0143
Guidway Travel
(702) 555-0152
Meadowlark Travel
(702) 555-0176 ]
Nick: (murmuring) Pinion pine pollen, pinion pine pollen, pinion pine pollen.
(WARRICK looks at NICK and shakes his head. NICK smiles.)
CUT TO:
[EXT. LAS VEGAS (STOCK) - DAY]
[EXT. -- DAY]
(CATHERINE and O'RILEY walk up to the house.)
O'Riley: That camper-top pickup was reported stolen. The R.O. is a Ned Bookman. Lives in Henderson.
Catherine: Well, that's three miles from here. That's walking distance.
O'Riley: Gets better. Ned Bookman and our vic live on the same street.
Catherine: Ooh, neighbors.
(They see the pickup truck and start examining it.)
O'Riley: Ignition block's intact. No sign of forced entry.
Catherine: Hey, do you smell something?
O'Riley: Like what?
Catherine: Something ... fruity.
O'Riley: I thought it was your perfume.
Catherine: No. I never wear perfume at work. It dulls the sense of smell.
(CATHERINE walks to the back of the truck. She opens the camper and looks in the back. They see pieces of tree and fruit.
Catherine: A-ha. (CATHERINE picks up a fruit and smells it. Mulberries.
(O'RILEY nods.)
CUT TO:
[INT. PHYSICIAN'S OFFICE]
(GRISSOM is in the doctor's office taking an auditory test.)
(As he hears the tones, he lifts up his finger. The lower tones are stronger, the higher tones are weaker.)
CUT TO:
[EXT. MOUNTAIN -- DAY]
(A photographer takes pictures of the paraglider taking off.)
Nick: It's amazing how simple it is. Air fills the canopy and you're off.
Warrick: Yeah, sounds like you want to go for a spin.
Nick: Well, it looks like it might be a rush.
Rick Weston (instructor): Paragliding's a two-piece system -- harness and canopy. Now, the canopies are fitted to you according to body weight so if anyone has dropped a few for vanity speak up now, please. No? Okay. You're going to want to look around. Take in the sights. Do it. Enjoy it. The best view in the world. But don't forget, we weren't born with wings. We had to make them. So respect the equipment, okay? All right, then. It's time to fly. Any last questions?
(NICK and WARRICK walk toward RICK WESTON just as he's finishing up class.)
Nick: Yeah.
(WARRICK raises his hand.)
SHORT TIME CUT TO:
[EXT. MOUNTAIN - DAY -- CONTINUOUS]
(NICK and WARRICK walk with the INSTRUCTOR, RICK WESTON.)
Rick Weston: Yeah, I know Jimmy. The guy's got an attitude. Cocky. Might be able to handle his own in the air but I don't care for his style.
Warrick: What's his style?
Rick Weston: Well, he likes to grandstand. You know, this sport's about soaring. He's about showing off.
Warrick: Looks like it should be about having fun.
Rick Weston: Yeah, it's about having fun. But also, there's etiquette. I mean, a guy breezes in from nowhere does things his own way ... ah, maybe the ... walk back'll humble him a little.
Nick: The walk back?
Rick Weston: When you fly you need thermals or upshots of air used for lift. I mean, on a good day, you can stay airborne for hours.
Nick: How high do these thermals get?
Rick Weston: Well, you can take them as fars they take you. One time I was above 18,000 feet, when I came down I was about 35 miles from where I launched.
Nick: Whoa. Yeah, the walk back.
Rick Weston: (nods toward the truck) That's Jimmy's truck, it's been there since yesterday. What kind of trouble is he in, anyway?
Nick: The worst kind. Thanks, Rick.
(He nods)
CUT TO:
[EXT. NED BOOKMAN'S GARAGE/DRIVEWAY -- DAY]
(NED'S garage door opens. He shows it to CATHERINE and O'RILEY.)
Ned Bookman: Ah, crap!
O'Riley: Like we said, your truck's not here. Why did you report it stolen?
Ned Bookman: Look, I got another car. I hardly ever use the pickup. I work nights. Anybody could've stolen it. You know, I mean ... it could happen.
(CATHERINE looks up and sees the container up in the garage door. She stretches up and grabs it.)
Catherine: Hmm. Hide-a-key. (She opens it.) Empty. Anybody else know about this?
Ned Bookman: (dryly) Apparently.
O'Riley: Now how well did you know the victim?
Ned Bookman: Roger lived across the street. Didn't make us pals, just neighbors.
(CATHERINE turns around to look at ROGER EDMONDS' house.)
Catherine: Looks like Roger's got a mulberry tree. So, Ned, we found mulberry branches in your pickup and there's a mulberry tree in your d*ad neighbor's yard. I'm starting to like you, Ned and not in a good way.
Ned Bookman: (nervously) Uh, F-F-Frank Kraft stole my truck. Uh ... I mean, I mean he-he "borrowed" it. He-he ... he borrows my stuff. I don't mind.
Catherine: Let me guess, um, Frank Craft lives in the blue house on the other side of the fence.
Ned Bookman: He and Roger, uh ... had problems. But you didn't hear it from me.
(CATHERINE tosses the hide-a-key container to NED. He doesn't catch it and bends to pick it up.)
Ned Bookman: (calls out) Please don't say anything.
(CATHERINE and O'RILEY walk down the driveway.)
CUT TO:
[EXT. MOUNTAIN - DAY]
(WARRICK and NICK search JIMMY MAURER'S car. WARRICK checks out the contents of the back.)
Warrick: Guy's got a surfboard for California and a snowboard for Utah.
(NICK opens the bag in the car.)
Nick: And a paragliding canopy for Nevada. Ripped to shreds. It's mine now. I'll swab it for epithelials.
Warrick: If his canopy was ripped to shreds what the hell was he flying with?
(WARRICK finds a note under the windshield wiper.)
Nick: What's that?
Warrick: "Guess you can fly with anything. Find me when you get back-- T."
Nick: What?
(WARRICK shows NICK the note. Under the note is a number: 555-1086.)
Nick: I'll check it out.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. T'S RESIDENCE -- DAY]
(NICK interviews T.)
T (photographer): Jimmy once told me, "Only a paraglider knows why the birds sing."
Nick: That sounds like a line.
T (photographer): It is. They all use it. Skydivers, hang gliders, pilots. On some girls it even works.
Nick: Did it work on you?
T (photographer): My art is an attempt to express what it feels like to fly and Jimmy was helping me do that.
(She shows NICK some photos of JIMMY MAURER.)
Nick: Jimmy's leg loops are unbuckled. How come?
T (photographer): He never buckled them. Jimmy enjoyed showing people up. It wasn't enough for him to be a great flyer. He needed everyone to see that he was fearless.
Nick: Well, I bet that didn't settle real well with Rick Weston. (NICK looks at a particular photo.) When did you take this one?
T (photographer): Yesterday.
Nick: And is that the canopy Jimmy normally flew with?
T (photographer): (shakes her head) Mm-mm.
Nick: Where'd he get it?
T (photographer): I don't know. He told me somebody messed with his rig but that wasn't going to keep him out of the air.
(NICK looks at another photo.)
Nick: And who's he butting heads with here?
T (photographer): Fred Dacks.
Nick: Who's that?
T (photographer): He's a good flyer. He's very competitive.
Nick: And by the looks of things he was pretty competitive with Jimmy.
T (photographer): Always.
(Quick flashback to: FRED DACKS walking by.)
Jimmy Maurer: You think that's going to give you the edge? I could fly with anything.
Fred Dacks: Then show me some air, punk.
(Cut to: T snaps photos.)
(End of flashback. Resume to present.)
Nick: Is that Fred there in the yellow and white canopy?
T (photographer): Jimmy followed his line. He went after him hard. Had to win at all costs.
Nick: Expensive price to pay.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. ROADWAY TO KRAFT'S HOUSE -- DAY]
(CATHERINE and O'RILEY make their way to FRANK KRAFT'S house.)
O'Riley: This guy Kraft's had a dozen complaints filed against him by residents on the block. Property line disputes, petty thefts, one as*ault.
Catherine: A regular Mister Rogers.
O'Riley: Yeah.
(CATHERINE looks at the groves in the front lawn.)
Catherine: Check this out.
O'Riley: Creative parking?
Catherine: Something.
(They walk on the lawn and see that the tracks go all the way up to the tree. They continue walking to the front door.)
CUT TO:
[EXT. KRAFT'S RESIDENCE - DAY - CONTINUOUS]
(CATHERINE knocks on the door. FRANK KRAFT opens the door.)
Frank Kraft: What do you want?
O'Riley: Frank Kraft?
Frank Kraft: So what?
O'Riley: Detective O'Riley. Vegas P.D. This is Catherine Willows from the crime lab. We'd like to have a few words with you.
Frank Kraft: Show me the badge.
(O'RILEY shows FRANK KRAFT his badge.)
Catherine: That's a hell of a bruise you've got on your chin, Mr. Kraft. How did you get that?
Frank Kraft: I sent away for it. You want one of your own?
(CATHERINE chuckles lightly.)
Catherine: Recoil's a bitch, isn't it?
(Quick flashback to: The g*n f*ring and FRANK grunting from the recoil. End of flashback. Resume to present.)
Catherine: Do you have a dog?
Frank Kraft: Do you have a warrant?
O'Riley: No, we're just talking here.
(FRANK steps back and closes the door.)
O'Riley: Nice fellow.
CUT TO:
[INT. SPORTING GOODS STORE -- DAY]
(WARRICK and NICK walk into the store.)
Warrick: According to the manager Fred Dacks has been working here for three years. Model employee, knows his gear. (to the SALESWOMAN) Hi.
Saleswoman: Hi.
Warrick: I'm looking for Fred Dacks.
Saleswoman: (points) He's right over there.
Warrick: Thanks.
Saleswoman: You're welcome.
(WARRICK and NICK walks on.)
Warrick: But guess who just got hired here a month ago?
Nick: Uh, Jimmy Maurer?
Warrick: Yeah. Small world, huh?
Nick: Yeah, I'll say.
Warrick: Fred Dacks?
Fred Dacks: Yeah, what can I do for you?
Warrick: I'm Warrick Brown, this is Nick Stokes. We're from the Las Vegas Crime Lab. We need to ask you a few questions about Jimmy Maurer.
Fred Dacks: Jimmy. The guy was a punk. Other than paragliding and working here we had nothing in common.
Warrick: Except maybe that tattoo right there.
Fred Dacks: Yeah, only 'cause that fool bit it off me. (Indicates his tattoo.)
This was a one-of-a-kind around here until he rolled in with his little birdman or whatever.
Warrick: You mean Icarus, right?
Fred Dacks: Yeah, whatever. It doesn't change a thing. The guy was a mouth. He threw shade all over the place.
Nick: Really?
Fred Dacks: Yeah.
Nick: Funny, that's what we heard about you.
Fred Dacks: Oh, is that right? From who? That artsy chick? He was sticking it to her. What did you think she was going to say? Plus, she was still pissed at me that I didn't take part in her little "masterpiece."
Nick: That really doesn't concern me, Mr. Dacks. What I want to know is, did you fly with Jimmy the day he died?
Fred Dacks: Hell, no. I wouldn't fly with him. Dude can't match my skills. Nothing but a menace.
Warrick: Try again. Your yellow canopy.
(WARRICK stops FRED DACKS by showing him the photograph of the two flying.)
Nick: We know that's you, Fred.
Fred Dacks: Oh, yeah. See? Tight line, leading edge to the wind. Carving it up. Must be me.
(Quick flashback to: FRED DACKS taking off and leaving JIMMY MAURER back on the ledge preparing to fly. Cut to: JIMMY MAURER taking off. End of flashback. Resume to present.)
Fred Dacks: Yeah, yeah, I remember now, all right? Last time I saw Jimmy, he was still on the ground tugging his junk.
Warrick: It wasn't his junk, it was someone else's.
Fred Dacks: Well, then, why are you talking to me, man? 'Cause the only rig I got is my own. (He tightens the sleeping bag string and puts it on the shelf.)
We done?
Warrick: Yeah, for now.
Fred Dacks: Uh-huh.
(FRED DACKS walks away. NICK picks the sleeping bag that FRED DACKS just handled and tells the SALESWOMAN.)
Nick: Uh, you know what? I'll take this one.
CUT TO:
[EXT. ROGER EDMONDS' HOUSE -- DAY]
(O'RILEY walks back toward CATHERINE from talking with NED.)
Catherine: Let me guess. Citizen Ned doesn't want to get involved?
O'Riley: Kraft scares the crap out of the guy.
Catherine: Well, I guess he doesn't want to be seen talking to us.
O'Riley: Boiled down, basically he said Kraft and the vic had a pretty bad history.
Catherine: Yeah, that's becoming really clear. Check this out. Kraft was stealing cable from Edmonds. Edmonds cuts the line. Hate thy neighbor. Did Ned mention anything about Kraft's dog?
O'Riley: Only that it was always chained up in the yard. And always barking.
(CATHERINE looks at the chain tied up around the tree.)
(Quick flashback to: A car driving up the lawn and toward the dog. End of flashback. Resume to present.)
Catherine: I'm starting to think the victim may have taken care of that.
O'Riley: What about the tire marks?
Catherine: Not enough detail -- we'd never get a match. We can't check Kraft's property out without a warrant. But ...
(CATHERINE picks up the shears.)
O'Riley: Oh, that won't get you a warrant, either.
(CATHERINE smiles at O'RILEY.)
Catherine: You like jigsaw puzzles?
(Cut to: CATHERINE up in the mulberry tree. She marks the branch with a red pen, then cuts it off. She hands it to O'RILEY down below. She marks another branch, then cuts it off.)
(O'RILEY bags the branches that CATHERINE hands to him. CATHERINE continues to mark and cut.)
CUT TO:
[INT. CSI - DNA LAB]
(NICK sits in the chair waiting for the test results. WARRICK stands getting in GREG'S way. GREG gets the results and hands it to NICK.)
Greg: Epithelials on the slashed canopy match the ones on the sleeping bag drawstring. Fred Dacks, both places. Thank you and good night.
(GREG goes back to work.)
Warrick: So Fred does a number on Jimmy's canopy to keep him from flying.
Nick: He's thr*at by the guy. It's to keep from getting shown up, you know.
Warrick: He needs to be the Top Dog, huh?
Nick: Hmm.
Warrick: Yeah, that sounds like you.
Nick: Who?
Warrick: You.
Greg: That sounds like both of you. Now please, can you take this somewhere else?
Warrick: (ignoring GREG) So ... Jimmy gets a new canopy. Flies, dies. Comes down unattached. We got no canopy, we got no harness.
Nick: If we want to find out what happened we need to find that rig.
Greg: Well, you're not going to find it here.
(GREG takes his stuff out of NICK'S hands and pushes him off of his chair.)
Nick: Hey, hey, hey, hey, hey.
Warrick: Have you taken your medication today?
Greg: See ya.
(NICK and WARRICK leave the office.)
CUT TO:
[INT. HALLWAY/PHYSICIAN'S OFFICE -- DAY]
(GRISSOM and the DOCTOR walk into the hallway.)
Grissom: 125 hertz?
Physician: Minus 30 decibels. It's a significant decline from your last visit.
Grissom: Yes, but most human speech is above 300 hertz. My midrange is still clear.
Physician: If it were clear all the time, you wouldn't be here. I think it's time to consider something like ... surgery. Think about it. Let me know.
(The DOCTOR walks away.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(WARRICK and NICK look at the topography on the computer.)
Warrick: He took off here and he came down here, right?
Nick: Yeah. Now, the canopy's designed to soar. Has to fall downwind of the body. And at 15,000 feet, wind was northeast at 22 miles per hour.
Warrick: Well, we get a little classical dynamics going on we can find this rig.
(NICK does the computer manipulations and they find a generic area where the rig could possibly be located at. WARRICK points to the monitor.)
Warrick: Search area is northeast Summerlin.
Nick: Yeah, let's put out a broadcast.
CUT TO:
[EXT. -- DAY]
(WARRICK and NICK walk toward the canopy and rig.)
Nick: Patrol unit spotted it on a routine traffic stop.
Warrick: Yeah, we lucked out.
(They reach the rig.)
Nick: What have we got?
Warrick: Well ...
(WARRICK kneels down and sees JIMMY MAURER'S name on the harness.)
Nick: Bingo.
Warrick: These leg loops, they're unbuckled. I guess there's no surprise there.
Nick: 15,000 feet up, no helmet the only thing holding you in are two shoulder harnesses and a chest strap.
Warrick: Not the kind of rush you're looking for?
Nick: Uh-uh.
(WARRICK and NICK look over the glider. WARRICK finds something.)
Warrick: Check this out. "Property of Potosi Glide Center."
Nick: That makes two liars.
Warrick: Weston didn't tell us he gave Jimmy his replacement rig.
Nick: 'Cause he knew how it would end up.
(NICK looks at the cut lines.)
Nick: Jimmy never had a chance, man.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(WARRICK and BRASS question RICK WESTON.)
Rick Weston: No way. I wanted to see him get his ass kicked, not k*lled.
Brass: Yeah, problem is he did get k*lled. Flying your canopy.
Rick Weston: I don't know how that happened.
Warrick: Well, it seems the lines leading to the a-riser were cut.
(Quick flashback to: JIMMY MAURER is up in the air. Something goes wrong. JIMMY looks up at his lines and sees that they're about to break. The lines break. End of flashback. Resume to present.)
Brass: Your rig, your responsibility. This is your chance. I'd take it.
Rick Weston: Fred said that, uh ... he just wanted to teach Jimmy a lesson.
(Quick flashback to: FRED DACKS approaches RICK WESTON as he puts a rig together.)
Fred Dacks: Rick.
Rick Weston: Yeah?
Fred Dacks: Jimmy's going to h*t you up for a canopy. Why don't you give him something big and slow?
Rick Weston: Oh, I got that blue-green trainer. That ought to be fun.
Fred Dacks: (chuckles ): Perfect.
(End of flashback. Resume to present.)
Rick Weston: Ten minutes later Jimmy shows up all hot. He asked, I gave, he took.
Warrick: Couldn't let Fred get the better of him.
Rick Weston: Look, Jimmy lacked discipline. He needed to be brought down a peg or two.
Brass: You brought him all the way down
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(WARRICK walks into the lab. NICK is already there.)
Nick: Don't tell me. Rick pleaded ignorance.
Warrick: Right before he lawyered it up.
Nick: Really? Well, , that guy's wasting his money. Take a look.
(NICK hands WARRICK the tip of the frayed line.)
Warrick: It's frayed. You're saying if he had cut it with a tool, it'd be clean.
Nick: These lines are spun polymer. They're lightweight, but strong as hell covered in a plastic shell; now, over time that plastic coating wears down. Unprotected lines rub against one another ...
(Quick flashback to: Two lines rubbing against one another one strong, the other frayed.)
Nick: ... (V.O.) weakening, fraying, until ...
(The frayed line breaks. End of flashback. Resume to present.)
Nick: ...snap! It's normal wear and tear, man.
Warrick: But Weston knew that that canopy was in bad shape. And we don't have any evidence to suggest that he sabotaged it.
Nick: Do you remember a case about a year ago? Diablo canyon?
Warrick: Oh, the victim of sudden weather that you thought was m*rder.
Nick: Yeah. You fool me once, shame on you. You fool me twice ... shame on me.
CUT TO:
[INT. CSI -- LAB]
(CATHERINE is in the lab working on the bags. SARA walks in. She clears her throat to get CATHERINE'S attention.)
Sara: Can you help me out?
Catherine: Uh ... depends.
Sara: I can't get out into the field because I'm maxed out on overtime for the month.
Catherine: Ah, and you're confined to the lab, huh? Well, hey, look, it's regular hours. I mean, go have dinner with the boyfriend ... Hank, right? And, and ... go, go to a spa.
Sara: Hank is not my boyfriend. And you know, those places are filled with bacteria.
Catherine: Sara, I don't make the rules around here. You've got to talk to Grissom about that.
Sara: Yeah ... he's, um, not really in a talking mood.
Catherine: What makes you think he's going talk to me? (SARA shrugs.) Get some rest.
Sara: I'm not tired. Really. I'm not tired.
(SARA walks out of the lab.)
CUT TO:
[INT. CSI - LAB -- CONTINUOUS]
(CATHERINE starts working on her tree branch pieces. Using the shears, she cuts a piece off of the branch and looks at the cut under a scope.)
(SCOPE VIEW)
(CATHERINE then takes the first branch piece and tries to match it to the pieces she cut earlier. She finds the match and puts it on the side. She picks up the next branch.)
(CATHERINE finds the match to the branch and puts the set on the side.)
(Dissolve to: CATHERINE continues to match the branches to the cut pieces.)
(Dissolve to: CATHERINE is nearly done.)
CUT TO:
[INT. CSI -- LAB]
(NICK and WARRICK study the photograph of the two paragliders.)
Warrick: That's the cumulus cloud formed by warm air rising? The thermals?
Nick: Yeah, the bigger the cloud, the more air that gets sucked in the stronger the thermal. And check out our boys. Heading straight for it.
Warrick: Yep. He's probably getting the ride of his life.
(Quick flashback to: JIMMY MAURER up flying and the wind gusting. In front of him FRED DACKS continues to fly. JIMMY gets caught in a particular gust. He looks up at his rig.)
Warrick: (V.O.) He's rising fast.
(End of flashback. Resume to present.)
Warrick: Air is getting thinner. 15,000 feet he passes out and suffocates.
(Quick flashback to: JIMMY MAURER flying high in the wind gusts. He gasps for air and passes out.
Nick: You catch a good thermal and you take it as far as it takes you -- d*ad or alive.
(Quick flashback to: JIMMY MAURER is passed out and flying too high. He falls off of his rig. End of flashback. Resume to present.)
Nick: And to show Fred up, Jimmy had to fly higher.
Warrick: But he had an oxygen t*nk ... on his harness. Why didn't he use it?
Nick: Good question.
CUT TO:
[INT. KRAFT'S RESIDENCE -- NIGHT]
(POLICE OFFICERS search FRANK KRAFT'S residence. CATHERINE and O'RILEY talk with FRANK KRAFT, who sits at the table.)
Catherine: The key word here: Retaliation. Roger Edmonds cuts the cable that you stole.
Frank Kraft: He was stealing it himself.
Catherine: Of course, he was. (She sighs.) So, then you ... chop up his tree ...
(Quick flashback to: FRANK KRAFT cuts up ROGER EDMONDS' mulberry tree. When he's done, he throws the shears into ROGER'S yard. End of flashback. Resume to present.)
Catherine: ... "borrow" Ned's truck to dump the branches ...
Frank Kraft: I borrow Ned's stuff all the time; he doesn't mind. It's not important to him; it's no big deal ...
Catherine: (interrupting) Shut up. This isn't about Ned. It's about Roger. So ... while you're out dumping the branches, Roger comes home and sees what you've done to his tree. He ups the ante.
(Quick flashback to: FRANK KRAFT'S dog is tied to the tree in the front yard and barking. ROGER EDMONDS drives up the front lawn and into the dog. End of flashback. Resume to present.)
Catherine: You return home ... find your dog ... start looking for Roger.
(Quick flashback to: FRANK KRAFT kneeling next to his d*ad dog. White flash to: FRANK KRAFT drives NED'S truck to the bar where ROGER is drinking. ROGER swallows his drink and goes to meet FRANK out in the parking lot. FRANK gets out of his car.)
Roger Edmonds: Your dog look as bad as my tree?
(FRANK grabs ROGER and pushes him into the truck where he takes a swing and misses. ROGER breaks away and opens his car and gets out his g*n.)
Frank Kraft: ... my dog!
Roger Edmonds: Huh, you want some of this, pal, huh?! Come on, come on!
(They both fight over the g*n. The g*n goes off. ROGER falls to the ground and gasps for air. End of flashback.
Officer: Detective.
(The OFFICER holds up the missing w*apon. He gives it to O'RILEY.)
O'Riley: Desert Eagle.
Catherine: Something else you ... borrowed?
Frank Kraft: He k*lled my dog.
(The OFFICERS cuff FRANK KRAFT.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK and NICK has JIMMY MAURER'S rig set up in the lab. They examine the oxygen t*nk.)
Warrick: Well, the gauge reads full.
Nick: Yeah, I don't think it works, bro.
Warrick: There's only one way to find out.
(WARRICK tests the oxygen t*nk.)
Warrick: Flowing fine.
(NICK sighs and thinks out loud.)
Nick: An experienced flyer, prepared for the altitude. There's no reason not to use his oxygen.
(He scoffs.)
Warrick: (holding the altimeter) Unless he didn't think he needed it.
(Cut to: NICK checks the inside of the altimeter. WARRICK goes over the computer topography.)
Warrick: Okay. Las Vegas is 2,030 feet above sea level. You got that thing plugged in yet?
(NICK sets it up.)
Nick: There it is.
Warrick: Let's see what we've got.
(The computer beeps.)
Warrick: 30 feet.
(NICK chuckles)
Nick: I, uh, I think we're off by a couple of G's. I'll dust it.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(WARRICK, NICK and BRASS question FRED DACKS.)
Brass: Jimmy's altimeter, your fingerprints ... on the inside.
Fred Dacks: That's cute. You should put it in a frame. So I fix gear for other flyers sometimes, big deal.
Warrick: Oh, you fixed it, all right. You decalibrated it. It was off by
2,000 feet.
(Quick flashback to: FRED DACKS in the back of JIMMY MAURER'S car. He goes through his bag and takes out the altimeter. He opens the altimeter and changes something inside. He closes it up. End of flashback. Resume to present.)
Nick: In the air, you lose perspective. You have to trust your instruments
Brass: Jimmy didn't know how high he actually was.
(Quick flashback to: JIMMY MAURER up in the air and going higher. The wind gusts and JIMMY goes higher. FRED DACKS looks up at JIMMY. JIMMY looks down at FRED DACKS below him and laughs. JIMMY looks at his altimeter which reads
10.039 +. He looks at his second machine and reads +12 / 12,040 ft. End of flashback. Resume to present.)
Fred Dacks: Hey, I already told you, man, this dude was soft in the air. He could've turned back anytime.
Brass: But you knew he wouldn't. You set him up.
Warrick: Yeah, you had perfect sky massive canopy, bitchen thermals, dude and a challenge he'd never refuse. You played him against himself.
(Quick flashback to: JIMMY MAURER riding high in the air and hiding higher. The altimeter reads 18.517+. End of flashback. Resume to present.)
Nick: You couldn't stand the fact that he was better than you.
Fred Dacks: Hey, I called him out, he took me on. Bigger air, higher altitudes push the limit, dude -- that's why we fly.
Warrick: No, it's not why you fly. The truth is on your arm. Alecto ... Magaera, Tisiphone; the three furies. Unceasing anger, vengeance and jealousy. That's what you're about.
Nick: Sorry, dude.
CUT TO:
[INT. CSI - LOCKER ROOM]
(CATHERINE gets her stuff out of the locker. WARRICK walks in.)
Warrick: Hey, Catherine.
Catherine: Hey ... I heard you know your Greek mythology. I'm impressed -- never would've guessed.
(WARRICK goes to his locker to get his things.)
Warrick: Yeah, I'm a mystery.
Catherine: Yes, you are.
(WARRICK chuckles.)
Catherine: So, where's Nick?
Warrick: He bugged out early.
Catherine: Well, good work, you guys -- both of you. Would you let him know?
Warrick: Thanks. Yeah, I will.
Catherine: I'll see you around.
Warrick: All right. Have a good morning.
Catherine: You, too.
(CATHERINE walks out of the locker room.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- CONTINUOUS]
(CATHERINE passes by GRISSOM'S office and sees that he's inside. She knocks on his door lightly before entering.)
Catherine: Closed that m*rder I was working. A man's life for a dog's life for a mulberry tree. (she sighs) Sometimes I wonder if people are meant to live together.
Grissom: Well, you know what they say -- "good fences make good neighbors."
Catherine: Then you'd make a great neighbor.
Grissom: Hmm.
(CATHERINE chuckles )
(GRISSOM looks down at his laptop screen. He's looking up information on
"Otosclerosis". CATHERINE looks down at the laptop.)
Catherine: New case?
Grissom: Ongoing.
(She leans in to look at what he's reading. Unwilling to let anyone in, GRISSOM changes the screen to show something on "The Longhorned Beetle".)
Catherine: Oh ... bugs.
Grissom: (nods) Mm.
Catherine: Enjoy.
(CATHERINE leaves the office. GRISSOM switches screens back to "Otosclerosis". He sighs and goes back to reading.)
CUT TO:
[EXT. MOUNT POTOSI]
(All rigged up and ready to fly, NICK smiles and takes a deep breath before letting go with the wind.)
Nick: Whoo-hoo!
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x10 - High and Low"} | foreverdreaming |
COLD OPEN:
[EXT. (VARIOUS) LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. METEOR MEAT - NIGHT]
(The METEOR MEAT delivery trucks back into the loading stall. The driver gets out of the truck and looks at HARLAN who stands in front of the doorway.)
Delivery Man: Hey, Harlan. Special delivery. Fresh shipment in from Nebraska.
Harlan: Great. Just stack it in the freezer, will you? I got to open up.
Delivery Man: All right, you got it, boss.
CUT TO:
[EXT. METEOR MEAT - NIGHT]
(HARLAN opens up the main meat packing area and turns on the lights. He walks inside and powers up the conveyer belt where meat is already placed upon.)
(HARLAN reaches up and turns on the overhead fluorescent lights.)
(He continues his morning routine and reaches the next machine to turn it on. He looks over and notices that it's already been used with ground up meat in the metal bin on the side.)
(HARLAN walks over to the bin and looks inside. His eyes widen as he sees a bloody human hand sticking out.)
FLASH TO WHITE:
[INT. METEOR MEAT - NIGHT]]
(BRASS escorts GRISSOM and CATHERINE through the main meat packing area.)
Brass: Ever wonder what's in that hot dog? Human body in a meat grinder. Shop foreman found an arm. The rest of him is prime grade a sirloin.
Catherine: Body in a meat grinder. Sounds kind of "mob-ish" except they left town in the '80s.
(They stop. BRASS points to an officer interviewing MANNY SALDANO.)
Brass: The last guy to operate the meat grinder is this guy over here. Manny Saldano, age 37. Worked for meteor for eleven years. Shop foreman vouches for him. Says he inspected all three of his machines before he clocked him out.
Grissom: Well, we're going to need to process him.
Brass: Sure. (BRASS points to the meat grinder) Check out the smorgasbord. Go ahead.
(CATHERINE and GRISSOM head for the meat grinder. They duck under the crime scene tape.)
Brass: (b.g.) Mike.
(CATHERINE puts her case down.)
Catherine: (under her breath) Good god...
Grissom: Looks like the elbow got stuck in the blade.
(Camera zooms down to the pipe at the end of the grinder. GRISSOM puts on his gloves.)
Grissom: Yup, the ulna.
Catherine: One of the strongest bones in the body. Probably what jammed this grinder.
Grissom: Possibly why whoever did this didn't finish the job.
(CATHERINE snaps a couple of pictures. GRISSOM tries to take the hand out of the grinder and finds that it's not easy.)
Catherine: It's like that Morrissey album - "Meat is m*rder" ...
(GRISSOM continues to struggle with the hand. He finally looks up at CATHERINE.)
Grissom: I'm going to need a hand.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. METEOR MEAT -- NIGHT]
(GRISSOM and CATHERINE kneel in front of the ground meat. GRISSOM holds out his flashlight and they both assess where to start.)
Grissom: The last remains of John Doe. We're going to need sifters.
Catherine: Blood's everywhere. Phenolphthalein and luminol are useless.
(GRISSOM shines his flashlight on the "Butcher" meat grinder.)
Grissom: We're going to have to dismantle this piece by piece.
Catherine: Yeah.
Grissom: I'll get a foreman.
Catherine: I think I can handle this.
Grissom: You know about meat grinders?
Catherine: Well, everything's pretty much plumbing. Male into female parts. Righty tighty, lefty loosey.
(CATHERINE reaches over to the meat grinder mouthpiece and starts to unscrew it.)
(Dissolve to: CATHERINE starts to take the meat grinder apart piece by piece.)
Catherine: Grinder plate.
(She puts the grinder plate aside and pulls out the ... )
Catherine: Blade.
(She puts the blade aside and pulls out the large piece inside the meat grinder with meat still wrapped around it oozing out.)
Catherine: The worm.
(She turns around and puts "The worm" in a bag. Behind her, some distance away, GRISSOM finds something on the ground. He picks it up and examines it.)
Grissom: Found an ear plug.
(CATHERINE turns to look at GRISSOM.)
Grissom: Ear wax is ripe with DNA.
Catherine: Except ... all the employees wear them.
(They both stand up.)
Grissom: This one's different than the ones they use. Whoever wore this brought it with them. We just have to find out whose ear it fits.
CUT TO:
[EXT. LINDA DAMEN'S RESIDENCE -- NIGHT]
(DETECTIVE "SULLY" SULIK escorts SARA and WARRICK through the pool area toward LINDA DAMEN'S apartment. He fills them in.)
Det. "Sully" Sulik: Girl's name is Linda Damen, 23, apparent su1c1de. Father stopped by with dinner found her d*ad, called 9-1-1.
Sara: No signs of forced entry?
(The Detective ducks under the crime scene tape. SARA and WARRICK follow. They all head up the stairs to LINDA DAMEN'S apartment.)
Det. "Sully" Sulik: Nope. Did find her wallet out. Empty.
(The DETECTIVE hands the bagged wallet to SARA. She looks at it and hands it to WARRICK.)
Sara: Hmmm ...
Warrick: Empty? Maybe she was just broke.
(They reach the top of the stairs where JOHN and JANE DAMEN, LINDA'S parents stand. They enter the apartment.)
CUT TO:
[INT. LINDA DAMEN'S APARTMENT - NIGHT -- CONTINUOUS]
(Inside the apartment, HANK PEDDIGREW is putting his things away.)
Sara: Hey.
(HANK looks up.)
Hank Peddigrew: You guys are fast.
Sara: You pronounce?
Hank Peddigrew: 7:20. Coroner will be able to tell you more. Looks like she bled out. Her left wrist is transected.
Sara: It's atypical for a female. Women usually commit su1c1de in the tub. It's easier cleanup for whoever's left behind.
Warrick: Yeah.
(SARA looks down at the bed and sees something. She lifts the sheet away to reveal a straight-edged razor.)
Sara: Warrick.
(WARRICK raises the camera and snaps some pictures.)
Sara: Did her parents say whether she was living with a man?
Detective: Was dating a Brody Jones. No idea where he works or lives.
(WARRICK looks at the streak of blood across the bed covering.)
Warrick: Did someone move her?
(HANK looks at the bed cover.)
Hank Peddigrew: She was propped up when we got here. I checked for vitals.
Warrick: You sure with all your life-saving efforts you didn't move her?
Hank Peddigrew: Hey, man, like I said, I checked for vitals.
Sara: It's okay, babe.
(HANK turns and stares at SARA, surprised by what she said. DETECTIVE SULIK looks at SARA. SARA turns her back to the men and shakes her head slightly at herself.)
Hank Peddigrew: (continues) The victim had no response. I had no reason to move her.
Warrick: Well, someone moved her. She bled out her
(HANK doesn't say anything more.)
(SARA turns on her flashlight and checks out the closet. She lets out a deep breath.)
(HANK walks up to SARA.)
Hank Peddigrew: I'm going to h*t the road ... (b*at) ... baby.
Sara: (grimaces) I'm sorry.
(HANK leaves. SARA examines the clothes in the closet and finds something.)
Sara: There's a stain here. So cold stains.
Warrick: Is it recent?
(SARA checks.)
Sara: It's cool to the touch, yeah.
(WARRICK finds some bloodied footprints on the carpet near the bed.)
Warrick: Sara.
(SARA turns to look at WARRICK.)
Warrick: I think our su1c1de just became suspicious circs.
CUT TO:
[INT. CSI - FORENSIC PATHOLOGY -- NIGHT]
(GRISSOM examines the partial arm on the table. ROBBINS stands near him.)
Robbins: Since I'm the one who always seems to state the obvious this arm was d*ad before it was hacked off.
Grissom: What do you make of the, uh scar tissue on the palm?
Robbins: Occupational hazard, maybe. I see this kind of thing a lot in bricklayers, plumbers, carpenters.
Grissom: Looks like it's blistered.
(GRISSOM turns around and picks up something from the table behind him.)
Robbins: Gradual denaturation of the proteins in the epithelials. Resulting in general scarring on the palm or surface.
(GRISSOM takes a sample from under the fingernails.)
Grissom: I'll send this sample to trace.
(GRISSOM continues to look at the hand.)
Grissom: Tips of the fingers look like they're worn to the bone.
Robbins: Can you get a partial?
(GRISSOM turns around and picks up a small bottle of something from the table behind him.)
Grissom: Much more than that. Lansberry's Ridge Builder. One application to the bulbs of the fingers and the ridges plump out temporarily like a chia pet on steroids.
(GRISSOM brushes the liquid onto the fingertips.)
(Camera close up of the fingertip. CGI has the print ridges well defined. Resume to ROBBINS.)
(GRISSOM lightly inks the tip of the finger, then takes a print from it. Pleased, he glances at ROBBINS.)
CUT TO:
[INT. CSI - PRINT LAB]
(GRISSOM and CATHERINE stand around the print database monitor as they run the print. The computer beeps and it pops out a name with ID.)
Grissom: Petrov Samsko. Non-gaming sheriff's permit, head chef, Debreff Restaurant.
(GRISSOM pronounces it "doo-breff".)
Grissom: Chef-- that would explain the burn scar tissue on his palm.
Catherine: (nods) It's "Debreff."
(CATHERINE pronounces it "dough-breff".)
Catherine: It's a five-star restaurant. I've eaten there.
Grissom: Good, maybe you can get us a table.
CUT TO:
[EXT. LINDA DAMEN'S APARTMENT -- NIGHT]
(Camera opens on WARRICK comparing the shoe print with JOHN DAMEN'S shoe while JANE DAMEN stands near and watches.)
Warrick: Different sole, different size. Thank you. Sorry for the inconvenience. This is just a standard procedure.
(WARRICK sits down.)
Warrick: Do you have any idea where your daughter's boyfriend works?
John Damen: Well, a casino.
Warrick: Uh, which one?
John Damen: All of them. He's, uh, he's a gambler. Um, used to drag Linda out, keep her up days at a time. Ran her health down, her spirit.
Jane Damen: She was getting better, though. She had a, uh... rough time after college finding herself, but she was getting better.
(JANE DAMEN shifts her gaze past WARRICK where the Coroner's office bring out LINDA DAMEN'S body on a gurney. Her eyes follow the gurney as they wheel the body away.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS fills SARA in on the findings. Camera opens on the blade cut on LINDA DAMEN'S left wrist.)
Robbins: The trans-section of the left wrist is consistent with a self-inflicted wound particularly because she's right-handed.
(SARA leans over and looks at the wound.)
Sara: There's no hesitation marks. Isn't that uncommon for su1c1de?
Robbins: People usually stutter-cut a few times ...
(Quick CGI to: Camera close up of a razor against a wrist making small hesitation cuts.)
Robbins: (V.O.) ... trying to work up the courage.
(End of CGI. Resume to present.)
Robbins: This woman cut herself with one smooth motion.
Sara: This D.B. is all wrong. Someone moved her two feet from where she bled out. What did the tox screen say?
Robbins: Nothing. Not back yet. But I'll get it to you soon as it is.
Sara: Thank you.
(SARA and ROBBINS turn to look at the body. SARA sees something and leans over for a better look.)
Sara: Is that glass in her hair?
Robbins: Minute pieces of it, yeah. I tweezed a few for trace.
(ROBBINS takes a sample piece out and hands it to SARA for her to look at.)
Sara: We didn't see any broken glass in her apartment. Round edges, tinted ...
(Camera zooms in for a close up of the piece of glass.)
Sara: ... it looks polarized.
Robbins: Probably safety glass.
Sara: Yeah. Too bad it didn't protect her.
CUT TO:
[INT. DE BREFF BISTRO (RESTAURANT) - FRONT -- NIGHT]
(At the front, the HOSTESS is on the phone. GRISSOM and CATHERINE walk up to her.)
Hostess: (to phone) Uh, Debreff, please hold. Debreff, please hold. Debreff, please hold.
(Still on the phone, the HOSTESS looks up at GRISSOM and CATHERINE. She puts the phone down for the moment.)
Hostess: Hi. Last name?
Grissom: We don't have reservations. W-we're here...
(As soon as the HOSTESS hears that they don't have reservations, she turns back to the phone. She puts a hand up to stop GRISSOM from talking.)
Hostess: (to phone) eh, party of four? Three weeks from Thursday? Let me see.
(The HOSTESS turns to look at her reservation book.)
Catherine: Excuse me, but you don't understand.
Hostess: No, I'm sorry. You don't understand. You're walk-in's on a very busy night. We're short a chef.
Catherine: We know. He's d*ad.
Grissom: Not just d*ad. Dismembered.
(GRISSOM holds up his work ID for the HOSTESS.)
Grissom: We're with the crime lab.
(The phone continues to ring in the background. The HOSTESS hangs up the phone she's holding.)
Hostess: I'll get the owner.
CUT TO:
[INT. DE BREFF BISTRO (RESTAURANT) - KITCHEN -- NIGHT]
(GRISSOM examines the items on the shelves in the kitchen while CATHERINE talks with LES DUTTON, the OWNER.)
Les Dutton: Are you sure it's Petrov?
Catherine: Coroner made a positive identification.
Les Dutton: What makes you think this event happened here?
Catherine: We found traces of aspic and olive oil under his fingernails. Means that he went into the meat grinder without showering. Possibly straight from this kitchen.
Les Dutton: If there was a m*rder in our kitchen don't you think that, uh ... I'd know about it?
(He chuckles nervously.)
Catherine: I don't know. Would you?
(GRISSOM continues to look around the kitchen. He finds in the hamper, two blood-stained chefs jackets. One belongs to "ROSS HALPO, SOUS CHEF" and the other to "LOLA CREIGHTON, SAUCIER CHEF". Both also have "Do Breff Bistro" embroidered on it.)
Grissom: Hey, Cath? (points to the jackets) Blood spatter.
Owner: It's a kitchen. The chefs use knives. That's not uncommon. You are...?
Grissom: Gil Grissom. I'm with her.
(GRISSOM pulls out another white jacket. On it reads: "Do Breff Bistro", "Stephanie". There is no job title on it.)
Grissom: Who's, uh, Stephanie?
Owner: One of my waitresses.
Grissom: Oh, I understand how chefs cut their fingers and how the kitchen help could have blood spatter on their uniforms, but how does a waitress get blood on the back of her shirt?
(LES DUTTON doesn't say anything.)
Catherine: We can shut you down for hours or get a warrant and shut you down for good.
(He turns and looks back nervously at his busy kitchen.)
Les Dutton: (to CATHERINE) Give me till after the rush?
(GRISSOM looks up at him.)
CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. DE BREFF BISTRO (RESTAURANT) - FRONT -- NIGHT]
(GRISSOM and CATHERINE wait back out in the main dining room. GRISSOM sighs.)
Grissom: Okay, this "rush" is taking entirely too long.
Waiter: (to PATRON) Sir? The Coquilles St. Jacques.
(The WAITER lifts up the dish lid.)
Patron: Thank you.
Catherine: People always think that the show is out front. It wasn't till I waitressed I realized it's all in the back.
(Bored, GRISSOM looks around and notices something unusual. He walks to an unused booth and moves the flower vase. CATHERINE sees GRISSOM'S interest in the booth and joins him.)
Catherine: What are you looking at?
(GRISSOM taps the booth wall with his finger. There appears to be a blackish-colored stain on it.)
Grissom: Looks like a v-pattern to me. What do you think?
(CATHERINE looks at it.)
Catherine: Yeah. What? Caused by a candle?
Grissom: Burn area seems too big for a candle.
(LES DUTTON walks up to them.)
Les Dutton: Okay. Kitchen's all yours.
Grissom: Mr. Dutton, uh, can I ask you what happened here?
Les Dutton: Oh, geez. Uh, waiters probably put the candles too close to the wall. I've told them a million times.
CUT TO:
[INT. DE BREFF BISTRO (RESTAURANT) - KITCHEN -- NIGHT]
(The chefs prepare the meals. A waitress walks up to the main area. GRISSOM glances at her and holds up the baggied bloodied jacket.)
Grissom: Ah, excuse me. Stephanie?
Stephanie: Uh-huh.
Grissom: Is this your uniform?
Lola Creighton: Don't have to answer that, Steph. They don't have a warrant.
Grissom: (to CATHERINE) I thought you said the mafia left town.
(CATHERINE chuckles.)
Catherine: We have the owner's consent so, again, could you explain this blood?
(STEPHANIE hesitates.)
Ross Halpo: (interrupting) Order up, Stephanie. Hot items. Two filet mignon and one coquilles St. Jacques. Boogie. Go, go.
(CATHERINE watches as STEPHANIE grabs the dishes and leaves the kitchen without answering their question. She gets angry and turns to the two chefs.)
Catherine: Hey! We found blood spatter on the uniforms of several employees who worked the night that Chef Petrov died.
(GRISSOM holds up one of the baggied jackets.)
Grissom: Ross Halpo -- sous chef.
(He lifts up the other bag.)
Grissom: Lola Creighton -- saucier.
(To the two chefs.)
Grissom: You want to tell us how the blood got here?
Ross Halpo: It's my blood. We got a rule in the kitchen: Don't touch my Kn*fe; don't touch my Johnson.
(Quick flashback to: In the kitchen, PETROV SAMSKO and ROSS HALPO work side by side.)
Ross Halpo: (V.O.) I was working with Petrov, the head chef.
(ROSS HALPO absently grabs the Kn*fe near him. PETROV sees him grab his Kn*fe and stops him.)
Petrov Samsko: Hey, hey, that's my Kn*fe!
(Using the Kn*fe in his hand, PETROV cuts ROSS HALPO.)
(End of flashback. Resume to present.)
Ross Halpo: Touched his Kn*fe. I deserved it.
Grissom: Okay. That still doesn't explain how the blood got on the uniforms.
Lola Creighton: They don't get it. Chefs here have a ritual. Macho thing. If you get cut, it's tradition that you disburse maximum spillage.
(Quick flashback to: In the back of the kitchen, ROSS HALPO starts tossing his blood around the kitchen toward the other laughing chefs.)
Chef: (laughing) Oh, hey, watch it. CHEF: (laughing) Ah, blood! CHEF: (laughing) Oh, hey, stop... ooh!
(End of flashback. Resume to present.)
Ross Halpo: That's how everyone got blood on themselves.
Catherine: Macho.
Grissom: (unamused) Haven't these people ever heard of HIV?
Catherine: Apparently not.
Grissom: Alert all your employees. We're going to take over your kitchen, starting now.
CUT TO:
[INT. CSI - TRACE LAB]
(SARA walks into the lab.)
Sara: Hey. You got something on that glass?
David Hodges: Didn't beep you to say hi.
Sara: Glad to you're settling in, Hodges.
David Hodges: You were right. It is polarized. Ultraviolet quotient is very high. Glass is from a car windshield.
Sara: Maybe she was in some kind of car accident. h*t-and-run ...
(HODGES looks up and continues sarcastically.)
David Hodges: ... then she crawls home, gets on her bed and commits hari-kari?
[Note: The correct Japanese term is "hara-kiri".]
Sara: Stranger things have happened. If you weren't such a lab rat, you would know that. You got a make of a car for me?
David Hodges: (doesn't look up) No.
(After a b*at, HODGES looks up.)
David Hodges: But ... I can narrow it down to the year it was manufactured. Car companies add more ultraviolet sealants each season to stay ahead of safety standards. Used a comparison study of a car that was made in 2001.
(Camera view: The two pieces of glass side by side.)
David Hodges: Your windshield glass is from a 2002 model.
Sara: Thank you.
David Hodges: Mm-hmm.
(HODGES walks away.)
CUT TO:
[INT. PARKING GARAGE]
(SARA and WARRICK finish examining LINDA DAMEN'S car. They sigh.)
Sara: The windshield's intact.
Warrick: Yeah. Well, maybe the glass came from another windshield in this lot.
(WARRICK turns and looks around at the other cars in the garage.)
Sara: Yeah. Let's take a look.
(They start walking around and looking at the cars' glass.)
Sara: You know, you can tell a lot about a person by what they leave in their car.
Sara: Rotten bananas.
(WARRICK chuckles.)
Warrick: Business suit.
Sara: I got a paycheck. Who would do that?
Warrick: Underwear.
(WARRICK chuckles. He finds something with the next car.)
Warrick: That looks like adhesive.
Sara: Still tacky.
(Off screen, a woman yells at them.)
Linda's Neighbor: Hey, hey! What are you doing? That's my car.
(SARA holds out her ID to the woman.)
Sara: Crime lab. How are you?
Linda's Neighbor: Cute picture. I'm late for work.
(She opens the car door. SARA stops her.)
Sara: We noticed you had your windshield replaced recently. The adhesive's seeping.
Linda's Neighbor: You get what you pay for. So the car shop was having a half-off deal. I'm in no position to go to the big guys.
Sara: Did replacing the windshield have anything with the tenant in apartment
325?
Linda's Neighbor: Linda? (scoffs) Yeah. She did it. I'd send her the bill if I thought she'd pay. She hasn't paid for anything else she trashed in this complex.
Warrick: Like what else?
Linda's Neighbor: Oh, well, that would depend on her mood. Um, when she's up, she breaks the mailboxes.
(Quick flashback to: LINDA DAMEN bangs something clutched with both hands against the mail boxes. She grunts in frustration. End of flashback. Resume to present.)
Linda's Neighbor: When she's down she throws the patio furniture into the pool.
(Quick flashback to: LINDA DAMEN tosses the furniture into the pool while screaming. End of flashback. Resume to present.)
Linda's Neighbor: She broke my windshield yesterday because she said she 'heard' me talking on my cell about her.
(Quick flashback to: LINDA hitting and breaking the car windshield while screaming. The neighbor is sitting inside the car.)
Linda Damen: You bitch! LINDA DAMEN: I heard you!
(End of flashback. Resume to present.)
Linda's Neighbor: We just call her "the whack job in 325."
Warrick: Well, she died yesterday. We think it may have been a su1c1de.
Linda's Neighbor: (flippantly) Yeah? I'm surprised someone didn't k*ll her.
(SARA stares at the NEIGHBOR. WARRICK also watches her carefully. The NEIGHBOR starts to worry that she might have said the wrong thing.)
Linda's Neighbor: Look, unless you want to call my pit boss and tell him I'm under arrest, I'm going to work.
(She gets into her car.)
Sara: Thank you. (to WARRICK) I would like to see Linda Damen's tox report.
Warrick: Yeah.
(The car engine starts.)
CUT TO:
[INT. DE BREFF BISTRO (RESTAURANT) - KITCHEN]
(CATHERINE vacuums the kitchen countertop. In the storage room at the back of the kitchen, NICK checks the counters with an ALS. He finds body fluid. He looks up and sighs.)
(CATHERINE finishes up vacuuming and turns the motor off.)
Nick: Fresh off an airplane from a conference, and bamm -- I got seminal fluid.
Catherine: Lucky you.
(CATHERINE takes the filter out of the vacuum and tests the white powder inside. She sees the change, stands up and smiles.)
Catherine: Some things never change.
Nick: What's that?
Catherine: Cocaine.
CUT TO:
[INT. DE BREFF BISTRO (RESTAURANT) - KITCHEN -- CONTINUOUS]
(GRISSOM kneels down next to the floor drain and tests it. The area around the drain turns pink.)
Grissom: Presence of blood on the drain.
(CATHERINE and NICK join him.)
Catherine: Blood, coke, semen. These people were doing everything in this kitchen but cook.
Nick: I'll go have a little chit-chat with the hostess. They always seem to know everything.
(NICK leaves. CATHERINE kneels down as GRISSOM takes off the drain cover. Inside they find something.)
(Camera close up of the blood clot GRISSOM picked up.)
Catherine: Blood clot. What is that, sand around it?
Grissom: Looks like it. What would sand be doing in a kitchen?
Catherine: Well, one thing's for sure: The blood got there before the sand.
Grissom: This was not a little Kn*fe knick. This guy was stuck. I mean, uh, he bled out long enough for his blood to pool and clot.
(GRISSOM and CATHERINE both stand up.)
Grissom: Excuse me. (b*at) We're going to need all your knives. (to ROSS HALPO) Starting with yours.
(ROSS HALPO clears his throat and walks to the counter with his knifes. He opens his Kn*fe holder and shows the knives to GRISSOM and CATHERINE.)
Ross Halpo: I need them back by the next shift.
Catherine: Well, that depends on what we find.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - WAITING ROOM]
(SARA sits with JOHN and JANE DAMEN. JOHN reaches into his coat pocket and pulls out a photograph.)
John Damen: Oh, uh, this is the clearest picture that we could find of Brody.
Sara: Thank you. I'll get it to a detective.
Jane Damen: The shoeprint that you found in Linda's bedroom? Are you thinking that Brody might have...?
Sara: Oh, we don't know yet. We're going to wait and see what the evidence tells us. I did meet a tenant at your daughter's apartment complex that described Linda as ... troubled. Did you ever witness her being violent?
Jane Damen: We like to think of her as normal, as improving. She was prescribed lithium her junior year of college.
Sara: She was diagnosed bipolar?
John Damen: She's a rapid cycler. She shifts into manic in a blink. We knew she had been violent around the complex.
Sara: Lithium didn't help?
Jane Damen: Well, it's a catch-22. When Linda's in an "up" phase, she doesn't think she needs the lithium, so she doesn't take it which then makes her more unstable.
(She corrects herself.)
Jane Damen: Made.
Sara: I'm sorry for your loss.
(Camera holds on JANE DAMEN. JOHN DAMEN reaches over and holds onto her hand.)
CUT TO:
[INT. DE BREFF BISTRO (RESTAURANT) - OWNER'S OFFICE]
(GRISSOM looks through the Owner's Log. It reads: )
SEPTEMBER 26, 2002
LOAN REPAYMENT FROM 2. COC ...
PLATE BREAKAGES
14 DINNER
3 SALAD
BEEF ORDER SHORTED,
ON NEXT BILL
ACCIDENT REPORTED
DANNY PASQUALLE, ITALIAN MALE ... SUFFERED SUFFERED THIRD DEGREE ... ON HIS FACE, THE NIGHT OF SEPT. ...
SPECIALS:
(GRISSOM closes the log book and thinks about it. He looks around and finds under the small shelf, something covered with a red cloth. He pulls the cloth away and finds a gueridon.)
(Quick flashback to: The gueridon is lit and a high flame leaves a V-shaped pattern on the booth wall. End of flashback. Resume to present.)
(LES DUTTON walks into the office.)
Les Dutton: That's a guéridon used for tableside cooking.
Grissom: I thought there was a policy against the use of these in Las Vegas restaurants.
Les Dutton: Ever since a television star from the '70s b*rned his face by one. It's changed dining forever.
Grissom: You know, those v-marks that we found in the restaurant -- those were made fairly recently. Certainly ... since the '70s.
Les Dutton: I lied about the candles. It was an accident.
Grissom: According to your owner's log, ... (GRISSOM lifts up the log book) ... it was a bad accident. (reading) Danny Pasqualle, Italian male model suffered third-degree burns on his face the night of September 26, 2002.
Les Dutton: We do special requests for special customers. Chef Petrov made Mr. Pasqualle a cafe diablo.
(Quick flashback to: CHEF PETROV is cooking in front of the booth. DANNY PASQUALLE watches with anticipation.)
Petrov Samsko: Myers rum, grand marnier, kahlua, and now for the rind.
(CHEF PETROV holds up a long piece of rind. He lights it and drops it into the gueridon. It literally explodes in DANNY PASQUALLE'S face. He cries out in pain.)
(End of flashback. Resume to present.)
Grissom: Did he ever file formal charges against you?
Owner: No, that's the strange thing. He... he never did.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS and GRISSOM interview DANNY PASQUALLE. The camera starts on the left side of DANNY PASQUALLE to show us the unburned side of his face and slowly pans around him to his right side.)
Danny Pasqualle: What am I going to do, sue for a restaurant? I used to make five million a year. (scoffs) You do the math.
Brass: So after losing all that salary you never filed suit. Maybe you didn't file charges it and settle it for yourself.
(The camera stops moving and reveals the scarring on DANNY PASQUALLE'S right side of his face.)
Danny Pasqualle: (pauses for a moment) Are you accusing me of something?
Grissom: No charges will be filed, Mr. Pasqualle if ... you'd be willing to fill out a statement to that effect.
(GRISSOM pushes the piece of paper on the table toward DANNY PASQUALLE and holds out a pen for him. DANNY takes the pen in his right hand and leans over to read the paper. When he grabs the pen, GRISSOM sees the wound on his knuckles.)
Grissom: The wound on your hand, Mr. Pasqualle? Patterned abrasions over the dorsal of the hand at the metacarpal phalangeal joints.
Brass: We call it a "fight bite."
Grissom: Human mouths are full of bacteria. A wound from a human bite is a tremendous source of infection, unfortunately.
Brass: So, what happened, Mr. Pasqualle? You paid the chef a little visit and did your version of "etu, brute?"
(DANNY PASQUALLE pushes the paper from him and sits up. He remains silent.)
Grissom: You don't have to say anything, Mr. Pasqualle.
(GRISSOM reaches into his jacket pocket and takes out a swab. He uncaps the swab.)
Grissom: We just need your hand.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(The technician takes a syringe and takes a sample from the wound on DANNY PASQUALLE'S right hand. He flinches as the needle pierces his skin. A sample of the liquid is extracted.)
CUT TO:
[INT. CSI - TRACE LAB]
(Camera opens on the line of culinary knives on the table, each one tagged.)
(CATHERINE picks up a Kn*fe. In the DNA lab next door, the printer spews out GREG'S test results. He looks at it, then turns to CATHERINE.)
Greg: Blade #25: Not human.
Catherine: 25 knives in, and I'm bust.
(CATHERINE lifts up the Kn*fe and finds some dried red stuff on it.)
Catherine: Oh, now we're cooking.
(She rubs a swab on it and nothing comes off.)
Catherine: It's not blood.
CUT TO:
[INT. CASINO - MAIN FLOOR]
(DET SULIK points out BRODY JONES to SARA and WARRICK.)
Det. "Sully" Sulik: There he is-dollar slots, wearing the cap.
Sara: How did you track him down?
Det. "Sully" Sulik: We showed his photo around. The ATM in the lobby -- he used it 24 hours ago.
(As they get closer, they notice that BRODY JAMES is sitting in front of a slot machine writing vigorously in his notebook. It reads: )
BAR LINE LINE
LINE BAR LINE
BLANK BAR BAR
BAR BAR LINE
LINE BAR BAR
BAR LINE LINE
LINE BAR BAR
Sara: What is he doing?
Warrick: We used to call a guy like that a bean counter. Degenerates paying 25 cents a pop in the hopes of cracking a pattern.
Sara: What are the notebooks for?
Warrick: It's his results. But that joker doesn't realize that the patterns can end up in the hundreds of millions.
Sara: You know, the more I see of this kind of stuff the less I picture you a gambler.
Warrick: This isn't gambling. This is the end of the line.
(As they get closer, they notice blood stains on BRODY JONES' right shirt sleeve. BRODY doesn't notice them approaching.)
Warrick: How long have you been here, sir?
Det. "Sully" Sulik: Las vegas police. We want a word with you. What do you know about the death of Linda Damen?
Brody Jones: Unfortunate. I need to ... write my results. I need to ... document them.
Warrick: How did you get the blood on your shirt?
Brody Jones: What blood?
Sara: We're going to need your shirt.
(BRODY JONES sighs. Without missing a b*at, he shoves his pen in his mouth and takes his shirt off. He tosses it to SARA.)
Brody Jones: Take it.
Warrick: You're coming with the shirt. We'll need your shoes, too.
CUT TO:
[INT. CSI -- HALLWAY]
(GREG and GRISSOM walk down the hallway. GRISSOM looks through a file while GREG holds on to the test results.)
Greg: Did you know that some doctors believe that oral bacteria have no other benefits than to make it impossible for other more vicious bacteria to take up residence in our mouths?
Grissom: I knew that, Greg.
Greg: So, then I should just stop trying to impress you.
Grissom: That would impress me.
Greg: Okay. Well, results from the fight bite boy.
(GREG hands the test results envelope to GRISSOM.)
Greg: I had to get it from an outside lab since we're not equipped to do bacterial DNA testing ourselves. Hint, hint.
(GRISSOM removes the test results and looks at it. The results done between the two samples, SAMPLE (PASQUALLE) and BACTERIA (SAMSKO), had findings of "MATCH FOUND 1 IN 600 BILLION".)
Greg: Bacteria on his knuckles matches the natural bacteria in the chef's mouth.
Grissom: I guess he settled out of court.
(Quick flashback to: In the De Breff Bistro kitchen, DANNY PASQUALLE walks up to CHEF PETRO SAMSKO. He grabs his shoulder and spins him around.)
Danny Pasqualle: You ruined my life! I'll never work again!
(He swings his fist and makes contact with the CHEF'S mouth. The CHEF grunts upon impact.)
(End of flashback. Resume to present.)
Greg: Looks like he took a cheek swab of the chef with his own fist.
Grissom: Thanks, Greg.
(GRISSOM continues down the hallway.)
Greg: (nods) Mm-hmm.
(GREG turns around and heads back down the hallway.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERVIEW ROOM]
(BRASS walks down the hallway toward the interview room door. Inside the interview room, GRISSOM shows DANNY PASQUALLE the DNA test results.)
Grissom: (muffled) You can see why I might have a hard time believing you, right?
(BRASS taps lightly on the glass door. GRISSOM looks up and sees BRASS at the door.)
Grissom: (muffled) Excuse me.
(GRISSOM puts the test results away and heads for the door. He exits the interview room and stalks with BRASS out in the hallway.)
Brass: So ... our male model copping to battery?
Grissom: He's denying m*rder.
Brass: Well, maybe he's telling the truth. The earplug from the meat plant -- we got a h*t on CODIS. Kicked out Harold Haskins delivery man from Meteor Meat. Out on parole for extortion. (b*at) He delivers to Debreff Restaurant.
CUT TO:
[INT. METEOR MEAT -- DAY]
(BRASS interviews HAROLD HASKINS.)
Brass: So, you snuck in the place to grind up a body?
Harold Haskins: No. I didn't even know what it was till it was too late.
Brass: Who exactly gave you the, uh, "meat" to grind?
Harold Haskins: Uh, it was in the restaurant freezer at the De Breff.
Brass: You see my face? This is me almost believing you. Now, I've already violated your parole so whatever I say to the judge is up to you. So, what is it?
(HAROLD HASKINS sighs.)
Harold Haskins: It was Ross. The Sous Chef. I owed him 3,000 for coke. He said I could pay him back with the favor.
Brass: You ground up a body as a favor?
Harold Haskins: It was already d*ad. It's not like I k*lled him.
Brass: Well, that's a very tenuous distinction.
(BRASS turns around and heads back down the hallway. He turns around and tosses over his shoulder to HAROLD HASKINS.)
Brass: Stay right there.
CUT TO:
[INT. DE BREFF BISTRO (RESTAURANT) -- KITCHEN]
(The kitchens are busy again. CATHERINE and GRISSOM )
Ross Halpo: (to the chef off screen) That's a filet, not a porterhouse. (to CATHERINE) I'm a Sous Chef. Twenty guys are into me for recreational substances. It doesn't mean they'd cut a body up for me.
Catherine: "Ground it up". We're thinking that you did the actual filleting.
Ross Halpo: (chuckles) Never happened. Ask any of the guys.
Catherine: We have. They won't talk. Military calls it "code red."
(Behind them, GRISSOM looks around and finds something above the stove.)
Catherine: Fierce loyalty to the top dog. I guess Petrov was that until somebody k*lled him. (GRISSOM takes a sample of it and holds it.) His tragedy is your promotion?
(LES DUTTON interrupts CATHERINE.)
Les Dutton: Excuse me. We're in the middle of a rush here. Customers don't forgive a cold meal or a late meal.
Catherine: I bet they'd forgive a m*rder, Les.
Grissom: Hey, do you guys serve mutton?
Les Dutton: What?
Grissom: Mutton. It's from the french word for sheep. These fibers look like wool and since sheep are sheered before they're butchered I think that somebody was cooking something here, and it wasn't food.
(And with that, CATHERINE turns back to look at ROSS HALPO.)
Catherine: "Code red"?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRODY JONES sits at the table, rubbing his eyes. WARRICK puts a photo down on the table in front of BRODY JONES.)
Warrick: Brody, we have your shoeprint in Linda's blood. We also have a sample of Linda's blood that we found on your t-shirt. Is there anything you'd like to tell us?
Brody Jones: Yes. Someone is playing that machine right now and is throwing the entire last 72 hours of calculations out the window.
Det. "Sully" Sulik: Did you k*ll this girl and try to make it look like a su1c1de?
Brody: If anything, I tried to save her.
Det. "Sully" Sulik: Save her how?
Brody Jones: I went to her place.
(Quick flashback to: BRODY JONES opens the apartment door and walks inside. LINDA DAMEN is on the bed.)
Brody Jones: (V.O.) Borrowed some money from her.
(BRODY gets LINDA'S wallet and removes some money. End of flashback. Resume to present.)
Brody Jones: I looked in her bedroom. I thought she fell asleep reading. Then I saw blood.
(Quick flashback to: BRODY JONES sees the slit wrist and the blood on the bed. He kneels on the bed and grabs her.)
Brody Jones: Linda!
(End of flashback. Resume to present.)
Brody Jones: Tried to revive her.
(Quick flashback to: BRODY JONES climbs on the bed and tries to revive LINDA, unmindful that he's steeping in the blood on the sheets. Still he tries.)
Brody Jones: Oh, oh. BRODY JONES: Oh, god!
(End of flashback. Resume to present.)
Warrick: But you left her there, d*ad.
Brody Jones: You don't get it. Even as the Son of God, I can only do so much.
(SARA sits in the observation room looking through BRODY JONES' notebook.)
Warrick: Oh, I get it. You and Linda are kind of on the same page, huh?
(pause) Did you stop taking your lithium together? Is that it?
Brody Jones: It's not a crime.
Warrick: Yeah, you're right. It's not.
(WARRICK grabs his things and walks out of the interview room.)
CUT TO:
[INT. POLICE DEPARTMENT - OBSERVATION ROOM -- CONTINUOUS]
(WARRICK walks into the observation room where SARA is. Behind them, down the hallway, DR. ROBBINS slowly makes his way toward them.)
Sara: Bipolar girl meets a bipolar guy. Together, they cut out their medication. She ends up committing su1c1de.
Warrick: It's almost like bipolar boy is too high to even realize what went down.
(DR. ROBBINS walks into the observation room.)
Sara: Yeah. Hey, Doc.
Robbins: I was over here on an exhumation matter. I knew you wanted this. Tox results for Linda Damen.
(He hands the folder to WARRICK.)
Warrick: Thank you.
(ROBBINS leaves. WARRICK opens the folder and looks at the test results.)
Warrick: No lithium, just like her parents said. She did have a huge dose of valium, ingested less than an hour before her time of death.
Sara: Valium?
Warrick: Yeah.
Sara: That doesn't make any sense. I mean, that's the last thing a depressed person would take.
Warrick: 200 milligrams. That's more than five times the normal dosage.
Sara: That much valium. There's no way she could have fought somebody off if they were coming after her with a straight razor.
(WARRICK raises his head and looks back into the interview room.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - DNA LAB]
(CATHERINE walks into the lab.)
Catherine: Greg, how's the Kn*fe coming with that mysterious smudge on it?
Greg: I just got the results. Alcohol, acetate and red dye #58.
(GREG hands the results to CATHERINE.)
Catherine: Nail polish.
Greg: Mm-hmm.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(CATHERINE has a mini-line up inside the interview room. De Breff Bristro's two waitresses, the chef and the hostess hold out their hands for CATHERINE to look at.)
Catherine: May I see your nails, please?
(One by one, they hold out their hands for CATHERINE to inspect. She stops when she sees that the HOSTESS has on red nail polish.)
Catherine: Oh. Well, I'm going to need a sample of that polish. A scraping.
(The HOSTESS peels off a single painted nail and holds it out to CATHERINE.)
Hostess: Uh, is this small enough?
Catherine: Yeah. That'll do.
(CATHERINE dismisses the others.)
Catherine: Okay, the, uh, three of you can go. Thank you, ladies. (to the HOSTESS) And I've got a table for you. A five top. All by yourself. By the window. Someone will be with you shortly.
(CATHERINE walks out of the interview room.)
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
(DET. "SULLY" SULIK fills SARA and WARRICK in on the info he's found.)
Det. "Sully" Sulik: I looked into that prescription at the pharmacy you asked about. Linda Damen, the deceased.
Warrick: That was quick.
Det. "Sully" Sulik: She doesn't have a prescription for valium. Her mother does -- Jane Damen. 25 milligrams as needed.
Sara: I think we better go pay mom a visit.
Warrick: Yeah. Thanks, Sully.
Det. "Sully" Sulik: Okay.
CUT TO:
[INT. CSI - TRACE LAB]
(DAVID HODGES brings up something on the computer monitor.)
David Hodges: Wools are worsted. 12-ounce weight.
Grissom: That's heavy?
David Hodges: Light ... weave. Mostly for season spanners.
Grissom: We're talking about clothes?
David Hodges: Worsted is predominately used in the manufacturing of suits and light overcoats. The finish on this is trademark coating in high-end suits.
Grissom: Okay, good. Thanks.
(GRISSOM turns to leave. DAVID HODGES stops him.)
David Hodges: Mmm. I'm not done. There was also blood present on the burnt wool.
Grissom: Did we get a DNA test?
David Hodges: It's victim's blood, from your chef.
(GRISSOM looks at HODGES.)
David Hodges: (continues) I know what you're thinking. Couldn't possibly be his suit. Chefs wear checks and white shirts. But somebody did burn a bloody suit in the restaurant kitchen. A high-end suit.
(GRISSOM doesn't say anything. HODGES looks at GRISSOM. After a b*at.)
David Hodges: (continues) You have a candidate.
Grissom: You're the new guy.
David Hodges: Yeah. Uh, David Hodges. Transferred from LAPD. (scoffs) They said I had an attitude problem. Said that I thought I was entitled.
(GRISSOM turns and leaves the lab.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(CATHERINE walks in with the test results.)
Catherine: So that sample I collected matches the polish on this Kn*fe.
(She puts down on the table both the test results and a photo of the Kn*fe. On the photo of the Kn*fe is a yellow post it with the following on it.)
00876-592-077
G.G.
12-31-02
Catherine: You handled this Kn*fe.
Hostess: So?
Catherine: Kitchen's first rule: Don't touch my Kn*fe; don't touch my Johnson.
(CATHERINE sits down at the table.)
Catherine: Did you s*ab the chef?
Hostess: Well, this is the sous chef's Kn*fe.
Catherine: I'm aware of that. (b*at) But when a transfer is made on a blade it's usually from slippage. Due to a s*ab motion.
(Quick flash to: A Kn*fe in a hand making a s*ab motion and the hand slipping on the Kn*fe. End of flash. Resume to present.)
Hostess: Ar-are you charging me with anything?
Catherine: No. But why don't you have a seat out in reception. Things could change.
CUT TO:
[INT. DAMEN RESIDENCE -- DAY]
(WARRICK and SARA question JANE DAMEN about the prescription. In the kitchen behind them, JOHN DAMEN rummages through the cabinets.)
Warrick: Mrs. Damen, our detective found this prescription in your name for valium.
(WARRICK hands a copy of the prescription form to JANE DAMEN. She takes it. It reads:
SUNDOWN CLINIC
7545 Castle Banks Rd. Las Vegas, NV 89125
(702) 555-0177
Name: JANE DAMEN Date: 120 ... Address: 187654 St????... City: L.V.
25 mg as needed Valium
[signature] MD No. 087654
Warrick: Can you tell us anything about that?
(She puts the paper on the counter behind her.)
Jane Damen: I take valium on occasion. Yes. Our lives get pretty frenetic just trying to keep up with Linda.
Warrick: And you last got a prescription ... this past monday. What does that mean?
Sara: The tox report says Linda had five times the normal dose of valium in her system. Because there were no hesitation marks on her wrists it suggests that someone else inflicted the wound. That much valium would've been enough to subdue her.
John Damen: Hey, I-I think you're a little out of line here.
Jane Damen: I did not drug my daughter.
Warrick: May we have your permission to look through the current contents of your prescription?
(She sighs.)
Jane Damen: Did Linda's boyfriend put you up to this? Because he is not s*ab.
(SARA'S cell phone rings.)
Warrick: No.
(SARA stands up and moves away to answer it.)
Sara: Excuse me.
Warrick: We're simply trying to determine ...
Sara: (to phone) Hello?
INTERCUT WITH:
[INT. CSI - DNA LAB]
Greg: The blouse from your vic's closet is stained. The substances are biological. High salt content.
Sara: Male or female?
(SARA listens to GREG'S answer on the phone.)
Sara: Thanks, Greg.
(SARA hangs up and turns around.)
Sara: Mr. And Mrs. Damen, there are five types of tears -- sorrow, regret, joy, fear and allergic reaction. The one thing that they have in common is DNA. We found a blouse in your daughter's closet the night that she died. There was moisture on it. The moisture... was tears. The DNA ... (SARA looks at JOHN DAMEN.) ... was male.
(Everyone turns to look at JOHN DAMEN.)
Sara: Mr. Damen? Were you waiting in the closet for your daughter?
(JOHN DAMEN looks down and doesn't answer.)
Warrick: We can get a warrant to test your DNA sample against our sample.
Jane Damen: John?
John Damen: (stutters) The... The-the only way to get an adult committed for psychological help is if they hurt themselves.
Warrick: (quietly) Or someone else.
John Damen: Everyone Linda att*cked was too afraid to file complaints against her. She was out of hand. She was attacking strangers. She was vandalizing property. She was refusing to take her medication and we were helpless to make her.
(Quick flashback to: In LINDA DAMEN'S apartment, she's lying asleep on the bed. JOHN DAMEN lingers over her with the straight edged razor.)
John Damen: (V.O.) It was supposed to be a su1c1de attempt ...
(He makes the first cut.)
John Damen: but then ...
(He turns around as the door handle rattles.)
(End of flashback. Resume to present.)
John Damen: I heard somebody at the door and I ... I-I ... I guess I panicked.
(Quick flashback to: In the apartment, JOHN DAMEN hides the razor under the bedsheet and heads for the closet.)
John Damen: (V.O.) I hid in the closet.
(The closet door opens and closes.)
(End of flashback. Resume to present.)
John Damen: (crying) And, um, she, uh ... when he...
(Quick flashback to: Through the closet door blinds, JOHN DAMEN watches as BRODY JONES climbs onto the bed and tries to revive LINDA.)
Brody Jones: Linda? Linda?!
(Crying, JOHN DAMEN cries and rests his head against the blouse hanging on the hanger.)
John Damen: (V.O.) By then it was too late.
(End of flashback. Resume to present.)
John Damen: (to JANE) I just wanted to get her help. I just wa-- ... (to WARRICK) She needed my help. I just ...
(WARRICK turns and signals to the officer standing behind them. The officer puts handcuffs on JOHN DAMEN.)
John Damen: (stutters) She, she needed help. (to JANE) Honey, you know ... she-she wouldn't ...
(JANE looks at him, stunned by the confession. The officer takes JOHN DAMEN out of the room. JANE DAMEN moves off camera frame.)
Warrick: Reminds of what my grandmother said a long time ago. I would never believe her.
Sara: What's that?
Warrick: Crazy people make even sane people act crazy.
CUT TO:
[INT. CSI - EVIDENCE ROOM]
(GRISSOM sits alone inside the lab with the chef's Kn*fe in one hand and a magnifying glass in the other. He shakes the Kn*fe. He looks at the Kn*fe.)
(CATHERINE walks in. GRISSOM shakes the Kn*fe again.)
Catherine: What'd you find?
Grissom: Come here. Do you hear this?
(He holds the Kn*fe near CATHERINE'S ear and shakes it up and down. A faint rattling sound is heard.)
Catherine: How did we miss that in trace?
Grissom: I don't know. But I've learned that the evidence room is the quietest place in the lab.
(GRISSOM looks at the Kn*fe and twists it open. The handle clicks and slides apart. He tilts the Kn*fe and empties sand out of the handle.)
Catherine: Sand. Right -- for balance and precision.
(GRISSOM grabs his magnifying glass and examines the grains of sand on the table.)
Grissom: Did you know that to a geologist there's no such thing as sand? Each grain is its own tiny rock. Fine, glassy crystals ... (Camera zooms into the glass for a close up.) ... dark. Obsidian, I bet.
(GRISSOM hands the magnifying glass to CATHERINE.)
Catherine: Volcanic sand. Long way from home.
Grissom: Japanese call it singing sand. If you walk on certain beaches in Japan it'll make a musical sound.
Catherine: Never been to Japan, but I've seen this sand before ... on the blood clot.
(GRISSOM takes the magnifying glass and looks at the Kn*fe hole where he finds some blood.)
Grissom: Well. (he chuckles) "Let us carve him as a dish fit for the gods."
Catherine: I'm going to guess Shakespeare.
Grissom: Julius Caesar.
[Note: Julius Caesar, Act II, Scene 1, (Wm. Shakespeare)]
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(GRISSOM interviews CHEF ROSS HALPO.)
Grissom: That's your Kn*fe.
(He puts a photo on the table in front of the chef.)
Grissom: This is the owner's log.
(GRISSOM opens the log book and reads.)
Grissom: "The sous chef gets 89% of the meat off of trout filet -- six percent better than any chef on the line."
(GRISSOM looks at ROSS HALPO)
Grissom: I don't think you k*lled the chef. (b*at) You did fillet him, though.
(Quick flashback to: ROSS HALPO is busy working, his hands bloodied.)
Grissom: (V.O.) Your Kn*fe handle slid open...
(Cut to: The blood and sand slides down the floor drain.)
Grissom: (V.O.) ...sand went down the drain landing on the victim's clotted blood.
(End of flashback. Resume to present.)
Grissom: It's hard work, carving up a man. I believe that's how you broke your Kn*fe handle.
(ROSS HALPO looks at GRISSOM and doesn't say anything.)
Grissom: But you didn't do this alone, did you?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(CATHERINE is interviewing LES DUTTON, the De Breff Bistro OWNER.)
Catherine: A m*rder chef in your kitchen. Kiss of death for a restaurant.
(Quick flashback to: LES DUTTON is in the back kitchen standing next to ROSS HALPO and pointing to the body on the ground in front of them.)
Les Dutton: (to ROSS HALPO) We'll never get our customers back. How am I going to get a body out of here?
Ross Halpo: I do for you, you do for me.
(End of flashback. Resume to present.)
Catherine: Code red, in fact -- protect the kitchen.
(Quick flashback to: ROSS HALPO and LES DUTTON are in the back while ROSS cuts the body up. End of flashback. Resume to present.)
Catherine: Some people say that the most important part of preparing a meal is the cleanup.
(Quick flashback to: ROSS HALPO is covered with blood.)
Catherine: (V.O.) While the fillet man disposed of the chef parts you got rid of your bloody woolen suit.
(Cut to: LES DUTTON takes off his coat. Cut to: The wool suit burns on the grill. The woolen particles get trapped in the fan above.)
(End of flashback. Resume to present.)
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
(GRISSOM meets BRASS outside in the hallway.)
Brass: How's it going?
Grissom: Well, he's not denying anything. He's not admitting anything, either.
(BRASS sighs.)
Brass: Yeah. Same as the other two here. They need a little nudge.
Grissom: Such as?
Brass: While they're in our custody shall we try a little theater?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- CONTINUOUS]
(BRASS walks into the interview room and whispers into CATHERINE'S ear. She nods her head as she listens. He glances periodically at LES DUTTON, who watches them nervously.)
(BRASS walks over to LES DUTTON.)
Brass: Let's go for a walk.
(LES DUTTON sighs.)
Brass: Hey, relax. You'll be with a friend.
(He stands up and BRASS escorts him out of the room.)
Brass: Cuff him up.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]
[CAMERA SLOW MOTION]
(CHEF ROSS HALPO in handcuffs is being escorted down the hallway by an officer. LES DUTTON, also in handcuffs meets up with him and is escorted down the hallway behind him by another officer and BRASS.)
(They walk slowly by the waiting room where THE HOSTESS stands. The HOSTESS looks at ROSS HALPO. ROSS HALPO glances back at LES DUTTON behind him. LES DUTTON also glances up and looks at THE HOSTESS. She watches the men walk by.)
(GRISSOM leans casually against the far wall and notices her reaction.)
(The two men are lead out of the hallway.)
(GRISSOM walks up to the HOSTESS.)
Grissom: Why did you k*ll him?
Hostess: I-I went into the walk-in to, to get some lemons.
(Quick flashback to: In the back room storage walk-in, CHEFS PETROV SAMSKO and LOLA CREIGHTON are making out. THE HOSTESS walks in and sees them.)
Petrov Samsko: (moans) Oh, yeah ...
(She turns around and heads out the door. End of flashback. Resume to present.)
Hostess: He played around all the time -- waitresses, patrons ... nobodies.
(CATHERINE walks into the room.)
Hostess: But ... she was different. (b*at) She was a chef.
(She says it as if it means something.)
Grissom: What does that mean?
Hostess: Well, I can't make toast, um ... where did I stand?
(Quick flashback to: THE HOSTESS walks out of the walk in and toward CHEF PETROV SAMSKO. He turns around and smiles at her.)
Petrov Samsko: Hey, beautiful, I haven't seen you all night.
(The HOSTESS doesn't take her gaze off of him. She walks up to him.)
Hostess: Well, I've seen you.
(He scoffs and turns around to walk away. She reaches him and we hear the sound of a Kn*fe. She s*ab him in the back and he goes down.)
(She, along with everyone else in the kitchen, watches as PETROV SAMSKO falls to the floor.)
(End of flashback. Resume to present.)
(GRISSOM stares at THE HOSTESS. He turns and looks at CATHERINE who also stares at THE HOSTESS in disbelief. The HOSTESS stares back at them as if it makes all the sense in the world to her.)
Grissom: Officer, would you take her to booking, please?
(The officer puts handcuffs on THE HOSTESS and leads her out of the room.)
Catherine: (sighs) All in a day's work.
Grissom: Yeah.
[b*at]
Grissom: You up for dinner?
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x11 - Recipe for m*rder"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
(A dark colored large bird flies across the bottom of the screen.)
[EXT. LAS VEGAS DESERT (STOCK) - EVENING]
(The shadow of the large bird travels along the rocks below. The bird caws.)
[EXT. LAS VEGAS MOUNTAINS (STOCK) - EVENING]
(Camera travels birds-eye above the mountains.)
[EXT. FLOYD LAMB STATE PARK -- GROUND -- EVENING]
(A frog sits and croaks under the fallen leaves. A man walks across the screen disturbing the leaves and making the frog jump aside.)
(Cut to: A group of three men walk along the path.)
(Cut to: The bird flies overhead.)
(Cut to: The men continue to walk along the path.)
(Cut to: The bird flies down low along the path and settles on a nest in a tree.)
CUT TO:
[EXT. FLOYD LAMB STATE PARK - EVENING -- CONTINUOUS]
(The men approach the bird and quietly. They stop.)
Lead Man 1: I don't think I can get a clear sh*t.
(Each of the three men pick up their cameras to take pictures.)
Man 2 (on right): It's a peregrine falcon.
Man 3 (on left): No, it's not. It's a hawk.
Lead Man 1: You can't see anything this time of day. We should come back at dawn.
Man 2 (on right): But I'm so behind on my life list. I still don't have a western wood-pewee or a solitary sandpiper.
Lead Man: What, do you think they're going to kick you out of the club?
Man 2 (on right): John saw a dickcissel earlier today. It could be gone tomorrow.
Lead Man: John's full of ...
(The bird caws. The men stop to look through their cameras.)
Lead Man: Corvus corax.
Man 2 (on right): A common raven? So what?
CAMERA VIEW:
(The camera focuses and refocuses on the bird. They see that in the bird's mouth, it's carrying an eye.)
(The men put their cameras down.)
CUT TO:
[EXT. FLOYD LAMB STATE PARK -- NIGHT]
(Camera cuts to: A close up of GRISSOM'S eye. The camera pulls back. He stares at the eye in his hand.)
Grissom: Well, someone's missing a contact lens.
(GRISSOM and CATHERINE stand on ladders peering into the bird's nest.)
Catherine: That's not all they're missing.
Grissom: You know, ravens, like eagles, have been known to travel 30 miles from roost to feeding ground.
Catherine: 30 miles in every direction. Pi-r-squared. That means that we're looking at a ... 2,800 mile search area.
Grissom: "Once upon a midnight dreary while I pondered weak and weary over many a quaint and curious volume of forgotten lore."
Catherine: We're up a tree and you're quoting Poe. Give me something.
Grissom: "Quoth the raven, 'only this ... and nothing more.'"
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI -- LAB]
(GRISSOM puts the eye in a dish and takes a couple of photos of it.)
(Quick flashback to: The raven, caws, picks the eye up off of the ground and flies off. End of flashback. Resume to present.)
(GRISSOM picks up the eye and drops liquid on it. He removes the contact lens.)
(He uncaps a syringe and extracts the liquid from the eye and puts it in a tube.)
CUT TO:
[INT. CSI -- LAB]
(CATHERINE examines the contents of the bird's nest.)
(She picks up a baby toy from inside. She looks at it and smiles. She puts it aside.)
(GRISSOM walks into the room.)
Grissom: You'll be pleased to know the eyeball was only slightly desiccated.
Catherine: And what about the iris?
Grissom: Still blue.
Catherine: Color distinction means the body's been d*ad less than 48 hours.
Grissom: Yeah, I sent some vitreous fluid to tox. The rest to DNA. So ... Can you get me an eye for an eye?
Catherine: Well, I've got foil ... a leaf ... a feather and plastic.
(GRISSOM picks up the feather and looks at it.)
Grissom: Feathers. For warmth.
Catherine: Seagull feathers.
Grissom: Well, the only place we'd have seagulls around here would be Lake Mead.
Catherine: But only when the fishing's good. And we got some ground limestone.
Grissom: Not found at Lake Mead. (pause) You know, ravens are incredibly intelligent. They have a brain capacity comparable to dolphins.
Catherine: Means they know where to shop.
(CATHERINE looks over at the map on the table.)
Catherine: We found the eye here. I bet she shopped here where limestone is used as ground cover.
CUT TO:
(A very pretty kaleidoscope of bird flying in the sky.)
[EXT. PENDALE LAND FILL -- DAY]
(SARA, NICK and CATHERINE walk toward the cell of garbage that they're going to sift through. CATHERINE'S holding the file open.)
Sara: You know the average Nevadan generates more waste more than three times waste than the average American?
Nick: Yeah, well, that's tourist trash.
Sara: Thirteen million pounds per day. I went to the recycling forum in march.
Catherine: The landfill manager says this is the active cell. Spotter says cell lift moves forward 20 feet a day. That puts the active cell right ... pretty much in front of us.
Nick: Man! You find the best evidence in the nastiest places.
Catherine: You are what you throw away.
Sara: It's like peeling an onion into peoples' lives.
Catherine: Well, this onion is our time line so peel back accordingly.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS stands in front of the display of x-rays on the viewer. GRISSOM stands nearby with the file folder in his hands.)
Robbins: The electrolyte and glucose levels in the eye were normal. Means your victim wasn't dehydrated or diabetic. Other than that ...
Grissom: ... we're flying blind.
(They turn around and head back to the table.)
Grissom: David.
David Phillips: Grissom.
(GRISSOM stops and looks at DAVID PHILLIPS.)
Grissom: A 35-year-old male. Car salesman. Dropped d*ad at work. Apparent heart att*ck. Not under the care of a physician. Uh, no history of high blood pressure. Just routine autopsy.
Grissom: Go for it.
(GRISSOM heads out the front door. DAVID pulls back the sheet.)
David Phillips: Yeah, we're all set, Dr. Robbins.
Robbins: Okay, David. (to recorder) Case 03-615. Postmortem exam of an adult. Caucasian. Male. Identified as Fred Stearns. Body received warm to the touch. Rigor mortis not present. Skull nose, bones are intact by palpation. Irides are brown. Slightly congested. Hmm. Unidentified dry black substance on the front of the teeth. Gingiva and lips. Okay. David, open him up.
(DAVID takes the Kn*fe and makes the first cut. He sees blood and stops.)
David: Uh ... D-Dr. Robbins?
Robbins: Hmm?
David: Sir, I-I have blood. I have bleeding.
(ROBBINS turns around and heads back to the table. He grabs a cloth to stop the bleeding. DAVID takes the cloth and applies pressure.)
Robbins: Get me my kit. Come on.
(DAVID turns and gets the kit and puts it near the head of the table.)
Robbins: Hold this. let's go. Keep it tight. That's good, David.
(ROBBINS puts a syringe together and plunges it into FRED STEARNS' chest.)
(Quick CGI to: The needle of the syringe pierces through the heart. The heart starts pumping. End of CGI. Resume to present.)
(ROBBINS puts the syringe on the side and checks his vitals.)
Robbins: Pulse is rising. David, string me a suture needle.
(He waves him aside.)
Robbins: Go! Go!
CUT TO:
[EXT. PENDALE LAND FILL -- DAY]
(CATHERINE, NICK and SARA search the land fill.)
(After several Dissolves, CATHERINE lifts up a blouse and sees something.)
Catherine: I think I may have something here!
(NICK and SARA make their way toward her.)
Sara: What've you got?
Nick: Whoa!
(CATHERINE pushes the garbage aside and finds the severed limb.)
Catherine: Got a leg.
Nick: Obviously female.
Catherine: Obviously.
(CATHERINE picks it up and hands it to NICK.)
Nick: Whew. I'll bag it.
(SARA searches the garbage around the limb. She finds something.)
Sara: All right. I got a torso and head. Missing an eye.
(Quick flashback to: The Raven caws, lands and picks at the eye. End of flashback. Resume to present.)
(SARA starts to cough.)
Catherine: Okay, so, uh how hot do you think it is, underneath all this trash?
Nick: I don't know, what do you think -- ballpark at 120 degrees?
(NICK bags the leg.)
Catherine: So this is yesterday's trash. d*ad body. Minimum 18 hours in this heat.
Sara: She should be totally bloated.
Catherine: Yeah, she's not.
Nick: Yeah, she's really torn up.
(SARA looks behind her.)
Sara: Bulldozers are vicious.
(Quick flashback to: Camera downward view of the body/limb and garbage being dumped on it. End of flashback. Resume to present.)
Catherine: Yeah, I think they only finished the job. How did she get here?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY]
(CATHERINE walks into the room.)
Catherine: Heard you got to be superhero today.
Robbins: I consider myself a superhero every day.
Catherine: Got anything on our lady of the dump?
Robbins: C.O.D. is still indeterminate. Blunt force trauma is a possibility. She has some perimortem bruising around the left eye. But limb removal is relatively clean. Definitely postmortem.
Catherine: So we've got no arms, no prints. What kind of identifying characteristics do we have?
Robbins: Second degree midline episiotomy scar.
Catherine: Well, that narrows it down to more than half the women in this country who gave birth.
Robbins: But there might be one other thing. At first I thought appendectomy, but check out her x ray.
(ROBBINS walks over to the view box.)
Robbins: She's had surgery. Some kind of implant at the L4-L5 interspace. I'll know more when I open her up.
Catherine: You're my hero, Al.
(CATHERINE smiles over her shoulder at ROBBINS, then turns and leaves.)
CUT TO:
[INT. CSI - LAYOUT ROOM -- DAY]
(SARA and NICK stand over the table full of garbage.)
Sara: All right, what do we know?
Nick: That all of this trash was found around the victim. And she was buried with some very expensive trash.
Sara: Yeah, there's nothing wrong with this frying pan. Could've gone to goodwill or someplace.
Nick: Home pregnancy test. Negative. Better luck next time.
Sara: Someone ... does not like frozen peas.
Nick: They weren't shopping at CostCo. They paid way too much for ice cream.
Sara: There's a good chance our vic was wearing this shirt.
Nick: Let's start trying to narrow this down to a neighborhood, huh?
Sara: Excellent idea. Uh, marker or sort?
Nick: Sort. Please.
(SARA opens a pen and turns around to mark the map as NICK sorts through the garbage.)
Nick: First up: "178 Spaulding Meadows." Uh, "174 Storm Cloud Lane." A second "174 Storm Cloud Lane".
(SARA marks the wall map.)
CUT TO:
[INT. CSI - OFFICE -- DAY]
(ROBBINS goes over the bagged disc with CATHERINE.)
Robbins: Pulled it from the L4-L5 interspace. Cobalt chromium molybdenum alloy with a titanium coating and an ultra high molecular weight polyethylene component. An artificial spinal disc. If you can recreate a spine the possibilities are endless.
Catherine: I thought, uh, disc replacement surgery involved fusing bone to bone.
Robbins: Eh, typically, but it can limit mobility. With that little disc, your body doesn't know the difference.
(Quick CGI to the disc inside the body and moving back and forth.)
Robbins: (V.O.) Matches range of motion, flexibility and an axial rotation of a normal spine.
(End of CGI. Resume to present.)
Robbins: Still in clinical trials. Less than a thousand surgeries have been performed in this country.
Catherine: Oh, well, I like those odds.
Robbins: You'll like this even better. Medium endplate, size 12, polyethylene component and a six-degree lordosis angle. Narrowed it down to one. Amy Ennis. Austin, Texas.
(ROBBINS gives CATHERINE the bagged disc.)
Catherine: Tourist?
(ROBBINS chuckles, turns and heads for the door.)
Robbins: (laughs) That's for you to find out.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS COMMUNITY (STOCK) -- DAY]
[EXT. STORM CLOUD LANE -- DAY]
(OFFICERS pull out the trash cans onto the road. NICK, CATHERINE and SARA open them up and check them for blood.)
Nick: Hey, is this all of them?
Catherine: Yeah, every last one on storm cloud lane.
Sara: Cans are on private property, it's not trash day, how did you get consent?
Catherine: I talked to the president of the owner's association.
Nick: What'd you thr*at her with?
Catherine: A return visit.
(SARA sprays the can and finds blood.)
Sara: Hey, guys? I got blood.
Nick: Yeah. Yeah me, too.
Catherine: Well, that makes five.
DISSOLVE TO:
(They pull the five trash cans with the blood stains in them to the middle of the street.)
Catherine: Let's see if any of it's human.
(They each swab and test the blood.)
(SARA'S test shows up not human. NICK'S test shows up as human.)
Nick: These two are human.
DISSOLVE TO:
(They pull the two trash cans with the human blood stains in them further across the road, apart from the other cans.)
(SARA looks inside the can.)
Sara: If the vic was in here blood would have pooled to the bottom.
Nick: Yeah, and blood dripped down the side of this one as the hydraulic arm dumped it.
(Quick flashback to: The trash collecting truck dumps the trash can contents into the bin. The trash falls. We see the severed limb inside the bin. End of flashback. Resume to present.)
Sara: This is our can.
(CATHERINE looks at the can, then points.)
Catherine: And that's our house.
SHORT TIME CUT TO:
[EXT. STORM CLOUD LANE - EASTON RESIDENCE -- DAY]
(CATHERINE interviews DANIEL EASTON.)
Daniel Easton: You found blood ... in my trash can?
Catherine: Any idea how it got there?
Daniel Easton: No.
Catherine: Do you know an Amy Ennis from Austin, Texas?
(NORA EASTON drives up and parks the car. She's carrying a bouquet of flowers.)
Daniel Easton: No.
Catherine: So, you have absolutely no idea what I'm talking about?
(NORA EASTON gets out of the car and walks out to the house.)
Nora Easton: Dad ... you all right?
Daniel Easton: I'm fine.
Nora Easton: What's going on?
Catherine: I'm just asking your father a few questions.
Daniel Easton: Why don't you go inside and make some dinner?
Nora Easton: What are you in the mood for?
Daniel Easton: Whatever you want. Charlie, homework.
Charlie Easton: Hey. Get the job?
Daniel Easton: Later.
Catherine: Divorced?
Daniel Easton: Yeah. Five years.
CUT TO:
[EXT. CAR DEALERSHIP -- DAY]
(GRISSOM and WARRICK walk through the car lot to the building.)
Warrick: I hear David's resurrecting the d*ad now.
Grissom: (chuckles) Yeah, our little miracle worker.
Warrick: I just came from the hospital. That guy's in ICU with respiratory paralysis. I did get a prelim on his blood work -- looks like some sort of an organic poison.
Grissom: Well, that would explain the discoloration Robbins found around his mouth.
Marty Gibson: (to the customer) I'm telling you, this is great. You're going to love this. 30 miles to the gallon, very low maintenance. Your people are going to love it. You know what? I want you to tell them to throw away the manuals.
(He hands him a business card.)
Marty Gibson: Call me for anything. Marty Gibson doesn't close a sale, he opens a relationship.
(MARTY GIBSON leads the customer past GRISSOM and WARRICK.)
Warrick: That guy's a charmer.
Grissom: Yeah, real Ricky Roma.
CUT TO:
[INT. CAR DEALERSHIP -- DAY]
(A dog yips in the background. WARRICK and GRISSOM walk up to the receptionist.)
Nancy Linden: May I help you, gentlemen?
Warrick: I'm Warrick Brown, this is Gil Grissom. We're from the Las Vegas Crime Lab.
Nancy Linden: Oh. Nanci Linden. It's a pleasure to meet you.
Grissom: We have a warrant to search your premises.
Nancy Linden: What for?
Grissom: For evidence concerning the attempted m*rder of Fred Stearns.
Nancy Linden: Oh, he had a heart att*ck. He's d*ad.
Grissom: No, he didn't ... and he's not.
(NANCI stares at them speechless. The dog barks. She turns to quiet her dog in her bag.)
Nancy Linden: Gigi, shush. Shh!
(She kicks the bag lightly. The dog whimpers.)
Nancy Linden: I'm sorry. I'm not supposed to bring her in here.
CUT TO:
[INT. CAR DEALERSHIP - STAIRS/SECOND FLOOR - DAY -- CONTINUOUS]
(NANCY LINDEN leads GRISSOM and WARRICK up the stairs to the offices. She points the desks out to them.)
Nancy Linden: So, this was ... is Fred's desk. Nobody's touched it since they took him away. It's bad luck. Middle desk is Marty Gibson. The one on the end is Clyde Hinton.
Grissom: Thank you.
(NANCI LINDEN leaves the room.)
Warrick: Poison could've come from any of these sources here.
Grissom: Oral fixation you think? Constant need for gratification?
Warrick: In every way. This guy was like the monster closer. You ever buy a brand-new car, Griss?
Grissom: Depreciation doesn't make it a logical investment.
(WARRICK stands in front of the WHITEBOARD that has the commission numbers on it. It reads:
CABO COMMISSION
FRED // CLYDE // MARTY
/ 9251 / 4367 //
/ 4571 / 7280 // / 1642 / 1842 // / 8141 ...
/ / // / 1712 / 1642 // 6317 /
/ 4671 / 622 // / 7241 / //
/ 4263 / 7064 // / 4263 / 1817 //
Warrick: It's not about logic. It's about that smell. There's nothing like the smell of a brand-new car.
(MARTY GIBSON steps into the office and holds out his business card.)
Marty Gibson: How right you are. Marty Gibson.
Grissom: We're not buying, we're looking. If we need any help we'll let you know.
Marty Gibson: Sometimes it's not about what you need, sometimes it's about what you want.
(MARTY GIBSON leaves the room.)
(GRISSOM and WARRICK start to check the desks. GRISSOM finds gum wrappers. He checks the tips of the pens on the desk. He picks up the phone to find that it's stuck to the base. He looks at the phone.)
(At the next desk, WARRICK collects the liquid in the mug.)
(GRISSOM scrapes off some of the white stuff on the phone.)
(WARRICK checks the sleeves of the jacket.)
(GRISSOM collects the coffee in the mug.)
(WARRICK collects something off of the sleeve. Camera zooms in for a extreme close up.)
(GRISSOM tries the drawers. CLYDE HINTON leaning over the partition wall throws GRISSOM the keys to the drawer.)
Grissom: You always, uh, lock your drawers?
(GRISSOM finds the glue bottle in the desk.)
Grissom: Huh.
(CLYDE HINTON snickers.)
Grissom: You're the one who super-glued Fred's phone.
(CLYDE HINTON continues to chuckle. GRISSOM holds up the gum.)
Grissom: "Chewing gum: Will turn any mouth black for days."
(CLYDE HINTON starts laughing. WARRICK cell phone rings )
Warrick: Warrick Brown.
Grissom: I get it. You're the funny guy.
Clyde Hinton: You know the definition of "kismet," Mr. Grissom?
Grissom: Do you know the definition of attempted m*rder, Mr Hinton?
Clyde Hinton: Just go with me for a second.
Grissom: Go with you where?
Clyde Hinton: Come on... "kismet."
Grissom: Fate, or destiny. It's from the arabic word meaning to distribute, or divide up.
Clyde Hinton: Smart guy. Destiny is what you make of it.It's what gets distributed to me while the other guy's washing the stain off his lips.
(Quick flashback to: FRED STEARNS swings around in his chair and talks with CLYDE and MARTY.)
Fred Stearns: Well, boys, just closed another fatty. Two hours of schmooze -
(FRED unwraps a piece of gum and pops it into his mouth. He starts chewing.)
Fred Stearns: I can't lose.
(MARTY looks over at FRED and nods.)
Marty Gibson: Your lips.
(FRED grabs the mirror and checks it. Sure enough, his lips and teeth are stained black.)
Fred Stearns: Clyde!
Clyde Hinton: Don't worry, Freddy. I'll handle the client.
(FRED starts wiping the stain off of his mouth. CLYDE steps up and everyone laughs.)
(End of flashback. Resume to present.)
Clyde Hinton: Look, everyone tries to get an edge in this business. I use jokes.
(WARRICK steps up to the partition.)
Warrick: Fred Stearns just passed away. Again.
(CLYDE HINTON appropriately doesn't laugh at the news.)
Grissom: d*ad guy. Not funny.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
CADAVER VIEW:
(DAVID PHILLIPS leans over the body and into the camera. ROBBINS appears next to him and looks down into the camera also.)
Robbins: Okay, David, take two.
(DAVID starts the Y-incision.)
CUT TO:
[INT. CSI -- HALLWAY]
(BRASS and CATHERINE walk through the hallway.)
Brass: No luck on Amy Ennis's next of kin. The Austin PD is still working on it.
Catherine: Well, we know that she had a kid.
Brass: Well, she gave birth. That doesn't mean that she had a kid.
Catherine: So, what, we've got nothing?
Brass: We have a mercury sable, uh, Texas plates, found in the lot of the Tangiers hotel. She's the registered owner. They're bringing it in now.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(DAVID cuts into the stomach. He empties out the contents and looks inside. ROBBINS watches in the back.)
David Phillips: If the poison was administered orally I may know how it got into the bloodstream.
(GRISSOM turns to look at what DAVID'S talking about.)
David Phillips: Gastric ulcer.
(Quick CGI to: Top view down on a male chest.)
David Phillips: (V.O.) In a healthy, functioning stomach, ...
(Camera drops down and through the chest to show the outer stomach. Clear liquid coats the outer stomach lining.)
David Phillips: (V.O.) ... mucosa lines the walls and prevents the hydrochloric acid from burning the organ itself.
(A thick black liquid pours down and coats the stomach lining.)
David Phillips: (V.O.) ... But if H. Pylori gets in there, sends the whole system off-balance, stops the mucosa, and causes an ulcer.
(The black liquid moves aside, the mucosa moves aside to reveal an ulcer underneath.)
(End of quick CGI. Resume to present.)
David Phillips: Opens a direct channel from your digestive tract straight into your bloodstream. I know a lot about stress-related ailments.
Robbins: Any word yet on a poison?
Grissom: Tox screen ruled out the ink gum.
Robbins: It could've been a factor, though. Uh, gum churns up stomach acid -- instant inflammation.
Grissom: I don't care about his indigestion, Doc. We need to know what k*lled him.
CUT TO:
[INT. CSI - GARAGE -- DAY]
(NICK and SARA go over the car contents. SARA goes through AMY ENNIS' suitcase. She holds up a black teddy.)
Sara: Well, she wasn't in town on business.
Nick: What's that?
(NICK looks up. SARA turns around and holds the black teddy in front of her. She clicks her tongue and shakes the teddy in front of her.)
Nick: Oh! Depends on what her business was, I guess.
(SARA turns around and puts the teddy back into the suitcase. She checks its contents.)
Sara: Nothing risqué about the rest of her wardrobe.
Nick: Maybe she got it here. She could've met somebody, you know.
(SARA checks the suitcase pocket. NICK puts on a mask and holds up the hand-held sized cyanoacrylate fuming wand.)
Nick: Okay, I'm going to fume.
Sara: Okay.
(NICK opens the car door, crawls in and looks for prints. After a while, he finds a print on the steering wheel.)
(Camera zooms in for a close up.)
OVERLAP TO:
[INT. CSI - PRINT LAB -- DAY]
(Camera overlaps the print on the steering wheel with the extracted print on the computer monitor on the left side while the right side looks for a match.)
(The computer beeps. There's a match. NICK continues to work at the computer.)
(CATHERINE walks into the lab.)
Catherine: According to Greg, the hairs and the DNA from the toothbrush are a match to the vic. What about the prints from her car?
Nick: I thought I messed it up, so I ran it twice.
(NICK prints out the results. He hands it to CATHERINE.)
Nick: No errant prints, all a match to the same woman.
Catherine: Amy Ennis.
Nick: No "Amy Ennis" in the database.
Catherine: Well, Amy Ennis is our vic. It's her car.
Nick: Prints came back to somebody named "Kelly Easton".
(CATHERINE looks at the print results. It reads:
[EXAMPLAR:
Fingerprint exemplar bearing the name of:
Prints obtained from Amy Ennis' Vehicle - Steering Wheel, ra... Interior Driver & Passenger Doors
RESULTS: The above exemplar was compared to the following:
KELLY EASTON
IDENTIFICATION WAS MADE - All Prints Match
By: Mandy Webster #865748
Latent Print Examiner
Identification Unit
*Subpoena list for court appearance:
Lifting developing of latent print(s) L.E.T. Thomas #434687 ... Comparison of latent print(s) Representative of Latent Prints ...
*A fingerprint palm card witnessed by investigator should be ... Identification Unit as soon as possible. Attach a copy ... ]
Catherine: Kelly Easton ... Easton ... 174 Storm Cloud Lane?
Nick: What's the first thing you do when you don't want to be found?
Catherine: Leave town.
Nick: Yeah ... and change your name.
CUT TO:
[EXT. STORM CLOUD LANE - EASTON RESIDENCE -- NIGHT]
(OFFICER cars with their lights flashing are parked outside the EASTON residence.)
(CATHERINE talks with DANIEL EASTON.)
Catherine: ... Want to Mulligan on your first story? "Divorced"?
Daniel Easton: What the hell was I supposed to say? My wife went out to get her hair done and never came home.
Catherine: Well, maybe you gave her a reason to leave. Spousal abuse, cheating...
Daniel Easton: Aaww, you people. You know, you were here five years ago with your grid searches, your dogs, your cadets -- you came up empty. You give me a good reason why my wife left me, I'd love to hear it, because I tried the truth. I didn't know what happened. You know what I got for it? They all think I k*lled my wife. Her parents sued me for custody. I lost my job, my friends. Only thing I got left are those kids and this house.
Catherine: Okay, you didn't k*ll her. (b*at) At least back then.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. EASTON RESIDENCE - BEDROOM -- NIGHT]
(CATHERINE and SARA check the bedroom using ALS. CATHERINE checks the bed. SARA checks the seats. She finds something. She also finds a pair of lacy panties.)
Sara: I don't think these belong to dad.
Catherine: Could place Mrs. Easton at the house.
CUT TO:
[EXT. STORM CLOUD LANE - EASTON RESIDENCE - NIGHT -- CONTINUOUS]
(DANIEL EASTON explains the lacy panties to SARA.)
Daniel Easton: She came back about a month ago. Doorbell rings ...
(Quick flashback to: DANIEL EASTON opens the front door. End of flashback. Resume to present.)
Daniel Easton: huh, what do you say?
(Quick flashback to: The door is pushed open and AMY ENNIS/KELLY EASTON walks into the room.)
Amy Ennis/Kelly Easton: Hi.
(End of flashback. Resume to present.)
Sara: You tell me. Whatever it is, it must've worked. She was back in your bedroom.
Daniel Easton: Well, they say time heals all wounds. It's crap. I hate her for what she did to us, but I swear, it was the first time I felt anything in five years.
CUT TO:
[INT. EASTON RESIDENCE - BEDROOM - NIGHT -- CONTINUOUS]
(CATHERINE pulls the bed covers back and continues to look for evidence. CATHERINE finds a strand of hair. She takes a tape and lifts it.)
CUT TO:
[INT. EASTON RESIDENCE - CHARLIE'S BEDROOM - NIGHT -- CONTINUOUS]
(NICK uses the ALS in CHARLIE'S bedroom. He looks on the walls, on the bed, and notices CHARLIE'S journal on the desk. NICK opens it and sees pages and pages of violent drawings with notes such as "PAIN", "SKOOL BITES", "HATE".)
CUT TO:
[EXT. STORM CLOUD LANE -- EASTON RESIDENCE - NIGHT -- CONTINUOUS]
(NICK talks with CHARLIE EASTON.)
Charlie Easton: So, she's really d*ad?
Nick: Yeah. Yeah, I'm sorry.
Charlie Easton: Figures.
Nick: How's that?
Charlie Easton: She left without telling us. Figures she'd die the same way.
Nick: I don't think your mom knew she was going to die, bud.
Charlie Easton: Whatever.
(CHARLIE withdraws and puts on his earphone with loud music on.)
CUT TO:
[EXT. STORM CLOUD LANE -- EASTON RESIDENCE - NIGHT -- CONTINUOUS]
(CATHERINE interviews NORA EASTON.)
Nora Easton: Last time I saw my mother, I was ... in seventh grade. She handed me my lunch and said, "See you after school."
Catherine: Did you know that she was back?
Nora Easton: I thought that she was d*ad.
(NORA rubs her stomach.)
Nora Easton: Can I sit down?
Catherine: Yeah, sure. Nora, I'm sorry. I know this has got to be very hard on you and your brother.
Nora Easton: And my dad.
Catherine: Is your dad seeing anybody? Does he have a girlfriend?
Nora Easton: How could he?
CUT TO:
[INT. EASTON RESIDENCE - NORA'S BEDROOM -- NIGHT -- CONTINUOUS]
(CATHERINE uses the ALS in NORA'S bedroom. She looks at the framed photos on the desk of NORA and her father.)
(CATHERINE opens the drawer and finds bottles of "HIGH PROTEIN" SUPPLEMENTS. She also finds a jewelry bag with a diamond tennis bracelet inside.)
CUT TO:
[INT. EASTON RESIDENCE - KITCHEN -- NIGHT -- CONTINUOUS]
(SARA uses the ALS in the kitchen. She finds some blood stains on the floor. She looks on the wall where the frying pans are hanging and notices a blank spot on the wall where a frying pan should be.)
CUT TO:
[INT. EASTON RESIDENCE - GARAGE -- NIGHT -- CONTINUOUS]
(NICK opens the large freezer in the garage.)
Nick: This is where I found the hairs, in between the packages of frozen peas.
(CATHERINE looks at the baggie with the hair samples.)
Catherine: Mrs. Easton was a brunette.
Nick: And we found a warehouse worth of frozen peas at the landfill.
Catherine: Lack of swelling, clean fractures ... she was frozen.
(Quick flashback to: The body in the garbage truck bin as the bin closes. End of flashback. Resume to present.)
Catherine: Skin and muscle would've lost elasticity. Fracture planes would've passed through in a straight line.
Nick: I'm thinking somebody in this family stuck her in here, waited 'til trash day.
(Quick flashback to: A hand holding a frying pan swings and makes contact with AMY ENNIS' forehead. She goes down. Flash to white. The person empties the large freezer in the garage. End of flashback. Resume to present.)
Catherine: Well, the garbage tells us how she was k*lled. Now I want to know who.
(NICK shuts the freezer door closed with a bang.)
CUT TO:
[INT.CSI -- LAB]
SCOPE VIEW of the sample taken off of the coat sleeve.
(GRISSOM walks into the lab.)
Warrick: That unknown substance I collected from Marty Gibson's coat ...
Grissom: Possibly reptilian skin?
Warrick: How'd you know?
(GRISSOM holds up a piece of paper.)
Grissom: Tox report. The organic poison came back snake venom. I think maybe it's time to open a relationship with Marty Gibson.
CUT TO:
[INT. CAR DEALERSHIP - SECOND FLOOR OFFICES -- DAY]
(GRISSOM and WARRICK re-question MARTY GIBSON.)
Grissom: We found reptile skin on your jacket sleeve. So, unless you're shedding, we want to know how it got there.
Marty Gibson: Whoa, gentlemen, slow down. Can I get you a cup of coffee? (he turns around and yells over his shoulder) Nanci...?
Grissom: No, thank you.
Marty Gibson: (to GRISSOM) Doughnut? Everybody loves doughnuts. (turns and yells) Nanci.
Grissom: No doughnuts.
Warrick: Fred Stearns dropped a dime at girls, girls, girls and wrote it off.
Marty Gibson: Kaido computers. Software guys are nuts, into the kinky stuff. End of the day, they're driving Fred's cars.
Warrick: Neiman Marcus, jewelry department?
Marty Gibson: Fred knew you got to spend money to make money.
Warrick: Well, here's a freaky one. Since when are two dozen mice a business expense?
Marty Gibson: Since I got the pet place to buy a mini-van from me. My cousin works there. You got kids? I could put you in a wagon way below sticker.
Grissom: Marty, what'd you do with the mice?
Marty Gibson: What do you care? You going to arrest me for blurring the lines?
Grissom: No. We were leaning towards m*rder.
CUT TO:
[INT. BASEMENT -- DAY]
(MARTY GIBSON opens the basement doors and leads GRISSOM and WARRICK downstairs.)
Marty Gibson: Watch your step. You guys are completely overreacting. It's just a hobby.
(He shows them the snakes in t*nk.)
Marty Gibson: See? Fuzzies. They're food.
Warrick: You know it's illegal in the state of nevada to have venomous snakes?
Marty: If you handle them correctly, snakes are harmless. I know what I'm doing.
Grissom: Yeah, that's what we're afraid of.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(BRASS questions DANIEL EASTON with his lawyer next to him.)
Daniel Easton: I didn't even know she was d*ad. Thought she'd just left me again.
Brass: Well, it's a good thing you didn't tell the kids mom was back.
Lawyer: My client agreed to talk to you, not be harassed by you.
Brass: You're right. Well, you were excited to see her. Why wouldn't the kids be?
Daniel Easton: I'm an adult.
Brass: That's right, you're an adult -- knowledgeable, experienced ... aware of Nevada Statutes, Chapter 156: Administration of estates of missing persons.
Daniel Easton: It's a matter of public record. We've been filling out those forms for five years.
Brass: You're jumping the g*n. It's four years, 11 months, one week.
Daniel Easton: So what?
Brass: Well, in three weeks, Mrs. Easton's estate can be distributed to her husband. You had a half a million dollar life insurance policy on your wife.
Daniel Easton: And she had one on me. We did that for the kids.
Brass: But you're not d*ad, and she wasn't either, two days ago. You know, for an unemployed guy you're doing a lot of spending. I mean, (chuckles) ... Tiffany's, La Perla international watch company ... expecting a windfall?
Lawyer: (to EASTON) Don't answer that. (to BRASS) You're fishing.
Brass: No, I do that with a pole. No, I'm just thinking out loud. Your wife disappears. Five years after the fact, you get the money. You've earned it, it's yours, but she screwed you up. She showed up.
Daniel Easton: (shakes his head) I did not k*ll my wife.
Brass: What happened, Daniel? The sex wasn't as good as you remembered it, or the money was better? What happened?
CUT TO:
[INT. OFFICE -- NIGHT]
(GRISSOM talks with JESSIE MENKEN. She looks at the photo of the scales sample)
Jessie Menken: Scales found on your suspect's jacket are keeled. Diamondback rattlesnake. His others, smooth scales. A snake fang is basically a hypodermic needle. Oral glands hold in the venom ... like the barrel. When aggravated, the jaw muscles push on the toxin, like a plunger.
Grissom: Only, our victim didn't have any puncture wounds.
Jessie Menken: Well, your guy's probably pretty comfortable with his collection-- otherwise, he'd be d*ad -- which means, he could've milked this one.
Grissom: And brought the venom with him to the dealership.
(She nods.)
Grissom: Well, the trace lab found venom proteins in his coffee cup. Could that have k*lled him?
Jessie Menken: Well, I know a lot of hot sh*ts who drink the stuff -- manly, daredevil B.S. -- And they're still alive.
Grissom: Because typically, the stomach acids would k*ll the venom before it reached the bloodstream, but if you had an ulcer...
Jessie Menken: Hmm, then you're seriously screwed. Was there an abnormal tissue death? Necrosis?
Grissom: No.
Jessie Menken: That rules out his diamondback rattlesnake. Rattler venom's hemotoxic. It means it predigests the tissue before swallowing.
Grissom: Well, the Elisa test came back positive for alpha-neurotoxins.
Jessie Menken: Well, your guy likes them mean. So ... These other two could've done the job, both neurotoxic.
Grissom: Which would send the body into complete and total paralysis, right?
(She nods.)
Grissom: Explaining why the victim ended up in the morgue the first time.
CUT TO:
[INT. CSI - DNA LAB]
(GREG goes over the test results with CATHERINE.)
Greg: Okay, blood from the bedroom chair and the kitchen belong to mom.
Catherine: That's what I figured.
Greg: Hair from the freezer-- nicely preserved, by the way-- and hairs from the bedroom pillow, also the victim's.
Catherine: Okay, this is all great, but, uh, why the 9-1-1 page?
(GREG shows the results to CATHERINE.)
Greg: The moral of my story -- share and share alleles. Pubic hairs in the bed, not mom's.
Catherine: The daughter. Dad did have a new girlfriend.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM]
(CATHERINE questions NORA EASTON.)
Nora Easton: The bracelet was a gift.
Catherine: From your father. Diamonds and platinum, that's, uh, pretty fancy.
Nora Easton: Guess he thought I deserved it.
Catherine: Why?
Nora Easton: For taking care of everything.
Catherine: Everything?
Nora Easton: Laundry, groceries, carpool for Charlie ...
Catherine: Is that it?
(NORA EASTON looks away for a moment.)
Catherine: Nora ... I'd really like to help you and your brother, but I can't unless you talk to me.
(NORA EASTON doesn't respond.)
Catherine: We found evidence of you in your father's bed.
Nora Easton: (smiles) My father loves me.
(CATHERINE'S eyes shift downward and widen. NORA looks down and notices the wet stain on her blouse.)
Nora Easton: Oh, my god.
Catherine: Are you lactating?
(NORA doesn't say anything.)
Catherine: You're pregnant.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY TO INTERVIEW ROOM]
(CATHERINE walks rapidly through the hallway and walks into the interview room where DANIEL EASTON is.)
Catherine: You sick son of a bitch. Did you think we weren't going to find out she was pregnant?
Daniel Easton: Who?
Catherine: Oh, stop it. Your daughter.
Daniel Easton: (confused) Nora is pregnant?
Catherine: Cut the clueless routine.
Daniel Easton: What are you accusing me of?
(Quick flashback to: AMY ENNIS/KELLY EASTON opens the bedroom door and finds DANIEL EASTON sitting on the bed with NORA EASTON.)
Amy Ennis/Kelly Easton: Daniel!
(End of flashback. Resume to present.)
Catherine: Your wife came back and saw what you were doing. So, you k*lled her, and you tried to buy off your daughter with a diamond bracelet.
Daniel Easton: I bought that for my wife.
Catherine: Your daughter's telling a different story.
Daniel Easton: Nora? How could she even know about ...
Catherine: (interrupting) I'm going to nail you for m*rder.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - DNA LAB -- NIGHT]
(GREG shows WARRICK and GRISSOM the test results.)
Warrick: What do you mean, "none"?
Greg: Well, venom's like perfume -- highly specific recipe. Protein ratios vary from species to species, even snake to snake. The protein level of your three "hoses" doesn't match the sample taken from the vic's coffee cup.
Warrick: So, Marty was telling the truth? It was just a coincidence that he owns poisonous snakes, and his co-worker was envenomated.
Grissom: (shakes his head) A coincidence is a scientific anomaly. Maybe he just got rid of the snake.
CUT TO:
[INT. NANCY LINDEN'S RESIDENCE -- NIGHT]
(Camera pans across the counter where NANCY LINDEN has porcelain figurines of all kinds of dogs.
(In the middle of the living room, the SNAKE HANDLER handles the large snake.)
Snake Handler: Girl called all hysterical. Said a snake ate her dog. It's a monacled cobra -- it's not indigenous. Comes from southeast Asia. I asked her where she got it from. She said her co-worker asked her to snake-sit.
Grissom: Marty Gibson.
Snake Handler: Mm-hmm.
(He walks away with the snake.)
(GRISSOM heads for NANCI LINDEN who sits on the couch in her bathrobe crying.)
Nancy Linden: Hey, you're that guy from the crime lab. Well, you're a little late. Bastard told me he had a sure-f*re way to win the Cabo trip, and that he'd take me with him if I just watched his snake for a couple of days. I can't believe what an idiot I am. (crying) Never trust a car salesman.
Grissom: What else did you do for Marty?
Nancy Linden: Well, not that.
Grissom: Did you get him coffee?
Nancy Linden: Oh, well, now I do.
Grissom: Now you do?
Nancy Linden: Yeah. It used to be Marty, the goodwill guy who got coffee for everybody else, but now, since Fred's d*ad, he's moved up a desk.
Grissom: "The Goodwill Guy?"
Nancy Linden: Yeah. The guy with no client list of his own, has to live off the hand-me-downs of the others.
(Quick flashback to: At the office, FRED STEARS holds up his coffee mug and calls out to MARTY GIBSON who doesn't look all that happy.)
Fred Stearns: Hey, Marty, uh, sure could use another refill.
Marty Gibson: You want anything?
Fred Stearns: Easy on the sugar.
Marty Gibson: Coming right up.
(End of flashback. Resume to present.)
Grissom: Well, sometimes access is all you need.
(Quick flashback to: MARTY GIBSON pours the cup of coffee. He reaches into his pocket and retrieves a small vial of venom which he pours into the mug. End of flashback. Resume to present.)
CUT TO:
[INT./EXT. DEALERSHIP --NIGHT]
(MARTY GIBSON is in handcuffs leading GIBSON and the OFFICER out of the second floor offices and down the stairs.)
Marty Gibson: Nanci. Do you know what a syllogism is, Mr. Gibson?
Grissom: Sylla-what?
Marty Gibson: A syllogism. Aristotelian logic. Two premises equal one conclusion.
Marty Gibson & Grissom (both): "A" plus "B" equals "C."
Grissom: Right. So, you're the snake guy. You're also the goodwill guy who gets the coffee. So, when someone is poisoned with snake venom in their coffee, "a" plus "b" equals you.
Marty Gibson: I busted my ass out on this floor to get a desk up there, and for what? So Fred can make me his bitch?
Grissom: So you k*ll him?
Marty Gibson: Fred k*lled himself. Guy was like a goldfish. He would have eaten himself to death before he tossed me a client. And one good client breeds seven more. Without the one, I keep slipping.
(MARTY shakes his head and starts rambling as he walks to the car.)
Marty Gibson: There's two directions in this business-- up and out. It's a numbers game. I'm 35 years old. I got six guys ready to move me out. Opportunity knocks, you open the door.
Grissom: I guess it's just too bad he had an ulcer.
(MARTY is helped into the car.)
Marty Gibson: Who doesn't?
(The car door closes.)
CUT TO:
[INT. HOSPITAL]
(NORA EASTON is having a pelvic examination. CATHERINE stands on the side and watches.)
Nurse: Okay, if I can just have you lay back. Nurse: All right, Nora, I'm going to need you to relax. Nurse: Okay, now take a deep breath. Nurse: Good. Nurse: All right, another deep breath.
(The examination is completed. The NURSE pushes the curtain aside and whispers to CATHERINE. She walks away. CATHERINE turns and looks at NORA.)
CUT TO:
[INT. CSI - LOUNGE]
(SARA and CATHERINE are in the lounge. CATHERINE sits at the table reading a large reference book.)
Sara: She's a virgin? What are we talking about, an immaculate conception?
Catherine: More like the immaculate perception. Pseudocyesis -- imagined pregnancy.
Sara: It's all in her head? Well, that would explain what she was doing in dad's bed.
(SARA sits down.)
Catherine: Fantasizing. Wow. (reading) "When the desire to become pregnant is so strong hormone levels can change, setting off all the biological signs of pregnancy."
Sara: It kind of makes sense. Hormones travel the same channels as adrenaline.
Catherine: "Swollen abdomen, lack of menstruation, and sometimes bilateral galactorrhea." Milk production in both breasts. Leaking can be brought on by stress.
(Quick CGI to: The image of NORA EASTON with a light that travels down from inside her brain following a path through the endocrine system as CATHERINE narrates.)
Catherine: (V.O.) "Emotional or physical stimuli cause prolactin to sh**t through the endocrine system, ending in the mammary glands, and triggering the cells to lactate."
(End of flashback. Resume to present.)
Sara: The father was clueless.
Catherine: About all the women in his life.
(NICK walks into the room.)
Nick: Hey, hey. Check out these photos. The two stains on the inside of the shirt we found at the dump tested positive for Nora, but the stains on the outside, bloodstains, are definitely mom's.
Catherine: The bracelet was mom's. Greg checked the epithelials.
Sara: Nora's in love with her father, in an Electra kind of way.
CUT TO:
[INT. CSI - INTERVIEW ROOM]
(CATHERINE interviews NORA EASTON. CATHERINE puts a photo of the shirt on the table.)
Catherine: Nora, is this your shirt?
Nora Easton: Yes.
Catherine: Can you explain to me how your mother's blood ended up on it?
(NORA shakes her head.)
Brass: No idea how it got there?
Nora Easton: (shakes her head) No.
Catherine: Well, you told me that this bracelet was a gift from your father. He claims that he bought it for your mother.
Nora Easton: Oh, no. It's mine.
Catherine: I think you feel the same way about your father.
(Quick flashback to: NORA EASTON opens her father's bedroom door and finds DANIEL and KELLY on the bed.)
Daniel Easton: You know you mean the world to me, don't you?
(NORA is surprised, shocked and jealous. She sees her mom with the bracelet. Then she sees her father kissing her mother.)
(Cut to: NORA EASTON sits in front of her mirror clutching her stomach. She opens the drawer and pulls out the bottle of vitamins. she takes one.)
(Camera cuts and shows NORA looking at a a framed photograph of herself and her father.)
(Cut to: NORA is in the kitchen washing the dishes. KELLY EASTON walks up behind her and covers NORA'S eyes.)
Amy Ennis/Kelly Easton: Guess who's back?
(NORA grabs the frying pan and swings it, hitting KELLY on the forehead. KELLY hits the edge of the counter before falling to the floor. d*ad.)
(NORA reaches over and takes the bracelet from KELLY. KELLY slides along the floor out of camera frame.)
(End of flashback. Resume to present.)
Catherine: And then you put your mother in the freezer and you waited until trash day.
Nora Easton: That's a horrible story.
Catherine: It's not a story. It's what the evidence tells us really happened.
Nora Easton: What kind of a mother would do that? I'm helpful. I do what needs to be done.
Catherine: I know. You take care of things.
Nora Easton: (crying) I never ask for anything!
Catherine: And all you wanted was the one thing that you couldn't have.
Nora Easton: It's not my fault. I'm innocent.
Catherine: You were innocent, Nora. You're not anymore.
(THE OFFICER in the room moves behind NORA EASTON to handcuff her.)
Nora Easton: What are you doing?
Brass: You're under arrest for the m*rder of Kelly Easton.
Nora Easton: (shouts) No, but I'm going to have a baby!
(They take her out of the room. BRASS sighs.)
Brass: Well, she's going to retain an attorney. He's going to advise her to plead insanity.
Catherine: Good defense.
Brass: Yeah. Have you ever seen anything like this before?
(CATHERINE gathers her things.)
Catherine: How it manifested? No. But the cause? (b*at) People throw things away every day.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x12 - Got m*rder?"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
FAST FORWARD TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT]
CUT TO:
[EXT. SIDEWALK OUT FRONT OF RESIDENCE -- NIGHT]
(A boy and a girl kiss out on the front sidewalk.)
Teenaged Girl: I'm so sorry.
Teenaged Boy: I got to go, baby.
(He pulls away from her and starts to walk away.)
Teenaged Girl: I'll call you tomorrow.
(The camera moves beyond them and into the house next door.)
CUT TO:
[INT. PHELPS' RESIDENCE -- NIGHT]
(TRAVIS PHELPS plays a video game on the television.)
Matthew Phelps: Get it off. I'm not going to say it again.
Travis Phelps: Dad, just five more minutes and I'll be on level nine.
Matthew Phelps: Now!
(AIMEE PHELPS walks out into the living room in her pajamas.)
Aimee Phelps: Dad! You said I can watch nickelodeon.
Matthew Phelps: You've watched enough tv for tonight. It's time to go to bed.
Aimee Phelps: How come he doesn't have to?
Matthew Phelps: Both of you, bed now!
(AIMEE PHELPS turns around and stomps off to her room. MATTHEW PHELPS walks up to the television set and turns it off.)
Travis Phelps: Dad! You got to save it first!
Matthew Phelps: This game saves it automatically.
(TRAVIS PHELPS stands up to go to bed. He passes by the table and grabs the can of soda.)
Matthew Phelps: Oh, no, no, you know how much sugar's in that thing?
(As MATTHEW PHELPS stands to take the can of soda, g*n burst in through the living room window.)
Matthew Phelps: Get down!
(MATTHEW PHELPS dives for his son and covers him. The g*n continues.)
(Outside, tires screech by.)
Matthew Phelps: (shouts) Son, are you all right?
(His son, scared out of his wits, doesn't answer. MATTHEW PHELPS looks up.)
Matthew Phelps: Aimee?
(MATTHEW climbs to his feet and runs to his daughter's room.
Matthew Phelps: Aimee! Aimee! Aim ..
(He turns the corner and sees her room in shambles. The b*ll*ts tore through everything. And on the bed is his little girl, d*ad.)
WHITE FLASH TO:
[EXT. PHELPS RESIDENCE -- NIGHT]
(The lights of the Emergency vehicles parked in the driveway flash in the night. A large crowd of neighbors and curious on-lookers has gathered outside the taped off area.)
(WARRICK and GRISSOM make their way toward BRASS.)
Warrick: Hey.
Grissom: Didn't you grow up in this neighborhood?
Warrick: Yeah, not too far away. My grandmother still lives down the block. Lot of familiar faces.
Man: Hey, Brown, you going to find the guy who did this?
Warrick: We're going to do our jobs.
Brass: Jason Gilbert. sh*t through and through. He going to be all right, though.
Warrick: What was he doing here?
Brass: Visiting his girlfriend next door. He h*t the deck when the sh**ting started. Didn't see a car.
Grissom: Drive-by. His girlfriend see anything?
Brass: Nobody saw a thing. Little girl inside wasn't so lucky. Aimee Phelps, age nine.
(WARRICK starts at the name.)
Warrick: Phelps?
Brass: Father operates a rec center down the block.
(WARRICK heads for the house. GRISSOM notes WARRICK'S response.)
CUT TO:
[INT. PHELPS' RESIDENCE - NIGHT -- CONTINUOUS]
(MATTHEW PHELPS holds a doll tightly in his hands. His head is lowered and his eyes closed.)
(WARRICK walks into the room.)
Warrick: What happened, man?
Matthew Phelps: They k*lled my baby.
(He puts his head down and starts to cry. WARRICK puts a supportive hand on the man's shoulder.)
Warrick: (softly) I'm sorry, man. I'm sorry.
(GRISSOM walks into the house and as he does with any other crime scene, he starts looking around.)
Warrick: I got here as quick as I could. What happened?
Matthew Phelps: Cops said they were aiming at some white kid. I thought I was making a difference.
(MATTHEW PHELPS closes his eyes and starts to cry again.)
Warrick: You are making a difference. I'm living proof. I'm sorry.
(GRISSOM walks further into the house and notes the b*llet hole in the bookshelf.)
(Quick CGI POV to: Camera zooms forward taking the path of the b*llet, through the cabinet, through the wall, through the pillow, and finally lodging in the little girl. End of CGI POV.)
CUT TO:
[INT. PHELPS' RESIDENCE - AIMEE'S BEDROOM - NIGHT - CONTINUOUS]
(GRISSOM appears in the bedroom doorway. He walks inside and approaches the little girl's body on the bed. He kneels down next to the body and turns on his flashlight, noting the b*llet hole under her chin.)
(GRISSOM also notes the b*llet hole in the wall. He stands up and goes to look at it. WARRICK appears in the doorway. He sees the body on the bed. He pulls out his gloves and sits down on the bed. He reaches out to touch the body. GRISSOM turns around and notes WARRICK'S behavior.)
(WARRICK sighs.)
Grissom: You going to be able to handle this?
(WARRICK looks up at GRISSOM.)
Warrick: (grimly) I want this case.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. PHELPS' RESIDENCE -- NIGHT]
(WARRICK examines the empty display shelf.)
Warrick: Matt told me his house was broken into about a week ago. They took all of his awards, his medals. Everything in this case. I hope whoever took it, it meant as much to them as it did to him.
(GRISSOM examines the b*llet holes in the wall. He sighs.)
Grissom: Well, we're obviously looking for an a*t*matic.
Warrick: No doubt. All this damage.
Grissom: The b*ll*ts went through the glass, shed their jackets or disintegrated completely on impact with the wall.
(Quick CGI POV of the b*llet hitting the wall and disintegrating. End of CGI POV. Resume to present.)
Grissom: All we have left are lead cores, which are of no comparison value.
(GRISSOM and WARRICK look up as the Coroners remove the body.)
Grissom: The only b*llet that may help us is inside that little girl.
CUT TO:
[EXT. HYPERTRIX -- NIGHT]
(NICK and DET. SAM VEGA walk up toward the business' front door.)
Nick: Hypertrix? Sounds like a breakfast cereal.
Vega: Some internet service thing. I stopped thinking about that stuff when I found out my NASDAQ fund was worth less than my son's comic book collection.
Nick: Dot com ... dot b*mb.
Vega: The office floor where the DB's located is restricted-- authorized employees only.
Nick: I'll need the access log.
Vega: I already spoke to building security.
(VEGA hands NICK a sheet of paper.)
Nick: Cool.
CUT TO:
[INT. HYPERTRIX - NIGHT - CONTINUOUS]
(DET. VEGA and NICK enter the office floor. The room is completely white.)
Vega: Night shift started at 6:00 P.M.
Nick: And since then, four people have entered the building, and nobody left.
Vega: Three of them are still breathing.
(They stop in front of a secured door with a card key access. VEGA slips the card key through the reader. The door beeps, then opens.)
CUT TO:
[INT. HYPERTRIX - COMPUTER ROOM - NIGHT -- CONTINUOUS]
(The door opens and NICK and DET. VEGA walk in. Immediately, NICK feels the temperature change.)
Nick: Ooh. Hey, David.
(DAVID PHILLIPS is already inside the room kneeling before the body taking the body temperature.)
David Phillips: Nick. Cool enough in here for you?
Nick: I'll manage. Most computers dissipate over two thirds of the energy they consume as heat. A/C's here for them, not the worker bees.
Vega: Victim's name's Garret Kwan. Job title, CTO.
Nick: Chief Technology Officer. T.O.D.?
(DAVID PHILLIPS looks at the digital temperature gauge. It reads 86.3 degrees F.)
David Phillips: Ambient here's about 65 degrees, which makes core temp drop roughly two degrees per hour. Figure he's been d*ad five to seven hours.
Nick: Apparent blunt force trauma. Minimal seepage around the wound. No blood on the floor. The paramedics roll him?
David Phillips: Uh, yeah. Said they found him face down, head towards the rack.
Nick: (to VEGA) Any sign of a w*apon?
Vega: Nothing obvious. No windows. Only one way in or out.
Nick: Yeah, but there's plenty of places to hide.
(Quick flashback to: Someone hitting GARRETT KWAN over the back of the head from behind. He takes the h*t and goes down. End of flashback. Resume to present.)
Nick: Okay. One d*ad boss. Three live employees. I like the odds.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT]
[EXT. PHELPS' RESIDENCE -- NIGHT]
(Evidence markers #2 & #3 are put down on the ground next to blood spatter out on the sidewalk.)
Brass: So, Jason Gilbert, the kid who was sh*t, not too popular in the neighborhood. Just in a fight last week, down the street.
Warrick: Yeah?
Brass: Uh-huh.
Warrick: You saw his girl. She was hot. They're probably macking on her.
(pause) Matt said he heard tires screech.
Brass: Mm-hmm.
Warrick: And the b*ll*ts went from right to left.
Brass: Uh-huh. (BRASS figures it out and points somewhere to WARRICK'S left.)
Over there?
(WARRICK turns his head and they both head in that direction. They find a mailbox overturned.)
Brass: You know, it's a federal offense to be messing with the postal service.
Warrick: Took that corner pretty hard, huh?
Brass: Yeah.
(WARRICK takes a picture of the overturned mailbox. He picks the mailbox up and turns it right-side up.)
Brass: Doesn't that dent look a little high to you? Like a truck or an SUV?
(WARRICK takes a picture of the dent.)
(Quick flashback to: An SUV rounds the corner, tires screeching and hits the mailbox, making the dent and knocking it over. End of flashback. Resume to present.)
Warrick: Yeah.
Brass: I'm not just another pretty face, you know.
Warrick: There's a silver paint transfer, though, right here.
(WARRICK points to the portion of the dent where the mailbox made contact with the vehicle.)
Officer: Captain.
Brass: Yeah?
(They both turn around.)
Officer: Just got a call. PJ's tavern, a few block away. Guy was brandishing an a*t*matic w*apon. They're holding him at the site.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. P.J.'S TAVERN -- NIGHT]
(The Owner of the Tavern talks to the OFFICER. WARRICK and BRASS approach them.)
Owner: This guy's a punk.
Brass: Hey, tell me what you're telling him.
Owner: (pointing) This guy's no good. He's been in here before, and every time it's trouble, so this time, I exercised my right not to serve him. You know what the little freak does? Lifts up his jacket, and shows me a piece. I tell him to take a hike.
(WARRICK looks over at GENE JAYCOBS who has suddenly taken an interest in WARRICK. His eyes never leave WARRICK.)
Brass: Yeah?
(WARRICK notes with interest the semi-a*t*matic w*apon that the OFFICER confiscated from GENE JAYCOBS.)
Owner: Then he proceeds to tell me how I better watch my back, 'cause it wouldn't be the first time tonight he k*lled somebody.
Brass: No kidding. All right.
Warrick: Jay ... Jacobs?
Owner: No, it's Gene Jaycobs.
Warrick: Gene Jaycobs. I knew that kid. I went to school with him. He got kicked out.
Brass: Okay, let's see what the lad has to say for himself. Thanks a lot.
(WARRICK puts on his latex gloves as he and BRASS head for GENE JAYCOBS.)
Brass: Hey, Gene! What's happening! Uncuff him.
Gene Jaycobs: (to WARRICK) Do I know you?
Warrick: (doesn't answer the question) Put your hands out in front of you.
Gene Jaycobs: (nods) Oh, it's like that, huh?
(WARRICK takes a sample off of GENE JAYCOBS' hands.)
Warrick: I can process this now. It would tell me if you fired a g*n within the last couple of hours. But I'm going to take this back to the lab, make you sweat it out.
Brass: Okay, officer, I think someone needs their cuffs put back on.
(The officers put the handcuffs back on GENE JAYCOBS. WARRICK walks away.)
CUT TO:
[INT. HYPERTRIX - WHITE OFFICE -- NIGHT]
(TODD BENTON sits down in his chair.)
Todd Benton: I know what that is. You're checking me for blood spatter. I watch the discovery channel. (b*at) I found the body, I called the police. Not too smart, if I'm the one who k*lled the guy.
(TODD BENTON is talking to the wall. Or rather, he's practicing to himself. He pauses and evaluates what he says.)
Todd Benton: (quietly): That's good.
(He stands up a little ... just enough to look over the wall. He sees NICK and DET. VEGA standing on the far end of the room. He sits back down.)
Todd Benton: (muttering) Not too ... not too smart, if I'm the one who ...
(NICK and DET. VEGA approach TODD BENTON'S desk.)
Nick: Mr. Benton, could you stand up for me, please?
(TODD BENTON stands. NICK takes out his ALS and checks for blood. Just as he rehearsed, TODD BENTON runs through his lines.)
Todd Benton: I know what that ... is. I know what that is. You're checking me for blood spatter. I watch the discovery channel. Look, I ... I found the body, I called the police. Not too smart, if I'm the one who k*lled the guy.
Vega: Thanks for pointing that out. When was the last time you saw Garret Kwan?
Todd Benton: I didn't; not tonight. I was working. Working halfway to carpal tunnel syndrome. So-called ergonomic chairs. Should be a crime, if you ask me. The chairs are ... okay, you know, it's, it's not like my office has a good view of the door. You should be talking to Charlie. Charlie has the good view.
Nick: Charlie?
(TODD BENTON points to the desk behind NICK. NICK turns around and sees the empty desk. He looks back at TODD BENTON.)
Todd Benton: Yeah, okay, yeah, um, Charlie ... Charlie doesn't work here anymore, so that doesn't really help you.
Nick: Could you hold your hands out for me, please?
SHORT TIME CUT TO:
[INT. HYPERTRIX - WHITE OFFICES -- NIGHT]
(NICK is checking out ANDERS MOLYNEAUX. He checks a swab.)
Nick: Pretty easy to see the door to the server farm from here.
Anders Molyneaux: That is a fact. And here's another. I didn't see anything. I was coding. Link. Compile. Debug. All night. The work absorbs me.
Vega: What kind of work?
Anders Molyneaux: My code monitors internet traffic and server load.
Nick: So you make your computer watch other computers that other people are watching?
Anders Molyneaux: Just because you can't see the beauty in data flow doesn't mean it doesn't exist.
Vega: What was your relationship to Garret Kwan?
Anders Molyneaux: I'm employee number seven. Kwan was employee number six. Big brain by reputation, my boss by random chance.
(NICK looks at VEGA. VEGA nods.)
SHORT TIME CUT TO:
[INT. HYPERTRIX - WHITE OFFICES -- NIGHT]
(NICK and VEGA question SERENA CHASE.)
Serena Chase: You know, they, um, they confiscated all my m*rder w*apon when I left Microsoft, so I don't know if you'll find anything.
Nick: Yeah, you don't exactly fit the corporate image.
Serena Chase: Well, it's my image, the company doesn't get a say in it.
Vega: Looks like you get special treatment around here.
Serena Chase: Yeah, well, I earn it. I optimize 'net infrastructure. I saved this company $8.3 mill last year. Got a five-figure bonus. And, uh, yes, I did see Garret go into the server farm around 6:00, 6:30.
Nick: So your boss is laying there d*ad for five and a half hours plus, and you never even notice he's gone.
Serena Chase: Oh ... well, I mean, nobody else did, either. Look, I was, you know ...
Nick: Working.
Serena Chase: That is what we do here.
Nick: (smiles) Right.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS goes over AIMEE PHELPS with GRISSOM. )
Robbins: b*llet entered through the throat, severing the spinal column. C2's adjacent to the brain stem. Sever that, respiration shuts down, resulting in almost immediate death.
(ROBBINS picks up the b*llet. Camera zooms in on the b*llet.)
Robbins: Wood splinters embedded in the jacket.
Grissom: Well, it went through a bookcase. Nine millimeter.
(ROBBINS puts the b*llet in the bindle GRISSOM is holding.)
Grissom: Thanks.
(GRISSOM stands and leaves.)
CUT TO:
[INT. CSI -- HALLWAY / BALLISTICS LAB -- NIGHT
(GRISSOM walks through the hallway carrying the bindle. In the background, there's a muffled g*n. Water splashes in a t*nk.)
(GRISSOM rounds the corner and enters the Ballistics Lab where WARRICK and BOBBY DAWSON are testing the g*n.)
(BOBBY DAWSON opens the t*nk and retrieves the b*llet. He closes the t*nk and heads for the scope. He looks up and sees GRISSOM. WARRICK takes off his goggles and walks toward the group.)
(GRISSOM puts the b*llet in a container of detergent.
(BOBBY DAWSON takes the b*llet out of the container and looks at both of them under the scope. He lines up the b*ll*ts and its a match.)
Bobby Dawson: All right. Bingo. Your b*llet came from that g*n.
Grissom: You're sure.
Bobby Dawson: Yeah, I'm sure.
Warrick: We got him.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- NIGHT]
(BRASS questions GENE JAYCOBS.)
Brass: So, Jason Gilbert -- what did he ever do to you?
Gene Jaycobs: Drawing a blank.
Brass: The kid you sh*t!
Gene Jaycobs: I didn't sh**t nobody, man.
Brass: Jason's girlfriend told us that you were practically stalking her. She must have turned you down a hundred times. You didn't like that, did you?
Gene Jaycobs: Is that what she told you?
Brass: Yeah.
Gene Jaycobs: Lying bitch! I found that g*n!
(Quick flashback to: GENE JAYCOBS picking up the g*n from the ground.)
Gene Jaycobs: Damn!
Gene Jaycobs: (V.O.) g*n was jammed, I cleared it.
(End of flashback. Resume to present.)
Brass: You cleared it, all right-- into Mr. Phelps's home, k*lling his daughter!
Gene Jaycobs: (stands up) No, it was the last b*llet.
Brass: What are you talking about? You thr*at a bartender with an empty g*n?
Gene Jaycobs: He didn't know that. I can show you where I found it: Alleyway behind Washington Avenue ...
CUT TO:
[OBSERVATION ROOM -- CONTINUOUS]
Gene Jaycobs: (over speaker) ... Next to a big yellow dumpster.
Warrick: Oh, come on. That's it? That's his genius story?
Grissom: We only found a small amount of GSR on his hands. Could have been transfer from just picking up the m*rder w*apon.
Warrick: He's lying.
(GRISSOM turns to look at WARRICK.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. GENE JAYCOBS' RESIDENCE -- DAY]
(WARRICK exits the residence. Other Officers leave carrying boxes of stuff. WARRICK meets up with GRISSOM.)
Warrick: Our sh**t isn't only a liar, he's a thief. Found tons of electronic equipment in there, still in the boxes.
Grissom: Well, either he's buying in bulk, or that stuff's hot.
Warrick: No g*n or a*mo. But I do have his car keys.
(GRISSOM and WARRICK walk down the stairs to the car. They unlock the car. The car alarm chirps.)
(GRISSOM looks inside the car.)
Grissom: I'm afraid the only b*ll*ts in here are silver b*ll*ts.
(WARRICK looks outside the car for damage.)
Warrick: I may have something here. The sh**t's vehicle took out a mailbox. The dent's in the right spot, and the car is the right silver color
Grissom: You got any paint transfer?
Warrick: Nothing visible.
Grissom: Call auto detail. We'll tow it back to the lab.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(DAVID PHILLIPS goes over the preliminary findings with NICK.)
David Phillips: Blow came from an object roughly rectangular in shape, resulting in a depressed fracture of the parietal bone,
(DAVID points to the wound at the back of the deceased's head.)
(Quick flashback to: Someone standing behind GARRET KWAN, hits him on the back of the head, he falls to the ground.)
(Quick CGI POV to: Camera zooms into the wound and to the skull where blood seeps through.)
David Phillips: (V.O.) ... with radiating linear fractures extending outward from the point of impact.
(End of CGI POV. End of flashback. Resume to present.)
David Phillips: Based on the fracture pattern, I'd say it was a single strike to the head.
Nick: Explains the lack of spatter at the scene.
David Phillips: First h*t's free.
Nick: k*ller knew what he was doing.
(DAVID turns around to pick up something he found. He shows it to NICK.)
David Phillips: And, uh, take a look at this. Black plastic. Found it in the wound.
Nick: Possible transfer from a m*rder w*apon?
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) -- DAY
[EXT. 26th STREET RECREATION CENTER -- DAY]
(WARRICK walks over to MATTHEW PHELPS who is painting the side of the building.)
Warrick: Hey.
(MATTHEW PHELPS stops painting and turns around.)
Matthew Phelps: I heard you got the sh**t.
Warrick: It's not that simple.
Matthew Phelps: You think it's him?
Warrick: We got all our guys on this, Matt, all right?
Matthew Phelps: Yeah.
(MATTHEW PHELPS turns around and resumes painting. WARRICK watches as a group of kids jog by wearing football uniforms.)
Warrick: You still using them same old uniforms?
(He stops painting and turns around to talk with WARRICK.)
Matthew Phelps: That stuff's expensive, man.
Warrick: Yeah.
Matthew Phelps: But we managed to get the basketball court tarmacked, thanks to contributions from folk like you.
Warrick: Hey, I ain't stupid. I know where I came from. I wouldn't be anywhere, if it weren't for this place.
Matthew Phelps: Well, you was always going places. You just lacked discipline.
Warrick: Still do. I don't recognize this ugly-ass g*ng symbol.
Matthew Phelps: You know, it's, it's hard to keep up with it all. I just don't know anymore. What with all the break-ins ...
Warrick: Break-ins?!
Matthew Phelps: Rec center's van was stolen a couple days ago. How am I going to tell these kids that they can't play in the semifinals 'cause I got no way of getting them there?
Warrick: I'll look into it for you, all right? We'll get them there. When's Aimee's service?
Matthew Phelps: Wednesday.
Warrick: Matt, if there's anything I can do ...
Matthew Phelps: Just get me five minutes alone with the sh**t. Just five minutes. I know it's not going to bring Aimee back ... but I can't sleep at night, knowing that he's still breathing out there. Can you?
(WARRICK'S cell phone rings. He answers it.)
Warrick: Brown.
Grissom: (on phone) Jaycobs has an alibi.
Warrick: What?
Grissom: (on phone) Meet me in PD.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(WARRICK and MATTHEW PHELPS walk into the Police Department.)
Grissom: Mr. Phelps, it's good to see you again, sir. (to WARRICK) Would you excuse us a moment? Warrick.
(They walk to the side.)
Grissom: What's he doing here?
Warrick: If Jaycobs is going to slip through our fingers, I need someone else to explain to him what went wrong.
Grissom: This was not a good idea.
(WARRICK looks over and sees a man standing in BRASS' office.)
Warrick: That's supposed to be his alibi?
Grissom: David Artiss. Says he was with our suspect the night of the drive-by. Says he dropped him off at PJ's tavern right before we picked him up. Says he also saw him find the mac.
Warrick: Clothes he slept in, bloodshot eyes. The guy's a junkie, Grissom. You can see it, I can see it, and the jury will see it.
(BRASS joins WARRICK and GRISSOM.)
Brass: DA listened to the alibi's statement. He knows it's questionable, but, uh ...
Warrick: But what?
Brass: Half an hour before the house was sh*t up, Jaycobs and his alibi were at the sports chalet.
Warrick: Come on.
Brass: Salesperson remembered seeing both of them. They bought a baseball bat. Artiss even has the receipt.
Warrick: Sports chalet is ten minutes away. That's no alibi.
Brass: I don't know. After what the DA heard, he said he's not going to file charges. Doesn't want the clock to tick.
Warrick: So that's it? As easy as that, he walks.
(The hallway door opens and GENE JAYCOBS walks out. MATTHEW PHELPS stands off to the side and sees him walk out into the hallway.)
Brass: Look at it this way -- you have more time to build your case.
Matthew Phelps: Is that him? Why are they letting him go? Why are they letting him go?! What are you guys doing?
(MATTHEW PHELPS sees GENE JAYCOBS and completely looses it. WARRICK stands in the middle and holds the man off. He pushes MATTHEW PHELPS out of the hallway.)
Warrick: Not here. C'mon.
Matthew Phelps: What are you doing?! He k*lled my daughter!
Warrick: C'mon. We're going to cool off.
(WARRICK gets MATTHEW PHELPS out of the hallway.)
Brass: (to GRISSOM) They're going to put Jaycobs in protective custody to avoid repercussions in the community. Where are we going to put Warrick?
(GRISSOM turns to look at BRASS.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(ARCHIE and NICK walk into the lab carrying boxes of evidence. They put the boxes on the table.)
Archie: ... Cool-looking office. It was kind of fun being out in the field. Pulling drives, collecting evidence ... flashing I.D. I think I got a flair for it.
Nick: You bucking for a promotion?
Archie: Not bucking ... nudging. You know people put their lives on these hard drives?
Nick: Yeah, yeah, that's what I'm counting on.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(ARCHIE works on the hard drives taken from HYPERTRIX. NICK goes through a palm pilot. He finds a photograph of SERENA CHASE.)
Nick: Hey, Arch.
(ARCHIE turns around to see the photo on the palm pilot.)
Archie: (smiles) Wow! Serena. Can defrag my hard drive anytime.
(NICK smiles.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(NICK holds out the photographs taken from SERENA CHASE'S palm pilot. She looks at them and smiles.)
Nick: Are these, uh, business e-mails? I'm a little confused.
Serena Chase: No, um ... this is actually harmless fun, so...
Vega: Court documents Garret Kwan was suing you for sexual harassment.
Serena Chase: Are you, um, familiar with the term "spurious"?
Vega: Are you familiar with the term "m*rder suspect"?
Serena Chase: I was just trying to let him know I was available, okay? Low pressure. The guy freaked out, he thought I was trying to get him into some bogus lawsuit, so he preempted me with one of his own. It's called a scare tactic.
Nick: Scared to lose your job? Your five-figure bonus?
Vega: Scared enough to k*ll him?
Serena Chase: Okay, look, I was flirting with the guy. I will e-mail you with the number from my lawyer.
(She stands up and leaves the room.)
CUT TO:
[INT. CSI - GARAGE -- DAY]
(WARRICK searches GENE JAYCOBS' car. He looks inside the front seat. Frustrated that he's not finding anything, he throws the cup down and slams the front passenger door shut.)
(WARRICK checks out the back seat. He hits the back seat and hears a hollow sound. He looks under the seat and finds a bag full of items. He pulls the bag out. He opens the bag and finds the missing trophies from MATTHEW PHELPS' house.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(WARRICK enters the lab carrying the bag of tropies.)
Warrick: (angry) This guy's been in Matt's house.
Grissom: What is this?
(WARRICK puts the bag on GRISSOM'S lab table and opens it. He starts pulling out trophies and showing them to GRISSOM.)
Warrick: Matt's team won this three years ago. This trophy was given to the rec center last year. I found all this stuff in Jaycobs' car.
(GRISSOM stands up.)
Grissom: Well, if this is evidence, it needs to be tagged and catalogued.
Warrick: This is the same guy who sh*t Matt's daughter in the head. He's walking around laughing at us.
Grissom: Can you prove that?
Warrick: (yelling) What is this? I've been putting guys away like this for years. And now that it matters, it's like you're holding me back here.
(He's getting louder. GREG and another office worker come out of their labs to see what's going on.)
Grissom: The job, Warrick, is to process evidence. Objectively, and without prejudice.
Warrick: I'm so tired of hearing that. I've heard it a million times. I can't be like you. I'm not a robot, okay?
(This surprises GRISSOM.)
Warrick: I actually care about these people.
(JACQI FRANCO in her lab pushes her chair to see what's going on.)
(GRISSOM doesn't argue with WARRICK.)
Grissom: You know what? You're not working on this case anymore. I'll have another assignment for you tomorrow.
Warrick: Keep it.
(WARRICK picks up the bag of trophies and leaves the lab. He pushes the mail cart aside as he storms out the hallway.)
(GRISSOM watches WARRICK leave.)
(LAB TECHS head back into their labs as WARRICK walks by. GRISSOM turns his head and looks at BOBBY DAWSON in the ballistics lab.)
Grissom: Where were we?
Bobby Dawson: At a d*ad end.
Grissom: Go back to work.
(Camera holds on GRISSOM.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB / HALLWAY]
(NICK walks through the hallway carrying a file folder. GREG leans on the door frame and calls out to him.)
Greg: Hey, Stokes?
Nick: Yeah?
(GREG motions to him.)
Greg: We got to talk.
Nick: Hey, did you I.D. that scraping from my vic's head wound yet?
Greg: Yeah, yeah, it's a common plastic, polyethylterephthalate -- P.E.T.--
Used in everything from garbage bags to magnetic tape to floppy disks.
Nick: Okay, thanks.
(NICK turns to walk away. GREG stops him.)
Greg: Yeah, but that's not what I wanted to talk about.
Nick: What, then?
(GREG motions for NICK to come into his lab. Amused, NICK steps forward.)
Greg: Look, I thought that we had a relationship. What are you doing taking Archie out into the field, instead of me?
Nick: (laughs) It's the right tool for the right job, man. You have to understand the world you're investigating. Hey, Archie.
Archie: (lifts his head) Yeah?
Nick: Hey, what's that star trek episode where the guy's got the forehead thingy, and the time portal ... ?
Archie: In Classic, TNG, DS9, Voyager or Enterprise?
(NICK looks back at GREG.)
Greg: Point taken.
(GREG slips back into his lab.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- CONTINUOUS]
Archie: ... Or were you thinking about Farscape?
Nick: I have no idea what you are talking about.
Archie: It doesn't matter. Look, I got something to show you here. I found this on Anders' computer.
Nick: What is this, a video game?
Archie: No, it's actually an FRPG: "Fantasy role-playing game." You see, players use avatars to represent themselves in a fantasy world. There's Serena, Todd, and Kwan in this alternate universe conjuring up a gateway, which summons a beast-like Anders, who decapitates Kwan.
Nick: You know a lot about this stuff, don't you?
Archie: Mm-hmm.
Nick: You got to get a girlfriend.
(NICK leaves. ARCHIE turns around to look at NICK.)
Archie: You first.
CUT TO:
[INT. HYPERTRIX]
(NICK and VEGA question ANDERS MOLYNEAUX.)
Anders Molyneaux: It was merely a game. An entertainment.
Nick: Nah, it's more like a place where you can play god, right? Maybe treat people the way you wish you could treat them in real life?
Vega: Virtual m*rder is not quite as satisfying as the real thing, is it?
Nick: You look a little uncomfortable, Mr. Molyneaux.
Anders Molyneaux: This office is always uncomfortable. Ventilation sucks. I put Kwan in my game because I was upset.
Nick: Upset about what?
Anders Molyneaux: I was designing characters for a new multi-player Sim ... on company time. Kwan found out ... somehow. Man always seems to be one step ahead of his underlings.
Nick: How?
Anders Molyneaux: If I'd known, he would've been working for me. In this instance, he informed the board. Unauthorized use of bandwidth. Nearly got me fired.
Vega: But you didn't k*ll him.
Anders Molyneux: No. Am I sorry he's gone? No.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. SIDE STREET -- DAY]
(GRISSOM stands up. He's inside the yellow trash bin. He jumps out of the trash bin and looks at the ground. Driving up on the side road is a police car.)
(He looks up and sees the Police Car stop on the street. The officers exit the car.)
Grissom: What's going on, fellas?
Officer: Possible burglary. Homeowner's on vacation. Neighbor called it in last night. Just getting around to it. (to the other officer) I may have to climb over.
(GRISSOM watches the officers. he looks at the driveway gate and pushes it open.)
(The driveway gate opens startling the officers. GRISSOM looks at them from the other side of the gate. The officers walk in. They look at the large broken window.)
(GRISSOM notices something. One of the iron points on the gate is broken.)
(Quick flashback to: A car drives by and a g*n is tossed out its window. The g*n hits the iron point, bending it and breaking the g*n at the same time. End of flashback. Resume to present.)
(GRISSOM starts looking around. On the ground he finds a b*llet with a dent on it.)
(The officer notices GRISSOM and calls out to him.)
Officer: What have you got?
CUT TO:
[INT. CSI - PRINT LAB]
(An evidence bindle hits the table.)
Grissom: Stovepipe. Possibly jammed in our m*rder w*apon. Never fired, never exposed to the heat.
Jacqui Franco: And you're thinking there might be a recoverable print.
Grissom: Yes.
Jacqui Franco: Dare to dream.
(GRISSOM turns and heads out the lab.)
CUT TO:
[INT. CSI - LAB]
(NICK pulls down a box labeled: KWAN, GARRET / 003-4851. He opens the box and goes through the bags inside. He takes out a CD disk container. He opens it and looks at it.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(ARCHIE and NICK go through the disks.)
Archie: Well, you were right. Kwanspy. On every employee's computer. Program runs in the background, invisible. Copies documents, e-mails, every keystroke.
Nick: Then transfers the data to Kwan's machine. Big brother.
Archie: Company owns a network, company owns what's on it. Sick, but legal.
Nick: Well, knowledge is power. Kwan had his computer set up to auto-burn a new disk every night-- here. This was made the night of the m*rder. If we found out o was away from their desk at the time of death ... we got our k*ller.
(NICK hands ARCHIE a disk. ARCHIE runs it and looks at the data.)
Archie: Nick, based on these time stamps, everybody in that office was working when Garret Kwan was k*lled.
Nick: Great. We just eliminated all of our suspects.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. OFFICE -- NIGHT]
(WARRICK is alone in an office. He's on the telephone.)
Warrick: Assistant District Attorney Kelly's office, please. This is Warrick Brown. (pause) Oh, he's not in? Okay. Well, maybe you can help me out. I, uh, I have Gene Jaycobs' personal belongings, and I need to get them returned to him. I need his relocated address. (pause) Yeah, I know it's not standard procedure but, uh, I missed him at lockup, and I'm going to be in hot water if I don't get this stuff back to him, so ... good.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS MOTEL -- NIGHT]
(WARRICK goes to the motel.)
(Cut to: WARRICK makes his way toward the room door. He knocks on the door to room #12 and waits for GENE JAYCOBS to open the door.)
(He pounds on the door. The door opens.)
Warrick: It's just me. Nobody here. Got no heater.
Gene Jaycobs: Well, w-hat, what, what can I do for you, Mr. Brown?
Warrick: I just thought I'd come by and let you know we're going to get you for robbery, if not m*rder. By the time you get to lockup, every roughneck in the joint is going to know you off'ed a nine-year-old little girl.
(GENE JAYCOBS snickers.)
Gene Jaycobs: You know, in school, you were a nerd, Brown. You were, remember? Every kid there used to b*at your ass. Thick glasses, hand-me-down clothes, always with a book in your hand, like you were better than everybody else. n*gga, I ain't scared of you.
Warrick: Want to step outside, then?
(WARRICK backs out of the room.)
(GENE JAYCOBS looks at WARRICK, then slams the door shut.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. DESERT PALM HOSPITAL - NIGHT]
(GENE JAYCOBS is in the hospital room. He's beaten up pretty badly.)
Dr. Lewis: Fractured nasal bone, fracture of the right zygomatic arch extending into the maxilla. Fracture of the right anterior ribs...
Brass: (to phone) Assistant D.A.'s office, please.
Dr. Lewis: Who found him?
Brass: Motel manager called it in. No w*apon was found at the scene.
Dr. Lewis: Thank god his assailant only used his fists. Given the severity of force, anything else would have k*lled him
Brass: Thank you, doctor. (to phone) Yeah, this is Jim Brass. I'm at Desert Palm Hospital. I'm looking at a half d*ad Gene Jaycobs. Now, only two people knew where he was. That was you and me. You want to tell me how the hell this could happen?
CUT TO:
[INT. CSI -- LAB]
(GRISSOM throws a stack of photographs on the table in front of WARRICK. He doesn't say anything. WARRICK picks up the photos of GENE JAYCOBS' injuries. He's in shock.)
Warrick: What, you think I did this?
Grissom: I don't jump to conclusions.
Warrick: Well, I didn't. (pause) I'd just to shake the hand of the guy that did, though.
Grissom: Well, you may get a chance. (GRISSOM puts the police report in front of WARRICK.) Your new assignment. Check out the pattern in the center of this contusion. It's probative.
(WARRICK picks up the photograph of the indention in GENE JAYCOB'S injury.)
CUT TO:
[INT. HYPERTRIX - COMPUTER ROOM]
(NICK and DET. VEGA stand in the room.)
Nick: No suspect. No motive. No w*apon.
Vega: You don't just spontaneously develop a fatal head wound. Somebody had to k*ll him.
Nick: A guy goes into a room with no windows and no doors. How does he get out?
Vega: I don't know.
Nick: Same way he got in. You know, there is one thing that comes in and goes out of here all the time.
(NICK looks up at the vent.)
Nick: Cold air.
(Cut to: NICK climbs up the ladder and checks out the vent.)
Vega: Anything?
Nick: Just black P.E.T., As far as the eye can see. (Camera zooms in to a tear in the lining.) And a possible transfer.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. PHELPS' RESIDENCE -- DAY]
(WARRICK questions MATTHEW PHELPS.)
Warrick: Where were you last night?
Matthew Phelps: Right here, man.
Warrick: I'm going to need to see your hands.
(TRAVIS walks out into the hallway to see what's going on.)
Travis Phelps: Dad?
Matthew Phelps: Trav, go to your room.
(TRAVIS goes back into his room. MATTHEW PHELPS holds out his hands.)
Warrick: Other side.
(He flips his hands over. On his hand is a ring. WARRICK pulls out the photograph with the injury on it.)
Matthew Phelps: Look, you went there too. That's how I knew where to go.
Warrick: But I never touched the guy.
Matthew Phelps: (yells) He didn't k*ll your daughter!
Warrick: If he's guilty, we're going to put him away.
Matthew Phelps: Yeah, yeah. And then what? Lawyers? Trial? You wait ten years for somebody else's definition of Justice. And they always put the criminal's rights before the victim's. The first good night's sleep I had was last night.
Warrick: Eye for an eye and the whole world goes blind? You taught me that.
Matthew Phelps: My perspective has changed. Aimee's d*ad.
Warrick: I've got no choice here. My hands are tied. I got to let them bring you in.
CUT TO:
[EXT. PHELPS' RESIDENCE - DAY -- CONTINUOUS]
(OFFICERS escort MATTHEW PHELPS out of the house. Gathered outside are friends and neighbors. MATTHEW PHELPS looks and sees his son, TRAVIS off in the distance.)
Matthew Phelps: It's going to be okay, Trav. I love you, son. (to WARRICK)
Look .... make sure they take care of him, all right?
Warrick: Of course.
Matthew Phelps: All right.
(The OFFICERS put MATTHEW PHELPS into the car. The car leaves.)
(An OFFICER reports to WARRICK.)
Officer: Sir. You, um, asked us to check on a stolen minivan?
Warrick: Yeah.
Officer: You know, from the rec center? We located it.
Warrick: Great, thanks.
CUT TO:
[EXT. ROAD -- DAY]
(Thunder rolls in the distance. WARRICK approaches the abandoned rec center van. WARRICK puts his gloves on. Inside the back of the van, he sees it immediately. empty b*llet casings litter the back seat floor. He picks one up.)
(GRISSOM checks out the outside of the van.)
Warrick: Hey.
Grissom: Blue paint transfer. Possibly from your mailbox? I found a jammed nine millimeter cartridge in the backyard of a house a few doors down from where Jaycobs said he found the g*n. Backyard of a house that had been broken into. You said he was a thief, right?
Warrick: Yeah.
Grissom: See, I think he lied about where he found the g*n so we wouldn't know he was breaking into houses. Apart from that, I think he was telling the truth.
(Quick flashback to: GENE JAYCOBS and friend breaks the glass window of the house they're going to rob.)
(A van speeds by and tosses the g*n over the fence and into the yard.)
(The g*n hits the ground. It catches their attention. GENE JAYCOBS picks the g*n up.)
(End of flashback. Resume to present.)
Grissom: Shall we?
(GRISSOM takes a sample of the blue paint on the outside of the van.)
(WARRICK checks out the front of the car. On the car floor, he finds an abandoned lollipop stick. He picks it up and looks at it.)
Warrick: Grissom.
(WARRICK shows the lollipop stick to GRISSOM.)
Warrick: Matt used to have this really harsh rule about no eating in the van.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. HYPERTRIX]
(DET. VEGA knocks on the door to the office.)
Hugo Karlin: Yeah?
(DET. VEGA and NICK walk in. HUGO KARLIN stands on top of a ladder, his head in the ceiling.)
Vega: Hugo Karlin?
Hugo Karlin: Yeah, uh, you know what? You guys aren't supposed to be back here. This is a restricted ...
Vega: Detective Vega. LVPD. This is Nick Stokes from the crime lab.
(He closes the ceiling and gets down from the ladder. NICK checks out the man's toolbelt as he walks down the ladder.)
Hugo Karlin: Uh, hey. What's up?
Nick: Interesting choice of words.
Vega: Facility management says you've been working on the air conditioning above hypertrix.
(HUGO KARLIN puts the ladder away. He turns around.
Hugo Karlin: Yeah, well, I work this whole building. That's a lot of companies. I-I don't really keep track of the names, I just fix the air.
(NICK sees the man's hammer.)
Nick: You'd remember this company. It's where you k*lled a guy ... with that.
(Quick flashback to: HUGO KARLIN works on the ceiling vents. As he works, the hammer on his tool belt gets loose and falls down through the vent and hits GARRET KWAN on the head. He falls to his knees on impact. End of flashback. Resume to present.)
(VEGA turns to NICK.)
Vega: One in a million sh*t.
Nick: It happens.
Hugo Karlin: It was an accident. You got to believe me. I, I always keep my hammer right here. I don't even know how it came loose.
Nick: Oh, it just came loose, huh?
Hugo Karlin: Yes.
Nick: Okay. Well, then how'd you pick it up?
Hugo Karlin: Um, the same way I close the duct cover. (He goes to the shelf and pulls out a long tool.) Call this my grabby tool.
(Quick flashback to: HUGO KARLIN uses his grabby tool to pick up the hammer which is next to GARRET KWAN'S body. End of flashback. Resume to present.)
Hugo Karlin: I made it myself. You know, people never notice me when I'm around here, and I just figured that if I covered my tracks, this time wouldn't be any different.
(NICK holds out his hand. HUGO KARLIN gives NICK his grabby tool.)
Nick: (to VEGA) Why don't you, uh, show him our grabby tool?
Vega: You're under arrest. You have the right to remain silent ...
(DET. VEGA handcuffs HUGO KARLIN.)
CUT TO:
[INT. HYPERTRIX - MAIN COMPUTER OFFICES -- NIGHT]
(OFFICERS escort HUGO KARLIN out of the building. DET. VEGA and NICK follow. All the employees watch as they leave.)
CUT TO:
[INT. CSI - LAB HALLWAY -- NIGHT]
(GREG is leaning against the door talking with a lab tech. She's giggling at something he says.)
(GRISSOM and WARRICK walk down the hallway toward him. GREG turns around.)
Grissom: Greg. How many licks does it take to get to the center of a tootsie pop?
Greg: (to the girl) The world may never know.
(The girl giggles. She stops when she looks at GRISSOM. GREG turns back. WARRICK hands the evidence baggie to GREG.)
Warrick: Just see if you can get some DNA off of this stick, would you?
(When GREG'S back is turned, the girl walks away.)
Greg: All work and no play make Greg a dull boy ...
(GREG turns around and she's not there.)
Grissom: All play and no work make Greg an unemployed boy.
(JACQUI FRANCO comes out of her print lab.)
Jacqui Franco: Hey, Grissom. Your stovepipe ...
(GRISSOM and WARRICK follow her back to the lab.)
CUT TO:
[INT. CSI - PRINT LAB -- NIGHT]
(The database runs the print comparison.)
Jacqui Franco: Pulled a good thumbprint. Happens sometimes when they load the magazine.
(Quick flashback to: A g*n is being loaded, a person's thumb presses the b*llet into the magazine. End of flashback. Resume to present.)
(The search results appear on screen.)
Warrick: Tyrel Constantine. Arrested last June for joyriding. Date of birth '87? This guy's a juvie. He's only 15.
(GRISSOM looks at WARRICK. WARRICK looks back at GRISSOM. He shakes his head and leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(BRASS questions TYREL CONSTANTINE. TYREL'S advocate/lawyer and GRISSOM are also in the room.)
Brass: So, Tyrel, let me get this straight. You didn't know Jason Gilbert?
Tyrel Constantine: I never heard of him.
Brass: So you sh*t someone you didn't know?
Tyrel Constantine: Who says I sh*t anyone?
Grissom: That would be me.
(TYREL looks over at GRISSOM.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(WARRICK questions MATTHEW PHELPS.)
Matthew Phelps: Tyrel Constantine. Oh, yeah, I knew him. He used to hang out at the rec center.
Warrick: He used to?
Matthew Phelps: Until he lost his privileges.
Warrick: So you threw him out?
Matthew Phelps: He was smoking weed on the field. Showing up late to practice. Starting fights.
Warrick: When did this happen?
Matthew Phelps: A couple weeks ago.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY -- CONTINUOUS]
(GRISSOM puts the baggie with the lollipop stick on the table in front of TYREL CONSTANTINE.)
Grissom: We found your saliva on this lollipop stick in Mr. Phelps's van, and we found your thumbprint on this b*llet.
(He holds up the evidence baggie with the b*llet inside.)
Brass: You stole a van from the rec center, didn't you?
Grissom: The van wasn't hot-wired, so I think you knew where Mr. Phelps kept his keys.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY -- CONTINUOUS]
Matthew Phelps: Why, why, why are you asking me about Tyrel?
Warrick: The vehicle that was used in that drive-by was the van that was stolen from your rec center.
(This news surprises MATTHEW PHELPS. WARRICK nods his head.)
Matthew Phelps: Oh, god.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY -- CONTINUOUS]
Brass: Look, we know you didn't mean to sh**t anyone. It was a stray b*llet that h*t Aimee Phelps.
Tyrel Constantine: I just wanted to scare him.
Brass: Scare who? Jason Gilbert?
Tyrel Constantine: No. Mr. Phelps.
Lawyer: That's it, we're done here.
(The LAWYER picks up her things and stands up.)
Brass: No, wait, Tyrel, wait. Talk to me.
Tyrel Constantine: (louder) They need to know it was an accident. He shouldn't have thrown me out. Pushed me around like that in front of my friends. I just wanted to shake him up.
(Quick flashback to: TYREL CONSTANTINE drives the van and fires the g*n out the window. He runs into the mail box as he makes the turn. End of flashback. Resume to present.)
Grissom: So Jason Gilbert was just collateral damage.
Tyrel Constantine: I was driving pretty fast, didn't look where I sh*t.
Brass: What about Aimee?
(TYREL CONSTANTINE shakes his head and looks down..)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]
(MATTHEW PHELPS is being escorted back to his cell. As he passes the hallway, the door to the other interrogation room opens and TYREL CONSTANTINE walks out. MATTHEW PHELPS stops and watches. TYREL CONSTANTINE turns around and looks at MATTHEW PHELPS as they lead him down the hallway.)
Matthew Phelps: (to WARRICK) I gave up on him. If I hadn't ...
Warrick: He gave up on himself.
(MATTHEW PHELPS looks at WARRICK. The OFFICER comes by and leads MATTHEW PHELPS away.)
(Cut to GRISSOM watches WARRICK from the doorway. WARRICK looks at GRISSOM.)
Warrick: (nods) I blew it.
Grissom: Yeah. But you're not the one who's paying for it.
(GRISSOM turns and walks down the hallway leaving WARRICK standing there.)
CUT TO:
[EXT. 26th STREET REC CENTER - DAY]
(WARRICK walks the pathway to the 26th street recreation center. OFFICERS are already there locking the doors and putting signs on them.)
(The large sign on the main door reads: "Recreation Center will be closed until further notice." The OFFICERS chain the doors.)
(WARRICK watches as the rec center, that had done so much good for him, closes.)
(Camera holds on WARRICK.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x13 - Random Acts of v*olence"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
CUT TO:
[INT. CONDO - NIGHT]
(Camera Close-Up of: Various colored perfume bottles.)
(Fade to black.)
(Fade In to: Camera moves across room; past trash cans with a towel on it; past an exercise machine in front of a door.)
(Dissolve to: A Woman sleeps in bed.)
(Fade to black.)
(Fade In to: Close up of woman sleeping. Her eyes flutter open and she turns her head.)
(Cut to: The Woman gets up and walks down the stairs into her living room. She turns on the light. She looks around.)
(Close up of: Wind turning the pages of a magazine on the table.)
(The woman feels the breeze. The fan overhead is turned on. She turns around to look at the light switch. There's fingerprint smudges on the light switch. She turns around and looks around.)
(Cut to: The woman looks down at something. Camera refocuses and shows a glass of water on the table and its condensation pooling on the glass table top.)
(Something's not right. The woman can feel it.)
(Camera lingers on the woman's front door. It zooms toward the lock; through the keyhole; down the front walkway; turns the corner into the next door neighbor's door.)
(Camera zooms through the keyhole; and into the woman's bedroom where there's a woman screaming. There's a man straddled on top of her on her bed.)
(She continues to scream. The man gets up and off of her. He runs away.)
FLASH TO WHITE:
[EXT. -- NIGHT]
(BRASS escorts GRISSOM and CATHERINE to the crime scenes.)
Grissom: Dispatch said breaking and entering and sexual as*ault?
Brass: Well, he never touched the first girl. The bedroom door was blocked.
Grissom: What do you mean, "blocked"?
Brass: With a treadmill. We've got two apartments here; 1213 and 1214. We think the girl in 1214 has physical findings.
Catherine: You think?
Brass: Well, she locked herself in her bedroom, won't let anyone with a y chromosome within fifty feet of her.
Catherine: Okay.
(CATHERINE heads for apartment 1214.)
(BRASS walks past a woman in her robe talking to a female officer.)
Brass: (to GRISSOM) That's the lucky one.
(They walk into apartment 1213.)
CUT TO:
[INT. APARTMENT 1214 - LIVING ROOM -- NIGHT]
(CATHERINE walks into the apartment. There are several officers there.)
Catherine: Hey, guys. Catherine Willows from CSI. Could you all clear the residence, please?
(CATHERINE takes her cap off.)
Officer: I'm first officer, ma'am. I can't leave a crime scene unless I get orders from my C.O.
Catherine: The victim's well-being takes precedence over everything. Right now, this is Joanne Crooks' apartment, not our crime scene. So ... there's the door.
Officer: All right, come on.
Catherine: Thanks. Thank you. Appreciate it.
(The door to the bedroom opens a bit. CATHERINE heads for the bedroom.)
CUT TO:
[INT. APARTMENT 1213 - LIVING ROOM - NIGHT -- CONTINUOUS]
(Inside, BRASS shows GRISSOM how the person broke into the apartment.)
Brass: Doreen Bainbridge locks her doors every night. Says the girl next does the same. It's a twist lock. It allows for five inches of night air. Very secure ... unless you reach in ... three seconds. (BRASS pushes the glass door open.) Crime of opportunity, huh?
(GRISSOM shines his flashlight on the glass door. There are smudges outside the glass.)
Grissom: Yeah ... except somebody was watching this girl.
HARD CUT TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. APARTMENT 1214 - BEDROOM - NIGHT]
(CATHERINE knocks on the bedroom door. JOANNE CROOKS sits on her bed.)
Catherine: Joanne ... all the guys have left.
(CATHERINE sticks her head through the open door and pushes it open.)
Catherine: It's just me. I'd like to ask ...
(JOANNE CROOKS stands and starts to change the bedsheets.)
Joanne Crooks: (interrupts) I told you guys, I don't know what he looked like, okay? It was pitch black.
Catherine: Well, I'm not a cop; I'm with the crime lab. I'd, uh, I'd like to process the bed sheets ...
Joanne Crooks: I don't think so.
Catherine: Well, would you allow me to take samples from you?
Joanne Crooks: Sorry.
Catherine: Look, I know this is really horrible.
Joanne Crooks: I want to get the bastard off of me, okay? Off of my things. Don't you get that?
Catherine: Washing away evidence hurts any chance of finding out who r*ped you.
Joanne Crooks: He didn't r*pe me, okay? I woke up and he was on my chest.
(She shows CATHERINE her sticky hair.) Look at this. It's not hair gel.
Catherine: If you let me recover that evidence, we can stop him from doing this to somebody else.
Joanne Crooks: Maybe I'm selfish. I don't know; I don't really care about anybody else right now.
Catherine: Well, then let's get him for what he did to you.
(This stops JOANNE CROOKS. She turns around to look at CATHERINE and nods.)
CUT TO:
[EXT. APARTMENTS -- NIGHT]
(WARRICK places a measuring ruler around a shoe print in the dirt. He takes a picture of it.)
(He puts the camera aside and takes out a measuring tape.)
(Dissolve to: WARRICK puts a metal frame around the imprint to take a cast of it.)
(Dissolve to: WARRICK picks up the tub of paste and starts mixing it. He pours it into the metal frame around the shoe print.)
CUT TO:
[EXT. APARTMENT 1213 - NIGHT]
(GRISSOM lifts prints off of the glass sliding door.)
(Quick flashback to: Someone looking through the window and watching the woman inside.)
(Cut to: Someone watching another window and watching the woman inside. He touches the glass and leaves behind fingerprints.)
(End of flashback. Resume to present.)
(GRISSOM presses the tape down on the glass and lifts the prints.)
(NICK is next to GRISSOM examining the ledge under the window next to the door.)
Nick: Hey, Grissom. (They both kneel to look at what NICK'S found.) Got what looks like a semen stain. It's crusted, it's not fresh. Still, it confirms your theory that he's been watching her for awhile.
(GRISSOM stands and leaves. After a moment, NICK looks up and finds GRISSOM gone.)
Nick: Hey ...
(NICK walks through the path and finds GRISSOM in front of the glass door of the next apartment. He's staring at the glass door.)
(NICK walks up to him.)
Grissom: He's been watching a lot of people.
(NICK looks around.)
Nick: Well, there are hedges outside of every one of these apartment windows -- that's built-in concealment.
(For the second time, GRISSOM walks away.)
Nick: Yeah, this guy was having his own little private peep show. I ...
(NICK turns around and notices that GRISSOM'S gone. Over at the next apartment, WARRICK continues to process evidence. He looks over at NICK and lifts his hands. I don't know. NICK sees WARRICK and shrugs back.)
CUT TO:
[INT. COURTROOM -- NIGHT]
(The doors open and SARA walks in. Court is in session.)
Melissa Winters (prosecutor): Last, I would like to thank you for working late into the night. During this trial, you have heard people portray the defendant in glowing terms. He may be all of these things. He certainly seems likable. That doesn't change the fact that he got behind the wheel of his car legally drunk, and drove through an intersection, k*lling Shelley Daniels, a 12-year-old child.
(SARA takes a seat and listens to The Prosecutor's closing remarks.)
Melissa Winters (prosecutor): When you go into that jury room, I ask that you seek justice and return with a verdict of guilty. Not for me, not for his honor, not even for Shelley Daniels. I ask because Justice itself demands it. Justice is greater than our personal feelings. Than ... revenge, than ... than pity. Do not shrink, do not disappoint, but rather ... embrace it. Thank you.
(SARA smiles, impressed by what she just heard. The Prosecutor wheels herself back to her place behind the table. She leans in and speaks with the lawyer next to her.)
Judge: The jury may retire to the jury room. I'll advise counsel when the jury has reached a verdict.
(The JUDGE hits the gavel against the desk. The people in the courtroom start to disburse. SARA approaches the Prosecution's table.)
Sara: Where do I sign up?
Melissa Winters: I wish you could. I'm sorry. Thank you for coming on such short notice.
Sara: Your message said it was important.
Melissa Winters: Yes, People v. Archer. Trial's on deck this Thursday. I prepped all weekend.
Sara: It should be a slam dunk.
Melissa Winters: Great. I've handed the case over to another D.A., Greg Rubio.
Sara: What?
Melissa Winters: He's quick on forensics, he's great on game day.
Sara: Melissa, we've been building this case together for six months. What's going on?
Melissa Winters: I'll be d*ad.
(The news comes as a complete shock to SARA.)
CUT TO:
[INT. OUTSIDE COURTROOM -- MORNING]
(SARA and MELISSA WINTERS talk.)
Sara: I never felt comfortable asking you about your, uh ...
Melissa Winters: My wheels?
Sara: I mean, I know somebody broke into your house, sh*t you and your husband.
Melissa Winters: Made me a widow, left me a souvenir.
(Quick CGI POV to: The b*llet travelling through the skin and muscle and lodging there. End of CGI POV. Resume to present.)
Melissa Winters: At the time, the doctors said if they removed it, I'd die. But in the last few years, the b*llet has meandered. Last week, my voice gives out during a cross. I have trouble swallowing. Hand starts to shake. My neuro calls it "Traumatic Basilar Artery Aneurysm." Um, he has to "clip" the artery.
Sara: Well, if they're fixing the artery, that's good.
Melissa Winters: The operation's delicate. The odds are, well ... low. I've really enjoyed working with you, Sara.
(She holds her hand out. SARA takes it.)
(MELISSA WINTERS leaves.)
CUT TO:
[INT. CSI -- DNA LAB]
(CATHERINE enters the DNA lab.)
Catherine: Greg ... get anywhere with the semen I recovered from Joanne Crooks' hair? I sent it back with an officer.
Greg: Uh, low volume, no sperm.
Catherine: That's impossible.
Greg: Yeah, I knew you'd say that.
(GREG gives CATHERINE the test results and goes back to what he's working on. CATHERINE examines the results.)
Catherine: Oh, the trailer before the movie.
(GREG lifts his head and looks at CATHERINE.)
Greg: Sorry.
(CATHERINE leaves the lab.)
CUT TO:
[INT. CSI -- A/V LAB]
(CATHERINE walks into the Audio/Visual lab.)
Catherine: Hey, Grissom, thanks for the lift.
(CATHERINE stops next to GRISSOM who is working on the computers.)
Catherine: Grissom, uh ...
(GRISSOM doesn't look up at CATHERINE.)
Catherine: (louder) Grissom?
(GRISSOM is startled. He turns to look at CATHERINE. He's having difficulty hearing her and must see her to read her lips.)
Catherine: (soft, distorted) That must be some good evidence.
Grissom: (misunderstanding) You have evidence?
(The distortion continues.)
Catherine: No. It turns out the semen in the vic's hair was pre-ej*cul*te, which, of course ...
Catherine: (louder and clearer) ... carries no sperm, therefore, no DNA.
Catherine: (normal voice) So, I got this poor woman's hopes up for nothing. How about you?
(GRISSOM turns back to the computer in front of him.)
Grissom: I went back to the crime stats ... pulled up all the reported peeping toms in a two-block radius over the last year.
Catherine: (looking at the wall monitor) Unsolved ... any of these women get a description?
Grissom: He had "raccoon eyes." And that's about it. Plus, nobody called in any follow-up reports.
Catherine: Well, I guess half the problem's the name-- "Peeping Tom." It just sounds so innocuous when, in fact, "peeping" is the first step in the evolution of a sexual predator.
Grissom: And I'm afraid our "Tom" is on an escalated pace. Tonight was his first breaking and entering with an immediate second B&E plus what appears to be his first sexual as*ault.
Catherine: Well, we know what road this guy's on. It's just a matter of time before he rapes and m*rder.
Grissom: Yeah ... we better find him.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- A/V LAB]
(Everyone working on the case meets to share information.)
Catherine: Victims' profile: Both women are single, under 30, live right next door to each other in a large apartment complex.
Warrick: Have we had any luck on cross-referencing any of the guys in their lives?
Catherine: Uh, no crossover so far. Doreen Bainbridge works in the corporate field and Joanne Crooks is a dancer, so feels like completely different social circles.
Grissom: But they're in the predator's comfort zone which means he probably lives in the area, too. What else?
Warrick: We're still working on some shoe prints but the plaster's still wet.
Grissom: Blow dry it. It'll give us approximate height and shoe size.
Nick: Yeah, and the semen sample I recovered is still being processed in DNA.
(GREG walks into the room.)
Greg: Not anymore. I'm done. And no jokes about me being fast in this department. The ej*cul*te outside the first girl's window -- spank high. Good news: It does have DNA.
Nick: Whose?
Greg: I don't know. Ran it through CODIS, nothing kicked out.
Catherine: Well, it's possible this guy's so new he doesn't even have a record.
Greg: Well, I can tell you this about him: Really low sperm count. Sample hardly had any swimmers.
Nick: That's probably from excessive masturbation. Guy's been outpacing his ... (WARRICK turns to look at NICK.) ... ability to produce ... (NICK looks up and notices everyone looking at him.) ... sperm ...
Warrick: Yeah, you'd know it, Spanky.
Nick: It's just a hunch.
Greg: Hey, that can happen to any guy.
Warrick: Yeah, not outside some poor woman's bedroom window.
Grissom: All right, let's keep after it. This guy won't stop till he's caught.
(WARRICK closes the file folder in front of him.)
CUT TO:
[INT. CSI -- FORENSIX AUTOPSY]
(DOC ROBBINS pushes a body back in the storage unit. He closes the door. SARA enters the room.)
Sara: Hey, Doc. You got a minute?
Robbins: Sure, just finishing. Some people actually do die of natural causes in Vegas you know.
Sara: So I hear.
Robbins: So what's on your mind?
Sara: Um ... a friend of mine's going in for surgery. Traumatic Basilar Artery Aneurysm. You, uh, mind walking me through it?
Robbins: It's a rough procedure. The basilar is the chief blood supplier to the brain stem. Here, I'll show you.
(He reaches up on the shelf for a thick book and walks toward his desk.)
Robbins: They put the patient under hypothermic arrest, meaning the heart will be stopped and blood artificially circulated.
(He opens the book to a diagram and shows it to SARA.)
Robbins: The objective is to decrease blood pressure so the aneurysm can be clipped. Imagine taking a Kn*fe to a balloon.
(Quick Flash to: MELISSA WINTERS is face down on the operating table as the surgeon works on her. Camera moves to the surgeon's POV, through the machinery and to the muscles in her neck. The camera moves past the b*llet and to the machine as it works on the artery.)
Robbins: (V.O.) The neurosurgeon has just under an hour. One slip, the artery ruptures causing a catastrophic brain hemorrhage.
(Flash to white. End of CGI POV. Resume to present.)
Sara: She said she was going to die.
Robbins: Nine out of ten times, Sara. I'm sure her doctor told her.
Sara: Thanks.
CUT TO:
[INT. HOSPITAL]
(SARA walks onto the floor. DR. STEWART is at the nurses desk filling out a form.)
Sara: (to nurse) Excuse me, do you know where I can find Dr. Stewart?
Nurse: (pointing) Right there.
Sara: (to nurse) Thanks.
(SARA walks toward DR. STEWART.)
Sara: Dr. Stewart. Sara Sidle. I'm a friend of Melissa Winters.
Dr. Stewart: She pulled through.
Sara: (smiling) She did?
Dr. Stewart: No change to mobility, but cognitively, she'll be sharp as ever. Not quite ready to entertain visitors but you can drop by tomorrow.
Sara: Thanks. Thank you.
Dr. Stewart: Okay
(DR. STEWART turns to leave. SARA stops him.)
Sara: Hey, Doc?
Dr. Stewart: Yeah?
Sara: When you were in there did you, by any chance, remove the b*llet?
Dr. Stewart: Yeah, after I repaired the artery I figured it couldn't do any more damage than it already has.
Sara: You think I could have it? I'm, uh ... I'm with the crime lab. It's the only evidence in a cold case.
Dr. Stewart: Yeah. Wait here and I'll have it sent out.
(SARA smiles as DR. STEWART leaves.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK uses the blow dryer and dries out the plaster cast of the shoe print. He puts the blow dryer aside and brushes away the dirt. He grabs the measuring tape and measures the shoe print. He then measures it against the chart.)
(CATHERINE walks into the lab.)
Catherine: Hey, how's it coming?
Warrick: Good. Looks like I got a size eight. Check back with me, I should have more in a bit.
Catherine: All right.
(CATHERINE leaves and heads down the hallway.)
CUT TO:
[INT. CSI - PRINT LAB -- CONTINUOUS]
(CATHERINE walks into the print lab.)
Catherine: Hey, Jacqui. Grissom's print any good?
Jacqui: The deposition pressure's heavy. The guy was really pressing hard on that window.
Catherine: With one hand, anyway. Okay, well, that's a lot of distortion.
Jacqui: Yeah. Platform ridges of the latent print were affected by the shift of the core away from the triradius.
Catherine: So can you enhance the ridges equal to the amount of the slippage?
Jacqui: Mm-hmm. With the help of this software. Now let's hope this guy's in one of our databases.
Catherine: Well, I'd run AFIS last. I doubt if he's in there; he wasn't in CODIS.
Jacqui: No criminal record? We're dealing with a newbie, a teenager.
Catherine: It's kind of looking like that.
(She checks the database and gets a match with the following results: )
(From the Las Vegas Metropolitan Police Work Card Bureau)
[LAS VEGAS METROPOLITAN AREA NON-GAMING PERMIT
NAME: JUSTIN LAMOND OCCUPATION: POOL ASSISTANT, TANGIERS ISSUED: 11/29/2001
EXPIRES: 10/23/2003
P.D. Chief: Alec Champain ID# 18645-00065879]
Catherine: Justin Lamond, 18. Non-gaming card.
Jacqui: He's a pool boy at the Tangiers.
(The additional information on the bottom of the screen reads: )
[NAME: Justin Lamond ADDRESS: 4647 Cedar Street Las Vegas, NV 89107
Control ID: 1092-23-78J
Print: L.P Match Score: 100%
Class Score: 100%
Database: (5784985_657) ]
Catherine: Oh, and look at that. He lives one block from the crime scene. Thanks, Jacqui.
(CATHERINE walks out of the lab.)
CUT TO:
[EXT./INT. SHOPPING MALL - DAY]
(BRASS and CATHERINE stand on the top of shopping mall looking down over the people walking around below.)
Catherine: Hey.
Grissom: Hey. So the owner of the pool company says he spends his lunch hour here every day.
Catherine: Well, that's what he looks like.
(CATHERINE hands the information sheet complete with picture to BRASS.)
Catherine: I'll be this way.
Brass: Okay.
(BRASS hands the information sheet back to CATHERINE. She walks to a different area.)
(BRASS and CATHERINE start to scan the area below looking for JUSTIN LAMOND.)
(CATHERINE sees him as he walks up the escalator behind a girl wearing a skirt.)
Catherine: Jim. There, that's him.
(BRASS walks over and looks where CATHERINE points.)
Brass: Yeah, how can you miss him? Kid's pitching a tent.
(BRASS and CATHERINE go to intercept him.)
CUT TO:
[EXT./INT. SHOPPING MALL - DAY -- CONTINUOUS]
(JUSTIN LAMOND reaches the top of the escalator. BRASS, CATHERINE and an OFFICER meet him at the top.)
Catherine: Justin Lamond?
Justin Lamond: Yeah?
Brass: Come with me, Justin.
(BRASS pulls JUSTIN LAMOND to the side.)
Justin Lamond: Hey ...
Brass: Nice fanny pack. I mean, I'm a wallet guy myself, but I can change. Mind if I take a look at yours?
(BRASS opens the fanny pack and looks through it.
Justin Lamond: I'm not doing anything.
Brass: Pack's a camouflage. And check out the tip of his right shoe.
(CATHERINE looks down at JUSTIN'S shoe and sees the small, nearly imperceptible flashing red light and lens.)
(Quick CGI POV to: The camera starts from the tip of the shoe and follows the wiring up JUSTIN'S leg and through a hole in the fanny pack. The wiring connects up to the flat camera recorder that CATHERINE opens. End of CGI POV. Resume to present.)
(On the monitor of the recorder, is a picture of CATHERINE.)
Catherine: It's a spy camera. What, you can't peep in apartments during the day so you come to the mall to sneak some thrills?
Justin Lamond: I don't know what you're talking about. I'm late for work.
(JUSTIN tries to leave, but BRASS stops him.)
Brass: No, your lunch hour just got very long.
Catherine: Put him in the car.
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(BOBBY DAWSON examines MELISSA WINTERS' b*llet.)
Bobby Dawson: Heck of a lot of tissue attached. Let me guess-- this has been in your victim for a while.
Sara: Three years. Prosecutor friend of mine walked in to find a guy sh**ting her husband, then he turned the g*n on her. She just had it surgically removed.
Bobby Dawson: The human body's amazing. Three years.
(Quick CGI POV of the b*llet lodged inside the body. In a quick series of cuts, tissue forms completely around the b*llet.)
Bobby Dawson: (V.O.) Tissue forms around the b*llet protecting the body from the leaching of the lead.
(End of CGI POV. Resume to present.)
Bobby Dawson: Hang on a second. You get approval from Grissom? I don't want him walking in on me.
Sara: Yeah.
Bobby Dawson: (he smiles at her) Sara Sidle ... ?
(She smiles back.)
Sara: Yeah, I did.
Bobby Dawson: All right, just checking. Let's go.
(BOBBY pushes his chair clear across the room to another table.)
Bobby Dawson: Enzymatic detergent ought to clean this baby up.
(He puts the b*llet in a beaker and adds some detergent to it. After a moment, he pulls the b*llet out of the beaker.)
Bobby Dawson: Ugh ... Still stained.
(He plops the b*llet back into the beaker.)
Bobby Dawson: All righty ... time to get serious.
(He pushes his chair to another table. He puts the beaker into a machine that uses sound to clear the tissue off of the b*llet. The tissue starts to peel off of the b*llet.)
Sara: (loudly through the buzzing of the machine) Hey, hey, careful with that b*llet, it's my only evidence.
Bobby Dawson: I thought you said the husband got sh*t, too.
Sara: It was a through and through. The b*llet decimated upon impact with the couch ... (He turns the machine off.) ... with the couch frame.
(BOBBY takes the beaker out of the machine and takes the b*llet out of the beaker. He examines the b*llet.)
Bobby Dawson: Hey, clean as a whistle. We're good to go. I'll run it through IBIS.
Sara: Thank you. Page me?
Bobby Dawson: Yeah, sure thing.
(SARA leaves the lab.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(BRASS closes his office door as he and CATHERINE interview JUSTIN LAMOND.)
Brass: How long you been doing this-- videotaping woomen without their knowledge?
Justin Lamond: It's only breaking the law if you record their voices.
Brass: Ooo ... He's a smart kid, huh?
Justin Lamond: Oh, come on ... look at the girls out there. They wear see-through tops, short skirts, bellies all on show. They so much want it. So I catch some money sh*ts.
Brass: Well, let's look at the young Kubrick's money sh*t, shall we?
(BRASS turns on the television monitor and plays back JUSTIN'S tape. The first sh*t is of the woman on the escalator. The second sh*t is of a woman's cleavage. Next sh*t is of a woman leaning over. Additional footage continues along the same theme.)
(CATHERINE is surprised by the video. BRASS turns the monitor off.)
Justin Lamond: You guys are looking at me like I'm some scab. I don't do toilets, fat chicks, blue vein, crush stuff. Just low-tech voyeur.
Brass: That's reassuring. Do you know Doreen Bainbridge?
Justin Lamond: No.
Catherine: We found your fingerprints on her window.
Brass: And also a little love graffiti on the wall outside.
(CATHERINE turns away and goes to retrieve something from the desk.)
Justin Lamond: (shrugs like it's nothing) I spy, I don't engage.
(He looks over at CATHERINE who is now turned away and bent over the desk reaching for something.)
Catherine: Well, remind me to give you a medal.
(CATHERINE turns around and sees him looking at her. JUSTIN quickly averts his eyes back to CATHERINE'S face, but not quick enough for her to not notice. She is annoyed and turns to look at BRASS.)
Catherine: Stand up. Step down. Both feet.
(CATHERINE opens two boxes to retrieve JUSTIN'S shoe imprints. He steps into the boxes. He steps out of the boxes. CATHERINE pulls out the measuring tape and measures the imprints. They're 13".)
(CATHERINE walks over to BRASS.)
Catherine: It's not a match.
Brass: You got to be kidding me.
Catherine: Three-size differential. He was obviously outside Doreen's apartment, but he's not our guy.
Brass: He's my guy.
(Not about to let him get away with nothing, BRASS turns around and recites.)
Brass: Justin Lamond ... sexually motivated offense, indecent exposure, gross lewdness. Let's go to booking.
Catherine: Try to keep it on ice.
(The tape measure snaps shut.)
CUT TO:
[INT. CSI -- LAB]
(CATHERINE walks in the lab.)
Catherine: What's up?
Warrick: Hey, this cast that poured into the shoe print that I found outside that victim's bedroom window ...
(Quick CGI POV of the shoe imprint. Camera zooms in to note some yellow discoloration in one of the ridges. End of CGI POV. Resume to present.)
Catherine: Yeah.
Warrick: Pulled off some trace materials from it. It's like a yellow substance. It may be paint. Take a look and tell me what you think. Check it out.
(WARRICK walks over to the scope and CATHERINE looks at what WARRICK has in it.)
Catherine: Yeah. With glass. Reflective glass.
Warrick: Yeah, I'm thinking maybe road paint ... crosswalk ... lane markings maybe.
Catherine: So our suspect stepped in wet maintenance paint.
Warrick: That stuff dries pretty fast. So he must've stepped in it on his way to the scene.
(Quick flashback to: Yellow double painted lines on the road and someone walking through the wet paint. End of flashback. Resume to present.)
Catherine: Which could tell us what direction he's coming from. Let me call my guy in the department of transpo.
(CATHERINE walks out of the lab.)
CUT TO:
[INT. CSI - A/V LAB]
(GRISSOM is still sitting in front of the computer. CATHERINE walks into the lab.)
Catherine: Still charting recent toms?
Grissom: Architecture. He has a "Type". All these buildings that recently reported peeping toms? Got floor plans from the management company. A-- second story, three bedroom. B-- ground floor, two bedrooms, center lots. C ... C-plans are all one bedroom on the end. Cheapest rent, highest foot traffic easiest to break in.
Catherine: He's a C-level man.
Grissom: Yeah. And every apartment has sliding doors and windows. Not one sash, not one french.
Catherine: And he gets there on foot, from east of Avon.
Grissom: You found his epicenter?
Catherine: Closing in on it. The city painted double yellows down Taylor Road last night. Started at 10:00 at Avon avenue. The paint crew goes three miles an hour. That puts them at Taylor and Cedar -- the victims' apartments-at approximately 20 after 10:00, just before the att*cks.
Grissom: Predators usually widen their comfort zone in a spiral pattern outward.
(GRISSOM puts this new bit of information into the computer. On the monitor the entire potential area is enclosed in a red circle. Within the circle, red dots start appearing sporadically on the monitor.)
Grissom: My god, look at all the C-level apartments. P.D.'S going to have to triple their presence.
(The computer continues to add more red dots on the monitor.)
Catherine: Quadruple it.
CUT TO:
(Someone is standing outside a woman's apartment and looks in on her through the window blinds. She goes through her apartment unaware that he's out there.)
Grissom: (V.O.) He h*t two apartments in one night. He's become compulsive.
Catherine: (V.O.) Predators get smarter with every att*ck. It's been in the news. He may be wearing gloves this time.
(A gloved hand reaches in through the window and up to the sliding door latch. The woman is standing inside the lit apartment and going through her laundry.)
(The sliding door opens. The man enters the apartment.)
Grissom: (V.O.) Yeah, he's evolving ... perfecting ...
(The woman turns around just as the gloved hand reaches out to cover her face.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- A/V LAB]
(The telephone rings. GRISSOM answers it.)
Grissom: AV lab. Grissom.
Brass: (from phone) Your sexual as*ault moved up to r*pe.
Grissom: Would you be exact, please?
Brass: (from phone) 490 Kildare Road. Get here as soon as you can.
Grissom: Thank you.
(He hangs up the phone and enters the address in the computer.)
(CATHERINE copies the address off of the monitor. She takes a step toward the door expecting GRISSOM to follow her. He doesn't move from his chair.)
Catherine: Aren't you coming?
Grissom: You can handle it.
Catherine: High profile case, technicalities ... that can't be why you do this, why you hang back and hide out.
Grissom: You look better on-camera.
Catherine: Right. I didn't think so.
(CATHERINE walks out of the lab.)
CUT TO:
[EXT. 490 KILDARE ROAD -- NIGHT]
(CATHERINE walks down the hill toward BRASS. She's carrying her kit.)
Brass: So where's Grissom?
Catherine: Supervising. So I'm listening to news radio on the way over here and they're calling him the sliding-door r*pist.
Brass: Well, we got Susie Spiegel. She was unable to ID her assailant. There was penetration this time. She said he was polite. He wore a condom.
Catherine: Polite?
Brass: Yeah.
Catherine: He's just more savvy. There's less evidence for us to work with. I know, exactly.
(CATHERINE and BRASS turn their heads as they hear a woman yell out.)
Wendy: (o.s.) Hey! Police!
(On the side, WENDY has TAYLOR REED face down on the ground, her knee in the center of his back.)
Wendy: Come on, you pervert!
Taylor Reed: Hey! Hey! I can't breathe.
Wendy: Oh, well, you're not such a hotshot once a real woman gets a hold of you.
(BRASS and the other officers arrive.)
Brass: Slow it down, Xena. It's all right. Okay.
Wendy: Look, I saw him in the bushes. I scared him.
Brass: I know, I know. I understand.
(WENDY gets off of TAYLOR REED.)
Brass: Okay, get some id on these people, all right? Let's all go downtown, all right?
Wendy: I got him by surprise. I got him. (to TAYLOR REED) You're not gonna -
- you're d*ad.
Brass: Are you all right?
Wendy: Yeah, I'm fine.
CUT TO:
[INT. CSI -- LAB]
(SARA looks at a hand-drawn map of the crime scene. She studies the map and visualizes what must have happened.)
(Quick flashback to: VICTOR WINTERS standing up and talking with someone holding a g*n on him. MELISSA WINTERS walks into the room.)
Victor Winters: Please ... don't sh**t me.
Melissa Winters: Victor?
Victor Winters: Please ... please!
(The g*n fires.)
Melissa Winters: Victor!
(VICTOR WINTERS falls back onto the couch. MELISSA WINTERS rushes to her husband. She turns around and sees the masked man in the living room. He fires and hits her in her neck. She falls to the floor.
(End of flashback. Resume to present.)
(SARA goes through the photographs of the case. NICK enters the lab.)
Nick: Hey, Sara. Heard you reopened the Winters case.
Sara: Did you know the lead CSI on this case, Terry Flannery?
Nick: Flannery. Yeah, yeah. He retired and moved back to L.A.
Sara: These are exit wounds from the husband's back. What do you see?
(SARA hands a photo for NICK to look at. He looks at the photograph.)
Nick: It's shored. There's a definite abrasion ring.
Sara: The only way you get marks like these is when the vic's back is pressed against something-- a floor, a wall. How did Flannery miss this?
Nick: There are two CSIs you never want investigating your m*rder -- the one on his first week, and the one on his last.
(NICK smiles and turns to leave the room. He looks back at SARA who has gone back to studying the photographs.)
Nick: Hey, does Melissa know you're doing this?
(SARA looks up.)
Sara: I don't want to get her hopes up.
Nick: She's been through a lot. You know how some victims are. They don't really want to know what happened. You know?
(SARA looks back at NICK. After a moment, NICK leaves the room. SARA's pager beeps.)
CUT TO:
[INT. CSI - BALLISTICS LAB]
(SARA walks into the lab.)
Sara: You got something?
Bobby Dawson: Well, why else would I be paging you? A b*llet sh*t from the same g*n that was recovered from a liquor store robbery in Henderson six months ago. Check it out. They line up perfectly.
(The two b*ll*ts side by side on the monitor, then overlapped. They match.)
Sara: Cops recover the g*n?
Bobby Dawson: Do you one better? They got the sh**t.
(The information for ROGER WILDER appears on the monitor.)
Sara: (smiles) Roger Wilder. I'm liking you already.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM
(SARA questions ROGER WILDER.)
Roger Wilder: I don't know any Melissa Winters.
Sara: Oh, bad memory? Let me you. She was the Assistant DA who prosecuted you for as*ault five years ago. She got you sentenced to four years.
Roger Wilder: Yeah, I was out in one. What about her?
Sara: Well, the trial transcript says at the sentencing you yelled at her, "What goes around, comes around."?
Roger Wilder: It was a chump charge. She did a number on me.
Sara: So was it just a coincidence that three weeks after you got out of jail, Mrs. Winters and her husband were sh*t in her own home?
(ROGER WILDER doesn't say anything. He looks at SARA.)
Sara: We recently recovered a b*llet from Melissa's head. It happens to match a b*llet fired from the g*n that you used in your latest felony. You know what we call that? Corroborating evidence. I guess I'd keep my mouth shut, too. Three years have passed. You don't have to say anything, but I have to tell you that evidence persists. A fingerprint ... a fiber ... a hair. If I find one shred of physical evidence that places you in the winters' house, there is not a jury in Clark County that will not give you the death penalty.
Roger Wilder: I went to her house. Not to k*ll her. I wanted to see the look on her smug-ass face when she saw I knew where she lived. She wasn't there, all right?
Sara: Did you knock or did you use the doorbell?
Roger Wilder: No one was there. I busted in, thought I'd mess the place up and give her a nice welcome home.
(Quick flashback to: ROGER WILDER is inside the WINTERS' home. He picks up a golf club and looks around. He uses it as a bat and starts smashing things ... a vase ... the fireplace ... the table. On the floor with the shattered table top glass is a g*n. He sees it.)
[CLOSED-CAPTIONED: Roger Wilder: I busted in, grabbed the first thing I could find, made a little mayhem.]
(End of flashback. Resume to present.)
Sara: A g*n just fell from a table.
Roger Wilder: Yep. At least I got something out of her.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(BRASS questions WENDY.)
Wendy: Everybody tells you to get more involved in the community, but once you do ...
Brass: Hey, hey, hey, you busted a man's lip. You broke a tooth, you sprained his finger.
Wendy: Jujitsu, shotokan. (She holds up her hands.) They act on their own. I am just a vessel.
INTERCUT WITH:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- CONTINUOUS]
(CATHERINE questions TAYLOR REED.)
Taylor Reed: Shouldn't I go to the hospital? I was bleeding.
Catherine: I just have a few questions. First off, what were you doing at those apartments?
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- CONTINUOUS]
(WENDY looks over at BRASS.)
Wendy: I was on my way home from spin class on my bike
(Quick flashback to: WENDY riding her bike. She looks over and sees the figure of a man near a house.)
Wendy: (V.O.) ... and then I saw him. He was in those bushes around Jennifer's place
(The MAN sneaks up to the window outside the house.)
Wendy: (V.O.) ... and I guess I thought the guy'd be scary.
(WENDY looks over at the man and yells.)
Wendy: Hey!
Wendy: (V.O.) ... You know, night stalker scary, but he was like a wet french fry. I knew I could take him.
(The man looks up at WENDY. WENDY stares at the man.)
(End of flashback. Resume to present.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- CONTINUOUS]
(CATHERINE continues to question TAYLOR REED.)
Taylor Reed: She was insane. She didn't even let me explain.
Catherine: Try me.
Taylor Reed: I was looking for an apartment. I just got a raise and need more space.
Catherine: So you decide to start your search in the d*ad of night when there's a r*pist on the loose.
Taylor Reed: I work days. It was in the classifieds.
(TAYLOR REED pulls out a folded piece of newspaper from his pocket and shows it to CATHERINE as if that slip of paper explains it all.)
Catherine: Oh.
Taylor Reed: Besides, what, what's he going to do to me?
Catherine: Well, Wendy did okay. Um, the problem I'm having is that those apartments there's always an availability so, um, kind of gives you a plausible excuse anytime, anywhere, doesn't it?
Catherine: Oh, I like those shoes. What size are you?
Taylor Reed: Eight and a half.
Catherine: Eight and a half, huh? Do you mind if I look at the soles?
(TAYLOR REED puts his feet up on the table. CATHERINE examines the shoes.)
Taylor Reed: You seem disappointed.
Catherine: Hey, how would you feel about allowing me to look at all your shoes from home? I mean, it'd be strictly voluntary.
Taylor Reed: I don't know if I'd be comfortable with that.
Catherine: A young, white male living in a targeted neighborhood -- I'd think you might want to, you know, help rule yourself out.
Taylor Reed: I value my privacy.
Catherine: Of course you do.
(TAYLOR REED stands up and looks at CATHERINE.)
Taylor Reed: Am I free to go?
Catherine: Yeah.
(TAYLOR REED starts walking toward the door. CATHERINE stops him.)
Catherine: Oh. Uh, Mr. Reed. If Wendy att*cked you and you're innocent, I'd think you might want to file charges against her. How come you didn't?
(TAYLOR REED takes a step toward CATHERINE and nods his head.)
Taylor Reed: Uh, no. I do. Want to. File charges, yeah.
Catherine: You sure? I wouldn't want you to do anything you didn't believe.
Taylor Reed: No, she as*ault me. I want to file.
Catherine: We'll take a report.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(TAYLOR REED sits in BRASS' office behind his desk. BRASS pushes a piece of paper toward TAYLOR REED.)
Brass: I want you to know once you sign that complaint, it becomes a binding legal document, all right?
(Through the hallway glass window, CATHERINE watches TAYLOR REED sign the paper. BRASS looks up at CATHERINE and subtly nods his head. CATHERINE leaves and walks down the hallway.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM]
(WENDY looks at the blood stain on her sweater sleeve. She can't believe what she's hearing.)
Wendy: He's filing charges on me? This is ridiculous.
Catherine: Agreed. May I please take that swab?
(CATHERINE takes a swab of WENDY'S mouth.)
Catherine: I'm going to need that jacket, too.
Wendy: That's great, you know? The guy's out there raping women and I end up getting strip-searched by the police.
Catherine: Wendy, I can't discuss an ongoing case, but what I can tell you is if we're going to get this guy, it'll be because of what you're giving us right now.
Wendy: Really?
Catherine: Really.
Wendy: Okay.
(WENDY takes off her jacket. CATHERINE smiles.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(SARA works on the computer looking through various photographs of blood stains from the WINTERS' crime scene.)
(She pages through eight photograph of blood stains and the ninth photo of VICTOR WINTERS, sh*t and lying on the couch. She looks at the blood stain on the shirt.)
(Something doesn't add up.)
(She goes back to the report:
[INVESTIGATION
According to CSI Terry Flannery at approx ...
... 03-03-2000 decedent Victor Winters (9 ...
... couch in an upright position from an ...
... upper extremities. Melissa Winters ...
... floor with g*n wound to the base ...
... transported to Desert Palm Hospital for ...
... EXAMINATION
... 3809 On decedent all medical applia ...
... no inconsistent trauma observed with ...
... supported information. ]
(SARA goes back to the photograph and prints it out. The printer prints the photo. SARA picks it up.)
CUT TO:
[INT. CSI - HALLWAY]
(Carrying the photo, SARA heads out the room and down the hallway. She meets NICK along the way. NICK turns around from wherever he's going and follows her.)
Sara: Roger Wilder said he was inside Melissa's house which is true. He described the exact layout of the room. But he said he found the g*n when he destroyed the coffee table and I have no evidence to disprove that.
(They enter the lab.)
[INT. CSI - LAB]
Nick: Well, go for logic. Some guy breaks into the Winters' house sh**t 'em both and leaves his g*n behind? Why?
(SARA picks up a box from the floor and opens it. Inside is VICTOR WINTERS' shirt in an evidence bag.)
Sara: I don't know.
(SARA takes the shirt out of the bag.)
Nick: Well, if it was really there, how come CSI didn't find it?
Sara: That's a very good question. I knew something was off when we saw that shored wound. It didn't match up with Melissa's account. If her husband was standing up like Melissa said when he was sh*t blood would have dripped down from the entry wound to the belt buckle.
Nick: Yeah. Gravity only runs one way.
(Quick flashback to: A g*n is fired. The b*llet pierces the shirt and the blood run down and seeps through the shirt making a stain that runs downward. End of flashback. Resume to present.)
(SARA spreads the shirt out and looks at the blood flow. This blood stain runs from the b*llet hole to the right. The conclusions are obvious.)
Sara: This blood trail ... the only way it's going ... south ... he was laying down.
(SARA looks at NICK. NICK doesn't say anything. The evidence speaks loud and clear. NICK leaves the room. He leaves SARA alone with the shirt and her thoughts.)
Sara: (quietly) She lied.
CUT TO:
[INT. CSI - HALLWAY]
(CATHERINE walks rapidly through the hallway. GREG jumps out of his lab and intercepts her. He carries a file folder with her test results.)
Greg: He-ya! About the blood on kung fu lady's clothes.
Catherine: Greg, I don't want any other cases jumping mine. This is priority.
Greg: Eh ... If I had a dime ... anticipating that, I skipped dinner and ran the DNA through CODIS.
Catherine: Mm.
Greg: Turns out that your apartment hunter, that girly man, left his double helix behind at another crime scene.
(CATHERINE'S eyes widen. She takes the results from GREG and looks at it.)
Catherine: (reading) Unknown subject, five months ago breaking and entering, burglary.
Greg: They had nothing to compare it to at the time.
Catherine: But we do now.
Greg: Mm-hmm.
(GREG turns his head to the side and taps his finger to his cheek as if expecting CATHERINE to plant him one there. CATHERINE, thrilled with the results, walks past GREG and back down the hallway.)
CUT TO:
[INT. HOSPITAL - MELISSA WINTERS' ROOM -- DAY]
(SARA knocks lightly on the door. She opens it and walks inside. She sees her friend awake in bed.)
Melissa Winters: (hoarsely): Sara, hey.
Sara: (smiling) Hey. You did it.
Melissa Winters: Yeah. I b*at the odds. I got lucky.
Sara: Lucky and smart.
(SARA stands at the foot of her bed and looks a bit awkward.)
Sara: (quietly) I reopened your case.
Melissa Winters: Yeah, my doctor mentioned it. He said that he gave you the b*llet.
Sara: I know what you did, Melissa. I examined the evidence. Your husband wasn't-standing in front of the couch struggling with some stranger.
(Quick flashback to: VICTOR WINTERS is asleep on the couch with the television on. MELISSA WINTERS walks up to him carrying the g*n.)
TV Sports Announcer: ...And the wildcats hang on...
(She points the g*n at her husband and fires.)
(End of flashback. Resume to present.)
Sara: There was no stranger. He was, uh, asleep, wasn't he? On the couch?
Melissa Winters: You're the one with the evidence.
Sara: You had a CSI who was about to retire who was predisposed to believe the testimony of an honest prosecutor like you. Especially since you got sh*t, too?
(Quick flashback to: MELISSA WINTERS standing over her husband with the smoking g*n. In shock at what she's done, she drops the g*n on the floor and takes a step back. She sits down on the floor, she covers her face with her hands and cries.)
(End of flashback. Resume to present.)
Sara: See, he leaned up from a prone position.
(Quick flashback to: VICTOR WINTERS wakes up and looks at MELISSA who is on the floor crying. He leans over the edge of the sofa and picks up the discarded g*n. He points it at his wife. She slowly raises her head. He fires.)
(He drops the g*n and falls back on the couch. d*ad.)
(End of flashback. Resume to present.)
Sara: The directionality of the blood tells the story.
Melissa Winters: I didn't understand why I couldn't move my legs.
Sara: And you couldn't let anyone find that g*n. They would have tested your hands for GSR.
(Quick flashback to: MELISSA WINTERS struggling to sit up. She reaches over for the g*n. She grabs the g*n and falls backward on the floor.)
(Cut to: MELISSA WINTERS under the glass coffee table tucking the g*n inside the wooden beam. That done, she falls back to the floor, unconscious.)
(End of flashback. Resume to present.)
Melissa Winters: I thought I could go back. That I could get rid of it.
Sara: Somebody else did that for you. I almost had him arrested for a m*rder you committed.
Melissa Winters: You would think that an attorney could come up with a great case against an abusive husband, but I was ashamed. I didn't want people to know what he did to me.
Sara: All your closing arguments, all your big talk about Justice. I fell for all of it.
Melissa Winters: I've always believed in Justice. I still do.
Sara: (quietly) You never expected to live, did you?
Melissa Wilder: No. Out of all the CSIs, I knew I could depend on you.
Sara: I guess I'll be seeing you in court. Good-bye, Melissa.
(SARA turns and leaves the hospital room. She closes the door and looks up at the officer standing outside. She nods to him and he enters the hospital room as she walks away.)
(SARA walks down the hall and stops. She turns and leans back against the wall.)
(Camera holds on SARA.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(CATHERINE walks through the hallway and into the Audio/Visual Lab where GRISSOM is sitting behind the computer.)
Catherine: How's your chart of escalation?
Grissom: De-escalating. I had figured Taylor Reed was branching out, widening his circle, but after last night, I think he's pulling in, going back to his original comfort zone.
Catherine: Was one of your original burglaries located at 13200 Appian way?
(GRISSOM types in the address into the computer. The following results show:
[Summary for 13200 Appian Way Crime Scene Report
09/06/02 (approx. 5 months ago)
Case: Breaking & Entering
... Offender broke through a sliding glass door on the first floor.
...CB: Case File (48377-587) ]
Grissom: Five months ago. First floor. Broke in through a sliding door.
Catherine: Where our guy Taylor Reed cut himself on the glass. So, we've narrowed the epicenter down to a single block-- Appian way. I'm thinking if we find something overlooked at those early crime scenes on Appian, we can tie it to our sexual as*ault.
Grissom: De-escalation. If we can't get to where he's going, we'll go where he's been.
CUT TO:
[EXT. -- NIGHT]
(A WOMAN answers the front door. NICK is on the front porch)
Nick: Hi. Hi, I'm Nick Stokes. I'm with the Vegas Crime Lab. There's a situation in your apartment complex you should be aware of. Do you mind if I come in, ask you a few questions?
CUT TO:
[EXT. -- NIGHT]
(The front door opens. A man and a woman find WARRICK on their front porch. He holds out his ID.)
Warrick: Hello. I'm Warrick Brown. I'm from the Las Vegas Crime Lab. We're investigating a disturbance a couple doors down. I wanted to ask you a few questions if I could.
CUT TO:
[EXT./INT. 13200 APPIAN WAY -- NIGHT]
(BRASS and CATHERINE walk up to the next door.)
Brass: So help me out. What's a delicate way to say this? I'd like to barge in, tear your apartment upside down look for five-month-old evidence?
Catherine: You're the poet.
Brass: I'm glad you noticed.
(They reach the front door. Through the window they see the lights on inside.)
Catherine: Looks like somebody is still awake.
(BRASS knocks on the door. The front door opens ... )
Brass: Las Vegas Police ...
(... and they come face-to-face with TAYLOR REED.)
Taylor Reed: Detective. Ma'am.
Brass: What are you doing here?
Taylor Reed: I live here.
Brass: This is not the address on your driver's license.
Taylor Reed: People move.
Brass: Right.
Catherine: We'd like to come in.
Taylor Reed: Sure.
(He stands aside and they walk into the apartment. CATHERINE turns her flashlight on and starts to look around.)
Taylor Reed: Pardon the mess.
Catherine: I'm going to take a guess here. This apartment came on the market five months ago. The old tenant was bothered by the breaking and entering, the bloodstain that you left behind. You moved into the apartment you committed your first crime in, didn't you?
(CATHERINE turns her flashlight on TAYLOR REED and starts to examine him.)
Brass: Now you're ready to move again, huh?
Catherine: You weren't looking for another apartment. You were looking for ...
(CATHERINE sees a part of hair torn off from the back of his head. Her eyes widen.)
Catherine: ... another victim. You got something to hide, Reed?
(TAYLOR REED doesn't respond. CATHERINE starts to examine the floors.)
Catherine: Jim?
Brass: Yeah, okay.
(CATHERINE leaves the living room area and starts walking down the hallway. She's looking for something.)
(Almost near the end of the hallway, she sees it. A piece of bloodied hair with torn scalp in the middle of the hallway floor.)
(TAYLOR REED notices that CATHERINE sees the hair. He turns to run, but BRASS is there to stop him.)
(CATHERINE opens the door and finds a bound woman on the floor.)
Catherine: Jim, we need an ambulance!
(CATHERINE kneels down next to the woman.)
Catherine: Miss, are you all right? It's over. It's over. It's okay.
CUT TO:
[EXT. - NIGHT]
(The woman is being wheeled away on a gurney. CATHERINE stands nearby. She peers into the window of the police car and looks at TAYLOR REED who's sitting inside. They look at each other. CATHERINE walks away.)
[INT. CSI - LOCKER ROOM - NIGHT]
(SARA sits on the locker room bench. GRISSOM stands near the door looking through a locker.)
Sara: The cop read Melissa her rights right there in the hospital room. You think you know somebody.
Grissom: I never think that.
(SARA looks up at him.)
Sara: Ever?
(After a moment, she turns away and stares at the locker in front of her.)
Sara: When I was a kid I was playing hide-and-seek one day and I found this plastic bag under my big brother's bed. I thought it was a bag of dirt so I took it to my mom. Turned out it was his bag of weed. He was grounded for a year.
Grissom: The best intentions are fraught with disappointment.
Sara: Emerson?
(He closes the locker door and looks at SARA.)
Grissom: Grissom.
(SARA turns to look at GRISSOM. He lifts an eyebrow. She turns back to look at the lockers in front of her.)
(Looking back at SARA, GRISSOM slowly leaves the locker room. SARA closes her eyes and lowers her head, her silence as heavy as her thoughts. The camera moves away from SARA ... )
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x14 - One h*t Wonder"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. CLUB - ENTRANCE -- NIGHT]
(CLUB SECURITY is running a hand-held metal detector on every person who wants to enter the club. Currently, they check a man at the door. The line behind him is long.)
Club Security: Go ahead. CLUB SECURITY: Turn around. CLUB SECURITY: Go ahead. CLUB SECURITY: Next.
(CLUB SECURITY motions for the man to go. The man leaves. Next up is a woman. CLUB SECURITY runs the hand-held metal detector on her back, from top to bottom.)
Club Security: Turn around.
(The woman turns around. The metal detector beeps.)
Woman: My kitty's pierced.
(CLUB SECURITY stares at her without comment.)
Woman: Want to see?
CUT TO:
[INT. THE CLUB - NIGHT -- CONTINUOUS]
(Camera travels low to the ground following The WOMAN into the club. She stops at the railing to watch what's happening in the pit.)
DJ: (over speakers) Party people ... Brothers and Sisters ... Angels and devils ... Virgins and Sinners ... let the foam take you away to your deepest desires. Cleanse yourself. There's no turning back now.
(Inside the pit, men and women dance as they are being covered with foam.)
(From inside the foam pit, a woman stands and starts screaming, her voice heard above the pulsating music.)
CUT TO:
[INT. THE CLUB - NIGHT]
(Camera opens on the pit, foam dissipated. In the center of the pit is a d*ad body sprawled out on the floor. BRASS stands over the body while looking through the victim's wallet.)
(GRISSOM carries his CSI kit and makes his way down the steps into the pit toward BRASS. BRASS holds the victim's ID card.)
Brass: Ever been to a foam party?
Grissom: What do you think?
Brass: Things can get pretty wild.
Grissom: (looking at the body) Evidently. You got an I.D. on this guy?
Brass: Yeah, the deceased is Trey Buchman. Age 21. I got a Vegas I.D.
Grissom: Eyewitnesses?
Brass: Uh, too much foam. The party was over. Most of the "responsible" young adults had split.
Grissom: It's amazing how the sight of blood can clear a room.
(GRISSOM puts his kit down and kneels to look at the victim.)
Brass: Yeah. I'll tell you what we got. My guys are talking with the girl who found the body, but even sober, she's not going to be much help.
Grissom: Wonder what made this wound? Looks like a puncture.
Brass: Ice pick, maybe?
(BRASS riffles through the man's wallet, counting the money inside.)
Brass: Well, wow. Tell you it's not for the money. I got about three grand here, all in c-notes.
(He holds the money up for GRISSOM to see.)
Grissom: (looks up) Proves the old adage.
Brass: Which adage is that?
Grissom: You can't take it with you.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
WHITE FLASH IN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Warrick: (V.O.) Foam at the sinner's den ...
[INT. CLUB -- NIGHT]
(WARRICK and SARA walk across the club toward the steps to the pit.)
Warrick: I hung out here a few times.
Sara: Never been.
Warrick: Your knucklehead boyfriend never took you on the party circuit?
Sara: Uh, pass.
Warrick: That's cool about Vegas. It's Monday: Rain at the Palms; Tuesday: Eden at studio 54; Wednesday: Raw at the Luxor; Thursday's Baby's ...
(WARRICK and SARA pass the guard at the top of the stairs and make their way down the stairs into the pit.)
CAMERA PANS TO:
[INT. CLUB - NIGHT - CONTINUOUS]
(BRASS is interviewing the OWNER of The Dance Club.)
Owner: Hey, look. Some kid dropped d*ad. It's a shame. Kids O.D. all the time in nightclubs. They're big boys and girls. This ain't church.
Brass: I understand that.
Owner: You understand. You know the kind of rent I pay on a joint like this? Rain or shine, I owe the landlord fifty thou ($50,000).
Brass: You're breaking my heart, pal. Look, here's how this works. The more you cooperate, the sooner you'll be up and running.
Owner: You don't get it.
Brass: No, I get it. I got a daughter who's twenty, she hangs out. I don't want her to die in a place like this, so do me a favor, get me the VIP list for tonight ... and smarten up.
CUT TO:
[INT. CLUB - THE PIT - NIGHT -- CONTINUOUS]
(Camera opens on body fluid spatter on underwear left on the floor of the pit as seen through tinted glass and an ALS. GRISSOM moves the light away and continues to look around.)
(SARA opens her kit and removes a pair of gloves to put on.)
(GRISSOM continues to look around the floor of the pit and sees more body fluid spatter ... on the floor ... on discarded underwear ... on everything and everywhere.)
Grissom: There's seminal fluid all over the place.
Sara: Is this a dance club or a sex club?
(WARRICK picks up a discarded underwire bra.)
Warrick: A little of both. Don't you love this town?
(He holds it up and bags it.)
Sara: Whatever you say, Superfly.
(WARRICK snorts.)
Grissom: You guys smell that?
(WARRICK picks up discarded underwear next to marker #10.)
Sara: Mm-hmm.
Grissom: Smells like strawberries.
Warrick: It's the foam.
(He puts the underwear in a bag.)
Warrick: Reminds me of the Mirage. Steve Wynn didn't like the smell of the volcano erupting, so he changed the fuel mixture. Now it smells like a piña colada.
(WARRICK moves to item #11 and picks up a clear stiletto-heeled shoe.)
(BRASS walks into the pit.)
Brass: Hey. I got a line on our vic. Trey Buchman, booked a room at The Sphere. E-wing, room 937.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - MORNING]
[INT. THE SPHERE - ROOM 937 -- DAY]
(GRISSOM stands near the room window and looks around the inside of the main room/bedroom.)
(In one smooth, continuous movement, the camera slowly moves over to SARA looking around from the bed to the walls on the opposite side of the room. She examines a pair of large cuffs dangling from the bedroom wall lights.)
Sara: These people are freaks.
(Camera moves through the bathroom door to WARRICK who is examining the bathroom. He picks up a strand of hair.)
Warrick: (calls out) Got a long dark hair.
(Camera moves back through the bathroom door to SARA who turns away from the cuffs and starts examining the floor.)
Sara: Vic had short hair.
(Camera moves back to GRISSOM who is holding up a champagne glass with a lipstick smudge on the lip.)
Grissom: One of our "freaks" wears pussycat pink.
(Cut to close up of the champagne glass with lipstick smudge.)
CUE: (PRELAP) PLAY NARRATOR: The battle was fierce ...
CUT TO:
[INT. ELEMENTARY SCHOOL - AUDITORIUM -- DAY]
(LINDSEY is dressed in Sleeping Beauty blue and lying on a make-shift bed in the middle of the stage. CATHERINE sits in the middle of the audience near the aisle, the proud parent holding a digital video camera, recording the play. LINDSEY turns her head and opens one of her eyes to look at her mom. She shuts her eyes and turns back to 'sleeping'.)
Play Narrator: (o.s.) ... The Evil Sorceress had powerful magic, but the Prince was brave and true.
(On stage, the "Prince" battles a "Dragon". CATHERINE smiles as she gets everything on camera.)
(EDDIE walks down the aisle from the back of the auditorium. He slips into the seat next to CATHERINE.)
Play Narrator: (o.s.) Finally, the brave Prince slew the Sorceress-dragon and went to awaken his beloved Princess.
(CATHERINE puts the camera down. She sighs and shakes her head.)
Catherine: You're late, Eddie.
Eddie: Don't start.
Play Narrator: (o.s.) He climbed the many stairs to the top ...
(On stage, the "Prince" makes his way toward LINDSEY.)
Catherine: You know how much this meant to Lindsey?
Eddie: Can we argue about this later, okay?
(On stage, the "Prince" kisses LINSEY on the cheek. Her eyes open.)
Play Narrator: (o.s.) Her eyes would open with true love's kiss.
Eddie: (smiling) Hey! She's so beautiful. Give me that.
(He reaches for the camera. CATHERINE hands it to him. He resumes recording the plan.)
Play Narrator: (o.s.) The evil spell was finally broken.
Catherine: Nice perfume.
(EDDIE puts the camera down and sighs.)
(On stage, LINDSEY sits up ready to delivery her lines.)
Lindsey: My ...
(At that moment, EDDIE has had enough.)
Eddie: (loudly) Okay ...
(He stands up and looks down at CATHERINE.)
(LINDSEY and everyone else turns to look at EDDIE.)
Eddie: Fine. Is this okay?
Play Narrator: (o.s.) (prompting) My prince ...
(EDDIE pulls back a chair one row in front of CATHERINE. He sits down.)
(LINDSEY swallows.)
Play Narrator: (o.s.) (prompting) My prince ... at long last, you've come for me.
(EDDIE raises the camera and resumes recording.)
Lindsey: (upset) My ... my - my prince ...
Play Narrator: (o.s.) (prompting) ... at long last, you've come for me ...
(LINDSEY turns to look at her parents in the audience. CATHERINE nods at her and smiles encouragingly. But it's way too late. LINDSEY'S more than hurt. She starts to cry.)
(LINDSEY slides off of the bed and runs off stage.)
(Camera holds on CATHERINE and EDDIE.)
CUT TO:
[INT. ELEMENTARY SCHOOL - HALLWAY -- DAY]
(LINDSEY sits next to EDDIE on the bench in the hallway. CATHERINE kneels in front of LINDSEY.)
Catherine: I'm sorry, baby. You did good, though.
Eddie: Yeah, you were fine, Linds. Good.
Catherine: Hey, and you know what? It's just a play.
Lindsey: No, it's not just a play. I was Sleeping Beauty and you guys ruined it.
Catherine: I'm sorry, honey.
Eddie: Hey, I'll bet if you ask Mrs. Parker, she'd let you keep that blue dress.
Lindsey: I want to go home.
(CATHERINE nods and stands up.)
Catherine: Okay. Let's go home.
Lindsey: No, mom. I want to go with dad.
(EDDIE looks up surprised at LINDSEY.)
Catherine: You sure about that?
(LINDSEY nods.)
Catherine: Okay.
(EDDIE turns to look at CATHERINE.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS goes over his preliminary findings with GRISSOM. TREY BUCHMAN'S body is on the table between them.)
Robbins: Tox report on your foam guy came back negative.
Grissom: Negative?
Robbins: No drugs, no alcohol, no medication, not even an aspirin.
Grissom: That's odd. It was a Den of Iniquity.
(GRISSOM thinks about it for a moment and shakes his head a little. He nods down at the body.)
Grissom: What about the neck wound?
Robbins: The sternocleidomastoid muscle and the jugular vein were lacerated.
(Quick CGI POV as the camera moves in toward the neck wound. It goes through the skin and down into the muscle below, piercing through the vein, blood splashing onto the lens.)
(Flash to white. End of CGI POV. Resume on ROBBINS.)
Robbins: The wound was a bloody mess, probably lethal.
Grissom: Any idea what caused it?
Robbins: Hard to say. Definitely an odd entry wound. Not a Kn*fe or sharp object ... probably something blunt, like a pen or a stake of some sort.
Grissom: Anything else?
Robbins: Check this out.
(ROBBINS points to something on the body's right shoulder. GRISSOM leans in to look at it.)
Grissom: Looks like a bite. Spider bite or allergic reaction, maybe?
Robbins: Stand by. I'll process the tissue in histopath, see if it's worth writing home about.
CUT TO:
[INT. CSI - LAB]
(GRISSOM is examining a silver thong. WARRICK walks in.)
Warrick: I was wondering where I put my nice silver satin thong.
(GRISSOM looks up at WARRICK.)
Grissom: Gloves.
(WARRICK grabs a latex pair and puts it on. GRISSOM puts the thong back in its bag.)
Grissom: Okay, we're looking for any kind of blunt object that could've been used to s*ab our victim in the neck.
(GRISSOM picks up the photo of the injury and hands it to WARRICK. WARRICK takes a moment to look at the photo before scanning the items on the table, gathering them as he goes.)
Warrick: Glow stick. Ball-point pen. Cell phone antenna. You have the luminol?
(GRISSOM hands WARRICK the spray bottle.)
Warrick: Thank you.
(WARRICK turns the lights off. He takes the items out of the bags and sprays them.)
Warrick: Nothing.
(GRISSOM picks up the bag with the clear stiletto-heeled shoe. He looks at the shoe heel.)
Warrick: Are we sure it was a blunt object?
(GRISSOM takes the shoe out of the bag to examine the heel.)
(Quick flashback to someone swinging the shoe and s*ab the victim in the neck with the heel. Close up of heel in the neck. End of flashback.)
Grissom: Size ten, double A.
Warrick: Stilettos, huh? Brings out the toes, accentuates the legs. m*rder on the ankles, though.
(WARRICK sprays luminol on the heel. It glows in the dark.)
Grissom: Looks like m*rder to me.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - THUNDERSTORM -- NIGHT]
Woman: (o.s.) ... I'm on every club's VIP list ...
SCENE #12
[EXT. THE CLUB -- NIGHT]
(BRASS accompanies a WOMAN. He holds the umbrella for her as they walk.)
Brass: Well, you got lucky. You're on my list now.
Woman: I don't want to be on your list.
Brass: Here, hold this.
(The WOMAN scoffs. BRASS hands the umbrella to her.)
Brass: Nice shoes.
Woman: Thank you.
CUT TO:
[INT. THE CLUB -- NIGHT]
(In a room full of women, GRISSOM makes an announcement.)
Grissom: Okay, this is the story. One of you lovely Cinderellas is missing a glass slipper and I'm playing the Prince. So would each of you remove your right shoe, please?
(Dissolve to GRISSOM kneeling as he tries the shoe on the women. A group of four-five women sit in the high stools as he tries the shoe on. Another group of three women stand on the side and wait their turn.)
Grissom: Doesn't fit.
(Dissolve to GRISSOM continuing to try the shoe on more women's feet.)
(Dissolve to women standing and sitting, moving around and waiting their turn to try on the shoe.)
(Close up of a foot that doesn't fit the shoe. GRISSOM looks up.)
Grissom: Almost.
(The woman stands up and another woman takes her seat.)
Woman: Hi.
(GRISSOM tries the shoe on another foot.)
Grissom: No.
(The next foot GRISSOM fits the shoe on is a perfect match. He looks up at the blonde woman. She smiles down at him.)
Grissom: Well, if the shoe fits ...
Brass: ... wear it.
(The woman glances at BRASS, then turns to look at GRISSOM.)
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - THUNDERSTORM - NIGHT]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- NIGHT]
(BRASS is questioning the Blonde-Haired Woman whose foot fit the shoe.)
Brass: Comfortable?
Woman: So far. Thanks for asking.
Brass: You want to tell me how your shoe ended up in Trey Buchman's neck?
(She glances at the bagged shoe on the table.)
Woman: I don't know. Last I remember, the foam was rising ...
(Quick flashback to The Club and people dancing. The WOMAN is dancing with a MAN. He lifts her up above him. He puts her down. The heel of her shoe pierces through the victim's neck. The victim is already on the ground.)
Woman: (V.O.) ... and my heel went into something ... soft ...
(End of flashback. Resume to present.)
Woman: ... thought it was someone's foot.
Brass: Jugular. There's a slight difference. Do you want to tell me why you left your shoe behind?
Woman: Heel broke.
Brass: And the fact it had blood on it, that wasn't the reason?
Woman: Never saw blood.
Brass: I see. I did some checking -- because that's what I do -- and you and our victim had a relationship a while back.
Woman: I've "relationshipped" about a dozen guys on the circuit, including Trey. Nothing ends -- we still all meet up at The Club.
Brass: I see.
(He looks at her. She looks at him. He takes a breath. Her look changes. She slowly stands up. BRASS is puzzled by her action, but says nothing.)
(She walks toward BRASS and sits at the edge of the table.)
Woman: ... and the way he gave it to me ... believe me, he's the last guy I'd want d*ad.
(She crosses her legs. She lifts her foot up and puts her high-heeled shoe on BRASS' chair between his legs. Her hand grasps the hem of her ultra-mini dress as it rides up her thigh.)
(GRISSOM appears in the doorway. He knocks purposefully on the door frame.)
(BRASS clears his throat and looks away. The WOMAN turns her head to look at GRISSOM.)
Grissom: (loudly) Excuse me, Jim. Am I interrupting something?
(BRASS waves GRISSOM inside. The WOMAN tugs the hem of her dress down ... pleased by the reaction she got from BRASS.)
Brass: (croaks) Gil, please ...
(GRISSOM enters the room. The WOMAN turns to look at GRISSOM, a slight smile on her face.)
Grissom: Miss ...
(GRISSOM puts on a pair of latex gloves.)
Grissom: ... I'm going to need a sample of your DNA.
Woman: How do you want it.
Grissom: I like your hair.
Woman: (looking up at GRISSOM) I like yours.
Grissom: Are you a, uh, natural blonde?
(The WOMAN deliberately doesn't answer the question. She turns to look at BRASS. GRISSOM also turns to look at BRASS.)
(BRASS shakes his head. No.)
(GRISSOM reaches over and pulls out a strand of her hair.)
Woman: Ow.
Grissom: Sorry. I needed a follicular tag.
(He puts the sample in the envelope.)
Grissom: Thank you.
(GRISSOM turns to leave. She calls him back.)
Woman: "Gil"? Any chance you found my thong? Silver lamé, probably twisted in knots.
Grissom: Oh, yeah, we did. You'll need to fill out a form, though. The Captain will help you ...
(GRISSOM turns to leave.)
Grissom: ... Surely.
(Camera holds on BRASS.)
CUT TO:
[INT. CSI -- LAB]
(ROBBINS takes a slice of a cross-section of the "bite" mark from the victim. He puts the thin slice on a scope slide.)
(He lights a Bunsen burner and gently heats the slide.)
(He dips the slide in a container of "Haematoxylin", then he puts the slide in
"Acid Alcohol 1%", then in a container of "Eosin".)
(He gently dries the slide. He puts it under the scope.
(Cut to Scope View of the slide. The magnification changes to a more powerful view. ROBBINS lifts his head from the scope.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM is in his office examining photographs at his desk. He's also listening to Opera music on his earphones. From where we are, we can hear the muffled music.)
(ROBBINS enters the room.)
Robbins: Hey, Gil?
(When he doesn't get a reaction from GRISSOM, ROBBINS leans in closer. GRISSOM looks up.)
Robbins: Carmen?
(GRISSOM takes the earphones off.)
Grissom: Right after the m*rder.
Robbins: Opera makes it all seem so lovely. And at the risk of sounding like your mother, you're going to ruin your eardrums.
(Without commenting, GRISSOM turns the music off.)
(ROBBINS picks up the photograph of the tissue and shows it to GRISSOM.)
Robbins: Our victims tissue -- Trey Buchman. The, uh, circular contusions I sectioned, indicate damage extending only 30 microns below the epidermis.
Grissom: So it's not a bug bite.
Robbins: Man-made, high-pressure, subcutaneous injector.
Grissom: No needle?
Robbins: Simply high pressure penetrating the skin.
(Quick CGI POV of the end of the high-pressure injector against the skin. Cut to cross-section of the skin as the contents of the injector is sprayed inside and passed through. Flash to white. End of CGI POV. Resume to present.)
Grissom: Did you send a sample to tox?
Robbins: Our victim was injected with insulin.
Grissom: Diabetic?
Robbins: Nope.
Grissom: So cause of death was insulin shock.
Robbins: Insulin doesn't make for a narcotic or hallucinogenic high so I don't know why Buchman would take the stuff.
(Camera holds on GRISSOM.)
CUT TO:
[INT. RICHARDS' RESIDENCE - NIGHT]
(NICK and CATHERINE enter the residence.)
Nick: Downstairs neighbor smelled it. Called the plumber.Yeah, they always think it's a sewage problem.
(CATHERINE'S cell phone rings.)
Nick: Phew!
(She answers her phone.)
Catherine: Eddie? Ed? Hello? Uh ... bad connection, Ed. Uh, I just entered a scene. I-I'll call you later.
(CATHERINE hangs up. NICK makes his way to the d*ad body.)
Nick: Whew. No pain, no gain. Purge fluid.
Catherine: D.U.N.S.
(Quick flashback to the neighbor in the apartment underneath. He looks up and sees the large patch of liquid on the ceiling spreading and dripping. End of flashback. Resume to present.)
Nick: d*ad Upstairs Neighbor Syndrome.
Catherine: (nods) Mm-hmm.
Nick: Yeah, well, it's going to take us a while to get this smell out of our nose hairs.
Catherine: Parchment changes of the skin. So what's the exposure to that window, south?
Nick: East. Gets direct sunlight half the day. I learned that down in Lauderdale. You know, you've got to remember to turn.
Catherine: Right, all that spring break activity with the frat brothers ...
Nick: Something like that. Nice little cocaine fingernail. So ... no mail built up. I don't see a telephone. What do you think? ...
(CATHERINE'S cell phone rings. She answers it.)
Nick: ... Howard Hughes in a studio apartment?
Catherine: Eddie? Ed?
Nick: Now what's his deal?
(CATHERINE hangs up the phone.)
Catherine: Lindsey's with him. Maybe she's ready to come home.
Nick: Yeah, I bet.
CUT TO:
[CLOSET]
(CATHERINE opens the closet and looks through the dresser drawers. They're empty. She pushes the clothes hanging aside and finds a passport and a stack of bills on the dresser. She flips through the passport and sees a lot of different stamps indicating its use.)
[LIVING ROOM]
(Cut to NICK working on the laptop on the table. He tries entering a password and gets denied.)
Nick: How you doing?
Catherine: Cash and a very busy passport ... designer threads. Ten-to-one, Croix Richards is a drug dealer. And that is no workout accident.
(CATHERINE looks at the passport photo with the following information:
[United States of America ID Card for Richard, Croix DATE OF BIRTH: 21 SEP/SEP 1970
SEX: M PLACE OF BIRTH: LAS VEGAS, NV USA DATE OF ISSUE: 18 OCT/OCT 1998
EXPIRATION DATE: 17 OCT/OCT 2008
PASSPORT AGENCY / LAS VEGAS ]
(CATHERINE'S phone rings. She answers it.)
Catherine: Eddie? Eddie, you've got to get to a land line. This connection sucks.
(Through the static, CATHERINE hears something that stops her cold.)
Lindsey: Mommy ... (static)
Catherine: Lindsey? (b*at) H-honey, (b*at) I-I can't hear you.
Lindsey: (crying) Mommy ... please ... scared ... all alone.
Catherine: You're alone? Well, honey, where's daddy?
(CATHERINE automatically heads for the door. NICK signals to her.)
Lindsey: Daddy... (static)
Nick: You want me to just...?
(CATHERINE absently nods at NICK, her mind on her daughter.)
Catherine: Uh ... (to NICK) thanks-- (to LINDSEY) uh, yeah, honey. Yes, yes, I'm coming.
(CATHERINE heads out the door.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Thunder rumbles in the sky and lightning flashes. It begins to pour.)
Lindsey: (V.O.) Mommy, please! I'm scared... all alone! ...
[INT. CATHERINE'S CAR - NIGHT]
(CATHERINE is behind the wheel of her car. She has her cell phone to her ear.)
Lindsey: (on phone) ... We were in the car, going fast. (b*at) We h*t something.
Catherine: It's going to be okay, honey. I'm on my way. (pause) Do you know where you are.
INTERCUT WITH:
[INT. EDDIE'S CAR - NIGHT]
Lindsey: I don't know. There's lots of water, mommy!
Catherine: Are you near a lake? Are you near grandma's house?
Lindsey: No, the water's in the car?
Catherine: In the car? (pause) Lindsey, can you get out?
Lindsey: (looking around) No.
Catherine: It's going to be okay, honey. Just listen to me. Before the car crashed, where were you going?
Lindsey: Daddy said the hospital.
Catherine: On the way there, did you see any hotels?
Lindsey: I saw the castle.
Catherine: Excalibur. Did you see, did you see the pyramid?
Lindsey: Yeah.
Catherine: Industrial Road? Is that, is that it? Lindsey, is it industrial road?
(The water begins to rise inside the car.)
Lindsey: There was a bridge. We went through a fence. (there's more static.)
Catherine: Lindsey? Lindsey!
(CATHERINE can't hear LINDSEY anymore. They're disconnected. She hangs up.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. ROADWAY - NIGHT - CONTINUOUS]
(CATHERINE'S driving along the Industrial Road. She looks outside the car window and sees a break in the wire fence. She pulls the car to the side and stops the car. She gets out of the car and runs to the edge of the walkway.)
Catherine: Lindsey? Lindsey!
(She sees EDDIE'S car down below semi-submerged in running canal water. In the back of the car, LINDSEY'S still inside, hitting the window with her hand.)
Lindsey: (crying) Mommy!
Catherine: Hang on, honey!
(CATHERINE goes back to the car & opens the emergency kit in her trunk. She grabs the screwdriver and heads back to the car.)
Lindsey: Mommy! Hurry!
(CATHERINE slides down the embankment toward the car and into the water.)
Catherine: I'm here, honey.
Lindsey: (hits the car window) Mommy!
Catherine: I'm going to get you out. Hang on.
(CATHERINE checks the car window then instructs LINDSEY.)
Catherine: Okay. Listen. I have to break the window, okay? You've got to move to the front.
Lindsey: Mommy, I can't! I can't. I'm scared!
Catherine: Okay, I'm going to come around, okay? I'm coming around.
Lindsey: Please, mommy.
(CATHERINE moves around the side of the car that's covered in water. She lifts herself up on the car and looks through the window at LINDSEY.)
Catherine: I'm here, Lindsey. I'm going to go down. I'm going to go down.
(CATHERINE motions to LINDSEY, who shakes her head.)
Lindsey: No, mommy! No!
(CATHERINE takes a deep breath and dives under the water. She reaches the front seat window. Using the screwdriver in her hand, she breaks through the glass. She reaches in and grabs LINDSEY. She pulls her daughter out through the open window and up toward the surface. They break surface, both coughing and gasping for air.)
(CATHERINE holds her daughter tight.)
Catherine: You all right? You okay?
Lindsey: (nodding) Mommy.
Catherine: Yes? I got you. Hold on.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. ROADSIDE -- NIGHT]
(The crane pulls out EDDIE'S car from the water and back onto the road.)
Lindsey: The lady who was driving had pink hair. I don't remember her name.
Det. Vega: But Lindsey, it was your father's car. Why wasn't he driving it?
Lindsey: He had a stomachache.
(Quick flashback to inside the car. The woman is driving fast and EDDIE is groaning in the front seat.)
Pink-haired Woman: Hang on. We'll get to the hospital.
Eddie: I can't make it.
(The car swerves, tires screech. End of flashback. Resume to present.)
Lindsey: The lady got out and then daddy fell out. He didn't come back.
(LINDSEY turns to look at CATHERINE who doesn't say anything. Their eyes meet.)
Det. Vega: Catherine?
(CATHERINE stands up and moves to the side with DET. VEGA. The paramedics continue to check LINDSEY.)
Det. Vega: (quietly) Is Eddie the kind of guy that would leave his daughter abandoned in the back of a car?
Catherine: (immediately shakes her head) Never, never, never, no. He loves Lindsey. He'd never do that. Not willingly.
(The hydraulic lift continues to pull the car out. CATHERINE turns, distracted by the sound.)
Catherine: Be careful with my car, boys.
(SARA stands to the side waiting for the car to reach the road.)
Lindsey: Mom? (CATHERINE turns around.) He's d*ad, isn't he?
(For a moment, CATHERINE doesn't know what to say. She shakes her head.)
Catherine: I don't know, baby. I ... I'm going to go look for him, though. I'm just going to be right over there.
(CATHERINE points toward the car and SARA.)
Sara: Okay, that's enough.
Catherine: I want you to stay here with Detective Vega. Okay?
(CATHERINE pushes the blanket off of her shoulders and heads toward SARA and the car.)
Det. Vega: (to LINDSEY) How you doing? Want some cocoa or something?
(SARA starts to examine the car from the passenger side. CATHERINE approaches the car and heads for the driver's side.)
(SARA looks around the inside of the car. She sees the debris on the car floor and the blood stains on the passenger seat. She opens the car door.)
(CATHERINE puts her coffee cup down on the ground. She opens the driver's side door and looks around. On the dashboard, CATHERINE sees the vial of blue liquid. She picks it up. SARA sees this.)
Sara: Drugs.
Catherine: Knowing Eddie's taste in women, I'd say that's a good bet.
Sara: (gently) Hey, Catherine? You want to give me that? (CATHERINE looks at SARA. Their eyes meet.) You shouldn't be handling evidence. You're not on the case.
(Camera holds on CATHERINE.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(On the monitor is a skeletal view of CROIX RICHARDS, the body from the apartment. The d*ad body is on the table being x-rayed by ROBBINS.)
Robbins: Stop it right there.
(ROBBINS puts on his glasses as he examines the monitor. NICK walks in.)
Nick: Hey, Doc.
Robbins: Hey.
Nick: I thought I'd come and get an update on ... Stinky here. Whew! Wow, that's horrible.
Robbins: I'm generally immune to the stench of a decomp, but, uh, two weeks of decay still tickles the vibrassae of my nasal vestibule.
Nick: Yeah, I'll say. Hey, what's the foreign body lodged in his femur?
Robbins: (to the assistant) Crank up the milliamps.
(The portion on the monitor is enhanced.)
Nick: Whiter than bone. Dense like a metal. What exactly are we looking at?
Robbins: Let's find out.
(ROBBINS picks up a scalpel.)
Nick: (reacts to the smell) Whew!
(ROBBINS cuts into the body.)
Robbins: I feel like Androcles pulling the thorn from a lion's paw.
(He picks up a tweezer and pulls out something thin.)
Nick: Looks like the tip of a needle.
Robbins: It probably broke off when it h*t the bone.
(Quick CGI POV of the needle piercing through skin, through muscle and hitting bone where it breaks off. End of CGI POV. Resume to present.)
WHITE FLASH TO
[INT. CSI -- HALLWAY]
(BRASS and GRISSOM walk through the hallway. BRASS is holding a report in his hand.)
Brass: I've started to see into the future. Thanks to credit card reports, I see that our phone victim booked a room at the Tangiers for tonight.
Grissom: He was staying at The Sphere.
Brass: Two hotel rooms in one night. He was a busy boy.
CUT TO:
[EXT. LAS VEGAS (STOCK) - NIGHT]
[INT. TANGIERS - HOTEL ROOM -- NIGHT]
(WARRICK opens the door and walks inside. There's a scantily-clad woman lounging on the bed in her lingerie, a champagne glass in her hand. She doesn't flinch when WARRICK walks in.)
Rebecca McCormick: Hello.
Warrick: Hello.
Rebecca McCormick: You're late. Not-not that I mind.
(GRISSOM walks into the room. She seems more than surprised.)
Rebecca McCormick: There's two of you?
Warrick: We work as a team.
(She sees that GRISSOM and WARRICK each has their case with them.)
Rebecca McCormick: What's in the kit?
Grissom: Latex gloves, cotton swabs, specimen jars, other evidence-gathering stuff.
Rebecca McCormick: Wait a minute. Uh, what's going on here?
(She puts her champagne glass on the bedside table and sits up.)
Grissom: You tell us.
Rebecca McCormick: Oh, my god. You guys are cops. (She stands up, grabs her robe and covers herself with it.) I'm, um ... I'm really embarrassed. I've never done anything like this before. I swear.
Grissom: This room is registered to Trey Buchman. Who are you?
Rebecca McCormick: Do we have to do names?
Warrick: (nods) Uh-huh.
Rebecca McCormick: Rebecca McCormick. (puts her robe on) Look, I got a number from a guy who was giving out these cards on the strip. I thought it would be fun. (mumbles) I-I don't know what I was thinking. (stands and crosses her arms in front of her) Am I under arrest?
Grissom: Not yet ...
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]
(NICK is working on Croix Richards' laptop. The computer beeps.)
(GRISSOM walks into the lab.)
Grissom: Hey.
Nick: Cracked my D.B.'S laptop. Got his appointment book.
(On screen up close, we see: "Carla (Orpheus)"; "Mina (Pandora's Box)"; and
"Rachel (Tuts Tomb).
Grissom: Women's names. Hotels. Blocks of time.
Nick: You know, Croix had this sweet apartment and this wad of cash. We thought he was selling drugs. (b*at) He was selling himself.
Grissom: Gigolo.
Nick: Paid to get laid.
Grissom: So was mine. Two victims, same profession.
Nick: Ooh.
Grissom: What about the needle you found in the decomp?
Nick: The micrometer pegged it as a 30-gauge.
Grissom: Insulin dependents use needles that thin.
Nick: Well, the decomp's too severe. We'll never get anything out of tox or the needle.
Grissom: I think we're working the same case.
(NICK turns to the computer and starts looking at its contents.)
Nick: (smiling) Well, good thing my gigolo was organized. He used accounting software to keep track of his finances.
Grissom: Employment history?
(NICK works the computer. He hits some keys. The screen changes. NICK squints at what he sees. GRISSOM leans in closer to the monitor. The computer beeps. NICK stifles a grin and clears his throat. He glances up at GRISSOM.)
CUT TO:
[EXT. LADY HEATHER'S DOMINION - NIGHT]
DOORBELL RINGS (PRELAP)
[INT. LADY HEATHER'S DOMAIN - NIGHT]
(LADY HEATHER makes her way down the stairway. A man screams in the distance.)
Lady Heather: Mr. Grissom, Captain Brass,
(BRASS waits for her in the middle of the room, looking up at the staris a piece of paper in his hand. GRISSOM'S back is to the stairs, he puts the item he was examining back on the fireplace mantle. )
Lady Heather: So nice to see you again.
Brass: Good to hear things haven't changed around here.
Lady Heather: I see you haven't changed, either.
(BRASS hands a color photocopy of the two men's IDs to LADY HEATHER.)
Brass: Trey Buchman, Croix Richards.
(In addition to Croix Richard's Passport ID info, Rey Buchman's Nevada Driver's License is also on the sheet with the following information:
[Nevada Driver License
283266066733
555-66-7777
050492
R360021
BUCHMAN, TREY
2974 WESTFALL AVE. LAS VEGAS NY 89156
Class: C Sex: M Height: 5-10
Weight: 143
Hair: Blk Eyes: Grn DOB: 11/13/81
Expiration date: 05/15/05 ]
Lady Heather: They're both on my payroll. Hard workers, quite skilled.
Brass: They're deceased.
Lady Heather: They'll be missed.
Brass: Last year, you lost Mona Taylor. Now, two more employees. It's a risky business.
Lady Heather: Accusation?
Grissom: It's an observation.
Brass: These guys traded in sex, and I know you don't allow intercourse in your domain. Now, that is an accusation.
Lady Heather: I profit from the theatrics of pleasure, allowing people to play out their fantasies. Trey and Croix were independent contractors.
Grissom: Lady Heather, what services did they provide?
(Camera holds on LADY HEATHER.)
CUT TO:
[INT. LADY HEATHER'S DOMINION - POOL ROOM -- NIGHT]
(In the pool room, several different scenes are played out. The first is of two men dressed with pig masks being fed by the "Farmer Girl". One has his face in a bucket, the other is standing on the side.)
Woman: Bad little pig boy. Bad, bad, bad. ... You naughty, bad pig. Oinky, sloppy pig.
(The camera pans upward and two women walk by.)
(They pass by another session where a man is tied to the wall.)
(LADY HEATHER accompanies BRASS and GRISSOM across the pool room. She opens a door and motions for them to walk in. BRASS walks past her and into a hallway that leads to other smaller rooms. GRISSOM motions for LADY HEATHER to walk in ahead of him.)
(Once inside, they pass a series of smaller bedrooms with computers on internet access.)
[Room 1: ]
Man: (on computer) You're right. I deserve to be punished.
Woman: "Mommy" says no. I said, no.
(BRASS walks by this room and looks into the next room.)
[Room 2: ]
(A dark-haired woman sits at the computer typing on the keyboard. Her back is to the door.)
[Room 3: ]
Woman: Oh ... who needs the belt?
(BRASS walks to the end of the hallway and turns around.)
[Room 4: ]
(CHLOE sits in front of the keyboard. As they walk by the room, she turns around and glances at them.)
(GRISSOM looks into Room Two.)
Woman: Say you're sorry.
Man: I'm sorry.
(The dark-haired woman in Room Two, turns around to look at GRISSOM.)
Lady Heather: (to BRASS & GRISSOM) My dominion is also my domain. Ladyheather.com.
Brass: So, Buchman and Richards were down here doing internet p*rn, huh?
Lady Heather: Not p*rn. Voyeurism in a Brave New World.
Grissom: What would Aldous Huxley say?
Lady Heather: Well ... if his credit card were valid, he could say anything he wanted at $3.95 per minute.
(She looks at GRISSOM and abruptly changes the subject.)
Lady Heather: Do you like my lipstick?
(Man groaning in the background.)
Grissom: (shakes his head) Why?
Lady Heather: You've been staring at my lips.
Grissom: You have lovely lips.
(BRASS looks from GRISSOM to LADY HEATHER. LADY HEATHER grins back at GRISSOM.)
Brass: (interrupts) And a very successful business. Thanks. Thanks for your time.
(BRASS heads for the door sweeping GRISSOM along in front of him. GRISSOM turns around to look at LADY HEATHER as he leaves.)
Lady Heather: See you soon.
CUT TO:
[INT. CSI - LOUNGE -- NIGHT]
(Inside the Lounge, DET. VEGA and SARA question LINDSEY while CATHERINE watches.)
(LINDSEY looks at CATHERINE.)
Det. Vega: So, after your recital, where did your dad take you?
Lindsey: Leatherbey's. He got me a banana split.
Det. Vega: I like whipped cream on mine ...
Catherine: (interrupting) Did he have anything to drink? Did he have a beer, a glass of wine?
(DET. VEGA glances at CATHERINE.)
Lindsey: (looking at CATHERINE) Just water.
INTERCUT WITH:
[EXT. DRAINAGE CANAL - NIGHT]
(Men holding flashlights walk along the concrete.)
(Cut back to the Lounge. SARA watches CATHERINE.
Sara: (to LINDSEY) So, it was just the two of you?
(LINDSEY turns and nods her head at SARA. She immediately turns back to look at CATHERINE.)
Det. Vega: This lady you told us about -- the one who was driving, the one with the pink hair -- where did you meet her?
(LINDSEY doesn't look at DET. VEGA. She looks at her mother.)
Lindsey: I don't know.
Catherine: (interrupting) You remember, Lindsey. Just think about it.
(LINDSEY looks at CATHERINE. DET. VEGA again glances at CATHERINE. SARA also looks at CATHERINE, then at DET. VEGA. Their eyes meet.)
Lindsey: I fell asleep in the car, and I woke up when we stopped.
Det. Vega: Was this at a house?
Lindsey: No. It was a building.
Sara: Was it an apartment building ... maybe ... or maybe an office building?
Lindsey: I don't know.
Catherine: Why did you stop there?
(LINDSEY looks at CATHERINE.)
[EXT. DRAINAGE CANAL - NIGHT]
(More people with hard hats and flashlights run down the embankment and into the canal. A worker kneels as he examines some debris. He stands up and moves along. They're all looking for something.)
(Cut back to The Lounge.)
Lindsey: Daddy said he had a meeting. He told me to stay in the car and keep the doors locked.
Catherine: You mean he left you in the car alone.
Sara: Catherine ...
Lindsey: (defensive) Mom, mom, it's okay. I said I could take care of myself. I told him I could stay in the car. Just don't be mad at him. He didn't do anything wrong.
Sara: It's okay, Lindsey. Nobody's mad at anybody.
(SARA looks at CATHERINE and stands up. CATHERINE rubs her forehead.)
Sara: (to CATHERINE) Can I talk to you for a second?
(CATHERINE gets up and leaves the room in a huff. She closes the door and paces the hallway outside.)
(SARA sits in the seat vacated by CATHERINE, directly in front of LINDSEY.)
Sara: (softly) It's okay.
[EXT. DRAINAGE CANAL - NIGHT]
(Inside one drainage tunnel, there are a couple of men looking around. The camera then moves to the next drainage tunnel where an unmoving body is some distance inside on the cold concrete ground. There are workers at the mouth of the tunnel. It's only a matter of time before they see the body.)
(Cut back to the Lounge. DET. VEGA and SARA resume questioning LINDSEY.)
Det. Vega: This lady was at the building?
(CATHERINE turns around to watch her daughter inside the room.)
Lindsey: She was outside in the parking lot.
(Quick flashback to earlier that night. EDDIE walks outside in the rain, arms open wide to greet his girlfriend. LINDSEY is inside the car watching.)
Candeece: Eddie.
Eddie: Candeece! Baby!
Candeece: Where were you?
(EDDIE reaches CANDEECE. They hug each other.)
Eddie: What's the matter, honey? Sugar, what's the matter with you?
(End of flashback. Resume to present.)
Sara: This lady with the pink hair -- was she your father's girlfriend?
(CATHERINE looks at LINDSEY. LINDSEY hesitates in answering. She looks at CATHERINE.)
(Quick flashback to EDDIE and CANDEECE. Resume from the hug. CANDEECE lets go and hits EDDIE on his chest. EDDIE takes a couple of steps backward.)
Candeece: I called you a million times! What are you talking about? Why didn't you answer your phone?
(End of flashback. Resume to present.)
Lindsey: Maybe. Well, he was mad at her. And then they, they were running back to the car. Daddy was holding his stomach.
(Quick flashback to inside the car. It's raining heavily outside. EDDIE runs to the passenger side. He gets in and groans.)
Lindsey: Daddy, what's wrong?
Eddie: (glancing at LINDSEY and groaning) It's just a stomachache, honey. I'll be fine.
(End of flashback. Resume to present.)
(CATHERINE'S phone rings. She answers it.)
Catherine: Willows. (pause) Yeah.
(CATHERINE pulls the phone away from her ear. She looks sadly into the room. LINDSEY turns her head and looks at her mom. Their eyes meet.)
(Cut to the men in the canal tunnel standing over EDDIE'S body.)
(Cut back to CATHERINE. Camera holds on CATHERINE.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY]
(Camera opens on EDDIE'S body on the autopsy table. CATHERINE looks down at him without moving. Behind her, ROBBINS watches.)
Robbins: (softly) Catherine, you can't say good-bye in an autopsy room.
(For a moment, CATHERINE doesn't say anything. She turns and walks out. ROBBINS watches her leave.)
CUT TO:
[INT. CSI - HALLWAY - CONTINUOUS]
(CATHERINE makes her way through the hallway. GRISSOM meets her in the hallway.)
Grissom: Hi, uh ...
Catherine: (interrupting) Croix Richards and Trey Buchman. Same profession, same employer, same cause of death.
Grissom: Yeah. Insulin poisoning.
(They start walking down the hallway.)
Catherine: Not your typical male M.O. Lady Heather a suspect?
Grissom: I can't rule anybody out. Catherine ... I'm sorry about Eddie and your daughter. If, if you'd like to take some time off or ...
Catherine: I'm okay. Lindsey's ... (pause) ... We're okay.
(CATHERINE turns and walks away from GRISSOM. She heads into the lab where WARRICK and NICK are already there. GRISSOM turns and watches through the glass as both NICK and WARRICK offer CATHERINE their condolences.)
Nick: Hey, Catherine.
(WARRICK stands up.)
Warrick: Hey. We heard about what happened. I'm so sorry.
Nick: Yeah, if you or Lindsey need anything at all ...
Catherine: Thanks, you guys.
Nick: Yeah.
Catherine: Why don't you catch us up.
Warrick: Yeah.
[INT. CSI - AUDIO/VISUAL ROOM - CONTINUOUS]
(GRISSOM walks into the room.)
Nick: Credit card transactions for Lady Heather's web site. Both our victims worked in the chat room. We cross-referenced their clients.
Warrick: They're all ladies.
Nick: And looks like both victims died approximately four weeks apart.
Warrick: K*llers usually don't stray too far from home.
Catherine: Especially for repeat crimes.
Warrick: Yeah, I'm squeezing the Las Vegas search area.
(WARRICK does his search and picture ID cards for 12 people pop on screen.)
CUT TO:
[INT. CSI - HALLWAY]
(LEAH fills SARA in on her test results.)
Leah: Got a vial full of blue boogers.
Sara: GHB with food coloring. That's a date r*pe drug.
Leah: Not anymore. You mix it with the right stimulant, like meth, you got a great party drink.
Sara: Everyone's a chemist. Thanks.
(SARA sees CATHERINE in the room. CATHERINE watches SARA walk by, her attention not on the case inside the room, but the one walking down the hallway.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB - DAY -- CONTINUOUS]
(GRISSOM draws CATHERINE'S attention back to the room.)
Grissom: You know, we found a dark hair in Trey Buchman's hotel room at the sphere.
Warrick: I'll exclude everyone with light hair.
Grissom: Whoa. Stop.
(The Nevada Driver's License that catches GRISSOM eye is:
[LIC#: 0200794032
111-11-1111
11-09-1999
REBECCA McCORMICK, DRIVERS LICENSE # AA1529120
235 DESERT RANCH ROAD LAS VEGAS NV 89701
CLASS: C SEX: F HEIGHT: 5'5"
WEIGHT: 121
HAIR: BROWN EYES: BROWN BIRTHDATE: 03-05-1970
EXPIRATION DATE: 03-05-2004
ORGAN DONOR ]
Warrick: Huh. Rebecca McCormick. 235 Desert Ranch Road. "First time", my ass.
CUT TO:
[INT. McCORMICK RESIDENCE - INT -- DAY]
(STEVEN and REBECCA McCORMICK walk down the stairs. GRISSOM and CATHERINE wait in the living room.)
(STEVEN walks into the room in front of REBECCA.)
Steven McCormick: Hi. Sorry to keep you waiting. So, what can I do to help out the Las Vegas Crime Lab?
Grissom: You could tell us about your relationship with Croix Richards.
Steven McCormick: Well, uh, I hired Croix Richards to Dominate Rebecca. Would you like a chocolate?
(As if on cue, REBECCA eagerly turns to get the plate of chocolates from the kitchen.)
Rebecca McCormick: Uh, they're Godiva.
Catherine: No, thanks.
(STEVEN takes a chocolate from the tray and pops it into his mouth.)
Steven McCormick: I guess you could say that Mr. Richards worked for me. We were hoping that he might help ease some of Rebecca's sexual difficulties.
Catherine: Extra-marital sex to help your relationship problems?
Steven McCormick: The problem wasn't with our relationship, it was with my wife's lack of experience.
Grissom: Which Mr. Richards helped you with?
(STEVEN turns to look at REBECCA. As if on cue, she answers GRISSOM.)
Rebecca McCormick: Yes.
(REBECCA puts the tray on the side shelf.)
Steven McCormick: First over the internet and then we, uh, we met with him a few times.
Grissom: We?
Steven McCormick: Yeah, yes.
(REBECCA takes a seat.)
Steven McCormick: I participated in the sessions, yes.
(Quick flashback to a session at LADY HEATHER'S. REBECCA McCORMICK is dressed in a wedding gown and chained to the wall. Behind her, CROIX RICHARD holds a whip while her husband, STEVEN cowers in a corner.)
Croix Richards: Do you take this man to be your wedded husband? Love honor and obey.
Steven McCormick: Say it!
(End of flashback. Resume to present.)
Grissom: And these sessions were held at Lady Heather's?
Steven McCormick: Yes. Lady Heather thought it would be best if I was involved. I'm sure secrets would've made the problem worse, at that point.
Catherine: Mrs. McCormick, did you meet Trey Buchman at Lady Heather's?
(REBECCA looks at STEVEN. STEVEN answers them.)
Steven McCormick: Oh, I'm sorry, who?
Grissom: He worked for Lady Heather as well. He's also d*ad.
Steven McCormick: Oh ... I don't know who Trey Buchman is.
Grissom: Your wife does.
(STEVEN looks confused.)
Steven McCormick: Oh.
(She answers him.)
Rebecca McCormick: I met Trey on Lady Heather's web site. Our encounters were only on-line.
(Quick flashback to REBECCA McCORMICK in her lingerie and robe on bed while looking at her laptop's camera.)
Rebecca McCormick: Like this? Is this okay?
Trey Buchman: No, it's not okay! Don't you know how to listen, you stupid bitch?!
(End of flashback. Resume to present.)
Grissom: And the night you and I met at the Tangiers?
(STEVEN is definitely not following the questioning and no longer in charge of the situation. He turns and looks at REBECCA. REBECCA answers GRISSOM.)
Rebecca McCormick: Croix was fun. Uh, I wanted more experience. Variation. I made a date with Trey. He never showed up.
Catherine: Well, Mrs. McCormick, I'd like to get a sample of your hair and DNA for comparison.
(Displeased, STEVEN McCORMICK walks to the shelf with the chocolate tray. He picks it up himself and turns to address CATHERINE.)
Steven McCormick: (to the CSIs) Rebecca will give you anything that you need.
(STEVEN McCORMICK puts the tray of chocolates on the table himself. It hits the counter with a clang. He walks out of the room without a word to his wife.)
(Camera holds on REBECCA MCCORMICK.)
CUT TO:
[INT. CSI - GARAGE]
(SARA examines the car. She notices the blood stain on the front passenger seat. She checks under the floor mat. She lifts the arm rest to check inside the compartment. Finding nothing unusual, she closes it and resumes looking at the car ceiling.)
(SARA sees a piece of folded paper tucked in the overhead visor. She opens it. It appears to be a color proof for a CD cover for CANDEECE. SARA checks the CD slot and pulls out a Demo CD from SAHARA SOUND / 78566 Ambers Avenue / Las Vegas, NV 89198 / (702) 555-0197.)
CUT TO:
[EXT. SAHARA SOUND -- STREET - DAY]
(Workers with jackhammers work on the road outside the studio. SARA and DET. VEGA walk up the driveway to the recording building.)
[INT. SAHARA SOUND -- DAY]
(DET. VEGA and SARA question the RECORDING STUDIO OWNER and the SOUND ENGINEER.)
Recording Studio Owner: Yeah, I can put you in touch with her Manager, Eddie Willows. Guy owes me a call. Make that five calls. If you talk to him, tell him he's got, like, eight hours of studio fees due. The penalties are running, okay?
Sara: We've already seen him. He's in the morgue.
Recording Studio Owner: Oh, that makes sense why he wasn't here last night. High-strung singer, no manager, that's always trouble.
(Quick flashback to CANDEECE in the recording studio.)
Candeece: (singing) A trail of tears / it takes me back to all my fears...
(She pulls off her earphones and yells.)
Candeece: (yelling) I hate this! This sucks! Okay?
(She heads out the recording booth and into the control booth.)
Candeece: Where is Eddie? I need Eddie here.
Recording Studio Owner: Get back in the booth.
Candeece: (yelling on phone) Where are you? I need you here now. I cannot do this without help. (to the Sound Engineer lounging in the doorway) Can I have a little privacy, please? Would you go in there and learn how to do your job? It sounds terrible in there, anyways.
(End of flashback. Resume to present.)
Sound Engineer: She started ragging on me. I didn't need the hot air, so I came back in. (to ENRIQUE in the booth) That's a cut, Enrique. Let's take it from the bridge.
Recording Studio Owner: Eddie was just in it for the quick score. Cut a demo, sell a contract, get a ride on the charts and you just ride that wave.
Sound Engineer: This girl was different.
Recording Studio Owner: Yeah, he was banging her.
Sound Engineer: Yeah, but he had something for her, knowing how much potential she had. I never seen Eddie so dedicated. Nothing was going to stop him from making her a star.
Det. Vega: Except maybe a .22 round in his gut.
Sound Engineer: (to ENRIQUE) Stop, stop, stop. That's a cut, Enrique.
Recording Studio Owner: Whoa. It sounds good from where I'm standing-- what's up?
Sound Engineer: The problem isn't the vocals, man, it's the extra bass line I keep getting from the village people outside with that damn jackhammer.
(DET. VEGA looks over at SARA.)
Sound Engineer: (to ENRIQUE) All right, let's pick it up from the second chorus.
Sara: Aren't recording studios supposed to be soundproof?
Recording Studio Owner: Lady, if the guy standing next to you is Clive Davis, instead of a cop, it would be.
Sara: After Candeece left, did you guys keep recording?
Recording Studio Owner: Um, yeah, a few more hours. We were redoing a drum track.
(SARA turns to DET. VEGA.)
Det. Vega: We're going to need to take a look at those tapes.
WHITE FLASH TO:
[INT. CSI - LAB]
(Scope view of a strand of hair. A second hair is added.)
Warrick: Okay, the hair on the left is from Trey Buchman's room at The Sphere hotel. The hair on the right is a sample we took from Rebecca McCormick. Cuticles on both are shiny and smooth. Telltale signs the hair has been treated.
(WARRICK is in the lab with GRISSOM and CATHERINE.)
Warrick: The cortex isn't letting any light through. It lets us know the hair's been colored. The medullas are continuous. I can't be definitive without DNA, they look like Rebecca McCormick's.
(WARRICK steps aside and CATHERINE looks through the scope.)
Catherine: So she lied to you guys at the hotel, she lied to us at the house. She's been with him, not just online.
Grissom: But her husband only knew about the guy he hired, Croix Richards. He had no idea that she hired Trey Buchman.
CUT TO:
[INT. LADY HEATHER'S DOMINION -- DAY]
(LADY HEATHER and GRISSOM walk through the hallway.)
Lady Heather: Steven McCormick wanted his wife to have a session. It's not uncommon. When a client achieves liberation, they often want their spouse to share that feeling. Though in this particular instance I advised the husband to pursue avenues more suited to the temperament of his marriage.
(They turn the corner and walk up the stairs.)
Grissom: I guess you couldn't say no. I learned that Mr. McCormick is an investor in your internet site.
Lady Heather: That's a matter of public record.
Grissom: Did he ever tell you, specifically, what his wife's problem was?
Lady Heather: The fault lay not in his wife, but in himself. Steven believed his wife was repressed, but once she opened up ...
Grissom: A Pandora's box? All the evils of their marriage unleashed?
(CHLOE SAMMS walks toward them in the opposite direction. She stops in front of LADY HEATHER and asks permission to pass.)
Chloe Samms: May I?
Lady Heather: You may.
Chloe Samms: Thank you, Lady Heather.
(CHLOE looks at GRISSOM, then passes LADY HEATHER and continues down the hallway.)
Lady Heather: Steven came to me three years ago in a state of confusion. I helped him clarify his need for dominance.
(Quick flashback to STEVEN McCORMICK sitting in a private room. Kneeling in front of him is a naked woman. LADY HEATHER gives them instructions.)
Lady Heather: You will control her only as well as you can read her.
(STEVEN reaches down and grasps the woman's chin. He looks at her. It's CHLOE SAMMS.)
Lady Heather: Now read.
(STEVEN looks into CHLOE'S eyes. She meets his eyes. He swings and hits her across the cheek.)
(End of flashback. Resume to present.)
(LADY HEATHER and GRISSOM continue down the hallway. She stops in front of some unlit candles that should be lit.)
Lady Heather: Our work enabled him to marry.
Grissom: But he chose a woman who didn't understand the dynamics of a Dominant-submissive relationship.
Lady Heather: Unfortunately, the language we speak in here doesn't necessarily translate to the world out there.
(She takes a match and lights the candle.)
Grissom: No, in here, the submissive has the power. All he has to do is say the safety word and everything stops.
Lady Heather: Very good, Mr. Grissom.
(She blows out the match and turns around.)
Grissom: I'm just repeating what I've heard.
Lady Heather: You're a good listener.
Grissom: Part of the job.
Lady Heather: So this is work?
Grissom: Yes. But I value your insight.
Lady Heather: (smiles) I'm flattered. But you already seem to know the answers to your questions. You keep me in proximity when I walk away and when I'm close ... (she takes a step closer to GRISSOM) .... you watch my lips. Are you losing your hearing?
Grissom: I'm losing my balance.
Lady Heather: Your sense of self?
Grissom: No. I know who I am.
Lady Heather: Do you?
Grissom: (nods) (quietly) Yes, I do.
(He reaches out a hand and brushes the hair away from her face. She closes her eyes for a moment. She opens her eyes. GRISSOM reaches out to her with both hands framing her face.)
Grissom: You can always say stop.
Lady Heather: So can you.
(Camera holds on GRISSOM and LADY HEATHER looking at each other.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT -- DAY]
(SARA and DET. VEGA interview CANDEECE.)
Candeece: Eddie's my manager. It's no big secret. We were supposed to be working last night, and the jerk blew me off.
Det. Vega: So you never saw him last night?
Candeece: No.
Sara: What happened to your wrist?
Candeece: Oh, uh ... I got, uh ... um ... because, uh ...
Sara: According to Desert Palms Emergency Room, you came in last night with a fracture of the ulna. It's a common injury in car accidents -- air bag specific.
(Quick flashback to the driver's air bag inflating. End of flashback. Resume to present.)
(CATHERINE enters the observation room.)
Sara: (over speaker) Air bags are packed with cornstarch or talc. It helps them deploy. It also wreaks havoc on the eyes.
Det. Vega: We know you saw Eddie last night. We know that you were driving his car.
Candeece: It all happened so fast, you know? One minute I was, I was just outside getting some air and thinking, you know? And then... the next, my manager is stumbling towards me, bleeding.
(Quick flashback to EDDIE stumbling toward CANDEECE in the rain. She puts out a supporting arm and they both head toward the car.)
Eddie: Candeece, baby, I'm sh*t!
Candeece: Eddie! Oh, my god! I'll get you in the car.
(Cut to CANDEECE turning to the back seat.)
Candeece: (to LINDSEY) Everything's going to be okay, honey. Okay, don't be afraid.
(End of flashback. Resume to present.)
Sara: Sounds pretty heroic.
Candeece: Not really. When you're intimate with somebody, you can't imagine life without them. We were partners. I loved him. I thought I was going to die.
Sara: There were two other people in the car.
Candeece: That's what I meant, you know? I thought we were all going to die.
Det. Vega: Search and Rescue found Eddie's body 100 yards downstream.
Sara: See, that's where it gets a little less heroic -- we found Lindsey alone in a sinking car.
Candeece: I tried to get Eddie out. He was unconscious, and that ... that kid kept screaming ... and ... the current was really strong and we got swept downstream. What was I supposed to do?
Sara: Get to a phone, call the cops, call an ambulance, anything, actually ... other than what you did.
Candeece: I am just one person. Eddie is my priority, not that ... that stupid, screaming little brat.
(CATHERINE shakes her head and marches out of the observation room.)
Candeece: I tried, I ...
(CATHERINE bursts into the interrogation room.)
Catherine: You even think about my daughter again, I'll k*ll you. I will k*ll you.
Sara: Catherine.
Catherine: I will hunt you down and put ... I will put you in the ground!
Sara: Catherine?
(SARA grabs CATHERINE by the shoulders and drags her out of the room.)
Candeece: (to VEGA) You saw that. She thr*at me! I want a lawyer.
CUT TO:
[INT. CSI - HALLWAY OUTSIDE INTERROGATION ROOM - DAY - CONTINUOUS]
Sara: What the hell are you doing? Do you know where you're at right now?
Catherine: I've been here a lot longer than you ...
Sara: And you should know better.
Catherine: And I wouldn't have to be here if you were doing your job properly.
Sara: There is a difference between me doing my job and you wanting to do it for me. You don't want to get the job done. What you want, right now, is revenge.
Catherine: You're going to tell me what I want, huh?
Sara: Go home, Catherine. Be with your daughter. She's the one that needs you.
(SARA walks away leaving CATHERINE in the hallway staring after her.)
CUT TO:
[INT. LADY HEATHER'S DOMINION - DAY]
(GRISSOM is sitting at the table pouring LADY HEATHER a cup of tea.)
Grissom: What did you consider this? A little civility before work, I think?
Lady Heather: ... or a ritual to put us at ease. Or how about "in custom and ceremony, are innocence and beauty born."
Grissom: Yeats ... "Prayer For My Daughter."
Lady Heather: Or our morning.
Grissom: Cream?
Lady Heather: Please.
(GRISSOM pours the cream as LADY HEATHER watches.)
Lady Heather: Thank you.
Grissom: Sugar?
Lady Heather: I'm diabetic.
(This catches GRISSOM'S attention.)
Grissom: Type 1?
Lady Heather: Mm-hmm.
Grissom: Injections?
Lady Heather: Used to mean injections. I changed to a pressure syringe.
(She picks up her tea cup.)
Grissom: Recently?
Lady Heather: Mm-hmm, a few weeks ago. Oh, it's a fascinating instrument; would you like to see it?
Grissom: (hesitates) Yes, I would ...
(She lifts her tea cup and blows on it.)
Grissom: ... But I'm afraid I'll need a warrant.
(She stops mid-sip and lifts her head.)
Grissom: Excuse me.
(GRISSOM stands up and takes out his cell phone. He makes the call.)
Grissom: (to phone) It's Grissom. I need you to write paper on Lady Heather's medical paraphernalia -- specifically, an insulin kit and syringes. (pause)
I'm already there. I'll wait.
(GRISSOM puts his phone away.)
Lady Heather: I think I just heard you say "stop."
(GRISSOM looks at LADY HEATHER.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(BRASS is interviewing REBECCA McCORMICK. WARRICK stands in the back of the room.)
Brass: You lied to us, Mrs. McCormick. You said you only engaged in on-line sex with Trey Buchman.
Warrick: Your hair has a similar morphology to the hair that we found in Mr. Buchman's hotel suite.
Rebecca McCormick: Well, "similar" doesn't mean me.
Warrick: No, but the DNA we also recovered from under the sheets does mean you.
Brass: Sounds like a physical encounter to me.
Rebecca McCormick: So ... since I pay for sex, I must also be a m*rder?
Brass: No, it's just that everybody you pay for sex ends up d*ad.
Rebecca McCormick: I don't like you.
Brass: Well, I guess I'll have to live with that. (she stands up and walks to the back of the room to look out the window.) Here's something else you might not like. Two months ago, your bank records show cash withdrawals totaling
$50,000.
Warrick: The same amount that we found in Croix Richards' apartment.
Rebecca McCormick: Croix wasn't even half that good. Of course, that's still better than my husband.
(WARRICK looks at BRASS.)
Brass: You used to work for Latona Pharmaceuticals, right?
Rebecca McCormick: Years ago.
Brass: You sold synthetic insulin.
Rebecca McCormick: All right. Mm-hmm. We've had our fun, but I'm stopping it now. Any other question you have can be directed to my lawyer.
(REBECCA McCORMICK gathers her things and leaves the room.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(ARCHIE works on the recording tracks SARA and DET. VEGA got from the SAHARA STUDIOS.)
Archie: Well, modern recording's all digital. Each track's recorded in a separate data file. By looking at the file modification times, we can approximate which tracks were recorded near the time of the sh**ting.
Sara: Catherine left Eddie at 5:30 P.M. Lindsey's first call was logged in at
10:55.
Archie: Let's see, well ... only two tracks were laid down during that time interval. "7:41: Acoustic guitar ... 10:38: Drum track."
Sara: Let's look at the drum track.
(ARCHIE puts the drum track on the monitor and speaker.)
Archie: There's the kit drum.
Sara: So any irregularity in the pattern could be from an outside source.
Archie: Yeah. Right here. A sudden change in amplitude.
Sara: Can you isolate it?
Archie: Yeah.
(ARCHIE replays the portion of the sound track he highlighted. Inside the drum track, there's a distant bang. SARA glances back at ARCHIE.)
Sara: Sounds like g*n.
Archie: I'll play it again.
(ARCHIE replays the portion again. It definitely sounds like g*n.)
Archie: Let me take out the drums.
(ARCHIE separates the sounds and plays it again. The first sound is g*n. After that, there's a second, faint-whirring sound.)
Sara: What is that?
Archie: Feels like an engine. V-twin, maybe. Must have been somebody else there. You think we got a witness?
Sara: Or a suspect.
(VEGA enters the lab.)
Vega: Hey ... I was able to pull the phone records for Candeece. She made six calls that night. The first five went to Eddie.
Sara: But not the last one. You got an address?
CUT TO:
[INT/EXT. KINER'S RESIDENCE -- DAY]
(Camera opens on SARA taking a sample of something blue stuck to the drain in the sink. Outside, DET. VEGA questions KINER.)
Kiner: (o.s.) I get all kind of calls. It could've been a girl that I slept with. Or a girl that I didn't sleep with. Could've been a wrong number.
(KINER turns around to look at what SARA'S doing. VEGA pulls his attention back to the officer.)
Det. Vega: Since when do wrong numbers last for four minutes?
Kiner: You hear a sexy voice on the phone, what are you gonna do, you gonna hang up?
(SARA walks out of the garage.)
Det. Vega: So you do remember the call.
Sara: I like your Harley.
(SARA heads to the back of the SUV where she processes the sample on a SENSIR machine.)
Det. Vega: Look, Kiner, you're on parole; you got no rights looking at two strikes. I'm not trying to pull a fast ball on you, but it's not the first time you've talked to Candeece.
Kiner: So maybe me and Candy are friends.
Det. Vega: Were friends. You guys used to talk once a day. Then she stopped calling you, until last night.
Kiner: People change. Fell into a bad element.
(SARA gets the following test results back from the SensIR Technology machine. Sample ID: 0035432 / "Most likely primary component: GHB Gamma Hydroxybutyric Acid".)
Sara: Mr. Kiner, do you own this house?
Kiner: My father left it to me.
Sara: Your father have a drug problem? We found GHB in your garage. "Georgia home boy."
Det. Vega: Tell us what happened with Eddie.
Kiner: Candy needed "help."
(Quick flashback to KINER holding the vial of blue GHB out to CANDEECE. EDDIE is there and he's upset with the exchange. In fact, he tries to stop it.)
Eddie: Hey, hey, hey! (to KINER) What are you doing here? What are you selling her drugs for? (to CANDEECE) What are you doing? I wanted you clean. Hey, please ... what do you want, huh? This what you want?
(KINER steps back while EDDIE struggles with CANDEECE. She pulls out a g*n and fires it.)
(End of flashback. Resume to present.)
Kiner: I got on my hog. I got the hell out of there. What do you expect me to do? Go back to the joint for her?
(DET. VEGA turns around to look at SARA. She shrugs.)
Det. Vega: (to the officers) Cuff him.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - AFTERNOON]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(BRASS is questioning LADY HEATHER. LADY HEATHER is sitting down at the table facing the mirror on the wall. BRASS is standing behind the chair in front of the mirror.)
Brass: Quid pro quo, right? Steven invests in your business, you k*ll the two guys who are messing around with his wife.
Lady Heather: I could help you, Mr. Brass ... with your inadequacy.
Brass: You know, I'd like that, Lady H. It's tough being me. I'd like to feel more secure in my role as a homicide detective.
(BRASS takes a seat close to LADY HEATHER.)
Brass: You know what really gets me wild? The truth. Are you up for that?
(Cut to the Observation POV of the Interrogation room through the two-way mirror. Before answering the question, LADY HEATHER turns and looks directly at the mirror ... directly at GRISSOM.)
Lady Heather: (over speaker) Mr. Grissom collected samples of my insulin. He's undoubtedly identified it as non-synthetic.
Brass: (over speaker) He told me it was beef insulin.
Lady Heather: (over speaker) Which, I take it, matches the insulin found in the two victims.
Brass: (over speaker) Do you know that only seven percent of diabetics in this country use an animal-based insulin? They import yours from Great Britain.
Lady Heather: (over speaker) Which narrows the field down even further.
Brass: (over speaker) Right into your dominion.
Lady Heather: My personal area is open. Anyone could've walked right in and stolen from me.
(LADY HEATHER turns her head and looks directly at the mirror. She stands up and walks toward the mirror.)
Brass: Is it something I said?
(LADY HEATHER continues to walk toward the mirror. She glances down at BRASS, but is more interested in speaking to the man standing behind the mirror.)
Lady Heather: (to GRISSOM) I'm disappointed in you. But not surprised.
(She stops in front of the mirror. She looks into it as if knowing that GRISSOM is standing directly in front of her on the other side of the mirror.)
Lady Heather: (to GRISSOM) You fear me ... because I've committed the one unforgivable act.
Brass: No, it's more like two acts ... of m*rder.
(GRISSOM watches as LADY HEATHER lifts her head and, almost as if the mirror weren't there, she meets his eyes.)
Lady Heather: (to GRISSOM) I know you. And I know that in your heart, you don't believe I did this.
(And almost as if the words came from GRISSOM himself, BRASS answers her.)
Brass: (b.g.) (over speaker) Lady Heather ... this has nothing to do with heart. It's all about the evidence.
(For a moment, she doesn't move. She turns to look back at BRASS. Then she turns back to look at the mirror ... at GRISSOM.)
CUT TO:
[INT. CSI -- LAB]
(GRISSOM examines LADY HEATHER'S insulin injector.)
(He takes the end off.)
(He puts it down on the table. One by one, he inspects the six insulin bottles lined up on the table. On the fifth bottle, he notices that some of it is missing, the quantity is less than the other bottles. He visually compares it with the other bottles, there is definitely a noticeable difference.)
CUT TO:
[INT. CSI - DNA LAB]
(GRISSOM walks into the lab. GREG is looking through a scope. GRISSOM puts the samples on the table next to GREG.)
Grissom: Greg! I need you to process these right away. Priority.
(GRISSOM turns to walk away. CATHERINE walks in and calls out to him.)
Catherine: Grissom!
(GRISSOM looks at CATHERINE.)
Catherine: We got a problem.
CUT TO:
[INT. McCORMICK RESIDENCE - NIGHT]
(REBECCA McCORMICK'S lifeless gaze looks into the camera from her position on the stairs. CATHERINE and GRISSOM walk up to the body.)
Catherine: Stranglings are intimate. Crime of passion.
(GRISSOM turns around and looks at something in the kitchen that catches his attention.)
Grissom: Or not.
(STEVEN McCORMICK casually pours himself a cup of milk and drinks it.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. McCORMICK RESIDENCE -- NIGHT]
(STEVEN McCORMICK sits on the chair in the living room. CATHERINE walks over and sits in the chair facing him.)
Catherine: Mr. McCormick ... were you the one who found your wife?
Steven McCormick: Yes.
Catherine: On the stairs?
Steven McCormick: Yes.
Catherine: May I see your hands, please?
(STEVEN McCORMICK holds out his hands, palms up. CATHERINE stands and examines them.)
Catherine: Other side.
(STEVEN McCORMICK flips his hands over, palms down. When she's through, she sits back down.)
Catherine: They look clean.
Steven McCormick: Mmm. Shouldn't they be?
Catherine: I don't know. If it were my spouse, I would've touched the body.
Steven McCormick: Mmm. I didn't.
(Behind them in the next room, GRISSOM processes the crime scene. He finds something embedded in REBECCA McCORMICK'S neck. He uses a tweezer and pulls it out. It looks like a piece of feather ... )
CUT TO:
[INT. SAHARA SOUND STUDIO -- DAY]
(DET. VEGA and SARA question CANDEECE.)
Candeece: Kiner is a drug dealer.
Sara: Your drug dealer.
Candeece: No. Not anymore. Eddie got me off all that stuff.
Det. Vega: You called Kiner. He came here.
Candeece: I tried to call Eddie. He had his phone off. He was with his pain-in-the-ass daughter and that psycho ex-wife of his. I was just alone in front of a microphone with my whole career riding on a demo.
(Quick flashback to the night. CANDEECE and EDDIE argue in the rain.)
Candeece: It's none of your business.
Kiner: Hey, Eddie.
Eddie: What?
(EDDIE turns around and KINER sh**t. EDDIE doubles over.)
Eddie: Oh, my god!
(End of flashback. Resume to present.)
Candeece: I thought Eddie wasn't coming. I guess he was just late.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(GRISSOM and BRASS rapidly walk through the hallway. GRISSOM fills BRASS in on his latest discovery.)
Grissom: The material we found in Rebecca McCormick's wound was nylon thread with fragments of ostrich feather.
(GRISSOM and BRASS glance at each other.)
Brass: Oh, I know that look. We're going back to Lady Heather's.
Grissom: I can take care of this myself.
Brass: Gil, do me a favor, get a sports car. It's a lot cheaper and easier to handle.
CUE: (PRELAP) DOORBELL RINGING
CUT TO:
[INT. LADY HEATHER'S DOMINION -- DAY]
(LADY HEATHER opens the front door to GRISSOM.)
Grissom: I'd like to come in.
Lady Heather: Of course you would. Say the magic word.
(BRASS steps into view.)
Brass: Warrant? (b*at) We don't have one.
CUT TO:
[INT. LADY HEATHER'S DOMINION - ROOM -- DAY]
(BRASS and GRISSOM stand inside one of the rooms with internet connection.)
Grissom: The, uh, submissive that was in here yesterday was wearing a feather boa.
Lady Heather: That would be Chloe.
Brass: Chloe, uh...?
Lady Heather: Chloe Samms. She uses it as a garrote -- a way to control her breathing to heighten the experience for the dominant client.
(GRISSOM looks around the room and notices a pair of shoes with white stains near the bed. He picks it up and smells it. It smells familiar to him.)
Grissom: Hmm. Same scent as Trey Buchman's crime scene. Remember the strawberry foam? Do these belong to Chloe?
Lady Heather: Believe so.
Brass: Well, the shoes link Chloe to the nightclub and this job links Chloe to the two vics. Where is she?
Lady Heather: She quit yesterday.
Brass: I bet I know why. Well, if she's in town, I'll find her.
(BRASS steps out of the room leaving GRISSOM and LADY HEATHER alone.)
Grissom: I owe you an apology.
Lady Heather: Apologies are just words.
(LADY HEATHER leaves. Camera holds on GRISSOM.)
CUT TO:
[INT. CSI - LAB -- DAY]
(CATHERINE enters the lab. SARA is already there wrapping up the paperwork, evidence in packages around her.)
Catherine: So you're calling it?
(At the sound of her voice, SARA stops writing. She looks up and turns round.)
Sara: I got two liars and no m*rder w*apon ... and no choice. I'm going to nail the singer on child endangerment and fleeing the scene, and the dealer goes up on possession for sale.
(Although she doesn't like it, CATHERINE understands. She sighs.)
Catherine: What a great bedtime story for my little girl.
Sara: Cath, I did my best.
(CATHERINE doesn't say anything.)
CUT TO:
[INT. CSI - HALLWAY OUTSIDE INTERROGATION ROOM -- DAY]
(GREG hands GRISSOM the test results. GRISSOM looks it over as he explains it.)
Greg: No-needle syringe used on the vic at the foam party. I recovered some epithelials from the plunger end, compared them to your reference sample. That girl you have in custody ...
(CHLOE SAMMS sits inside the interrogation room behind them.)
Greg: ... it's her DNA. Case closed.
Grissom: Thank you, Greg.
(GRISSOM turns around and enters the interrogation room. BRASS is already there. He closes the door.)
CUT TO:
[INT. INTERROGATION ROOM - DAY -- CONTINUOUS]
(GRISSOM sits down at the table. He puts a photo of the Vision(tm) injector on the table for CHLOE SAMMS to look at.)
Grissom: Look familiar?
(CHLOE glances down at the photo. She doesn't say anything. She looks back up at GRISSOM.)
Grissom: Insulin was injected into Trey Buchman's shoulder at this end ... by you.
(Quick flashback to the club. Music is blaring. CHLOE SAMMS dances her way to Trey Buchman, injects him, then dances away. End of flashback. Resume to present.)
Grissom: Your epithelials were found at the plunger end. Epithelials are skin cells filled with DNA - your genetic fingerprint.
(GRISSOM puts the test results on the table.)
Brass: So, you're going to tell us why and you're going to tell us why you strangled Rebecca McCormick.
Chloe Samms: For Steven. I belong to him.
(GRISSOM looks back at CHLOE, a bit surprised by this response.)
CUT TO:
[INT. INTERROGATION ROOM -- DAY]
(BRASS stands near the door and GRISSOM sits at the table as they question STEVEN McCORMICK.)
Steven McCormick: Chloe had a problem controlling her emotions. She let things get personal.
Brass: Define "personal," in your crowd.
Steven McCormick: In my "crowd"?
Brass: Yeah.
(Quick flashback to CHLOE and STEVEN kissing. Then STEVEN pushes CHLOE away and walks away from her. End of flashback. Resume to present.)
Grissom: So you started seeing each other outside of Lady Heather's?
Steven McCormick: We'd meet occasionally, yes. Listen ... my wife had a problem with sex.
Brass: Sounds like she had a problem with you, pal.
Steven McCormick: My wife had a problem with sex. And at Lady Heather's, I fixed her.
Brass: Oh, you "fixed" her?
Steven McCormick: Yes.
Brass: She stay "fixed"? Yeah, you fixed her so good that she started spending your money to get other men to give her what you couldn't.
Steven McCormick: Rebecca was out of control.
Brass: So you got her to k*ll Richards and Buchman.
Steven McCormick: No, I didn't.
Brass: And then you told her to k*ll your wife.
Steven McCormick: No, I loved my wife. I didn't tell Chloe to do anything.
Brass: What happened?
Steven McCormick: She k*lled Richards and Buchman on her own.
Brass: Okay.
Grissom: Chloe thought that k*lling your wife's lovers would please you.
(b*at) And it did please you.
Steven McCormick: I told her to stop.
Grissom: But she didn't obey you. She k*lled your wife. You couldn't make Chloe do what you wanted. All that time at Lady Heather's and you never learned that the submissive is the one in control?
Steven McCormick: I told her to stop.
CUT TO:
[INT. HALLWAY -- DAY]
(Officers escort CHLOE SAMMS down the hallway. BRASS and STEVEN McCORMICK walk out of the interrogation room and into the hallway. CHLOE SAMMS looks back behind her to look at STEVEN.)
(Camera holds on STEVEN McCORMICK.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. WILLOWS' RESIDENCE -- NIGHT]
(LINDSEY walks out of her room and down the hallway to her mother's room.)
(CATHERINE is crying on her bed.)
Lyric: ... stay tonight / we'll watch the full moon rising ...
(LINDSEY sits on the bed and puts her cheek on her mother's shoulder. She wraps her arms around her mom and brushes her hair soothingly with her fingers.)
Lindsey: (softly) It's okay, mommy. It's okay. It's okay.
Lyric: ... hold on tight ...
CUT TO:
[EXT. LADY HEATHER'S DOMINION - DRIVEWAY - NIGHT]
Lyric: ... the sky is breaking ...
(The camera opens on the driveway outside The Dominion. The camera pans over to show a car parked in the driveway. GRISSOM sits inside his parked car. He looks at LADY HEATHER'S front door.)
Lyric: ... I don't ever want to be alone ...
(He sits there behind the wheel looking at the front door. He sighs.)
Lyric: ... with all my darkest dreaming ... hold me close ...
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x15 - Lady Heather's Box"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
FLASH TO WHITE:
[EXT. LAS VEGAS STREET - NIGHT]
(A dark-colored SUV recklessly races through the streets, police cars after it, their sirens wailing.)
Officer: (over radio) We have a high-speed chase in progress. Heading Eastbound on 74th street. Over.
(The speeding SUV turns into a parking lot, side-swipes a parked car and continues out of the parking lot and back onto the street.
(The SUV turns off of the road and onto the grassy area, the police cars right on its tail.)
(The SUV turns back onto the busy street, weaving in and out of traffic as other cars swerve and brake to avoid hitting it. The police cars are still on its tail.)
(The SUV turns and swerves into a tunnel. It exits the tunnel and onto the strip.)
Officer: (over radio) 314 Baker, driver seems intoxicated.
(The SUV appears to be losing speed. It slowly side-swipes several cars parked on the side of the road.)
Officer: This is Charlie 324. Hang back. Over.
(The SUV turns off the road and slowly comes to a stop in front of a large hotel/casino.)
[EXT. HOTEL/CASINO - NIGHT - CONTINUOUS]
(DET. LOCKWOOD exits the police car behind the SUV. His w*apon drawn.)
Lockwood: Driver! Cut the engine and throw the keys out the window.
(He takes a couple of steps toward the vehicle.)
Lockwood: Driver! Cut the engine and throw the keys out the window!
(He waits a moment, then starts to yell out instructions again.)
Lockwood: Driver ...
(The driver's door slowly opens and a man gets out. He slowly turns around.)
(LOCKWOOD slowly puts his w*apon down, a look of horror on his face as he realizes what he's looking at.)
(The man has a wooden stake embedded in the top of his head. He falls to his knees, then collapses to the ground in front of LOCKWOOD.)
WHITE FLASH TO:
[EXT. HOTEL/CASINO -- NIGHT]
(A large crowd has gathered around the contained crime scene. GRISSOM and LOCKWOOD make their way through the crowd.)
Grissom: Excuse us. Excuse me, sir. Thank You.
(GRISSOM and LOCKWOOD break out of the crowd and make their way to the body. GRISSOM carries his CSI kit.)
Lockwood: Death: The cheapest show in Vegas.
Grissom: Yeah, it doesn't surprise me. You remember the MGM f*re? We found people b*rned to their slot machines 'cause they wouldn't leave the action.
Lockwood: Only in Vegas.
(GRISSOM puts his kit down and kneels next to the body.)
Grissom: This guy's got a piece of wood sticking out of his head.
Lockwood: Alex James, age 42. Found his wallet in the glove compartment. SUV is registered to him. No previous record. How was he able to drive?
Grissom: I once saw a guy walk fifteen blocks with three b*ll*ts in his face.
Lockwood: The victim was traveling west on flamingo. The Desert Palm isn't too far from here. I guess he was en route to the hospital.
Grissom: I don't much care where he was going. I want to know where he's been.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. VENETIAN HOTEL/CASINO (STOCK) - NIGHT]
[INT. HOTEL/CASINO - BACK GARAGE -- NIGHT]
(WARRICK and CATHERINE slowly make their way across the garage, their CSI kits in hand.)
Warrick: Like coming in the back way, huh?
Catherine: Yeah, makes us VIPs tonight.
(A bellhop approaches them and nods to CATHERINE and WARRICK'S kits.)
Bellhop: Let me help you, ma'am. Sir?
Warrick: It's okay.
Catherine: No, thanks. Oh, it's not luggage. Thank you, though.
CUT TO:
[INT. TUNNEL LEADING TO HOTEL -- CONTINUOUS]
(They meet up with the HOTEL MANAGER.)
Hotel Manager: You must be CSI.
Warrick: I'm Warrick Brown. This is Catherine Willows.
Catherine: You said you had a situation in your casino?
Hotel Manager: A kidnap.
Warrick: Is it a high profile?
Hotel Manager: Yes. We'd like to deal with this locally before we involve the FBI.
Catherine: Well, until we know the victim was taken over state lines, the FBI has no jurisdiction. Do you have any contact from the kidnappers?
Hotel Manager: A ransom note was left at the front desk.
Warrick: Who are we looking for here?
Hotel Manager: A five-year-old boy.
Catherine: Whose five-year-old boy?
Hotel Manager: Tavian Tombs.
Warrick: Tavian Tombs, professional basketball player. Very high profile.
CUT TO:
(Through various dissolves: WARRICK and CATHERINE follow the HOTEL MANAGER representative through the hallway.)
CUT TO:
[INT. HOTEL - TOMBS' HOTEL ROOM]
(The hotel room doors open. CATHERINE and WARRICK walk inside. TAVIAN TOMBS' back is to the door.)
Tavian Tombs: (angrily) I got eight people to make sure that something like this does not happen. Where the hell was everybody? Out spending my money?
(to the Head SECURITY GUARD) You're supposed to be the head of security, and you let my son get kidnapped right from under my nose.
Catherine: Mr. Tombs ...
(TAVIAN TOMBS turns around.)
Tavian Tombs: You better have a good reason for being here.
Warrick: We're here to find your son.
Catherine: We're with the crime lab, and I'm assuming that that's our ransom note.
Tavian Tombs: It's my note, my kid, my show.
Warrick: Look, I've seen you take out three guys on the glass and still finish. I'm not here to bang boards with you. I'm here to do my job. (b*at) It's your son; it's your call.
(In the next room, two little boys play video games. CATHERINE turns to look at them as she puts her gloves on.)
Tramelle: I'm going to dunk on you again.
Jason: Yeah.
(TAVIAN TOMBS holds out the ransom note. WARRICK takes it.)
Warrick: (reading) "I have Isaiah. Bring $5 million to the northwest corner of Telfair and Juniper, 4:00 A.M."
Catherine: How many of you touched this letter?
Security: I did.
Woman: I just want my boy back.
Catherine: Did this note come in an envelope?
Security: Yeah ... I threw it in the wastebasket.
(CATHERINE steps up and takes the envelope from the trash.)
Catherine: (to WARRICK) We have a better chance of getting uncompromised prints off of this.
Warrick: You said that Captain Brass was here?
Hotel Manager: Yeah. He's interviewing the nanny.
CUT TO:
[INT. HOTEL - TAVIAN TOMBS' ROOM - NEXT ROOM]
(BRASS is interviewing the Nanny.)
The Nanny: We were at the carnival, me and the boys.
(She sighs.)
(Quick flashback to their day at the Carnival.)
The Nanny: (V.O.) They wanted to ride on the carousel. I said no.
(End of flashback. Resume to present.)
Brass: But you gave in.
The Nanny: Special weekend. Dad's in town. Everybody's together. Trust me, they don't understand "no."
(Quick flashback to the boys at the Carnival on the Carousel.)
(The children go round and round on the Carousel having a grand time. As best she can, she tries to keep an eye on them; however, when the horses come around, one of the kids is missing.)
The Nanny: Jason! Jason, where's Isaiah? Jason! THE NANNY: Where's your brother?! Jason, where's your brother?!
(End of flashback. Resume to present.)
The Nanny: He was right there. And then he ... I swear to you, I looked everywhere, but I knew he was gone. (sighs) So ... I brought the kids back here and had to tell Tavian.
Grissom: ... and his wife.
The Nanny: (scoffs) They're not married. And even if they were, it'd still be Tavian's show.
Brass: A woman who knows her employer.
The Nanny: I should. He's my brother.
CUT TO:
[INT. HOTEL - TAVIAN TOMBS' ROOM - MAIN ROOM]
(The man with the ransom money arrives. The suitcase is open and on the table.)
Tavian Tombs: It took you that long to pull the paper together?
Man With Cap: Soft count room wouldn't go any faster.
Catherine: The casino's fronting the ransom money?
Hotel Manager: Mr. Tombs has a multimillion-dollar line of credit with us.
Catherine: We strongly advise that you don't hand over that money.
Warrick: At least let us mark it.
Tavian Tombs: You know how long it'd take to mark $5 million large? The kidnapper knows. Longer than the drop-off time. Now, the letter said corner of Telfair and Juniper. That's where this bag is going.
CUT TO:
[EXT. HOTEL/CASINO -- NIGHT]
(GRISSOM and NICK process the crime scene. NICK is snapping photographs. Garbled radio transmissions can be heard in the background.)
(LOCKWOOD checks the SUV over.)
(GRISSOM kneels next to the body and sprays the piece of wood with something.)
Grissom: Sharp force trauma.
Nick: Shouldn't we get the spike out of his head before we try to get any prints off it?
Grissom: I'm afraid if we try to remove it, we'll eradicate the prints.
(NICK takes more pictures. GRISSOM kneels even lower to look under the wooden spike.)
Grissom: I'm not going to get any prints off of this.
Nick: Well, he sure is dirty. I mean, he isn't homeless. This is his car, right?
Grissom: Yeah. I'm going to scrape his nails.
(GRISSOM takes the instrument and scrapes under the nails. He looks at it and sees small specks of something.)
Grissom: Hand me a bindle.
(NICK hands GRISSOM the bindle. LOCKWOOD finds a g*n in the car.)
Lockwood: Hey, fellas, you're never going to guess what I found under the seat. A .38 special.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(WARRICK is examining the ransom note under a magnifying glass. SARA walks in.)
Sara: Catherine wanted to know if you have anything. She can't convince Tavian to change his mind about the ransom money.
Warrick: 8 x 11 plain white copy paper. It's mass-produced. You can get it anywhere. The envelope, unfortunately, is self-adhering.
Sara: No DNA.
Warrick: No.
Sara: What about the text? It's just standard laser, nondescript. So you got nothing.
Warrick: Nothing I can see.
(SARA picks up the note and smells it. She hands it to WARRICK to smell.)
(Cut to WARRICK putting the note inside a container. He closes the container and turns on the Evidence Vacuum Sweeper.)
(Quick CGI POV flash to inside the container, through the vacuum vent, through the vacuum hose, through the filter and a close up of the particles caught inside. End of CGI POV. Resume to present.)
(WARRICK opens the filter and empties it out into another filter set-up. He washes it out, runs it through a filter, takes a sample of the liquid and runs the sample through a machine.)
(WARRICK opens the container. He sprays the paper and sees the fingerprints.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS adjusts the camera and monitor to get a better view of the stake embedded in the body's head.)
Robbins: Looks like something out of Nosferatu.
(ROBBINS leans in to look at the stake.)
Grissom: Yeah, only the wooden stake is in his head, not his heart.
Robbins: I've never seen that before -- a wooden stake embedded in the high parietal scalp in the midline. Hold his head down firmly, will you?
(GRISSOM puts his hands on the body's head while ROBBINS gets a grip on the stake.)
Robbins: On three. One ... two ... three!
(ROBBINS pulls out the wooden stake. He hands the stake to GRISSOM, then reaches into his pocket to put his glasses on. He leans down to look at the wound.)
Robbins: Irregular puncture defect to the scalp, laceration to the sagittal sinus. The wound track stops at the falx cerebri. No gross penetration of the cerebrum. That stake is what kept him driving.
Grissom: Tamponading?
Robbins: Well, the application of more than normal pressure to the wound acts like a plug, temporarily keeping him alive. The spike probably struck ...
(Quick CGI POV of the stake embedding in the brain.)
Robbins: (V.O.) ... between the brain hemispheres ...
(End of CGI POV. Resume to present.)
Robbins: ... most likely lodging into the parietal bones and holding it in place. They say it's a game of inches -- a centimeter to the left or right, and he would have bled out and died instantly.
Grissom: Yeah, but head trauma this severe, surgery would've probably k*lled him anyway.
Robbins: That, or live an extra hour in excruciating pain.
CUT TO:
[INT. CSI -- HALLWAY]
(WARRICK fills CATHERINE in on the findings of printing the ransom note. He hands the results to CATHERINE.)
Warrick: They weren't lying. They all touched it. Everybody's who's got a piece of Tavian got a hand on that ransom note. Even the bellman and the desk clerk left prints on the envelope.
Catherine: Any unidentified prints?
Warrick: Just a few smudges, a couple of partials.
Catherine: So prints don't help.
Warrick: No.
Catherine: Liquid extraction results.
Warrick: Yeah, that was detected on the ransom note-menthol and nicotine.
(Quick flashback to the ransom note being printed out and the hand reaching for it holding a burning cigarette. End of flashback. Resume to present.)
Catherine: Nicotine. So we're looking for a smoker -- menthol smoker.
CUT TO:
[EXT. CORNER OF TELFAIR AND JUNIPER - NIGHT]
(WARRICK and BRASS sit in the car and stake out the drop off site. Some distance away, they have a clear view of the money bag on the ground next to the bench.)
(A truck turns the corner.)
Brass: (to radio) Everybody hold. We don't make a move until after he's taken the money.
(A man gets out of the truck and grabs a stack of newspapers. He opens the newspaper rack on the corner of the sidewalk and restocks it with newspapers. He doesn't go anywhere near the money and by all indications isn't even aware that it's there. He shoves the newspapers in the dispenser, closes the hatch and leaves.)
Brass: (to radio) Stand down.
(The truck drives off.)
Warrick: We're way past the drop time here.
Brass: Yeah. Well, let's give it a couple more.
(They both look outside. The money bag is still there.)
Brass: So, what's your take on this? Inside or outside job?
Warrick: No, I think it's just some freak with a nicotine habit and access to a laser printer.
Brass: Did you see the action he got? One phone call, $5 million gets delivered to his hotel?
Warrick: Yeah, that money's not doing him any good now, huh?
Brass: Yeah.
(Another man approaches the money. It's Tavian's Head of Security.)
Warrick: It's just gone bad.
Brass: Oh, man.
(BRASS and WARRICK both get out of the car. Other officers with w*apon drawn are already on their way to intercept the man.)
Warrick: Hey! Hey!
Brass: (to the Security guy) What are you doing? (to the officers) Put the g*n down! Put the g*n down!
(BRASS and WARRICK reach the Security Man.)
Brass: What the hell are you doing?
Security: Tavian wanted me to be sure the transfer got done.
Brass: This is our job -- not yours, not Tavian's.
Warrick: What are you concerned about here -- the kid or your job?
Security: I didn't do nothing. Nobody took the money -- didn't even show. I've been here all night just like you.
Brass: They spotted you. You understand? The kidnappers saw you. They made us.
(BRASS' cell phone rings. He turns and walks away to answer it.)
Security: I was doing what Tavian asked me to, man.
Brass: (to phone) Brass.
CUT TO:
[EXT. DUMP SITE -- NIGHT]
(BRASS, CATHERINE and WARRICK walk toward the little boy's body.)
Warrick: It's him. I'll take the perimeter.
Catherine: Body's in an unnatural position.
Brass: Maybe this is only the dump site.
Catherine: His body's also coated. Makes me think whoever did this didn't even stop the car.
(Quick flashback to a car driving by, its door opening, and a body being thrown out. End of flashback. Resume to present.)
Catherine: Something had to have gone wrong.
Brass: Something did.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - WAITING ROOM -- NIGHT]
(ISAIAH'S MOTHER and TAVIAN both sit in the waiting room.)
Isaiah's Mother: Do not let them cut him. I don't want them even touching him.
(TAVIAN TOMBS stands and goes looking for someone. He walks into the hallway and finds CATHERINE waiting there.)
[HALLWAY]
Tavian Tombs: We're taking the body.
Catherine: Mr. Tombs, I'm sorry, but in a crime like this, an autopsy's mandatory. Evidence from your son's body may lead us to the suspect.
Tavian Tombs: You're telling me what I can and can't do?
Catherine: It's not your call anymore.
(TAVIAN TOMBS sighs and walks away.)
CUT TO:
[INT. CSI -- LAB]
(NICK and GRISSOM both look through their own scope.)
Nick: How you doing over there?
Grissom: I got scat.
Nick: Feces?
Grissom: Yep.
Nick: Under the fingernail?
Grissom: Yep.
(NICK thinks about this for a moment, pulls away from his scope and grimaces at the conclusion he reached.)
Nick: He wiped his own ass?
Grissom: (chuckles) No, Nick, it's not human. It's scat. Could be from a bat.
Nick: Bat scat.
Grissom: Bat 'guano'.
Nick: Well, whatever. It's a lot better than what I got. As far as I can tell, the wood's Douglas Fir with a side of god knows what. I'm no geologist, but these splinters are intertwined with some kind of mineral.
Grissom: Is it sparkly?
Nick: Oh, yeah.
Grissom: Let me see. (GRISSOM moves to look through NICK'S scope.) I think it's quartz. Or fluorite.
Nick: Great. That limits it to every outdoor area in greater Nevada. Mountain ranges, mine shafts, quarries ... underground sewers.
Grissom: All home to bats.
(They both resume looking through the scopes.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(CATHERINE walks in to find WARRICK standing outside the door to the AUTOPSY. He appears hesitant.)
Catherine: Hey. Why don't you let me handle this?
Warrick: Thanks. I'm not ready to deal with another m*rder kid. I'll process the evidence.
(CATHERINE walks in. For a moment, WARRICK watches through the door window. ROBBINS starts.)
Robbins: No apparent cause of death. I'll send a blood sample to tox.
(WARRICK leaves.)
Catherine: The foam around his mouth?
Robbins: Could indicate pulmonary edema. Found bruising in the lower extremities and the knees, but these injuries are a few days old. The bruises are at various stages of healing.
Catherine: Well, that could be from roughhousing with his older brothers. What about this bruise?
Robbins: Well ... let's see, it extends around the body ... like so.
(ROBBINS lifts the body up to show the bruising on the boy's back.)
Robbins: Ah, I've seen this before. Did you find rope at the scene?
Catherine: (shakes her head) We haven't found the scene.
CUT TO:
[INT. CSI -- LAB]
(WARRICK gathers evidence from ISAIAH'S clothes.)
(On the front of the jacket, he finds fibers. Hair fibers.)
CUT TO:
[EXT. LAS VEGAS OUTER CITY (STOCK) - DAY]
[EXT. OUTER CITY SALVAGE COMPANY -- DAY]
(NICK and GRISSOM walk up to the front door of the warehouse.)
Nick: Outer City Salvage Company. Owned and operated by Alex James.
(LOCKWOOD opens the sliding door.)
[INT. OUTER CITY SALVAGE COMPANY - DAY - CONTINUOUS]
Lockwood: (loudly) Las Vegas police. I have a warrant. I'll clear the back.
Nick: Thanks.
(NICK and GRISSOM walk into the Warehouse. NICK spots an old MILES slot machine.)
Nick: When's the last time you saw a dinosaur like this? Lemons on the reels.
Grissom: Not since Sam Braun ran the town.
Nick: Old Vegas.
(NICK walks in further into the warehouse and sees something on the table. He puts on a pair of latex gloves.)
Nick: Buckshot pellets. Looks like he loaded his own.
(GRISSOM looks around and notices something else.)
Grissom: A melting furnace.
Nick: What's that for?
Grissom: Melting precious metals.
(Next to the table is a blanket with pieces of jewelry on it.)
Nick: Quenched it in the tub?
(On the other side of the table is a large, old porcelain bathtub with discolored/dirty water in it. In answer to NICK'S question, GRISSOM nods.)
Lockwood: Hey, fellas, take a look at this.
(LOCKWOOD holds up a ziplock bag of pieces of gold jewelry.)
Nick: More precious metals.
(NICK takes the bag. LOCKWOOD holds out something else.)
Grissom: And the pawn tickets.
Nick: Easily traceable.
(NICK takes the pawn tickets. GRISSOM turns and looks at the wall behind them.)
Grissom: Topographical maps of the Sierra Nevada. Delamar Quadrangle, Lincoln County, La Madre Mountain ... Clark County.
(While looking at the map, GRISSOM finds something and calls NICK over.)
Grissom: Hey, Nick. Blood spatter and a b*llet hole, maybe?
[MAP: La Madre Mtn. Quadrangle / Nevada - Claim Co. / 7.5 Minute Series
(Topographic)]
(NICK pushes the map aside and finds the hole in the wall behind the map.
Nick: Through-and-through. (NICK checks the floor.) Oh, yeah. Medium caliber. This is our primary crime scene?
Grissom: Except that our vic had a stake in his head. He wasn't sh*t.
Nick: Yeah, but he had a .38 in his car.
Grissom: We're looking for another body.
(Camera holds on GRISSOM.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CASINO -- DAY]
(BRASS interviews KEVIN, The Bellman.)
Kevin (bellman): It was a tip.
Brass: A $10,000 gold chip? (chuckles) I don't think so. If it was a tip, you wouldn't have had to lose the bellman's outfit to cash it in. Now where'd you get this?
Kevin (bellman): I found it ... sort of.
Brass: You found it ... "sort of".
Kevin (bellman): Tavian is always surrounded by women. Guys, too, but they want autographs. The chicks -- they want something else.
(Quick flashback to: KEVIN (The Bellman) glances over at TAVIAN TOMBS sitting at a card table. End of flashback. Resume to present.)
Kevin (bellman): Now, usually his boys turn them away, but this one got through.
(Quick flashback to: BRIDGET WILLIS walks up to the card table, pushes her way through the crowd and stands in front of TAVIAN TOMBS.)
Bridget Willis: Excuse me. I need to speak to Tavian. I want to see Tavian.
(End of flashback. Resume to present.)
Kevin (bellman): There were definitely chicks a lot hotter, but I guess when you can have anything ...
Brass: They leave together?
Kevin (bellman): No, just the opposite. They got into it right there.
(Quick flashback to: BRIDGET WILLIS yells at TAVIAN TOMBS.)
Bridget Willis: You're a lousy father to Tramelle. And you think the whole world worships you. But the truth is, you're just a deadbeat.
Tavian Tombs: Whatever. This what you want?
(He brushes her complaint aside and holds up the gold poker chip. She brushes the chip aside. It goes flying. She turns away. End of flashback. Resume to present.)
Kevin (bellman): Casino taxes me $24 an hour regardless of what I make. And do you know how much a zillionaire like Tavian Tombs tips? Zip. Nothing. Not even change I can throw in the fountain. And why? Because he's comped all the way around. R.F.B.-- Room, food, beverage -- including tips. So, when ten large goes sliding across the floor, and nobody sees it? Get out of the way, 'cause Kevin's coming through.
(Quick flashback to: KEVIN sees the chip fly and goes after it. The chip falls and rolls on the floor. KEVIN crawls under the table to get it. End of flashback. Resume to present.)
Brass: Yeah, I get the picture.
Kevin (bellman): Hey, I tried to give it back.
(Quick flashback to: BRIDGET WILLIS walking by KEVIN on her way out. KEVIN holds up the chip and calls out to her.)
Kevin (bellman): This is yours.
(She turns around.)
Bridget Willis: Keep it.
(She walks away, KEVIN still holding the chip. End of flashback. Resume to present.)
Brass: Yeah, yeah, sure you did.
Kevin (bellman): So, uh, what about my money?
Brass: Don't be stupid. (to HOTEL MANAGER) Who's the blonde he's talking about?
Hotel Manager: I don't know.
Brass: Look, big casinos honor each other's chips. So, how you tracking these? Bar code, embedded transmitters, what? Look, it's okay. It's easy for the guys at the lab to figure this out, but we'll let the other casinos know you helped us out.
Hotel Manager: Her name is Bridget Willis. She's on his list.
Brass: Thank you.
(On his way out, BRASS hands the chip over to The HOTEL MANAGER.)
CUT TO:
[INT. CSI -- LAB]
(GRISSOM is pouring over maps spread out over the table. NICK walks in with the ballistics report in his hand.)
Nick: Hey, Griss, ballistics matched the .38 b*llet to the g*n in the victim's car. As for the splinters on the stake ... you were right. Quartz. Fluorite.
Grissom: Dolomite, barite, calcite, antimony.
Nick: Well, the mass spec dug deeper. Arsenic and cyanide. Now, as of late, that's what's used to extract gold.
Grissom: Do you have any idea how many mine shafts there are in the State of Nevada?
Nick: Yeah, hundreds. Including gold and silver mines in Nelson, Searchlight, Goodsprings. You name it. I've got Lockwood running a background check on our vic. Maybe we'll get lucky.
(NICK takes the report from GRISSOM and leaves the room. GRISSOM returns to his maps.)
CUT TO:
[EXT. LAS VEGAS - DAY]
CUE: (PRELAP) DOORBELL
[EXT/INT. WILLIS' RESIDENCE -- DAY]
(The front door opens.)
Brass: Bridget Willis?
Bridget Willis: Mm-hmm.
Brass: I'm Detective Jim Brass, Vegas PD. This is Catherine Willows from the crime lab.
(A little boy walks out to stand next to his mother. She puts a hand on his shoulder.)
Bridget Willis: You're here to talk to my son Tramelle?
(Quick flashback to: CATHERINE at TAVIAN TOMBS hotel room. She turns her head and sees TAVIAN'S two sons playing video games. One of the boys is TRAMELLE. End of flashback. Resume to present.)
Catherine: (smiling) We already have.
CUT TO:
[INT. WILLIS' RESIDENCE -- DAY]
(BRASS and CATHERINE question BRIDGET WILLIS.)
Bridget Willis: I was in college. He was the "man," Mr. Final four. I thought I'd won the lottery. Then I got pregnant, and he went in the lottery, so ... take a look around. Guess what we fight about.
Brass: Money.
Bridget Willis: He's rich, I'm not. I've accepted that. But he does have responsibilities.
Catherine: Tramelle.
Bridget Willis: A weekend here and there doesn't make a father. Tramelle's not one of his "boys." He's his son. Kid comes home with an armful of presents and a broken heart every time.
Catherine: Ms. Willis ... is Tramelle your only child?
Bridget Willis: No. I have a little girl.
Catherine: Why wasn't she with Tavian's other kids at the carnival?
Bridget Willis: She wasn't invited.
(Quick flashback to: TAVIAN TOMBS talking with BRIDGET WILLIS.)
Tavian Tombs: I'm not taking her. I'm not taking your girl.
Bridget Willis: Tramelle's been talking about this weekend for months. She just wants to come.
Tavian Tombs: Then what you better do is explain to her that I'm Tramelle's father, not hers.
Bridget Willis: What difference does one little girl make?
Tavian Tombs: It's all about what's mine.
(End of flashback. Resume to present.)
Daughter: Mommy. What's for lunch?
(CATHERINE turns around to see a cute blonde girl coming down the stairs.)
Bridget Willis: Just a minute, okay, sweetie? (The little girl nods and leaves the room. CATHERINE smiles.) So, instead, I took her to Sweet Creatures at the Forum Shops.
(Quick flashback to: BRIDGET WILLIS and her daughter stuffing a bear. The little girl laughs.)
Bridget Willis: Don't fill it too much, sweetie.
(End of flashback. Resume to present.)
Catherine: Oh, yes, I've been there. Works wonders on the disappointments of little girls.
Bridget Willis: That's what I was hoping for.
(Camera holds on BRIDGET WILLIS.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK is looking through the scope. GREG walks in with his report and holds it out to WARRICK.)
Greg: For you.
Warrick: Thanks. Have you taken a look?
(WARRICK takes the report and looks at it.)
Greg: I'm just trying to learn.
Warrick: Well?
Greg: Well, the fiber you tweezed from that sweatshirt - trace pegged it as sisal.
Warrick: Sisal? Rope? Mostly likely from the restraint.
Greg: What's under the scope?
Warrick: Take a look.
(GREG looks through the scope.)
Greg: Oh, hair. But cuticle's a single layer. Overlapping. (He looks up.)
It's not human.
Warrick: It's canine. Sweatshirt was riddled with dog hair. Many different breeds.
Greg: You think the kidnapper used it as a lure?
Warrick: Kids love dogs. I know when I was a kid, I was all over them. That's a good start. Thanks.
(GREG leaves the lab.)
CUT TO:
[INT. CSI - LAB]
(ROBBINS holds up a baggie of pill-shaped items.)
Robbins: Found them in Isaiah's stomach contents.
(He gives it to CATHERINE.)
Catherine: Pill casings.
Robbins: Starts to break down as soon as it hits the mouth.
(Quick CGI POV to: Pill sliding down the throat.)
Robbins: (V.O.) The shell is porous. In the stomach, the medicine leeches out, enters the bloodstream. The case is left behind.
(Pill hits the stomach and starts to fizz white medicine. End of CGI POV. Resume to present.)
Robbins: Eventually, the casing's broken down, as well, but by then, the medicine's already working.
Catherine: I see a USP number.
Robbins: Well, it should be listed in the PDR, but I couldn't find it.
(WARRICK joins them.)
Warrick: What have you got?
Robbins: Pill casings.
(CATHERINE shows the baggie to WARRICK. He takes it.)
Warrick: He was drugged?
Catherine: Looks that way.
Warrick: Well, we lifted dog hair from the sweatshirt we found near the body.
Catherine: So, our kidnapper had contact with dogs.
Warrick: Multiple breeds.
Robbins: Dog lover? Dog walker?
Catherine: Hey, how about a vet?
(WARRICK thinks about it for a moment.)
Warrick: Try the reference of Veterinary Pharmaceuticals and Biologicals.
(CATHERINE pulls up the computer database and enters the USP number.)
[SCREEN READS: COMPUTER SCREEN: VPB 12TH EDITION 2001 / 2002 VETERINARY PHARMACEUTICALS AND BIOLOGICALS PRODUCT LABELS MONOGRAPHS Enter Manufacturer Or Product Name: DP145 ]
(The search runs and the following results:
[RESULTS: Acepromazine Maleate Three pill sizes. Tranquilizer ADA No.: DP1458-1829
Active Ingredient(s): Each mL of injectable sterile solution contains: ] )
Catherine: (reads) Acepromazine maleate. Tranquilizer.
Robbins: 25 milligrams. Four pills wouldn't have been fatal for a child Isaiah's size. Based on the blood levels, these remnants were probably a second dose.
Warrick: It wasn't the money drop that went bad. The problem was Isaiah died.
Catherine: I'll call Brass. I'll have him check vet clinics, kennels, pet supply stores, and we'll extend the radius out from the dump site.
Warrick: (nods) Okay.
CUT TO:
[INT. CSI - HALLWAY]
(LOCKWOOD, GRISSOM and NICK walk down the hallway as LOCKWOOD fills them in on the victim.)
Lockwood: Our man Alex James is quite the land owner. According to the mining laws of 1872, public land can still be paten for five dollars an acre -- a law which is still in effect. That's all this guy did was buy and sell publicly-owned, government land. Funny thing is, there was one mine that he sold over and over again.
Nick: Now, why would he do that?
Lockwood: Now, there lies the mystery.
Grissom: So, who was the last person he sold to?
Lockwood: Joe McPherson. Local.
Grissom: Where is he now?
Lockwood: No one knows. He's been missing for 48 hours.
Nick: There lies the mystery.
Grissom: Where's the mine?
(They walk off camera frame.)
CUT TO:
[EXT. LAS VEGAS MOUNTAINS (STOCK) - DAY]
[EXT. MINE -- DAY]
(GRISSOM and NICK make their way from their parked car to the mine entrance.)
Nick: What's with the gate?
Grissom: It's a bat gate. It keeps people out, lets the bats in.
[INT. MINE - DAY]
Grissom: Old mines are considered bat habitats and preserves.
Nick: Who puts the bat gates in?
Grissom: Batman.
(They enter the mine. GRISSOM looks down on the ground.)
Nick: What have you got?
Grissom: Insect chitin. It's usually found near the entrance of caves.
(GRISSOM kneels in further into the cave. He picks up a handful of ... )
Grissom: Guano. We got bats.
(They both look up.)
Nick: Oh. Good.
(They enter deeper into the cave.)
Grissom: Probably California leaf-nosed bats.
Nick: They don't bite, do they?
Grissom: They're like bees, Nick. You don't bother them, they won't bother you.
Nick: Well, hey, let's ... let's not bother them, okay? I'm serious.
(Inside the cave, they find the ceiling walls covered in gold.)
Grissom: Are you seeing this? Gold.
Nick: (flatly) We're rich.
Grissom: I'm not so sure.
(NICK looks down at the ground and finds something.)
Nick: Another buckshot casing.
(He picks it up.)
Grissom: And these look like impact patterns.
Nick: So, he was loading his own.
Grissom: But not with pellets.
Nick: With gold. Pawn shop jewelry and melting furnace.
Grissom: You know, Lockwood said that James sold this parcel of land multiple times. I think he was running a scam.
(Quick flashback to: ALEX JAMES emptying the buckshot case of its pellets. Flash to a table full of precious metals and jewelry gotten from the pawn shop. ALEX JAMES picks up a gold necklace and puts it into the melting furnace.)
(Quick CGI POV of: The necklace in the liquid and melting. End of CGI POV.)
(ALEX JAMES picks up the container of melted metal and pours it into the bathtub full of liquid. Flash to JAMES picking up the pieces of gold at the bottom of the tub and putting it in to the empty buckshot casing. ALEX JAMES smiles.)
(End of flashback. Resume to present.)
Nick: He was salting the mine.
(Quick CGI POV of: g*n pointed to the ceiling of the mine. The g*n is fired sending particles of gold up toward the ceiling. End of CGI POV. Resume to present.)
(On the ground, NICK and GRISSOM both notice the bugs.)
Grissom: Insect party.
Nick: Yeah.
Grissom: Cockroaches, cave crickets. Carabid beetles. All heading deeper into the cave.
Nick: Why?
Grissom: Maybe they got tired of eating bat guano.
(NICK looks at GRISSOM.)
CUT TO:
[EXT. KENNEL -- NIGHT]
(BRASS and OFFICER METCALF escort CATHERINE and WARRICK to the kennel.)
Brass: So, this is three blocks from the place where Isaiah's body was found. Why don't you guys take the kennel? Metcalf and I are going to take the dog run.
(BRASS and OFFICER METCALF head in another direction, while CATHERINE and WARRICK enter the kennel.)
(As they walk, they look around. CATHERINE finds a child's sneaker on the ground. She picks it up. She and WARRICK look at each other. She puts the shoe down and she and WARRICK continue to look around.)
(Just a few steps away, CATHERINE finds a piece of rope.
(Quick flashback to: ISAIAH tied and struggling to free himself from the rope. Dogs bark. End of flashback. Resume to present.)
(For a moment, CATHERINE holds the rope, she and WARRICK imagining what ISAIAH must have gone through. WARRICK suddenly stands up and makes his way to the open cabinet.)
(When he gets close enough to see what's inside, he calls out to CATHERINE.)
Warrick: Cath?
(CATHERINE looks at the cabinet and picks up a particular pill bottle. She looks at WARRICK.)
(From the kennel entrance, BRASS yells out to them.)
Brass: We found something. I think you're going to want to take a look at this.
(CATHERINE and WARRICK head out toward BRASS.)
[EXT. KENNEL -- NIGHT]
(Cut to: BRASS reading. CATHERINE is standing next to him. They're both looking down.)
Brass: Jacob Price. Local. (Camera moves downward to show a d*ad body with blood on his forehead.) Looks like somebody b*at us to him.
(A shovel with blood on it is discarded on the ground next to the d*ad body.)
Warrick: Partner you think?
Catherine: Or a guy who knows how to finish.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(Inside BRASS' office, BRASS talks with TAVIAN TOMBS. Both men are standing.)
Tavian Tombs: I don't want to hear this.
Brass: Yeah, well... I've been on the job a long time, and I know what a tragedy like this can do to a family.
Tavian Tombs: I told you, I don't want to hear it.
Brass: What's going to happen is one day, Kenisha or Tramelle or one of your other kids is going to come to you and say, "What happened to Isaiah?" And they're going to want to know the truth.
Tavian Tombs: Nothing you say is going to change anything.
Brass: The guy who took Isaiah worked in a kennel.
(BRASS puts a photograph on the desk of ISAIAH'S body as they first found him at the dump side. TAVIAN glances down at it.)
Brass: He was used to handling dogs, not children. When Isaiah tried to escape, he was restrained, and when that didn't work, he was drugged.
(Quick flashback to JACOB PRICE grabbing a pill bottle from the cabinet. In the background, ISAIAH sits on the ground tied with the piece of rope, struggling with his bonds. Cut to JACOB PRICE with ISAIAH. End of flashback. Resume to present.)
Brass: Now, drugs have a different effect on adults than on children. It's called "The Paradoxical Effect." So, when the tranquilizers weren't working, this guy- Price -- upped the dosage.
(Quick flashback to ISAIAH still struggling with the rope after taking the tranquilizers. JACOB PRICE heads back to the cabinet to get more pills. Cut to JACOB PRICE struggling with ISAIAH. End of flashback. Resume to present.)
Brass: Now, as a father, I can understand why you'd want this guy d*ad ...
Tavian Tombs: (confused) What? Whoa. You think I k*lled him?
(Quick flashback to: TAVIAN TOMBS swinging the shovel and hitting JACOB PRICE on the head. JACOB PRICE falls to the ground. End of flashback. Resume to present.)
Brass: Yes, I do.
(TAVIAN meets BRASS' eyes.)
Tavian Tombs: I didn't k*ll anybody. I don't even know who he is. But if I'd gotten to him before you, I swear I would not have stopped to think about it.
CUT TO:
[EXT. KENNEL -- NIGHT]
(In the night, CATHERINE and WARRICK search the kennel grounds for evidence. The ground is sectioned of like a grid.)
(Dissolve to CATHERINE kneeling down and finding a piece of white stuffing. She kneels down and picks it up.)
(Quick flashback to: BRIDGET WILLIS at Sweet Creatures at the Forum Shops with her daughter.)
Bridget Willis: Don't fill it too much, sweetie.
Daughter: (laughing) You said the bigger the better.
(End of flashback. Resume to present.)
(Camera holds on CATHERINE holding the piece of stuffing.)
CUT TO:
[INT. MINE]
(NICK and GRISSOM cough as they go deeper into the mine.)
Nick: Air's getting thick.
Grissom: Smells like trinitrotoluene.
(They cough some more. GRISSOM picks up a couple of pieces of wood.)
Grissom: Look familiar?
Nick: Yeah. But how did it get in the back of the guy's head?
(On the ground, there's a black line leading deeper into the cave.)
Grissom: Fuse line. Dynamite.
(They go deeper into the cave. GRISSOM crawls over a pile of rock and debris and finds a d*ad body.)
(NICK coughs. GRISSOM moves away a piece of wood covering the body.)
Grissom: Chest wound. Possibly from our .38. Just about two days old.
(NICK picks up the body's wallet and looks at the Nevada Driver's License with the following information on it:
[PICKS UP NEVADA DRIVERS LICENSE #050492 R360021
JOE MC PHERSON
311 SEPHILL RD. LAS VEGAS NV 89108
CLASS: 1
SEX: M HEIGHT: 5'11"
WEIGHT: 180
HAIR: BRN EYES: BRN BIRTHDATE: 09/02/63
EXPIRATION DATE: 09/02/05 ]
Nick: Joe McPherson. Local. Mr. Mia. Not an organ donor.
Grissom: You know, wooden support beams, fuse line, TNT ... I think, uh, Alex James was trying to hide this body in the back of his mine.
(Quick flashback to JOE McPHERSON walking into the Salvage Warehouse holding a g*n out on ALEX JAMES.)
Joe McPherson: (accusing) You scammed me!
Alex James: No.
Joe McPherson: That was my life savings!
Alex James: Take it easy. Listen, now-now, now, lookit. I-I, I can explain everything, all right? Listen, Joe. Joe, come on, I-I sold you the wrong mine. I-it's an honest mistake.
Joe McPherson: You're a liar!
(Cut to ALEX JAMES and JOE McPHERSON struggling for the g*n. The g*n goes off. JOE McPHERSON slides to the ground.
(Cut to: ALEX JAMES carries the body deep into the mine. He also carries some dynamite and a fuse.)
(Cut to: ALEX JAMES dropping the body and preparing the dynamite.)
(Cut to: ALEX JAMES backing out of the mine. Cut to the fuse burning. Cut to ALEX JAMES running out of the mine as it blows and getting caught in the flying debris.)
Grissom: (V.O.) Like most fuses, it probably burnt too quickly and he couldn't outrun the blast ...
(End of flashback. Resume to present.)
(GRISSOM holds up the piece of wood.)
Grissom: ... Or the wooden stake.
CUT TO:
[INT. CSI - HALLWAY / LAB]
(CATHERINE walks through the hallway carrying a bag. She enters the lab where WARRICK is waiting for her and pulls out a stuffed bear.)
(WARRICK takes the bear from her and takes a sample of the stuffing inside the bear. He puts the sample on a slide and puts the slide under the scope.)
Warrick: Okay. Sample from the kennel is on your right. Your bear on the left.
(CATHERINE looks in the scope. Cut to scope view of the fibers.)
Catherine: Visible match.
CUT TO:
[EXT. / INT. WILLIS' RESIDENCE]
(BRASS, CATHERINE and WARRICK walk up the front steps to BRIDGET WILLIS' residence. BRASS reaches the door and knocks.)
Brass: Bridget Willis? Las Vegas police.
(The door is unlocked. He pushes it open. Inside TRAMELLE sits in the middle of the living room watching television. He looks up when they enter.)
(BRASS walks off to search for BRIDGET. CATHERINE kneels down in front of TRAMELLE.)
Catherine: Tramelle, where's your mother?
Tramelle: I don't know. She left with my sister. She said my daddy would come get me.
(CATHERINE doesn't say anything. BRASS walks back into the room.)
Brass: She's not here. I'll put out an APB.
(BRASS walks away. Camera holds on CATHERINE.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- EVENING]
[INT. CSI - LOUNGE]
(CATHERINE and WARRICK discuss the wrap-up as they get their cups of coffee.)
Catherine: So, Tavian was paying Bridget child support -- three grand a month.
Warrick: Three grand a month? Tavian tombs has been a $12 million-a-year player for eight seasons, not including endorsements.
Catherine: Well, he made his deal with Bridget when Tramelle was born. Bad timing for her.
Warrick: Motive for us. She was right to assume that Tavian would immediately pay that ransom. What's five million to a guy who makes hundreds of millions?
Catherine: And it is his son. I'm sure he would have paid any amount. So, how does that dog kennel guy Price figure into all this, and was k*lling him part of the plan?
Warrick: I don't know. I think that Bridget Willis k*lled him because he k*lled Isaiah.
(Quick flashback to BRIDGET WILLIS swinging the shovel and hitting JACOB PRICE on the head. JACOB PRICE falls to the ground. BRIDGET runs away, a piece of stuffing falling off of her as she leaves. End of flashback. Resume to present.)
Catherine: In her act of redemption, she gives Tramelle to Tavian.
CUT TO:
[INT. HOTEL - BACK GARAGE -- NIGHT]
(In the garage, TRAMELLE exits the limo. He looks up at the large hotel. TAVIAN TOMBS' Head of Security escorts the little boy.)
(Dissolve to TRAMELLE being escorted through the service hallway.)
(Dissolve to TRAMELLE walking through the hotel hallway.)
[INT. HOTEL - HOTEL ROOM DOOR - NIGHT]
(Cut to: TRAMELLE stands in front of the large hotel room double doors. He knocks.)
(The doors opens. TAVIAN TOMBS looks at his son. His son looks back up at his dad. For a moment, neither one moves.)
(TAVIAN opens the door wider.)
Tavian: Come here.
(He kneels down and hugs his son. The two stay like that for a moment. Behind him, ISAIAH'S MOTHER also welcomes TRAMELLE.)
Isaiah's Mother: Hello, Tramelle.
Tramelle: Hi.
(She puts an arm around him and leads him into the hotel room as TAVIAN watches. TAVIAN closes the hotel room door.)
CUT TO:
[EXT. CASINO SIDEWALK - NIGHT]
(NICK and GRISSOM take a walk along the sidewalk in front of a casino. GRISSOM is wrapping up a conversation with GREG on his cell phone.)
Grissom: Okay. (shuts cell phone) According to Greg, the blood on the b*llet's a direct match to Joe McPherson. It's a done deal.
Nick: You know, I was talking to a lady in the county records office. She said those land patents have been changing hands for over fifty years.
Grissom: That figures.
Nick: There's a sucker born every minute.
Grissom: Yup, and they all come to Vegas.
(NICK and GRISSOM continue to walk down the sidewalk. Camera rises higher to the flashing casino sign.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY SKYLINE (STOCK) - NIGHT]
[BLUR OUT]
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x16 - Lucky Strike"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - LATE DAY]
[EXT. LAS VEGAS CITY - LATE DAY]
CUT TO:
[INT. CHECKERBOX BAR & GRILLE - LATE DAY]
(People are eating at the local grille.)
(ELAINE ALCOTT walks out of the restroom.)
(HANK PEDDIGREW sits at a table.)
(Friends wave to each other from their tables in front of the large picture glass windows.)
(FRED LYCHOCK, the Restaurant Manager, smiles at the waiter. He turns and sees a car heading toward the restaurant at a fast speed. He stops smiling and watches the car.)
(The car doesn't stop at the light, nor does it turn. It continues through the intersection and straight for the windows. The Restaurant Manager takes note of it and watches the car approach the windows, helpless to do anything.)
(The waiter drops the tray he's carrying, his eyes fixed on the speeding car. The beer glasses h*t the floor and shatters.)
(The car crosses the sidewalk and heads straight for the glass windows.)
(The car hits the windows and doesn't stop. The people sitting at the tables in front of the windows crash to the floor. The car plows through the windows, tables and people.)
(Patrons scream as they dive to get out of the way of the speeding car.)
(The car crashes through the establishments' tables. The waiter hits his head against the car's windshield, blood spattering across the glass.)
(The driver hits the car horn and it blares.)
CUT TO:
[INT. CHECKERBOX BAR & GRILLE -- NIGHT]
(The woman driver is slumped against the steering wheel. f*re personnel use a crowbar to get the door open.)
(It's raining outside. GRISSOM, SARA and CATHERINE walk in to the restaurant through the broken glass windows. Emergency personnel cart away survivors on gurneys. ELAINE ALCOTT is on the gurney, her neck in a brace, as it passes the CSIs.)
(BRASS speaks to someone on his cell phone as the CSI's make their way toward him.)
Brass: (to phone) Yeah, yeah. No. All right. Yeah, hold on, hold on. (puts phone aside) Happy hour. Joint was packed. Two fatalities, four critical.
(BRASS pushes his way past them. CATHERINE stops him.)
Catherine: How about the driver?
(BRASS turns around to answer her.)
Brass: Non-responsive.
(BRASS heads out. Behind, we hear HANK PEDDIGREW giving instructions.)
Hank Peddigrew: (b.g.) I've got a GCS of three. I need to intubate.
(SARA turns around and sees HANK working on an injured patron on a gurney.)
Catherine: (to GRISSOM) That's Sara's boyfriend.
Hank Peddigrew: (looks up) Hey, Sara. Typical Thursday.
(SARA looks around and notices his injury.)
Sara: Hank? Your wrist is broken.
(HANK looks down at his wrist as if noticing it for the first time. He stops trying to intubate the patron.)
Hank Peddigrew: Larry, take over, will you?
Larry: I got it, Hank.
CUT TO:
(The Fireman gets the car door open with the crowbar.)
Grissom: The car's dry. This must've happened right before the rain.
(The Fireman checks out the old woman driver.)
CUT TO:
(HANK assists LARRY as he intubates the patron.)
Sara: What happened?
Hank Peddigrew: I was sitting at the table. Next thing I knew ...
Fireman: (b.g.) I got a heartbeat!
(HANK looks up and rushes to give aid. He hurries past SARA and heads for the car.)
Hank Peddigrew: Excuse me.
(He runs past CATHERINE and GRISSOM. They both watch him as he pushes the Fireman aside to check on the old woman driver.)
Catherine: Some happy hour, huh?
Grissom: I think happy hour's over.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CHECKERBOX BAR & GRILLE - NIGHT]
(It's dark and still raining outside. The EMT and other Personnel are still processing the scene.)
(GRISSOM is on his cell phone looking into the car. CATHERINE takes pictures.)
(LARRY is sitting down in front of HANK, attending to his broken wrist.)
Sara: (to LARRY) Mind if I take over?
Larry: No, go ahead.
(LARRY stands up and SARA takes his place. She sits in front of HANK and continues to tape up his wrist.)
Sara: You okay?
Hank Peddigrew: Yeah. I didn't think I'd see you tonight.
Sara: (smiling) So that's what all this is about.
Hank Peddigrew: Thanks.
Sara: Any time.
Hank Peddigrew: Listen, I got to head over to the hospital, and I'm sure you got to get back to work.
Sara: Yeah, but ... will you call me if you need anything? My cell will be on. Anything.
(SARA and HANK stand. HANK leaves. SARA turns around and walks toward GRISSOM.)
Grissom: You and Catherine are running the evidence on this. Warrick just got done with Internal Affairs. He's on his way.
Sara: Okay.
Grissom: You need to talk to the Restaurant Manager, too.
Sara: Anything else?
Grissom: No.
Sara: Where are you going?
Grissom: I got gas.
Sara: (nods, but is still confused) Oh.
(GRISSOM takes a step past SARA, stops, and explains over her shoulder.)
Grissom: Residential gas leak in Henderson.
(GRISSOM leaves. SARA heads for FRED LYCHOCK, The Restaurant Manager who is finishing up with a PARAMEDIC.)
Sara: Are you the Restaurant Manager?
Fred Lychock (restaurant manager): Yes.
Sara: I'm Sara Sidle, Crime Lab.
(SARA holds out her hand. FRED LYCHOCK gets to his feet and extends his hand to grab hers, but stops when he sees she's still wearing latex gloves.)
Fred Lychock (restaurant manager): Oh, hi. Fred Lychock. Ooh, sorry. Um ... your supervisor asked for a seating chart. (He unrolls the chart for SARA to look at.) Everything's computerized - software program. This here'll show you the number of people per table.
(SARA takes the chart and looks at it.)
Sara: Where were you during the crash?
Fred Lychock (restaurant manager): I was at the register, behind the bar.
Sara: Did you see anything?
Fred Lychock (restaurant manager): A blurry jaguar speeding through the intersection.
(Quick flashback to the car speeding head-on toward the glass windows. End of flashback. Resume to present.)
Fred Lychock (restaurant manager): I thought the car would slow down, but it kept right on coming. If you ask me, that's the reason why old people don't belong behind the wheel.
Sara: Yeah, I didn't ask you. Thanks for your time.
(SARA walks away from FRED LYCHOCK and heads toward CATHERINE who is examining the car.)
Sara: I'm sorry. I got wrapped up in ...
Catherine: Hank.
Sara: Yeah. (SARA kneels and looks inside the car.) An old jaguar with a GPS unit. That's strange.
Catherine: Yeah, not your granny's oldsmobile.
CUT TO:
[EXT. LAS VEGAS RESIDENTIAL AREA -- NIGHT]
Grissom (prelap): (V.O.) We're cleared to go in?
[EXT./INT. ARNZ RESIDENCE -- NIGHT]
Lockwood: Yeah. Gas company shut off the valve at the street. Paramedics aired out the scene.
(LOCKWOOD escorts GRISSOM and NICK into the residence to the d*ad body.)
Nick: Homicide radioed in a D.B.?
Lockwood: Vanessa Arnz. She's in the master bedroom next to the son's room.
Grissom: Thanks.
CUT TO:
[INT. ARNZ RESIDENCE - HALLWAY/BEDROOM - NIGHT -- CONTINUOUS]
(GRISSOM and NICK make their way toward the master bedroom where the d*ad body is located. They walk through the hallway.)
Grissom: The gas company spikes its natural gas with mercaptan - smells like rotten eggs.
Nick: I don't smell anything.
Grissom: All's I smell is mothballs and stale tobacco.
(NICK looks into the son's room.)
Nick: Science geek. (He looks back at GRISSOM and smiles.) Takes one to know one, I guess.
(He turns and they both head into the master bedroom.)
CUT TO:
[INT. ARNZ RESIDENCE - MASTER BEDROOM - NIGHT -- CONTINUOUS]
(GRISSOM and NICK enter the master bedroom. On the bed is VANESSA ARNZ. DAVID PHILLIPS is already inside with the d*ad body.)
Grissom: Hello, David.
David Phillips: Hey. She's hot pink, like a maraschino.
Grissom: Makes our job easier.
David Phillips: Death was not the result of natural gas inhalation.
Grissom: No, but carbon monoxide's still gas.
Nick: Right, when carbon monoxide displaces oxygen in the blood, victim asphyxiates, turns ... pink.
(Quick flashback to: VANESSA ARNZ is sleeping and inhaling gas. Her skin slowly turns pink. End of flashback. Return to present.)
(NICK moves to get a closer look at the d*ad body.)
Grissom: Was Mr. Arnz in bed with her?
David Phillips: Uh, yeah. Paramedics said they found them both in here.
Grissom: So why is she d*ad and he's alive?
(NICK looks up at GRISSOM. DAVID turns and looks at NICK. NICK stands up and explains the answer to DAVID.)
Nick: You know, Dave, when I was a CSI-1, I would've tried to answer that, but now I know "where" before "why." First step, find the source of the C.O. I'll grab the nighthawk, f*re it up.
(NICK leaves the room. GRISSOM looks down at the body. LOCKWOOD appears in the doorway.)
Lockwood: Mr. Arnz has been s*ab. They're preparing him for transport.
Grissom: I want to take a look at him.
David Phillips: Yeah.
CUT TO:
[EXT. ARNZ RESIDENCE - NIGHT -- CONTINUOUS]
(GRISSOM and LOCKWOOD question MR. ARNZ. The paramedics are still checking him out.)
Mr. Arnz: I wake up in the middle of the night sometimes, if I get cold. Vanessa steals the covers. Uh, I woke up and my head was spinning. I think I'm coming down with something. Then I look over at her ...
(Quick flashback to: MR. and MRS. ARNZ is in bed. MR. ARNZ wakes up gasping. He reaches over to check on his wife.)
Mr. Arnz: Vanessa.
(He realizes that she's not breathing. He reaches for the phone and dials 911.)
Mr. Arnz: (to the OPERATOR) Tell them my wife isn't breathing.
(End of flashback. Resume to present.)
Lockwood: Do you remember anything else?
Mr. Arnz: No, I don't remember hanging up the phone. I must've passed out. Next thing I know the paramedics are taking me out.
(GRISSOM turns and notices the young man leaning against the car in the garage. He presumes this is the son.)
Paramedic: We got to roll. Patient will be at Desert Palm.
Mr. Arnz: Wait a minute. What about my boy?
Paramedic: Peter seems fine. The kid's 18. Signed an AMA.
(GRISSOM heads toward PETER ARNZ to talk with him. He ducks under the crime tape and stops in front of PETER ARNZ.)
[INT. ARNZ RESIDENCE - GARAGE - NIGHT - CONTINUOUS]
Grissom: Peter ... my name's Gil Grissom. I'm with the Las Vegas Crime Lab.
Peter Arnz: You want to ask me questions. I was in my bedroom, asleep. I heard the doorbell. It was the paramedics. A few minutes later, the police showed up.
Grissom: I'm very sorry about what happened to your mother.
Peter Arnz: Why are you sorry? You're not responsible. You didn't know her. You don't know me.
(Camera holds on GRISSOM.)
CUT TO:
[INT. HOSPITAL - HALLWAY/WAITING ROOM -- NIGHT]
(SARA walks through the hallway. She passes by a young man sitting outside waiting. She stops in front of the GUARD standing outside the room of the old woman who drove the car.)
Sara: How's she doing?
Guard: Doctors are working on her right now. Doesn't look good.
(Looking inside the room, SARA notices the old woman in the hospital bed and the medical personnel working on her. She turns her head toward the young man sitting outside in the hallway.)
Sara: Relative?
Guard: Driver's been I.D.'d as Diane Lambert, that's her grandson Corey.
(SARA walks up to COREY LAMBERT.)
Sara: Hi, Corey? I'm, uh, Sara Sidle. I'm with the Las Vegas Crime Lab. Mind if I ask you a couple questions?
Corey Lambert: I don't even know why she was in Las Vegas. We live in Laughlin. She hates it here.
Sara: Corey, um... did your grandmother own a Jaguar?
Corey Lambert: Yeah ... (sniffles) ... yeah, she won it in the, uh, quarter slots. First two coins and bingo. Triple stars.
Sara: She also win the GPS?
Corey Lambert: No. (b*at) She hadn't been driving it much.
(SARA notices HANK in the waiting room kneeling in front of a woman in a wheelchair.)
Corey Lambert: Uh, she got lost a couple times and it scared her, so for her birthday last month, I bought her the unit.
Sara: (smiles) Can you excuse me for a second?
Corey Lambert: Yeah.
(SARA walks away from the young man and heads toward HANK in the waiting room. The nurse wheels the young woman away.)
Sara: Hey.
(HANK looks up and sees SARA. He stands up.)
Hank Peddigrew: Hey.
Sara: "And the EMT of the year award goes to ..."
Hank Peddigrew: Not me. Death toll's now three. Could climb to four. Elaine-
- the girl in the wheelchair -- she's one of the lucky ones.
Sara: You were amazing.
Hank Peddigrew: Eight years in the rig, first time I've actually been a part of the scene. I can't stop it going through my head.
Sara: Yeah, you never know when your life's going to change.
Hank Peddigrew: Listen, I ... I got to get out of here.
(HANK moves to pass SARA. She grabs his hands to stop him.)
Sara: You need a lift?
Hank Peddigrew: No, I drove.
(HANK turns to leave. SARA stops him.)
Sara: Hank? (He turns around.) I'm really glad you're okay.
Hank Peddigrew: (smiles) Thanks.
(HANK turns and walks away. Camera holds on SARA watching HANK leave.)
CUT TO:
[EXT. CHECKERBOX BAR & GRILLE - STREET -- NIGHT]
(WARRICK and CATHERINE do a walk through of the car route into the restaurant. They examine the street.)
Warrick: Plenty of tire treads, but nothing looks fresh.
Catherine: So you going to tell me how it went?
Warrick: I got called in by Internal Affairs. How do you think it went? Too many questions. (To the officer who lifts the crime tape up for them.) Thanks.
(to CATHERINE) I wish I could've pleaded the fifth.
Catherine: Yeah, you don't answer their questions, you're looking at more days off without pay, and that blows.
Warrick: Yeah. (He looks up and sees something.) It's a red light camera. Did any of the witnesses see the driver run the red light?
Catherine: Nobody mentioned it, but the camera's there. Big brother knows.
Warrick: I'll put in a call.
(CATHERINE notices a dark puddle on the curb.)
Catherine: Motor oil.
Warrick: Now, that looks fresh.
(Quick flashback to: Camera close up of the curb as the car accelerates, hits it and leaves a puddle of motor oil behind. End of flashback. Resume to present.)
Catherine: Hitting the curb could've caused the car to buck.
(CATHERINE turns around to look straight down the street.)
(Quick flashback to: A ghost of the car accelerates straight toward CATHERINE. End of flashback. Resume to present.)
Catherine: Traffic light, intersection, curb. Well, either the car wasn't working, or the driver wasn't.
(WARRICK turns around and heads inside the restaurant. CATHERINE shines her flashlight on the ground and notices a void where something should be.)
Catherine: Looks like the newspaper dispenser used to be here.
(Quick flashback to: The speeding car jumps the curb and takes out the newspaper dispenser before crashing into the window. End of flashback. Resume to present.)
(Inside the restaurant, WARRICK notices something on the ground.)
Warrick: Catherine. (He points it out to CATHERINE.) Tire treads. That kills one theory. Car's brakes must've been working.
Catherine: She tried to stop, but it was too late.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(DOC ROBBINS goes over the preliminary findings with SARA. They both stand over DIANE LAMBERT'S body.)
Robbins: Let me guess: No air bags in the vehicle.
Sara: No.
Robbins: Preliminary cause of death, epidural hematoma. Her head impacted the steering wheel.
(Quick flashback to: The car jerks to a stop and DIANE LAMBERT'S head hits the steering wheel. End of flashback. Resume to present.)
Robbins: Blood accumulated between the inner table of the skull and the dural membrane.
(ROBBINS points to the impact wound on DIANE LAMBERT'S head. Camera zooms up close to the wound to the breakage in the scalp and hair. Camera zooms through the wound and into the brain where we see the artery. The artery break and blood leaks out.)
Robbins: (V.O.) Her injury is consistent with a severed middle meningeal artery.
(End of CGI POV. Resume to present.)
Sara: What about pre-impact? At the risk of feeding a stereotype, she was 72. Any indication of stroke, Alzheimer's, heart att*ck?
Robbins: I considered and dismissed all age-related factors. No arthritis, no significant impairment of her senses. She has had part of her colon removed, probably due to injury or prior medical condition, but Sara, it's irrelevant to your case. I found no physiological explanation for the crash.
Sara: Well, that's a bummer, 'cause at this point, we got no forensic one, either.
CUT TO:
[INT. ARNZ RESIDENCE - MASTER BEDROOM -- NIGHT]
(Camera opens close up on the Nighthawk Carbon Monoxide Alarm that NICK is holding to check on the Carbon Monoxide levels in the bedroom. LOCKWOOD is with him. The detector beeps steadily.)
Nick: Carbon monoxide fills the air when any carbon-based substance is ignited. The kid checks out, so ... the point of ignition's probably this room.
Lockwood: Now, the two most common causes of accidental household CO poisonings are: unvented space heaters and improperly maintained chimneys. I don't see any heaters.
(Using the tip, NICK turns to look at the bedroom fireplace.)
Lockwood: (explains) My dad's a fireman. Last Christmas, he gave all the kids C.O. Detectors.
(Immediately, the beeping picks up.)
Nick: Would've saved this woman's life. 25 parts per million. That's the highest reading in the room.
(NICK puts his kit down, takes out his flashlight and checks out the fireplace closely.)
Nick: This is a natural gas burning fireplace. Burns clean. C.O. fumes should be minimal at best.
(In the back of the fireplace on the ground, he finds some black rocks.)
Nick: Foreign substance. Still warm.
(Camera zooms in to show a close up of the black rock.)
Nick: There was something other than natural gas burning in here.
Lockwood: If the gas company hadn't shut off the gas, whatever that is probably would have b*rned up.
Nick: Chimneys are designed to funnel smoke up and out ... if this f*re was the source of the CO, the fumes should've traveled up the chimney instead of permeating the room.
Lockwood: Unless the chimney isn't doing its job.
(NICK reaches up and checks the chimney.)
Nick: Damper's busted.
(Quick CGI flashback to: The f*re in the fireplace burns, the heat and fumes close the damper causing the fumes to funnel back into the room. End of CGI flashback. Resume to present.)
Nick: Foreign fuel source in a compromised chimney ... I think we just ruled out accident.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]
(GREG exits his lab, crosses the hallway and enters the audio-visual lab where SARA'S working.)
Greg: Hey, I hear you're working on Hank's case.
Sara: I believe it's my case.
(Leans in and rests his elbows on the table next to SARA.)
Greg: Territorial. You know, guys don't like that.
Sara: You're crowding me, Greg.
Greg: Well, I have some information that could bring us even closer. (b*at)
(He stands up.) But you first. What are we looking at?
Sara: I downloaded the memory from the GPS in the jaguar. She wasn't a local; I wanted to see if she got lost.
Greg: Well, did she?
Sara: Diane Lambert lives in Laughlin.
(SARA stands up and heads to the large wall monitor)
Sara: Excuse me.
(Using her finger, she "draws" the path on the monitor.)
Sara: She took 95 North to Summerlin parkway. Then she took parkway to Rampart, made a left on main street and headed straight to Meadows Lane -- 16
North Meadows Lane. That's where she was going, and that's where she ended up.
Greg: So does that thing tell you why?
Sara: What do you have, Greg?
Greg: Well, maybe she had the "munchies". Tox screen came back. Mrs. Lambert tested positive for cannabis sativa.
Sara: Grass?
Greg: (laughing, enjoying himself) "Grass"? So '70s, man. Sticky green, the dank, the chronic, the cush, happy stick, wacky-tobaccy ...
Sara: Well, wait, wait, wait. Grandma was high?
Greg: (smiling) Yeah.
Sara: Grandma was high ...
(Putting two fingers to his lips as if taking a drag off of a joint, GREG inhales.)
Greg: ... as a kite.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(SARA walks back into the Autopsy room. ROBBINS is working at the scope.)
Sara: Hey.
Robbins: Return visit, huh? You're here about the tox screen.
Sara: Yeah. Was Diane Lambert legally impaired?
Robbins: Less than two nanograms of THC, so per nida, she wasn't.
Sara: Oh. But if she were a long time user, her reaction time could've been slowed down, right?
(He lifts his head and stands up. They both head up to the morgue units.)
Robbins: I know where you're going. Let me stop you. THC has no significant cumulative effect, so maybe the question is: Why was a woman her age doping up?
(He opens the cabinet and pulls out the table with DIANE LAMBERT.)
Sara: Okay, why was a woman her age doping up?
(ROBBINS hands the scope to SARA.)
Robbins: Tell you what-check out her optic nerve.
(Quick CGI POV through the scope and down through the eye to show the nerve. End of CGI POV.)
Sara: Nerve's damaged. (SARA stands up and looks at ROBBINS.) She had glaucoma. I thought you said she was in good health.
Robbins: That was before the tox screen came back. You know, it's not standard procedure to check for glaucoma, but the mary jane tipped me off. People think it slows the progression of the disease, but it just reduces the pressure in the eye and that reduction's only temporary. Prescription medications do a much better job. (b*at) Unfortunately, they don't have the same side effects.
Sara: Her vision could've been impaired by the glaucoma.
Robbins: (insistent) It didn't affect her driving. Sara, Diana Lambert has nothing more to tell you.
(ROBBINS covers DIANE LAMBERT up and pushes the table back into the cabinet.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(CATHERINE is going through the seating chart up on the monitor. By touching the chairs, a DMV picture of the patron pops up on the monitor.)
(She presses the bartender position and the picture/information pops up for Taylor Ziegler of Paradise Valley, NV, the Checkerbox Bartender. She closes the pop up box.)
(She reaches over and presses the chair for one of the patrons. The picture/information pops up for Cameron Black from Trenton, NJ, deceased.)
(SARA walks into the lab.)
Sara: Hello.
Catherine: Oh, hey. So, I got photos of the restaurant patrons off the DMV database and input the information per the restaurant seating chart and the police report.
(As she speaks, CATHERINE presses the seats for several people one after the other, the last two being for HANK PEDDIGREW and for ELAINE ALCOTT from Henderson, NV; employer: Sillmont Healthcare.)
(CATHERINE turns to look at SARA.)
Catherine: Who's Elaine Alcott?
Sara: Who?
Catherine: Oh, well, she was seated with Hank. I just thought maybe that ... SARA: Oh.
(SARA leans in to the computer on the table and looks at the picture of ELAINE ALCOTT. She closes the pop up box for ELAINE and opens the box for HANK. She closes the pop up box for HANK and re-opens the box for ELAINE.)
Catherine: Anyway, um ... apparently, she told P.D. that she was returning from the ladies' room at the time of the impact.
Sara: They must be friends. I saw him with her at the hospital.
Catherine: Okay.
(CATHERINE looks down at her clipboard.)
Catherine: Um ... okay, so, we've got 36 people in the restaurant. Twelve worked for Sillmont Healthcare, a block away. Another ten were from the brokerage firm across the street, a couple of regulars, a few out-of-towners and restaurant employees.
(WARRICK walks into the lab.)
Warrick: Do you know how long it takes to get in touch with anybody at the transportation safety bureau? It's way out of hand. Diane Lambert ran the light.
(CATHERINE looks at the photo from the traffic light. The information on the photo is:
[ 17:15 03/05/03
0.50 R009
008 V=52 ]
Catherine: Wow. She sped through that intersection -- 52 miles per hour.
Sara: That's more than twice the speed limit.
Warrick: Well, the tread marks tell us that her brakes did work, so it must've been something else that malfunctioned, causing her to accelerate.
Sara: Gas pedal could've gotten stuck, or ... throttle plate could've jammed.
Catherine: There's only one way to find out.
(SARA stands up to leave the lab.)
Sara: I'm on it.
CUT TO:
[INT. CSI - GARAGE]
(SARA is on a dolly under the car. She examines the car.)
(Cut to SARA taking a sample from under the hood.)
(Dissolve to SARA checking the engine out.)
(Dissolve to SARA still checking the engine.)
CUT TO:
(WARRICK walks into the garage. SARA is standing on top of the ladder and looks at him. She has a large oil smudge under her left eye.)
Warrick: Hey. You have, uh ...
(WARRICK motions to SARA'S cheek. She rubs the area but doesn't get the smudge out. WARRICK waves it aside.)
Warrick: Don't worry about it. How's it going? You find anything?
Sara: No. Car checks out perfectly.
Warrick: Well, I did some more digging down at the TSB. I found out that the red light camera that photo'd our driver catches four times as many violators as any other camera in Vegas.
Sara: (thoughtfully) Intersection's dangerous. (b*at) Could be a death trap.
CUT TO:
[INT. CSI -- LAB]
(HODGES looks through the scope. NICK walks in to the lab. He stops next to HODGES.)
Hodges: I didn't page you.
Nick: No, I just figured I'd come by.
(HODGES picks up his things and puts them away.)
Hodges: You're checking up on me again.
Nick: No, I'm checking upon my evidence.
(NICK walks to the printer.)
Hodges: You think if you hover, the FTIR will work faster?
Nick: Yeah ... Hodges, that's what I think.
(GRISSOM walks into the lab reading a file. HODGES perks up and walks toward GRISSOM.)
Hodges: Hey, boss.
(The printer starts to print the results.)
Hodges: Nice timing.
(HODGES reaches out to grab the paper. NICK grabs the paper from him and looks at it.)
Nick: The foreign substance in the fireplace is carbon.
Grissom: Associated minerals?
Nick: None. Pure unadulterated carbon.
(NICK hands the results to GRISSOM to look at.)
Hodges: It may be pure, but it's not solid. Micro-pores. Sample's under the scope.
(NICK turns to move to the scope table, HODGES gets in his way and blocks his path. GRISSOM moves to the scope and looks at the sample inside.)
(NICK moves to stand next to GRISSOM. He casts a glance at HODGES.)
(Cut to scope view of the charcoal. At a higher magnification, he can see the pores in the rock.)
Grissom: Activated charcoal?
Nick: Used in filtration systems, kitty litter, some medications ...
(GRISSOM looks up.)
Grissom: ... and possibly a m*rder.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. INTERSECTION OUTSIDE THE CHECKERBOX BAR & GRILLE -- DAY]
(It's raining outside. SARA and WARRICK stand under the umbrella and look at the building.)
Warrick: The building has mirrored glass on it. Lets in the light, but it keeps out the glare.
(SARA turns around to look at the road and the trees behind them.)
Sara: Sun sets in the west behind us. Glare could be pretty intense in the afternoon. (WARRICK also turns to look. They both turn back to look at the building.) This could explain why this intersection is so dangerous.
Warrick: So you think the sun was a factor in the crash?
(SARA looks at her notes.)
Sara: Well, according to the accident report, the sun set at 5:30 yesterday.
Warrick: The accident was at 5:15, so the sun was still in the sky.
(SARA turns around to look at the trees behind them.)
Sara: Trees and buildings extend at least ten degrees above the western horizon.
Warrick: Yeah. (They turn to look at the building again while they figure it out.) All right, well, there's 24 hours in a day, 360 degrees in the earth's rotation. 360 divided by 24 is ... 15?
Sara: 15. Sun moves about 15 degrees an hour.
(SARA looks at the building and begins to visualize the path the sun took the day before.)
(The sunlight off of her face burns brighter as she visualizes the sun on a clear day.)
(Cut to: The building in front of them reflects the sun as it travels during the day. The sun slowly sinks to the horizon.)
(Cut to: SARA continues to visualize the sun setting. The sun traveling downward reflects off of her sunglasses.)
(Cut to: The sun continues to set and is reflected in the building's mirrored glass.)
(Cut to: The sun's light off of SARA's face returns back to normal as she figures it out.)
Sara: At 5:15 yesterday, the sun would've been about what -- 3.75 degrees above the horizon?
(WARRICK throws SARA a glance.)
Warrick: Wow, you're fast. 3.75, huh? (WARRICK glances behind him.) Then the sun was behind the trees at the time of the accident, so it was not a factor.
Sara: Great, and our investigation is still in the dark.
(SARA turns to look at WARRICK.)
CUT TO:
[INT. CSI - DNA LAB]
(GREG sits at his lab table listening to rock music blaring from his tape machine. GRISSOM and NICK walk into the lab. GRISSOM turns the music off. GREG looks up.)
Grissom: I just got a page from James Watson.
Nick: And I got one Francis Crick. What's going on, Greg?
Greg: Well, as you both know ... Watson and Crick are the grand-daddies of DNA. Without their discoveries, I'd have nothing to do all day.
Nick: What have you been doing all day?
Greg: A tox report on your D.B., Ms. Pretty in pink. She died of carbon monoxide poisoning. Blood saturation level of 46.2%. No surprise there. Nicotine levels are high -- she was a smoker. And she popped a couple of sleeping pills that night.
Grissom: Nothing probative.
Greg: What if I told you that Mr. Arnz had a carbon monoxide blood saturation level of 37% -- nearly 10% lower than his wife.
Grissom: Mrs. Arnz was a smoker. Typically, a smoker's blood is already 10% saturated with C.O.
Nick: You mean smokers get a jump start on the poisoning process? Could explain the 10% difference. It could also explain why he lived and she died.
Greg: Nice theory, but what if I told you that Mr. Arnz had high nicotine levels as well.
Nick: They were both smokers.
Grissom: That still doesn't explain why one lived and one died.
Greg: Well, I don't know if this is going to help, but the sleeping pills are zolpidem. Prescription only. I thought I'd save you some time, talked to Lockwood. She didn't have a prescription, but her husband does.
Grissom: Thanks, Greg.
(GRISSOM and NICK turn to leave the lab. NICK turns the tape recorder back on before he leaves.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(CATHERINE works on the computers on which she duplicates the car crashing through the restaurant scenario. SARA walks in.)
Catherine: Hey, check this out. The red light camera clocked her speed at 52 miles per hour, right?
Sara: Mm-hmm.
Catherine: The computer software pegged her at 60 by the time she hits the newspaper dispenser. She accelerated into the building.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(SARA and ROBBINS walks into the autopsy room.)
Robbins: You already reviewed the driver's tox screen. Now you want her basic blood panel.
Sara: I'm running with a hunch.
Robbins: Let's go.
(He hands her the file with the test results. The report reads that acetylocholine levels are low at 11.8; and epinephrine was high at 147.)
Sara: Acetylcholine levels were low, epinephrine was high.
Robbins: Why are you focused on those hormones?
Sara: Kamikaze pilots, World w*r II -- their blood work was very unusual. Acetylcholine was low; epinephrine was through the roof.
Robbins: Well, you're talking about the sympathetic response to stress-eyes dialate, heart rate goes up, hormones go haywire.
Sara: Diane Lambert lived two hours away. If she drove her car into Vegas with the intention of using it as a m*rder w*apon, I imagine she would be pretty stressed out.
Robbins: Kamikaze granny.
CUT TO:
[INT. STORE -- DAY]
(GRISSOM and NICK walk into the ARNZ' store. The door bell jingles when they open the front door.)
(GRISSOM looks for and finds PETER ARNZ sitting at the desk reading a book.)
Grissom: Isaac Asimov-- one of my favorite writers. "If knowledge can create problems, then it is not through ignorance that we will solve them."
Peter Arnz: Is that what you're doing here? Solving problems?
Grissom: It's my job to figure out what happened to your mother.
(PETER ARNZ dog ears the book he's reading, closes the book and turns his full attention to GRISSOM.)
Peter Arnz: Scientists derive satisfaction from figuring out the puzzle. It's about the quest ... not the grail.
(GRISSOM picks up the book in front of him by Isaac Asimov.)
Peter Arnz: Asimov believed that only scientists could understand the universe. His corollary: "It's not so much that I have confidence in scientists being right ..."
Grissom: ... "but that I have so much confidence in non-scientists being wrong." You a scientist?
Peter Arnz: Yeah. I am.
Mr. Arnz: Peter? The boxes won't unload themselves.
(GRISSOM turns to glance back at MR. ARNZ. PETER stands up to unload the boxes. GRISSOM turns back to look at MR. ARNZ.)
CUT TO:
[INT. STORE -- DAY]
(NICK and GRISSOM question MR. ARNZ.)
Mr. Arnz: Peter and I were hoping to get back into the house tonight.
Nick: Well, not tonight, sir. It's still an active crime scene. Our lab found zolpidem in your wife's system -- 20 milligrams. That's twice the recommended dosage. Do you know anything about that?
Mr. Arnz: Well ... Vanessa was having trouble sleeping.
Grissom: The, uh, prescription is in your name.
Mr. Arnz: Are you accusing me of something?
Grissom: No. We're just telling you what we know.
(MR. ARNZ looks around and sighs.)
Mr. Arnz: Look, uh ... ever since this discount chain opened a branch down the block, I've been working 16-hour days just trying to survive. And I'd go home and Vanessa would come at me.
(Quick flashback to: VANESSA ARNZ sitting up in bed and talking to MR. ARNZ' back.)
Vanessa Arnz: You're always tired. You never talk to me. Y-you need to communicate with me. You know, I have needs. I'm here all day long. You never talk to me.
(End of flashback. Resume to present.)
Mr. Arnz: She'd just go on and on and on talking. And when she'd finally let me get to sleep, she'd want what every woman wants. I-I don't mean just sex. She'd want to talk and talk. (sighs) Next thing you know, it's 5:00 A.M., The alarm is screaming at me, and I got to go back to work.
Nick: So you drugged your wife to get some shut-eye?
Mr. Arnz: Yeah. I put it in her ice cream. I know it was wrong, but ...
Nick: It's also illegal.
Mr. Arnz: Yeah. Happened as an accident the first time. See, I got a problem swallowing pills, so I crush them up in the ice cream. One night, she grabbed the wrong bowl and was out like a light. Best night's sleep I'd had in a long time. Well, if you ... you got nothing else you want to ask, I got things I got to do.
Grissom: I have one more question. When did you quit smoking? I noticed the, uh, nicotine patch on your arm.
(GRISSOM points to the patch on MR. ARNZ' left upper arm.)
Mr. Arnz: Oh, uh, about three weeks. Doctor's orders. I got high blood pressure.
Nick: I have another question. Did you know the damper on your chimney was busted?
Mr. Arnz: Why, did this have something to do with my wife's death? I mean, I asked Peter if he'd ... (sighs) is this my fault?
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(SARA and CATHERINE make their way to the audio/visual lab.)
Sara: If the crash was intentional, I'm thinking either the restaurant was the target or someone inside the restaurant.
Catherine: I'll call Brass. If Lambert had a grudge against the place, somebody there should know her.
[INT. CSI - AUDIO/VISUAL LAB - DAY - CONTINUOUS]
Sara: If she was g*n for someone specific, there's a lot of variables. Maybe we should start with the most obvious targets -- the people sitting in the window.
Catherine: Let's run it.
(CATHERINE and SARA stand in front of the wall monitor with the seating chart loaded.)
Catherine: Okay ... top to bottom. (CATHERINE opens the first box.) Cameron Black, deceased; from Jersey. First time in Vegas. Unlikely mark.
(SARA reaches up and closes the box. She checks the identities of the people sitting at the second table.)
Sara: Second table: Rachel Krandall, and ... Tom Krandall. Both died at the scene. Both worked for Sillmont Healthcare.
Catherine: Table three: Hank and ... Elaine Alcott. Also works at the insurance company.
Sara: Three out of five of the people sitting in the window work at Sillmont Healthcare. Maybe I should go talk to her.
Catherine: (nods quietly) Yeah. Maybe you should.
CUT TO:
[INT. ALCOTT RESIDENCE -- DAY]
(Camera opens on a file picture of DIANE LAMBERT.)
Elaine Alcott: (o.s.) I'm sorry, I don't recognize her.
(SARA is interviewing ELAINE ALCOTT.)
Sara: Well, uh, could she be one of your policy holders?
Elaine Alcott: It's possible. I oversee hundreds of members' accounts. I can check my list.
Sara: That'd be great.
(ELAINE stands up from the table and checks her laptop.)
Elaine Alcott: I wish I had some more time off, but with Tom Krandall gone and half my department in the hospital ... I'm back at the office tomorrow. Let's see ... Diane Lambert.
(As ELAINE checks the database, SARA notices a small framed photograph of ELAINE and HANK on the table. SARA picks it up. ELAINE notices the movement and smiles.)
Elaine Alcott: (smiling) My boyfriend. Saved up my miles and took him to Hawaii last year. He's going to take me to Tahiti in a few weeks. I can't wait. (SARA puts the picture down.) Ms. Lambert isn't on my list. But if you want, I can go on the company database.
Sara: (upset and trying not to show it) Thank you. Um, I-I have to get back to the lab. Um, maybe you could call me.
(SARA holds out her business card. ELAINE takes it.)
Elaine Alcott: Okay.
(SARA stands up and leaves.)
CUT TO:
[EXT. LAS VEGAS RESIDENTIAL AREA (STOCK) - DAY]
[INT. ARNZ RESIDENCE - HALLWAY/PETER'S ROOM -- DAY]
(GRISSOM walks through the hallway straight up to PETER ARNZ' room. He kneels and looks at the t*nk in the room. He opens the t*nk cover, rolls up his sleeve and takes out the filter. He looks at the filer. He puts it back inside the t*nk.)
(PETER ARNZ appears in the hallway and walks up to GRISSOM.)
Grissom: You're not supposed to be in here.
Peter Arnz: It's my home.
Grissom: Well, perhaps you didn't see the crime scene tape.
Peter Arnz: Do I look stupid to you?
Grissom: On the contrary. I heard you have an almost perfect 4.0 GPA. With the exception of a "B" in English. Our detectives do complete background searches on all the principles at a crime scene. I understand you thr*at your English teacher.
Peter Arnz: I have to feed my fish.
(PETER steps up to the t*nk.)
Peter Arnz: Clown loaches, tetras, angelfish.
(PETER opens the fish foot container.)
Grissom: (looking at PETER) You might want to check your filter, too. You're out of charcoal.
(PETER turns to look at GRISSOM.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(GRISSOM and NICK question PETER ARNZ.)
Grissom: In 1939, Isaac Asimov was an undergraduate studying zoology. As part of a course requirement, the students were asked to find a stray cat, k*ll it and dissect it. Isaac found his cat, he k*lled it, and then he promptly dropped out of zoology. Fifty years later, he wrote that the memory of k*lling that cat still haunted him.
Peter Arnz: Do you have a question for me?
Grissom: Yeah, I do. Why didn't you fix the chimney damper in your parents' bedroom?
Peter Arnz: Why would I?
Nick: You told your father you fixed it.
Peter Arnz: So he'd quit bugging me. And if you're accusing me of disobeying a man with only a tenth-grade education, then you're right.
Nick: We know you took advantage of the broken damper. Placed activated charcoal from your fish t*nk filter in the back of the fireplace...
(Quick flashback to: PETER ARNZ dropping the charcoal into the back of the fireplace.)
Nick: (V.O.) ... then waited for your father to do what he does every night.
(Cut to: MR. ARNZ lighting up the fireplace while VANESSA ARNZ eats her ice cream in bed.)
(End of flashback. Resume to present.)
Nick: You k*lled your mother. You almost k*lled your father.
Peter Arnz: That's good science fiction.
Nick: Well, you thought the charcoal would burn up, destroying any evidence of the crime, but your father woke up, called 911.
Grissom: (thoughtfully) Nick, at what point is the saturation level of carbon monoxide in the bloodstream lethal?
Nick: Approximately 45, 50%.
Grissom: (nods) Mmm. Well, his mother's level was in the range, but his father's level was low.
(PETER ARNZ is fascinated by the level of intellectual bantering going on between NICK and GRISSOM in front of him.)
Nick: Yeah, but two people exposed to the same level of carbon monoxide for the same period of time, their C.O. saturation levels should be approximate.
Peter Arnz: (interjects) As long as the variables are consistent -- body mass, health, age.
Grissom: What about smoking?
Peter Arnz: Of course.
Nick: Three weeks ago, your father quit.
(PETER ARNZ gives them a blank look. He doesn't respond. GRISSOM picks up on it immediately.)
Grissom: Yeah, we didn't know he'd quit, either. The nicotine levels in his system were high but when we went to speak with him, he was wearing a nicotine patch.
Nick: The patch delivers nicotine to the blood, but since your father quit smoking cigarettes, his C.O. saturation level returned to zero.
Grissom: You made a basic scientific mistake, Peter. You stopped observing the human element because you thought it was inferior.
Nick: What I don't understand is why. Man, why would you want to k*ll your parents? Your high school told us you were accepted to Princeton, early action. A few more months, you would've been 2,000 miles away. Whatever your parents did to piss you off wouldn't have mattered.
(GRISSOM thinks about it.)
Grissom: I know why. They weren't going to let you go, were they?
(He swallows.)
Peter Arnz: (quietly) They refused to pay for it. I don't qualify for financial aid because my father makes too much money. Not enough money to live well, but enough to destroy my dreams.
Nick: So with your parents gone, you could sell the business and pay your tuition.
Peter Arnz: You figured out the puzzle. Must be very gratifying.
Grissom: Science isn't about the gratification, Peter. It's about the truth.
CUT TO:
[INT. CSI -- LAB]
(SARA walks into the lab. CATHERINE is already there.)
Sara: Hey.
Catherine: Hey.
(SARA sits down and opens the file in front of her.)
Catherine: So, how did it go with Elaine Alcott?
Sara: She didn't have anything to add to the investigation.
(BRASS walks into the lab.)
Brass: Hey, how's it going? Here are the phone records from the driver of the vehicle that you asked for. You know, there may be something to that kamikaze grandma theory of yours. Last week, Diane Lambert closed out her bank accounts, paid off her credit cards, and updated her will.
Catherine: Well, that's certainly more evidence to suggest that her actions were intentional.
Sara: There's only one Vegas phone number on this statement and the prior statement. There's got to be 80 calls here to the same number.
Catherine: Dial the number.
(SARA picks up the speaker phone and dials the number. The phone rings.)
Operator: (from phone) Sillmont Healthcare. How can I direct your call?
Sara: What's your address?
Operator: (from phone) 16 South Meadows Lane.
Sara: Thank you.
(The Operator hangs up.)
Catherine: Right. The Checkerbox is at 16 North Meadows.
Brass: I don't think that's a coincidence.
Sara: If Sillmont Healthcare was the intended target, how did she end up at the Checkerbox?
Brass: Well, I'll tell you what happened to me. Last week, I was driving to a crime scene in the car and the GPS said go right. Had I done so, I'd be coughing up fish from the bottom of Lake Mead.
Catherine: Well, GPS is hardly perfect. Maybe north was a directional default.
Brass: Or maybe she put in the wrong address.
Sara: Either way ... it does leave one question: Why was Diane Lambert so angry?
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. SILLMONT HEALTHCARE - OFFICE -- DAY]
(ELAINE ALCOTT closes the office door. CATHERINE and SARA interviews ELAINE ALCOTT and her manager.)
Elaine Alcott: Mrs. Lambert was a member of our HMO. I was, uh, going to call you.
(ELAINE takes a seat at the table. She and SARA both eye each other warily.)
Catherine: Well, did she have some kind of problem with her policy?
Manager: Not to our knowledge.
Sara: Then you won't mind if we take a look at her file.
Manager: I'm sorry, member files are confidential.
Catherine: Well, this member is deceased. Not even the doctor-patient privilege extends postmortem.
(ELAINE picks up the file and hands it to SARA. Again, they eye each other warily. SARA takes the file and looks through it.)
Sara: Mrs. Lambert had colon cancer.
Manager: If you read further, you'll see that it was in remission.
Sara: No, actually, her most recent cat scan shows recurrence two months ago. That's about the same time she started calling your office two times a day. Why would she be calling you?
(The Manager doesn't answer. CATHERINE looks over at ELAINE ALCOTT who doesn't meet her eyes.)
Catherine: (disgusted) You know what? Four people are d*ad. Don't waste our time. We can take this downtown.
Elaine Alcott: Mrs. Lambert's oncologist recommended immediate and aggressive treatment.
Sara: Did treatment commence?
Elaine Alcott: The recommendation was pending.
Catherine: Well, what exactly does that mean?
Manager: Not yet approved, not yet denied.
(Quick flashback to: DIANE LAMBERT determined behind the steering wheel of her car. The car is accelerating. End of flashback. Resume to present.)
Catherine: In other words, Mrs. Lambert's health was in limbo. She wasn't receiving treatment, but she couldn't file an appeal, since you hadn't officially denied her claim.
Manager: The authorization process takes ... it takes time.
(Quick flashback to: DIANE LAMBERT anguished behind the steering wheel of her car. The car is accelerating. End of flashback. Resume to present.)
Catherine: Time Mrs. Lambert didn't have.
Manager: We have a procedure, and we follow it.
(Quick flashback to: DIANE LAMBERT gripping the steering wheel. Cut to: DIANE LAMBERT crying as the car accelerates. End of flashback. Resume to present.)
Catherine: .... and while you were following your "procedure", and postponing a decision, her cancer cells were multiplying.
Sara: What were you, playing the odds? Were you hoping she would die before you had to spend a dime?
Manager: We're not liable here. We're not responsible for Mrs. Lambert's actions.
(CATHERINE looks down and shakes her head.)
(Quick flashback to: DIANE LAMBERT in her car driving it through the glass windows of the Checkerbox Bar and Grille.)
(Cut to: The car crashes through the window and into the patrons inside. End of flashback. Resume to present.)
Catherine: For what it's worth, that makes me sick.
(Camera holds on the Manager looking at CATHERINE.)
CUT TO:
[INT. CSI -- HALLWAY -- DAY]
(SARA exits the lab and walks through the hallway. She takes off her latex gloves and goes looking for CATHERINE. CATHERINE walks out of the locker room with her bag over her shoulder.)
Sara: Catherine.
Catherine: Yeah.
Sara: We missed something.
CUT TO:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(SARA and CATHERINE interviews COREY LAMBERT.)
Sara: Corey, when I was reviewing your grandmother's insurance policy, I noticed she that didn't specify an e-mail address, and that got me thinking. Some people her age aren't technologically savvy. Maybe a GPS device would be intimidating to her. I wondered if she actually even knew how to use it. So I printed the unit and I found your fingerprints on it.
Corey Lambert: I installed it.
Sara: The prints just weren't on the base of the unit, they were on the face. You punched in addresses.
(COREY LAMBERT shakes his head. He's confused by the line of thought. CATHERINE explains.)
Catherine: If you were aware of your grandmother's intentions and programmed the GPS, you're guilty of aiding and abetting in the m*rder of three people.
(COREY shakes his head as this sinks in.)
Corey Lambert: Oh, god. Uh ... last week, she came by my place 'cause she said she didn't know how to work the GPS.
(Quick flashback to: COREY LAMBERT showing his grandmother how to work the unit. He punches in an address as an example.)
Corey Lambert: Okay, grandma, look, it's really easy. I'll explain it to you again. You just type in the address of where you want to go.
(End of flashback. Resume to present.)
Corey Lambert: Look, I swear, if I had known what she was planning, I would've stopped her.
Catherine: Uh ... well ... Corey, homicide has informed us that your grandmother had a life insurance policy, in which you're the sole beneficiary.
Corey Lambert: (shakes his head) I had no idea.
Sara: She never mentioned it to you?
Corey Lambert: (immediately) No! (Thinks about it for a moment.) No, no, wait.
(Quick flashback to: DIANE LAMBERT sitting in her car and pleading to her grandson.)
Diane Lambert: Promise me.
Corey Lambert: Okay, fine. When I can afford it, I'll go back to college.
Diane Lambert: You should have a degree.
Corey Lambert: Grandma, I promise.
Diane Lambert: I love you. You're such a good boy.
Corey Lambert: I love you, too.
(End of flashback. Resume to present.)
Sara: Your grandmother's death has been ruled a su1c1de, which nullifies the policy. There's not going to be any money.
Corey Lambert: No ... look, I don't think you understand. I loved my grandmother, and she's d*ad. She k*lled herself, and she k*lled these three other people. (crying) What are you telling me? She k*lled these people for me? And I'm supposed to live with this?
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(CATHERINE and SARA exit the room. HANK is waiting for SARA in the hallway.)
Catherine: (to SARA) I'll meet you at the car.
(CATHERINE walks out the hallway. HANK turns to talk with SARA.)
Hank Peddigrew: I called the lab. They said you were here. (swallows) I heard you met Elaine.
Sara: Yeah, she's really something. (pause) I didn't tell her about us, if that's what you're wondering.
Hank Peddigrew: I'm really sorry, Sara.
Sara: (nods) Yeah, me, too.
Hank Peddigrew: I don't know what else to say.
Sara: I'll see you around.
CUT TO:
[EXT. POLICE DEPARTMENT - DAY -- CONTINUOUS]
(SARA walks out of the police department.)
Lyric:
["Wild Horses", The Sundays]
Childhood living / is easy to do / the things that you wanted / I bought them for you ...
(She walks to the car, opens the door and gets inside. CATHERINE watches SARA.)
Lyric: ... graceless lady ...
Catherine: (quietly) You got plans?
Sara: Nope.
Lyric: ... You know who I am...
Catherine: You want to get a beer?
(SARA turns to look at CATHERINE. CATHERINE smiles. She's been there. SARA turns and looks straight ahead. She smiles a bit.)
Sara: Drive.
(CATHERINE starts the engine and they leave.)
Lyric: ... And wild horses couldn't drag me away...
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x17 - Crash and Burn"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY - TROPICANA/MGM (STOCK) - DAY]
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. -- DAY]
(Camera close up of an old rusty toy truck, a turned over shopping cart and an abandoned toilet.)
(Two racers on their quad-bikes ride in and out of the area, each pacing with the other.)
(BILLIE, the rider in BLUE, on the red bike hits a large metal canister and falls to the ground. The rider in RED on the blue bike stops to render aid.)
Rider In Red: Billie!
(The RIDER gets off her bike. BILLIE takes off her helmet and looks at the canister.)
Rider In Red: My God, Billie, are you okay? What did you h*t?
(They both look at the canister #3077 with a large yellow sticker on it labeled
"HAZARDOUS WASTE / HANDLE WITH CARE". Camera cuts to a white sticker labeled: POISON.)
CUT TO:
[EXT. - (RAINY) NIGHT]
(BRASS shows GRISSOM and CATHERINE the body in the canister.)
Brass: So, according to the girl, one minute she's blasting through the mud and having fun, everything's great, the next thing she knows, she's lying upside down in the dirt, staring at chemical waste. She called Hazmat. Now, it's not toxic. They saw the barrel was buckling, they thought it might explode, so they opened it.
(They approach the barrel and immediately smell the body.)
Catherine: Ugh!
Grissom: Yeah, whoa-ho.
Catherine: Soap mummy.
Grissom: Adipocere, a.k.a. Mortuary wax. This is what you get when fatty tissue decomposes in an alkaline environment with limited oxygen.
Catherine: All you need is a little moisture and enough time.
(Quick CGI POV of: Camera close up of the body in the can slowly decomposing and turning into soap.)
Catherine: (V.O.) Anaerobic bacteria digest body fats, converting them into a waxy solid.
(End of Quick CGI POV. Resume to present.)
Catherine: Kind of like the way they make vegetable shortening.
Brass: I'll never eat another french fry. How long you think he's been in there?
Grissom: How do you know it's a he?
Catherine: Five, six weeks, minimum.
Brass: With all this wind and weather, any evidence of the dump is long gone.
Grissom: (nods toward the barrel) We got evidence. (b*at) Signed, sealed and delivered.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(The contents of the barrel are turned over onto the table. ROBBINS is explaining the process to two other assistant coroners, one of whom looks like he's getting sick from the smell.)
Robbins: Gentlemen, saponification occurs most frequently in infant burials. That's because their bodies have more fat, and their bacterial flora aren't fully developed. (as the barrel tilts) ... Slowly ...
(The liquid from the barrel spills out onto the table along with the first body part.)
Robbins: Hold it.
(The barrel stops. ROBBINS picks up a ring from the table and looks at it.)
Robbins: Hmm. Look at this. Something for Catherine.
(ROBBINS puts the ring aside.)
Robbins: All right. Let's pull the rest of this out. Historically, saponified corpses that maintain their physical features were looked upon as, uh, incorruptible, even saintly.
(The assistant coroner in the room continues to look sick. Camera close up of the liquid soup coming out of the barrel.)
Robbins: So, when it happened to children, it just reinforced that notion. Hand me that foot there, would you? Okay.
(The assistant coroner finally lifts up his head gear, gags and exits the room. ROBBINS continues to pull out body parts and place them on the table.)
Robbins: You know, interestingly enough, since formaldehyde is alkaline and American caskets are sealed, there are more bodies in this country turning to soap now than at any other time in human history. We are, in fact, the adipocere capital of the world. USA -- we're number one.
(ROBBINS lifts up the hand with it's index finger extended.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - HALLWAY/LAB -- NIGHT]
(GRISSOM and WARRICK make their way through the hallway to the lab.)
Warrick: Are you serious? David lost a body?
Grissom: It happens. When I was working in Minneapolis, we had two John Smiths come in on the same day. Sent the wrong one back to Canada. Anyway, our body's still in the morgue. David finally processed his ten card. Guy's name is Keith Mercer.
Warrick: When did he come in?
(WARRICK spreads out the photos on the table. GRISSOM grabs a pair of gloves and puts them on.)
Grissom: Eleven days ago. Found him in an alley off of Fremont in a pile of garbage next to the dumpster.
Warrick: Eleven days ago? I guess we've got no more crime scene to process.
Grissom: Initially, the police thought he was homeless. He hadn't bathed, no wallet, watch or keys, and he has scars on his lower legs.
(WARRICK picks up a photo of the body's head.)
Warrick: And a nice laceration with ecchymosis on his left temple.
(GRISSOM picks up the evidence from the bag. First, the victim's shirt.)
Grissom: Yeah, cause of death was blunt force trauma to the head.
Warrick: Could have been an accident.
(GRISSOM puts the victim's shoe down.)
Grissom: Could have been a lot of things.
(He reaches into the bag and takes out the victim's belt.)
Grissom: Evidence without context is ambiguous at best.
(He notices something yellow on the belt near the buckle.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS goes over the findings with CATHERINE.)
Robbins: Did you ever chop wood, split a log?
Catherine: I've seen it done.
Robbins: You should try it sometime. I find it relaxing.
Catherine: (smiles) Mmm.
Robbins: The blow here was delivered similar fashion. The temporal bone was h*t, driven down hard. Upper palate smashed. Most of the teeth gone.
Catherine: What about the foot? It looks as though that's been sheared off.
(Camera close up of leg bone cut clean through.)
Robbins: Yeah, by something fast and powerful.
Catherine: Industrial accident?
Robbins: No, industrial accidents are messy. These cuts are too clean. My guess -- single impact.
Catherine: How about an axe then?
(Quick CGI POV of: Camera close up of an axe hitting into a leg. End of CGI POV. Resume to present.)
Robbins: Possible. I'll cast the tool marks.
Catherine: Body in a drum in the middle of the mountains. Well, if the head and hands were missing, I'd be saying mob h*t.
Robbins: Could be ritual mutilation or fetish m*rder.
Catherine: So, I.D. from dental records is out. How about DNA? Bone marrow may still be viable.
Robbins: My thoughts exactly.
(ROBBINS grabs the bone saw from the side.)
Robbins: The preferred sample is a large bone with a portion of joint, and we freeze, grind and sequence. Want a breast or thigh?
Catherine: It's your kitchen.
(The saw whirrs when he turns it on.)
CUT TO:
[INT. CSI - LOUNGE -- NIGHT]
(NICK and SARA get a cup of something to drink.)
Nick: Hey, Sara, I don't want to cross any lines here, but, uh, I've got this buddy who's not going out with anybody ...
Sara: No. No, no, forget it.
(CATHERINE appears in the doorway and calls out to them.)
Catherine: Hey, Grissom bailed. You guys are with me.
Nick: Good.
(They take their cups and head out of the lounge. NICK continues to try to get SARA to agree with him.)
Nick: He's a cool guy.
Sara: No.
Nick: I mean, you don't ...
Sara: No, Nick ...
Nick: Listen, just hear me out for a second.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Camera close up of the ring. SARA looks at the ring and does an internet search on it for "FRATERNITY CHAPTER". She pages down through the different kinds of fraternity rings looking for a match.)
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(Wearing a mask and sitting on a chair, NICK tackles the barrel the body was discovered in. He swabs the inside. He notices the barrel plate.)
(NICK cuts the barrel plate off of the barrel. He polishes the plate off. He takes a MAGNAFLUX (c) Magnetic Particle Test Equipment out from its box and sets it up.)
(He pours some black powder on the plate completely covering the plate. When the machine is turned on, the black powder embeds itself into the etching revealing the following: 4LRW8464.)
Nick: (pleased at the results) Gone but not forgotten.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(SARA knocks lightly on the doorframe as she walks into the lab. CATHERINE is inside at the table.)
Sara: DNA h*t on the soap mummy?
Catherine: Yeah. His name was Christian Cutler.
(CATHERINE looks down at the information sheet in front of her with the following information:
[...182672K DATE:01-05-98 TIME: 11:22:13
EMPLOYMENT, LICENSING OR CERTIFICATION ...
HOM V CUTLER, CHRISTIAN
****NO CRIMINAL RECORD ****
/CAUCASIAN HAIR/BRO POB/CA
...EANT, HON DISCHARGE FEB 02-00
LAS VEGAS NV 89123
--ATION: E-5 ***** ]
Sara: You got to love CODIS. What's his felony?
Catherine: He wasn't in CODIS. Department of defense registry. He was in the army. An E-5 sergeant, honorably discharged three years ago. The guy drove t*nk.
Sara: Well, that fits. You know that fraternity ring? It's not a fraternity ring. Omega-Zeta-Alpha is a mechanical engineering honor society.
Catherine: Hard-core mechie.
Nick: Hey, hey -- want to know where his drum came from?
CUT TO:
[EXT. WAREHOUSE -- NIGHT]
(NICK, CATHERINE and BRASS make their way to the warehouse.)
Nick: The chemical company serializes all their shipping containers. That way, if hazardous waste ends up where it shouldn't be, they know where it came from.
Catherine: This place seems lively for a warehouse.
Nick: A good place for a rave, though.
Catherine: Hello.
Security Guard: The cover's 25 bucks each.
(BRASS points to his badge.)
Brass: I got a coupon.
CUT TO:
[INT. WAREHOUSE -- NIGHT]
(Inside the warehouse, loud techno music plays. There is a huge rink in the middle surrounded by protective glass. Inside the rink are a number of robot machines.)
Nick: Robot rumble. Demolition derby by remote control. They got a show on cable tv.
Ginger: (over p.a.) And here comes Spiker Chick. The death blade goes up, and the death blade comes down. Oh! Jabba the Bot is made of titanium, but how much can he take?
(NICK cranes his neck to watch the action inside the rink. Off to the side, the robot creators with their remote controls drive the machines inside the rink.)
Ginger: (over p.a.) Oh, we got a jam-up, but with this much horsepower, it won't last long. Slaughter's driving yellow belly into the wall, trying to shake him off. Oh! It's mayhem in the middle. ... On his back, taking a pounding. And here comes Spiker Chick with the death blade. Oh, no! We got a Spiker Chick sandwich! Spiker chick is going for Jabba. Oh, again and again! Oh, and in a dazzling array of skill and deception ...
Catherine: Metal w*apon, money, competition, testosterone.
Brass: We got a roomful of m*rder suspects.
Ginger: (over p.a.) And the winner is ... Jabba the Bot! Whoo! Whoo-whoo!
(The audience cheers wildly.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. WAREHOUSE -- NIGHT]
(Camera follows a small remote-controlled two-wheel robot with blade across the floor. CATHERINE and BRASS question GINGER, the owner of the warehouse.)
Ginger: Bots fight all over the country, on tv, all over the world. This is an informal venue where competitors can come to hone their skills and their machines.
Brass: You have a gaming license?
Ginger: I don't need one. See, I just put on a show. If people bet, that's their business.
Brass: You're the only house in Vegas that doesn't take a cut.
Ginger: Hey, my daddy ran an independent shipping company he ran it right into the ground. He died broke, but he left me a bunch of empty warehouses. I needed revenue, so I developed a new market. (to JIMBO) Hey, Jimbo, you looked ferocious out there.
(JIMBO looks up from tending to his robot.)
Jimbo: Thanks, Ginger. We lost.
Ginger: (smiles) Yeah, but I like a guy who goes down with style.
Catherine: Look available, be unobtainable.
Ginger: Keeps them coming back for more. Want to tell me what this is all about?
(BRASS holds out a photograph. GINGER looks at it and recognizes the person.)
Ginger: That's Chris Cutler.
Brass: He's d*ad.
Catherine: He found his body stuffed in a chemical waste drum from this warehouse.
Brass: When was the last time you saw Christian?
Ginger: (thinks) God, about six weeks ago. Robot rumble, big free-for-all.
(Quick flashback to: CHRIS CUTLER yelling with pleasure as he controls his bot and demolishes the other bots such as "Hammer of God" and "k*ll".)
Ginger: (V.O.) Smash-'N-Burn was on f*re that night. Dismantled three or four bots.
(End of flashback. Resume to present.)
Ginger: He had the kind of fight that most of these boys dream about.
(Quick flashback to: CHRIS CUTLER yelling and taking pleasure as he controls his bot. The other bots' owners don't look as thrilled as CHRIS CUTLER.)
Ginger: (V.O.) Using the thing that he built to destroy the thing that the other guy built.
(End of flashback. Resume to present.)
Ginger: It's a basic male drive.
Catherine: (to BRASS) That kind of puts that whole w*apon of mass destruction thing into perspective. (to GINGER) I take it this Chris was not well liked.
Ginger: Let me put it to you this way, nobody likes a winner who needs to shove it in your face.
Brass: We're going to need you to identify the guys fought with that night.
Nick: As well as their bots. We can't have a m*rder without a m*rder w*apon.
Brass: I'll take them all.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI -- DAY]
(GRISSOM and VEGA interview MRS. MERCER, KEITH MERCER'S wife. They show her the photograph of the body.)
Mrs. Mercer: Keith went to Yosemite to climb El Capitan. The shield headwall.
Vega: Did you go with him?
Mrs. Mercer: I drove to Taos to see my sister.
Vega: And got back when?
Mrs. Mercer: Ten days ago. Keith's gear was in the living room, but he wasn't there.
Vega: What did you do then?
Mrs. Mercer: I called his cell phone. I called his office. And then I called the park service and all they said was that Keith had been by to pick up his permit. So then I checked the hospitals up there and nothing. Then I called the hospitals in Vegas. And then I called the police. I did everything I could do and nobody would pay attention.
Grissom: Mrs. Mercer ... you have my attention. And I'd like to see your house.
CUT TO:
[INT. MERCER RESIDENCE -- DAY]
(WARRICK pulls out the climbing rope from the bag on the living room floor.)
Warrick: Looks like his gear's all here. I don't see a sleeping bag, though.
(GRISSOM studies the wood floor.)
Grissom: It looks like someone was trying to clean up, too, but forgot to use their Murphy's oil soap.
(GRISSOM stands up.)
Grissom: Luminol.
(WARRICK reaches in to his kit and takes out the spray bottle of luminol. GRISSOM closes the window blinds. The floor glows.)
Warrick: You called it. Positive for blood.
(GRISSOM looks around at the framed photographs on the fireplace mantle and on the wall of the MERCER'S.)
(WARRICK continues to spray luminol on the floor in the surrounding area and finds a shoe print.)
(Quick flashback to: Someone walks through the blood and leaves behind shoeprints of blood. End of flashback. Resume to present.)
Warrick: Got a trail of bloody footprints.
Grissom: I may have blood here, too.
(GRISSOM looks at the bookshelf and finds a bloodied finger print on the edge of a wooden box. He picks up the box and opens it. It's empty.)
(WARRICK continues to spray the floor leaving behind evidence markers where he finds day-glo shoeprints. The prints lead up to the fireplace. WARRICK sprays around the fireplace and finds blood on the base of a heavy figurine.)
(Quick flashback to: Someone hits MR. MERCER over the head with the figuring. End of flashback. Resume to present.)
Warrick: Grissom. I think I might have just found our m*rder w*apon.
(WARRICK picks up the figuring and holds it up for GRISSOM.)
CUT TO:
[INT. CSI - LAB]
(Camera close up of the various bots taken from the warehouse.)
Sara: Spiker Chick, Donsueme, Slaughter 10? You really think one of these things k*lled your vic?
Nick: They're fast, they're powerful, and the w*apon characteristics fit, so I can't rule them out.
Sara: Well, you know what they say -- it's what's on the inside that counts.
(NICK tests the drill he's carrying, then hands it to SARA.)
Nick: Well put.
(SARA takes the drill and starts unscrewing the first bot in front of her.)
(NICK starts taking apart the bot in front of him.)
(Dissolve to: SARA takes a swab from the open machine in front of her.)
(NICK takes a swab from the machine in front of him.)
(Various cuts to both NICK and SARA taking swabs from the insides of the machines.)
(SARA tests the swab. It turns pink.)
Sara: I got blood.
Nick: Yeah, join the club.
Sara: I'll take these to Greg.
Nick: I'll get going on the tool marks.
CUT TO:
[INT. CSI -- LAB]
(The bots are placed in their own little booth separated by plastic sheet dividers. From the next room, NICK controls the bot and tests its cutting edge against a hanging chicken leg.)
(The first bot, Donsume, cuts the chicken leg.)
(Dissolve to: NICK takes a mold of the chicken leg bone cut.)
(Dissolve to: NICK places the new mold under the scope next to the mold taken of the severed leg bone from the body found in the barrel.)
(Scope view in focus.)
(GREG walks into the lab. He's carrying a piece of paper.)
Greg: Any luck?
Nick: No. Tool marks don't match the vic's wounds.
Greg: Mm. Could have saved you the time. DNA beats tool marks every time, you know. I ran your blood samples. Got a match, all three of them.
(GREG hands NICK the results. NICK looks at it.)
Nick: Victim's blood, three different parts from three different bots? That doesn't make any sense.
Greg: Well, where did the parts come from?
(NICK looks at GREG.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. KELSO RESIDENCE -- DAY]
(BRASS and NICK interview CHRIS CUTLER'S partner, BRIAN KELSO. BRASS plays with the little two-wheeler bot with the big blade. NICK sits across KELSO listening to him talk.)
Brian Kelso: I buy and sell and trade parts all the time. From all over the place. Salvage yards, swap meets, e-bay.
Nick: They usually have blood on them?
Brian Kelso: I don't check. Doesn't matter if they're clean or dirty, only that they work. Look, me and Chris are partners. I built the bot, he drove it. We kicked ass, made good cash. Why would I want him d*ad?
(BRASS looks at the photographs of "ROBOT RUMBLE 2003". The caption on the left reads: "SMASH AND BURN / FIRST PLACE". The caption on the right reads:
"CHRISTIAN CUTLER / BRIAN KELSO". The two men sit with their bot in between them.)
Brass: You know, Brian, I mean ... your best buddy drops off the face of the earth for six weeks ...
(NICK glances over at the photograph.)
(Quick flashback to: Smash 'n Burn in the rink ripping apart some poor bot. End of flashback. Resume to present.)
(BRASS puts the photos down.)
Brass: .... You get a call or e-mail but you care so much about him that you do absolutely nothing to find out what happened. You can understand why we're he, so straighten us out.
Brian Kelso: There was nothing weird Chris be he did stage effects for pyrotechnica. Have some pretty good tunes, you know. Worth listening to.
(b*at) Or not.
(BRASS hands the photos to NICK.)
Brian Kelso: Anyway ... when Chris is on the road he's a vapor trail. He's not a phone call kind of guy.
Nick: That's a nice ATV. You ever take it to the mountains?
Brian Kelso: Yeah, sometimes. I, uh, I dabble in ambient music.
(MRS. KELSO walks into the room with her daughter. NICK watches as she makes her way with the fussy baby to BRIAN KELSO.)
Mrs. Kelso: She wants her daddy.
Brian Kelso: There's some pretty good samples out in the mountains, especially at night.
(She hands the baby to BRIAN KELSO. He starts bouncing her on his knee. She immediately stops fussing.)
Brass: You know, you got a lot of hobbies, Brian.
(The baby starts to cry.)
Brian Kelso: Oh, you don't have hobbies you go nuts. Human beings are designed to make things. It's hard-wired into our brains. We make things, we build things to make more things.
(BRIAN reaches for the milk bottle and starts feeding his daughter. She stops crying.)
Brian Kelso: It's what sets us apart from the other animals. Except monkeys. Primates in general, I guess.
Nick: Brian, Brian.
Brian Kelso: Yeah?
Nick: Hobbies take up space. You don't seem to have a whole lot of that here. Do you have a workshop?
Brian Kelso: Uh, I rent a space.
CUT TO:
[INT. WAREHOUSE -- DAY]
(Inside the warehouse, it's busy. Machines whirs. The doors open and OFFICERS walk inside, evacuating the guys inside the building.)
Officer: All right, guys, we got to clear the room. OFFICER: Come on. Let's go, boys. OFFICER: Excuse me, bud. You wanna set that down.
Jimbo: Yeah.
Officer: We need you guys here to clear outside.
Luke: Oh, okay. Slow day oppressing the weak? Don't scuff your jackboots.
Officer: Let's go. Let's go.
(As LUKE and the OFFICER walk out of the warehouse, NICK and CATHERINE walk in. CATHERINE turns on her flashlight. More people leave the warehouse.)
Officer: All right. We're all clear.
Catherine: Is this a machine shop or a junkyard?
(CATHERINE looks at the individual work stations and finds pictures of robots pinned to the shelves.)
Catherine: I guess this is what passes for pinups with these guys.
(CATHERINE and NICK continue to look around.)
Nick: This is Brian's bot right here. Smash-n-Burn. And it's got a spinning w*apon. I'll take it in for tool marks.
(NICK looks inside the open machine and sees that it's bare.)
Nick: And it's missing parts.
(CATHERINE looks at another work station with matching photographs pinned to the shelves.)
Catherine: So this must be Hammer of God. Or at least what's left of it.
(Quick flashback to: Inside the rink, HAMMER OF GOD is demolished into pieces.)
Ginger: (over p.a.) HAMMER OF GOD is against the ropes.
(End of flashback. Resume to present.)
(NICK finds something on the floor.)
Nick: Rust stain.
(NICK takes out his tape measure and measures it.)
Nick: Twenty-three inches. (CATHERINE turns around.) That's standard diameter for a 55-gallon drum.
(CATHERINE continues to look around. NICK kneels down on the ground and starts looking for evidence.)
(CATHERINE finds a broken press-on nail on the ground.)
Nick: Catherine, I've got spatter.
(Quick flashback to: The sounds of a saw whirring and a man screaming as blood spatters into the webbing of the grate. End of flashback. Resume to present.)
Nick: I think we've got our m*rder scene.
(CATHERINE looks at the nail and recognizes it.)
Catherine: I think we just got Ginger.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - WAITING ROOM -- NIGHT]
(CATHERINE talks with GINGER.)
Catherine: We traced the machine shop back through a holding corporation.
Ginger: To me. I own it. It's a rental property. It's a good one. It's popular with the bot boys. I would have told you if you'd bothered to ask.
Catherine: Well, we found this in Brian's station -- your fingernail.
(CATHERINE shows GINGER the nail in an evidence baggie #011-35736-77.)
Ginger: They break.
Catherine: Yeah, they also scratch. There were skin scrapings under the nail. We tested the epithelials. They're Christian Cutler's. Your shop, your fingernail, your waste drum with the d*ad guy in it.
Ginger: I stop by every now and then to make sure my clients are happy. Chris was there alone one night working. He kind of got the wrong idea.
(Quick flashback to: Smash-n-Burn is on and CHRIS CUTLER teases GINGER with the bot. GINGER doesn't find it remotely funny.)
Christian Cutler: Come on. He just wants to play.
Ginger: No, Chris, stop doing it. It's not funny.
Christian Cutler: Way you keep shoving those ta-tas in my face isn't funny, either.
(GINGER reaches out a hand and scratches CHRIS on the face. CHRIS yells. In her struggles, the fingernail comes loose and falls to the floor.)
Ginger: Stop it! Knock it off!
(End of flashback. Resume to present.)
Catherine: And you didn't think this was worth mentioning?
Ginger: Hey, you guys asked me when I saw him last. This happened the day before the big free-for-all.
Catherine: So, that's the price of doing business?
Ginger: Yeah, you could call it that.
Catherine: Here's the way I'd call it ...
(Quick flashback to: GINGER grabs the remote from CHRIS CUTLER.)
Ginger: Give me that, you son of a bitch.
(She turns the machine on and att*cks CHRIS with it. CHRIS screams. End of flashback. Resume to present.)
Ginger: Listen, I let the geeks fantasize about me. And most of them are harmless, happy to stare and then go home and spank the monkey like good little college boys. But Chris was a dumb, vicious, army grunt. And maybe I wasn't as careful around him as I should have been, but that doesn't mean that I k*lled him.
(CATHERINE stares at GINGER with surprise.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK takes out the figurine from the evidence bag and lays it down flat on the grill, face up. He takes a bottle of "AMIDO BLACK" and sprays it on the figurine. He then takes a bottle of water and washes the figurine with it.)
(He looks at the figurine under the light and sees something.)
(Quick flashback to: Someone handling the figurine. End of flashback. Resume to present.)
(WARRICK picks up the figurine and takes it to another machine where he lays it flat on the bed. He takes a photograph of the figurine.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(WARRICK and GRISSOM question MRS. MERCER again.)
Warrick: Mrs. Mercer, we found this statue on your mantle. It had your fingerprints on it.
Mrs. Mercer: It was a wedding gift.
Warrick: Well, we also found your husband's blood on the base of it.
Grissom: Did you touch or move this statue at any time in the last ten days?
Mrs. Mercer: Keith hated that thing. He was always trying to toss it.
(Quick flashback to: MRS. MERCER walks in and picks up the figurine from the floor. She puts it on the mantle.)
Mrs. Mercer: (V.O.) When I came home, I found it on the floor.
(End of flashback. Resume to present.)
Mrs. Mercer: I thought he'd put it there. I found it in the hall closet, in the garage. I even found it in the car once. It was like a game for us. (She looks at them.) Look, I came to you. You guys have been giving me the runaround for over a week.
Grissom: Could you tell us what you kept in this box?
(GRISSOM shows MRS. MERCER a photograph of the empty box taken from different angles.)
Mrs. Mercer: We inherited a coin collection, and we figured ... we'd save it for a rainy day.
CUT TO:
[INT. CSI -- LAB]
(CATHERINE and NICK watch as SARA works on the computer looking for a name to go with the honor society ring.)
(The computer beeps. SARA searches on the Omega-Zeta-Alpha Honor Society Web page. She checks the membership directory under "C" for CHRISTIAN CUTLER'S name.)
Catherine: Cutler-Comma-Christian.
Sara: Ring's not his.
Catherine: Never went to college. That part wasn't in his service record.
Nick: Scroll up. Check the K'S.
(SARA checks the "K" listing.)
Nick: Hmm. Hold it.
(They find "KELSO, BRIAN" listed.)
Sara: Bingo.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(The Ring in a evidence bag is thrown onto the table in front of BRIAN KELSO. BRIAN stares at the ring.)
Nick: The rings belongs to you, Brian.
Brass: You must have dropped it when you stuffing your buddy's corpse into a barrel.
(Quick flashback to: BRIAN stuffs the body into the barrel. His ring falls off into the barrel. End of flashback. Resume to present.)
Brass: Here's the way this is going to play out. This is the best-case scenario. We arrest you for m*rder. The, uh, the jury likes your face, and, uh, you get man one. Then you get to spend the next fifteen years staring at your wife and kid through a wire glass window. Maybe if you're lucky, uh ... when you get out, you can take her to the prom.
(BRIAN KELSO starts to cry.)
Brass: She's going to be so proud of you, daddy.
(Loud wracking sobs consume BRIAN KELSO.)
Brian Kelso: It was an accident.
Nick: You want a tissue or something?
Brian Kelso: No. Hmm? (He takes a deep breath.) We were in the shop.
(Quick flashback to: BRIAN and CHRIS walk into the shop. On the ground is Smash-n-Burn, chopper twirling slowly.)
Brian Kelso: (V.O.) Real late, no one else there. I'd made some changes to Smash-n-Burn's program. We were testing them out.
(End of flashback. Resume to present.)
Brian Kelso: (quietly) Smash was acting ... really flaky. Sluggish, and then ...
(Quick flashback to: BRIAN KELSO has the remote in his hand, surprise and horror written all over his face. The sounds of a saw whirring and a man screaming as blood spatters into the webbing of the grate. End of flashback. Resume to present.)
Brian Kelso: It just went crazy. With all that blood. (He starts crying again.) And ... Chris ... in the middle of it just lying there. I had to make it go away.
Brass: Hey ... hey, Brian if it was an accident, why didn't y report it?
Brian Kelso: It was my fault. I was ... I was so scared.
Nick: You disposed of the body. Cleaned up the scene, dismantled the bot, and sold the parts.
Brian Kelso: All I could think about was my wife, and my little girl. My little girl. I didn't want to lose them. You got to believe me. It was an accident.
(He starts crying again.)
Brian Kelso: (moaning between sobs) I'm so sorry. I'm so sorry.
CUT TO:
[INT. CSI - HALLWAY]
(VEGA and WARRICK walk through the hallway.)
Vega: The bank flagged Keith Mercer's ATM card.
Warrick: Really?
Vega: Somebody tried to use it.
(VEGA laughs.)
Warrick: I guess the machine ate it, huh?
Vega: Yeah, but we got the stomach contents.
(VEGA reaches into his jacket pocket and pulls out a baggie with the credit card inside. He gives it to WARRICK.)
Warrick: Wicked.
CUT TO:
[INT. CSI - PRINT LAB]
(WARRICK sets the credit card inside the plastic container and places the fume hood on top of it. After a while, the print appears.)
(Camera zooms in for a close up of the print.)
(Cut to: WARRICK looks through the database for a print match. GRISSOM watches as they find a match for:
[Match Found: Willy Reddington Case ID: (4845-209-
WILLY REDDINGTON Las Vegas, Nevada
CRIMINAL RECORD:
10-05-02 Public Drunkenness
11-29-02 Public Drunkenness
01-05-03 as*ault & Battery
<<File 02157.5784>> ]
CUT TO:
[INT. CSI - LAB]
(VEGA and GRISSOM interview WILLY REDDINGTON.)
Vega: You're not Keith Mercer, but you have been using his credit cards. Do you care to tell us about that?
Willy Reddington: He lent me his stuff, told me to have a good time.
Vega: When did he tell you this?
Willy Reddington: Yesterday.
Grissom: Yesterday?
Willy Reddington: (nods) Mm-hmm.
Grissom: Mr. Mercer's been in the morgue for ten days. So unless you were at a seance.
Willy Reddington: I found him. Uh ...
Grissom: Did you find that suit there as well?
Willy Reddington: No. I-I bought the suit.
Grissom: With this credit card?
(GRISSOM holds out a plastic bag with the credit card inside. WILLY REDDINGTON looks at it.)
Willy Reddington: No. Um ...
(WILLY reaches into his back pocket and pulls out a wallet. He opens the wallet and takes out a different credit card.)
Willy Reddington: ... I used this one. It's not a platinum. It's a ... it's a gold.
(WILLY REDDINGTON smiles. GRISSOM and VEGA look at each other.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK is in the lab checking WILLY REDDINGTON'S clothes. GRISSOM walks in and takes a seat.)
Warrick: So these are Willy Reddington's original gear. This guy was classy. He goes into a store, buys new clothes, and leaves the old ones behind. And they tossed them in the dumpster.
Grissom: I wish these people would start checking IDs.
Warrick: This is Vegas, baby. Anybody can get lucky.
Grissom: So, blood?
Warrick: Not a drop.
(GRISSOM puts his glasses on.)
Grissom: No blood on his clothing.
(GRISSOM looks at the photograph of the shoe print taken form the house and the bottom of WILLY REDDINGTON'S shoe.)
Grissom: The shoe treads don't match. And the guy's got no car.
Warrick: Yeah, how do you dump a body with no car? What did he do, drag Mercer down the strip?
Grissom: And if you're robbing a house, why don't you take more stuff?
Warrick: Everything was still there. Except the coin collection.
Grissom: I think the k*ller knew what he was going to steal.
CUT TO:
[INT. CSI -- GARAGE]
(NICK and SARA walk into the garage.)
Nick: Smash-n-Burn isn't some cyborg death machine with a mind of its own. Man, you've got to drive them.
Sara: Well, we proved it couldn't have happened the way that Brian said it did. You may have your k*ller.
Nick: Yeah.
CUT TO:
[INT. CSI -- GARAGE]
(SARA and NICK reconstruct the m*rder w*apon Smash-n-Burn. They put the blade together and put the wheels back on to the original machine.)
(SARA finishes drilling in the last piece. She steps back cautiously. NICK puts the remote together and readies it to be tested. SARA joins him.)
Nick: Okay. Here we go.
(He flicks the switch. Nothing happens.)
Nick: It's not responding.
(NICK fiddles with the remote. SARA silently hands NICK the drill.)
CUT TO:
[INT. CSI -- LAB]
(SARA and NICK share their findings with CATHERINE.)
Sara: You've got a transmitter module in the remote and a receiver module in the bot. They work as a pair.
Nick: Yeah, and in every competition, each team is assigned a different numbered frequency. That way, each driver can control their bot without interfering with anybody else's.
Sara: Or vice-versa. This is Smash-n-Burn's receiver.
(SARA hands CATHERINE the evidence baggie with the electronic piece inside.)
Nick: Yeah, and this is Brian's transmitter.
(NICK hands CATHERINE the baggie with the transmitter inside. She compares the two numbers. The receiver is #84; and the transmitter is #89.)
Catherine: They don't match. Okay, so when Christian died, Brian wasn't controlling the bot.
Sara: Somebody was.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI -- HALLWAY]
(CATHERINE and NICK walk through the hallway.)
Nick: Brian claims the bot malfunctioned.
Catherine: Well, we know it didn't. It was responding to a different control frequency.
Nick: I don't think he knew that.
Catherine: If he did, he was protecting somebody.
CUT TO:
[INT. CSI -- HALLWAY]
(GREG catches up with GRISSOM in the hallway.)
Greg: Hey, boss. Um, I wasn't able to pull any DNA off your Vic's personal effects but I did find something else. Uh, those yellow on his belt ... I ran them through the GCMS.
Grissom: You ran it?
Greg: Yeah. They're sulfur.
(GREG hands GRISSOM the test results.)
Greg: Now, Warrick mentioned something about a missing coin collection. Now some dealers, bad ones-- use sulfur to polish up coins for sale.
(GREG and GRISSOM walk into the lounge.)
(Quick flashback to: Someone puts a dirty old coin into a ziploc bag and shakes it. He takes out the coin and it's dusted with sulphur.)
Greg: (V.O.) Shake and bake.
(End of flashback. Resume to present.)
Greg: So I figure that your k*ller is either a coin dealer or a collector. And he transferred the sulfur to the body when disposing of it.
(GRISSOM puts the pot down.)
Grissom: Are you a numismatist, Greg?
Greg: Oh, my grandpa started me off with a 1909 V.D.B. "S" Lincoln penny. Often referred to as a V.D.B. Because it bears the monogram of its engraver, Victor D. Brenner. It's a low mintage.
Grissom: So, let's see, you surf, you scuba dive, you're into latex ... you like fashion models and Marilyn Manson. And you also have a coin collection.
Greg: Weird, huh?
Grissom: (shrugs) Well ... I raise cockroaches.
(GRISSOM walks out of the lounge with his cup. GREG smiles.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Camera close up of GINGER'S long fingernails tapping against the table.)
Catherine: Look available. Be unobtainable. Except when you're trying to b*at a m*rder rap.
Ginger: Excuse me?
Nick: Whatever you did worked. Brian's going down for you.
Ginger: Oh, so, first you accuse me of whacking Christian. Now you're accusing me of doing Brian?
Catherine: Well, you are the queen bee. The drones line up to service you.
Ginger: What the drones do is make bots and break bots. And while they're up wiring and soldering all night long, you know where I am? I'm at home. With this.
(GINGER pulls out a photograph of a man. She shows it to CATHERINE.)
Catherine: Does it have a name or did it come with the wallet?
Ginger: Pretty funny for a scientist.
(GINGER takes the picture from CATHERINE.)
Ginger: Let me make it easy for you. And in case you can't spell, that "E-S-Q" means he and his entire law firm are going to be all over your ass.
(GINGER stands up.)
Ginger: Next time you want to talk to me, talk to him.
(She leaves the room.)
CUT TO:
[INT. CSI -- LAB]
(GRISSOM is in the lab looking through KEITH MERCER'S wallet. He pulls out a wedding picture of KEITH and his WIFE. Through the glass, we see DET. VEGA walking toward the room. He knocks lightly on the door before walking inside.)
Vega: Hey, I was able to pull the cell phone records for our vic.
(GRISSOM pulls out a NEVADA DEPARTMENT OF FORESTRY / HIKING AND TRAIL PERMIT for:
Name: MERCER, KEITH Address: 311 SEPHILL ROAD LAS VEGAS, NV 89108
EMER. PHONE: (702) 555-0287
LNV 9866187 EXPIRES: 2006 ]
Vega: Most of the calls went to the office, two went to the wife. But there are two who are interesting. Jones Collectibles.
(VEGA hands GRISSOM the sheet of cell phone calls from "ALL-WORLD PHONE ... /
L.V.P.D. REQUEST". The highlighted number reads: NV 555-0167 / Jones Collectibles / 1:00 (Minutes) / for .12 (Amount).)
Vega: Guy is a small-time fence. That mean anything to you?
(GRISSOM picks up a small slip of torn notebook paper from KEITH MERCER'S wallet. On it is written: JC (702) 555-0167. He compares it to the phone listing. It's a match.)
Grissom: Does now.
CUT TO:
[INT. JONES COLLECTIBLES -- DAY]
(GREG walks up to JONES COLLECTIBLES and enters the shop.)
Mr. Jones: Anything I can help you with, let me know.
(GREG looks around.)
Greg: I heard that you dealt in coins.
Mr. Jones: Really? From whom?
Greg: Grissom.
(MR. JONES has a confused look on his face. The name doesn't ring a bell for him.)
Greg: He's a friend of mine. We work together. Uh, looking to see what you got. I'd like to make a trade.
(GREG holds out his Lincoln penny. MR. JONES takes it and looks at it.)
Mr. Jones: Why the flip?
Greg: I've been meaning to get it slabbed.
(Sirens blare outside. MR. JONES takes an eye piece and examines the penny. GREG waits patiently.)
Mr. Jones: Not bad. No hairlines. No fly specks. You got yourself a slider.
(He hands the penny back to GREG.)
Greg: I'd like to get myself a 1916 "d" dime. Been all over Vegas, can't find one. You got any?
Mr. Jones: I might have one, but it's pricey.
Greg: Hey, so is mine.
(MR. JONES looks at GREG and considers him for a long moment. He turns away and reaches down into the drawer where he takes out a case. Inside the case are coins. GREG leans in and looks at the coins. He's impressed.)
Greg: 1907 Saint Goddins double eagle gold piece. I've only seen that in books.
Mr. Jones: And that's as close as you get. If you want to deal for the "D" dime, it's yours.
Greg: I'll take it.
CUT TO:
[INT. WAREHOUSE WORKSHOP]
(Camera close up of LUKE and his machine, HAMMER OF GOD. CATHERINE and NICK are back at the warehouse workshop.)
(NICK grabs one of the photographs.)
Nick: The bot was on a different control frequency, which means someone was using a different transmitter.
Catherine: Puppet master. Somebody else was pulling the strings.
Nick: That would explain why the bot was sluggish.
(Quick flashback to: CHRIS showing BRIAN what's wrong with Smash-n-Burn. The machine whirls, but it's not smooth.)
Christian Cutler: See, she sticks, Brian.
Brian Kelso: Maybe there's something jammed.
(BRIAN kneels down and picks up the machine. End of flashback. Resume to present.)
(CATHERINE walks around.)
Catherine: So, what's the range of those controllers anyway?
Nick: It's limited. Definitely not outside this building.
(NICK reaches across the workstation and pulls down another photograph of LUKE and his machine, HAMMER OF GOD.)
Catherine: So, if somebody hijacked Brian's bot they'd have to be nearby, but ... obviously, out of sight.
(CATHERINE looks up at the door at the top of the stairs. It's near and it's dark inside.)
(Quick flashback to: Someone sitting inside the door at the top of the stairs with a remote in his hands. End of flashback. Resume to present.)
Catherine: Well, there's a good place to hide up there. Opportunity.
(NICK pulls down a photograph and shows it to CATHERINE. It's a photograph of LUKE and the busted HAMMER OF GOD.)
Nick: Maybe we've got motive.
Catherine: Ooh, proud papa. The man who built Hammer of God.
Nick: Which leaves us with ... means. (NICK looks around.) Transmitter modules.
(NICK reaches up on the shelf of LUKE'S workstation and takes down a plastic storage container with transmitter modules in it. The slots are labeled.)
Nick: Yeah, check out the 80s. 81, 82, 83 ... 85, 86?
Catherine: And look what's missing: 84.
(NICK chuckles.)
Nick: I bet I know who's got it.
CUT TO:
[INT. JONES COLLECTIBLES -- DAY]
(GREG is back at the Coin Dealers' with GRISSOM, VEGA and some OFFICERS.)
Mr. Jones: (to GRISSOM) Guy came in a couple of weeks ago with this collection looking to sell. I bought it.
Grissom: There must be $50,000 worth of coins in there, isn't there, Greg?
(GRISSOM shows the coin case to GREG. MR. JONES looks at GREG and recognizes him. GREG looks at the coins.)
Greg: At least.
Grissom: You must have a record of the transaction.
Mr. Jones: I know I got it somewhere.
Grissom: Maybe it's in your car.
Vega: Mind if we help you look?
Mr. Jones: No, go ahead. I got nothing to hide.
(MR. JONES tosses VEGA the keys.)
CUT TO:
[EXT. JONES COLLECTIBLES - PARKING LOT - DAY -- CONTINUOUS]
(VEGA opens the back of MR. JONES' car. GRISSOM looks inside. GREG stands behind and looks into the back of the car.)
Greg: Ten-inch subs. 400 watts. Four channels? That's state-of-the-art. Those hot, too? It kind of looks like the de Lorean from back to the future.
(GRISSOM finds some powdery substance. He sniffs it.)
Grissom: Trace amounts of sulfur. You don't artificially tone your coins, do you, Mr. Jones?
Mr. Jones: Hey, my merchandise is authentic.
(GRISSOM finds some blood inside the car.)
Grissom: Well, you may have some authentic blood in your car as well.
(Quick flashback to: MR. JONES opens the back of the car and puts KEITH MERCER'S body inside. It scrapes against the back seat and leaves behind blood evidence. End of flashback. Resume to present.)
Mr. Jones: Yeah, well, I cut my finger the other day.
Grissom: Huh.
Greg: That's Keith Mercer's blood. You know it and when I get back to the lab, I'm going to prove it. (smiles) I think you're busted.
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
(LUKE is escorted through the hallway by a police officer. He glares at BRIAN KELSO as they pass each other. BRIAN is also escorted by an officer.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(CATHERINE shows LUKE a photo that they took from his workshop of the demolished HAMMER OF GOD machine.)
Catherine: So ... what happened?
Luke: I lost.
Nick: You didn't lose. You were destroyed.
(Quick flashback to: LUKE at his remote. CHRIS CUTLER laughing at his remote. And HAMMER OF GOD in pieces inside the rink. Despite already defeating HAMMER OF GOD, CHRIS CULTER continues to have SMASH-N-BURN pulverize the broken bot.)
Chris Cutler: (laughing and taunting) Ooh! You got nothing left, Luke!
(CHRIS CUTLER continues to send his machine into what's left of HAMMER OF GOD. He continues to laugh and taunt LUKE. End of flashback. Resume to present.)
Nick: And you wanted revenge.
Catherine: You couldn't k*ll Christian's bot so you k*lled Christian.
Luke: I heard Brian k*lled him.
Nick: This is the transmitter from Christian's robot.
(NICK holds up the transmitter in a bag.)
Luke: So?
Nick: So ... it's got your DNA on it.
(Quick flashback to: LUKE tampers with the remote. He opens it and temporarily puts the transmitter #89 in between his lips while he fiddles with the remote's insides. He puts the transmitter into the remote. End of flashback. Resume to present.)
Nick: Brian wasn't in control of the bot. You were.
(Quick flashback to: LUKE sits in the little room at the top of the stairs. In the darkness, he holds the remote that controls the bot. Outside, CHRIS and BRIAN lean over the machine.)
(LUKE makes the machine move. It cuts right in to CHRIS, knocking him to the floor in pain.)
Brian Kelso: Oh, my god! I can't turn it off!
(BRIAN jumps out of the way while desperately trying to control the bot. LUKE makes the bot turn and head back straight for CHRIS. The machine whirrs as CHRIS screams, sending blood into the grates.)
(End of flashback. Resume to present.)
Catherine: The bot wasn't the only thing you manipulated, Luke.
(Quick flashback to: LUKE appears to walk into the warehouse from the door at the top of the stairs. He acts surprised when he sees BRIAN and CHRIS.)
Brian Kelso: Chris! Chris!
Luke: Oh, my god. What did you do?!
Brian Kelso: It was an accident. The bot just ... oh, my god! Oh, we've got to call the cops!
Luke: If you do that, they're going to think you did this.
Brian Kelso: I didn't do it.
Luke: They're going to put you in prison for life. I'll keep this quiet, but you have to get rid of this body.
(BRIAN and LUKE pick up the body and put it in the barrel.)
(End of flashback. Resume to present.)
Catherine: Brian gave you up.
Nick: No place to hide now.
(LUKE pulls the photograph of the destroyed HAMMER OF GOD toward him.)
Catherine: I know what it must've been like for you. Having created something, only to lose it.
Luke: Let me guess. You have a kid?
Catherine: Yes, I have a daughter.
Luke: And you think that just because you squeeze a baby out from between your legs, you know how I feel? That's biology. Any animal can do that.
Catherine: Uh-huh.
Luke: But I took a thought from my head and I made it real. It was ... perfect.
(Standing behind LUKE, NICK shakes his head at the logic.)
Catherine: I guess the only flaw then was you.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - DNA LAB -- DAY]
(GRISSOM walks into the lab.)
Grissom: How's it look?
Greg: Oh. Blood in the car is the victim's.
(GREG hands GRISSOM the test results, then turns back to whatever he's working on.)
Grissom: Keith Mercer made a bad call.
(Quick flashback to: MR. JONES is on the phone with KEITH MERCER.)
Mr. Jones: (to phone) Yeah, it sounds like a pretty nice collection. How about I come by Saturday and take a look?
Keith Mercer: (from phone) Uh, this weekend's no good. My wife and I are out of town.
(Cut to: KEITH MERCER comes home early and finds MR. JONES in his house near the book shelf.)
Keith Mercer: Hey, what are you doing?
(Caught, MR. JONES picks up the figurine and hits KEITH MERCER on the head with it.)
(End of flashback. Resume to present.)
Greg: Told you that dude was busted.
Grissom: What happened to your enthusiasm, Greg?
(GREG looks up at GRISSOM.)
Greg: Well ... every time I make another DNA match in here, my world gets a little smaller. Out there ... felt large.
Grissom: Out there ... means a pay cut.
Greg: I'm not about the money.
(GRISSOM takes off his glasses.)
Grissom: That's good to know.
(GRISSOM leaves the lab.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x18 - Precious Metal"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Woman: (V.O.) This won't help, don't you see? After me, there'll be others. You'll have to go on k*lling, on and on until they catch you. I won't be the last; ...
CUT TO:
[INT. WONDERLAND THEATRE - NIGHT]
Woman: (on screen) ... there'll be others after me. You can't help yourself because you're mad, mad, mad!
(A cell phone rings.)
Man: (on screen) No one will question you. They'll say it's just another su1c1de.
(The cell phone rings.)
Woman: (on screen) Hello?
(A cell phone rings.)
Woman: (on screen) Hello?!
(The cell phone continues to ring and is irritating the other members of the audience.)
Audience: (irritated) Shh!
Man In Audience: (loud whisper) Turn it off!
(The cell phone rings.)
(The USHER walks into the theatre and starts looking for the person with the cell phone.)
Woman: (on screen) Burgess! Burgess!
(The phone on the screen hangs up.)
Woman: (on screen) Burgess!
(The cell phone in the audience continues to ring.)
Woman: (screams) Burgess!
(The USHER finds the MAN sitting in his seat with the cell phone clutched in his left hand and approaches him from one row behind.)
(From on screen comes the sound of glass shattering.)
Usher: (to the man) Excuse me, sir. I'm going to have to ask you to turn the phone off.
(The USHER gets no response from the MAN.)
Usher: Sir? I'll have to ...
(The USHER taps the MAN on the shoulder and he slumps forward, blood oozing out from his mouth and into his popcorn.)
(The cell phone continues to ring.)
CUT TO:
[INT. WONDERLAND THEATRE -- NIGHT]
(CATHERINE and GRISSOM walk into the theatre.)
Catherine: Whoo! Theaters are like nightclubs; they should always keep the lights off.
(They walk toward the body still sitting in the theatre seat.)
Grissom: This is the last art house left in Vegas. I saw Baraka here, on a double bill with Koyaanisqatsi.
Catherine: Was there anyone else here?
Grissom: Sure.
Catherine: With you?
Grissom: No.
(GRISSOM and CATHERINE walk through the rows and reach the body. GRISSOM is standing one row behind the body and CATHERINE is in the same row as the body. GRISSOM puts his kit down and both lean over to look at the body.)
(Inspired by the venue, BRASS stands on the other side of the body and starts reciting the victim information as if he were a private eye in a 1940's black and white movie; his voice as smooth as silk.)
Brass: Thursday night is noir night. The poor sap was slumped over like a sack of potatoes, oozing blood like a broken bottle of ketchup.
(BRASS puts his pretend cigarette to his lips and takes a puff. If he had a hat on, he'd tilt it. GRISSOM looks at BRASS. CATHERINE looks at BRASS.)
(BRASS looks at them both, takes a deep breath and continues to recite information in his usual manner.)
Brass: His name is Gus Sugarman. Runs a dental practice in Henderson. Cell phone went off three times during the movie. So, the usher finally came over to shut him up.
Catherine: Yeah, somebody b*at him to it.
(GRISSOM looks down at the wound at the back of the victim's neck.)
Grissom: Single puncture wound to the base of the skull.
Catherine: And nobody saw anything?
(Everyone straightens and looks around the theatre.)
Grissom: They were watching the movie. Dark room. Loud music. Four exits. Everybody looking the other way.
Catherine: Professional k*ller?
Grissom: (shrugs) ... or a movie buff.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. WONDERLAND THEATRE -- NIGHT]
(ROBBINS is in the theatre with GRISSOM and CATHERINE. All are standing around the victim seated in the theatre chair. GRISSOM is looking at the wound at the back of the victim's neck and arguing with ROBBINS.)
Robbins: It was "Build My Gallows High", with Robert Mitchum, 1947.
Grissom: (shakes his head) It was "Out of the Past", with Robert Mitchum and Jane Greer.
Robbins: ... and Kirk Douglas. Trust me, the book was "Build My Gallows High".
Catherine: (interrupting) Mr. Siskel, Mr. Ebert, may I have a Cause of Death, please?
(ROBBINS leans over and looks at the wound.)
Robbins: Puncture wound is small. Not a Kn*fe. Seems like it penetrated all the way to the brain stem, and there's some bruising around the mouth.
Grissom: Well, the k*ller could have stood over him, placed his hand over his mouth, s*ab him in the back of the head.
(Quick flashback to: The k*ller puncturing something into the back of the victim's neck. End of flashback. Resume to present.)
Robbins: Didn't Telly Savalas do that in "The Dirty Dozen"?
Grissom: Anthony Quinn did it, too, in "g*n of Navaronne".
Robbins: Right.
Catherine: Well, what movie did you see this in?
(CATHERINE shines the flashlight at the other side of the victim's neck. Both ROBBINS and GRISSOM lean in to look where they see the abrasions and bruising.)
Robbins: Looks like somebody ripped something off his neck.
Grissom: Small patterns; could have been a chain, maybe, huh?
(Quick flashback to: The k*ller grabbing the chain and ripping it from the victim's neck. End of flashback. Resume to present.)
(CATHERINE starts looking on the floor.)
Catherine: Or necklace. Oh!
(She drops her flashlight and it starts rolling toward the front of the theatre.)
Catherine: Butterfingers.
(CATHERINE leaves the body to go get her flashlight.)
(GRISSOM snaps a photograph of the cellphone then takes it out of the victim's grip.)
Robbins: What'd you got?
Grissom: Well, whoever called him didn't leave their number.
(GRISSOM checks the list of calls received from the cell phone.)
(Meanwhile, CATHERINE is a few rows in front of the victim where her flashlight stopped rolling. She looks down and finds the m*rder w*apon, a screwdriver, next to the flashlight on the floor. She picks it up and holds it up to examine.)
Catherine: (calls out) Hey! I wasn't the only one who dropped something tonight.
(BRASS appears at the top of the theatre near the doorway.)
Brass: (calls out) I got a witness.
CUT TO:
[INT. WONDERLAND THEATRE - LOBBY - NIGHT -- CONTINUOUS]
(BRASS and GRISSOM interview the witness.)
Movie Goer: I only noticed 'cause she got up during the best part of the movie, right before the g*n.
Grissom: Is the g*n loud?
Movie Goer: Yeah. I mean it's not THX surround-sound. This was 1950 and mono optical track. (He chuckles, then stops when they don't laugh with him. He explains.) I like how loud this theater keeps it.
Grissom: Perfect moment to do it. Cover up any noise the victim might make.
Brass: You get a look at her?
Movie Goer: I drove forty minutes to see this flick; my eyes were on the screen, but, uh, she was tall, not old ... a redhead.
Grissom: Did she come back in?
Movie Goer: No. And, uh ...
(He looks around at the crowd of people outside the theatre.)
Movie Goer: I-I don't see her here.
Grissom: Did anyone see her coming into the lobby?
Brass: Well, manager had left for the night. The usher who found the body had left before we got here. He had been smoking blunts. He was afraid we were going to bust him for marijuana. I'll be tweaking him when I call him for my statement.
Movie Goer: If you ask me, anybody who leaves their phone on in a movie deserves to get s*ab in the head.
Brass: That's why nobody ask you.
CUT TO:
[EXT. WAREHOUSE -- DAY]
(NICK, WARRICK and SARA get out of their cars and make their way past the gathering police cars. They head toward the warehouse and meet up with DET. O'RILEY.)
Nick: Detective.
O'Riley: Guys ...
Warrick: Who called it in?
(They walk under the crime scene tape toward DET. O'RILEY. The four of them walk toward the warehouse.)
O'Riley: Passing motorist heard g*n. First officer did a drive up. Found the scene. Called in the world. I hope you brought extra supplies.
Sara: Why's that?
O'Riley: You're gonna be here awhile.
(DET. O'RILEY opens the warehouse door. The CSIs look at the scene inside in amazement. In the middle of the empty warehouse is the body lying face down on the floor. The walls are riddled with b*llet holes that are visible with the sunlight streaming in through them.)
Nick: Looks like a w*r zone.
[INT. WAREHOUSE - DAY - CONTINUOUS]
(They walk inside toward the body.)
Warrick: We got an I.D. On the body?
O'Riley: No cash, no I.D., just a driver's permit.
Warrick: Driver's permit.
(WARRICK leans forward and looks at the body.)
Sara: What is he, 16?
O'Riley: Fifteen-and-a-half. Timmy McCallum. Coroner's on his way.
Warrick: (to O'RILEY) Tell them to watch their step. There's casings and blood everywhere.
(WARRICK stands up and turns around to SARA and NICK.)
Warrick: Divide and conquer. Inside or outside?
Sara: Outside perimeter.
(SARA heads outside.)
Nick: I'm Dennis Rodman.
(NICK turns and walks out. WARRICK turns back toward the body.)
Warrick: I'll take everything below the knees.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(Camera close up of the screwdriver found in the theatre. GREG is holding the screwdriver and looking at it with JACQUI FRANCO and CATHERINE.)
Greg: Question is not what we're going to find on the m*rder w*apon; question is what isn't on it. (b*at) The sticky substance?
Catherine: Soda.
Jacqui Franco: Yellow crumbs?
Catherine: Popcorn.
Greg: Carpet fibers.
Catherine: It wasn't the cleanest theater in the world. I just want to match the blood to our victim.
Jacqui Franco: And you want to know if there's a recoverable print.
Catherine: Uh-huh.
(GREG and JACQUI look at each other. CATHERINE smiles at the two lab techs in front of her.)
Greg: You want to race?
Jacqui Franco: What's the bet?
Greg: (thoughtfully) Hmm ...
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(JACQUI carefully takes the substances stuck on the screwdriver off, cleaning it as much as she can. She opens the plastic fume container, then adds a couple of drops to the dish. she puts the dish on the heater and the screwdriver inside the container. She replaces the fume hood on the container and lets the fumes cover the screwdriver. She walks away.)
(Camera close up as the prints appear on the screwdriver.)
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Camera opens on a NEVADA DRIVER'S LICENSE with the following information.)
[...066733 050492
R360021
(GUS SUG)ARMAN
-ALLE MATRIA
(LAS VEG)AS, NV 89233
RESTR: NONE WEIGHT: 185
HAIR: BRN EYES: BRN EXPIRATION DATE: 9/02/05 ]
Archie: Is that our guy?
(ARCHIE looks at GRISSOM who sits next to him looking at the monitor. GRISSOM nods.)
Archie: Phone company unblocked all his private numbers for us.
Grissom: They can do that now?
(ARCHIE looks at GRISSOM and smiles.)
Archie: Yeah. (The monitor shows the list of calls.) On the left side of the screen are the outgoing calls. On the right, the incoming. What time did the movie start?
(GRISSOM looks at the paper.)
Grissom: Ten-forty.
Archie: Last outgoing call your vic made was at 10:38. 555-0110. Twenty-six seconds.
Grissom: That sounds like a no answer.
(ARCHIE highlights the two calls from the list:
.10 4/10 - 11:26 Las Vegas, NV 555-0110
4/10 - 11:27 Las Vegas, NV 555-0110
4/10 - 11:28 Las Vegas, NV 555-0110 )
Archie: Yeah, but 555-0110 was the number that called him three times in a row:
11:26, 11:27 and 11:28. Someone needed to talk to him pretty bad.
Grissom: Yeah, well, he was already d*ad by then.
Archie: Dr. Robbins was that accurate with the T.O.D.?
Grissom: That's when the g*n erupted.
Archie: There was g*n?
Grissom: In the movie. I'll need an address for that number.
(GRISSOM stands up.)
CUT TO:
[INT. WAREHOUSE -- DAY]
(NICK stands in the middle of the warehouse and looks at the b*llet-riddled walls with the sunlight streaming through them.)
(Cut to: NICK starts to mark every b*llet hole with a marker rod.)
(Dissolve to: NICK stands on a ladder and continues to mark the b*llet holes with marker rods. He's about halfway done with the first wall.)
(Dissolve to: NICK stands on the ladder and continues to mark b*llet holes. He's about three-quarters done with the first wall.)
(Dissolve to: NICK stands on the ladder and nearly finishes the first wall.)
(Cut to: WARRICK picks up a beer bottle and pours its contents into a container. It's the first of many beer bottles. He caps the container and marks it. He puts the empty beer bottle into a package.)
[EXT. WAREHOUSE - DAY -- CONTINUOUS]
(SARA takes pictures of the tire treadmarks on the road.)
(Cut to: SARA walks the warehouse perimeter and finds prints on the ground. She takes pictures of those also.)
(Cut to: SARA finds a wooden ladder to the roof of the warehouse leaning against the wall. She looks up where she sees the end of a long bamboo pole sticking out the side of the rooftop.)
[INT. WAREHOUSE - DAY - CONTINUOUS]
(WARRICK has evidence markers on the ground next to each of the b*llet shell casings that he finds. He kneels down and puts marker #40 down. He looks around.)
(WARRICK takes a step over some markers and puts marker #63 down on the ground. Behind him, the coroner's office carries the body.)
(Dissolve to: WARRICK puts down evidence markers #68 & #69 down on the ground. Behind him, the coroner's office wheels out the victim's body on a gurney.)
(Cut to: WARRICK puts down evidence markers #96 and #97 down on the ground. He looks around for more b*llet casings.)
CUT TO:
[INT. WAREHOUSE - DAY -- CONTINUOUS]
(SARA walks into the warehouse carrying a very long bamboo pole. NICK is on the ladder and finishing up the final wall.)
Sara: Hey, guys. What do you make of this piece of bamboo? I found it on the roof.
Nick: Bag it.
Sara: That's funny. Very funny.
(WARRICK sees something in the middle of the warehouse floor. It looks like small pieces of glass. He walks in for a closer look.)
(SARA look up and notices something in the ceiling.)
Sara: Did you get the hole in the roof?
(NICK also looks up at the ceiling.)
Nick: You find anything else up there?
Sara: No.
Warrick: Got some shards of glass. Clear in color. (WARRICK holds up a piece of glass and puts it in a container.) Mixed with small pieces of black plastic.
(WARRICK picks up a piece of black plastic and puts it in a
Warrick: You almost finished with that? What's your count?
Nick: Yeah. 109 rods.
Warrick: 109 b*ll*ts?
Nick: How in the world do trajectories occur 15 to 20 feet off the ground? Horizontally?
Sara: What in the hell went on here?
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. HILDEN RESIDENCE -- DAY]
(The front door opens.)
Grissom: Audrey Hilden?
Audrey Hilden: Yes.
Catherine: We're with the Las Vegas crime lab. Do you know a Gus Sugarman?
Audrey Hilden: Why don't you come inside. Please.
(GRISSOM glances at the driveway behind them. He and CATHERINE enter the residence.)
CUT TO:
[INT. HILDEN RESIDENCE - DAY --CONTINUOUS]
(GRISSOM and CATHERINE interview AUDREY HILDEN in her living room.)
Audrey Hilden: He was my dentist. That's terrible. He'd asked me to go to the movies, and I said yes, but ... it was a late show, and I had to get up early for work.
Catherine: Well, we know that Dr. Sugarman called you at home two minutes before the movie started, and that you didn't pick up.
Audrey Hilden: I was screening. I figured he'd get my message.
Grissom: And why did you call him three times in a row, 40 minutes later?
Audrey Hilden: I felt bad standing him up. I called to apologize. I figured I'd get his voice mail, but when I didn't, I tried again.
Catherine: And you were here alone?
Audrey Hilden: Yes.
Catherine: Can anyone verify that?
Audrey Hilden: (shakes her head) Why?
(The phone rings. AUDREY HILDEN doesn't move to answer it.)
Catherine: Still screening?
(AUDREY HILDEN looks at CATHERINE then moves toward her telephone where she turns the volume down just as the answering machine kicks on.)
(GRISSOM walks around and examines the surroundings. He sees an April calendar for the Wonderland Theatre pinned to her bulletin board.)
(AUDREY HILDEN moves to stand between GRISSOM and the theatre calendar he's interested in.)
Grissom: Do you see a lot of movies at the art house theater?
Audrey Hilden: Sure. I love old movies.
Grissom: I see they recently had a Hitchcock retrospective.
Audrey Hilden: I prefer French new wave. If you'll excuse me now, I have to go to work.
Catherine: We'll be in touch.
(GRISSOM and CATHERINE move to leave.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS pulls the sheet on the body down to show WARRICK the victim's torso and the purple bruises on it. They both lean in to examine them.)
Warrick: Geez, what was this kid, tortured?
Robbins: Couple of fractured ribs. Deep purple contusions of the presternal chest wall. Each one around two inches in diameter. I stopped counting around nine.
Warrick: What do you think could've done this? Baseball bat?
Robbins: It's hard to tell. Whatever it was, it had a great deal of velocity.
Warrick: Yeah.
Robbins: Cause of Death: Single g*n to the chest. No evidence of g*n residue.
Warrick: sh*t from a distance.
Robbins: Yeah.
(WARRICK picks up a rod and inserts it into the b*llet hole to see the angle.)
Warrick: And at a downward angle ... it's, uh ... it's about 25 degrees. He was sh*t from above.
(Quick flashback to: TIMMY McCALLUM is having a beer with his friend. Someone stands at the top of the warehouse and sh**t. It hits TIMMY. End of flashback. Resume to present.
Warrick: Rooftop angle is 45 degrees. This is 25 degrees? It's impossible.
Robbins: If that's the case, he was sh*t by somebody 10 to 15 feet tall.
Warrick: What else you got?
Robbins: Scabbing abrasions on the elbows, the back and kneecaps.
(ROBBINS lifts the sheet to expose the victim's right leg.)
Robbins: Looks to be harmless "boys will be boys" stuff.
Warrick: There's nothing harmless about death.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - PRINT LAB]
(GRISSOM and CATHERINE walk into the lab.)
Catherine: (smiling) Don't tell me -- Greg won the bet.
(JACQUI FRANCO turns around to look at them. On her head, she's wearing GREG'S
"swami" turban.)
Jacqui Franco: The blood on the screwdriver definitely belongs to your victim. It was incredible how fast he got me back the results. I don't know how he does it. (disgusted) Now I got to wear this stupid thing all day.
(Behind her, there's a knock on the glass. JACQUI turns to look. It's GREG. He smiles and waves at her.)
Jacqui Franco: (disgruntled) Oh, look at him, hovering. Making sure I still have it on. (to GRISSOM) Do us all a favor and get him out in the field, will you, he's going stir crazy in here.
Grissom: Jacqui, do you have anything for us?
Jacqui Franco: A palm print.
Catherine: (chuckles) Oh, great. Let's, uh, go back to Audrey's and see if we have a match.
Jacqui Franco: Not quite.
(JACQUI turns the laptop monitor toward them to show them close-up pictures of the prints on the screwdriver.)
Jacqui Franco: Look at the ridges.
Grissom: Too consistent. (The pictures of the prints on the screwdriver change.) Looks like fine grain.
Jacqui Franco: Leather. k*ller wore gloves.
(GRISSOM looks at JACQUI.)
CUT TO:
[INT. CSI - HALLWAY]
(BRASS walks up to GRISSOM and CATHERINE.)
Brass: Okay ... here's what's happening -- three months ago, Audrey Hilden filed a sexual malpractice suit against our Dr. Sugarman. The suit claims that she was molested while she was under anesthesia.
Catherine: And she was going on a date with this guy?
Brass: Yeah. Sugarman counter-sued. He's represented by big-time attorneys, so she backed down.
Grissom: Well, a screwdriver's cheaper than an attorney.
Brass: (chuckles) Yeah. Well, uh, there's more. Remember the usher who likes to smoke the chronic? He claims he saw a redheaded woman make a phone call halfway through the movie, so I'm going to check it out.
(BRASS turns to leave.)
Brass: Want to tag along?
(GRISSOM glances at CATHERINE. They both follow BRASS.)
CUT TO:
[INT. CSI -- LAB]
(SARA prints the bamboo rod round at the warehouse rooftop.)
Warrick: (o.s.) This where the limbo party is?
(SARA looks up toward the door and sees WARRICK standing outside just beyond the crime scene tape SARA stuck across the door.)
Warrick: Can I come in?
(WARRICK ducks under the tape and enters the room.)
Sara: Yeah. Sorry, I don't let everyone in here.
Warrick: Well, I've got your one-to-ones. The tire treads, there's nothing specific here.
Sara: Bummer.
Warrick: But the shoe prints that you took, they look interesting. It looks like five suspects walked in, and four ran out.
(WARRICK shows her the photograph of the shoe prints taken from the ground outside the warehouse. They're marked and color-coded on the photograph.)
Sara: Four guilty people out there somewhere.
Warrick: No doubt. How's it coming with your big bamboo here?
Sara: Well, I have black lung from all the powder, and not a single print, nothing, nada.
Warrick: You test for GSR? The place was riddled with b*ll*ts-- it wouldn't hurt.
Sara: (agrees) Wouldn't hurt.
SHORT TIME CUT TO:
[INT. CSI -- LAB]
(WARRICK and SARA test the bamboo for GSR.)
Sara: Nothing.
Warrick: Maybe this has nothing to do with the case. Maybe it was just a piece of debris left at the scene.
Sara: (rejects that notion immediately) No, no. I-I'm not quitting. No. I am in too deep.
(SARA picks up the bamboo and heads out the door. WARRICK ducks under the tape to stand in the hallway looking out at SARA'S retreating back.)
[INT. CSI - HALLWAY - CONTINUOUS]
Warrick: Where you going?
Sara: (calling out) Trace. Maybe Hodges can find something.
(SARA nearly pokes a TECH in the gut with the bamboo. He dodges her.)
Sara: (warning) Oh, coming through.
Lab Tech: Whoa!
Sara: Careful, people. Easy.
(The LAB TECH heads for WARRICK.)
Lab Tech: Hey, Brown. PD called. Mrs. McCallum's there.
Warrick: The mother. Tell them I'm on my way.
(The LAB TECH leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EARLY EVENING]
[INT. WONDERLAND THEATRE - LOBBY]
(BRASS, GRISSOM and CATHERINE interview the USHER.)
Usher: I was getting myself a soda. You know, we're allowed to do that. A tall redhead came out of the theater, and then she made a phone call from over there.
(He indicates the pay phone on the side of the lobby. They all turn to look at the phone.)
(Quick flashback to: The Tall Redhead walks out of the theatre and heads for the phone. She picks up the receiver. The USHER turns and notices her as he takes a drink of his soda. End of flashback. Resume to present.)
(They all turn back to the USHER.)
Brass: From the pay phone?
(BRASS looks at GRISSOM who doesn't say anything.)
Brass: What? I ... what? I'm on it. I'm on it.
(BRASS leaves.)
Catherine: Did you happen to notice if she was wearing gloves?
Usher: Yeah, she was, actually. I thought it was really weird, 'cause it's, like, seventy in here.
Grissom: Did you notice anything else?
Usher: No. She just threw something in the trash and headed out.
(GRISSOM and CATHERINE head for the trash can near the pay phone. GRISSOM lifts the cover of the can and they both look inside. GRISSOM and CATHERINE turn to look at the USHER who knows that the can is empty.)
Usher: (explains) The cleaning crew's in the theater now. They got a late start 'cause of you guys.
(CATHERINE heads for the theater. GRISSOM replaces the cover back on the can and follows her.)
CUT TO:
[INT. WONDERLAND THEATRE - MAIN THEATRE -- CONTINUOUS]
(CATHERINE enters the theatre. She walks up to the older cleaning woman.)
Catherine: Excuse me.
(The CLEANING WOMAN looks up.)
Catherine: What happened to the garbage that was in the can in the lobby?
Cleaning Woman: Well, it's already been bagged up, but it should be around here somewhere.
(Inside one of the seating rows, the Younger Cleaning Woman cleans off one of the seats. She's wearing a pair of expensive-looking leather gloves. GRISSOM walks into the theatre and immediately notices her.)
Grissom: Excuse me. Where'd you get those gloves?
(The Younger Cleaning Woman looks at the Older Cleaning Woman.)
Cleaning Woman: (answers) If it's garbage, it's hers. They let us keep whatever we find as long as it's been thrown out.
(GRISSOM takes out some money.)
Grissom: I'll tell you what -- I'll buy you a new pair of gloves.
(He holds out three bills to her. The Younger Cleaning Woman looks at the Older Cleaning Woman. She nods her head.)
CUT TO:
[INT. CSI - DNA LAB]
(GREG is working in his lab and singing softly to himself. He appears to be extremely bored. Behind him, we can see NICK heading toward GREG. He manages to hear the last part of GREG'S song.)
Greg: 99 bottles of beer on the wall / 99 bottles of beer / you swab one down / run it through CODIS / 98 bottles of beer on the wall.
Nick: Whatever happened to "take one down, pass it around"? That's the best part.
Greg: You know us lab rats have to do something to get through the day.
Nick: I know, I just dumped a sack of b*ll*ts on Bobby Dawson. So, why don't you sing me a tune I want to hear?
Greg: Well ... how about. Harold Melvin and the Blue Notes. He ain't heavy ... (NICK shakes his head slightly.) ... He's my brother ...
Nick: DNA? From the beer bottles?
Greg: Five different donors -- two of them are related. Donor number one, Tim McCallum, the victim; donor number two, his relative, most likely a brother.
(GREG hands NICK the results.)
Greg: No telling if he's heavy or not.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(WARRICK interviews MRS. McCALLUM and her son, KEVIN McCALLUM.)
Warrick: I'm very sorry for your loss, Mrs. McCallum. (She nods. WARRICK turns to look at KEVIN.) Are you Timmy's brother?
(KEVIN McCALLUM slowly raises his head to look at WARRICK. But before he can say anything, his mother answers.)
Mrs. McCallum: (answers) Yeah.
(KEVIN turns to look at his mom.)
Mrs. McCallum: (to WARRICK) Kevin's the only son I have left.
Warrick: We were able to identify Timmy by the driver's permit that we found at the scene. Had he been driving long?
Mrs. McCallum: A few months. I know that law says you're supposed to have an adult present, but I work graveyard. Kevin usually drives with him.
Warrick: What kind of car does Timmy drive?
Mrs. McCallum: We have a mini-van. It's more safe.
Warrick: (to MRS. McCALLUM) This is an ongoing investigation, so we are going to need to see that vehicle. (MRS. McCALLUM nods. To KEVIN) Do you ever drive the mini-van, Kevin?
Kevin McCallum: Sometimes, yeah.
Warrick: Did you drive Timmy to the warehouse the other night?
Kevin McCallum: No.
Mrs. McCallum: What warehouse?
Warrick: We have reason to believe that Kevin was at the warehouse that night. We found his DNA on some beer bottles.
Mrs. McCallum: (surprised) Beer? (she turns to her son) Kevin ...
Kevin McCallum: Mom ... I bought beer for Timmy. I don't do it all the time. He begged me. He ... he said he was going out partying with some friends.
(Quick flashback to: KEVIN passes the six pack to TIMMY through the car window. He grabs a bottle for himself.)
Kevin McCallum: If mom catches you with these, you didn't get them from me.
Timmy McCallum: Bro, there's one missing.
Kevin McCallum: I got thirsty.
(KEVIN takes a sip and passes the open bottle to TIMMY. TIMMY turns away and KEVIN drives off.)
Kevin McCallum: Later, freak.
(End of flashback. Resume to present.)
Kevin McCallum: I took a sip-- I gave him the rest of the 12-pack. Sorry, mom.
Mrs. McCallum: Mr. Brown, I don't know what to say. I'm a single mother ... I work nights, and you can't keep your eyes on your kids all the time. At a certain age, you just have to trust them.
Warrick: I understand. We are going to need to keep Kevin here to ask him some more questions about that night. Do you object?
Mrs. McCallum: N-no.
CUT TO:
[INT. CSI - TRACE -- NIGHT]
(HODGES looks up from the scope.)
Hodges: Spiral gouges. Check it out.
(He moves aside for SARA to see. SARA looks through the scope.)
Sara: From tip to tip. What do you think caused these marks?
Hodges: Give me more time -- I'm not a miracle worker.
Sara: Well, that's obvious, Hodges. If you were a miracle worker, you wouldn't be rude.
Hodges: I wasn't being "rude", I was being "curt". "Rude" would be, "When I know, you'll know." (b*at) Friends?
(HODGES smiles sarcastically at SARA. SARA shakes her head.)
Sara: (smiling tightly) No.
(WARRICK walks into the lab.)
Warrick: (easily) Hodges, how's it coming with that glass?
(HODGES taps another scope indicating that WARRICK look and see. WARRICK looks at the scope.)
Warrick: Looks like there's some kind of coating on it.
Hodges: More specifically, crystallized calcium fluoride.
(SARA looks at the scope.)
Sara: You ran it through the I.R.?
Hodges: Please. I.R. says "fluorspar". I say "high-end optics".
Sara: Camera lens.
Warrick: You think someone has this m*rder on tape?
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(GRISSOM and CATHERINE confer with BRASS.)
Catherine: So, the gloves match the palm print on the m*rder w*apon as well as the pay phone in the theater lobby. Unfortunately, there was no epithelials inside the gloves because the cleaning woman had ammonia on her hands.
Brass: Ah, I see. Well, according to this, a phone call was made from the theater lobby to Audrey's home at 11:25.
(GRISSOM holds up another phone listing.)
Grissom: Well, Audrey called Dr. Sugarman's cell from her home at 11:26.
Catherine: Well, obviously, she didn't make it home in one minute.
Brass: We're looking for someone else.
Grissom: The mysterious redhead in the theater?
Brass: Maybe Audrey hired a pro who called up to say, uh, "It's done."
Catherine: Well, if she couldn't afford a powerful attorney, how did she pay for a h*t man?
Grissom: h*t woman.
Brass: Why don't we ask her?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. HILDEN RESIDENCE - FRONT PORCH -- NIGHT]
(BRASS knocks on the front door.)
(He pauses and listens.)
Brass: You hear that? Phone's off the hook.
(BRASS knocks on the door again. When there's no answer, he tries the door. It's locked. He starts looking around.)
Brass: There must be another way in.
(BRASS leaves the front porch.)
CUT TO:
[INT. HILDEN RESIDENCE - NIGHT -- CONTINUOUS]
(With his w*apon in hand, BRASS pushes the partially opened sliding door open and walks into the residence. CATHERINE and GRISSOM follow. The telephone is off the hook and is beeping.)
(As they walk in, they notice the phone on the counter.)
(They walk into the living room and find AUDREY HILDEN hanging suspended in the middle of the living room from a cord tied from around her neck to the second story banister.)
Catherine: She used an extension cord and tied it to the railing and must have jumped off.
(GRISSOM looks down and notices a chain on the floor. He cautiously picks it up to look at it. BRASS phones it in.)
Brass: (to phone) (b.g.) Yeah, this is Brass. I got a DB. (pause) Yeah.
(b*at) Well ...
(Quick flashback to: GUS SUGARMAN sits in the theatre, d*ad. The k*ller reaches out and rips the chain from his neck. End of flashback. Resume to present.)
(GRISSOM holds up the chain and looks at it.)
Catherine: Our only suspect apparently commits su1c1de. (b*at) Convenient.
Grissom: (agrees) Too convenient.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. HILDEN RESIDENCE -- NIGHT]
(GRISSOM examines the marks on the victim's neck.)
Grissom: (loudly) Catherine ... she's got a whole 'nother set of horizontal marks on her neck, below the cord. And postmortem bruising. I think she was strangled first and then hanged.
(Quick flashback to: AUDREY HILDEN fights off her attacker who has a firm hold on her neck. End of flashback. Resume to present.)
(GRISSOM continues to examine the body. This time paying close attention to the victim's feet and legs.)
(CATHERINE is on the second floor looking around.)
Catherine: No signs of a break-in ... or a struggle. She may have been k*lled by someone she knew.
Grissom: She was dragged. She's got carpet fibers on her heels.
(Quick flashback to: The k*ller drags AUDREY HILDEN across the floor. End of flashback. Resume to present.)
Catherine: Yeah, she was dragged over here, tied off and shoved over.
(Quick flashback to: The k*ller lifts up AUDREY HILDEN and pushes her over the second floor balcony. AUDREY never hits the floor, her body jerks as it reaches the end of the short cord. End of flashback. Resume to present.)
(GRISSOM holds up his flashlight and looks at something in particular across the room. CATHERINE joins GRISSOM and notices his intent on something.)
Catherine: You got something?
(GRISSOM indicates the now empty section of the bulletin board with a thumbtack that has a bit of pink paper stuck underneath. He stares at it.)
Grissom: When we were here earlier, there was a movie schedule pinned up there that had a handwritten note on it. I'm not sure she wanted me to see it. Now it's gone.
Catherine: Maybe she threw it away.
(CATHERINE walks over to the trash can in the room and checks it. The playbill isn't there.
(Cut to: GRISSOM pushes the bathroom door open and turns on the light. He checks the trash can and notices the water on the floor near the toilet bowl. He checks the toilet bowl and notices that it's clogged.)
(GRISSOM takes the plunger and unclogs the bowl. He sticks his hand in the water and pulls out a crumpled pink paper. He checks it.)
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(WARRICK checks the tire tracks taken from the warehouse to the tires of the McCALLUM'S mini-van. He puts the clear plastic tracks over the tire.)
Warrick: Venus and Serena. Perfect match.
(Cut to: WARRICK opens the door and checks the inside of the mini-van. He finds the torn beer carton that bears the price tag: "JENKO LIQUOR" 10.29.)
(He checks the door and notices red pots. He checks it and it turns dark pink.)
CUT TO:
[INT. POLICE DEPARTMENT - INVERVIEW ROOM -- NIGHT]
(DET. O'RILEY sits at the table with KEVIN McCALLUM.)
Kevin McCallum: Timmy's 15, I'm 18. He's got his friends, I got my friends. We don't do the same things. We don't hang together.
O'Riley: Evidence says you were there. You want to go down for suspicion of m*rder?
(KEVIN McCALLUM sighs.)
[OBSERVATION ROOM - CONTINUOUS]
O'Riley: (over speaker) Or you want to stop digging your own grave?
Nick: Just talked to Bobby Dawson. All the b*ll*ts came from the same g*n: Nine-millimeter semi-a*t*matic. How's this going?
Warrick: I found a 12-pack container in the McCallum minivan. Sales slip said
"Jenko Liquors."
Nick: I'll check the surveillance, see if we can get some footage of this guy.
(In the Interview Room, NICK watches as KEVIN McCALLUM shifts and brings his left hand up to show a blood stain on his shirt.)
Nick: What is that on his elbow?
SHORT TIME CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- CONTINUOUS]
(KEVIN McCALLUM looks up at NICK and WARRICK both standing next to the table watching him.)
Kevin McCallum: It's just a scab. Got it skateboarding.
Nick: Can we see it?
(KEVIN sighs.)
Warrick: Peel it back.
(KEVIN takes off the bandage and shows the cut. It doesn't look like it came from skateboarding. It looks like he was grazed by a b*llet.)
Warrick: Skateboarding? Why don't you stand up and take off your shirt.
Kevin McCallum: Don't you guys need a warrant for that?
O'Riley: We get a warrant, and we're going to strip you down to nothing, then ask you to bend over-- choose.
(Not liking the sound of that option, KEVIN exhales. He stands up and takes off his shirt to expose bruising on his body similar to those found on TIMMY.)
Warrick: Geez, man, what happened to you? Turn around.
(KEVIN turns around. The bruises are on his back as well.)
Warrick: Those are the same markings your brother had. You want to tell us what went down here?
Kevin McCallum: I can't talk about it. I'm sorry.
Nick: Hey, listen, if-if you're the victim here, you can tell us. Okay?
Warrick: Kevin, who did this to you, man?
(KEVIN looks at him and doesn't say anything.)
CUT TO:
[INT. CSI -- LAB]
(CATHERINE and GRISSOM work on the water-logged piece of paper.)
Catherine: Well, there's an awful lot of water damage, but, um ... there's some kind of an impression.
Grissom: Well, maybe this will bring it up.
(GRISSOM puts the paper under the machine. The computer beeps and whirs. The schedule appears on the monitor. GRISSOM focuses on the writing right above Alfred Hitchcock's, "Strangers On A Train".)
Grissom: It's written above "Strangers On A Train"
Catherine: (echoes) "Strangers On A Train." Is that the one with the perfect m*rder?
Grissom: Two strangers meet on a train, make a pact to get rid of each other's problems. They figure since neither has a motive for the killings, they won't be caught.
Catherine: Life imitating art?
Grissom: In the movie, Robert Walker kills Farley Granger's wife. Granger didn't think he was serious, so when he refuses to k*ll walker's father, walker goes after him.
Catherine: So if Audrey is Farley Granger ...
Grissom: Who's playing Robert Walker's part?
(GRISSOM turns back to the monitor and works on clearing up the writing on the schedule.)
Catherine: "Sphere E4-117." Well, that's got to be the Sphere Hotel.
Grissom: It's not a hotel room, though.
Catherine: Locker, safety deposit box ...
Grissom: ... parking space, maybe.
Catherine: Yeah.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. SHOW -- NIGHT]
(BRASS, CATHERINE and GRISSOM question the show's manager. BRASS holds out a photograph of the victim.)
Anthony Haines: Audrey who?
Brass: Hilden.
Anthony Haines: Naw. I never heard of her. What's this about?
Catherine: E4-117. Your assigned parking space. It was written on a movie schedule we found in Ms. Hilden's home.
Anthony Haines: Well, look, I meet a lot of women. She a dancer? She work for me before?
(A showgirl walks past the group and into the dressing room.)
Anthony Haines: (to MICHELLE) Hey, Michelle. Mmm!
(He whacks MICHELLE on her butt as she passes by. This gets a reaction from CATHERINE.)
Anthony Haines: I'll tell you guys something: This show is very hot, all the chicks want to be in it, and actually, they, uh, got to go through me.
(GRISSOM sees something interesting to him inside the dressing room and walks in without a word to anyone.)
Brass: Ever been to the Art House Movie Theater?
Anthony Haines: No. Where's that?
Catherine: Have you ever seen any Hitchcock movies? (from outside) "Strangers On a Train"?
(GRISSOM sees the exact same WONDERLAND THEATRE schedule stuck on the mirror.)
Brass: (from outside) Alfred Hitchcock?
Grissom: Mr. Haines? (GRISSOM points to the station with the movie schedule.)
Whose station is this one?
(He sticks his head in through the doorway.)
Anthony Haines: Oh, that's Kelly Goodson's. Royal pain in the ass.
(He turns back to BRASS and CATHERINE. GRISSOM moves along and starts looking around the dressing room. In the background the show music starts.)
(GRISSOM looks inside the open locker and finds a business card for "Langly &
Langly" / Attorneys at Law.)
(The dancers walk back into the dressing room. GRISSOM looks up and notices some creams and tubes on the top shelf of the locker.)
Kelly Goodson: Can I help you? That's my locker.
Grissom: It was open.
Kelly Goodson: You always snoop through other people's things?
(KELLY GOODSON turns to her dressing station and takes off her red wig. She puts it on the wig stand. GRISSOM watches her.)
Grissom: I'm with the crime lab. I'm a professional snoop. Do you, uh ... ever wear that wig en you go out?
(KELLY GOODSON turns back to her locker and takes out the tube and small container of cream. She sits back down in the chair in front of her station.)
Kelly Goodson: I never get to go out. Two shows a night, three on weekends. Why? You have something in mind?
Grissom: Do you like the movies? I, uh, noticed you have an art house theater schedule on your mirror.
Kelly Goodson: Yeah, I've been there a few times.
Grissom: Ever seen "Strangers On a Train"?
(She pauses to think about it, then shakes her head. She looks up at GRISSOM.)
Kelly Goodson: No. Is it any good?
Grissom: Yeah, it's good. (He watches her put the cream on her hands and rub her hands together.) You use a lot of creams, huh?
(She raises her leg straight up to the ceiling and starts putting cream on her leg.)
Kelly Goodson: Sixteen shows a week in these shoes, your legs would be k*lling you, too.
Grissom: Is that your own recipe?
Kelly Goodson: What was it you said you do for a living?
Grissom: I'm a scientist.
Kelly Goodson: (looks at GRISSOM and hints) And, um, I'm up in five minutes, so ... you mind?
Grissom: No. I don't mind.
(GRISSOM doesn't move. KELLY GOODSON reaches behind her and unsnaps her top.)
(Brassy music in background ends with a flourish.)
CUT TO:
[INT. CSI -- LAB]
(SARA is behind the computer, typing. WARRICK rushes into the lab and takes the seat next to her.)
Warrick: I'm sorry I'm late. What b*llet are you on?
Sara: 109, finally. Height, distance, angle. This has been a very laborious shift. Are you in the mood for a light show?
Warrick: Yeah, hook it up.
(SARA runs the computer program and for the brief moment, it shows the trajectory of all the b*ll*ts at random intervals.)
Warrick: The trajectory is all pointing in one uniform area. Looks like some kind of a pole.
Sara: Or a bamboo stick.
(WARRICK gives a weary laugh.)
Warrick: The whole case has been like this. It's like you can't wrap your head around it, you know?
Sara: A bamboo cane with black swirls descending downward, no GSR, 109 rods, 109 b*ll*ts, all fired from the same g*n.
Warrick: Camera glass, blood droplets everywhere, DNA that says five people were there, one boy's d*ad, one boy's injured, and he ain't sayin' nothin' ...
(sighs) Is this the end of the road?
Sara: Forensically?
(She turns to look at WARRICK)
Sara: Yes.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- NIGHT]
(NICK runs into SARA in the hallway as she comes down the stairs.)
Sara: Hey.
Nick: Hey, Sara, I was just coming to get you. Surveillance footage from Jenko liquor. Archie just put together some black-and-white stills. Check it out. Kevin, the older brother, buying beer.
(NICK hands SARA a photograph of KEVIN in the liquor store purchasing the beer at the counter. In the back aisle is a boy bending over, his back to the camera. The date and time stamp on the bottom of the picture reads: 04/02/03
20:27.)
Sara: Looks like he wasn't alone.
Nick: No, you're right. He had four other friends with him, including Timmy.
(NICK hands SARA a second photograph of TIMMY at the soda fountain filling up a cup. He has his eye on the counter, a big smile on his face as he tries not to get caught. Date and Time stamp on the bottom of the picture reads: 04/02/03
20:23.)
Nick: And here you go.
(NICK shows SARA the third photo of two boys in the back of the store causing a commotion while the third boy holds a pack of beer. Both NICK and SARA chuckle at the photo.)
Nick: It's a classic distraction technique. Did it many times. You go in with a group of buddies and you cause a little ruckus.
Sara: Store owner gets flustered. He wants the kids out of his store. So, he sells them the beer, even though they're underage, and of course they drink it.
Nick: Well, you know about the camera glass Warrick found, right? That means someone has this all on tape. I say we track down the other kids, see which one of them thinks he's Tarantino.
(SARA and NICK both walk away.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM empties the paper package onto his desk. Boxes of different creams drop out. CATHERINE walks into the office and takes a seat on the other side of the desk.)
Catherine: So, get this -- Anthony Haines had a sexual harassment suit filed against him recently.
Grissom: There's a lot of that going around.
Catherine: Uh-huh, from one of the showgirls.
Grissom: Kelly Goodson?
Catherine: She claims that he thr*at to f*re her if she didn't perform certain sexual favors.
Grissom: You know, she had a business card in her locker -- Langly & Langly, Attorneys-at-law. It'd be interesting to find out ...
Catherine: ... if Audrey hired the same firm? She did.
Grissom: So, they liked the same movies ... they had the same problem ... and they hired the same lawyer?
(CATHERINE looks at the creams on GRISSOM'S desk and asks.)
Catherine: Knees bothering you?
(GRISSOM picks up the evidence bag with the extension cord in it.)
Grissom: The extension cord used to strangle Audrey Hilden.
(He puts it aside and picks up another evidence bag.)
Grissom: The dentist's gold chain.
(He puts that one aside and shows CATHERINE another evidence bag.)
Grissom: The m*rder's gloves.
Catherine: Well, any physical evidence on those gloves would've been compromised by the ammonia.
Grissom: Only on the inside; not necessarily the outside. You use two hands to put on gloves.
Catherine: You're looking for transfer.
(GRISSOM holds up a notebook and looks at CATHERINE with anticipation.)
Grissom: Special recipe.
CUT TO:
[INT. CSI - DNA LAB]
(Two mannequins hands are set up on the counter. The leather gloves are put on the hands. GREG swabs the gloves and tests it. He works efficiently and methodically.)
(GREG takes a swab from the extension cord.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(O'RILEY questions J.J.)
J.J.: We go to the warehouse all the time ... just go there to party, talk about chicks. Sometimes we smoke out.
O'Riley: You take off your shirt, please?
(J.J. stands up and lifts up his shirt. He turns around. There are bruises on his torso.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(EARL turns around to show the bruises on his back and front. He puts his shirt down and sits down.)
Earl: I ride BMX bikes ... play soccer. Man, I wake up with bruises.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(O'RILEY interviews ZACHARY.)
Zachary: We were just messing around.
O'Riley: I'm not. A kid's d*ad. Back to the question. How'd you get the shiner?
(ZACHARY shakes his head and explains.)
Zachary: JJ found a g*n in north town. We were messing with it, sh**ting the walls. So, one night, I brought my hi-eight camera in, and one of the stray b*ll*ts sh*t my lens out.
(Quick flashback to: ZACHARY holds the camera and films whatever he's looking at. A b*llet breaks the lens and sends ZACHARY to the floor. End of flashback. Resume to present.)
O'Riley: Who was the sh**t?
(ZACHARY chuckles wryly.)
O'Riley: You can tell us and save yourself, or you can let the tape tell us. It's your call.
(ZACHARY lifts up his head and looks at O'RILEY.)
CUT TO:
[ON VIDEO TAPE]
(KEVIN McCALLUM is looking directly at the camera and yelling.)
Kevin McCallum: What up? My name's Kevin. These are my boys-- JJ, Earl, Zach, and my little bro Timmy, and this is called ...
All: Speedway Surfing!
(Cut to: )
[INT. CSI - LAB -- CONTINUOUS]
(NICK, WARRICK and SARA sit behind the computer watching the video.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(O'RILEY interviews KEVIN McCALLUM.)
Kevin McCallum: Timmy was a big fan of all those reality shows. You know, the
"don't try this at home" stuff. We-we all watched it on tv. So, one day, we're bored. We started making up stunts on our own, trying to outdo each other. Speedway surfing ... that was my idea.
INTERCUT WITH:
(Back in the lab, NICK, SARA and WARRICK watch the video.)
[ON VIDEO]
(A red car races on the monitor. Kids are shouting and whooping it up. On the car hood, J.J. stands as if he's surfing.)
kid: Come on, h*t it! KID: Yeah! Whoo!
(The car engine speeds.)
kid: Whoo!
[INT. CSI -- LAB]
(SARA looks at NICK. WARRICK watches the monitor and shakes his head.)
[INT. POLICE DEPARTMENT -- INTERVIEW ROOM]
Kevin McCallum: We all did it. Some ate it bad. JJ bruised his tailbone.
(KEVIN snorts at the memory.)
Kevin McCallum: We were just messing around.
[ON VIDEO]
(JJ stands on the hood of the car as it speeds.)
JJ: Whoo!
(The other boys are in the car yelling with excitement.)
(JJ looses his balance and falls off of the speeding car hood and onto the road.)
[INT. CSI -- LAB]
(SARA, NICK and WARRICK continue to watch the video. They can't believe what they're seeing.)
[INT POLICE DEPARTMENT -- INTERVIEW ROOM]
Kevin McCallum: Then Zach got the fever. Next day, he came up with one.
[ON VIDEO]
(The kids sit in front of the video.)
Zach: The human ...
All: ... 150-yard marker!
(They laugh as they get ready. ZACH holds a golf club and the other kids put on football helmets.)
[INT. CSI -- LAB]
(SARA turns to look back at WARRICK.)
[ON VIDEO]
(ZACH puts the tee down and sets up the sh*t. The other kids stand in front with their hands cupping their most private parts. They wait for the ball to h*t them.)
Zach: Ready, boys? KID: Okay boy. KID: Fore!
(The first sh*t hits TIMMY McCALLUM in the chest. He groans at the impact and goes down. Everyone laughs.)
[INT. CSI -- LAB]
(NICK shakes his head.)
[INT POLICE DEPARTMENT -- INTERVIEW ROOM]
Kevin McCallum: Then it came time for Timmy's turn. He stayed up all night ... and by morning, he had it.
[ON VIDEO]
(At the warehouse, TIMMY McCALLUM is in front of the camer with the other boys behind him as he explains his dare.)
Timmy McCallum: (from video) Hi. My name is Timmy McCallum, and this is my debut stunt, so I'm really psyched. It's called ... bamboo russian roulette!
(Quick flashback to: The kids playing Bamboo Russian Roulette in the warehouse. ZACH holds the camera as he films. KEVIN is up on the warehouse rooftop and looks down through the hole in the ceiling.)
Kevin McCallum: You ready?
Everyone: Whoo!
(End of flashback. Resume to present.)
[INT POLICE DEPARTMENT -- INTERVIEW ROOM]
Kevin McCallum: (sadly) We did it a bunch of times. You know, we all took turns going up on the roof. We almost stopped when I got sh*t in the arm ... but we were drunk, and so ... ... we decided to try it one more time.
(Quick flashback to: Inside the warehouse, the kids jump and circle around the bamboo pole as the g*n fires and falls down the pole. Camera is on TIMMY as he skips around the bamboo pole. g*n is heard through the warehouse.)
Everyone: Yeah!
(There's more g*n f*re and kids whooping and laughing.)
Everyone: Whoo!
(KEVIN lets the g*n go from the roof top. The g*n fires. Some kids hunker down to avoid the b*ll*ts. One b*llet hits ZACH, breaking his camera. He falls down. TIMMY is still standing and circling the pole. One b*llet hits him square in the chest.)
(From the roof, KEVIN sees TIMMY get sh*t.)
(In slow motion, TIMMY falls to the floor. Judging by the camera angle, the camera is also on the floor and it's still recording.)
[INT. CSI -- LAB]
(On the monitor, TIMMY is on the ground.)
[INT POLICE DEPARTMENT -- INTERVIEW ROOM]
Kevin McCallum: He kept trying to breathe. I didn't know what to do. I came down from the roof. I went over to his side. I kept saying... "Come on, breathe, bro. You can't die on me, man."
O'Riley: Why didn't you call an ambulance?
Kevin McCallum: I didn't want to get in trouble.
O'Riley: So, you just left him for d*ad?
Kevin McCallum: It was an accident. It's not like we had a death wish.
O'Riley: You sure about that?
(KEVIN puts his head down.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. DRESSING ROOM -- NIGHT]
(CATHERINE and GRISSOM both sit on chairs and interview KELLY GOODSON.)
Catherine: (to GRISSOM) Langly & Langly.
(GRISSOM looks at CATHERINE and nods. KELLY GOODSON watches the exchange and shakes her head in confusion.)
Kelly Goodson: Mm. I'm sorry?
Catherine: Oh, it's the law firm that both you and Audrey hired to deal with your problems -- Gus Sugarman and Anthony Haines.
Kelly Goodson: (nods) Tony Haines is a pig ... but who's Gus?
Catherine: Well, we're guessing that that's where the two of you first met, at the lawyers'.
Grissom: Or they could've met at the movie theater.
Catherine: Right. Right. I mean, either way, you ladies had a lot in common.
(Quick flashback to: KELLY GOODSON walks into the movie theatre and sits down a few rows behind AUDREY HILDEN. AUDREY turns around slightly and notices KELLY sitting behind her. End of flashback. Resume to present.)
Grissom: Boy, can't you see them watching "Strangers On a Train" together?
Catherine: Oh, yeah.
Grissom: I'm thinking that Audrey told her everything about her dentist, and she told Audrey everything about Haines.
(Quick flashback to: The two ladies sit at a table and AUDREY HILDEN talks to KELLY GOODSON.)
Catherine: (V.O.) You needed them both d*ad.
(End of flashback. Resume to present.)
Catherine: So, right out of "Strangers On A Train", if you swapped m*rder, no one could tie you to the victims, and then you started talking specifics -- where the best place would be to k*ll Haines. Someplace dark, secluded-- the parking lot right here at the sphere.
(Quick flashback to: KELLY GOODSON reaches over the table and writes the parking stall information on AUDREY HILDEN'S movie schedule: Sphere E4-117. End of flashback. Resume to present.)
Grissom: After you s*ab Sugarman, you ripped the gold chain off of his neck as proof that you'd kept up your end of the bargain.
(Quick flashback to: KELLY GOODSON in a red wig standing behind GUS SUGARMAN, one hand over his mouth and the other hand with the screwdriver. After she kills him, she rips off the chain from his neck. End of flashback. Resume to present.)
Catherine: And then you walked out into the lobby and called Audrey on the pay phone, to say that the deed was done.
Grissom: And then Audrey called Sugarman three times in a row to see if it was true.
Catherine: She was the one who picked the movie ... and made the date.
Grissom: But that's all she did, isn't it? 'Cause just like in the movie, she had no intention of k*lling Haines ... and that's when you started harassing her.
(Quick flashback to: The phone rings and AUDREY HILDEN doesn't answer it. Flash to: KELLY GOODSON standing on the sidewalk on the other side of the street watching as AUDREY HILDEN parks her car. End of flashback. Resume to present.)
Catherine: You'd k*lled for her. Now she wasn't holding up her end of the bargain.
Grissom: You couldn't let her betray you. So, unfortunately, she had to die, too.
(Quick flashback to: KELLY GOODSON with her hands around AUDREY HILDEN'S neck. They struggle, but KELLY'S stronger and more determined than AUDREY. KELLY drags AUDREY up the stairs. She manages to get AUDREY over the banister. She ties the cord around AUDREY'S neck then tosses her over the side. AUDREY'S body jerks as she dangles there. End of flashback. Resume to present.)
Grissom: So, you made it look like she'd committed su1c1de, and then you planted Sugarman's gold chain, in hopes that we would think that she k*lled him, too.
Catherine: The only thing that she had on you was that movie schedule. That had to go.
(Quick flashback to: KELLY GOODSON rips the movie schedule off of the bulletin board and crumples it. She tosses it into the toilet and flushes. She leaves. End of flashback. Resume to present.)
(KELLY looks at them and smiles.
Kelly Goodson: Wow ... that is a really good story. You guys must be movie fans yourselves.
Grissom: You're right. It's just a story ...
(KELLY GOODSON looks at CATHERINE. CATHERINE doesn't say anything. GRISSOM continues.)
Grissom: ... but the chemicals that we found on your gloves and on the extension cord that was used to k*ll Audrey, that's our proof. Menthol ... trolamine salicylate ... capsaicin ...
(GRISSOM reaches into his pocket and pulls out the tubes of creams and shows it to KELLY GOODSON.)
Grissom: ... eucalyptabalm ... isorcreme ... capsaicin ointment -- a unique concoction -- your unique concoction ... ... and this stuff is all over the evidence. Yeah ... it's a pretty good movie. Well, the character that you've been playing, the character that Robert Walker played in the movie ... dies at the end.
(Camera holds on KELLY GOODSON.)
CUT TO:
[INT. MOVIE THEATRE -- NIGHT]
(On screen, the man takes out a g*n and fires, hitting the other man in the abdomen.)
(On screen a woman rushes out of the room.)
Man: (on screen) I said he'd be alone.
(In the audience, GRISSOM sits and watches the movie. CATHERINE returns with her popcorn and drink and takes her seat next to GRISSOM.)
Catherine: Hi. What'd I miss?
Grissom: m*rder, seduction, deceit-- the usual.
Catherine: Mm. This one of your favorites?
Grissom: Actually, I'm not a big fan of noir.
Catherine: Okay. Well, what do you like?
Grissom: I like silent movies.
(CATHERINE stops and turns to look at GRISSOM. With a small smile on his face, GRISSOM glances at CATHERINE, then turns to look at the screen.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x19 - A Night at the Movies"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Emcee: (V.O.) Ladies and gentlemen, please put your hands together for the Comedy Hole's very own Michael Borland.
(The audience applauds.)
CUT TO:
[INT. COMEDY HOLE - STAGE -- NIGHT]
(MICHAEL BORLAND is on stage doing his act.)
Michael Borland: Look, look, the Kennedys k*lled Marilyn Monroe. I'm pretty sure the g*n in the grassy knoll was either Arthur Miller or Joe DiMaggio. "Bang my wife...?"
(He imitates a g*n. There's sparse laughter in the audience.)
CUT TO:
[EXT. ALLEYWAY OUTSIDE COMEDY HOLE - NIGHT -- CONTINUOUS]
(DOUGIE MAX is outside in the alley facing the wall behind the trash cans. It's obvious that he's busy doing something. He's murmuring to himself, rehearsing for his act.)
Dougie Max: (sotto voce) "Hey, if you'd have me, I'd ask you to marry hell, somebody's got to clean my apartment."
CUT TO:
[INT. COMEDY HOLE - STAGE - NIGHT - CONTINUOUS]
Michael Borland: Hey, how many of you people know the theme to Gilligan's Island?
(The audience applauds.)
Michael Borland: All right. Now, how many of you can recite the Bill of Rights?
(The audience doesn't respond, unsure of the connection between the two.)
Michael Borland: That's-that's-that's ... who cares? It's really not that important. We don't use it anymore.
CUT TO:
[EXT. ALLEYWAY OUTSIDE COMEDY HOLE - NIGHT - CONTINUOUS]
(DOUGIE MAX is facing the wall and mumbling to himself, still going through his act. He laughs.)
CUT TO:
[INT. COMEDY HOLE - STAGE - NIGHT - CONTINUOUS]
Michael Borland: I hear a lot of folks saying, "you know, if it wasn't for the us, the, uh, French would be speaking German."
(There's mild applause from the audience.)
Michael Borland: Yeah, well, if it, if it wasn't for the French, you'd be speaking Cherokee.
(The audience doesn't applaud. He's lost them.)
Michael Borland: Oh, I'm sorry. Did I hurt your brains?
CUT TO:
[EXT. ALLEYWAY OUTSIDE COMEDY HOLE - NIGHT - CONTINUOUS]
(DOUGIE MAX finishes up his rehearsal.)
Dougie Max: (sotto voce) "That's my time, everybody. Tip for the night: If you don't know what you're doing, don't do it harder. Good night, everybody!"
(DOUGIE MAX laughs hysterically at his own joke. He looks down.)
Dougie Max: Zip me up.
(He sighs and a loud zipper sound is heard. The WAITRESS rises between DOUGIE and the wall.)
Waitress: Anything else?
Dougie Max: Yeah. Laugh.
(DOUGIE steps backward and opens the door back into the Comedy Hole.)
Michael Borland: (V.O.) It recently came out that Jesus could've had siblings.
CUT TO:
[INT. COMEDY HOLE -- BACK HALLWAY - CONTINUOUS]
(DOUGIE MAX bursts in through the back hallway and starts waving to the people as he makes his way to the main room.)
Michael Borland: (V.O.) Could you imagine growing up having Jesus in your family? "Why can't you be more like your brother?"
Dougie Max: (to the man) What's up, Dude?
Michael Borland: (V.O.) "Uh, 'cause he's the Messiah. He's the Son of God."
Dougie Max: (to the woman) Hi, Lis. All right!
Michael Borland: "When your brother's home, we always have wine."
Alan: (to DOUGIE MAX) Caught your act on the tube last night. You knocked them out. I had to turn up the volume, I was laughing so loud.
Dougie Max: This art exhibit get any laughs?
Alan: Hey, come on, you're my only headliner, you know that.
(MICHAEL sees DOUGIE head for the stage and he wraps it up.)
Michael Borland: Well, I'm Michael Borland, and that's my time ...
(The audience doesn't applaud.)
Michael Borland: ...and that's your silence. All right, now, ladies and gentlemen, let me introduce you to the headliner this evening ...
(The audience comes alive and starts to cheer. Rock music starts playing in the background.)
Michael Borland: ... a man I'm sure you know from his h*t TV show, "Dougie to the Max", Mr. Dougie Max!
(The audience cheers. DOUGIE MAX makes his way to the stage from the back of the audience. He shakes people's hands as he passes them by. MICHAEL BORLAND puts the mike back on the stand and applauds, too. DOUGIE MAX stands up on stage and gives MICHAEL BORLAND a hug.)
Michael Borland: Hey, man ...
Dougie Max: (to MICHAEL BORLAND) Remember when I used to open for you?
(The rock music continues to play. The audience is ready for him. He takes a bottled water from the side and drinks.)
Dougie Max: What's up, Vegas?!
(He looks around the audience and spits out the water at them. He drops the water bottle.)
(The audience continues to cheer and applaud.)
Dougie Max: Hey, kid, it's a cruel world!
(The audience cheers and applauds. He tosses and twists the mike. He catches it.)
Dougie Max: Ain't it great?! Bam!
FLASH TO WHITE:
[INT. COMEDY HOLE -- NIGHT]
(BRASS leads CATHERINE and GRISSOM through the hallway to the main room where the body is.)
Brass: Welcome to the tragedy hall. Hey, you hear the one about the comedian who died onstage? (b*at) Literally.
Catherine: Buh-du-bum.
Brass: I'll be here all week.
Catherine: Maybe he slipped on a banana peel.
Brass: Buh-du-bum.
Catherine: Hmm.
Brass: Crowd thought it was part of his act ... till he didn't get up.
(They finally reach the stage where DOUGIE MAX is.)
Catherine: Hi, David.
David: Hey, Catherine.
(CATHERINE kneels down next to the body and visually examines it.)
Catherine: Well, there's no foam on the mouth. No discoloration around the lips. Pupils aren't dilated. No overt evidence of a drug overdose.
Grissom: When was the last time a comedian died of natural causes?
David: Clenched fist ... classic levine sign.
Grissom: He's awfully young for a heart att*ck.
(GRISSOM walks around CATHERINE and toward the center of the stage.)
Brass: Well, live fast, die young ... I forget the rest.
Grissom: (shouts out to the back of the room) Excuse me! Could someone turn down the house lights, and turn up the stage lights? Thank you.
(The house lights turn down. The stage lights turn up.)
Grissom: I want to see what he saw ... right before he died.
Catherine: What do you see?
Grissom: Nothing.
Catherine: What are you looking for?
Grissom: A punchline?
Brass: Buh-du-bum.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. COMEDY HOLE - MAIN ROOM -- NIGHT]
(The coroner's office wheels the body through the room past the various performers. THE COMEDIAN - [played by GILBERT GOTTFRIED] -- watches the gurney as it passes by him. MICHAEL BORLAND sits at the bar nursing his drink.)
[GILBERT GOTTFRIED]: See, here's a switch. They've got him rolling in the aisles. Well, I guess he's off to a better place.
Michael Borland: (mutters) Any place would be better than this dump.
Alan: (offended) Hey, hey, hey!
Michael Borland: Sorry, Alan. I didn't see you.
Alan: At least Dougie put laughter in the air and asses in the seats and drinks on the tab. (to BRASS) I loved that guy. Took me fifteen years to find the next Kinison, and the minute I do, he gets a sitcom. Now I have to pay him a king's ransom to come back here once a year, and this is where he started.
(laughs) Figures the bastard would die on me. You know, I-I should put up a sign, you know, like in Dealey Plaza, "Kennedy sh*t here," "Dougie Dropped here."
(THE BARTENDER approaches ALAN.)
Bartender: Hey, Alan, you got a spot open now. What do you say tomorrow you give me some time?
Alan: You got a job. You want to keep it?
(THE BARTENDER turns away.)
Alan: (to BRASS) Dougie was a hack with hack material who caught a break and never let anybody forget it. Oh, you want suspects? (He turns around and points to the wall of pictures behind him.) Here, check out the wall. Any one of these guys'd k*ll to have his stage.
CUT TO:
[INT. COMEDY HOLE - GREEN ROOM -- NIGHT]
(The door opens and CATHERINE walks into the green room. She starts looking around. On the counter is a coffee grinder and various other drinking rubbish littering the countertop. )
(CATHERINE kneels down and checks out the food platter on the table. The card reads: DOUGIE MAX. She picks up a toothpick with a chunk of Spam (c) on it and smells it. She puts it down.)
(On the table below under the food platter, she finds remnants of white powder. She checks it out.)
Catherine: Oh, china ...
CUT TO:
[INT. COMEDY HOLE - CENTER STAGE -- NIGHT]
(GRISSOM kneels next to the stool with the bottles of water on it. GRISSOM has to collect the water and the bottles. BRASS stands in front of him watching.)
Grissom: Six bottles of Innoko water. Three partially filled, three unopened.
Brass: Don't go Cousteau on me here. It was all part of his shtick. He was like Tarkanian with the towel. You know, always biting and pacing. Dougie's mantra was, "It's a cruel world. Ain't it great?" (GRISSOM doesn't say anything.) Uh, it was low-brow. Strictly chug-and-belch.
Grissom: Laughter is an involuntary motor response triggered by survival issues: Food, sex, body functions ... death.
Brass: Yeah, it's a cruel world.
CUT TO:
[INT. COMEDY HOLE - HALLWAY TO THE MAIN ROOM -- NIGHT]
(CATHERINE questions ALAN, the club owner.)
Catherine: So, who has access to the green room?
Alan: Well, according to who? According to me, just the talent. According to these meat sticks -- the world.
(ALAN and CATHERINE reach the main room where the performers are.)
Catherine: All right. I would like to see everyone's wallet. I don't need to see your identification. Just open your wallets.
(MICHAEL BORLAND gives CATHERINE his wallet. She looks at it.)
Michael Borland: Uh, it says I'm 180 pounds, but I'm 145. I know that, in Nevada law, if there's a 25-pound discrepancy, that ... that's actually against the law.
(CATHERINE hands his wallet back to him.)
Catherine: (to MICHAEL BORLAND) Thank you.
(She looks at THE BARTENDER'S wallet, then hands it back to him.)
Catherine: Thanks.
The Bartender: You're welcome.
[GILBERT GOTTFRIED]: (points to something in his wallet) In this one I'm wearing a thong.
(THE BARTENDER laughs at the joke.)
Catherine: That's more than I needed to know. Thank you.
(CATHERINE hands his wallet back to him. She looks at the WAITRESS' wallet. She finds the white power on the edge of the credit card.)
(Quick flashback to: [BOTTOM CAMERA ANGLE UPWARD UNDER THE GLASS TABLE TOP]
THE WAITRESS is cutting the cocaine on the table using her credit card. End of flashback. Resume to present.)
Catherine: When was the last time you used this credit card?
Waitress: What?
CUT TO:
[EXT. COMEDY HOLE -- NIGHT]
(The doors open. BRASS and an OFFICER escort the WAITRESS out of the building. The WAITRESS is in handcuffs. In the background, the sound of a car revving its engine can be heard.)
(They put the WAITRESS into the police car.)
(BRASS looks and sees someone he recognizes, GEORGE STARK. GEORGE STARK exits his brand new red Ferrari, which is parked across the street. BRASS stands there and watches as GEORGE STARK hands the keys to the valet, then escorts the beautiful blonde woman into the restaurant.)
(BRASS doesn't look thrilled to see that. In fact, he looks very thoughtful.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS goes over the body findings with GRISSOM.)
Grissom: C.O.D.?
Robbins: Myocardial necrosis. Just what you'd expect from a heart att*ck, only I didn't find any blockages consistent with coronary disease. He was remarkably healthy for a d*ad guy.
Grissom: Well, Dougie Max had more than comedy in his blood. Tox came back positive for coke.
Robbins: The answer is ... the three main ways to take cocaine.
(GRISSOM sighs and turns to look at ROBBINS.)
Grissom: All right, "Alex". What is: Snorting it, smoking it, or injecting it?
Robbins: Very good. The answer is normal nasal passages, clear lungs, and no track marks on the body.
Grissom: Continuing this childish metaphor ... what is: How did the drugs get into his system?
Robbins: We'll have to wait for Final Jeopardy.
(GRISSOM sighs dramatically, shakes his head and turns to leave the room. ROBBINS continues to polish his cutting tools.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(CATHERINE interviews the WAITRESS in the presence of the WAITRESS' LAWYER.)
Lawyer: My client has agreed to plead to possession and answer any questions. Nothing she tells you can be interpreted as criminal intent ...
Catherine: Well, that's between you and the D.A. The preliminary tox screen on Dougie Max came back positive for cocaine.
Waitress: Dougie was in a program, okay? It was my cocaine. He wasn't using.
Catherine: It was in his blood.
Waitress: Well ... Dougie always liked to do a little hum-and-coke before a show.
(Quick flashback to: During MICHAEL BORLAND'S show, DOUGIE MAX and the WAITRESS go outside. DOUGIE drops his pants, the WAITRESS kneels down in front of him. She puts a little bit of coke on her fingernail. End of flashback. Resume to present.)
Catherine: Cocaine on the foreskin, or any skin, for that matter, is not a stimulant; it's a numbing agent.
Waitress: Right. That was the idea. You see, the goal wasn't to pop the cork. It was to ... shake the bottle.
Catherine: Sounds frustrating.
Waitress: Dougie liked to go out on stage frustrated.
(Quick flashback to: DOUGIE is on stage and fired up to do this act.)
Dougie Max: (loudly and into the act) I ran away from home at age 25. I drank... and I whored ...
(The audience cheers.)
Dougie Max: ... and I got my own show!
(The cheers get louder.)
Dougie Max: Yeah, Dougie to the Max, bee-yatch!
(The audience roars with him.)
(End of flashback. Resume to present.)
Waitress: Gave him an edge. That was Dougie's philosophy: Go in hot ... burn the place down.
CUT TO:
[INT. CSI - LOUNGE ]
(NICK is pouring himself a cup of coffee. BRASS walks in carrying a file folder.)
Brass: Oh, you're making coffee. Good. I could use some.
Nick: How do you take it?
Brass: Today, high-octane black. I need your help with something.
(NICK hands BRASS a cup. NICK takes a seat at the table.)
Nick: sh**t.
Brass: A few weeks ago, homicide gets called to Green Valley. A woman in her
40s slips in the bathtub and drowns. You know, cracked skull, raccooned eyes --
I mean, a traumatic death, but nothing suspicious.
Nick: CSI found what?
Brass: I didn't call them in. I ruled it an accident.
Nick: What changed?
Brass: Last night I saw the husband out on the town. I mean, I could tell you something, Nick. Three weeks ago, this guy was devastated.
(Quick flashback to: BRASS interviews GEORGE STARK in the bathroom. GEORGE STARK is sitting hunched over on the tub edge. BRASS listens to him.)
George Stark: (sobbing) I should've been here. What am I going to do? I mean, she was my life.
(End of flashback. Resume to present.)
Nick: Onward and upward.
Brass: No, but this is way upward. I mean, trades in his b*at-up old Acura for a brand-new Ferrari. He's with a girl who gives more lift-off than-than Cape Canaveral.
Nick: (chuckles) People grieve in different ways, man.
Brass: No, I understand that. I got no problem with that. I'm not a priest. That's why I called the life insurance carrier. And check this out.
(BRASS sits down at the table.)
Brass: The morning ... Shelley Stark ... was found, George Stark made a call to the life insurance agent. Went like this: "My wife is d*ad. I want my money."
I mean, just like that. All in one breath.
Nick: (nods) What's the payout?
Brass: $750,000. Now, I got the police report, autopsy protocol, detective summary, and scene photos.
(BRASS puts down a "Las Vegas Police Department Homicide" file folder flat on the table. NICK looks at it, then looks back at BRASS.)
Nick: You sure you're not looking for Grissom?
(BRASS stands up.)
Brass: I'm chasing something that Gil Grissom isn't interested in -- a hunch.
CUT TO:
[INT. CSI -- HALLWAY]
(CATHERINE and GRISSOM walk through the hallway.)
Catherine: I don't have to run any tests. You cannot absorb enough cocaine through your penis to OD.
Grissom: Cite your source.
Catherine: I don't have a source.
Grissom: That's why we did the tests.
Catherine: Whatever.
(GRISSOM and CATHERINE walk into GREG'S LAB. GREG looks up from his work, sees them and smiles.)
Greg: All right, who wants it?
(GREG waves the test results in front of them. CATHERINE takes it. She and GRISSOM both look at it.)
Catherine: Cocaine levels are less than .05 milligrams per liter. Way too low. That's not what k*lled him.
Grissom: So what did?
Greg: Well, according to your blood sample, naratriptamine.
Grissom: The new migraine medication?
Greg: Mm-hmm. Powerful stuff.
Catherine: And what were the levels in the vic?
Greg: 30 milligrams-- 12 times the recommended dosage.
Catherine: Ooh. Dougie Max was poisoned.
Greg: To the Max.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(NICK and SARA sit side by side as they go through the file contents. NICK hands SARA a photo.)
Sara: Cop sh*ts. No rulers, no markers.
Nick: Just a bathroom, a towel bar, and a d*ad woman.
(Quick flashback to: [THE STARK'S BATHROOM] From the photo: As if the camera were on backward, the towel bar jumps up from the filled bathtub and fuses itself to the bathroom wall. End of flashback. Resume to present.)
Sara: Injuries are consistent with an accident.
Nick: Yeah, but the contusion to the back of the head was not fatal.
(SARA looks at the photo taken of the back of SHELLEY STARK'S head.)
(Quick flashback to: [THE STARK'S BATHROOM] Camera view runs backward. SHELLEY STARK rises from the water in the bathtub. The camera continues to run backward. SHELLEY STARK is standing in the bathtub. The camera runs forward. SHELLEY STARK falls backward and hits the back of her head on the bathtub. She's knocked unconscious and sinks into the bath water. End of flashback. Resume to present.)
Sara: Abbreviated autopsy. Dr. Robbins oversaw.
(Camera close up of a portion of the report. We see:
STARK, SHELLEY
98-03810
Dr: ROBBINS
CAUSE OF DEATH:
DROWNING
Sara: Cause of death: Drowning. It jibes with the husband's account. It jibes with the detective's account. There is nothing in this file that suggests anything other than an accident.
Nick: I don't know, Sara ... other people's notes, other people's photos, evidence twice-removed. No CSI even got to look at it.
(NICK looks at SARA. They look at each other. SARA knows where this is going.)
Sara: (blinks) Do you want to go to the bathroom?
CUT TO:
[INT. CSI -- LAB]
(GRISSOM and CATHERINE sit across the lab table with a table full of consumables in jars in front of them. GRISSOM puts on his gloves.)
Grissom: Consumables from the club that matched Dougie's stomach contents. We know that he had naratriptamine in his system, and we also know that the poison was ingested.
Catherine: (picks up the jar with the chunk of spam) Because Spam can't be absorbed through the penis, and if you ask me to cite my source ...
(GRISSOM holds out his hand for her to stop.)
Grissom: I'll take your word for it.
(CATHERINE smiles.)
(GRISSOM starts with the first water sample. The label on the bottle reads:
INNOKO WATER BOTTLE 12
4-21-03
COMEDY HOLE
CW
(GRISSOM puts the water in a test tube.)
(CATHERINE puts a sample piece of Spam in a test tube.)
(GRISSOM fills the second tube with an burnish color liquid.)
(CATHERINE takes a sample out of the "PASSION FRUIT" jar and puts it in a test tube.)
(GRISSOM takes a sample out of the "COCKTAIL" jar and puts it in the test tube.)
(CATHERINE takes a sample out of the "CHOCO BEES" jar and looks at GRISSOM.)
Catherine: "Death by chocolate" again?
[Note: In reference to episode 3X01: Revenge Is Best Served Cold.]
(GRISSOM looks back at CATHERINE.)
Catherine: (smiles) Hmm.
(She puts a piece of CHOCO BEES chocolate into the test tube.)
CUT TO:
[EXT. GREEN VALLEY -- STARK RESIDENCE -- DAY]
(NICK and SARA are at GEORGE STARK'S residence. SARA is out examining the red Ferrari parked in the driveway. NICK is talking with GEORGE STARK on the porch.)
Nick: I'm Nick Stokes and Sara Sidle over there and we're with the Vegas Crime Lab.
George Stark: (nervously to SARA) Miss, plea-please-please don't get so close to the car, all right? The alarm is really delicate.
(SARA waves to GEORGE STARK that she understands.)
Nick: We're not really as concerned with the car, sir. What we'd like to do is look at your bathroom.
George Stark: Um, why, wha-what would you like to look at the bathroom for?
(SARA continues to look at the red Ferrari.)
Nick: Like I said, we're with the crime lab. We're here to tie up some loose ends regarding your wife's case.
(SARA leans in close and looks through the driver's side window.)
George Stark: I appreciate how thorough you guys are being, but ... I got ... I got to be honest. This is pretty painful territory for me.
Nick: Right.
George Stark: I mean, it's still pretty hard to get up in the morning without Shelley.
Nick: I understand ...
(SARA hears GEORGE STARK hedging, she turns around and deliberately knocks on the car window setting the car alarm off. Loudly. GEORGE STARK looks at SARA.)
George Stark: Ma'am, Miss, I thought I ...
(SARA smiles and waves innocently. Behind them, the women walking with their baby strollers stop and stare at the neighbor with the car alarm blaring. NICK looks around.)
Sara: (smiling) Sorry. I-I-I-I'm sorry. I, uh ... your neighbors are looking.
(Babies are crying in the background.)
George Stark: I'll get the keys. (waves them inside) Come on. Come on in.
(SARA heads for the front door. She smiles big time at NICK.)
CUT TO:
[INT. STARK'S RESIDENCE - BATHROOM -- DAY]
(GEORGE STARK holds open the bathroom door for NICK and SARA.)
Nick: It smells like fresh paint.
George Stark: Yeah, I had the whole place redone this week. Bad memories.
Nick: Did you replace the tub?
George Stark: No.
Nick: But you replaced the fixtures.
Sara: There used to be a towel bar there.
George Stark: Yeah.
Sara: Would you by any chance have the old towel bar lying around somewhere?
George Stark: No, the contractor tossed it. It was junk. Came with the house. This whole subdivision comes stock. In fact, the first thing the broker told me when I bought it -- if I ever want to sell, invest in upgrades.
Nick: You selling?
George Stark: Too big for one person.
Nick: Thank you.
Sara: Uh, thanks for your time. Mmm.
CUT TO:
[EXT. GEORGE STARK'S RESIDENCE -- DAY]
(NICK and SARA walk out of the house and head for their parked car.)
Sara: You pulled the plug kinda early. What's going on?
Nick: Yeah, that bathroom's not the crime scene anymore. I say we go with the next best thing.
(NICK looks across the street and sees the Open House banner on the MODEL HOME.)
Sara: (smiles) Model home.
Nick: (smiles) Model home.
(They both head for the Model Home.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(GREG walks into GRISSOM'S office. Hidden behind his back, he holds a baggie of something.)
Greg: (rhetorically) What do Socrates, Edgar Allen Poe, and Dougie Max have in common? (pauses for a b*at) They all drank themselves to death.
Grissom: You've isolated the source of the poison?
(GREG sits down and puts the baggie with the empty bottle on GRISSOM'S desk.)
Greg: Naratriptamine -- Innoko water bottle, number three.
(Quick flashback to: On stage, DOUGIE MAX drinks directly from the bottled water. The audience cheers and applauds.)
(Flash to white: Camera close up of DOUGIE MAX'S clenched right fist.)
(DOUGIE falls to his knees. He has difficulty seeing with the bright lights. The audience continues to cheer.)
Dougie Max: (croaks) Oh, god.
(He falls down to the stage face forward.)
(End of flashback. Resume to present.)
Grissom: What about the other bottles?
Greg: Clean.
Grissom: Okay. I need you to process that bottle for trace impurities.
Greg: Got it. Anything that might've mixed in with the poison could help us identify the original source.
Grissom: We identify the source ... maybe we identify the k*ller.
(GRISSOM picks up his pen, closes the file folder on his desk, picks that up, too, and stands up. He walks around the desk toward the door.)
Greg: Where are you going?
Grissom: To get a drink.
(GRISSOM leaves the office.)
CUT TO:
[INT. MODEL HOME - BATHROOM -- DAY]
(NICK puts a blue mat down inside the bathtub. SARA stands by the bathroom mirror and puts on a hard helmet. She fiddles with the strap under her chin.)
Nick: Seventy-five units with seventy-five identical floor plans. I never thought I'd be grateful for cookie cutter homes.
(SARA sits down on the edge of the bathtub and adjusts her helmet.)
Sara: Like bees in a hive. Gives me the creeps.
(NICK helps SARA with her helmet.)
Nick: You sure you don't want me to do this?
Sara: Are you kidding? I live for this. I mean, Shelley Stark and I are the same height and weight.
Nick: Yeah, but you're taller, thinner.
Sara: Oh, butter that toast, Nick.
(NICK laughs. SARA gets up and climbs into the bathtub. She settles herself inside the tub as if she were taking a bath.)
Sara: Okay, I'm Shelley Stark.
Nick: mm-hmmm.
Sara: My bath is over, and I'm about to get out, so ...
(SARA puts her left hand on the edge of the tub. She puts her right hand slightly behind her and starts to push herself up.)
Sara: I brace myself with my left hand, and I'm getting up at a 45-degree angle, and I slip... so, I grab the first thing that I can.
Nick: Towel bar.
Sara: Towel bar.
(SARA scoots over and grabs the towel bar with both her hands.)
Sara: Okay. So, at this point, all of my weight is being supported by this bar.
Nick: (leaning against the wall) And it doesn't budge.
Sara: No.
(SARA starts tugging at the towel bar. She slips and falls backward into the tub. The towel bar remains on the wall. Towel bar-1; Sara-0.)
(NICK laughs quietly. SARA turns her head and squints back at him. She's unamused.)
Nick: You okay?
Sara: (gruffly) Yeah, I'm fine. I'm fine ...
(SARA gets back up and grabs the towel bar.)
Sara: (murmurs) This thing is coming down.
(She clears her throat and gets a good grip on the towel bar. )
Sara: Okay.
(SARA starts to tug at the towel bar. NICK stands off to the side and bits his lips at her efforts. He tries desperately not to laugh.)
Nick: You sure you don't want me to do that?
Sara: (tugging on the towel bar & insistent) No.
Nick: Okay.
(SARA has both hands on the bar and has given up all pretense of the bathtub scenario. She concentrates on taking that towel bar down. NICK stands off to the side with a big grin on his face as he watches her with the towel bar.)
Nick: (drawls) Sara.
(SARA grunts. NICK smiles. SARA gives up.)
Sara: There is no way that Shelley Stark brought down this towel bar.
Nick: You want me to give it a sh*t?
(SARA sighs and climbs out of the tub.)
(NICK climbs into the tub. He knocks on the towel bar with his fist. He pulls the towel bar up with both hands. He braces himself with his leg on the edge of the bathtub and continues to pull at the towel bar.)
(SARA stands off to the side and watches.)
(NICK grunts with effort.)
(Finally. The towel bar comes off of the wall.)
(NICK exhales.)
Nick: Someone took a lot of effort to make this look like an accident.
Sara: Yeah, about $750,000 worth of effort.
CUT TO:
[INT. COMEDY HOLE -- NIGHT]
(A COMEDIENNE is up on stage running through her act and completely b*mb to an audience that gives her absolutely no response.)
Comedienne: Okay, so you know the thing that drives me crazy about men? You know how they take the toilet paper and then they put it up on top of the holder.
(CATHERINE smiles and glances at GRISSOM. They both stand at the back of the room leaning against the bar.)
Comedienne: What is that? Do they not see that? Are they just busy looking at their underwear on the floor?
(ALAN gets up and walks over to the light switch behind the counter on the wall. He flicks it on and off. A red light starts to flash.)
Comedienne: I got a nickname for my man. I call him Mr. Drop-and-stay, 'cause if he drops it, man, it just stays there.
(The COMEDIENNE sees the red light and wraps it up.)
Comedienne: God, uh, ooh, well, and that's my time. Uh, you've been fourteen quiet people, six empty tables, and I'll see you in hell.
(She walks off the stage.)
Grissom: (points to the red light) Modern version of the old hook.
(The turn around toward the bar. The BARTENDER walks around carrying a box.)
Bartender: Welcome to open mike night, guys. What can I get you?
Catherine: Information.
(MICHAEL BORLAND looks up from his seat at the bar.)
Michael Borland: (to the BARTENDER) Wow, your coffee stinks.
Bartender: (without missing a b*at) Oh, really. I'm sorry it's not up to the standards of your crap-ass home brew, but that'll be five bucks all the same, my friend.
Catherine: Dougie Max's Innoko water bottles that were on the stage his last performance -- who set them up?
Bartender: Yours truly. Bartender. Mr. Max had very acquired tastes. Lofty demands, you know. Six pristine Innoko water bottles, labels all facing the Luxor. And a green room? Forget it. Silver tray, spam, choco bees -- all blue. Not-not to mention that, uh, passion fruit stuff -- what is it, two bucks a pop? Try to find that stuff.
Grissom: Let's get back to the water. It was poisoned.
(The BARTENDER starts to bite his nails nervously.)
Bartender: Really?
Grissom: Mmm. The, uh, bottles you took out to the stage -- where'd they come from?
Bartender: That... Dougie's private stash.
Catherine: Well, besides you and Dougie, who had access to it?
(Behind the BARTENDER, [GILBERT GOTTFRIED] THE COMEDIAN walks behind the bar and starts snooping around for something. He bends over looking at the counters.)
Bartender: (confidently to CATHERINE) Nobody's allowed behind the bar besides the bar staff and me.
([GILBERT GOTTFRIED] THE COMEDIAN walks up to the BARTENDER from behind the bar. He immediately cuts into the conversation. )
[GILBERT GOTTFRIED]: But no one listens to him. (THE COMEDIAN holds out a capped beer bottle.) You got a bottle opener?
Bartender: Hey, that's going on your tab, you Leech!
[GILBERT GOTTFRIED]: (walks away) I'm scared.
Catherine: Well, you've got a temper ... and a record. as*ault. Club in Tucson.
Bartender: Yeah, I had a temper, until I kicked the crap out of a heckler for interrupting my closing bit.
Grissom: Do you get headaches?
Bartender: I'm getting one right now.
Grissom: We want all the Innoko water ... to go.
(Without another word, the BARTENDER opens the cabinet and the camera lingers on the label on the box:
INNOKO
Natural Caffeine Free Water
Bottled at the Source
CUT TO:
[INT. CSI -- HALLWAY]
(GRISSOM catches WARRICK as he walks through the hallway. GRISSOM is carrying a slip of paper.)
Grissom: Warrick ... this just in. D.B. at a convenience store on Torrey Pines. You're all I got.
(GRISSOM gives the paper to WARRICK.)
Warrick: I'm on it.
(WARRICK leaves. CATHERINE catches up with GRISSOM.)
Catherine: Oh, hey, listen. I checked the bartender's medical records. The guy's had six different prescriptions for migraines in the last two years. Guess which one he's on now.
Grissom: Naratriptamine.
CUT TO:
[EXT. COMMUNITY (STOCK) - DAY]
[INT. TORREY PINES -- SPEEDY MART-- DAY]
(WARRICK walks into the store. On the floor in between the aisles is a body. WARRICK looks at the body then turns to the CASHIER.)
Warrick: I'm Warrick Brown from CSI. You want to tell me what happened here?
Cashier: I don't know. Kid walks in. He goes down an aisle. Next thing I know, he drops d*ad.
(WARRICK turns around and looks at the d*ad kid. He turns back to the CASHIER.)
Warrick: Where'd he start?
(WARRICK and the CASHIER walk around the store.)
Cashier: He was pacing back and forth, scoping the place out. I always spot those kids. People don't know. You consume food or drink in the store, it's the same as shoplifting until you pay for it.
Warrick: What'd he steal?
Cashier: A beverage. He put it back before I could catch him.
Warrick: Where?
Cashier: Over here.
(WARRICK looks to the right of the aisle and sees nothing. He looks to the left of the aisle and finds a bottle of Innoko water. WARRICK takes out a glove and picks up the bottle. He looks at the bottle label and recognizes it instantly. Innoko water.)
Warrick: (grimly) This isn't funny anymore.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT./INT. SPEEDY MART-- DAY]
(The Speedy Mart is taped off. A man wheels out a cart full of stacked boxes of Innoko water.)
Catherine: (V.O.) Total recall. We pulled 140 bottles
(Inside the store, CATHERINE is on her cell phone. She's at the back of the store and walking through the aisle to the front of the store.)
Catherine: (urgently) ... of Innoko water off the shelves in this store alone. There's 500 convenience stores in Vegas. We need to get this product off the shelves now. Grocery stores, restaurants, wholesalers ... I mean not to mention the population of informing the people ...
(WARRICK is talking with a woman in a business suit.)
Warrick: ... right now, it looks like only your Innoko water product is involved. CSI is going to need the name of any recent firings, anyone with a lawsuit against the company, anyone who's made thr*at against the company -- anyone with an axe to grind.
Catherine: (to phone) Yes, I know that we risk panic, chief, but I'd rather risk that than have another victim.
(GREG walks into the store. CATHERINE looks up and signals to GREG. He walks over to her.)
Catherine: (to phone) Hang on. (to GREG) We need to find out what's in there.
(CATHERINE hands the bagged water bottle to GREG. She walks away.)
Catherine: (to phone) I'm back. (pause) Yeah. (pause) Right.
(GREG walks back out of the store with the bagged bottle.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS is working on a body. NICK and BRASS is standing there trying to convince ROBBINS to authorize an exhumation.)
Robbins: I checked her lungs-- bath water. And the blow to the back of the head consistent with a fall. Besides, homicide reported that nothing at the scene indicated foul play, so, there was no reason to do more than an abbreviated autopsy.
Brass: No one's impugning your work, doctor.
Nick: Yeah, it's nothing personal, Doc.
(ROBBINS takes something out of the body and walks to the scale.)
Robbins: Well, this is personal, Nick. I tend to take my work to heart, and when the two of you come in here asking me to sign a court-ordered request for an exhumation of a body that's already left my hands, (ROBBINS dumps the organ on the scale.) I tend to take it very personally.
Brass: Look, I'm the one who said Shelley Stark's death was an accident, and I'm the one with second thoughts. I mean, it's my ass on the line.
Robbins: (getting angry) That's wrong, Captain. It's my ass on the line. I don't think the two of you are sensitive to what we're really talking about here. First of all, exhumations are costly and public. Makes this office look inept, and that's just internally. God forbid it gets in the newspaper. Remember something -- the public does not understand "abbreviated autopsy". All they hear is, "Oh, what did he miss?"
Nick: No one's saying you missed anything. We have new evidence. We need to reevaluate the body.
Robbins: (hard) Respectfully, Nick, I don't think you understand.
Nick: I think I do understand.
Brass: (quietly) Yeah, Nick ... give us a minute, will you? Just a minute.
(NICK leaves the room. ROBBINS sighs. BRASS takes a step forward.)
Brass: Neither of us want to be wrong, but this isn't about the press, the public, your office, you or me. This is about Shelley Stark. Now, we can do one of two things. We can do nothing, let this guy walk, or we can go to work, exhume the body, and find new evidence. Now, it's your call.
(Camera holds on ROBBINS.)
CUT TO:
[EXT. GRAVESITE -- DAY]
(The backhoe breaks into the grass at the gravesite.)
(Dissolve to: Diggers starts to clear the area with shovels.)
(Dissolve to: The coffin is raised from the hole.)
(Cut to: The coffin rises under ROBBINS' watchful supervision.)
CUT TO:
[INT. CSI -- LAB]
(Camera close up of the computer. GREG is on the computer working on the water analysis. The computer read out shows:
VICTIM: D. MAX DATE: 4/23
VICTIM: C. FLYNN DATE: 4/24
(The red spike for Naratriptamine flashes on screen.)
(GREG absently raises the purple can to his lips. He stops and looks at it, stands, then throws it in the trash.)
CUT TO:
[INT. CSI -- HALLWAY]
(GREG walks up to CATHERINE in the hallway and fills her in with the findings.)
Greg: The poison in both bottles is naratriptamine. Same trace impurities in the water-- sulfides, phenols, amino acid complexes and caffeine.
Catherine: So, we've got two bottles of poisoned Innoko water -- one from a comedy club on western, the other from a convenience store halfway across town.
Greg: What's the connection?
Catherine: There may not be one; it could just be random.
Greg: So, how are we going to get this guy?
Catherine: You know, they never caught the guy who put the cyanide in the Tylenol back in the '80s. They found out how the bottles were tampered with. That's where safety seals came from.
CUT TO:
[INT. CSI -- LAB]
(GRISSOM tests the bottles to see whether there were any puncture holds in the plastic. In the back of the room, CATHERINE is looking through a scope. GRISSOM dunks the first bottle under the water and doesn't find any air bubbles/leaks.)
Grissom: No injection holes in the bottle from the Speedy Mart. Do you see anything?
Catherine: No, nothing yet.
[SCOPE VIEW]
(CATHERINE looks at the bottle cap under the scope and sees white crystals on the bottom inside cover. CATHERINE looks up.)
Catherine: Wait a minute. It's in the threads.
(GRISSOM pulls out the baggie with the bottle cap from the other water bottle.)
Grissom: Would you like to try one from the Comedy Hole?
(GRISSOM holds it out to CATHERINE.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS puts on his gloves. In the back of the room, NICK also puts on his gloves. DAVID is already gloved and is standing in front of the closed casket.)
Robbins: Mr. Phillips, she's not going to hop out of that coffin by herself.
David Phillips: Doc, I'm not quite sure how to proceed. (smiles) First exhumation.
Robbins: Well, it's very simple. You will open it up.
Nick: (deadpans) Now, if she grabs you, use your free hand and hold her down, okay?
(DAVID seriously stares at NICK.)
David Phillips: Okay.
CUT TO:
[INSIDE CASKET POV]
(NICK opens the coffin cover. The lid squeaks.)
David Phillips: Wow. She's pretty well-preserved.
Nick: Well, embalming does ...
David Phillips: (getting enthused) ... removes the blood, ret*rd bacterial growth, and, uh, pickles the tissue.
Robbins: David, would you go to the store and buy some cold cream?
(DAVID looks at ROBBINS.)
David Phillips: Why?
Robbins: Her makeup -- it's got to come off.
David Phillips: (slightly disappointed) Oh. Okay.
(DAVID turns to leave.)
Robbins: Thanks.
Nick: Thanks, Dave.
CUT TO:
[INT. CSI - LOUNGE/BREAK ROOM]
(On the television set, the newsreporter from EYEWITNESS NEWS, PAULA FRANCIS, gives her report.)
Paula Francis: (from tv) Las Vegas awakens today with a terrible realization that our city may face a new and deadly menace.
(WARRICK is in the break room with LEAH, GREG and HODGES, who holds an open newspaper. They pause to watch the news report.)
Paula Francis: Fifteen-year-old Casey Flynn collapsed and died this morning shortly after drinking a bottle of Innoko water at a convenience store near Torrey pines.
Leah: What kind of sick bastard would do something like this?
David Hodges: The question isn't who -- it's how. As in how do they expect this lab to test forty thousand bottles of overpriced tap water?
Warrick: If we have to, one bottle at a time until we find every tainted bottle.
(Camera cuts back to the news report which shows the headline: PUBLIC PANIC. The camera has an outside view of the police outside the convenience store. Camera cuts to a close up of a LAS VEGAS POLICE CAR. Cut to: Innoko Bottled Water being re-boxed.)
Paula Francis: (from tv) ... at the Comedy Hole. The events occurred on opposite ends of town, have not yet established a definite connection between the two deaths. But Las Vegas residents fear the worst -- that our city may be in the grip of a product-tampering nightmare.
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(GREG, WARRICK and LEAH sit at the table. HODGES is getting himself a cup of something.)
Greg: (to everyone) You know how they tested for the cyanide in the Tylenol case? (to HODGES) Hodges? (quickly) One, two, three?
(GREG imitates a buzzer.)
Greg: They took it to the airport. They x-rayed bottles in bulk using baggage scanners.
Leah: (smiles and nods) Nice. Cyanide is opaque to x-rays.
(HODGES folds the paper that he's reading and takes the seat next to GREG.)
David Hodges: Yeah, cyanide and x rays -- that's a lucky break. But any of you geniuses have a "lucky" test for naratriptamine?
(CATHERINE rounds the hallway corner and walks in through the doorway.)
Catherine: (interrupting) We've got a bigger problem than we thought we had.
David Hodges: Why are you looking at me?
Catherine: I'm not looking at you.
David Hodges: Yes, you are.
Catherine: (closes her eyes for a moment before continuing) We think that we nailed the tampering method. The poison wasn't inside the bottle. It was on the bottle cap.
(Quick demonstration of: The person picks up the bottled Innoko water.)
Catherine: (V.O.) We think that the k*ller dripped a solution of naratriptamine into the threads of the bottle cap.
(The person drips the solution into the holds in the sealed cap sides.)
Catherine: (V.O.) Capillary action pulled the solution into the threads, where it dried into white crystals.
(End of quick demonstration. Resume to present.)
Warrick: Oh, so, each time Dougie Max and Casey Flynn took a sip, the liquid came in contact with the threads and washed back into the bottle.
(Quick black & white flashback to: DOUGIE MAX throws his head back and drinks from the bottled water. End of flashback. Resume to present.)
Greg: And so the poison I found in the Innoko water was... backwash. Which means that we're going to have to take the caps off of forty thousand bottles.
Catherine: Right now, that's the way it looks.
Warrick: Great.
CUT TO:
[INT. CSI - LAB]
(GRISSOM checks out an empty water bottle. He picks up his glasses from the table and puts them on.)
(Camera close up of the lot # on the bottle reads: )
PRD 03 FEB10 10:32
EXP FEB 2005 AN1WC
NV5871
(He compares it to the lot # of the second bottle: )
PRD 03 FEB10 10:32
EXP FEB 2005 AN1WC
NV5871
(They're exactly the same. He stands up and leaves the lab carrying the two bottles.)
CUT TO:
[INT. CSI - LAB -- CONTINUOUS]
(GRISSOM walks into the lab. WARRICK is there.)
Grissom: I need to see the lot numbers of the bottles you pulled from the convenience store.
Warrick: I got all the stacks arranged by locations, so the convenience store is right here. 140 bottles-- NV6630.
(GRISSOM looks at the lot # on the bottle. It doesn't match.)
Grissom: The tainted bottles didn't come from this lot.
Warrick: Well, the bottle that k*lled Casey Flynn came from this store.
Grissom: Somebody may have just walked in and put it there, though. Where are the bottles from the comedy club?
Warrick: Over here.
(WARRICK pulls out a box with the lot # stamped on the side of the box:
PRD 03 FEB10 10:32
EXP FEB 2005 AN1WC
NV5871
Grissom: These are a match.
Warrick: So, the source of the poison bottles was the comedy club.
Grissom: Maybe the k*ller wanted us to think it was random product tampering.
Warrick: Why?
Grissom: Cover up one m*rder with another?
(GRISSOM turns to look at WARRICK. Camera holds on WARRICK.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY]
(NICK and ROBBINS work on SHELLEY STARK'S exhumed body.)
Nick: I've never seen one like this.
Robbins: Embalming fluid's a witch's brew of formaldehyde, phenol, menthonol and alcohol, perfume and pink coloring agent.
Nick: Kills the bacteria, but ... mold feeds on it?
Robbins: Yeah. It's like bathing an infant, Nick. Soft and always in motion.
(ROBBINS stops and takes a look at the body. Aware that ROBBINS has stopped working, NICK looks up.)
Nick: What's wrong? I'm not doing it right?
Robbins: No, you're doing fine. See the bruising on her back and her right elbow?
Nick: It's consistent with her fall. But it wasn't in your report.
Robbins: Well, it wasn't evident four weeks ago. Subtle bruising may not be evident ...
(Quick flashback to: Top view of the body on the table as the body is being embalmed.)
Robbins: (V.O.) ... at the time of death, but it can be accentuated by the embalming process ...
(Cut to: The body is being embalmed. Camera moves in on the bruises on the back.)
Robbins: (V.O.) ... after the body leaves my slab. This bruising would have meant nothing to the mortician.
(End of flashback. Resume to present.)
Nick: They're in the beauty business.
Robbins: It's my job to spot them, their job to cover them. Let's turn her over. (cc) Got her?
(cc) NICK: Yeah.
Robbins: Here we go.
(They flip the body over.)
Robbins: All right, let's see what's under that makeup.
(ROBBINS digs into the cold cream and starts to take off the make up. As they work with the cold cream, more bruises are uncovered. They find a lot of bruises suspiciously in the shape of a handprint.)
Robbins: Bruises on her face.
Nick: Brass was right. We are looking at m*rder.
CUT TO:
[INT. CSI - HALLWAY ]
(GREG, GRISSOM and CATHERINE walk through the hallway.)
Greg: Naratriptamine comes in tablet form. In order to get it in the solution, you'd have to grind it up.
Grissom: There were traces of caffeine with the naratriptamine.
Catherine: Right. But how did it get there?
Greg: Maybe it got there during the grinding process.
Catherine: There was a coffee grinder in the green room at the Comedy Hole.
CUT TO:
[INT. COMEDY CLUB - GREEN ROOM]
(GRISSOM picks up the coffee grinder from the counter. He looks at it before bagging it.)
Grissom: Do you provide your comedians with or do they brew their own?
Alan: Around here you get generic. If they want something special, they can bring a thermos. (When it's evident that GRISSOM'S going to just take the stuff. He throws his hands up.) Just take whatever you want, okay?
(ALAN turns and walks out of the room.)
Alan: Knock yourself out.
(GRISSOM looks at the cartoon characterization drawing on the wall of DOUGIE MAX. It reads:
Go Home! (in black), Screw You! (in white), Sell Out (in blue)
$ Money can't buy you talent (in black)
See out (in yellow).)
(It's signed, Dougie Max. Below that is "Who?" in blue. Under that is written
"It's a cruel world ... you suck!" (in black).)
CUT TO:
[INT. COMEDY CLUB - DAY -- CONTINUOUS]
(GRISSOM stands in front of the memorial wreath set up in the front of the club with banners reading, "We'll miss you" draped on it. It has a photo of DOUGIE MAX in it with a star with the words, "It's a cruel world, ain't it?" on it. Under the picture is "March 28, 1968 - April 24, 2003.)
Alan: That's the last picture taken of Dougie Max before he died.
(GRISSOM takes out his glasses and puts them on. He leans in toward the picture. The camera zooms in on the red light in the background.)
Grissom: Doesn't the red light mean, "Get off the stage?"
Alan: No, the red light means "Get off the stage NOW."
Grissom: So why were you giving Dougie Max the red light?
Alan: (confused) He's my headliner. I wasn't giving him the red light.
(GRISSOM walks around the counter and puts on a pair of latex gloves. He turns the light switch on and off. On the stage, the red light switches on and off. ALAN turns around to look at the red light switching on and off as it's reflected back on the wall behind the stage. He looks at GRISSOM.)
(GRISSOM takes out his flashlight and examines the light switch where he notices some blood stains. GRISSOM looks at ALAN.)
Grissom: We're going to need a sample of everyone's DNA.
CUT TO:
[INT. COMEDY CLUB - BACK ROOM -- DAY]
(CATHERINE and an officer enter the backroom to get the DNA samples.)
Catherine: All right, gentleman. Good afternoon. Could you line up for me, please. Right up here, please.
Michael Borland: Is this going to take a long time? I've got a 4:00 bikini wax that I don't want to miss.
Bartender: I got to get my wig redone like in a half hour, so if we...
[GILBERT GOTTFRIED]: I have plenty of time. I have no career.
Catherine: Right, well, I can see you all know how to open your mouths, so ... good. (She holds up a swab.) Ready?
([GILBERT GOTTFRIED] deliberately shuts his mouth. CATHERINE sighs.)
Catherine: Just give me an "O."
[GILBERT GOTTFRIED]: I need a lot of foreplay.
Catherine: Oh, well, then maybe I should use a rectal swab.
[GILBERT GOTTFRIED]: Ah ... oh.
(When he opens his mouth to respond, CATHERINE shoves the swab in his mouth.)
Catherine: Good boy.
(CATHERINE turns to the other two men.)
Catherine: Okay, who's next for some foreplay
(The BARTENDER is biting his nails.) Oh, a nail biter, huh? You mind if I see your hands?
(He holds out his hands for CATHERINE to look at. Camera close up of the blood on his fingertips where he bit his nails down to the skin.)
(Quick flashback to: DOUGIE MAX is on stage during his act.)
Dougie Max: I'm one of eleven kids from twelve dads. You figure it out.
(In the back of the room, The BARTENDER is flicking the light switch on and off.)
(End of flashback. Resume to present.)
Bartender: Yeah, I gave him the red light. What are you going to do, arrest me for distraction with intent to humiliate? I'm guilty. (He looks around at the other two men. Nobody laughs at his joke.) What? Are you kidding me? I was joking.
Catherine: Funny.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS is interviewing GEORGE STARK in the presence of his LAWYER. BRASS is pacing the room as he explains why they're there.)
Brass: You know, something about your wife's case never felt right to me. It bugged me, kept me up at night. It's not because you called your insurance company and filed a claim the next day. It's your policy; it's your right. It's not because you bought a new Ferrari; it's your money. Or because you're with a beautiful girl. I mean, you just lost your wife, you need some companionship. (he pauses) No. It's because of something you said.
(Quick flashback to: GEORGE STARK has his head in his hands and is crying.)
George Stark: (sobbing) What am I going to do? She was my life.
(End of flashback. Resume to present.)
Brass: You said, "She WAS my life." Not 'is'.
George Stark: That's why I'm sitting here? Because I used the wrong tense at the time of my wife's death?
Brass: No, hold on a minute. I've been a detective for half my life. I can count on one hand the times surviving spouses used the past tense, and I got to tell you, I'll be damned if every one of them wasn't guilty of something.
(GEORGE STARK doesn't say anything.)
Brass: Now, I mean, that's just me. I mean, in a court of law it means nothing.
Nick: But ... this ...
(NICK puts some photos down on the table, face up, one by one.)
Nick: ... and this ... and this ... mean everything. The fact that you're left-handed doesn't hurt us either. Hurts you, though.
(GEORGE STARK'S lawyer looks at the pictures and is puzzled by their unfamiliarity.)
Lawyer: Wait a minute. I haven't seen these.
Nick: New evidence. Body was exhumed by a court order. Second autopsy.
George Stark: You dug her up.
Nick: (nods) Mm-hmm.
George Stark: I didn't give anyone permission to dig her up.
Brass: You're a suspect in a m*rder case. We don't need your permission.
George Stark: (to his lawyer) Can they do that?
Lawyer: Yeah.
Brass: (to GEORGE STARK) You k*lled your wife, George.
George Stark: I loved my wife.
Brass: And she loved you. Which is why she didn't react when you walked into the bathroom that night.
(Quick flashback to: GEORGE STARK walks into the bathroom where SHELLEY STARK is taking a bath. He starts to help her with her bath by gently dabbing at her brow with a towel. She closes her eyes and relaxes in the water.)
(He puts the towel aside, grabs her with his left hand and pushes her head under the water. She struggles. He holds her under until she stops breathing.)
(GEORGE STARK reaches out and grabs the bath towel railing with both hands and rips it out of the wall.)
(End of flashback. Resume to present.)
Nick: You staged the crime scene.
Brass: You see, it's physically impossible for her to pull that towel rack off the bathroom wall.
George Stark: It was an accident. You said so yourself.
Brass: I was wrong.
(GEORGE STARK shakes his head. His LAWYER shakes his head.)
Lawyer: I see the pictures. I hear the theories. Still doesn't make my client a m*rder.
(NICK glares at the LAWYER and doesn't say anything.)
CUT TO:
[EXT. POLICE DEPARTMENT -- DAY]
(GEORGE STARK walks out of the police department with his LAWYER. He laughs and looks up just in time to see the tow truck take his new Ferrari away. He runs after the tow truck.)
George Stark: Hey! Hey! Hey! That's my car! What are you ... ?
(BRASS and NICK walks out onto the sidewalk. GEORGE STARK turns around.)
George Stark: What the hell is going on?
Lawyer: This is harassment.
Brass: We don't have enough to file charges, but the insurance company feels they got more than enough.
Nick: Civil charges.
Brass: Translated: That means they want their cheese back, man. They want their $750k.
George Stark: They can just take my car?
Brass: For starters, yeah.
Nick: This isn't the end of our criminal investigation there, George. It's just the beginning.
(NICK walks away.)
Brass: That's present tense.
(BRASS turns and walks away.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GREG reports his findings to GRISSOM. He stands in front of GRISSOM'S desk, while GRISSOM sits behind it.)
Greg: The coffee you bagged from the club doesn't match the tainted Innoko water. That's the bad news.
Grissom: Still listening.
(GREG sits down on GRISSOM'S desk.)
Greg: You know what I have that you want in the mornings? Apart from my devilish grin and rakish good looks, of course.
Grissom: I like your coffee.
Greg: No, no. You LOVE my coffee. And you want to know why? It's Blue Hawaiian. 40 bucks a pound, hand-picked ...
Grissom: I know, the finest money can buy.
Greg: No, not even close. Just let me get there. Now caffeine by itself is not distinctive. It's in all kinds of coffee by definition. Now the trace amino acid complex, on the other hand, is a signature.
Grissom: Okay, so you've identified the type of coffee.
(GREG hits his hand against the results.)
Greg: Kopi luwak. The most expensive coffee in the world. Revered for its rich, chocolatey texture and made from the excrement of a small indonesian cat-like creature known as a luwak.
Grissom: Cat feces?
Greg: The luwak eats only the ripest beans, which pass through its digestive system intact. However, during the process enzymes break down a number of amino acids which cause bitterness.
Grissom: (understands) And leaves a unique chemical signature.
Greg: So whichever one of your suspects drinks kopi luwak is your k*ller.
(GRISSOM looks down at the results and smiles.)
CUT TO:
[INT. COMEDY HOLE -- NIGHT]
(MICHAEL BORLAND is on center stage.)
Michael Borland: We are a bashing nation. Gay bashing? You know what that is? That's guys going, "I hate you 'cause you're q*eer ... (he hits the mike in time with the phrasing) and you're gay, and you're kind of attractive ... and I would like to have sex with you but I'm in the closet so I'll just b*at you up and then play with myself in my trans am on the way home."
Heckler: Boo.
(Looks up at the HECKLER.)
Michael Borland: "Boo"? Oh, I'm sorry. I didn't mean to offend you. Hey, you know what? If that offends you, perhaps you should just come out of the closet and move on with your life. You're going to feel so much better. You know, you are what you hate.
(Only one person claps ... pathetically.)
Michael Borland: All right, um ...
(He looks around to illustrate his point. He picks up the bottle of water from the chair and uncaps it ... and goes into DOUGIE MAX'S routine ... )
Michael Borland: ... mm, I'm a little dehydrated. I hope you don't mind if I replenish my bodily fluids. Mm...
(He drinks from the water and spits it out into the audience. The audience starts to laugh. Some even start to applaud.)
Michael Borland: It's a cruel world ... !
Crowd: Ain't it great? Yeah!
Michael Borland: You know what you'd like? How many people would like it if I just, if I just dropped trousers right now and pee on Vin Diesel's head, huh?
(The audience starts to get into it. They cheer.)
Michael Borland: Wouldn't you like that? I'll do it! I'm willing to do it for you good people. I'll do it.
(He reaches for his pants belt and zipper. He does it.)
(Camera shifts to GRISSOM who watches the act with a grim look on his face. The audience cheers.)
(Cut back to the stage. MICHAEL BORLAND refastens his pants while continuing his routine.)
Michael Borland: Open wide. I'm flattering myself, ladies and gentlemen. You don't have to open up that wide. See, I'm implying I have a tiny, tiny penis.
(MICHAEL BORLAND turns around and picks up his glass coffee cup from behind him.)
Michael Borland: That's what that joke would be. Ergo, the comedy. I'm talking about penises. (He takes a sip of coffee from his cup. From the back of the room, GRISSOM sees this.) You just want to eat out of that toilet bowl. Yum, yum.
(GRISSOM turns to the COMEDY HOLE OWNER and nods. The COMEDY HOLE OWNER heads for the back of the bar where the switch to the red light is. MICHAEL BORLAND sees ALAN reach for the switch. ALAN flicks on the red light.)
(The audience cheers.)
Michael Borland: Shut up.
(The audience continues to cheers.)
Michael Borland: Shut up. Don't you get it? Are you that stupid? I am making fun of you. I am the lowest common denominator in comedy when I do that crap.
(The audience calms down.)
Michael Borland: The only way I could get you to stop laughing now is if I went to every single table and slit every one of your throats.
(The audience quiets down, confused.)
Michael Borland: I can see that I am getting the red light, ladies and gentlemen, and that means it's time for me to stop. Stop with the hate and stop with the fear. Stop with the lies. Comedy, uh, comedy's supposed to be about The Truth. You know, uh, I k*lled tonight. And, uh, I k*lled ... uh ... two nights ago .... Dougie Max ... uh ... on this stage.
(Camera cuts to: GRISSOM -- grim -- in the back of the room.)
Michael Borland: 'Cause I despised everything he stood for. Dumb people, like you.
(MICHAEL steps down from the stage and slowly makes his way to GRISSOM.)
Michael Borland: You think I did a disservice to the world by k*lling Dougie Max? You ought to give me a parade. But the shame of it is, is that, uh, an innocent kid got k*lled, too, and, uh ... I blame you.
(MICHAEL BORLAND points the mike to GRISSOM. GRISSOM doesn't crack a smile.)
Michael Borland: Yeah, I, uh ... I didn't think you were going to get the joke.
Grissom: Oh, I got it. (b*at) It just wasn't funny.
(GRISSOM grabs the mike away from MICHAEL'S hand. The officers put him in hand cuffs. Camera holds on GRISSOM.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x20 - Last Laugh"} | foreverdreaming |
COLD OPEN:
[EXT. SKY AT HIGH ALTITUDE (STOCK)]
(Camera opens on the sea of clouds at the bottom of the screen with the sun barely over the horizon. The wing tip of an airplane appears on the left of the screen. The camera moves over and the plane turns as it flies toward the camera.)
(In the background, fast-tempo techno pop music plays.)
(The camera zooms into the left engine.)
(Quick CGI through the engine, into the plane, through the electrical system, up toward the main cabin, through the gas pipe and out into the main cabin. End of Quick CGI. Resume to present.)
CUT TO:
[INT. PLANE - MAIN CABIN - DAY -- CONTINUOUS]
(The gas flame flares in the pot over it. They guests don't pay any heed to it. They continue to mingle, laugh, and drink.)
(The party hostess, HARPER FITZGERALD, holds a martini glass in her hand and mingles with her guests. A man kisses her on her cheek.)
(A woman is getting a massage in the middle of the room.)
(HARPER FITZGERALD talks a bit with the woman getting the massage. The Steward, JASON BANKS, replenishes the food on the table.)
(Cut to: Ext. The plane hits some turbulence.)
(Cut back to: Int. Main Cabin. HARPER FITZGERALD and guests rock unsteadily on their feet as they feel the turbulence.)
(The blue FASTEN SEAT BELT sign turns on. The CAPTAIN'S voice filters through the P.A.)
Captain: (on P.A.) Hey, folks, we've h*t a little more of that pesky turbulence. If you'd kindly take your seats we should be arriving on the hour.
(Guests start to plop down onto the nearest seat. JASON BANKS approaches HARPER FITZGERALD who is still standing.)
Jason Banks: (to HARPER) Fasten your seatbelts please.
(HARPER FITZGERALD takes her seat. She turns to the woman next to her and raises her martini glass.
Harper Fitzgerald: Cheers.
(The camera moves past the other party guests and focuses on the closed back door at the back of the room. A horse whinnying can be heard faintly through the party noise.)
CUT TO:
[INT. PLANE - CARGO HOLD - DAY -- CONTINUOUS]
(The camera pans backward and down slowly. The horse continues whinnying. The cargo hold is padded with silver insulation and is filled with the passenger's things - a couple of motorbikes, a tray of food and, in the center of the cargo hold, a stall with a horse tied inside.)
(The camera moves past the tray of food, past the second motorbike, and focuses on the horse. Next to the horse on the ground in the stall on the straw is a d*ad woman.)
FLASH TO WHITE:
[INT. AIRPLANE HANGAR -- DAY]
(BRASS stands in the middle of the hangar waiting as GRISSOM and CATHERINE walk inside. They glance at the horse in a different hold to the right of the door. They walk up to BRASS.)
Brass: The victim's name is Lori Hutchins.
(The woman's body is still on the bottom of the horse's stall.)
Brass: Apparently, she chaperoned the horse on trips all the time. Baggage handler found the body in the cargo hold after the passengers had disembarked.
Grissom: We're going to need to process everyone on that plane.
Brass: Well, they're being corralled as we speak, partner.
Catherine: Where to start?
Grissom: First witness, first suspect.
(Everyone turns to look at the horse.)
Catherine: The horse?
(b*at)
Grissom: Of course.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS AIRPORT (STOCK) - DAY]
[INT. AIRPLANE HANGAR -- DAY]
(CATHERINE interviews the STEWARD (JASON BANKS), the CO-PILOT and the CAPTAIN. They all stare at each other for a long moment. Finally, CATHERINE starts.)
Catherine: All right, let's talk about Lori Hutchins. What can you tell me about her?
Jason Banks: She was sweet, polite, quiet.
Co-pilot: (GLASSES) Horses were her life. She was great with them.
Catherine: And she always traveled down below with the horse?
Jason Banks: Checked on her twice during the flight. Brought her dinner about three hours in. She was worried about the horse, but that was nothing new.
Catherine: So nothing unusual.
Co-pilot: There was some turbulence, but nothing outrageous.
Captain: We had an emergency call button down there, if something went wrong. Lori never used it.
CUT TO:
[INT. AIRPLANE HANGAR]
(GRISSOM examines the horse's travel stall for evidence. He snaps some pictures of blood spots and finds a small pair of scissors with a piece of hair stuck to it.)
(NICK walks up to the stall and lingers near the doorway.)
Nick: Where's the horse?
Grissom: USDA facility. Mandatory 48-hour quarantine.
Nick: A hundred-pound woman trampled by a 1,400-pound horse? Doesn't seem very fair.
(GRISSOM finds something.)
Grissom: Tranquilizer dart.
Nick: Changes the odds a little.
(Under the straw, GRISSOM finds the r*fle.)
Grissom: Mmm.
Nick: Yeah ... heavy a*tillery.
Grissom: More than one way to handicap a horse.
CUT TO:
[INT. AIRPLANE - CARGO HOLD - DAY]
(CATHERINE walks into the cargo hold with her kit. She looks around at the two motorbikes and other stuff.)
(She lingers at the brown pieces of something on the ground. She puts a sample in a bindle and packs it away. She continues her examination. She sees something pink in the ceiling lining. She takes out a small stool and extracts the tranquilizer dart.)
(Quick flashback to: In the cargo hold, the horse rears. LORI HUTCHINS tries to calm the horse down, but doesn't succeed. She turns around and picks up the tranquilizer g*n and cocks it. She fires.)
(The plane hits some turbulence and rocks LORI HUTCHINS on her feet. The dart hits the ceiling instead as she falls backward on the ground. The horse rears up. LORI HUTCHINS is thrown forward into the stall. The horse comes down on her.)
(End of flashback. Resume to present.)
(NICK walks into the cargo hold.)
Nick: What have you got?
Catherine: Trainer had all these small syringes. Why go for the big g*n instead?
Nick: Mmm ... I don't know. Maybe she didn't want to get too close to a spooked horse. What about this food?
Catherine: Steward said he brought her some dinner.
(She lifts the cover off of the plate and looks at it. She puts the cover back on.)
Catherine: Guess she wasn't very hungry.
Nick: Looks like someone stepped in horse crap. (NICK kneels down.) And what was the vic wearing?
Catherine: Work boots, I think.
Nick: That's a funky print.
(CATHERINE looks at the print.)
Catherine: Oh ... a J.P. Tod's driving loafer.
Nick: Hmm?
Catherine: I may shop the outlets ... but I read vogue.
CUT TO:
[EXT. DEATH VALLEY -- DAY]
(LOCKWOOD escorts SARA and WARRICK to the body.)
Lockwood: This is Death Valley, huh?
Warrick: You get lost out here, you're toast.
Lockwood: That may have been the idea.
CUT TO:
(They reach the body.)
Lockwood: Helicopter tour pilot noted it and called it in.
Sara: Deathbed ... casket-ready. Laying in the hell's gate section of death valley.
Warrick: Poetic.
Sara: More like suicidal.
(She snaps some pictures.)
Lockwood: Is that bird crap?
(SARA takes a sample of it.)
Sara: Could be.
(WARRICK checks the boy's pockets for ID. He takes out a wallet and reads the information on it.
Warrick: Toby Wellstone. Mckinley High School. 12/12/87.
[ID # 8438291]
Sara: What's that on his hand?
Warrick: Looks like a transdermal patch. Fetanyl. Pores in the hand make for faster absorption. Intentional overdose.
Lockwood: I'll notify the parents.
(LOCKWOOD leaves.)
Sara: We're 85 miles from Las Vegas, one mile from the closest road. If this was a solo job, how did he get here?
(WARRICK points to some tracks on the ground nearby.)
Warrick: I see some tracks over there, but ... they could be from anything: A surveyor's tool ... a remote-controlled car ...
(SARA raises the camera to take a picture of the marks.)
Sara: Anything with wheels.
CUT TO:
[INT. AIRPLANE - MAIN CABIN -- DAY]
(CATHERINE checks out the main cabin. BRASS walks in.)
Brass: Oh, I'll tell you. Some days, it's tough to be me. You know, I wish that the seats were as organized as that bar. We have the passenger manifest. No assigned seating, 12 passengers 24 shoes, 36 lawyers.
Nick: What was this, a smoking flight?
Brass: Yeah, I think we've established the fact that these people do whatever it is they want.
(NICK grimaces and stares at the rumpled sheets on the bed.)
Nick: Now, please, don't make me ALS.
Catherine: Hey, man, I don't want to go blind any more than you do.
(CATHERINE looks down and finds a used condom on the bed. She opens a bindle and reaches down to pick it up.)
Catherine: Oh ... looky here. (She holds it out for NICK.) Little DNA party.
(NICK shudders. CATHERINE puts it in the bindle. She looks into the trashcan and sees something else.)
Catherine: Ooh. Bloody towels. (She holds the trashcan for NICK to look inside.)
Nick: Well, at least something made it into the trash can.
CUT TO:
[EXT. LAS VEGAS AIRPORT (STOCK) - EARLY EVENING]
[INT. USDA FACILITY -- DAY]
(The USDA GUARD stationed at the doorway stops a woman from walking into the facility. She argues with him as CATHERINE and GRISSOM appear.)
USDA Guard: I'm sorry, ma'am. You may not enter the quarantine area.
Merrit: I know it's 48 hours, I know the rules, but I need to see my horse.
(CATHERINE and GRISSOM walk up to the guard and show him their IDs. He waves them in and turns back to the irate woman.)
USDA Guard: You can go in.
Merrit: I want to talk to Dr. Stevens.
USDA Guard: I'm sorry, ma'am.
Merrit: He's my vet.
USDA Guard: Sorry.
Catherine: Hi, Dr. Stevens.
(DR. STEVENS attends to the horse. He turns around when CATHERINE calls out to him. She shows him her ID.)
Catherine: How's she doing?
Dr. Stevens: Shaken up. Horses are incredibly sensitive to change. Travel's hard on them.
Catherine: How about losing a trainer?
Dr. Stevens: Like losing a best friend. I just don't understand how this could've happened.
Grissom: We're going to need to pull some samples from that horse.
Dr. Stevens: Okay.
CUT TO:
(DR. STEVENS takes some samples from under the horse's hoof. He takes some skin samples and puts it in a bindle. He hands it to CATHERINE. She pulls out a pen to label it.)
Catherine: Thank you.
(GRISSOM checks out the HIGH FOLLY's backend. He notices something. The Camera zooms in to note the stitches.)
Grissom: This looks recent. What happened here?
Dr. Stevens: High Folly is what we call a "dirty mare." Prone to serious uterine infections.
(DR. STEVENS holds HIGH FOLLY'S head as CATHERINE extracts something from between her teeth.)
Dr. Stevens: Caslick stitching keeps out fluids and bacteria.
Grissom: So you stitch her up until it's time to breed?
Dr. Stevens: I know it sounds bad, but I promise having an acute infection is worse. And there's no greater tragedy than a champion who can't breed.
Catherine: Is this some kind of food?
(CATHERINE holds out the sample. DR. STEVENS looks at it.)
Dr. Stevens: I don't know. It could be.
Catherine: We'll need a blood sample. We found a tranquilizer g*n in the container. We want to double-check it.
Dr. Stevens: You'd never use a tranq g*n on a horse. The impact energy would cause an immediate adrenaline response. Make the horse more agitated.
Catherine: We'll still need that sample.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. CSI - HALLWAY TO MORGUE -- DAY]
(SARA meets up with WARRICK as they head to FORENSIC PATHOLOGY. WARRICK carries and looks through a file.)
Sara: Hey. Nobody's here to claim the body?
Warrick: Nope. I don't know what's worse, consoling a grieving parent, or finding a kid with no parents at all.
Sara: No parents?
Warrick: No, this kid has been through seven foster homes in seven years. System lost track of him a year ago.
Sara: Mckinley high school said the same thing. He was out more than he was in. Kid was a ghost.
CUT TO:
[INT. CSI - MORGUE -- DAY]
(ROBBINS pulls out the table with TOBY WELLSTONE'S body on it.)
Robbins: Treated himself to a hamburger with pickles and ketchup, chocolate shake, and what I can only assume was super-size fries.
Sara: So that's what k*lled him.
Warrick: That's a five-course meal to a teenager.
Robbins: More like a last supper, I'm afraid. He took a synthetic narcotic, fentanyl. By patch and by pill.
Warrick: Yeah, that's a painkiller.
Robbins: Used in hospitals, post-surgery.
Sara: What is ... cisapride?
Robbins: That what separates the attempts from the corpses. It's a prokenetic agent that speeds up the body's absorption of fentanyl and it keeps the stomach acids from going into reflux.
(Quick CGI to: Stomach sounds. Stomach acids. A pill falls into the stomach and starts fizzing. End of CGI. Resume to present.)
Warrick: No nausea, no vomit.
Sara: No vomit, no chance of survival. Kid did his homework.
Warrick: Permanent solution to a temporary problem.
Robbins: Maybe not so temporary. 80% of all completed suicides have tried previously.
(ROBBINS holds out TOBY WELLSTONE'S wrist to show the scars.)
Robbins: From the scarring, I'd say twice before.
(He pauses and looks down at the body.)
Robbins: Third time's the charm.
(He pulls the sheet over the body.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY - IMPERIAL PALACE (STOCK) - NIGHT]
[INT. CSI -- LAB]
(Camera close up of an Evidence bag label. On it reads:
EVIDENCE ARTICLE: BRN SHAVINGS EXHIBIT NO. DATE/TIME COLLECTED: 04/30/03
WHERE ARTICLE FOUND: HIGH FOLLY'S TEETH INV. OFFICER: CW )
(CATHERINE picks up a piece of brown shavings and drops it in a filter set up on top of a glass tube.)
(Camera moves over a second Evidence bag label. On it reads:
EVIDENCE ARTICLE: BRN SHAVINGS EXHIBIT NO. DATE/TIME COLLECTED: 04/30/03
WHERE ARTICLE FOUND: CARGO BAY FLOOR INV. OFFICER: C.W. )
(She takes a piece of brown shavings from that sample and drops it into a second filter set up on top of a second glass tube.)
(She takes some CHLOROFORM and puts some of it in each sample.)
(NICK walks in. CATHERINE looks up.)
Nick: Hey, fashionista.
(He holds up the bag with a shoe in it.)
Nick: Brass collected all the shoes. You were right. Not only did we find a match, but I also found trace elements.
Catherine: Equus caballus?
Nick: Horse dung all the way. Brass is bringing her in now.
Catherine: Thanks.
(NICK turns to leave.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS goes over the findings with GRISSOM.)
Robbins: Our horse trainer has paramortem bruising and scraping, ranging from minor to major, all consistent with being trampled. What's not consistent is this: Pinpoints.
(ROBBINS shows GRISSOM the body's right pupil. GRISSOM looks at ROBBINS, surprised.)
Grissom: An opiate overdose?
Robbins: Torphine. A thousand times as potent as morphine.
Grissom: Tranquilizer.
Robbins: Mm-hmm. One of the bruises contains a puncture wound about the same size as that dart you found.
(GRISSOM takes off his glasses and looks at ROBBINS.)
Grissom: How do you sh**t yourself in the shoulder with a tranquilizer r*fle?
Robbins: Someone else sh*t her.
Grissom: And framed the horse.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(NICK and BRASS question HARPER FITZGERALD.)
Nick: Miss Fitzgerald, your shoe print was found in the cargo hold where Lori Hutchins' body was found.
Harper Fitzgerald: Please ... call me Harper.
Brass: Were you down there, Harper?
Harper Fitzgerald: Yes. It is my plane. I can go wherever I please.
Nick: Lady ... why were you down there?
Harper Fitzgerald: To woo her.
(Quick flashback to: HARPER FITZGERALD talks with LORI HUTCHINS.)
Harper Fitzgerald: I know how much Merrit is paying you.
(HARPER holds out the checkbook to LORI HUTCHINS.)
Harper Fitzgerald: Why don't you write your own check?
Lori Hutchins: (shakes her head) Thank you, all the same, but I'm not making any changes right now.
(End of flashback. Resume to present.)
Brass: You don't strike me as the kind of woman who'd take no for an answer.
(BRASS sits down at the table.)
Harper Fitzgerald: Mmm ... I'm not. I figured she'd come around. Besides ... she's no use to me d*ad.
(NICK takes out a swab.)
Nick: We need a DNA sample.
(HARPER turns to look at NICK.)
(cc) NICK: Open up.
(She looks at him and opens her mouth. NICK takes the swab. She laughs.)
CUT TO:
[EXT. LAST VEGAS HILLS (STOCK) - DAY]
[EXT. DEATH VALLEY -- DAY]
(WARRICK and SARA walk toward the d*ad body of a young woman. LOCKWOOD is already there kneeling next to it.)
Sara: Getting a strange sense of deja vu.
Warrick: It's raining bodies here.
(LOCKWOOD sees them and stands up.)
Lockwood: National Park Service found her. She was beyond our perimeter. We had no reason to believe that there were more bodies. They're looking for any others.
Warrick: Want to turn her over?
(The officers turn her over. WARRICK and SARA look at the body.)
Warrick: He's wearing a suit. She's wearing a prom dress? That's odd.
(WARRICK makes note of her wrists.)
Warrick: No prior scarring on the wrists, but the same transdermal patch. That white substance looks like the same stuff you found near Toby's body.
Sara: Seems like Romeo had a Juliet.
Warrick: Who got out of bed and ended up a half-a-mile away.
Sara: Her dress is way too big.
Warrick: What are you thinking?
Sara: Vanity, thy name is teenage girl. They were trying to go out in style.
(b*at) Something's off.
CUT TO:
[INT. CSI -- LAB]
(GRISSOM walks into the lab. CATHERINE is already there. He's carrying a file.)
Grissom: The tranquilizer g*n looks like a wipe-down, and there's no prints on the ceiling dart.
Catherine: How about the dart in the container?
Grissom: Partial palm print. Not enough for comparison. But, there was three different matches on the handrail leading down to the cargo bay. A Harper Fitzgerald ...
(Quick flashback to: From the teaser, HARPER FITZGERALD carrying her drink in the main cabin. End of flashback. Resume to present.)
Catherine: Owner of the plane.
Grissom: Jason Banks ...
(Quick flashback to: From the teaser, The STEWARD turns around as he's refilling the food on the table. End of flashback. Resume to present.)
Catherine: Steward who brought the vic her dinner.
Grissom: Rhone Confer.
(Quick flashback to: From the teaser, a blonde haired man in a dark suit and blue tie. End of flashback. Resume to present.)
(CATHERINE shakes her head. She doesn't recognize the name.)
Grissom: Formerly a Concierge at the Orpheus.
Catherine: Concierge ... interesting.
Grissom: It is?
Catherine: Those brown shavings that we collected from the cargo hold and the horse's teeth were tobacco. More specifically, of Volando and Colorado Maduro.
Grissom: Cigar tobacco.
Catherine: Sometimes a cigar is just a cigar, but when it does not contain propylene glycol, an additive used in the humidification process ...
Grissom: Then it's a Cuban cigar.
Catherine: Dominicans are just as good, but, uh ... they're legal, so, you know, where's the fun in that?
Grissom: So if I'm looking for an illegally imported Cuban cigar, I go to ...
Catherine: Your handy concierge.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS and CATHERINE interview RHONE CONFER.)
Brass: What were you doing on that plane?
Rhone Confer: I'm friendly with Harper.
Brass: Friendly? Is that a job title or do you perform a specific function for that distinction?
Rhone Confer: (laughs) You don't get it.
Brass: What, what ... what's not to get?
Catherine: Uh, why don't you help us, since you're so good at getting things like Cuban cigars?
Rhone Confer: Oh, come on. The embargo on Cuban cigars is ridiculous.
Catherine: It's still the law.
Brass: You break one law, the chances are...
Rhone Confer: I never went near Lori Hutchins.
Catherine: Well, we found your prints on the rail going down into the cargo hold.
Rhone Confer: (sighs) Look. I helped Harper out with a party at the Orpheus about a year ago. We h*t it off. She started inviting me to things. This is my first trip on the jet. Now, I know I wasn't supposed to go down there, but ... (b*at) all that stuff?
(Quick flashback to: RHONE CONFER walks up to HIGH FOLLY and pets her. She eats his cuban cigar. He protests.)
Rhone Confer: Hey, hey, hey, there, buddy. That's a $60 Cuban.
(He looks at the horse and backs away. End of flashback. Resume to present.)
Rhone Confer: I got the hell out of there, and I kept my mouth shut. These people-- they don't tolerate a buzz k*ll, and I'll be damned if I'm going to be sh*t for being the messenger.
Brass: So the happier Harper stays, the fatter your pockets.
Rhone Confer: I really don't like to talk about money.
Catherine: (holds up a swab) How about we talk about DNA?
CUT TO:
[INT. CSI -- LAB]
(SARA swabs JILL FROMMER'S dress. She checks the dress with an ALS. She checks the dress stitching and notices the off colored threads.)
CUT TO:
[INT. CSI - BREAKROOM/LOUNGE]
(WARICK is sitting at the table going through the file. SARA walks out from the hallway and into the breakroom. She takes the seat across WARRICK.)
Warrick: Hello. You get anything off of that dress?
Sara: I think our girl was a young Madame DeFarge. She made her own death shroud, but she didn't know her own measurements.
Warrick: That's kind of freaky.
Sara: Any results in the sexual as*ault evidence kit?
Warrick: No, the kit came back negative. The stomach contents came back the same. Identical to Toby's: Burger, fries, and a shake.
(WARRICK hands SARA the results.)
Warrick: And, also, the drug ratios were the same for fentanyl and cisapride.
(Camera focuses on the file folder of the two patches on the two hands.)
Warrick: You know what else is freaky -- her prints were on his patch, and his prints were on hers.
Sara: She was a willing participant in all this.
(Quick flashback to: JILL FROMMER pours some pills into her hand and swallows them. TOBY WELLSTONE, sitting next to JILL, does the same. JILL takes a drink from her water bottle. TOBY drinks from his.)
(JILL puts the patch on TOBY'S palm. TOBY puts the patch on JILL'S. He looks at him. He touches her cheek. She smiles.)
(End of flashback. Resume to present.)
Sara: Why didn't we find any trash at the crime scene, and why didn't we find a note?
Warrick: Well, you know, I read somewhere that only 15% of suicides actually leave a note, but you would think, with all the trouble they went through, they would want to be found.
Sara: Together.
Warrick: Yeah, and after she was sedated, she crawls away from the scene?
Sara: Why?
(There's a knock on the room door. WARRICK looks up.)
Lockwood: Hey, girl's library card matched a missing persons report filed today: Jill Frommer. Mom's coming in to I.D. The body.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM]
(SARA and LOCKWOOD interview MRS. FROMMER.)
Sara: Do you recognize this dress?
Mrs. Frommer: No.
Sara: Did Jill take Home Ec, or like to sew...
Mrs. Frommer: Jill? Please. No, Jill didn't do anything domestic. You only realize what you want to teach them after it's too late.
Lockwood: Toby Wellstone ... he lived with you as a foster kid about five years ago?
Mrs. Frommer: Yeah, for about a year, and then I sent him back.
Sara: Can I ask why?
Mrs. Frommer: My husband died of cancer, and I couldn't handle Toby alone. That boy was just way out of control. And then about ... about a year ago, Jill brings him home.
(Quick flashback to: JILL FROMMER pleading with her mother.)
Jill Frommer: Mom, look at Toby's back. He can't stay there. It's not safe; you have to help, please.
(End of flashback. Resume to present.)
Lockwood: And you did.
Mrs. Frommer: It didn't seem like I had any choice. I mean, the system didn't care.
Sara: Mrs. Frommer, were Toby and your daughter involved romantically?
(She covers her eyes.)
Mrs. Frommer: You know those moments you look back on and you wish you'd chosen door number two instead? My whole life feels like that. I got nothing left.
(SARA looks down for a moment.)
Sara: To your knowledge, did, um, Jill ever attempt su1c1de before?
Mrs. Frommer: No. I mean, not that I know of, but with that boy around, there's no telling what he got her into. I ... I called Social Services. I tried to get him out of the house. He was on a list, but nobody wants teenagers, you know? Just five and under.
Sara: Mrs. Frommer, we believe that Toby and Jill had help. We'd like a list of their friends.
Mrs. Frommer: (laughs sadly) Friends?! I think it's pretty clear that my daughter's life was just way out of my hands.
(MRS. FROMMER sighs.)
CUT TO:
[INT. CSI - DNA LAB]
(GREG reports his findings to CATHERINE.)
Greg: Blood on the paper towels was the vic's, Lori Hutchins. Found DNA on another area, however. Epithelials with two donors.
Catherine: By who?
Greg: Well, the vic and ... someone else.
Catherine: Are you being cagey?
Greg: I'm trying to transition out of cagey. You got to round up some more swabs. Neither Harpo ...
Catherine: (corrects) Harper.
Greg: Whatev-O. Neither She nor Rhone Confer was a match.
(CATHERINE'S phone rings. She answers it.)
Catherine: (to phone) Yeah?
CUT TO:
[EXT. LAS VEGAS AIRPORT (STOCK) - NIGHT]
[INT. USDA FACILITY -- NIGHT]
(DR. STEVENS, GRISSOM and CATHERINE stand over HIGH FOLLY'S d*ad body.)
Dr. Stevens: I came as soon as I got a call from the USDA.
Catherine: What happened?
Dr. Stevens: Chronic metritis. Uterine infections. I opened up the caslicks. I tried antibiotics, saline lavage ... I guess it was too little, too late.
(GRISSOM kneels down and looks at HIGH FOLLY'S behind.)
Grissom: I found a suture scissors near Lori's body on the plane. Is it possible that she knew about the infection and tried to relieve it?
Dr. Stevens: Well, it'd have to be critical for lori to try emergency surgery in the air.
Catherine: Define critical.
Dr. Stevens: Massive swelling ... a thr*at to high folly's ability to foal.
Grissom: I believe we found our greater tragedy.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS AIRPORT (STOCK) - NIGHT]
[INT. USDA FACILITY]
(GRISSOM watches the equine necropsy.)
Jessie Menken: Equine necropsy's a lot like human autopsy. One organ at a time. Do you know, they're a lot like us, except their constitutions are even more sensitive. A horse can die from indigestion.
Grissom: "A horse is dangerous at both ends, and uncomfortable in the middle."
Jessie Menken: Who said that?
Grissom: Ian Fleming.
Jessie Menken: Ah, James Bond fan, huh?
Grissom: I read the novels when I was a kid.
Jessie Menken: Well, the vet flushed and dilated her, but her white blood count was through the roof.
Grissom: You have any idea what caused the infection?
Jessie Menken: Hard to tell ... but the uterus is a highly-balanced environment, and an infection can start with something as simple as a speck of dirt. The uterine walls sense a foreign body, and att*ck it.
(GRISSOM holds out the tray. She pulls out the uterus and puts it on the tray.)
(Quick CGI of: The camera starts outside the horse's bottom, then zooms through to the uterus and focuses on a black substance. White liquid surrounds the black substance. End of CGI. Resume to present.)
Grissom: I thought the stitches were used to prevent the invasion of foreign bodies.
(GRISSOM puts the tray down.)
Jessie Menken: Well, they're supposed to, but she's got so much pyometra in her right uterine horn, something got in there.
(JESSIE MENKEN takes a Kn*fe and cuts into the uterus.)
Jessie Menken: Unless a horse is opened up, you can't actually reach the horns.
(She opens it up and sticks her hand inside. She pulls out a bag. She looks at it confused.)
Jessie Menken: This is outside my purview.
(GRISSOM looks at the bloodied bag. He cuts it open and looks inside. He takes a tray and empties it.)
Grissom: Uncut diamonds? (b*at) The horse is a "mule".
CUT TO:
[EXT. HIGH SCHOOL (STOCK) - DAY]
[EXT. McKINLEY HIGH SCHOOL -- DAY]
(WARRICK and SARA question a group of teenagers.)
Dark-haired Teenager: Jill Frommer? Dude, that girl was mental.
Blonde-haired Teenager: I used to be friends with her in, like, fifth grade.
Brown-haired Teenager: Sometimes I'd pick her up before school, and she'd always be waiting outside, like a dork.
Sara: When was the last time you saw Jill?
Dark-haired: Hmm, she hasn't been at school all year.
Blonde-haired Teenager: I heard she switched schools to be with some guy.
(She rolls her eyes.)
Dark-haired Teenager: How lame.
Brown-haired Teenager: Oh, like you wouldn't do it.
Sara: (interrupting) Like, does this dress look familiar?
Dark-haired Teenager: Oh, god. That's the dress that Alyssa made and wore to last year's homecoming.
Blonde: When she was fat?
Warrick: Ladies ... who is Alyssa?
Brown-haired Teenager: Jamison. Aka GTS. Goody two shoes. When she's not out saving the planet, she's healing the sick.
Sara: What?
Blonde-haired Teenager: She works as a "Volun-teen" at the hospital.
CUT TO:
[INT. HOSPITAL - HALLWAY -- DAY]
(SARA and WARRICK walk into the hospital and down the hallway.)
(They walk up to the pharmacy window and press the button. A teenaged girl in a volunteer's uniform appears on the other side of the window.)
Alyssa Jamison: Hello. How may I help you?
Sara: Hi, there. I'm Sara Sidle, and this is Warrick Brown. We're with the crime lab. Did you know Jill Frommer?
Alyssa Jamison: Sure.
Sara: Did you happen to give her this dress?
Alyssa Jamison: Yes.
Warrick: Did you also give her fentanyl and cisapride?
Alyssa Jamison: Oh, my god! She ... k*lled herself, didn't she?
Sara: Yeah, she did.
Alyssa Jamison: She gave me a necklace.
Sara: Excuse me?
Alyssa Jamison: Giving away sacred possessions. That's one of the sure signs of su1c1de. She traded the necklace for my dress. I told her she didn't have to, but she kept insisting. Said that she had something special to wear the dress to, and the necklace would be collateral. I took it as a good sign, because she'd been so depressed lately.
Sara: Did you give her any drugs, or-or give her access to this pharmacy?
Alyssa Jamison: I couldn't, even if I wanted to.
(She points to the camera above.)
Alyssa Jamison: Not that I ever would.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. DR. STEVENS' OFFICE -- NIGHT]
(CATHERINE kneels down next to the glass table. GRISSOM lingers in the doorway.)
Grissom: According to his receptionist, Dr. Stevens ... left town ... unexpectedly.
Catherine: Really? Well, check this out.
(Camera zooms close up to the dust on the table.)
Catherine: I don't think it's pixie dust. And ... lots of red lentils.
(CATHEIRNE picks up the nearby trash can and shows it to GRISSOM.)
Grissom: Supposedly used to keep the diamonds from chipping.
(Quick flashback to: DR. STEVENS working with the diamonds on the table. End of flashback. Resume to present.)
Catherine: That Dr. Stevens was very involved.
Grissom: Mmm.
(GRISSOM turns around and looks at the large poster hanging on the office wall of the MARE REPRODUCTIVE TRACT.)
Grissom: A horse's uterus is the size of a football, so he could've packed it with pouches of diamonds.
Catherine: Why did he leave one behind?
Grissom: He took what he could reach.
Catherine: And ran.
Grissom: But he wasn't on that plane, so he couldn't have k*lled the girl.
Catherine: He had a partner.
CUT TO:
[INT. CSI -- LAB]
(The uncut diamonds are being cleaned. GRISSOM takes one out. He does a diamond analysis on it. The results read:
ORIGINS: CENTRAL OR SOUTH AFRICA
... NESS: 1.1 - 2.5 SL. THICK
2 VERY GOOD EXCELLENT EXCELLENT WS1
F NONE
1500
(GRISSOM puts the diamond aside.)
Grissom: Did you know that the term "carat" comes from the Mediterranean Carob Tree, whose seeds were used for centuries as a standard of measurement?
(GRISSOM takes the next diamond out. CATHERINE sits on the other side of the table. She weighed the lentils.)
Catherine: No. Um ... so, based on the six-to-one lentil-to-diamond ratio in the packet we found, and assuming that all the packets are the same size, I think we're looking for ... five more.
Grissom: Five?
Catherine: Well, yeah, based on weight, uh, we've established that approximately 183 grams of lentils per pack...
732 grams would be ...
(CATHERINE does the calculations.)
Catherine: Oh, my mistake. Four.
Grissom: Well, it's not 100% accurate, but, uh ... based on shape, color characteristics, wavelength absorptions of the regional impurities ... it says that these diamonds come from Central Africa.
Catherine: Conflict diamonds? Don't those fund warlords and support child sl*very?
Grissom: Yeah. Bought for pennies on the dollar, and banned by the U.N.
Catherine: Well, that would explain why someone felt the need to smuggle them into the country.
Grissom: That, and a half a million dollars worth of luxury tax. No customs, no tax.
Catherine: And if Lori were about to find out, explains why someone would want to k*ll her.
Grissom: So we've got the how and the why. (b*at) We just need the who.
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(BRASS interviews the Steward, JASON BANKS.)
Brass: Well, you travel with a well-heeled crowd. I checked everybody's passports. Man, you guys get around ... but you're the only one who's been to Sierra Leone.
Jason Banks: You know why I became a steward?
Brass: I don't know, uh, see the world?
Jason Banks: Exactly.
Brass: What'd you see in Sierra Leone?
Jason Banks: Well, that's the joke. Free night in Amsterdam? No, no. I went around the globe picking up packages for the Fitzgeralds like a frickin' bike messenger. "Oh, could you take the plane to Rome ... to Ghana... pick something up for me?"
Brass: Sounds like fun. What kind of stuff did you pick up?
Jason Banks: Who knows? Art, antiques. It's usually wrapped up. Look, I figure I'm better off not knowing, and it looks like I was right.
Brass: What was your beef with Lori, the horse trainer?
Jason Banks: I don't have one.
Brass: Oh, well, we got a stack of bloody paper towels with your DNA on it that says you do.
(Quick flashback to the bloodied towels in the trash. End of flashback. Resume to present.)
Jason Banks: I took them from her.
(Quick flashback to: JASON BANKS walks into the cargo hold carrying the dinner tray. LORI HUTCHINS sits on the floor against he wall. She stands up and he notices the wound.)
Jason Banks: Hey, Lori, dinner's ready. You okay?
Lori Hutchins: Yeah, the horse is just really freaked out. Gave me a good one.
(She shows him her arm.) Would you mind taking these? (She gives him the towels.)
Jason Banks: Sure. No problem.
(End of flashback. Resume to present.)
Jason Banks: I got buzzed into the bedroom. Mrs. Fitzgerald needed help with her zipper. I threw the paper towels in the wastepaper basket.
Brass: That's a tidy little story.
CUT TO:
[INT. CSI - HALLWAY / DNA LAB]
(SARA and WARRICK head down the hallway toward the DNA lab.)
Warrick: You know Jill's friends seemed like they were brainwashed ... or brain-d*ad. And moms was absentee at best, huh?
Sara: Well, teenagers are very suggestive. If Toby was the best thing she had going, it's the biggest influence in her life.
Warrick: Yeah.
(They reach the lab.)
Greg: Don't even bother viewing those surveillance tapes. No hospital's dispensed cisapride in three years.
Sara: So that's it? The kids just magically got the drugs and offed themselves, end of story?
Greg: Not exactly. The white substance that you pulled from Romeo's blanket and Juliet's dress ...
Warrick: Yeah?
Greg: Denatured milk proteins and mucoid saliva. (b*at) Baby spittle.
Sara: There was a baby out there.
Greg: Not just any baby -- their baby. I pulled DNA. Two halves make a whole.
CUT TO:
[EXT. DEATH VALLEY -- NIGHT]
(Officers comb the area looking for the baby.)
CUT TO:
[EXT. FROMMER RESIDENCE -- NIGHT]
(LOCKWOOD meets up with WARRICK and SARA.)
Lockwood: Mom's credit card showed a suit purchase in the young men's department at JC Penney's.
Warrick: Oh, yeah? Looks like moms is a personal shopper and chauffeur, huh? Guess moms is busy.
(Through the car window, they see the take-out rubbish in the back of the car.)
Sara: Too busy to notice a baby, apparently.
CUT TO:
[EXT. DEATH VALLEY - NIGHT -- CONTINUOUS]
(OFFICERS continue to search for the missing baby.)
CUT TO:
[EXT. FROMMER RESIDENCE - NIGHT -- CONTINUOUS]
(WARRICK, SARA, and LOCKWOOD stand outside the front door. They knock. MRS. FROMMER opens the door. LOCKWOOD holds up the warrant.)
Lockwood: Ma'am, we have a warrant to search the premises.
CUT TO:
[INT. FROMMER RESIDENCE - NIGHT -- CONTINUOUS]
(WARRICK and SARA each search through a drawer.)
(In the second drawer he looks through, WARRICK finds some cards.)
CUT TO:
(WARRICK and SARA search through the kitchen. LOCKWOOD and MRS. FROMMER stand aside and watch.)
(SARA opens the cabinet door and finds something: a shelf full of prescription medicine. She goes through them and finds one in particular. She also finds a stack of patches.)
(cc) SARA: Warrick ...
(SARA picks up both the prescription bottle and the patches. She turns around to look at MRS. FROMMER.)
Sara: Cisapride and fentanyl-- you care to explain this?
Mrs. Frommer: My husband went through chemo, I told you that. The fentanyl's for my back pain.
Warrick: Why didn't you tell us that Jill and Toby had access to these?
(Quick flashback to: MRS. FROMMER asks JILL to get her pills.)
Mrs. Frommer: Jill, I'm going to lie down. Go get me those pills for my back.
(End of flashback. Resume to present.)
Mrs. Frommer: You didn't ask.
(Out of nowhere, they hear the sounds of baby babbling and cooing coming from the refrigerator. SARA doesn't move. MRS. FROMMER doesn't say anything. WARRICK steps toward the refrigerator and opens the door.)
(On the top shelf is the baby monitor in front of three baby bottles.)
CUT TO:
[INT. FROMMER'S RESIDENCE - NURSERY -- CONTINUOUS]
(WARRICK, SARA and MRS. FROMMER walk into the nursery. WARRICK looks at the baby in the bassinet.)
Warrick: Hi, baby. Hi, little baby.
(MRS. FROMMER picks up the baby.)
Mrs. Frommer: I'm this baby's only chance.
Sara: Lady, you are out of chances.
Mrs. Frommer: Watching people k*ll themselves isn't against the law in Nevada.
(Quick flashback to: JILL FROMMER lies down on the ground with the baby on her. She looks at her baby.)
Jill Frommer: (to her baby) I love you.
(MRS. FROMMER walks up to them and takes the baby from her.)
(End of flashback. Resume to present.)
Warrick: So you encouraged them to take the pills.
(Quick flashback to: MRS. FROMMER yelling angrily at JILL and TOBY.)
Mrs. Frommer: How much longer are you two going to ruin my life, huh? How much longer?
(Cut to: JILL and TOBY sitting in the back seat of the car eating their dinner while MRS. FROMMER drives.)
Warrick: (V.O.) You drove them out to death valley after their last meal.
(End of flashback. Resume to present.)
Sara: There's nothing like a little positive reinforcement, is there?
(Quick flashback to: MRS. FROMMER pushes the baby stroller away from JILL.)
Mrs. Frommer: They were beyond saving.
(JILL gets up and cries out to her mother. Her mother continues to push the baby stroller away, ignoring her daughter.)
Jill Frommer: Wait, mom, I changed my mind. I don't want to die.
(JILL gets up and starts to follow them.)
Jill Frommer: Mom! Mom! Please don't leave me!
(End of flashback. Resume to present.)
Warrick: I think we can convince a jury that you did more than just watch.
Mrs. Frommer: Not helping a child in danger is a misdemeanor. You might as well write me a parking ticket.
Sara: We're going to write you up on m*rder, and then I'm going to call Child Services.
Mrs. Frommer: Go ahead. I am next of kin, and without a record, I'm going to get her back in a second.
(LOCKWOOD steps toward her and starts to handcuff her. She's still holding the baby. WARRICK steps up to take the baby.)
Warrick: Miss ...
(MRS. FROMMER gives the baby to WARRICK.)
Mrs. Frommer: (to the baby) It's okay. It's all right.
Sara: It's all going to be better with door number two.
Mrs. Frommer: That's right.
(LOCKWOOD takes MRS. FROMMER out of the room.)
Sara: You think we even stand a chance?
Warrick: No.
Warrick: (to the baby) Hi ... hey.
CUT TO:
[INT. CSI -- HALLWAY]
(CATHERINE meets up with GRISSOM.)
Catherine: What have you got?
Grissom: We got animal, mineral, and now vegetable.
Catherine: What?
Grissom: I ran the trace on the remainder of the diamonds. Lentils and carrots.
Catherine: Carrots on the karats.
Grissom: I'm thinking Lori packed the diamonds.
Catherine: After she fed the horse, evidently.
(Quick flashback to: LORI HUTCHINS feeds HIGH FOLLY some carrots.)
Lori: There you go. That a girl.
(She scoops up the lentils off of the table.)
(Cut to: She bags the diamonds. She packs the horse.)
(End of flashback. Resume to present.)
Grissom: She was the only one who got close to that horse.
Catherine: So Dr. Stevens didn't have one partner, he had two.
Grissom: And Lori was the only one who knew there was five packages, which would explain why Stevens left one behind.
Catherine: She was a victim, but she wasn't innocent.
(GRISSOM chuckles wryly.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(NICK is in front of the screen. CATHERINE and GRISSOM sit in the back of the room in front of the monitor. NICK is setting up the screen.)
(On the monitor is an Info box and picture of LORI HUTCHINS.)
Catherine: Okay, so, we've got a d*ad woman, a d*ad horse, a runaway vet, and ... a couple million dollars worth of uncut diamonds that are unaccounted for.
(NICK opens the second Info box and picture of ERICA DOLINKY, Ski Instructor. Additional Info reads: Birthplace, Las Vegas / Sex: Female / Age: 31 / Eyes: Brown / Hair: Brown / Height: 5'10".)
Grissom: Well, diamonds are worthless unless you have a buyer.
Nick: What if the vet repackaged the diamonds, took them with him. PD traced him to the Caymans.
Catherine: But why would he smuggle them into the country only to smuggle them out again?
Grissom: Flight Steward's story checks out. Lori Hutchins had an ante-mortem gash on her right forearm.
(NICK opens the third Info box and picture of TREVOR NELSON, Masseuse.)
Nick: Ski instructor ... massuese ... geez. Is there anyone not on Harper's payroll?
Catherine: Well, you met her. Would you be her friend for free?
Grissom: What about Harper? It was her plane, Meredith's horse. She didn't care what happened to the horse.
(NICK opens the Info box and picture for HARPER FITZGERALD. He then opens the next Info box and picture for RHONE K.-CONFER.)
Nick: Yeah, but she's got no reason to smuggle diamonds. Reward's not worth the risk.
Catherine: (under her breath) Rhone Kinsey-Confer. Hey, what if we were thinking about this whole thing a little too globally? I'm going to find out what Rhone's mother's maiden name is.
(CATHERINE picks up the phone and dials.)
Grissom: What's his mother got to do with it?
Catherine: She may have sold me my engagement ring. (to phone) Brass, check out Kinsey Diamonds.
CUT TO:
[INT. KINSEY DIAMONDS]
(Camera close up of a tray of uncut diamonds.)
Catherine: (V.O.) Find out if the owner is related to our Concierge.
(A single uncut diamond is picked up off of the tray.)
(BRASS, followed by other officers, enter the backroom of Kinsey Diamonds where a lone diamond cutter sits at the table.)
Brass: Sir, stop what you're doing. Las Vegas police. We have a search and seizure warrant for any and all diamonds.
(The officers confiscates the diamonds.)
Mrs. Kinsey: I bought those diamonds. They're mine. What are you doing?
Brass: Hey, Mrs. Kinsey, did you ever stop and think that maybe your family discount was a little too good to be true? Did you really think your son mined those rocks himself? Come on. Think about it.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(BRASS and GRISSOM interviews RHONE CONFER.)
Brass: Yeah, someone else's plane, someone else's horse. What a good plan. Except you got caught. Why even bother when you had everything you wanted at your disposal?
Grissom: Tantalus. Stuck in hell, forever staring at the fruit just out of reach.
Brass: Except you couldn't do it without Lori. My guess is her death was an accident.
Grissom: Did she care more about the horse than she did the diamonds?
(Quick flashback to: RHONE and LORI argue in the cargo bay of the plane.)
Rhone Confer: Can't you give her a pill or something?
Lori Hutchins: I'm taking the diamonds out.
Rhone Confer: No, you're not. We've come too far to have this fall apart now. It's not worth the horse's life.
Lori Hutchins: Yeah, well, it is to me.
(End of flashback. Resume to present.)
Rhone Confer: Prove it.
Grissom: Would you mind taking off your shirt?
Rhone Confer: I don't want to.
Brass: Well, that's unfortunate, because ... your tax evasion allows us to expand your warrant. And your shirt -- that's just the beginning.
(BRASS opens the warrant and puts it on the table.)
(RHONE CONFER sighs and unbuttons his shirt.)
Rhone Confer: What are you looking for?
(RHONE'S shirt falls open. In the middle of his chest is a large red, black and blue bruise.)
Grissom: Evidence of a struggle. Oh, and there it is.
(RHONE looks down at his chest.)
Grissom: High-powered pneumatic g*n don't need to be loaded to leave a mark.
(Quick flashback to: RHONE CONFER picks up the r*fle and sh**t; the backfire hitting him in the shoulder. The tranquilizer dart lodges in the cargo bay's ceiling.)
(LORI screams and struggles against RHONE and the r*fle. She grabs the r*fle and points the empty g*n at RHONE'S chest. She fires.)
(RHONE grabs the r*fle away from LORI HUTCHINS. He then grabs a tranq dart out of the holder and s*ab it into LORI'S shoulder. She falls down backward into HIGH FOLLY'S stall. She's unable to get up. The horse rears up on her hind legs. Camera close up of LORI'S pupils contracting to pinpoints.)
(End of flashback. Resume to present.)
Rhone Confer: (mutters) Freakin' pony lover.
Grissom: "A horse, a horse, my kingdom for a horse."
[Note: Richard, Richard III, Act 5, sc. 4, 1 7 and 13, Wm. Shakespeare]
(RHONE looks at GRISSOM, perplexed. GRISSOM smiles and shakes his head.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x21 - Forever"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. FOOTBALL STADIUM (STOCK) - NIGHT]
[EXT. HIGH SCHOOL FOOTBALL STADIUM - NIGHT]
Lyric:
["Like Her", Album: Solace, by Mandalay]
I read you / god, I'm good at it / I'm so spot on / cold shapes of air / compress that dissonance / if you dare / and you breathe it in
(Under the bleachers, a YOUNG MAN and a YOUNG WOMAN kiss each other. She pulls away from him.)
Young Woman: Stop.
Young Man: (groans) Oh, come on! We've gone way further than that.
(He looks at her expectantly and smiles. She smiles, grabs his hand and leads him away from under the bleachers.)
Lyric: And I'm high enough from all the waiting / to ride away when you're inhaling / and I'm high enough from all the waiting / to ride away when you're inhaling / 'cause I love you
(They run hand-in-hand across the field toward the opposite end of the stadium.)
(Cut to: They run up the bleachers and toward the announcers box.)
(cc) YOUNG WOMAN: Linda said you can see the strip from here.
(cc) YOUNG MAN: Yeah, you can. I mean, that's what I heard, too.
(cc) YOUNG MAN: Come on!
[INT. HIGH SCHOOL FOOTBALL STADIUM - ANNOUNCER BOOTH -- NIGHT
(The door opens. They laugh at each other. He looks inside and gasps. She looks inside and screams.)
(On the floor is the body of a WOMAN. There's blood on the ground and another drop of blood drips from her head to the ground.)
FLASH TO WHITE:
[INT. HIGH SCHOOL FOOTBALL STADIUM - ANNOUNCER BOOTH -- NIGHT]
(Out on the track below, cop cars are parked. Inside the booth, GRISSOM, BRASS, NICK and DAVID go over the scene. NICK puts his kit down. DAVID is already going over the body. GRISSOM stands next to BRASS and takes in the scene.)
Brass: The vic's wallet was still in her purse. One credit card, couple of
20s. Nebraska ID. Her name was Alison Carpenter, age 28.
Nick: A little old for a student.
Brass: School district has been contacted. They're checking their records.
(GRISSOM looks around. DAVID looks at her pupils.)
David Phillips: Petechial hemorrhaging indicates strangulation.
Grissom: She definitely died here.
David Phillips: Yeah, lividity bears that out. She wasn't moved.
(BRASS turns and indicates the door behind them.)
Brass: The padlock's been cut. It was rusted over, definitely not recent.
(NICK checks out the countertop.)
Nick: Beer bottles.
Brass: Well, it's high school.
(NICK picks up a used condom.)
Nick: Lover's lane.
(GRISSOM checks out the body and notices her hands.)
Grissom: Defensive wounds on her hands.
Brass: Sexual as*ault?
(GRISSOM kneels down and lifts up her dress.)
Grissom: She's not wearing any underwear.
(GRISSOM goes back to checking the body and scene out. NICK turns to check out the countertops. GRISSOM spots something on the victim's leg. It appears to be a cut. He looks around and moves the door slightly where he sees the matching blood on the bottom of the door.)
(Quick flashback to: The door is pushed open and hits the victim on her leg leaving the mark. End of flashback. Resume to present.)
(GRISSOM turns around and looks back at the body.)
Grissom: David, I thought you said she wasn't moved.
David Phillips: Paramedics say they didn't touch her.
Brass: Kids who found her swore they didn't touch her either.
(GRISSOM looks at the victim's face, the urgency building in his voice as he realizes something.)
Grissom: There's still sweat on her upper lip. (to DAVID) Take a liver temperature.
David Phillips: Let me just finish this ...
Grissom: (firmly) Now, David.
(DAVID gets the digital thermometer out and gets the body's temperature.)
David Phillips: Ninety-eight point one.
Nick: She's been d*ad less than an hour.
Grissom: The k*ller's still on her.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. HIGH SCHOOL FOOTBALL STADIUM]
(NICK rushes by the officer cars. He's carrying a heavy duffle bag.)
(Cut to: NICK runs up the bleachers.)
[INT. HIGH SCHOOL FOOTBALL STADIUM - ANNOUNCER'S BOX - NIGHT - CONTINUOUS]
(NICK turns the corner and sets the bag down next to the body. GRISSOM immediately opens the bag and they all work together to put the chamber together to build an area around the body in which to print her.)
Nick: Latent prints on skin, oil on oils, we're cutting it pretty close here.
Grissom: Yes, we are.
(The frame is built.)
(The plastic is put over the frame and is taped down to the ground.)
(NICK places the cyanoacrylate fumer inside with the body. He backs away and closes the plastic around the chamber. The men stand around the frame built around the body. They each wear a mask over their faces.)
SHORT TIME CUT TO:
[INT. HIGH SCHOOL FOOTBALL STADIUM - ANNOUNCER'S BOX - NIGHT - CONTINUOUS]
(DAVID carries the duffle bag and leaves the room. GRISSOM and NICK check the body out.)
(GRISSOM moves the head.)
Grissom: Nothing usable around the neck.
(NICK checks out her legs. He finds something.)
Nick: I think I've got a partial on the ankle.
(GRISSOM checks it.)
Grissom: Very few sweat glands around the ankle. Prints survive longer.
(Quick flashback to: The door is pushed back and hits the woman on her leg. The k*ller reaches down and grabs her ankle to move the leg. End of flashback. Resume to present.)
(GRISSOM looks at the victim's face again.)
Grissom: Fortunately for us.
CUT TO:
[INT. CSI - HALLWAY TO LAB -- NIGHT]
(WARRICK and CATHERINE walk down the hallway. WARRICK carries a file; CATHERINE holds a bagged container of green liquid.)
Warrick: There's nobody in the evidence vault. I guess we're still between shifts.
Catherine: Yeah, well, we'll log it in tomorrow.
Warrick: You know, O'Riley interviewed the victim's wife.
Catherine: Yeah?
Warrick: She said her husband was in the garage drinking and just "done fell over."
(They walk into the print lab. CATHERINE opens the fumer and puts the bagged container of green liquid inside next to the burn plate. She closes the fume hood.)
Catherine: Oh, the ever-popular DFO.
(They leave the lab and walk down the hallway.)
Catherine: Right up there with the "mysterious dude" defense.
Warrick: Right. You thinking poison?
Catherine: I wouldn't be surprised. Wife had two priors for spousal abuse. Seems pretty straight up to me.
Warrick: Well, that would be nice -- an easy case.
Catherine: Yeah.
Warrick: These double-ups are k*lling me.
(They reach the front desk where CATHERINE signs the log book on the counter.)
Catherine: Although I'll take it when I can get it. These nannies do not work cheap.
(WARRICK hands the clerk the file in his hand.)
Warrick: Yeah, how is Lindsey, by the way?
(They head down the hallway.)
Catherine: She got caught fighting at school.
Warrick: Lindsey? Fighting?
Catherine: Ah, she lost her dad recently. She's just having a hard time.
CUT TO:
[EXT. FOOTBALL STADIUM - LOT -- DAY]
(SARA and NICK go over the parked car next to the bleachers.)
Sara: Company said the vic checked the car out three days ago. The contract was for a week.
Nick: It's a generic econo-box. Might as well just paint a bull's-eye on it. You got the front?
Sara: Yeah.
(NICK looks at the back seat.)
Nick: I've got a ripped-up pair of panties. Possibly the vic's. Bag that for me, will you?
(He hands SARA the panties and picks up the ALS.)
Nick: Whoa. Sex in the backseat.
(SARA finds something.)
Sara: Blister pack.
(She finds something on the car floor.)
Nick: What have you got?
Sara: Ceramics, maybe?
Nick: Hey, who's working trace tonight?
Sara: Hodges.
Nick: Oh, great. Guarantee you that kiss-ass will have the results to Grissom before we do.
Sara: So I'm thinking the vic was car-jacked, dragged to a secluded location ...
(Quick flashback to: A woman screams and is pulled into the back seat of the car. End of flashback. Resume to present.)
Sara: ... r*ped, m*rder, body dumped. What do you think?
Nick: k*ller had her in the car. Easy getaway. But still, why take her all the way up the bleachers, to risk getting caught in a room with only one way out?
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS goes over ALISON )
Robbins: Cause of death was asphyxiation due to strangulation. Multiple round oval bruises over the interior and lateral neck with occasional crescentic red abrasions.
Grissom: Fingertip bruises and fingernail scratches.
Robbins: Apparently.
Grissom: No ligature marks.
Robbins: None that I could find, but take a look at this. (points to her neck)
The, uh, bruises are concentrated on the left side of the neck. On the right side, there's only one.
(GRISSOM puts his hand over the neck marks.)
Grissom: k*ller strangled her with his right hand. One hand only.
Robbins: Yeah, prolonged pressure on the jugular.
(Quick flashback to: ALISON CARPENTER is being held up against the wall by the k*ller's right hand around her neck. She struggles. End of flashback. Resume to present.)
Grissom: He must have been looking right in her eyes.
Robbins: Yeah, that takes hate. I'll get a measurement of the, uh, grip size.
Grissom: What about the SART kit?
Robbins: It's on Graves' desk, but he's pretty backed up, more than usual.
Grissom: Bruises on her hands, her arms, upper torso -- it's consistent with r*pe.
Robbins: Maybe not. I did a vaginal clock on her. Signs of activity at 11:00, 12:00, and 1:00, and that would imply rough sex, not r*pe.
Grissom: May have started as sex, but it ended as m*rder.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT./INT. MOTEL ROOM -- DAY]
(BRASS and NICK check out ALISON CARPENTER'S motel room.)
Brass: Alison Carpenter was a waitress at a coffee shop outside Omaha. The boss said that she asked for this week off over a month ago. And, uh, no immediate family.
Nick: Single woman on vacation in Vegas ... alone?
Brass: Yeah, weird. We're looking into it.
Nick: Who takes a tape recorder with them on vacation?
Brass: Well, I keep one by the bed. In case I dream anything useful.
(NICK looks at BRASS.)
Nick: Hmm?
Brass: What? I can't have deep thoughts?
(BRASS laughs.)
Brass: Just kidding.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(DAVID HODGES catches up with GRISSOM in the hallway. GRISSOM is reading through a file.)
David Hodges: Hey, boss. Just analyzed the evidence found in your vic's rent-a-car.
Grissom: You should be telling Nick or Sara.
David Hodges: (brushes it aside) Yeah, couldn't find them. They must be on another break. Anyway, the blister pack is methadone. 40 milligrams, former smack addict dose. (b*at) And that ceramic chip? Not ceramic. It's acrylic with a quartz resin composite used primarily in dental crowns. Cheap ones.
Grissom: Good work.
David Hodges: Yeah, thank you. Listen, I'd like to think that and I ...
Grissom: Now go tell Nick or Sara.
(GRISSOM continues down the hallway leaving DAVID HODGES behind. He sighs.)
CUT TO:
[INT. CSI - PRINT LAB - DAY]
(JACQUI FRANCO goes over the partial print with GRISSOM.)
Jacqui Franco: Problem is AGIS doesn't play real nice with partials. So here's what I'm going to do. I'll pick eight or nine distinctive features, run those through the system, and examine anything with a 60% or better match.
Grissom: You could end up with over 100 hits.
Jacqui Franco: You trying to discourage me? It's all about interpretation. Knowing what's commonplace, and what's unique.
(JACQUI continues to work. The computer beeps. The monitor reads:
No Match
4,742 Possible Matches Found
(JACQUI lines a portion of the print. And continues the search. The computer beeps. The monitor reads:
No Match
501 Possible Matches Found
(She continues to work on the print and continues the search. The monitor reads:
No Match
9 Possible Matches Found
Jacqui Franco: That's where skill comes in.
Grissom: You still have to check each one by hand.
Jacqui Franco: You're going to have to sign my time sheet.
(JACQUI and GRISSOM look at each other.)
(GREG rushes into the lab excited at what he's found.)
Greg: Grissom! I'm about to rock your world. The semen inside your victim --
I got a DNA match through CODIS. It's Jason Kent. Ring a bell? 1987, they called him "The Circle k*ller."
CUT TO:
[INT. APARTMENT - HALLWAY - DAY]
(BRASS and GRISSOM walk down the hallway toward JASON KENT'S apartment. They're accompanied by other officers.)
Brass: Guy's only been out of jail six weeks.
(BRASS knocks on the door. JASON KENT opens it.)
Brass: Las Vegas police. This a bad time?
(BRASS walks into the apartment.)
[INT. JASON KENT'S APARTMENT - DAY -- CONTINUOUS]
Brass: You know, I know a couple of guys who worked your case. Viking circle? Remember that girl you suffocated while you were raping her? What was she, a cheerleader, homecoming queen, or both?
Jason Kent: She was a friend.
Brass: Oh, I didn't expect that. I expected you to say, uh, "No, I'm innocent" or "No, it was an accident."
Jason Kent: I served my time.
Brass: That's right. You did the whole bit. The whole fifteen years. You're a hard-core ex-con. This must really piss you off.
Jason Kent: You know what? I know the conditions of my release. So you can check whatever you'd like. You want to tell me what this is about?
Brass: You're under arrest for the m*rder of Alison Carpenter. Last night, your old high school, go monarchs.
Jason Kent: I'm not talking to you without a lawyer.
Grissom: Looks like you bit your lip. May I see your hands, please?
(JASON KENT holds out his hands. GRISSOM looks at them.)
Recently clipped your nails, huh?
Brass: And you're such a smart guy, bet you flushed them down the toilet.
(GRISSOM checks out JASON KENT'S bathroom. He picks up the nail clippers. Camera zooms in to note that there's some skin still attached to the clippers.)
(GRISSOM looks pleased with the find.)
CUT TO:
[INT. CSI -- BREAKROOM]
(SARA sits at the table and takes her sandwich out of the bag. She takes a bite and looks up. In the hallway, GRISSOM walks with his nose in a file. He stops to sign some papers then continues on.)
(SARA sees this. She gets up from her seat and follows him.)
CUT TO:
[INT. CSI - HALLWAY-LAB-HALLWAY -- CONTINUOUS]
(GRISSOM stops in the DNA lab where GREG is working.)
Grissom: How'd you do with the nail clippers?
Greg: Right over here. Figured it wasn't high priority since I'd already ID'd the semen in the victim.
Grissom: That only proves that they had sex. The nail clippers can place Jason Kent at the m*rder scene. His nails, her DNA, traces of the booth, et cetera.
Greg: k*ller, victim, location.
Grissom: Holy trinity, Greg. I need that.
(GRISSOM finishes with GREG and leaves the office.)
(SARA follows him.)
CUT TO:
[INT. CSI - HALLWAY-A/V LAB-HALLWAY -- CONTINUOUS]
(GRISSOM stops in front of the A/V lab. He steps inside.)
Grissom: So?
Archie: Just getting started. I'll keep you posted.
(GRISSOM steps out of the A/V lab into the hallway. He marks the clipboard in his hand and continues to walk down the hallway.)
(SARA takes a deep breath and follows him with an intent to catch up to him.)
(GRISSOM'S just a few steps in front of her. A Secretary catches up with him.)
Secretary: Mr. Grissom, I have your phone messages.
Grissom: Thank you.
(GRISSOM heads down the hallway and into his office. A MAN walks into the office after him.)
Man: Grissom, do you have a second?
(SARA stops. She smiles at the ill-timing of it all, then instead of going to GRISSOM, she heads down the hallway.)
CUT TO:
[INT. CSI - CHEM/DNA LAB -- CONTINUOUS]
(GREG steps away from the fumer.)
(It explodes.)
(The force of the expl*si*n sends GREG crashing through the glass wall behind him.)
CUT TO:
[HALLWAY]
(As SARA walks down the hallway, she is thrown off her feet by the expl*si*n. GREG falls to the ground near her. There is glass everywhere. The lab is on f*re and the f*re system kicks on.)
(Stunned, SARA raises her head and looks in front of her at GREG who is still conscious. He raises his head a little, then finally puts his head down.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- HALLWAY]
SLOW MOTION CAMERA
(GREG is wheeled out on a gurney. He is conscious and lying on his side, the sounds around him garbled.)
RESUME MOTION
(GRISSOM walks next to the gurney as the EMT fills him in on GREG'S condition.
EMT Technician: Vitals are s*ab. We've got full thickness burns on the neck and back.
(GREG'S eyes open again and he looks around at the damage to his lab as they wheel him out.)
(GRISSOM looks at GREG.)
(They exit the building.)
[EXT. CSI - PARKING LOT - DAY -C ONTINUOUS]
(Outside, injured people are being attended to. JACQUI FRANCO turns around, her forehead cut. She's disoriented, but she sees the gurney come out of the building.)
Voice: (o.s.) Burn unit. Let's move.
(The EMTs wheel GREG out of the building. GRISSOM follows.)
(ARCHIE, JACQUI and HODGES also follow.)
(They put GREG into the EMT vehicle [#876] and close the doors.)
Paramedic: All right. Let's move.
(GRISSOM watches for a moment, then steps away. He looks around at the people and the damage, then spots SARA sitting on the ground, alone.)
(Concerned, GRISSOM heads for her and kneels down in front of her.)
Grissom: (quietly) Are you okay?
(It takes her a moment, but SARA turns and looks at GRISSOM. She has a gash on her forehead and another across her cheek. She's also holding her left hand gingerly in her lap.)
Sara: (dazed) Uh-huh.
(GRISSOM looks down at her hand. He picks her hand up and sees the large bloodied gash on her palm.)
Grissom: Honey, this doesn't look good.
Sara: (shakes her head) It's fine.
(SARA looks at GRISSOM.)
Sara: Cleanup's going to be something. We should get started.
(GRISSOM looks down at her hand.)
Grissom: You need to get stitches.
(SARA shakes her head again.)
Sara: I'm okay.
(She moves to stand up.)
Grissom: (shouts) Would you take care of her hand, please?
(GRISSOM grasps both her hands and helps SARA up. The PARAMEDIC walks over and escorts SARA away.)
(DIRECTOR ROBERT COVALLO walks toward GRISSOM. He's on the phone.)
Director Robert Covallo: (to phone) Yes, sir, I just got here. Several injuries, one serious. f*re department arson expl*sives are assessing the damage right now.
(He hangs up and looks at the building. To GRISSOM)
Director Robert Covallo: What'd you do to my lab, Grissom?
(He walks away. GRISSOM follows.)
CUT TO:
[INT. CSI - DAY -- CONTINUOUS]
(GRISSOM and DIRECTOR ROBERT COVALLO walk through the damaged lab.)
Director Robert Covallo: I'm going to need a complete evidence inventory by case. What's been lost, what's contaminated, what's salvageable.
Grissom: We have lims backup for every computer on the network. I'm sure we've only lost an hour or two of data.
Director Robert Covallo: Well, we'll never sell that in court. Defense attorneys will rip us apart. That, uh, double m*rder movie star case last year, compromised evidence, lax procedures, mistakes.
Grissom: We got a conviction on that.
Director Robert Covallo: You got lucky. This is a priority. I want to know how this happened.
Grissom: And who's to blame? I'm going to have Catherine run the investigation. I'm on a m*rder case.
Director Robert Covallo: I'll be waiting for her report.
(He turns and walks away leaving GRISSOM behind.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS is interviewing JASON KENT with his lawyer sitting next to him.)
Brass: So what was your relationship again with Alison Carpenter?
Attorney: (sighs) Once again, my client asserts his fifth amendment rights and declines to answer.
Brass: Why bother? His semen was found inside the victim.
Attorney: A finding from a crime unit that blows up its own DNA lab? You really think that's going to carry a lot of weight?
Brass: (over speakers): I understand you're in a methadone program.
Attorney: So what? My client's a recovering addict. He got hooked in prison. The w*r on drugs works about as well on the inside as it does on the street.
Brass: Well, methadone puts him in the victim's car.
Attorney: There are thousands of methadone users out there.
Brass: With chipped dental crowns? We're going to need an orthodontic sample.
Attorney: This is harassment. We're done cooperating here.
(JASON KENT reaches into his mouth and pulls out his teeth. He tosses them onto the table.)
Jason Kent: My third week in prison. Break the new guy's teeth, he can't bite down on something that's shoved in his mouth.
(BRASS picks up the teeth and looks at it. He notices the chip.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(ARCHIE and NICK go over the ALISON CARPENTER'S micro tape cassettes. In the background, officers put tape around the destroyed DNA lab.)
Archie: All right. This is the third audio tape that we found from the bunch in her motel room. She recorded about nine hours in total. Started like this.
(ARCHIE starts the tape recording for MAY 5, 2003 5:50 PM.)
Alison Carpenter: (from tape) It's almost 6:00. I'm almost ready.
(Quick flashback to: ALISON CARPENTER talks into her tape recorder while standing in front of the mirror.)
Alison Carpenter: I know there's nothing to be nervous about, but I am. He's suffered so much. I'm going to help him remember who he really is.
(End of flashback. Resume to present.)
Nick: So, she knew Jason Kent. He wasn't just some random pickup.
Archie: At first I thought maybe she was working on a book or something. Then I h*t this. Day two.
(ARCHIE turns on the next recording.)
Alison Carpenter: (from tape) You threw four touchdowns that game, didn't you?
(Quick flashback to: ALISON CARPENTER and JASON KENT are both on the high school football field.)
Jason Kent: And ran for one from right here. Everybody was thinking pass ... I ran it right up the middle for six.
Alison Carpenter: Sounds amazing. I wish I could have been there with you.
(End of flashback. Resume to present.)
Archie: Is it just me or does it sound like she's in love with this guy?
Nick: Maybe she was a m*rder groupie.
(ARCHIE looks disbelieving at NICK.)
Nick: Hey, Manson, the night stalker -- all those guys had them. I think for some freaks, k*lling's a turn-on, you know?
Archie: Well, check this out. Day before the m*rder. Last thing on her tapes.
Alison Carpenter: Well, this is an apartment and it is the right address, so I guess I'm just waiting here.
(Quick flashback to: ALISON CARPENTER sits in her car. JASON KENT opens the door and gets into the front seat next to her.)
Jason Kent: Let's go. Let's go. Start the car.
Alison Carpenter: (concerned) Jason, what happened?
(JASON KENT spits and a tooth falls out onto the floor.)
Jason Kent: I don't want to talk about it.
Alison Carpenter: This about Jesus Carden ...
Jason Kent: Jesus Cardenas is a scumbag convict, and we're not talking about him.
Alison Carpenter: Okay, I'm sorry.
Jason Kent: Shut that thing off.
(End of flashback. Resume to present.)
Nick: Run Jesus through NCIC. Cardenas.
(ARCHIE types it in. The computer searches and finds the following results:
ENTER SEARCH ON: JESUS CARDENAS
{PHOTO}
<< SEARCH COMPLETE >>
NAME: JESUS CARDENAS ID NUMBER: 004575
CONVICTIONS: HEROIN W/ POSSESSION
HEROIN W/SALE
MANSLAUGHTER
CURRENTLY SERVING TWENTY-FIVE YEARSA AT THE WESTERN NEVADA CORRECTIONAL FACILITY.
Archie: Jesus Cardenas. Heroin, possession for sale and manslaughter. Currently serving 25 at the Western Nevada Correctional Facility.
Nick: The former residence of Jason Kent.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HOSPITAL - GREG'S ROOM -- DAY]
(CATHERINE and WARRICK interview GREG who is conscious and lying on his side on the bed.)
Greg: Look, I'm pretty tired.
Catherine: This won't take long, Greg. We promise.
Warrick: Why don't you tell us exactly what happened. As best as you can remember.
Greg: I was working three cases. Mixing solvents.
Catherine: Did you notice anything prior to the expl*si*n? A power surge, a spark, a smell?
Greg: Plastic. Burning plastic.
(Quick flashback to: In the lab, GREG is standing in the lab next to the fumer.)
Greg: (V.O.) I turned around to see where it was coming from.
(He turns around and it explodes. Cut to: In the hallway, SARA hits the wall. GREG is thrown through the glass wall. End of flashback. Resume to present.)
Greg: After that ... I'm sorry.
Warrick: It's okay.
Greg: We done?
Catherine: Yeah, we're done. Feel better, all right?
Warrick: Get some rest.
CUT TO:
[INT. CSI -- LAB]
(The fax machine prints out something. NICK picks it up and looks at it. It reads:
... WESTERN NEVADA CORR FAC PAGE 3 OF 32
WESTERN NEVADA CORRECTIONAL FACILITY INMATE APPROVED VISITOR LIST C BLOCK Inmate: KENT, JASON NV0086134
Visitor: NUMBER TIME: IN
-RETT, JULIA / NV00867876 / 14:0-
-GAN, DIANNE / NV00803334 / 13:-
-ILLMAN, DANNY / NV00863112 / 12:-
-ORPE, TONY / NV00864457 /
(The next fax page reads:
... WESTERN NEVADA CORR FAC PAGE 17 OR 32
WESTERN NEVADA CORRECTIONAL FACILITY INMATE APPROVED VISITOR LIST C BLOCK Inmate: CARDENAS, JESUS NV0080134
Visitor: NUMBER TIME:IN
EVERETT, LOU / NV00862876 /
-- / NV00863334 / --
-- / NV00863112 / --
-- / NV00864457 / --
(NICK looks at the faxes.)
CUT TO:
[INT. OFFICE -- DAY]
(NICK sits at his desk and goes over both faxes. The information on the page reads:
... NEVADA CORR FAC PAGE 4 OF 32
{LOGO} WESTERN NEVADA CORRECTIONAL FACILITY
INMATE APPROVED VISITOR LIST
C BLOCK
Inmate: KENT, JASON NV0086134
VISITOR / NUMBER / TIME
-/2002 VALDEZ, MAX / NV00819877 / 12:--
-/2002 KENDALL, BRAD / NV00869822 / --
-/2002 GREEN, FAYE / NV00861198 / --
-/2002 THORPE, TONY / NV00864457 / --
-/2002 HILLMAN, DANNY / NV00863112 / --
-/2002 RIGGS, JENNIFER / NV00869022 / --
-/2002 LOGAN, DIANNE / NV00863334 / --
-/2002 RAMIREZ, KENNY / NV0086--
-/2002 MARITA, KIM / NV008--
-/2002 PINE, DARREN / NV00861168 / --
-/2002 RITTEN, CURT / NV008--
-/2002 NELSON, AMELIA / NV008--
-0/2002 NEELY, ALICE / NV008--
-1/2002 DOYLE, MARK / NV008--
-/12/2002 RIGGS, JENNIFER / NV008--
-/12/2002 MARLOW, MELISSA / NV008--
-/12/2002 RITTLE, MINA / NV008--
-/13/2002 BRADLEY, VERONICA / NV008--
-/14/2002 DUFFY, CINDY / NV008--
-/15/2002 CARPENTER, ALISON / NV008-- (highlighted in yellow)
-/15/2002 HALL, JESSICA / NV008--
-/15/2002 GREEN, FAYE / NV008--
-/15/2002 ANDERSON, GWEN / NV008--
-/19/2002 CULPEPER, RICK / NV008--
-/19/2002 BARRETT, JULIA / NV008--
-/19/2002 RICHARDS, JAKE / NV008--
-/20/2002 CARPENTER, ALISON / NV008-- (highlighted in yellow)
-/20/2002 HARRIS, RENDA / NV008--
-/20/2002 RIGGS, JENNIFER
KENDALL, BRAD
(NICK picks up the second fax.)
... NEVADA CORR FAC PAGE 18 OF 32
WESTERN NEVADA CORRECTIONAL FACILITY INMATE APPROVED VISITOR LIST C BLOCK Inmate: CARDENAS, JESUS NV0080136
/ BUCKLY, DYLAN / NV00819877
/ DELGADO, HECTOR / NV00869822
/ RUNDLE, CHIP / NV00861198
/ MARTIN, BOB / NV00864457
/ LEWIS, BRAD / NV00863112
/ KANE, PHILLIP / NV00869022
/ WESTON, BEN / NV0086863334
/ FRAM, DENNIS / NV00869917
/ MATTHEWS, CHAD / NV0086--
/ RITTEN, CURT / NV0086--
/ MURDLE, JOE / NV0086--
-/9/2002 LINDLOFF, ALEX / --
-/10/2002 DUDEK, HANK / --
-/11/2002 HALE, DUSTIN / --
-/12/2002 TEMPLETON, ELIAS / --
-/12/2002 MCFADDEN, HENRY / --
-/12/2002 CANNON, JAMES / --
-/13/2002 OVERTON, JESSE / --
-/13/2002 TADERO, JIMMY /
-/14/2002 CARPENTER, ALISON (highlighted)
- /2002 TYNER, JOE
- /2002 VALENTI, ROGER
- /2002 HYDE, RYAN
- /2002 HAYNES, PATRICK
- /2002 EVERETT, LOU
- /2002 RYCOFF, PAYNE
(NICK takes a yellow highlighter pen and highlights ALISON CARPENTER'S name on the list.)
4/10/2002 NEELY, ALICE
4/11/2002 DOYLE, MARK
4/12/2002 RIGGS, JENNIFER
4/12/2002 MARLOW, MELISSA
4/12/2002 RITTLE, MINA
4/13/2002 BRADLEY, VERONICA
4/13/2002 DUFFY, CINDY
4/14/2002 CARPENTER, ALISON (highlighted in yellow)
4/15/2002 HALL, JESSICA
4/15/2002 GREEN, FAYE
4/15/2002 ANDERSON, GWEN
4/19/2002 CULPEPER, RICK
4/19/2002 BARRETT, JULIA
4/19/2002 RICHARDS, JAKE
4/19/2002 CARPENTER, ALISON
HARRIS, RENDA
(NICK leans back in his chair, a grim look on his face.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - LATE DAY TO EVENING]
[INT. CSI -- LAB]
(NICK reports back to GRISSOM.)
Nick: Jesus Cardenas and Jason Kent were two prisoners with the same taste in visitors.
Grissom: Alison Carpenter.
Nick: (nods) Yeah, she visited Jason 13 times in the last 18 months. And the last two times, she also visited Jesus.
Grissom: A m*rder, his groupie and a heroin dealer, what a team.
Nick: Mmm.
Grissom: Does Western Nevada correctional use surveillance cameras in their visitation room?
Nick: Yeah, and it's all cued up.
CUT TO:
[INT. CSI - A/V LAB -- EVENING]
(On screen, the surveillance camera from the Western Nevada Correctional Facility is running from 00:17:49:26 on.)
Archie: It's pretty casual for prison.
Grissom: It's medium security.
Nick: Nicer criminals.
Archie: Right. Anyway, every time we visit it pretty much went the same way. She sits down with Jason Kent, they talk for a little while, and Kent goes back to his cell. Then the last two visits, she stayed behind.
(ARCHIE enhances the video of the man sitting at the table.)
Nick: Jesus Cardenas.
Archie: They're offscreen here for about five minutes.
(On screen, ALISON CARPENTER stands up, JESUS CARDENAS follows. They go behind the back wall.)
Archie: Then they come back to the table and she leaves.
Grissom: Run that again. Can you enhance that?
Archie: Yeah, I think so.
(ARCHIE enhances the video and they see what's really happening behind the wall.)
Nick: (laughs) Jason's little girlfriend was screwing a guy he hates.
Grissom: Well, if you can't k*ll the one you want ... k*ll the one you're with.
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - CHEM/DNA LAB]
(WARRICK and CATHERINE stand in the middle of the lab.)
Catherine: What a mess.
Warrick: Want to strip it?
Catherine: I'm thinking spiral with an overlap.
Catherine: I'll head this way.
Warrick: All right.
(CATHERINE puts her things down. She and Warrick start to process the scene. WARRICK puts an evidence marker #6 down next to a piece of green glass.)
(CATHERINE looks at the damage done to the contents on the countertop.)
(Dissolve to: Cameras flash. Evidence markers are placed down. WARRICK puts down evidence marker #54 on the floor.)
(CATHERINE puts down evidence marker #3 on the counter. She snaps a picture.)
(She picks up a b*rned evidence baggie containing the nail clippers. The label reads:
ARTICLE: NAIL CLIPPERS DATE {THIS PORTION IS b*rned}
WHERE THIS ARTICLE WAS FOUND: JASON KENT ... INVESTIGATION OFFICER: G.G.
002-19873-2298-012
(She puts the baggie down.)
(Dissolve to: CATHERINE puts her clipboard down on the table. Camera cuts to Evidence marker #4 on the counter.)
(WARRICK and CATHERINE continue to process the lab.)
Catherine: Damage radiates from here.
Warrick: Well ... there's no crater.
Catherine: Yeah, so it's not a high expl*sive.
Warrick: I guess we're looking for a combustible liquid?
Catherine: Yeah. That narrows things down.
(CATHERINE picks up the burner off of the ground. She looks at the switch and sees that it was pointed on.)
Catherine: Somebody left the hot plate on inside of the fume hood. (b*at)
Genius.
(WARRICK finds something.)
Warrick: What do you think? Developer pan?
Catherine: Presence of acetone, methanol, all kinds of combustibles.
Warrick: Mix that with a heat source, and what have you got?
Catherine: (indicates the lab) This.
CUT TO:
[INT. CSI - LOCKER ROOM]
(SARA stands in front of her open locker. She reaches and picks up her ID. She brushes she dust and dirt away from the front and stares at it.)
(NICK walks by the open door and looks inside. He sees SARA and backs up.)
Nick: (calls inside) Hey. You back on?
Sara: Yeah. I hear you're going to prison.
Nick: Hmm.
(NICK leaves.)
Nick: (o.s.) I'll meet you outside.
(SARA closes the locker door and follows NICK.)
CUT TO:
[INT. CSI -- HALLWAY]
SLOW MOTION CAMERA
(SARA walks down the same hallway. As she passes the wall, she imagines (and we see through superimposed CGI) she hears the expl*si*n and sees the glass shatter around her. She flinches, but continues to walk down the hallway.)
RESUME MOTION
CUT TO:
[EXT. LAS VEGAS (STOCK) - DAY]
[INT. WESTERN NEVADA CORRECTIONAL FACILITY - VISITOR ROOM -- DAY]
(NICK and SARA interview JESUS CARDENAS.)
Nick: What can you tell us about Alison Carpenter?
Jesus Cardenas: Knew her real well, but I guess you already know that.
(He glances up at the security camera in the corner.)
Jesus Cardenas: How did you like the show?
Sara: Alison Carpenter is d*ad.
Jesus Cardenas: I got an alibi.
Sara: Yeah, you're completely innocent, and so, tell me, why would a woman like Alison Carpenter, who was obsessed with Jason Kent, have anything to do with you?
Nick: You remember Jason. Two cells down. Hates your guts.
Jesus Cardenas: A lot of anger in that boy. Not much sense. Doesn't understand how things work.
Nick: In here or out there?
Jesus Cardenas: Either way. It doesn't matter. This is still the U.S. Of A., my man. It's capitalism. Every one us a buyer or seller.
Sara: Which one was Alison?
Jesus Cardenas: Exchange of goods for services. I gave Jason credit, he walks out of here in debt. Thinks because he's on the outside, he don't have to pay. Man who doesn't pay his debt undermines the whole system.
Sara: What did he owe you for?
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(NICK and SARA fill GRISSOM in as they walk through the hallway.)
Nick: We pulled Jason Kent's disciplinary file. He spent some time in solitary. His co caught him with heroin on two separate occasions. Once in, uh, '97 and again in '99.
Grissom: Did our lab examine the physical evidence?
Sara: Yeah, we pulled those records, too. The analysis had yielded a black tar heroin
(Quick flashback to: Standing near the wire fence, JASON KENT inhales a smoke.)
Sara: (V.O.) ... with trace amounts of blue and red linen fibers.
(Quick CGI to: Inside the joint, the black tar heroin burns red and is swept inside through the filter. End of CGI.)
(JASON KENT exhales. End of flashback. Resume to present.)
Grissom: Linen? In a prison?
Sara: You know, they got him on the heroin once. They didn't follow up with the trace.
Grissom: So how did Jason Kent get the heroin?
Nick: Uh ... you-you know how these guys are. All they do 24/7 is figure out how to b*at the system. We figure the drugs probably came from Jesus.
(GRISSOM reaches the reception area and someone passes him a stack of papers.)
Grissom: So what are we saying? Jesus sells Jason Kent heroin. Kent falls into debt, and pays him off with Alison Carpenter?
(Quick flashback to: Inside the Correctional Facility's Interview Room, JASON KENT meets with ALISON CARPENTER.)
Alison Carpenter: I'll-I'll get the money somehow. I'll work another shift, and we'll ... pay him later.
Jason Kent: I owe him. And one way or another, he's going to collect.
Alison Carpenter: I'll do whatever I have to do.
(End of flashback. Resume to present.)
Nick: Yeah, they passed her around like a party favor.
Sara: Actually ... she passed around herself.
(GRISSOM turns around with the papers and walks away leaving NICK and SARA at the counter.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(WARRICK and CATHERINE interview DAVID HODGES as he works.)
Catherine: We understand that you handled a meth lab yesterday.
David Hodges: Contaminated filter papers. So what?
Warrick: So, you had to do a solvent extraction? What did you use?
David Hodges: Chloroform, methanol and acetone. I cleaned the pan.
(HODGES looks up at them.)
Warrick: Same way you turned off that hot plate?
David Hodges: If it was on, it wasn't my fault. That thing gets turned on by accident all the time.
(Quick flashback to: DAVID HODGES in the lab. Camera close up of the burner turned on to the #5 setting and burning red. End of flashback. Resume to present.)
Warrick: Mysterious dude defense.
Catherine: Well, our report is going to reflect the fact that an active heat source was under the fume hood.
(Quick flashback to: DAVID HODGES finishes up his experiment. He closes the fume hood. Camera close up of the hot plate still on. End of flashback. Resume to present.)
David Hodges: I know what this is. You guys hear the lies and rumors about me from L.A. You know how much Grissom depends on me. So you figure, let's get rid of him. I'll lawyer up before I let you pin the tail on the new donkey.
Warrick: Start dialing.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(JACQUI FRANCO goes over with GRISSOM the comparison of the partial with JASON KENT'S prints.)
Jacqui Franco: Partial from your vic's ankle on the left. Jason Kent on the right.
Grissom: One point of commonality?
Jacqui Franco: That's it.
Grissom: So it's not his print?
Jacqui Franco: Couldn't be. 'Cause it belongs to another guy. Ten points of commonality. I think I could get a couple of more, not that we need it.
(JACQUI FRANCO hits the keyboard and shows the ID of the print match. It reads:
Match Found: Miguel Durado
Case ID: (4845-2097)
{photo}
MIGUEL DURADO
A.D.A. "Mickey D"
Las Vegas, Nevada
CRIMINAL RECORD:
*10-23-01 Petty Theft
*11-29-02 Vandalism
*01-05-03 Possession of Heroin
(trial *** - not guilty)
g*ng AFFILIATIONS: A Las Culebras
Grissom: Miguel Durado. Mickey D. Las Culebras.
(Quick flashback to: JESUS CARDENAS. Camera close up of a snake tattoo on the side of his neck. End of flashback. Resume to present.)
Jacqui Franco: What's the connection?
Grissom: Jesus Cardenas is in the same game. Mickey D. Could be the guy who's getting the heroin into the prison.
Jacqui Franco: How did his prints turn up at the scene?
Grissom: I'm not sure how, but I may see a potential why.
(Quick flashback to: In the announcer's box, JASON KENT and ALISON CARPENTER are making out. JASON takes his shirt off. The door opens and MICKEY D walks inside interrupting them.)
Grissom: (V.O.) Could be Mickey D. is collecting Jason Kent's debt.
(JASON KENT turns around. MICKEY D. punches JASON KENT and sends him down. MICKEY D. grabs ALISON CARPENTER. She struggles He kills her.)
Mickey Durado: One way or another, you got to pay what you owe. Suze can't wait to see you again.
(End of flashback. Resume to present.)
Grissom: Jason Kent was suitable for framing.
CUT TO:
[INT. CSI - EVIDENCE ROOM]
(CATHERINE is inside the room putting all the pieces together. She has a schematic of the CHEM/DNA LAB in front of her. It's littered with blue dots where the evidence from HODGES was found.)
(She picks up a baggie with the label that reads:
DATE: 5-7-03
... OFFICER: CW
EVIDENCE DESCRIPTION: DEVELOPER PAN
LOCATION: CSI - FINGERPRINT LAB
(She adds a final blue dot to the map, then removes the plastic covering with blue dots on it.)
(She picks up another baggie with the following label:
ARTICLE: GREEN GLASS SHARD
DATE/TIME COLLECTED: 5-7-03
WHERE ARTICLE FOUND: DNA
... OFFICER: CW
(She looks around at the plastic covering with green dots on it. She picks up another baggie containing another piece of green glass. She looks down at the pattern of green dots on the plastic covering. There is a definite pattern to it.)
(CATHERINE realizes what happened and who caused it.)
(WARRICK walks into the room.)
Warrick: Hey.
Catherine: Hey.
(WARRICK looks around at her progress.)
Warrick: Oh, you work fast. Which color charts Hodges' developer pan?
Catherine: Blue.
(CATHERINE puts the plastic covering with the blue dots over the room layout.)
Warrick: The blue. That's 180-degree array. That's not the epicenter of the expl*si*n.
Catherine: Hodges' pan wasn't the source. It got pushed out.
(Quick flashback to: The expl*si*n in slow motion. End of flashback. Resume to present.)
Warrick: By what?
(CATHERINE puts the plastic covering with the green dots over the room layout.)
Catherine: By this. High primary frag.
(Quick flashback to: The glass container with the green liquid in the bag on the table under the fumer. Camera pans around the glass as it explodes in slow motion sending the green glass throughout the lab. Motion resumes. The expl*si*n continues in real time. End of flashback. Resume to present.)
Warrick: Then who blew up the lab?
Catherine: I did.
(CATHERINE turns and looks at WARRICK.)
FADE TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. MIGUEL DURADO'S APARTMENT BUILDING - HALLWAY -- DAY]
(BRASS rushes up the stairway. Two officers and SARA follow him toward MIGUEL DURADO'S apartment. They stop outside his apartment door.)
(He signals the officers to take up position. BRASS takes out his w*apon. He nods at the officer. The OFFICER kicks the door open.)
Brass: Las Vegas police!
Officer: Miguel Durado. We know you're here! Come out!
[INT. MIGUEL DURADO'S APARTMENT BUILDING -- DAY]
(SARA waits a b*at out side the doorway in the hallway. She follows them inside. She takes out her w*apon as the officers search the apartment.)
(SARA kicks in the bathroom door where MIGUEL DURADO is inside.)
Sara: I got him!
Brass: Get back!
(BRASS pushes SARA aside and apprehends MIGUEL DURADO. An officer takes out his cuffs to handcuff him.)
Officer: Okay? You got him?
Brass: Yeah, I got him.
(BRASS walks up to SARA.)
Brass: Okay. Holster your w*apon. What were you doing? What were you thinking? You know that we clear the room, not you.
Sara: I got him.
Brass: You're all done, hombre.
(He sighs.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM looks at the photos spread out on his desk of the different bruises found on ALISON CARPENTER.)
(The phone rings. He answers it.)
Grissom: (to phone) Grissom.
Woman: (from phone) Director Covallo is ready to see you.
Grissom: (to phone) Okay, thank you.
CUT TO:
[INT. DIRECTOR COVALLO'S OFFICE -- DAY]
(CATHERINE and GRISSOM sit in front of DIRECTOR COVALLO'S desk.)
Catherine: CSI Brown and I had collected evidence on a case involving a woman whose husband had collapsed. We suspected poison. When we returned to the lab ...
Director Robert Covallo: You hadn't identified the liquid?
Catherine: Not yet, no.
Director Robert Covallo: And it was consumed in the expl*si*n so I guess we'll never know what it was. In any event, you placed this unidentified chemical under the fume hood.
Catherine: Right.
Director Robert Covallo: Next to an active heat source.
Catherine: I didn't know that at the time.
Director Robert Covallo: Because you didn't check.
(Quick flashback to: CATHERINE walks into the lab. She opens the fume hood and puts the bagged container with the green liquid under it next to the burner. End of flashback. Resume to present.)
Grissom: Unlogged evidence gets placed under the fume hood. A hot plate was left on. It's a lab. It's nobody's fault.
Catherine: It's my responsibility. I didn't follow procedure.
Director Robert Covallo: Why not?
Catherine: Because there's 24 hours in the day and I'm pulling 16 for the county, spending three pretending to sleep and the other five lying to my daughter that everything's going to be all right.
Director Robert Covallo: There were 13 active cases in DNA. They are all now tainted or destroyed.
Catherine: What do you want to hear? I screwed up. I'm sorry.
Director Robert Covallo: "Sorry" doesn't cut it. You're on suspension. Five days unpaid leave.
(CATHERINE stands up and leaves the office. GRISSOM gets up to follow her. DIRECTOR COVALLO stops him.)
Director Robert Covallo: Grissom. We're not done here. I've heard rumors that you've been kicking back Willows' reports.
Grissom: One report. The Jenkins case. She made a miscalculation. I've asked her to reissue the report.
Director Robert Covallo: Great. Well, while you're at it, maybe she can reissue the lab expl*si*n. (b*at) Let me explain something to you.
(DIRECTOR COVALLO turns sideways to face the wall away from GRISSOM.)
AUDIO STARTS TO FADE OUT
Director Robert Covallo: Every one of us ...
(GRISSOM focuses in on DIRECTOR COVALLO'S lips and tries to read it.)
Director Robert Covallo: (audio fading) In this building, all of us ...
AUDIO FADES OUT COMPLETELY
(DIRECTOR COVALLO continues to speak. GRISSOM interrupts him.)
Grissom: Robert. If you have something to say to me, say it to my face.
(The DIRECTOR turns to look at GRISSOM.)
Director Robert Covallo: Okay. It's not your job to protect your people. It's to protect the integrity of this lab.
Grissom: Without the people, there is no lab.
(GRISSOM leaves the office.)
CUT TO:
[INT. MIGUEL DURADO'S APARTMENT -- DAY]
(NICK walks into the apartment past MIGUEL DURADO who stands handcuffed in the middle of the room. BRASS sits on the arm of the nearby couch. NICK makes his way to SARA who is going through papers.)
Nick: I hear you think you're indestructible now, Sara.
(SARA looks at NICK.)
Nick: Have you ever had a g*n drawn on you, Sara?
Sara: No, I haven't.
(SARA opens the desk drawer and finds something unusual.
Sara: Hey, Nick.
Nick: Hmm?
Sara: Know those red and blue fibers we found in Jason Kent's heroin?
Nick: Mm-hmm.
Sara: I think I know where they came from.
(Quick flashback to: MIGUEL DURADO cutting out the faces of the dollar bills. He glues the heroin to the back of the cut out center of the bill and puts it back on the dollar. End of flashback. Resume to present.)
(SARA turns to look at MIGUEL DURADO.)
Sara: Take the G.W. bridge?
Mickey Durado: I don't know what you're talking about.
(NICK notices the cut on MIGUEL'S forehead.)
Nick: Did you cut yourself shaving or were you just thinking too hard?
Mickey Durado: Police brutality. You ever hear of it?
Nick: Those are human bite marks.
Mickey Durado: Yeah? His.
Brass: You're not looking at as*ault, Mick. You're looking at m*rder.
Miguel Durado: What?
Sara: You have Jason Kent's teeth marks on your head.
(Quick flashback to: MIGUEL DURADO grabs JASON KENT by his shirt and head butts him in the mouth. JASON KENT falls back against the wall clutching his mouth. MIGUEL DURADO continues down the hallway. End of flashback. Resume to present.)
Nick: And your fingerprints are on Alison Carpenter's body.
Mickey Durado: You're not putting this m*rder rap on me. It was that freak Jason. He did it.
Brass: We're placing you at the scene.
Mickey Durado: Yeah. I was there ... for the money. I told him that he had one day to pay up what he owed. Make everything right with Jesus. That's it.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and GRISSOM re-interview JASON KENT with his lawyer there.)
Brass: You know, it's not a bad deal for prison. Mickey D. brings the heroin to Jesus Cardenas and you trade him a woman for smack.
Lawyer: Testimony from Mickey D.? Hearsay from a gangbanger?
Brass: Oh, there's more. You left prison without paying your tab and when Jesus sent his collection agency after you, you figured you'd pay him back just the way you did in the joint.
Grissom: We know that you had sex with Alison Carpenter that night. Most probably in her car.
Brass: Get her in the mood.
(Quick flashback to: JASON KENT leads ALISON CARPENTER up the bleachers. He stops and turns around to her.)
Jason Kent: I want you to do something for me.
Alison Carpenter: Anything you want.
Jason Kent: Good, come on.
(Cut to: They go into the announcer's box where MIGUEL DURADO is waiting.)
Jason Kent: This get us square?
Mickey Durado: Yeah. For now.
Jason Kent: Take care of him.
Alison Carpenter: No, I don't want to.
Jason Kent: You said you'd help me.
Alison Carpenter: I did help you.
Jason Kent: Alison, just one time. Come on.
Alison Carpenter: No!
(JASON KENT grabs ALISON CARPENTER and pushes her up against the wall, holding her there, his hand around her neck. She struggles.)
(MIGUEL DURADO closes his eyes.)
(JASON KENT kills her. ALISON CARPENTER falls to the ground d*ad.)
(MIGUEL DURADO walks toward the door.)
Jason Kent: You're in on this.
(MIGUEL reaches the door but can't open it wide enough to get out. The door hits ALISON CARPENTER'S leg. MIGUEL reaches down, picks up her ankle and moves her leg out of the way.)
Miguel Durado: You're going back in the joint, freak.
(MIGUEL leaves.)
(End of flashback. Resume to present.)
Lawyer: You can't prove any of this. You have no evidence that places my client at the scene.
Grissom: Would you place your hand -- your right hand -- on this paper, please? Extend the fingers outward.
(JASON KENT puts his hand on the paper. GRISSOM takes an outline of his hand.)
Attorney: You have a known g*ng member in custody and yet you persist in harassing my client.
Brass: You're protective, aren't you?
Attorney: Of my clients.
(BRASS takes out a sheet of paper and shows it to the lawyer.)
Brass: Do you pay the rent for all your clients or just the ones you really like?
(GRISSOM pulls out a piece of paper.)
Grissom: Mickey D ... has a hand span of 19 centimeters. The hand that strangled Alison Carpenter ... has a span of 22 centimeters.
(GRISSOM measures the hand span.)
Grissom: And your hand ...
(GRISSOM shows the results to them.)
Grissom: ... 22 centimeters.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- CONTINUOUS]
(The Officers escort JASON KENT out of the interview room and down the hallway past BRASS and GRISSOM.)
Brass: You going to go to the DA with a connect-the-dots hand on a piece of tracing paper?
Grissom: It's all we got that links him to the m*rder. Everything else blew up in the lab.
Brass: The guy's going to walk.
Grissom: Yep.
CUT TO:
[INT. HOSPITAL - GREG'S ROOM -- NIGHT]
(CATHERINE stands in the hospital room waiting for GREG to wake up. GREG groans and opens his eyes. He sees CATHERINE standing by the window.)
Greg: What time is it?
Catherine: Late.
Greg: How long have you been here?
Catherine: A while. (pause) I got a little time on my hands.
Greg: You figured out what happened in the lab, didn't you?
Catherine: Yeah.
(CATHERINE pulls up a chair and sighs.)
Catherine: Yeah, and, um ... I wanted you to hear it from me.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(GRISSOM sits at the corner of his desk riffling through his rolodex. He finds a card:
DR. KAREN ROTH, ENT
SUNDOWN MEDICAL GROUP
?9548 DESERT WAY
LAS VEGAS, NV 89108
(702) 555-0127
(SARA appears in the doorway and leans against the door frame.)
Sara: You ... got a minute?
(GRISSOM looks up and takes the card out of the rolodex.)
Grissom: I was just leaving.
Sara: Yeah, the, uh, schedule says you're off tonight.
Grissom: I am.
Sara: Me, too.
(GRISSOM tucks his glasses into his pocket.)
Grissom: You should be on paid leave.
Sara: I'm fine.
Grissom: You were fortunate. And I'm not talking about the expl*si*n.
Sara: You, uh, you talked to Brass?
Grissom: And Nick.
(GRISSOM gathers his things.)
Sara: We got the guy.
(He stands up and takes a couple of steps toward the door.)
Grissom: Is that all you have to say?
Sara: Would you like to have dinner with me?
(GRISSOM stops.)
Grissom: No.
Sara: Why not? Let's ... let's have dinner. Let's see what happens.
Grissom: Sara ...
(GRISSOM pauses and sighs.)
Grissom: I don't know what to do about this.
Sara: (nods) I do.
(They look at each other.)
Sara: You know, by the time you figure it out, you really could be too late.
(SARA turns and leaves. GRISSOM stares after her. He takes a step forward, then reaches out and turns off his office lights. GRISSOM leaves.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x22 - Play with f*re"} | foreverdreaming |
COLD OPEN:
WHITE FLASH TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
(Cut to: Camera close up of a*t*matic w*apon being locked and loaded.)
(Cut to: Close up of a man's eyes, his face camouflaged and covered.)
[EXT. LAS VEGAS COMMUNITY/CITY (STOCK) - DAY]
(Cut to: Men in camouflage sit side by side in the vehicle. Camera close up of a watch which reads 3:15 p.m.)
[EXT. LAS VEGAS CITY (STOCK) - DAY]
WHITE FLASH TO:
[INT. FIRST MONUMENT BANK - DAY]
(The bank teller hands the customer his cash. The sign next to the teller reads: Transactions after 3:00 p.m. will be processed on the next business day. The teller smiles and continues to do business with the customer.)
(Inside the bank, there's a line waiting for the next available teller.)
(The little boy at the front of the line turns around and looks at DET. CYRUS LOCKWOOD who stands near the end of the line. LOCKWOOD searches his pockets and pushes his jacket aside. On his waist is his g*n and badge. LOCKWOOD notices the little boy watching him. The little boy smiles and continues to stare at LOCKWOOD. JIMMY'S MOM notices JIMMY staring at LOCKWOOD.)
Jimmy's Mom: Jimmy, stop staring.
(JIMMY looks up at his mom and smiles. JIMMY'S MOM smiles at LOCKWOOD.)
Det. Cyrus Lockwood: (smiling) It's okay, ma'am.
CUT TO:
[EXT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]
(The white van stops in front of the bank. The back doors open and men with g*n get out.)
(The men head for the front door quickly.)
CUT TO:
[INT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]
(The g*n open the front door. The guard standing in front of the door turns around. The first g*n swings his fist and knocks the guard in the jaw. The guard spins around and falls to the floor.)
(The customers in the bank turn around to see what the commotion is about.)
(The second g*n raises his w*apon to the ceiling and fires, getting everyone's attention. The customers start to scream.)
g*n: Up against the glass, now! g*n: Come on. Let's go. Move it! g*n: Move it! Come on. Let's go!
(The customers rush toward the teller glass to comply.)
g*n: (to the other g*n) Let's go. Let's go! Up there!
(One of the g*n heads straight for the security camera and starts to cover the lens.)
(LOCKWOOD watches everything happen cautiously. He puts his checkbook back into his breast pocket and heads for the glass with the rest of the customers.)
g*n: Get near the glass. Don't move!
(One of the g*n gathers the customers to make sure that they comply.)
[SECURITY CAMERA VIEW]
(The g*n climbs up the chair, stares into the camera, and starts smudging something black onto the lens. The view of the g*n and the rest of the bank is slowly blackened out.)
[INT. FIRST MONUMENT BANK - CONTINUOUS]
(The g*n points his g*n at JIMMY'S MOM.)
g*n: (loudly) Lady! One peep, and you die. g*n: The boy, too.
(LOCKWOOD hears the thr*at.)
(The final g*n walks into the bank. He walks up to the teller glass.)
g*n: Hands on the wall, now! Move it!
(The g*n fires at the teller glass and breaks it. The women scream. JIMMY'S MOM pulls JIMMY aside as the glass shatters around them. She puts her arms protectively around JIMMY'S head.)
(The g*n jumps onto the teller counter and heads for the bank vault. He grabs the BANK MANAGER with his hands up standing in front of the glass doors. He pushes him in through the glass doors and follows him.)
g*n: Move it, let's go! Come on! Come on! Come on!
CUT TO:
[INT. FIRST MONUMENT BANK - VAULT - DAY -- CONTINUOUS]
(POV inside the vault. The front doors of the vault are clear and see through. The g*n pushes the BANK MANAGER up against the door.)
g*n: Move! Let's go! Let's go! g*n: Open it!
(The BANK MANAGER hurriedly punches in a "5", a "4" & several other numbers on the keypad in front of the glass doors.)
g*n: Open it! Open it! g*n: Open it!
(The g*n opens the doors and walks inside the vault. He looks for a specific box. He puts down his bag and pulls out some expl*sives. He sticks it on the four corners of the bank box. The third expl*sive pack goes on the bottom right corner of box #748.)
CUT TO:
[INT. FIRST MONUMENT BANK - MAIN FLOOR - DAY -- CONTINUOUS]
(The g*n walks around the customers and purposefully aims his g*n at one of the customers.)
g*n: You! Don't look at me!
Woman: (hysterical) (b.g.) I have to get out of here!
(The g*n turns to the other customers.)
g*n: Any one of you moves a muscle, I'll blow you away.
Woman: (whimpering) (b.g.) Oh, my god!
(LOCKWOOD turns and looks at the g*n.)
CUT TO:
[INT. FIRST MONUMENT BANK - VAULT - DAY -- CONTINUOUS]
(The g*n inside the vault finishes putting on the expl*sives packs on the corners surrounding a particular box.)
(When finished, he grabs his bag and runs out of the vault. He kneels down just outside the glass doors and takes out a detonator. He pushes the buttons on the small black box.)
(Quick CGI to: The camera travels rapidly along the vault boxes toward The specific box and stops at the expl*sives pack on the bottom right corner where the red light on the receiver unit starts to blink and beep. End of CGI. Resume to present.)
(It explodes.)
(The boxes are ripped out of the vault, paper and things strewn on the vault floor. The center box flies out from the wall panel.)
CUT TO:
[INT. FIRST MONUMENT BANK - DAY -CONTINUOUS]
(LOCKWOOD and the customers hear and feel the vault explode. JIMMY flinches and he's pulled in closer to his mom.)
(LOCKWOOD turns and sees the g*n lower his g*n a bit. LOCKWOOD keeps his eye on the g*n and slowly reaches for his w*apon.)
(JIMMY moves. His mom turns to get him. The g*n sees the sudden movement. He turns and swings around and sees LOCKWOOD with his w*apon out. The g*n fires and hits LOCKWOOD. LOCKWOOD falls to the ground.)
(JIMMY'S MOM screams.)
(The g*n from inside the vault runs out carrying his bag.
g*n: Got it! Go! Go! g*n: Let's go!
(He jumps over the counter. Without a glance at LOCKWOOD, the g*n heads out the front door.)
CUT TO:
[EXT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]
(The g*n walk out of the building.)
(Cut to: The g*n pass the FIRST MONUMENT BANK sign.)
(Cut to: The g*n climb into the back of the white van.)
g*n: Go! Go! Go!
(The last g*n closes the van's back doors after everyone is inside. The van speeds away.)
(As soon as the van turns the corner. Several police cars arrive in front of the building.)
(The officers exit the vehicles and set up a blockade of sorts in front of the bank. Their car doors are open, the officers are kneeling and pointing their w*apon at the bank. In the background, we see the white van turn the corner and travel out of camera sight.)
CUT TO:
[EXT. FIRST MONUMENT BANK - DAY]
(The police sirens blare as they turn the corner onto the street. g*n are fired on the police vehicles. They stop in front of the bank. OFFICERS exit the vehicle with their w*apon drawn.)
FLASH TO WHITE:
[EXT. FIRST MONUMENT BANK -- DAY]
(Armed OFFICERS exit the building. GRISSOM makes his way to the front of the building. The alarms blare.)
AUDIO FADES OUT
(We don't hear the alarm anymore. GRISSOM ducks under the crime scene tape and walks up to the building.)
AUDIO OFF
(GRISSOM shakes his head and looks up at the alarm bell. He hears nothing.)
(CATHERINE walks up to GRISSOM from behind. GRISSOM stares at the bank's alarm.)
Catherine: (muffled) What a day to come back to work.
(CATHERINE walks past GRISSOM toward the front doors. She turns around to look at him.)
Catherine: Coming?
AUDIO FADES IN
(The alarm sound grows louder.)
(After a moment, he follows CATHERINE into the bank.)
CUT TO:
[INT. FIRST MONUMENT BANK - MAIN AREA - DAY -- CONTINUOUS]
(CATHERINE and GRISSOM walk into the bank. DAVID PHILLIPS is working on LOCKWOOD'S body. BRASS kneels down next to him.)
Brass: This crew was in and out. Three, maybe four guys, depending on who you talk to. Detective Lockwood drew his w*apon protecting a woman and a child.
(BRASS picks up LOCKWOOD'S badge.)
Catherine: Wrong place, wrong time.
Brass: There is no right time to k*ll a cop.
(GRISSOM looks around. He notices the glass windows and heads for them.)
David Phillips: I only see one b*llet wound through the back.
Brass: Yeah, witnesses say that he was, uh, taken down with a single sh*t.
(CATHERINE notices and follows him. GRISSOM takes off his glasses.)
Grissom: Beveled edges on the inside. The sh*t came from outside. We need to get a picture of this.
Catherine: These guys were pros. (to BRASS) How much did they get?
Brass: (stands) According to the tellers, they weren't interested in money.
Grissom: What were they interested in?
CUT TO:
[INT. FIRST MONUMENT BANK - VAULT -- DAY -- CONTINUOUS]
(BRASS leads GRISSOM and CATHERINE into the vault. The place is a mess. Electricity crackles and hisses.)
Grissom: See the blast marks? Charges were placed in corner quadrants. Four boxes up, five across. The rest looks like collateral damage.
Catherine: Whoever did this knew precisely what they were after.
Grissom: Well, the one good thing about their precision ... it'll narrow our focus.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. FIRST MONUMENT BANK -- DAY]
AUDIO MUFFLED
(GRISSOM has his back to the door and is staring off at something. SARA, WARRICK and NICK walk into the bank.)
Sara: (muffled) I heard "officer down." I didn't know it was Lockwood.
Warrick: (muffled) Wonder what he was doing here. He's supposed to be off duty.
Nick: (muffled): He was only 34 years old.
(CATHERINE walks up to them.)
Catherine: (muffled) All right, good. All here. We've got a lot of work to do.
(CATHERINE looks at GRISSOM who still has his back to the group, unaware that they're all there waiting for him.)
Catherine: Grissom...
RESUME AUDIO
(CATHERINE walks up to GRISSOM and puts a hand on his shoulder, startling him. He turns around.)
Catherine: Grissom?
Grissom: Sorry. I was thinking.
Catherine: Well, I was thinking that we need to start processing this bank.
Grissom: Right. I'll take the safety deposit boxes. Sara, you're with me.
(GRISSOM and SARA walk out toward the vaults.)
Nick: Radio car's sh*t up pretty good. I'll dig around in there.
(NICK heads out the front door.)
Warrick: (pointing up) Take the cameras.
(CATHERINE looks up at the cameras.)
VERY SHORT TIME CUT TO:
[INT. FIRST MONUMENT BANK - DAY -- CONTINUOUS]
SECURITY CAMERA'S POV
(WARRICK swabs off some of the black stuff covering the camera lens.)
Warrick: They made sure we didn't have eyes.
Catherine: Check the tape anyway.
Brass: (runs in) I think we found the getaway vehicle.
Catherine: Where?
Brass: Block from the off-ramp. Coroner's en route.
Catherine: The coroner?
Brass: The driver's d*ad.
CUT TO:
[INT. FIRST MONUMENT BANK - VAULT - DAY -- CONTINUOUS]
(SARA and GRISSOM work the vault. SARA snaps pictures; GRISSOM checks out the floor. He find something.)
Grissom: Electric blasting cap.
(SARA turns to look.)
Sara: Brown leg wires feeding into the grommet.
Grissom: Means they could've used C-4.
(GRISSOM looks up at the lock boxes.)
Grissom: Utah, New Mexico, Colorado, and Arizona.
(Quick CGI to: Camera zooms in on the expl*sive device with its flashing red light stuck to the lock boxes. Camera zooms in and through the light and through the wires where the electricity passes through the expl*sives and explodes.)
(Cut to: The locked box in the center of the four expl*sive devices pops right out amidst other paper items. End of CGI. Resume to SARA.)
Sara: Four corners.
Grissom: What does that tell us?
Sara: Whatever they were looking for was definitely in the center.
Grissom: The Monroe Effect: All force generated towards one central area.
Sara: How are we ever going to find out what's missing?
(GRISSOM looks around and finds something.)
Grissom: I just found the detonator.
Sara: I'll get it fumed.
CUT TO:
[EXT. FIRST MONUMENT BANK - PARKING LOT - DAY --CONTINUOUS]
(NICK is examining the car outside. CATHERINE walks up to him.)
Catherine: What have you got?
Nick: Radio car traveled about 15 feet after being h*t. I followed the leakage back to its original position. Two in the hood, one in the windshield, Lockwood. High power, long range.
Catherine: I'll take any part of that b*llet.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. ALLEYWAY - DAY -CONTINUOUS]
(CATHERINE and BRASS make their way to the getaway van. CATHERINE looks)
Brass: Oh, god.
Catherine: Near decapitation. Wire's still around his neck.
Brass: The driver became a liability after the heist. No honor among thieves, I guess.
Catherine: Tells us something about them.
(Quick flashback to: The van is parked. The driver looks back behind him.)
Driver: Hey, why are we stopping here?
(The g*n pulls a wire and kills the driver.)
g*n: (raspy) Your job is finished.
(The remaining g*n get out of the white van and drive off in another vehicle.)
(End of flashback. Resume to present.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(LOCKWOOD is on the table. ROBBINS pulls out the b*llet and puts it in the metal tray. He continues to work on the body.)
CUT TO:
[EXT. FIRST MONUMENT BANK -- DAY]
(NICK pops the front hood of the car. He's looking for the b*llet. He extracts the b*llet.)
CUT TO:
[INT. FIRST MONUMENT BANK - VAULT -- DAY]
(SARA starts putting the lockboxes back into their slots.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(GRISSOM is working on the video from the security camera.)
(On tape, the time clock starts at ??:27:22 where the g*n runs into the bank and heads straight for the security camera at full speed. There is no hesitation. He jumps up and smears black stuff on the lens with his hand. The clock ends on ??:32:03.)
(GRISSOM sits in front of the video. WARRICK stands off to the side.)
Warrick: Lockwood was a good cop. It's too bad. (b*at) Grissom, I just talked to Hodges. That black substance from the camera lens? The FTIR spit back magnesium aluminum, silicate, talc, methylparaben, and sunscreen. All of these chemicals are consistent with camouflage cream.
Grissom: Blackface paint.
(Quick flashback to: One of the g*n putting on black face paint. End of flashback. Resume to present.)
Warrick: My guess is the same stick they used to cover up that camera lens, they used to paint their faces with. I just found an eyelash in it.
(GRISSOM turns to look at WARRICK.)
CUT TO:
[INT. CSI - HALLWAY --DAY]
(GRISSOM walks rapidly down the hallway. In the back in front of the counter is ROBBINS. He sees GRISSOM and calls out to him. GRISSOM turns around.)
Robbins: Gil. I was just coming to see you.
(ROBBINS walks to GRISSOM and hands him the baggie.)
Robbins: I pulled the b*llet from Cyrus Lockwood. Fully intact, well preserved.
Grissom: You didn't have to bring this over. We could've picked it up.
Robbins: I wanted to. Every day I see people I don't know, but I saw a lot of Lockwood, and I did get to know him. I felt like I owed it to him.
Grissom: Thanks, doctor.
Robbins: Yeah.
(GRISSOM turns and heads down the hallway. Camera holds on ROBBINS.)
CUT TO:
[INT. CSI - PRINT LAB - DAY -- CONTINUOUS]
(GRISSOM opens the door and enters the lab. CATHERINE is already there behind the computer. GRISSOM holds up the baggie.)
Grissom: We got a b*llet.
Catherine: We got prints. Getaway driver. Larry Whiting. 29.
(GRISSOM looks over CATHERINE'S shoulder. On the computer monitor they see the following:
RAMPART CASINO EMPLOYMENT CAR
{PHOTO ON RIGHT)
NAME: LARRY WHITING
OCCUPATION: VALET
Employee #: 948249245
SIGNATURE
(She moves the employment card information aside to show the record underneath. It reads:
Match Found: Larry Whiting
Case ID: 4845-20154
{photo on left}
Larry Whiting
Las Vegas, Nevada
CRIMINAL RECORD:
* 10-05-99 as*ault
* 11-12-98 Drunk and Disorderly
Served: 12-10-98 till 06-22-00
Catherine: He was convicted of as*ault and drunk and disorderly five years ago. Did some time.
Grissom: Occupation: Valet at the rampart. Isn't that one of Sam Braun's hotels?
Catherine: Mm-hmm.
Grissom: You have to have a non-gaming work card to park cars at a Vegas casino. How does a guy with a criminal record get one?
Catherine: He doesn't.
Grissom: Unless he was juiced in by Sam Braun.
Catherine: Well, it is his hotel. It's his call, ultimately.
Grissom: Yeah? Well, it's our case, so it's our call.
Catherine: Mmm.
Grissom: Check it out.
(GRISSOM heads out the front door. CATHERINE turns around to stop him.)
Catherine: I may be compromised. You know I have a personal relationship with the guy.
Grissom: You'll be fine.
(GRISSOM leaves the room. Camera holds on CATHERINE.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CASINO - MAIN FLOOR -- DAY]
(CATHERINE walks across the main casino floor she stops. Across the casino, she sees SAM BRAUN talking with some people. He turns and sees her. He smiles and waves at her.)
(She smiles and waves back.)
SHORT TIME CUT TO:
[INT. CASINO - BAR - DAY -CONTINUOUS]
(CATHERINE and SAM sit at the bar.)
Sam Braun: I'm going to have to talk to H.R. about this Larry Whiting. Human resources is never supposed to process anyone with a record.
Catherine: Well, his record caught up with him, Sam. We suspect he was involved in the First Monument Bank robbery. Getaway driver ... except everyone got away but him.
Sam Braun: I have to tell you, Mugs, name doesn't ring a bell.
Catherine: (laughs) Sam ... That's like you telling me when I was a kid that you were too tired to drive home every night when you were sleeping with my mother.
Sam Braun: Well, you can't fault a fellow for wanting to be with his two best girls.
Catherine: All right.
Sam Braun: Where is all of this leading?
Catherine: Well, last year, one of your cocktail waitresses is m*rder. Still unsolved.
Sam Braun: She worked at another one of my hotels -- the Whiskey Town.
Catherine: And this Whiting guy worked here at the Rampart ... They're both your hotels .... How does that look for business?
Sam Braun: Mugs, I got a P.R. Department that deals with that. When one white tiger k*lled another one in the secret garden at the Mirage, the P.R. Department had it buried on page 16e, under the car ads, about ... this big.
Catherine: Right. They made it go away.
Sam Braun: Some things are people's business. Some things aren't.
Catherine: Well, this is my business. It's not going to go away.
Sam Braun: Then I'll be rooting for you.
CUT TO:
[EXT. LAS VEGAS CITY - PLAZA HOTEL -- (STOCK) - NIGHT]
[EXT. WHITING RESIDENCE -- NIGHT]
(BRASS and WARRICK stand outside the door. BRASS has his g*n out. WARRICK turns on his flashlight and puts his hand on his g*n.)
Brass: Las Vegas police. Manager said he lived alone.
(BRASS opens it and they enter.)
[INT. WHITING RESIDENCE - NIGHT -- CONTINUOUS]
(BRASS heads off in one direction, WARRICK looks around the living room where he sees LARRY WHITING'S uniform and name tag. He also finds LARRY WHITING'S ID card.)
Warrick: If this getaway driver's stupid enough to get whacked by his partners, he's stupid enough to leave something behind.
Brass: This whole neighborhood's stupid.
Warrick: Whew. Whew.
(WARRICK sees the liquer cup stuffed with cash. He picks it up and looks at it.)
Warrick: Sixty grand a year for jockeying cars? I'm in the wrong line of work.
Brass: Well, look on the bright side: You're still alive.
(WARRICK looks down and sees something.)
Brass: Bedroom's a bust. What do you got?
(He picks it up for a closer look.)
Warrick: I got two $5,000 stacks from the rampart.
Brass: Sam Braun's hotel.
CUT TO:
[INT. CSI - BALLISTICS LAB]
(BOBBY DAWSON goes over the b*llet comparisons with GRISSOM.)
Bobby Dawson: Um, Lockwood's b*llet on the right, and the cop car b*llet ... what's left of that cop car b*llet's on the left. Both projectiles with 308s. Consistent with the m1a.
Grissom: Long g*n.
Bobby Dawson: Mm-hmm. And long g*n are only registered to the person who makes the initial purchase ... and the serial numbers aren't recorded.
(GRISSOM sighs.)
Grissom: Impossible to trace, so it's a d*ad end.
Bobby Dawson: Well, forensically, yeah, but not cognitively. See, sh**ting someone from long range, and taking out the engine of a radio car while it is hauling ass ... you're looking at one sharp sh**t. And that kind of training only comes from ...
Grissom: The military.
CUT TO:
[INT. FIRST MONUMENT BANK -- NIGHT]
(The ceiling lights turn on.)
Nick: (looks up and yells) Thank you!
(NICK is standing in the bank with a dummy set up to find out where the sh*t came from.)
(NICK inserts the light into the dummy and turns it on. He gets some spray and uses it to see where the b*llet came from. The red laser light aligns perfectly with one of the b*llet holes from the glass window.)
(NICK heads out of the bank to find out where the sh**t was standing.)
[EXT. FIRST MONUMENT BANK - NIGHT - CONTINUOUS]
Lyric: We fall / sign / a sign / we fall / sign / a sign / we fall / sign / a sign / here I lay / our questions answered / fear inside / is truth uncovered / while we fight / shari I ithe e other...
(NICK ducks under the crime scene tape and heads for the cop car in the front of the bank. He inserts a second light into the hood of the car where the b*llet hole is. He turns the light on. Immediately, it's noticeable that the two sh*ts came from the same room from the building across the street.)
CUT TO:
[INT. BUILDING ACROSS THE STREET]
(NICK walks up the escalator and heads for the floor. He stops and finds the two red laser lights hitting against a wall. He turns around and heads for the office where the lights are coming from.)
(NICK walks into the office and looks around. He walks up to the window. He does a GSR test on the window sill and it comes out negative. He looks around and does a GSR test on the chair. It comes out positive.)
(He drags the chair in front of the window and visualizes the sh**t lifting up the long g*n and putting it on the chair in front of the window.)
(Quick flashback to: The sh**t taking aim and f*ring ... twice. End of flashback. Resume on NICK.)
(Camera holds on NICK.)
CUT TO:
[INT. FIRST MONUMENT BANK - VAULT]
(SARA finishes putting the lockboxes in their rightful positions. She steps back and looks at her handiwork. CATHERINE and GRISSOM walk into the vault.)
Catherine: Wow. Almost looks good as new.
(SARA continues to look at the lock boxes in front of her. Behind her are the stacks of money stacked up neatly.)
Catherine: Kind of.
(Camera swings around and shows us that all the boxes are in place except for one that's missing.)
Sara: This was the epitome of precision. The outer rim of boxes sustained the most damage the intent was not to blow out the 23 surrounding boxes, but to preserve the sanctity of the center box. Box 729? It's history. It's the only thing that's gone.
Catherine: That's the box they were after.
(GRISSOM leans in.)
Grissom: And we still don't know what was inside.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. FIRST MONUMENT BANK - LOBBY -- DAY]
(GRISSOM and CATHERINE sit in the lobby waiting for the BANK MANAGER. GRISSOM stares out into space, his eyes in front of him and away from CATHERINE. CATHERINE sits in the chair in front of the desk.)
(CATHERINE sighs.)
Catherine: (mutters) What is up with the bank manager? We've been waiting forever.
(She turns and looks at GRISSOM who isn't paying any attention to her and not giving her any indication of even having heard her. She looks at him.)
Catherine: Hey.
(GRISSOM turns and looks at CATHERINE.)
Catherine: (muffled) How long have we known each other?
Grissom: In days, months, or years?
Catherine: I'm serious here.
(CATHERINE levels GRISSOM a look.)
AUDIO: OFF
Catherine: (muffled) Can you hear me?
(The BANK MANAGER rushes into the bank through the front door. He makes his way toward GRISSOM and CATHERINE. He doesn't answer her. GRISSOM shifts his eyes away from CATHERINE and looks at the BANK MANAGER approaching them.)
Bank Manager: Sorry I'm late. Been on the phone all night with corporate ... not to mention I had a g*n in my face. So, you want to know the lessees of some of our safe deposit boxes?
Catherine: Oh, not some, just one. Box 729.
Bank Manager: Why don't you just hold up a touch? I want to help you, but ... you're going to have to give me a court order.
Catherine: Oh, no worries.
(CATHERINE pulls out the warrant and gives it to the BANK MANAGER. The BANK MANAGER heads back to his desk to look up the information.)
(A grid of the bank boxes appear on the monitor. Box 729 is highlighted in yellow. The following information appears on screen:
SECURE DATA Name: BENNY MURDOCK Account #: B0063776603
Address: 2974 Westfall Ave.
Las Vegas, NV 89156
Driver License #: 180063759502
Bank Manager: Box 729 lessee is Benny Murdock.
Catherine: Benny Murdock?
(CATHERINE looks at GRISSOM. He catches the look.)
Grissom: You know him?
Catherine: Yeah.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
Sam Braun: Benny ...
[INT. HOTEL - SAM BRAUN'S OFFICE -- DAY]
(CATHERINE and GRISSOM talk with SAM BRAUN.)
Sam Braun: He was my first doorman at the whiskey town. A year later, I made him a casino host at pike's gambling hall.
(SAM BRAUN sits down across from them.)
Sam Braun: Within six months, he had all the play at the Tangiers.
(He laughs to himself.)
Sam Braun: Six months. Became my right arm when we opened the Rampart. I never thought I would outlive him.
Catherine: He died a couple of weeks ago, right?
Sam Braun: Brain aneurism ... you never know when you're going to go. All those memories ...
(Quick flashback to: SAM BRAUN, BENNY MURDOCK and another woman raising their glasses in a toast.)
Sam Braun: Benny, we're going to have a great summer.
(The WOMAN giggles.)
(End of flashback. Resume to present.
Catherine: Did Larry Whiting ... know Benny?
Sam Braun: Everybody who was anybody knew Benny, including you.
Catherine: (shakes her head and smiles) Informally.
Sam Braun: Informally enough for him to direct the high-end whales your way when you were dancing.
Catherine: (laughs) Ooh ... that is Old Vegas, Sam. Sunset on that time. I hear you and Benny had a little sunset of your own. A falling out about six months ago.
Woman On Intercom: Mr. Braun, it's "bravado" regarding BJ 19.
Sam Braun: If you will excuse me, I have to take care of that.
(SAM BRAUN stands and leaves the area.)
(GRISSOM turns around and notices a framed photograph of the opening of the RAMPART. A group of people stand in front of a large ribbon with "RAMPART" on it.)
Sam Braun: (b.g.) (to phone) Yeah?
(GRISSOM turns to look at SAM BRAUN. He hears part of what's being said though it's muffled and echo-y.)
Sam Braun: (to phone) Raise the limit, and change the cards. If he wins three double downs in a row, call me back. We'll send "Mr. Happy."
(SAM BRAUN hangs up the phone, turns around and heads back to GRISSOM and CATHERINE.)
Sam Braun: I'm sorry. Where were we?
Catherine: Benny.
Sam Braun: Sorry. That's off limits ... but I was with him in the hospital when he died. We made our peace, if it's for the record.
Grissom: You wouldn't happen to know what he kept inside his safe deposit box, would you?
Sam Braun: You'll have to ask him.
Catherine: Well, I wish we could.
Sam Braun: If you'll excuse me, someone is robbing me downstairs.
(SAM BRAUN turns and leaves.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(GREG looks through a scope. CATHERINE walks into the lab.)
Catherine: You know what "off the record" means, don't you, Greg?
(GREG turns to look at CATHERINE.)
Greg: Yeah.
Catherine: (sighs) Good.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- HALLWAY]
(ROBBINS stands in the hallway. GRISSOM walks up to him.)
Grissom: Albert, got a minute?
Robbins: Sure. What's up?
Grissom: I'd like a second opinion.
SHORT TIME CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(GRISSOM sits in the chair while ROBBINS finishes looking at his ears.)
Robbins: Boy, I wish you'd come to me sooner. Your condition's pretty far along. Why did you wait?
(GRISSOM sighs.)
Grissom: I hoped it would go away.
Robbins: Doesn't your mother have this condition?
Grissom: Yeah. It's hereditary. I know. I wasn't rational.
Robbins: Look, Gil, I'm not going to preach to you. You came to me, but ... Doctor to Doctor ... there's a chance the bone deposits have spread into the inner ear, in which case, your hearing loss will eventually be permanent. If I were you, I'd schedule surgery as soon as possible.
CUT TO:
[INT. CSI - HALLWAY / BREAKROOM]
(The CSIs and GREG are eating.)
Greg: You know the eyelash Warrick found embedded in the black greasepaint -- I extracted the DNA, ran it. CODIS gave me a, uh, mongolian beef.
(GREG tips over the carton.)
Sara: I'm sorry. What does that mean?
Warrick: That means he got nothing.
Greg: There, try these, big guy. Training wheels.
Warrick: Thanks.
Nick: Hey, guys, guys, let's focus on the robbers.
(GRISSOM stares at the fortune cookie in his hand.)
Catherine: Grissom?
(GRISSOM looks up.)
Catherine: What do you think?
Grissom: I think we're giving these guys too much credit. They're experts at robbing banks, not experts at concealing evidence.
Catherine: Well, unless the answer's in that fortune cookie, what's the plan?
Grissom: Do you ever wonder how the fortune gets inside the cookie?
(NICK puts his chopsticks down and sits back.)
Nick: I know.
Sara: (smiles) Of course you do.
Nick: The cookie comes out of a press, like a tortilla, and then some lady puts the fortune in the center of the dough, and then folds the dough around a piece of metal, and then folds it again.
Grissom: That's the answer.
(With his fortune cookie in his hand, GRISSOM walks out of the breakroom while everyone stares at him.)
CUT TO:
[INT. CSI - EVIDENCE ROOM -- CONTINUOUS]
(GRISSOM walks into the evidence room, shoves the fortune cookie in his mouth and pulls down a file box of evidence. He cuts the seals off the box.)
(He takes out one of the remote devices and unscrews the lid off. He opens it. He takes out his print kit and brushes for prints. He finds a nice prints.)
CUT TO:
[INT. CSI - PRINT LAB]
(The computer beeps and the results appear on screen for ROBERT RUBIO.)
Jacqui Franco: Robert Rubio. Work card. Non-gaming. He's in the hotel business. Rampart. Hey, didn't that other guy work at the ...
Grissom: (interrupting) Run him through the military database.
Jacqui Franco: Why?
Catherine: (grimly) Just run it. After that, give us an address.
CUT TO:
[INT. RUBIO RESIDENCE -- DAY]
(OFFICERS burst in through the door. They sweep the house and go from room to room.)
Officer: Clear. OFFICER: Clear!
(The OFFICERS head back out the front door where BRASS waits.)
Officer: (to BRASS) It's all clear. There's something burning out back.
(BRASS steps into the house. GRISSOM and CATHERINE follow him inside. They cross the room and head out for the back.)
Brass: Come on. Let's see what's cooking.
(BRASS exhales. In front of them is a burning barbeque with the lid down.)
Brass: Whoo!
Catherine: Oh, well, that is... one example of the evince going up in smoke.
Brass: This guy's a piece of work, huh?
(BRASS leaves them to answer his ringing phone. He steps aside. GRISSOM opens the barbeque hood and looks inside. CATHERINE takes out her kit.)
Grissom: One of the black coats, you think?
(GRISSOM takes out the bank box.)
Catherine: Box 729.
Grissom: f*re-resistant.
(GRISSOM opens the box and they find inside a piece of fabric. CATHERINE picks it up and looks at it.)
Catherine: It's some kind of fabric. Silk, maybe. What do you make of that?
Grissom: Out of context, I don't know.
(Inside the box, there are a couple of dried blood drops. GRISSOM takes a sample and tests it.)
Catherine: Pink panther.
Grissom: Well, Clouseau, how does blood get in a safe deposit box?
Catherine: Maybe has something to do with this fabric.
(BRASS turns around and hangs up his phone.)
Brass: Mr. Nine volt, Rob Rubio -- ex-military, security expert. Went to work for casino owner Sam Braun when one of his soft count cronies got caught skimming the skim, so... all roads lead to Rome, except, in this case... the Rampart.
(CATHERINE turns away from BRASS at the news.)
CUT TO:
[EXT. LAS VEGAS DESERT -- DAY]
(Out in the middle of nowhere, a single black car is parked. The doors open and SAM BRAUN steps out carrying a metal briefcase.)
(He looks straight ahead at the vehicle coming toward him. He puts the metal briefcase down next to him.)
(The white car parks and the three g*n from the bank robbery walk out toward SAM BRAUN.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
WHITE FLASH IN.
(Camera flashes onto the first body.)
(White flash to: The second body.)
(White flash to: The Third body.)
[EXT. NEVADA DESERT -- DAY]
(GRISSOM, CATHERINE and BRASS stand over one of the bodies.)
Brass: Triple homicide in the desert.
Grissom: Old-time Vegas. We found Tommy "the aspirin" out here. Remember him? Used to make his boss' headaches disappear.
Catherine: Until they made him disappear.
Brass: I think this is the origin of the word "termination." There's the corporate way, and the way of the g*n.
(GRISSOM kneels down next to the body.)
Grissom: High-powered r*fle. Close range. Visible g*n.
(Quick flashback to: A g*n is fired and the FIRST MAN is sh*t. He falls backward. End of flashback. Resume to present.)
Grissom: This guy got it in the chest, too.
(Quick flashback to: A g*n is fired and the SECOND MAN is sh*t. He falls backward. End of flashback. Resume to present.)
Grissom: And this one took it in the back.
(Quick flashback to: A g*n is fired and the THIRD MAN is sh*t. He falls backward. End of flashback. Resume to present.)
(BRASS kneels over the first body and notices the firearm.)
Brass: This one's carrying a glock. Never got a chance to use it.
Catherine: Well, all three were carrying, so they're not tied up, and they're still armed.
Grissom: They didn't fly here. Where's their car?
Catherine: It's not a dump job. k*ller drove them here, k*lled them, and drove away.
Brass: They knew their attacker.
(GRISSOM sees something and starts walking toward it. CATHERINE swipes her finger against the man's cheek.)
Catherine: Never let a man do a woman's job.
Brass: What do you mean?
Catherine: They didn't get all their makeup off.
(BRASS notices GRISSOM walking.
Brass: Where's he going
Catherine: Let's just hope he stops.
(GRISSOM stops in front of a nearby bush with a scarf stuck in it. BRASS and CATHERINE catch up with him.)
Grissom: Look familiar?
Catherine: Bloodstain. Rainbow-colored thread. Safe deposit box. Those guys are definitely the bank robbers.
Brass: Where's the fourth guy?
Grissom: The guy who's rapidly becoming a mass m*rder.
Brass: Rob Rubio.
CUT TO:
[INT. CSI -- HALLWAY]
(GRISSOM checks his pager and heads down the hallway. At the other end of the hallway in front of him, BOBBY DAWSON from Ballistics rushes in. He turns his head and sees GRISSOM. He heads for GRISSOM.)
Bobby Dawson: Grissom, hey.
(GRISSOM doesn't look up. BOBBY DAWSON puts a hand on GRISSOM'S shoulder to get his attention. GRISSOM looks up.)
Bobby Dawson: (excitedly and rapidly) Grissom, hey, just tested the b*ll*ts from your trio in the desert.
AUDIO: MUFFLED
Bobby Dawson: (rapidly) Same GRCs as the b*llet from Lockwood. Fired from the same r*fle.
(GRISSOM stops BOBBY.)
Grissom: Slow down, Bobby.
Bobby Dawson: (muffled) I'm sorry. I just got excited. You don't get to see many .30-caliber rounds used in crimes, but, uh ...
(GRISSOM stares at BOBBY and continues to walk away from him heading for the lab. The AUDIO fades out.)
(GRISSOM turns away and walks into the lab leaving BOBBY out in the hallway staring after him, confused.)
CUT TO:
[INT. CSI - DNA LAB]
(GRISSOM opens the lab door.)
Grissom: You rang?
Greg: Uh, yeah. The, uh ... blood flecks from the safe deposit box-- two distinct samples. I only got one h*t, though.
(GREG picks ups the test results, his hands noticeably shaking. GRISSOM reaches into his pocket for his glasses.)
Greg: Uh, the primary sample belongs to Vivian Verona, a cocktail waitress. She was k*lled on the top floor of the old pike's gambling hall about two years ago. Here's the report.
(GRISSOM takes the report and looks it over.)
Grissom: Multiple puncture wounds, different depths, possibly two knives ...
Greg: I've pulled the crime scene photos for you, too.
(GREG hands GRISSOM the photos.)
Greg: Case still pending. m*rder w*apon was never found. Now, the secondary blood sample came back N.D. Uh, could be the k*ller. You always say m*rder's messy.
(GREG holds the second test results in his hands.)
Grissom: Greg, your hands are shaking.
Greg: No, they're not.
(Concerned, GRISSOM takes the paper from GREG.)
Grissom: Hold your hands out.
(GREG holds his hands out flat in front of him, palms down. GRISSOM looks at them as they shake.)
Greg: Uh ... they've been shaking ever since ...
(GREG glances up and points at the DNA LAB next door. GRISSOM looks up and sees what GREG is looking at.)
Greg: I can't really make it stop.
Grissom: Is it affecting your work?
Greg: (chuckles) Well, if I was a b*mb expert, maybe.
(GRISSOM doesn't laugh.)
Greg: No, I ... I think I have it under control.
Grissom: It'll stop. If you need me, I'll be around.
Greg: Okay.
(GRISSOM leaves the lab. GREG looks down at his hands.)
CUT TO:
[INT. CSI - EVIDENCE ROOM]
(Camera close up of one of the photographs. Its a picture of a celebration. In the photo, VIVIAN VERONA is wearing the rainbow-colored scarf and is standing in the front smiling. The banner behind the small group of people reads: "$50,000 tip".)
(GRISSOM studies the photo.)
(He picks up a second photo of the crime scene where VIVIAN VERONA is d*ad on the floor without her rainbow-colored scarf. He picks up a third photo.)
(WARRICK walks into the evidence room. He holds up the bagged scarf.)
Warrick: I have your scarf back from Sanders.
(He tosses the scarf onto the table. GRISSOM picks up the bag and compares it to the photo. It appears to be the same scarf.)
(GRISSOM holds the evidence bag up to WARRICK.)
Grissom: I need you to open this evidence bag and cut me an identical piece of fabric.
(WARRICK takes the bag.)
Warrick: You want me to replicate the blood pattern?
Grissom: Yeah.
(WARRICK reaches into his coat pocket and pulls out a pair of scissors. He cuts the bag open. At that moment, GRISSOM glances up from the photos he's looking at and sees WARRICK cutting the bag with the pair of scissors.)
(He realizes something.)
(NICK appears in the doorway, his mouth full of apple.)
Nick: You guys need a hand?
(GRISSOM sees NICK, then turns back to WARRICK.)
Grissom: Warrick, hand me those scissors.
(GRISSOM looks up at NICK.
Grissom: Nick, give me that apple.
Nick: (resistant) But I didn't get any lunch.
Grissom: (firmly) Give me the apple. You're not supposed to eat in here.
(NICK hands GRISSOM the scissors. GRISSOM looks at the apple and scissors. He picks up a photograph of the wounds on VIVIAN VERONA. He holds it up for them to see.)
Grissom: Two puncture wounds, right?
(GRISSOM takes the scissors and puts it into the apple.)
Grissom: Scissors. That's what was wrapped in the scarf.
CUT TO:
[INT. CSI -- LAB]
(Close up of the computer screen of the scarf. On screen, the computer works at reconstructing what was wrapped inside.)
Warrick: These don't look like your ordinary household pair.
Nick: No, man, look at the blades. They're almost double the size of the handles.
Warrick: What's the purpose of scissors that long?
Grissom: m*rder.
(CATHERINE walks into the room.)
Catherine: I hear scissors, I hear m*rder. What did I miss?
Grissom: We may have the m*rder w*apon.
(SARA walks into the room.)
Sara: Hey, Vivian Verona worked for Sam Braun -- a cocktail waitress at Pike's Gambling Hall. m*rder the night before it was imploded in a penthouse suite.
Nick: Sounds like somebody wanted her to disappear in the rubble. Bet you Braun hired his own clean-up crew for that one.
Sara: The pyro guys found her on their last walk-through. They assigned a CSI, but the case ran cold before it even got started. There was no suspect and no motive.
(GRISSOM stares at the monitor.)
Grissom: Warrick, enhance the blade area.
Warrick: Hmm, let me see if I can flip it around so we're not looking at an eye chart.
Grissom: R-p-r-T.
Catherine: (softly) Rampart.
(GRISSOM turns to look at CATHERINE.)
CUT TO:
[INT. CSI - LOCKER ROOM]
(GRISSOM appears in the doorway. CATHERINE is putting her jacket on.)
Catherine: (muttering) He's not returning any m my phone calls. I just need to confront this Sam Braun business once and for all. I'll drive.
Grissom: I'm not going with you.
Catherine: What do you mean?
(CATHERINE closes the locker door. GRISSOM steps into the room.)
Grissom: I'm scheduled for surgery at Desert Palm.
(CATHERINE stops and looks at GRISSOM.)
Catherine: Surgery?
(GRISSOM doesn't say anything. CATHERINE walks toward him.)
Catherine: Your hearing?
Grissom: (nods) Yep.
Catherine: I'm sorry.
Grissom: I'm not. Has to be done.
Catherine: What can I do?
Grissom: Nothing. I'm fine. Take care of the case.
Catherine: Oh, eh, mm ... that's it?
Grissom: That's it. Um ... (he thinks about it) ... good luck.
(GRISSOM leaves the room. CATHERINE stands there and shakes her head.)
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
SLOW MOTION
(OFFICERS escort ROBERT "ROB" RUBIO through the hallway. BRASS leads them to the Interview Room. Other OFFICERS stand along the hallway as they pass by.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - CONTINUOUS]
(BRASS interviews ROBERT RUBIO who is handcuffed in his seat.)
Brass: You must really like the ham steak at the Primm. One more mile north -- you're gone forever.
Roberto Rubio: They got good ham.
Brass: That's good to know. I'll know what to get you for your last meal ... for k*lling a cop. You know the r*fle we found in your trunk? The b*ll*ts match one we pulled out of a friend of mine -- Detective Cyrus Lockwood.
Roberto Rubio: Tough losing one of your own.
Brass: You lost three of yours. Ballistics made a match there, too.
(BRASS leans in, his hands flat on the table.)
Brass: So, you're ex-military. That why Sam Braun hired you to be head of security at the Rampart?
Roberto Rubio: You asking me, or you telling me?
Brass: I'm telling you. My guess is Sam needed a job done, he came to you.
Roberto Rubio: You know, when I get out of here, I'm going to take pleasure in putting air in your head.
Brass: Let me put a fact in yours. You left a lot of yourself behind, k*ller.
(Quick flashback to: ROBERT RUBIO aims and fires three times. He picks up his bag and leaves. End of flashback. Resume to present.)
Brass: So, here's the deal. You give up your boss, you get to spend the rest of your life in a jail cell, not on death row.
Rubio: I'll take death row. I'll live longer.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. HOTEL/CASINO - SAM BRAUN'S OFFICE -- NIGHT]
(Camera pans across framed photographs hanging on the wall. CATHERINE stands near the wall looking at the photos. SAM BRAUN sits behind his desk looking at CATHERINE.)
Catherine: Tangiers, pike's gambling hall ... Where are the Rampart scissors, Sam?
(CATHERINE turns around and heads for the seat across SAM'S desk.)
Sam Braun: I think they went to one of those silent auctions. You know, the kind where you put a number down and remain anonymous.
Catherine: Uh-huh. I'm sure they went to a good cause. How much money they make?
Sam Braun: More than I anticipated.
(CATHERINE takes a seat.)
Catherine: I think that we're past playing games, Sam. I need the truth.
Sam Braun: You sure about that?
Catherine: Oh, yeah. Now more than ever.
Sam Braun: Benny k*lled Vivian. He caught her cheating on him ... with me.
(Quick flashback to: BENNY MURDOCK walks into the room where he finds SAM BRAUN with VIVIAN VERONA. He gasps.)
(cc) VIVIAN VERONA: I can explain.
(End of flashback. Resume to present.)
Sam Braun: When I heard he was dying, I went to see him. He told me he k*lled her with my scissors from a ribbon-cutting ceremony. He always kept the scissors-- had them shadow-boxed for me.
(Quick flashback to: VIVIAN VERONA is d*ad on the floor. BENNY MURDOCK stands over her with the bloodied pair of scissors in his hands. End of flashback. Resume to present.)
Sam Braun: He stashed them in the safe deposit box.
Catherine: Why would Benny ... do that? Why would Benny ... m*rder Vivian and then keep the incriminating evidence, not even attempt to wash off the blood?
Sam Braun: You're asking me to answer on his behalf? I don't know. Maybe he was paranoid. Figured you would drag Lake Mead.
Catherine: Let me just get this straight. To protect Benny after he's already d*ad, you hire Rob Rubio and three cronies to commit Federal Bank Robbery to steal back a pair of scissors?
Sam Braun: They weren't just any pair of scissors ... they were tied to a legacy. If Benny goes down, I go down. Forty years ... building a reputation ... (he snaps his fingers) ... gone. Games are meant to be played downstairs not upstairs ... so I ask Rob to take care of it.
Catherine: We have the safe deposit box in our possession, Sam, along with the bloodstained sash the scissors were wrapped in. We recovered two different blood samples -- one belonging to Vivian, and the other unknown. I guess I didn't have a good enough reason until now, but ... I tested my DNA against the unknown sample.
(She sighs.)
Catherine: And wouldn't you know ... there were seven alleles in common.
(He leans forward and shakes his head.)
Sam Braun: That supposed to mean something?
Catherine: It means that you and I are biologically related. You k*lled her, Sam ... and Benny covered for you.
(Quick flashback to: SAM BRAUN walks into the hotel room and finds VIVIAN VERONA with BENNY MURDOCK. They both stand when they see SAM. SAM grabs the pair of scissors on the side table and walks toward them. End of flashback. Resume to present.)
Catherine: Part of the old double standard. No woman that you're with is ever going to be with another man.
(Quick flashback to: VIVIAN VERONA is d*ad on the floor. The camera moves up and shows SAM BRAUN holding a pair of bloodied scissors and standing over VIVIAN VERONA'S body. He leans over and takes VIVIAN VERONA'S blue scarf. End of flashback. Resume to present.)
Sam Braun: I swear on your mother ... it didn't happen that way.
Catherine: Oh, now, that holds a lot of weight. To this day my mother still sits at home waiting for your call.
(He leans back in his chair.)
Sam Braun: Do you really think I could m*rder someone?
Catherine: Science ... tells me that you did. So, yes, I do. (Her voice breaks.) It's just such a lousy way to find out that you're my father.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- EVENING]
[INT. DESERT PALM - EXAM ROOM -- EVENING]
(GRISSOM sits in his hospital gown on the examination table. The NURSE removes the blood pressure band from his arm.)
Nurse: They're preparing the surgery right now, Mr. Grissom. I'll be right back.
(The NURSE leaves the room. GRISSOM waits. CATHERINE appears in the doorway.)
Catherine: Hey.
(GRISSOM turns to look at her.)
Grissom: What are you doing here?
Catherine: I just wanted to see you. And I didn't want you to go in without wishing you good luck.
(Behind CATHERINE, The transporter appears with the wheel chair for GRISSOM. GRISSOM stands up and walks up to CATHERINE.)
Grissom: Thank you ... for being here.
(CATHERINE reaches out and hugs GRISSOM. They look at each other.)
Grissom: (to the transporter) I don't need that.
(GRISSOM heads down the hallway. CATHERINE turns to watch him leave. She smiles.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "03x23 - Inside the Box"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
CUT TO:
[INT. HOTEL/CASINO - ROULETTE TABLE - NIGHT]
(Open on a roulette ball being put into play, then a top view of a roulette wheel in play. MRS. RIFKIN and her husband are playing.)
Mrs. Rifkin: Okay. Come on. MR. RIFKIN: Come on. MRS. RIFKIN: Let's go. Come on. MR. RIFKIN: Don't fail me. MRS. RIFKIN: Come on, baby. I'm feeling this one.
Mr. Rifkin: Don't fail me. MRS. RIFKIN: Don't you let me down. MR. RIFKIN: Come on now. MRS. RIFKIN: All right. Black 22.
(MRS. RIFKIN reaches out a puts a stack of red chips on the number. They watch the ball on the wheel.)
Mr. Rifkin: If this happens, I'm buying you a sh*t.
House: No more bets.
(The ball stops on Black 22.)
Mr. Rifkin: Yes!
(The couple cheers, hug and kiss each other in celebration.)
Mrs. Rifkin: Yeah.
(The house pushes their win toward the couple. MRS. RIFKIN reaches for ward to grab the chips. Her husband glances over at the bar and sees a WOMAN IN RED leaning against the counter and standing next to a man.)
Mrs. Rifkin: Give me my money.
(She grabs the chips and pulls it toward her.)
Mrs. Rifkin: Oh, my.
(She turns to her husband and drapes her arms around his neck to hold him close.)
Mrs. Rifkin: Let's cash out.
Mr. Rifkin: Why? I, uh, I thought we were going to take some risks tonight.
Mrs. Rifkin: (suggestively) Come on ... I want to go dancing.
Mr. Rifkin: Really?
Mrs. Rifkin: Mm-hmm.
Mr. Rifkin: Okay. As long as it's lap dancing.
(Her jaw drops in surprise.)
Mrs. Rifkin: What has gotten into you?
(He smiles back, then they hug. Over her shoulder, MR. RIFKIN glances over at the bar to look at the woman in red, but she's gone.)
WHITE FLASH TO:
[INT. BAR -- NIGHT]
(MRS. RIFKIN and her husband sit at the bar.)
Mr. Dominguez: Hey, buddy, when you get a chance, can I get a couple more of these martinis? One with an olive, one with a twist. Thank you.
Mrs. Rifkin: Why don't we, um ... take those up to the room?
(She smiles, laughs and kisses him.)
Mrs. Rifkin: 'Cause I'm feeling a little ... uh ...
(She kisses him again as her husband looks beyond her to the WOMAN IN RED in the back of the room with her husband.)
Mrs. Rifkin: (whispering) ... Frisky.
(MRS. RIFKIN turns around to look at who he's looking at. She sees the couple, then turns back to her husband.)
Mrs. Rifkin: Do you know them?
Mr. Rifkin: (chuckles and shakes his head) No, but how frisky do you feel?
(They both turn and glance over at the couple. Her husband points over at them.)
(The Rifkin's stand up and head for the other couple.)
CUT TO:
[EXT. LAS VEGAS DESERT (STOCK) - SUNRISE]
[INT. THE SPHERE - TENTH FLOOR -- MORNING]
(CAMERA LOW TO THE GROUND as the hotel housekeeper pushes her cart through the hallway. She pauses at the next room door and knocks.)
Housekeeper: Housekeeping. Coming in.
(She opens the door, pushes it wide open and walks into the darkened room. She reaches out and flips the switch to open the curtains, but after a moment, they only open part of the way. She stops, turns back and tries the curtain switch again. After hitting it several times, she gives up and heads for the curtains to open them herself.)
(She walks across the bedroom and jiggles the drapes. Suddenly, she stops, turns around slowly ... and screams.)
WHITE FLASH TO:
[INT. THE SPHERE - TENTH FLOOR -- MORNING]
(Several quick flashes of ALICE DOMINGUEZ'S slashed throat. Resume to present.)
(ALICE DOMINGUEZ is slumped back in her seat at the table. There is blood spattered all along the table, the vase on the table and along the wall.)
(Camera moves rapidly around and stops on ...
(GRISSOM stares at the scene. He steps forward and examines the injury. CATHERINE walks into the room and examines the blood spatter on the walls.)
Grissom: Her throat's been slit by what appears to have been a very sharp implement.
(GRISSOM straightens and looks around the room.)
Grissom: The room is completely stripped. No bedding, no sheets.
Catherine: No towels, either. Someone took a few souvenirs. I'll check the surveillance tapes.
(CATHERINE walks out of the bathroom and into the bedroom. GRISSOM goes back to examining the body.)
(He takes out her driver's license and looks at it:
CALIFORNIA DRIVER LICENSE
EXPIRES: 7/13/07
CLASS:
ALICE DOMINGUEZ
311 SEPHILL
LOS ANGELES, CA 90078
SEX: F HAIR: BRN EYES: BRN
HT: 5'7" WT: 130 DOB: 7-13-72
RSTR: NONE
{signature}
Grissom: Alice Dominguez.
(GRISSOM shows CATHERINE the wallet.)
Grissom: She wasn't robbed.
Catherine: It's not her room, either. It was registered under the name of Parker.
(GRISSOM shines his flashlight on ALICE DOMINGUEZ' left hand.)
Grissom: Wedding ring. Where's the husband?
(Off screen, we hear a faint, electronic whirring sound. The camera cuts to CATHERINE'S black bag and kit on the floor off to the side. GRISSOM looks over to her things.)
(CATHERINE turns to answer it.)
Grissom: I think your cell phone's vibrating.
Catherine: (turns back to look at GRISSOM) You heard that?
(GRISSOM goes back to looking at the wallet.)
Grissom: Mm-hmm.
(CATHERINE reaches for her phone and smiles at GRISSOM.)
Catherine: You're back.
(Distracted, GRISSOM doesn't hear her.)
Grissom: Huh?
(CATHERINE smiles as she answers her phone. GRISSOM squints ... or winks at her.)
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. THE SPHERE - TENTH FLOOR HALLWAY - DAY]
(BRASS, WARRICK and NICK walk through the hallway on the way to the hotel room.)
Warrick: There's only two reasons why people get m*rder in a casino.
Brass: Sex or money. Well, on the money side, the room was booked yesterday, under a stolen credit card belonging to a Mrs. Parker. She's a 75-year-old living alone in Henderson. As far as sex goes, well, I want to be a believer.
(They stop in front of the taped-off room. NICK looks beyond that to the stairs just next to it.)
Nick: Room closest to the exit. Imagine that.
Warrick: Quick escape. m*rder Central. Security cameras?
Brass: Uh, not in the hallway. Only in the elevator. We're on it.
Nick: Take the exit.
(NICK walks over to the stairway door.)
Warrick: I'll take the money trail.
(WARRICK leaves.)
Brass: And I'll, uh ... go door-to-door.
CUT TO:
[INT. THE SPHERE - TENTH FLOOR ROOM -- DAY]
(GRISSOM and CATHERINE study the d*ad body. CATHERINE stands in front of the body, while GRISSOM stands behind it. He moves around to the front.)
Catherine: This is very weird.
Grissom: Yeah, usually when someone gets their throat cut, it's from behind.
Catherine: Yeah, and it starts there, ends there. It's not very deep.
(CATHERINE checks the woman's hands.)
Catherine: No ligature marks. No defensive wounds.
Grissom: I think whoever did this was sitting in that chair.
(Quick flash to: Close up of the Kn*fe and ALICE DOMINGUEZ'S reflection in the Kn*fe as it's being held up against her neck.)
(End of quick flash. Resume to present.)
Catherine: She sat there and allowed someone to slit her throat?
(GRISSOM looks back at CATHERINE.)
CUT TO:
[INT. HOTEL -- CASINO -- DAY]
(SARA leans up against the counter looking at a piece of paper. WARRICK walks up to her. They both turn and walk through the casino.)
Warrick: Hey, girl.
Sara: Hi.
Warrick: What you got?
Sara: Not much. Mrs. Dominguez checked in with her husband yesterday. Room
869.
Warrick: 869? That's, like, two floors away from where she was found d*ad.
Sara: Anybody heard from the husband yet?
Warrick: He's M.I.A., but he left a gambling paper trail.
Sara: Really?
Warrick: I have a signature and a thumbprint from where Mr. Dominguez signed a
$5,000 cash-advance check.
Sara: Cash advance, huh?
Warrick: It was cash advance on a credit card. It's not cheap. It's, like $90 every thousand.
Sara: That's a rip-off.
Warrick: Not if you're desperate. He must have had a bad night.
Sara: Yeah, and Mrs. Dominguez had a worse night. You know, nobody's checked their suite yet. Would you care to join me?
Warrick: Let's do it.
(They walk off camera frame.)
CUT TO:
[INT. TENTH FLOOR HALLWAY -- DAY]
(BRASS talks with a man in the hotel room directly next door to the crime scene room.)
Guest (man): I heard some voices raised and a door slamming.
Brass: Mm. How many voices?
Guest (man): Two. No, wait. Uh, maybe it was three. (He shrugs.) Definitely a man and a woman.
Brass: What were they saying?
Guest (man): Uh, it was hard to tell. You know, the walls in these joints are pretty thick. They were definitely arguing about something.
Brass: Did you get a look at them?
Guest (man): Uh, just through the spy hole.
(Quick flashback to: The GUEST looks through the peephole and sees a man and a woman arguing loudly as they're walking away from the room. These are the two people in the teaser who were in front of the roulette wheel.)
Mr. Rifkin: Obviously he's insane. They're both crazy.
Mrs. Rifkin: Why would you put me in that situation?
Mr. Rifkin: I didn't put you in that position with ...
(End of flashback. Resume to present.)
Brass: What time was that?
Guest (man): 10:35.
Brass: 10:35? You seem to be pretty sure about that.
Guest (man): Well, I-I had just ordered a pay-per-view movie, and it was just about to begin.
Brass: Oh, yeah? Which one was that?
Guest (man): Arma-get-it-on.
Brass: You mean, Armageddon?
Guest (man): No. Arma-get-it-on.
Brass: Oh. (b*at) Good movie?
Guest (man): Worked for me.
(BRASS leaves.)
CUT TO:
[INT. HALLWAY/STAIRWELL - DAY]
(NICK takes a print off of the door. He walks inside the stairwell. He peers over and above the railing.)
CUT TO:
[EXT. PARKING - DAY -- CONTINUOUS]
(NICK opens the door and walks outside. He puts his sunglasses on and rounds the corner. He heads for the group of valets. As he approaches, most of them disburse.)
Nick: Hey, guys. How you doing? Uh, I'm with the Las Vegas Crime Lab, and I'm ...
Kenny Richmond: Nick Stokes?
Nick: Yeah.
(NICK turns around to look at a valet who's smiling at him in recognition.)
Kenny Richmond: What's up? It's Kenny! Kenny Richmond. Rebel baseball. I played backup catcher.
Nick: Kenny.
Kenny Richmond: Yeah!
Nick: Hi, Kenny!
Kenny Richmond: Yeah!
Nick: How you doing, man?
Kenny Richmond: How you doing?
Nick: Good to see you.
Kenny Richmond: Good to see you! Look at you, man.
Nick: Yeah. Yeah.
Kenny Richmond: What are you doing here? You a cop now?
Nick: Uh, Crime Scene Investigator. I'm on a case.
Kenny Richmond: Crime scene? Rock on, man. You're here on the tenth floor thing, right?
Nick: Right.
Kenny Richmond: Yeah. I heard about that, man. Everybody's talking about it. Somebody, uh, bashed some chick's brains in, I think, right?
Nick: Yeah, actually, uh, she had her throat slit and bled out all over the room. I'll know more when I check the surveillance camera.
Kenny Richmond: Well, what are you doing down here?
Nick: Uh, I'm just checking possible escape routes. She was m*rder in the room closest to the exit. m*rder Central.
(NICK looks up at the hotel building. KENNY glances up, too.)
Kenny Richmond: m*rder Central, huh? Cool.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Camera opens on ALICE DOMINGUEZ'S slit throat. ROBBINS goes over his findings with CATHERINE.)
Robbins: Cut began at the right carotid. Severed the artery and the jugular vein and terminated at the trachea. It's not as deep as I would expect for this kind of crime.
Catherine: He sliced her gently?
Robbins: Well, yeah. Oftentimes, the only thing intact is the spinal column. This did the job and nothing more.
Catherine: And what did the tox report give us?
Robbins: Alcohol count was .20.
Catherine: Double the legal limit.
Robbins: There was no limit to Mrs. Dominguez. Blood work showed heavy traces of M.D.M.A.
Catherine: Ecstasy? And alcohol? Party mix.
Robbins: Yeah, it might have made her docile.
Catherine: Well, maybe it explains why she was cut from the front.
Robbins: That may explain her head. Now let's move down to the toes.
(ROBBINS removes a piece of glitter from her toes. Camera zooms in to show that it's purple and has a S-shaped cut out in the middle of the square piece.)
Catherine: Glitter?
Robbins: Yeah. There is a ... a strip club, um, named Shimmer on industrial. I, uh, recognized the "s" almost immediately.
Catherine: You go, Doc.
CUT TO:
[INT. THE SPHERE - ROOM 869 -- DAY]
(SARA knocks on the door lightly, then opens it. She and WARRICK walk into the room.)
Sara: Hello? Mr. Dominguez?
(They walk into the room.)
Sara: Looks like the bed wasn't slept in.
Warrick: Yeah.
(SARA looks through the suitcase.)
Warrick: Stopped for gas in Barstow. Big t*nk. $43.
Sara: Clothes are still here.
Warrick: Ford explorer. California plates. Two-Paul-Charlie-Edward-329.
Sara: Really?
CUT TO:
[INT. THE SPHERE - PARKING GARAGE -- DAY]
(WARRICK, SARA and NICK each walk along the individual garage floors looking for the car.)
(Cut to: NICK approaches a bronco with the license plate 2PCE329. He looks inside the car and sees Mr. Dominguez.)
CUT TO:
[EXT. LAS VEGAS (STOCK) -- DAY]
[INT. THE SPHERE - PARKING GARAGE - DAY - SHORT TIME LATER]
(The area around the car is taped off. WARRICK, NICK and SARA check the car for evidence.)
(NICK is looking at the d*ad body in the driver's seat. WARRICK is checking the passenger seat while SARA examines the back.)
Nick: Hey, Warrick. Take a look at this wound. It's different than the wife's. She was cut from the front.
Warrick: Yeah, this one looks like he was cut from the back.
(Quick flashback to: Mr. Dominguez getting his throat cut from the back. Blood spatters on the rear view mirror.)
(End of flashback. Resume to present.)
(SARA opens the back seat and finds the Kn*fe on the floor. She picks it up.)
Sara: Hey, guys? I got a Kn*fe.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(Several camera flashes of the Kn*fe.)
(JACQUI FRANCO takes the photos of the Kn*fe while GRISSOM goes through the other evidence. She takes a print off of the Kn*fe. NICK opens an evidence bag and takes out a check and shows it to JACQUI.)
Nick: Use this, uh ... cash-advance check Warrick found as a reference.
(The information on the check reads:
PAY THE SUM OF: $5,000.00
PURCHASED FROM CREDIT
REFERENCE NO. 0173084857
LOCATION 00580241
VERIFY 41223514
DATE 10/05/03
TIME 20:13:42
{CHECK NOS. 94040412235145 (on bottom of check)}
{finger print}
{098723-87665-99 (number under print)}
Jacqui Franco: Hmm. Ink pads make for great exemplars.
Nick: And compare that to the print I pulled off the exit door and the Kn*fe ... please.
(NICK opens a second bag and takes out the print card with the following information on the back of the Pro-Lift Fingerprint Collection System Card:
INVESTIGATING AGENCY: CSI
CASE NO: 9-27-03-085692-001
DATE 9-27-03
TIME 8:49 4
OFFICER LIFTING PRINT N. STOKES
0859
SPHERE HOTEL RM 1059
Nick: Here you go.
(JACQUI takes the card and looks at it under a glass.)
Jacqui Franco: Good characteristics here.
(She looks at the other print.)
Jacqui Franco: Match to the door handle.
(She looks at the Kn*fe print.)
Jacqui Franco: And a match to the Kn*fe.
Grissom: One print on the Kn*fe. One print on the exit door. Both belonging to the husband. But we have two victims.
Greg: Speaking of twos ... I found blood from both victims on the Kn*fe.
(They turn around to find GREG standing in the doorway with test results in his hand.)
Grissom: So it's possible the husband k*lled the wife. Who k*lled the husband?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. SHIMMER -- NIGHT]
(CATHERINE and GRISSOM interview a DANCER at the strip club.)
Dancer: Yeah, they look familiar -
(She hands the paper with the DMV license information back to GRISSOM.)
Dancer: ... from the neck up. I must've given them four, five lap dances each. They made my night.
Catherine: So, they were George.
(GRISSOM looks up at them. CATHERINE supplies an explanation.)
Catherine: Big tippers.
Dancer: No. They weren't the ones paying for it. The other couple was.
Grissom: The other couple?
Dancer: Yeah, we were all in the VIP booth over there.
(She glances over across the room.)
(Quick flashback to: The DANCER working with the couple. End of flashback. Resume to present.)
Dancer: The four of them -- they came in together. The other couple just wanted to watch. So I assumed they were friends. Good friends.
(Quick flashback to: While the DANCER dances for the couple, the second couple watches. End of flashback. Resume to present.)
Dancer: I didn't get a good look at the other two, but they slid that money across the table ... mmm, brick this big. So, like I said, they just wanted to doggie in the window.
(GRISSOM looks from the DANCER to CATHERINE.)
Catherine: (explains) Watch.
Dancer: And they were subbing drinks left and right.
(Again, GRISSOM looks from the DANCER to CATHERINE.)
Catherine: Ordering clear drinks to keep the party going. What'd they order?
Dancer: Two vodkas, two soda waters.
Catherine: Guess who got the hard stuff.
(CATHERINE'S cell phone rings. She answers it. When CATHERINE turns away, the DANCER starts to work on GRISSOM.)
Dancer: (smiling) Hi. Would you like a dance?
(GRISSOM takes off his glasses. While CATHERINE'S on the phone, she keeps an eye on GRISSOM. She finishes her conversation.)
Catherine: Uh, I got to be at the courthouse. Apparently, there's a last-minute evidentiary hearing in the Sam Braun case. I need to be there.
Dancer: You sure you don't want a dance? I could be your specimen. You could be my mad scientist.
Catherine: (smiles) He already is, sweetheart. Thanks.
(They turn to leave.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(ARCHIE goes over the video footage of elevator #4 with SARA. The timer on the monitor reads 1:44 a.m. (UP))
Archie Johnson: So, this is the last footage we have of the Dominguezes alive.
(The monitor shows the elevator going up from floor #7 through floor #10.
Sara: Have we I.D.'d that other couple?
Archie Johnson: Not yet, but check it out. (rewinds tape) Brass's witness said he heard a couple arguing at 10:35.
(In Elevator #4 at around 10:36 (DN), the monitor shows the couple still arguing in the elevator.)
Archie Johnson: This must be them, going down. But coming up ...
(He shows the elevator earlier at 10:09 pm (UP). It's the couple from the teaser and they're still arguing. There's a second couple in the elevator with them.)
Sara: They're with the same mystery couple who brought up the Dominguezes. Can you make me a still of the 10:35 couple, the ones that went up and down?
Sara: Freeze it there. What's in his hand?
(ARCHIE manipulates the video to show what it is.)
Archie Johnson: That's a room key. Tangiers Casino.
Sara: Do me a favor, Archie. Call Grissom.
CUT TO:
[INT. CSI - CONFERENCE ROOM]
(As the group waits to meet, the television is on.)
Paula Francis (newswoman): (from tv) New leads in the double homicide at the Sphere Hotel and Casino. According to sources within the crime lab, the k*ller or K*llers most likely fled the room CSIs call "m*rder Central," the nearest room to the emergency exit.
(On NICK as he realized where they got that piece of information.)
Paula Francis (newswoman): (from tv) CSIs are currently checking surveillance footage in an effort to identify possible suspects.
Nick: What the hell?
Warrick: What?
Nick: Kenny Richmond, that's what.
Warrick: Who's that?
Nick: This valet at The Sphere. I played baseball in college with this guy. I bumped into him for, like, two seconds.
Warrick: Don't tell me you opened your mouth to the guy.
(NICK doesn't say anything, although his look says it all for him.)
Warrick: Hey, man. You could lose your job over something like this.
Nick: Hey, it's not like I ran my mouth to the press, okay?
Warrick: Best thing you could do is go to Grissom and 'fess up.
Nick: 'Fess up to what? There were a hundred people at that crime scene. Anyone could have gone to a reporter and told them what was going on with the case, man.
Warrick: Or what, you going to wait till he comes to you and then lie about it?
(WARRICK stands up and turns ... right into GRISSOM who is standing in the doorway.)
Grissom: Lie about what?
(NICK looks up at GRISSOM.)
CUT TO:
[EXT. COURTHOUSE - DAY]
(CATHERINE walks toward the building.)
[INT. COURT -- DAY]
(CATHERINE just walks in through the door and shows her I.D. to the security guard.)
Reporter: There he is! Mr. Braun!
Reporter: Does this mean your m*rder case will not be going to trial, Mr. Braun?
Reporter: Are you and your Representatives in discussion with the District Attorney's office?
(CATHERINE watches as a swarm of reporters gather around SAM BRAUN and his lawyer.)
Reporter: Could you elaborate on those discussions?
Reporter: Do you feel vindicated by the Judge's decision?
Lawyer: My client has no comment at this time. Mr. Braun is looking forward to putting this whole unfortunate business behind him.
[SLOW MOTION CAMERA]
(As he passes her, SAM BRAUN makes eye contact with CATHERINE.)
[RESUME MOTION]
Reporter: Mr. Braun, do you have anything to say at all, sir?
Reporter: Mr. Braun, could we get a comment?
Reporter: Mr. Braun, do you have anything to say at all, sir?
(SAM BRAUN and his lawyer walk out of the building. Camera holds on CATHERINE.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. TANGIERS HOTEL/CASINO - DAY]
(BRASS and GRISSOM interview the RIFKINS, the couple from the teaser.)
Mrs. Rifkin: It was first names only. Mandy and ... Cameron?
Brass: Where'd you meet them?
Mr. Rifkin: Uh, at the roulette tables. We were, uh ... we were drinking and they, uh, invited us back up to their room. It was Vegas. We were looking for a little excitement.
(Quick flashback to: Drinks are being poured in the room; MANDY is undressed and kissing MR. RIFKIN. End of flashback. Resume to present.)
Brass: And did you find it?
Mrs. Rifkin: No, not at all. They ... creeped us out.
Brass: How?
Mr. Rifkin: He, uh ... he asked me how much I loved my wife.
(BRASS looks at MRS. RIFKIN and she nods.)
Brass: Is that a crazy question?
Mrs. Rifkin: It wasn't the question. It was ... the way he asked it.
(Quick flashback to: MANDY with MR. RIFKIN while CAMERON'S with MRS. RIFKIN.)
Cameron Klinefeld: How much do you love your wife?
(End of flashback. Resume to present.)
Mrs. Rifkin: Sobered me right up. I mean, he didn't just ask it once. He asked it ... over and over again, and then Mandy asked how far we'd go to prove it.
Brass: Prove what?
Mr. Rifkin: To-to prove that. To prove how much I loved my wife. And, uh ... the next thing I know, she's naked.
Mrs. Rifkin: Then she starts undoing his belt.
Mr. Rifkin: Which is the reason that we went up there in the first place.
Mrs. Rifkin: Yeah, but you liked it a lot.
(He shrugs.)
Mrs. Rifkin: You could've waited.
Mr. Rifkin: Yeah. (b*at) We argue about everything. And they saw us fighting. And they kicked us out.
Grissom: I don't know how fighting works for your marriage, but it probably saved your lives.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - LOCKER ROOM -- DAY]
(CATHERINE sits alone on the locker room bench. WARRICK hangs up his shirt. CATHERINE sighs.)
Warrick: Need some help with that?
Catherine: Help with what?
Warrick: That weight on your shoulders.
Catherine: That obvious, huh?
Warrick: Yeah. What's up?
Catherine: (shakes her head a little) Oh ... Sam Braun.
Warrick: Mm-hmm. I heard about that. He made his bones in Vegas. I mean, what do you expect? The guy's bulletproof.
Catherine: I'm not.
(WARRICK sits down.)
Warrick: Want to talk about it?
Catherine: Sam told me it takes a lifetime to establish a reputation and just a second to ruin it. When I suspected that Sam was my father, I didn't go to him. I didn't go to Grissom. I went to Greg and had him run a DNA test.
Warrick: On who?
Catherine: On me.
Warrick: What'd you use as an exemplar?
Catherine: Blood evidence from his case.
Warrick: That's why they kicked it.
Catherine: Yup. And I'm just afraid.
Warrick: Of what?
Catherine: (she shakes her head) A backlash.
(CATHERINE kicks her locker door shut with her foot.)
CUT TO:
[EXT. THE FEZ -- NIGHT]
(GRISSOM and BRASS walk up to the motel. Lights from police officer cars flash.)
Brass: You got a gut feeling on this one?
Grissom: Well, if it's our serials, they've downgraded.
(BRASS and GRISSOM turns the corner and head into the parking area.)
CUT TO:
[INT. THE FEZ]
(The door opens and GRISSOM lingers in the doorway taking in the scene. BRASS checks in with the guard at the door. GRISSOM flicks the light switch on, but the light doesn't work. He turns his flashlight on and walks into the room.)
(He looks at the woman sitting at the table with her throat slit. He looks at the blood on the table. BRASS walks into the room.)
Brass: Well, we've got some I.D. Found her handbag. Wendy Laggerman, aged 24. She's not registered.
(GRISSOM notices the wedding ring on her finger.)
Grissom: Where's her husband?
CUT TO:
[EXT. THE FEZ - PARKING LOT -- NIGHT]
(BRASS and GRISSOM check the parked cars. In one particular car, there's a person behind the wheel. GRISSOM approaches the car carefully. He rounds on the driver's side and wakes up the driver.)
Driver: Oh, geez.
(Meanwhile, a motel guest walks down the stairs to get some ice from the ice machine. He notices the commotion and rubbernecks.)
Brass: What was all that about?
(The MOTEL GUEST shovels ice into the bucket while watching BRASS and GRISSOM talk.)
Grissom: False alarm. Apparently, the guy just drove in from Fresno. Fell asleep in his car, and didn't even check in yet. So ...
(As he shovels ice into the bucket, we notice that with each shovel load, there's blood on the ice. Lots of blood.)
(BRASS looks up and around the area.)
(Finally, the MOTEL GUEST looks down at what he's doing and sees the blood on the ice ... and the body in the ice machine.)
Motel Guest (man): Jeez, help! Oh, man! Oh, god!
Brass: Whoa. Hey. Hey, buddy.
Motel Guest (man): Geez.
Brass: Take it easy. Take it easy.
(BRASS and GRISSOM walk over to the ice machine and look at the body inside. GRISSOM glances at BRASS, then takes out a glove to use to open the ice machine hood.)
Grissom: This one's different. (shakes his head) Something's not right.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. THE FEZ - PARKING LOT -- DAY]
(GRISSOM kneels behind the ice machine and unplugs it. DAVID PHILLIPS looks at the body inside. GRISSOM stands up and instructs DAVID.)
Grissom: Okay, be careful, David. The body's frozen, and it's in full rigor. You're going to have to tilt it.
David Phillips: Tilt it, sir?
Grissom: Yeah. Downward 90-degree angle, then up, tilt, and out.
David Phillips: Okay. Uh ...
(DAVID waves for the other CORONER to assist him.)
David Phillips: All right, man. Um ... I'll take the shoulders, you take the feet. Okay?
Coroner: Okay.
(They both reach inside the ice machine and get a hold of the body.)
David Phillips: You ready? On three. One, two, three, up. And now tilt.
(They lift and tilt and can't get the body out of the machine. GRISSOM stands on the side and watches.)
David Phillips: Come on. Up. DAVID PHILLIPS: Okay, now tilt.
(They try again ... )
David Phillips: Oh, god. Up more, tilt more. Now. DAVID PHILLIPS: Uh, god.
(... and again ...)
David Phillips: Oh, down, down, put him down. DAVID PHILLIPS: One more time.
(... and again ...)
David Phillips: Ready, one time. One ... two, three, up. DAVID PHILLIPS: Oh, god.
(DAVID shakes his head.)
David Phillips: (to GRISSOM) S-sir, we can't get him. Uh, his knee's bent.
Grissom: Put him back down carefully.
(They put the body down and step aside. GRISSOM walks up to the bin and sighs. He reaches inside and flattens the knee.)
Grissom: There. Now try.
CUT TO:
[SHORT TIME LATER]
(The CORONERS wheel the body away on a gurney. WARRICK, NICK and SARA carry stacks of buckets to the ice machine.)
Warrick: Do we have to do the inventory on all this?
Nick: Yeah. What, fifteen buckets?
Sara: This is our first bucket brigade together, gentlemen. Try and say that ten times fast. Bucket brigade. Bucket brigade. Bucket brigade.
Grissom: (interrupts) We have to do this quickly. It's 120 degrees outside, and our crime scene is melting.
(GRISSOM scoops up the ice while the others assist.)
(Finally as he nears the bottom of the bin, GRISSOM finds something.)
Grissom: Hold on a second. I got something.
(He reaches in and picks up the Kn*fe.)
Warrick: Whoa.
Grissom: Would you like to bag this for me, Warrick? My hands are little numb.
(WARRICK takes the Kn*fe to bag it. GRISSOM leans in and finds a blood print on the ice machine.)
Grissom: Sara?
Sara: Yeah.
Grissom: Would you take a sample of this blood for me?
Sara: Sure.
(NICK continues to tape up the containers as he watches them.)
Grissom: Warrick, help her process this. Nick?
Nick: Yeah.
Grissom: Come with me.
(GRISSOM steps aside. WARRICK watches NICK as he finishes up.)
Nick: (quietly) Yeah.
(NICK stands up and follows. He looks at WARRICK as he passes him.)
CUT TO:
[INT. THE FEZ - MOTEL ROOM - DAY -- CONTINUOUS]
(The door opens. GRISSOM walks into the room. GRISSOM looks at the crime scene. NICK walks into the room.)
Grissom: Shut the door, Nick.
Nick: You want to talk?
Grissom: No. I want to see the room the way they left it.
(NICK turns around and closes the door.)
Nick: You know, if it's anything like the Sphere, we're probably not going to find much.
Grissom: We're still going to look.
(GRISSOM looks around the bedroom. NICK heads to the bathroom. GRISSOM pays close attention to the air conditioner and plugs. NICK checks out the medicine cabinet and toilet.)
(GRISSOM checks out the plug and wiring. He sees that there's a Magic Fingers attached to the bed.)
Nick: (o.s.) Bathroom's clean.
(NICK steps out of the bathroom and sees GRISSOM examining the Magic Fingers.)
Nick: Haven't you ever seen one of those before?
Grissom: Not in person, no.
Nick: Magic Fingers. Twenty-five cents for 15 minutes of vibration. Died a slow death in the '70s due to vandalism and seedy connotations. Good for sex. Good for sleep ... too.
Grissom: Good for us. Given the k*ller's appetite for sexual persuasion, maybe they blew the circuit. Overloaded it with coins.
Nick: And their prints on those coins.
CUT TO:
[LATER]
[COINS]
(Close up of the quarters being poured out from the Magic Fingers onto a cloth on the bed. CATHERINE photographs the coins while NICK dusts them for prints.)
(Several dissolves and cuts between the coins being processed. GRISSOM, CATHERINE and NICK work on the coins.)
Catherine: Is that it? We're done?
Grissom: I think so.
(The lights go back on.)
Catherine: Well, power's back on. So, why this place? How do you go from The Sphere to The Fez?
(NICK glances from CATHERINE to GRISSOM, then quietly goes back to work. GRISSOM glances at NICK.)
Grissom: What do you think, Nick?
Nick: A reporter got some inside information. k*ller probably heard about himself on the news, changed his mo.
Catherine: Oh, great. Help the bad guys. I'm sure the Laggermans appreciate that.
(GRISSOM doesn't say anything. He turns to NICK, who swallows and feels pretty bad enough as it is. NICK glances at the coins.)
Nick: I should probably get those quarters back to the lab, work on the prints.
(GRISSOM hands NICK the envelope of coins. NICK nods, then turns to leave the room. CATHERINE gathers up the rest of the coins and puts them in a package. GRISSOM walks over to the bed and puts a coin in the Magic Fingers.)
(The bed starts to vibrate. GRISSOM lies down on the bed. CATHERINE gives him a look. He holds up a hand.)
Grissom: I need 15 minutes to think.
(CATHERINE puts the coins in her hand in the package.)
Catherine: Enjoy.
(She leaves the room.)
(Camera holds on GRISSOM.)
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(NICK work on lifting prints from the quarters. He scans the print onto the computer. Using the software, he lifts the print from the scan.)
(GREG walks into the room.)
Greg: Hey.
Nick: Hey.
Greg: Your spot of blood on the ice machine lid?
Nick: Yeah?
Greg: We've got three alleles on several loci.
Nick: Is it a mixture of more than one stain?
Greg: One blood came back the vic's. The other came back unknown.
Nick: Oh.
(NICK looks at the results.)
Nick: Chances are that's our k*ller.
(The computer runs the print through the database.)
CUT TO:
[EXT. LGAS VEGAS CITY (STOCK) - DAY]
[EXT. THE FEZ - OUTSIDE THE MOTEL ROOM -- DAY]
(GRISSOM and CATHERINE stand just outside the motel room door as they go over the scenario.)
Grissom: So they lure their victims with the promise of sex.
(Quick flashback to: The two couples are in the room. End of flashback. Resume to present.)
Grissom: And then they get them to the room. And they say, "just kidding. We don't want sex. We want your life."
(Quick flashback to: CAMERON puts a Kn*fe in the MR. LAGGERMAN's hand and holds it against his wife's neck.)
Cameron: It's about trust. How much do you love your wife?
(End of flashback. Resume to present.)
Grissom: Which still doesn't explain how they get the husband to k*ll his wife.
Catherine: They had to have been in some kind of situation where they couldn't say no.
Grissom: They had a g*n to his head.
(Quick flashback to: CAMERON holds a g*n against the back of the husband's neck.)
Cameron: If you want to live, you k*ll her by your own hands, or you both die.
(End of flashback. Resume to present.)
Catherine: They didn't think he was just going to walk away.
Grissom: Maybe he was hoping to save his wife from something worse.
(Quick flashback to: The husband holds the Kn*fe against the wife's neck while CAMERON holds the g*n on the back of the husband's neck.)
Cameron: Tell me. Do you love your wife enough to spare her the suffering?
(End of flashback. Resume to present.)
Grissom: r*pe, t*rture, then m*rder.
(Quick flashback to: The husband holds the Kn*fe against the wife's neck while CAMERON holds the g*n on the back of the husband's neck. MANDY stands in the back watching.)
Cameron: If you want to live, you k*ll her by your own hand. Or you both die.
(End of flashback. Resume to present.)
Catherine: It's just so sick.
(GRISSOM looks around, then they both turn and walk over to the ice machine.)
Grissom: Why did he stick him in the ice machine?
Catherine: Well, I checked with the manager. The vic was not registered. No car.
Grissom: So he had to improvise.
(Quick flashback to: CAMERON and the husband are out in the parking lot looking for his car.)
Cameron: Where's your car?
Mr. Laggerman: We took a taxi. Please don't k*ll me.
(They knock him out, put him in the ice machine, then cut his throat.)
(End of flashback. Resume to present.)
Grissom: Well, knowing now there was an odd mixture of blood, it's safe to say that someone cut themselves.
Catherine: Someone's got blood on their hands.
(Camera holds on the print on the ice machine.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - PRINT LAB -- DAY]
(NICK sits in front of the computer as he waits for the print to run through the database. The computer beeps.)
(It found a match. NICK gets the DMV license for:
NEVADA DRIVER LICENSE 06-22-2001
LIC# 1800599863 EXPIRES: 10-30-2006
SSN: 502-14-345
CLASS: C
ENDORSE
RESTRICTIONS
BIRTHDATE: 10-30-1976
SEX: F
HEIGHT 5'05"
WEIGHT: 130
EYES: BRN
HAIR BLN
KLINEFELD, MANDY
11546 BLACKBIRD LANE
Nick: (reading) Mandy Klinefeld. 11546 Blackbird Lane.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(NICK rushes through the hallway and bumps into GRISSOM.)
Nick: Mandy and Cameron Klinefeld. I just pulled their license photos off the DMV. Brass showed them to the motel manager. Couldn't I.D., so ... APBs are on the horn.
(GRISSOM looks at the DMV photo but doesn't say anything.)
Nick: Come on, Grissom. It's got to be them. Who stays at a motel when you live here?
Grissom: Assume nothing, Nick.
(GRISSOM walks out of camera frame.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. HOTEL -- DAY]
(The OFFICER leads BRASS and GRISSOM toward the pool area.)
Brass: Who found the car?
Officer: Green valley ranch security guard, the one that actually bothers to check the APB list.
(They stop and look around.)
Officer: Let's see, cabana number four.
Grissom: There they are.
(The men head for the couple.)
Brass: Cameron Klinefeld and Mandy Klinefeld?
Cameron Klinefeld: (to the other couple) Now that's not the cocktail waitress.
Brass: (to the other couple in the cabana) You and you go with this officer, please. Thank you. Thank you. (the couple leaves) You checked into The Fez last night under a false name. We also suspect you of identity theft and felony fraud at The Sphere hotel as well. They don't have the magic fingers bed there, do they?
Cameron Klinefeld: We were at The Fez last weekend.
(GRISSOM looks around.)
Cameron Klinefeld: I got a hooker. She watched. She likes it. It gets her off. What's the problem?
Brass: The problem is, people keep showing up d*ad in your hotel rooms.
Mandy Klinefeld: (to GRISSOM) What are you looking at, my feet?
Grissom: No. His feet, actually.
(Camera close up of a piece of glitter stuck to the bottom of his shoe. GRISSOM reaches out and removes it. He holds it out to show them the glitter. Camera zooms in on the glitter piece from "Shimmer".)
Grissom: Shiny.
Mandy Klinefeld: Isn't this harassment?
(GRISSOM looks over and sees the Kn*fe cut on her hand.)
Grissom: How much do you love your wife?
(CAMERON turns to look at GRISSOM.)
Cameron Klinefeld: "Love is not love"
Grissom: Shakespeare?
Cameron Klinefeld: "Let me not the marriage of true minds..."
Grissom: "... admit impediments love is not love ...
Cameron Klinefeld: ... but bears it out till the edge of doom."
Grissom: One of the sonnets. Love is conditional.
Cameron Klinefeld: For most people.
Grissom: But not for you.
(CAMERON to turns to look at GRISSOM. They smile at each other.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. CSI - CONFERENCE ROOM - DAY]
(GRISSOM and the other CSIs meet around the conference table.)
Grissom: Okay, here we go. We've got a husband and wife serial team k*lling couples. So, let's see where we're at starting with the first double m*rder. Sara?
Sara: Bloody Kn*fe linking back to Alice Dominguez.
Catherine: We suspect that Mr. Dominguez was forced to k*ll his wife for the promise of freedom.
(Quick flashback to: The scenario where the husband holds the Kn*fe against his wife's neck while MANDY KLINEFELD stands nearby urging him on.)
Mandy: Come on. Do it. Just cut her throat, and you can walk out of here.
(End of flashback. Resume to present.)
Nick: That explains the thumbprint I found on the exit door leading to the garage. What, they take him for a walk?
Sara: They were never going to let him go.
(Quick flashback to: MANDY backs out of the motel room as she looks around to see if it's clear. CAMERON and MR. LAGGERMAN follow. They head for the ice machine.)
(Cut to: MANDY walks out of the hotel room followed by CAMERON and MR. DOMINGUEZ.
Mandy Klinefeld: Open the door.
(MR. DOMINGUEZ opens the door leaving his thumb print on the door.)
(Camera zooms forward down the stair well. Cut to: They walk up to his car.)
Cameron Klinefeld: It's almost over.
Mandy Klinefeld: You'll be all right.
(MR. DOMINGUEZ opens the car door and gets inside.)
(End of flashback. Resume to present.)
Catherine: Doc Robbins found evidence of glitter on Mrs. Dominguez.
Warrick: I also found glitter on Mr. Dominguez.
Grissom: I found some on Mr. Klinefeld's shoes, so it's possible the Klinefeld's picked up their first couple at Shimmer.
Nick: Did anyone at Shimmer I.D. the Klinefelds?
(Quick flashback to their interview with the DANCER.)
Dancer: I didn't get a good look at the other two.
(End of flashback. Resume to present.)
Catherine: We didn't know who they were at the time. Okay ... that's it for the first m*rder. What about the second?
Nick: Uh, we've got prints on quarters.
Sara: We do have an admixture of blood off the ice machine.
Grissom: What about prints on the ice machine Kn*fe?
Warrick: Forget it. Ice destroyed it.
Catherine: Okay, so, uh, we're going to have to get into the Klinefelds' house. If they haven't tossed the towels and sheets ... (sighs) ... we may have something.
CUT TO:
[INT. COURTROOM -- DAY]
(BRASS and GRISSOM stand in front of the CLERK.)
Brass: No. Uh, look, there's got to be some mistake. We are this close to busting a pair of serial K*llers and the Judge won't issue a warrant?
Stuart Gardner (court clerk): Hey, I'm just the messenger.
Brass: Is he back there? I'm going to talk to him.
(He hands the unsigned affidavit to BRASS.)
Stuart Gardner (court clerk): He won't sign it. It's not the first time. Sorry.
(BRASS and GRISSOM head back to the Judge's offices.)
CUT TO:
[JUDGE SLATER'S OFFICE -- CONTINUOUS]
(JUDGE SLATER looks at the affidavit.)
Judge Slater: Look, I have signed hundreds of search warrants for Captain Brass, but ... this affidavit lacks probable cause. Prints on quarters, an admixture of DNA ...
Grissom: DNA, if given a warrant, will clear or convict...
Judge Slater: ... are not enough for me to inv*de the Klinefelds' right to privacy.
Grissom: Your Honor, with all due respect, you've signed warrants for less.
Judge Slater: Yes... and where did it get me? Just last week, the appeals court overturned one of our convictions, based on a search warrant I gave to one of your sidekicks. We make a habit of this, I'm never going to get to the Foley building. Federal appointment. What if they k*ll again?
Judge Slater: (continues) All the more reason we need to get this right. Unappealable. The affidavit is thin. You give me more ... I'll give you more.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(NICK is in the lab looking over the video tapes from the bar. CATHERINE walks in from the hallway.)
Catherine: Funny, doesn't look like a doghouse.
Nick: Grissom ratted me out, huh?
Catherine: Um, no, you ratted yourself out. Hey, Nick, I know you're proud of what you do. You're good at what you do, and you want people to know what you do, but once you open your mouth, it's all over 'cause what we say ends up in the news.
Nick: I guess I'm learning that the hard way, huh? (They smile at each other.)
All right, (he clears his throat), let's take a look. You see, it looks like something got a little bit more interesting than roulette here.
Catherine: So, if that's the lure, where's the catch?
(NICK fast forwards the video.)
Catherine: mm-hmm. Clear drinks. What do you want to bet the Rifkins are drinking vodka and the Klinefelds club soda.
Nick: Hmm. Did you see that? That was a little tongue action right there.
Catherine: So, if we're creatures of habit ... if she stuck her tongue in Mr. Rifkin's ear, chances are she stuck it in Mr. Dominguez's ear, too.
Catherine: Mr. Dominguez has already been autopsied. Washed from head-to-toe.
Nick: What about the ice man?
Catherine: (softly) Coroners.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(DAVID PHILLIPS washes the body of the second victim. The phone rings in the background, but he can't hear it.)
CUT TO:
[CSI -- HALLWAY]
(CATHERINE'S on the phone as she and NICK rush to get to the body.)
Catherine: He's not picking up.
[DAVID PHILLIPS]
(DAVID continues to wash the body. He's still on the legs. The phone rings in the background.)
CUT TO:
[HALLWAY OUTSIDE FORENSIC AUTOPSY]
(The door bursts open. CATHERINE and NICK rush into the hallway where they see DR. ROBBINS walking.)
Catherine: Oh, hey, doc. Doc. Where's the ice man?
Robbins: (points) Uh, David's cleaning him up.
(They tear and head into the room.)
CUT TO:
[FORENSIC AUTOPSY]
(CATHERINE and NICK burst into the room.)
Nick: David ... whoa, whoa, whoa, whoa.
Catherine: Drop the hose.
(DAVID drops the hose.)
David Phillips: What did I do?
Catherine: Did you go from head to toe or head to toe?
David Phillips: Toe to head.
Nick: Good. Good answer.
(DAVID smiles.)
CUT TO:
[SHORT TIME LATER]
(CATHERINE and NICK take a swab of the inside of MR. LAGGERMAN'S ear.)
(Quick CGI POV of the swab inside the ear getting the sample. End of quick CGI POV. Resume to present.)
(They each cap their swabs.)
(NICK holds out his swab to CATHERINE who holds out her swab to NICK.)
Catherine: You run with it.
(Appreciative, NICK takes the swab and heads out.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(NICK paces the floor as he waits for the results. GRISSOM stands on the side and looks at his watch.)
Grissom: We get it yet?
Nick: Any minute now.
(The printer prints the results. GREG looks at it.)
Greg: Here it is. Affirmative for female DNA.
Grissom: Where are the admixture results from the ice machine?
Greg: Right here.
(GREG shows GRISSOM the results.)
Greg: This is the same woman.
Nick: Whoever was in his ear was on that ice machine. She's the k*ller.
(Quick flashback to: FRED LAGGERMAN begs for his life.)
Fred Laggerman: Please, let me go. Please, let me go.
(CAMERON KLINEFELD smashes his head against the door. He steps aside and MANDY slices his throat and cuts her finger in the process.)
(End of flashback. Resume to present.)
Grissom: This should get us a warrant.
(NICK nods.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. KLINEFELD RESIDENCE -- NIGHT]
(The police officer cars pull up to the curb and park. BRASS, GRISSOM and other officers exit their cars.)
(BRASS motions to the other OFFICERS.)
Brass: Okay, split up. Go around the back.
(He and GRISSOM walks up the front door. They notice the front door is slightly open. BRASS rings the doorbell. There's no answer.)
(BRASS pushes the front door open and stands in the doorway.)
Brass: Las Vegas police. Mr. and Mrs. Klinefeld, we have a warrant.
(They walk into he house and look around.
(The television set is on in one of the rooms.)
(BRASS walks into the house and finds MANDY KLINEFELD d*ad, face down on the floor.)
Brass: We got a problem ...
(GRISSOM looks around and finds CAMERON KLINEFELD d*ad.)
Brass: Somebody got to our K*llers before we did.
(Camera goes from GRISSOM to MANDY KLINEFELD to BRASS. BRASS lifts his flashlight directly into the camera.)
FADE TO WHITE.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x01 - Assume Nothing (1)"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Narrator: Previously on CSI:
[Scenes from 4X01: Assume Nothing]
[INT. CSI - CONFERENCE ROOM]
(GRISSOM goes over the case and evidence with the team.)
[GRISSOM]
(Cut to: The HUSBAND has the Kn*fe against the WIFE'S neck while a g*n is held to the back of his neck.)
Grissom: You got a husband-and-wife serial team k*lling couples.
[CATHERINE]
Catherine: Mr. Dominguez was forced to k*ll his wife for the promise of freedom.
(Cut to: Scenes of:
* The Kn*fe against ALICE DOMINGEZ' throat.
* Cameron and Mandy Klinefeld hold g*n to MR. DOMINGUEZ' back as they walk toward his car.)
[SARA]
Sara: They were never going to let him go.
(CAMERON KLINEFELD knocks MR. LAGGERMAN out and MANDY KLINEFELD cuts his throat and her hand with the Kn*fe.)
[KENNY RICHMOND with NICK]
Kenny Richmond (valet): m*rder central?
(Scenes of:
* MR. LAGGERMAN in the ice machine
* WENDY LAGGERMAN with her throat cut in the motel room.)
CUT TO:
[JUDGE SLATER'S COURTROOM]
(BRASS and GRISSOM talk with the Court Clerk.)
(Scenes of:
* CAMERON and MANDY KLINEFLED in the casino
* SARA picks up the Kn*fe from the floor of the back seat of the SUV.)
Brass: We are this close to busting a pair of serial K*llers, and the judge won't issue a warrant?
Stuart Gardner (court clerk): Hey, I'm just the messenger.
CUT TO:
[JUDGE SLATER'S OFFICE]
Judge Slater: The affidavit is standing.
Grissom: You've signed warrants for less.
CUT TO:
[EXT. HOTEL - CABANA -- DAY]
Cameron Klinefeld: "Love is not love".
Grissom: Love is conditional.
Cameron Klinefeld: For most people.
Grissom: But not for you.
CUT TO:
[INT. CSI - A/V LAB]
(NICK reviews the security video with CATHERINE.)
Nick: Then she stuck her tongue in this jerk.
(Cut to: CATHERINE kneels over the body on the table to get a swab sample.)
Catherine: Rifkin's ear -- chances are she stuck it in Mr. Dominguez's ear, too.
(Quick CGI POV of the swab in the ear.)
Grissom: Should get a warrant.
CUT TO:
(Scenes of:
* The Rifkins and the Klinefelds passing lime wedges between them.
* GRISSOM scoops up bloodied ice from the ice machine.)
[INT. KLINEFELD'S RESIDENCE - NIGHT]
Brass: Mr. and Mrs. Klinefeld, Las Vegas police.
(BRASS walks into the KLINEFELD'S residence and finds MANDY KLINEFLED d*ad.)
Brass: We got a problem. Somebody got to our K*llers before we did.
(GRISSOM walks into another room and finds CAMERON KLINEFELD d*ad with a b*llet in his chest.)
WHITE FLASH TO END OF PREVIOUSLY ON
(Quick CGI POV of: Deep within the b*llet wound track, the camera twists around and backs up out from the wound to show CAMERON KLINEFELD d*ad.)
[INT. KLINEFELD RESIDENCE -- NIGHT -- CONTINUOUS]
(BRASS looks down at MANDY KLINEFELD on the ground. He pulls out his w*apon.)
Brass: Are you carrying?
Grissom: (looking around) No.
Brass: Then get the hell out of here while I secure the room.
(GRISSOM backs out of the room and steps out of the house.)
(BRASS starts moving from room to room to check if anyone is there. He walks down the hallway. He checks the room. He goes to the back of the house. He checks the back rooms.)
(He doesn't find anyone.)
Brass: (V.O.) (to phone) This is Brass.
CUT TO:
[STAIRS TO GROUND FLOOR]
(BRASS walks down the stairs to the ground floor.)
Brass: (to phone) Yeah. I'm at 11546 Blackbird lane. Got two g*n victims. Send rescue. There's no rush.
(He hangs up the phone and walks out of the house to join GRISSOM. GRISSOM stands on the front watching a couple of men leaning on their car.)
Grissom: Are those your guys?
Brass: Yeah, they're UC.
Grissom: How long they been sitting on the house?
Brass: Oh, about the time that Judge Slater didn't sign the first warrant.
Grissom: Two undercover guys outside. Two d*ad bodies inside.
Brass: Makes you feel a little paranoid, huh?
Grissom: Not paranoid enough.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. KLINEFELD RESIDENCE -- DAY]
(The CORONER'S van drives up the road and pulls over to the side. DAVID gets out of the vehicle and heads toward the house.)
(Across the road, GRISSOM and BRASS question the two Undercover officers assigned to keep an eye on the KLINEFELD'S.)
Bill Nowlins: All right, Captain. What do you want to know.
Brass: So, you guys been here the whole time?
Bill Nowlins: Almost.
Brass: What happened?
Bill Nowlins: Tell him.
Jesse Commons: Around 7:00, there was a 444 call ...
(Quick flashback to: [THAT NIGHT] The two officers are in their cars when they hear the dispatch over the radio.)
Dispatch: (over radio) ... citizen reports officer down. 2529 Harmon Hill. All units in the vicinity respond.
(End of flashback. Resume to present.)
Bill Nowlins: We met up with a couple black-and-whites. U.T.L.
Grissom: W ... what is that?
Brass: Unable to locate.
Jesse Commons: False alarm. We came right back. Observed no activity in the house until you guys got here.
Grissom: You know we're going to need to see your g*n.
Jesse Commons: Why would we off two scumbags when we know you're coming back with a warrant?
Grissom: It wasn't a question.
Jesse Commons: And you're not my supervisor.
Brass: I am. I want your g*n. Give me your g*n.
(The two OFFICERS gives BRASS their g*n. He checks the number of b*ll*ts in the clips.)
Brass: (to a third officer on the side) Hey, help me out here.
(BRASS hands the w*apon over to the third officer.)
Brass: (sighs) And your backups, too.
Bill Nowlins: Come on.
(They reach down into their boots and remove their back up g*n as well.)
Bill Nowlins: Satisfied?
Brass: Just doing my job.
(He hands the w*apon to the officer on the side.)
Brass: (to the third officer) Here you go. (to the undercover cops) Fellas, check out the back. (he motions them forward) Okay? Let's go.
(GRISSOM remains behind and watches BRASS walk with the two OFFICERS across the road. NICK and WARRICK arrive in their SUV.)
(They get out of the car.)
Nick: These our serials?
Grissom: So it seems.
(They turn and head toward the house.)
Grissom: Yesterday's suspects. Today's victims.
Nick: We had 'em ...
(GRISSOM motions for NICK to walk into the house.)
Grissom: Take the inside.
(NICK enters the house. GRISSOM and WARRICK linger in the doorway to look at the door.)
Warrick: No sign of forced entry ... on this door, at least.
(GRISSOM turns and watches BRASS check the w*apon in the van.)
Grissom: (to WARRICK) Print the handle.
Warrick: Yeah.
[INT. KLINEFELD RESIDENCE - DAY]
(GRISOM walks into the residence while WARRICK remains behind with the door.)
(He continues to walk into the next room where NICK has found something. He has his kit on the floor, is kneeling down next to it and putting on his gloves.)
(NICK picks up a sample of something on the floor near the body. He holds it up for GRISSOM to look at.)
Nick: What do you think?
(Camera zooms in for a close up. Resume to normal.)
Grissom: I don't know what that is. Make sure you get al though. You see any cartridge casings?
Nick: Not yet.
(GRISSOM turns and heads for MANDY KLINEFELD'S body. DAVID PHILLIPS has just put in the thermometer to get a time of death.)
(He gets a reading while GRISSOM walks up to him.)
David Phillips: 85.5.
(GRISSOM looks at his watch. It reads 7:06a.)
Grissom: So T.O.D. was about 11:00 P.M.
(Cut to: WARRICK dusts the door handle.)
(Cut to: NICK tests the swab for blood.)
(Cut to: GRISSOM takes pictures of MANDY KLINEFELD'S body.)
Nick: Grissom, I've got blood, but ... a lot of pheno-negative stains as well.
Grissom: We're going to bring everything back.
(GRISSOM checks out the utility room and finds towels from The Sphere on the washing machine.)
(Cut to: WARRICK prepares to take a shoe print off of a newspaper on the floor.)
Nick: (o.s.) Hey, Dave, let's run a tox screen on both d.b.'s okay?
(NICK takes off his gloves and walks into the room that WARRICK'S in.)
Nick: What do you got, Rick?
Warrick: If the k*ller went out the back door, this may be his print.
(Quick camera close up of the print being lifted to the sheet. Resume to present.)
(GRISSOM joins them in the room.)
Warrick: Good thing Brass had cops watching the house.
Grissom: Linens and towels from The Sphere on top of the washing machine, and what I believe to be sheets from the motel inside the dryer. Both positive presumptive for blood.
Nick: Think they were being smart taking the sheets, or did they just get off sleeping on 'em?
Warrick: Either way, they were sick and dangerous.
Grissom: What does that say about whoever k*lled them?
CUT TO:
[EXT. KLINEFELD'S RESIDENCE -- DAY]
(BRASS has finished checking the w*apon. The two officers put in their two cents about the m*rder in the house.)
Jesse Commons: Wh-what's the big deal? There's no humans involved.
Bill Nowlins: I mean, look, Captain. Come on. The way I see it, somebody did us a favor.
Brass: Yeah.
Bill Nowlins: They're d*ad. Case is closed.
Brass: Hey, this isn't a favor, Bill. This is a screw-up.
Bill Nowlins: Would've been a lot bigger screw-up if ... if we didn't break surveillance and had an officer down four blocks away.
Brass: All right, what else did you see?
Jesse Commons: Kid in that house made us. Thought we were bad news.
Brass: You are bad news.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. RESIDENCE -- DAY]
(SARA gets out of the SUV.)
Sara: I can't believe Grissom pulled us off that serial m*rder case.
Catherine: Yeah, well, let me tell you how it ends. They die.
(They both head toward the house.)
Catherine: Whoa, this isn't half bad for college kids.
Sara: Yeah. Why live in a one-room flea bag when you can pool your resources and live like this.
Catherine: Hey, how 'bout it: You, me, Warrick, Nick, Grissom ...
Sara: (shakes her head) Oh, nnn ... Not Grissom.
(They walk into the house.)
[INT. HOUSE - DAY - CONTINUOUS]
(The first floor ceiling is completely soaked through. It looks as if it's raining on the inside.)
Catherine: What the hell is this?
Officer: Ma'am, you may want to take one of these.
(He hands them an open umbrella.)
Sara: Thank you.
Catherine: Thanks. Where's the body?
Officer: Upstairs.
Sara: Upstairs?
Officer: Yes.
(They get a good look at the first floor and the entire ceiling is leaking.)
Catherine: It's raining man juice?
Sara: Hallelujah?
Officer: You might want to wear those.
(The OFFICER puts two pairs of rubber boots down on the floor in front of their feet.)
Sara: Thank you.
CUT TO:
[STAIRS - CONTINUOUS]
(SARA folds up the umbrella and shakes it.)
Sara: Well, weather's clearing.
Catherine: Yeah, if only the smell would.
Sara: Yep.
(CATHERINE looks around and sighs.)
Catherine: It's like a sewer in here.
(They reach the first bedroom doorway and the bedroom is completely flooded. They make their way toward the bathroom.)
[INT. BATHROOM - CONTINUOUS]
(SARA'S the first to see it. There's a d*ad body floating in the tub completely bloated. SGT. O'RILEY stands next to the tub.)
Sara: Oh, my goodness.
(CATHERINE steps to the doorway and sees the body.)
Catherine: Oh, god.
O'Riley: Soup's on.
Catherine: How long has he been in here?
O'Riley: Roommates last saw him Thursday night. Took off for the weekend. Came home to this.
Sara: Guy goes to take a shower and DFOs. He never got to the cold water, did he?
O'Riley: Roommate said only the hot water faucet was on.
Sara: Must've been a steam bath in here.
O'Riley: Still is.
Catherine: Well, any evidence on the floor's been washed away.
Sara: There, uh ... (clears throat): Could be something in the tub.
Catherine: We got to take that body and get it through that door.
Sara: There's another option.
(SARA looks at the bathroom window.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
Caller (man): (V.O.) (recording) I'm at the corner of Harmon Hill and 25th, just east of the intersection. ...
[INT. POLICE DEPARTMENT - DISPATCH -- DAY]
(WARRICK is at dispatch collecting the recording.)
Caller (man): (recording) There's been a sh**ting. I think a cop got sh*t. John, oh ... just occurred. I heard the sh*ts.
Jen: I received the call and issued the 444. Uniforms called back a few minutes later, said they checked the area, said it was a U.T.L. You want to hear that?
Warrick: I'll hear it when you give me a dub of the original caller's voice ... and his phone number.
Jen: (smiles) I can get that for you right now.
(JEN works on the computer and gets the results:
Telephone Number Identified:
555-0187
Loc: Harmon Hill/25th.)
Warrick: Good.
CUT TO:
[EXT. KLINEFELD'S RESIDENCE -- DAY]
(GRISSOM checks his phone message:
GRIS. GOT THE 911
CALLER'S NUMBER:
555-0187.W. )
(GRISSOM dials. He walks over to the two officers waiting for the phone to ring. He can hear his phone ring, but not the receiving phone.)
Jesse Commons: (o.s.) I'm sick of this lock-down, man.
Bill Nowlins: Head's up.
Jesse Commons: Are we done?
Grissom: If I'm not done, you're not done.
Jesse Commons: We already gave you our footprints, and our fingerprints are on file, so what else do you need?
Grissom: Which way is Harmon Hill?
(BILL NOWLINS points. GRISSOM heads in that direction. When he gets just a short distance away, he hears a cell phone ring.)
(Off in the bushes to the side of the walkway, under the brush, GRISSOM finds the phone. He takes out a pair of gloves and picks it up.)
(The something catches his eye. He sees a large number of ants near a puddle of liquid on the sidewalk. He takes out a swab and takes a sample of the liquid.)
(GRISSOM stands up and looks around. He sees the two officers talking with each other near the van and he sees BRASS interviewing the next door neighbor's kid, BRADLEY.)
Brass: So, Bradley, you saw our police officer at that door?
Bradley: Yeah ... and I was watching these guys all night. See, the two bad guys drove away in the van, and then the policeman showed up, knocked on the door. Mr. Klinefeld let him in ... but he never came back out.
Brass: Did you see a police car?
Bradley: Must've walked here.
Brass: Did you hear any g*n?
Bradley: Nope.
Brass: Okay, thanks, Bradley. Good job.
Bradley: No problem.
(BRADLEY and his mom leave.)
Brass: Ever see a b*at cop anywhere but the strip?
Grissom: And how'd he b*at us to the k*ller?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
(Quick CGI POV of: Bits of plastic in flesh. The camera pulls back to show the forceps -pull out a piece of plastic from the flesh ... from the b*llet wound ...)
(End of CGI POV. Resume to Present.)
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS goes over his findings with GRISSOM.)
Robbins: Trace evidence. Definitely doesn't belong in the wound track. Did your guy get sh*t through a window?
Grissom: No. We found a lot of this material at the crime scene.
Robbins: Absence of g*n residue.
Grissom: Maybe he was sh*t through some sort of object.
Robbins: Well, Mr. Klinefeld was sh*t once in the front and Mrs. Klinefeld once in the back.
(Quick flashback of: CAMERON KLINEFELD gets sh*t. MANDY KLINEFELD stands up and starts running for the door. She doesn't make it and gets sh*t in the back.)
(End of flashback. Resume to present.)
Robbins: Dare I say the couple that slays together, lays together?
(They turn to look at each other.)
CUT TO:
[INT. BATHROOM - DAY]
(The body of the college student is wrapped and on a platform. The WORKERS there lift and carry the body through the bathroom window and onto a platform on the roof.)
(CATHERINE and SARA work at scooping the remains out of the bathtub.)
(Several dissolves of CATHERINE scooping the remains out of the bathtub.)
Catherine: (checking the drain) This drain hasn't been tampered with. It's just clogged. I think this is an accidental.
Sara: (looking at the medicine cabinet) There's nothing but young people stuff. No meds, except some aspirin. No prescriptions.
Catherine: Well, I don't think that means much. Chances are he's not getting his drugs from a medicine cabinet.
Sara: There's no sign of struggle. Any prints would have been washed away. Where does that leave us?
Catherine: Same place we were when we walked through the door -- with a bloated floater.
CUT TO:
[INT. CSI - LAB -- DAY]
(NICK looks at the pieces of plastic that he picked up from the KLINEFELD'S carpet. WARRICK leans on the other side of the table.)
Nick: Hey, you know that cell phone Grissom found at the crime scene?
Warrick: Yeah.
Nick: Traced it back to a Public Defender. Said she lost it. Made life hell for her while she was in DC.
Warrick: Mm ... have you run a sample of this through the GCMS?
Nick: Mm-hmm. Polyethylene.
Warrick: Polyethylene. I got the results back from Grissom's ant puddle.
Nick: mm-hmm.
Warrick: Corn syrup, glucose, caramel and water.
Nick: Hang on a second.
(NICK stands up and walks into the other lab.)
Nick: Where do you keep the sodium rhodizinate?
Warrick: On top of the file cabinet.
(NICK goes over to the cabinet. WARRICK turns to RICH sitting in the room behind the table.)
(CC) Warrick: So, what's up? You and Bobby switched or what?
Warrick: Hey, Rich, whatever happened with those b*ll*ts?
(RICH looks up at WARRICK.)
Rich: Six right nine-millimeter. Beretta, amongst others. Consistent with an officer's duty w*apon.
Warrick: Consistent with officer commons and Officer Nowlin's w*apon?
Rich: No match. That includes backups.
Warrick: Well, thanks.
(WARRICK returns to his table.)
Nick: Hey, Warrick.
Warrick: Yeah?
Nick: Polyethylene plus corn syrup plus GSR gives you what?
Warrick: Polyethylene and corn syrup is... cola in a bottle.
Nick: GSR on the inside of a plastic bottle means ...
Rich: Soda sil*ncer.
(Quick POV of: Person holding a g*n and putting an empty plastic bottle at the end of the barrel. He fires. End of Quick POV. Resume to present.)
Nick: Poor man's sil*ncer. Only good for a couple sh*ts.
Warrick: So, that sh**t was sitting on the house and the surveillance team.
(Quick flashback to: That night, the k*ller empties out the soda, makes the call and waits for the van to leave.)
Warrick: (V.O.) Empties out his bottle of soda... calls in an "officer down" ... ...drops the phone and takes a walk.
(The k*ller walks over to the house.)
(End of flashback. Resume to next scene.)
(NICK and WARRICK share their theory with GRISSOM.)
Nick: What do you think?
Grissom: Who do we have around here that could find us a somewhat used soda bottle?
(They all look at each other, then they turn and look back at GREG who's working quietly in the next lab behind them. He looks up and finds them staring at him.)
(what?)
CUT TO:
[INT. KLINEFELD'S RESIDENCE -- DAY]
(GREG opens the sliding door and walks out of the house to the officer standing guard out back. He puts on a pair of gloves and looks around.)
(Cut to: GREG walks around the side of the house and through the gate. He checks out the walk and checks the storm drain.)
(Cut to: GREG finishes checking the side of the house.)
INTERCUT WITH VARIOUS LAB sh*ts
[NICK]
(NICK is in the print lab working on the electrostatic shoe print taken from the newspaper on the floor. He compares the prints to the officer's shoes. No match.)
(NICK opens the flatbed scanner and scans the print into the computer. He looks at the print on the monitor.)
[GREG]
(Cut back to: GREG puts the bags of garbage back into the trash bin. He closes the two trash bins and looks down the sidewalk.)
(Cut to: As he takes a walk down the front street of the house, he looks around.)
[NICK]
(Cut to: NICK works on the shoe print on the computer. He checks the density levels of the print. On screen, he separates out the different impressions left at different density levels.)
[GREG]
(Cut back to: GREG turns the corner and starts down the second street.)
(Several dissolves of: Greg gets tired. GREG jumps up and looks over the concrete block fence.)
(Finally, GREG notices the storm drain. He lies flat on the road to check inside.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(SARA is in the lab examining the shirt. She flips the shirt inside out and takes a picture of it. She puts a sheet of plastic over the shirt and makes an outline of the void impression.)
(CATHERINE walks into the lab.)
Catherine: Hey.
Sara: Floater's shirt. Took it off his bed. What does this look like to you?
Catherine: A backwards seven.
Sara: Yeah, that's what I got. What's it doing on a DB's shirt?
Catherine: I don't know.
(She lifts up the plastic and touches the smudges on the shirt. She rubs her fingertips together.)
Catherine: Some kind of greasepaint or makeup.
Sara: How do you get paint on the inside of your clothes?
Catherine: Rubs off your chest. Oh, what kind of guy paints his chest?
Sara: Performance artist? A clown maybe?
Catherine: (smiling) Sports freak.
(SARA squints back at CATHERINE.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(GRISSOM and BRASS walk through the hallway discussing the case.)
Brass: Well, it's not like you to have a one-track mind.
Grissom: If the evidence points to cops, we chase cops.
Brass: Jesse Commons and Bill Nowlin were doing what I asked them to do. They were sitting on the house. Until you can get enough physical evidence to support a warrant.
Grissom: Somebody knew we were looking at the Klinefelds. They knew where they lived. That's somebody inside.
Brass: Cops don't take the law into their own hands.
Grissom: Ha! In what city?
(They turn and walk into GRISSOM'S office.)
Brass: Oh, you want to h*t below the belt? You know, a lot of people had access to the Klinefelds. Who knows, maybe CSI III, Nicky Stokes opened up his mouth to another parking lot attendant.
(GRISSOM's silent for a moment.)
Grissom: There was an eyewitness who saw a uniform at the front door.
Brass: Oh, come on, a ten-year-old insomniac kid, hyped up on sugar, going blind on x-box. Who knows what he saw?
Grissom: So, now you're discrediting your own witness?
Brass: All right, let's break it down. You got a public defender's cell phone, no prints. You got officers' w*apon taken from the scene, not fired. You got officers' shoe prints, not matching the evidence print. You got three black-and-whites confirming that Commons and Nowlin responded to a 444. Give these guys a break.
Grissom: Just because they weren't the sh**t doesn't mean they weren't involved.
Brass: Oh, what, so it's a conspiracy?
Grissom: Oh, please! You got a bogus 444 call two blocks away.
Brass: Oh, come on, you know the deal. You know better than that. There's bogus calls come in every day. Well, maybe you don't, because you're the kind of guy who goes to serve a warrant without a g*n.
Grissom: I'm not a cop.
Brass: Well, that's a distinction that could be lost when the suspect's still inside the house. Look, I had your back. Now I expect you to have mine.
Grissom: That's not the way it works.
Brass: In what city?
(GREG walks up to the office and into the doorway. He interrupts the argument.)
Greg: Hey, guys? I found something.
Grissom: Not now.
Greg: No. You need to see this. Both of you. Now!
(b*at)
Greg: Please.
(GREG turns and leaves the office.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(The men stare at an officer's uniform.)
(Both BRASS and GRISSOM are usually quiet as they stare at the shirt. Everything about it looks very authentic.)
(GREG looks from GRISSOM to BRASS, then back to GRISSOM.)
Greg: Sorry I didn't find the soda bottle.
Grissom: This'll do.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. TRACE LAB -- DAY]
(BRASS examines the uniform and makes note of certain things.)
Brass: Star-1 uniforms. It's the biggest uniform shop in town. From casino dealers to cops. Shirt's wet.
Greg: I found it in a storm drain.
Grissom: Where exactly?
Greg: Two blocks west of the house.
Brass: (notes) Opposite direction from the 444.
(BRASS looks over the shirt.)
Brass: uh ... Buttons.
Grissom: Meaning?
Brass: All the new uniforms have zippers.
(GRISSOM reaches out and checks the uniform collar.)
Grissom: This collar's dry. It's hot out -- at least a buck twenty-five.
Brass: Let's hope whoever was wearing that shirt sweats.
(BRASS touches the badge.)
Brass: The badge looks legit. I'll run the number.
(He turns and leaves the lab.)
(GRISSOM looks at GREG.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Camera opens on a green brain in a metal dish on the cart next to the table. ROBBINS goes over the findings with CATHERINE and SARA.)
Robbins: Roommates were unable to make a positive ID due to the accelerated decomposition, but dental records confirmed Daniel O'Hannissey. Laceration on the forehead -- macerated, but not significant. Contusion with a small laceration ... here, below the ear. That did some damage. There's an obvious hematoma in the subdural space consistent with a subdural bleed. Herniation of the uncinate process on the same side.
Sara: Doc, uh, why is his brain green?
Robbins: He was steamed. Turns the brain into lime gelatin.
Catherine: Cause of death?
Robbins: Ruled out drowning. There was no water in the lungs. He was d*ad before he h*t the water. So, you are looking at it -- a blow to the back of the head. Resulted in a subdural hematoma. Sort of like a slow leak in a tire.
Catherine: A slow leak in a tire?
Robbins: Odds are Danny had no idea he was bleeding in his brain. He probably felt fine. Maybe a little woozy. Then out of nowhere, he drops.
Sara: How long do you think he lived after the blow?
Robbins: 12 to 24 hours.
Catherine: Well, he had to have been in the water for a couple of days to look like this. Roommates last saw him Thursday. So I guess we start there and we work backwards. Thanks.
Robbins: Yeah.
CUT TO:
[INT. BRASS' OFFICE -- DAY]
(BRASS and GRISSOM question OFFICER FROMANSKY.)
Fromansky: I lost my badge years ago. Filed a report. Got issued a new one.
Brass: Yeah, I'm aware of officers "losing" their badges.
Fromansky: Then we don't have a problem, do we?
Brass: No, we got a problem 'cause your badge was found in the proximity of a crime scene.
Grissom: How'd you manage to lose your badge?
Fromansky: Such is life.
Grissom: That's not the answer I was hoping for.
Brass: I've been looking at your jacket. Reads like a novel. You got a lot of entries in here. You got, uh ... b*at-and-release. You got some stick therapy. What's up with this?
Fromansky: Show me a cop without a few entries in his jacket, I'll show you a pogue.
Grissom: You referring to me?
Fromansky: Guys like you get to sit on your ass behind a desk because guys like me are out there doing the real work.
Brass: (sighs) Okay, tough guy, tell me what you know.
Fromansky: I lost my badge. End of story.
(GRISSOM reaches for a swab on the desk and starts to stand up.)
Fromansky: If I ever find the guy that stole it, be--...
(He stops when he realizes that GRISSOM has a swab in his hand.)
Fromansky: I want my union rep.
Brass: I'm it.
Fromansky: I want somebody impartial.
Brass: Well, I was impartial. Now open up.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(GRISSOM rushes through the hallway to the DNA lab. He's carrying the bagged swab. NICK and GREG are talking.)
Nick: You went for a bottle and found a shirt?
Grissom: (interrupting) This swab is your new priority.
Greg: I was just filling Nick in...
Grissom: Fill me in first. The sweat stain?
Greg: Uh, I was just getting started. I can do them both together.
(He turns to NICK.)
Grissom: The shoe print?
Nick: Running it through limbic.
Grissom: How can you be doing that when you're standing here?
(GRISSOM turns and walks into the audio/visual lab. WARRICK is going through the call.)
Caller (man): (on tape) I'm at the corner of Harmon Hill and 25th. Just east of the intersection. There's been a sh**ting. I think a cop got sh*t. John, oh ... just occurred. I heard sh*ts.
Grissom: Where are we?
Warrick: Check it out.
(WARRICK plays it again to show GRISSOM what he's found so far.)
Caller (man): (on tape) I think a cop got sh*t. John, oh ... just occurred. I heard sh*ts.
Warrick: I have never heard a citizen that calm. This 911 caller knew the drill. He's using Officers code. 'J' becomes john. 'O' becomes ocean. J.O.--
Just occurred.
Grissom: Old habits die hard.
Warrick: I'm only halfway home. I need a voice exemplar. Did you get a name off that badge?
Grissom: Yeah.
CUT TO:
[INT. HOUSE -- DAY]
(CATHERINE and SARA interview DANIEL'S ROOMMATE.)
Roommate: You know, Daniel was from Green Bay. Big-time diehard football fan. He tried to walk-on here, but, uh ... didn't make the team. But, hey, come game night, he was always at the stadium.
Catherine: What about the away games?
Roommate: He watched one game at home and lost all of his chill privileges. It was ugly.
Catherine: Define ugly.
Roommate: Busted the couch, jumping on it. Neighbors called the cops 'cause he was so loud. He was a real bluto.
Sara: Where else did he 'bluto'?
CUT TO:
[INT. BAR]
(CATHEIRNE and SARA interview the WAITRESS.)
Waitress: Everybody knew Dan-O. He's the kind of guy that keeps a place like this in business. I'm going to miss him.
Sara: When was the last time you saw him?
Waitress: When was the last rebel game? Thursday.
Catherine: Did you notice anything? Did he ...feel okay?
Waitress: Better than okay. He was pumped. He was so pumped that him and some of his buddies got into it with some other guys.
Sara: Wh-what do you mean? He started a fight?
Waitress: No, Shirley Temple started the fight.
(Quick flashback to the bar that night. DANIEL O'HANNISSEY is getting into the game at the bar.)
Daniel O'Hannissey: Right there! Right there! WOO!
(He motions for the WAITRESS.)
Daniel O'Hannissey: Hey, see those four guys down there? Give them four Shirley Temples. Shirley temples -- extra cherries. Keep the change.
(He hands her a large bill.)
(Cut to: The WAITRESS delivers the drinks.)
Waitress: Shirley temples all around.
(WAYNE and the guys look to see who's delivering the slight.)
Daniel O'Hannissey: Hey, Wayne, those are for you, buddy. Those are for you and your boys.
(End of flashback. Resume to present.)
Catherine: How did Shirley take it?
Waitress: Not so good.
(Quick flashback to: WAYNE is right behind DANIEL O'HANNISSEY.)
Wayne: Come here, tough guy.
(Suddenly there's some action on the monitor. DANIEL O'HANNISSEY turns around to cheer.)
Daniel O'Hannissey: Yeah!
(End of flashback. Resume to present.)
Waitress: You know how guys are. They scrap until someone gets a touchdown.
Sara: Yeah. Yeah, right.
Catherine: Do you see any of those guys in here now?
(The WAITRESS looks around the bar.)
Waitress: There's a couple of Shirleys over there by the big screen.
(CATHERINE and SARA look at each other.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Brown: (V.O.) Jen, I need a sample of Fromansky's voice.
[INT. POLICE DEPARTMENT - DISPATCH - NIGHT]
(WARRICK is back at dispatch.)
Jen: (flirting) What's it worth to you?
(WARRICK chuckles.)
Warrick: Drinks?
Jen: I don't think you understand.
(She flicks the player switch on.)
Fromansky: (on tape) Officer in pursuit of late-model Honda civic. Possibly stolen. Heading northbound on Koval Lane.
(She clicks the tape off.)
Warrick: Hold on.
(WARRICK reaches out to stop her. She grabs his hand.)
Jen: Now, I've got three full minutes of Officer Fromansky here. I was thinking of maybe taking it to the dispatch convention.
Warrick: Oh, no, no. Okay, okay. Drinks at my place.
Jen: I can make that dub for you. What time?
(WARRICK laughs.)
CUT TO:
[INT. CSI - PARKING LOT]
(GRISSOM walks to his car and gets in. He starts the engine and backs up out of the stall. OFFICER FROMANSKY appears near his open window, a hand on his car door. GRISSOM hits the brakes.)
Fromansky: Got a second?
Grissom: You're a suspect in an ongoing investigation. We're not allowed to have a conversation.
Fromansky: I wouldn't waste my life on them.
Grissom: Well, if that's true, then your DNA sample will rule you out.
Fromansky: Someday, you're going to need me or my buddies at a scene ... and wouldn't you know it-- we all h*t traffic on the way.
Grissom: Is that how you do your job, officer?
Fromansky: Have a safe night.
(OFFICER FROMANSKY turns and walks away.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(ARCHIE does the voice print comparison/analysis for WARRICK and GRISSOM. He has the two tapes running one on top of the other.)
Fromansky: (on tape) Officer in pursuit of late-model honda civic ...
Caller (man): (on tape) just occurred ... I heard sh*ts .
Fromansky: (on tape) Heading northbound ...
Caller (man): (on tape) just east of the intersection. There's been a ...
Archie: Pitch, speed, volume -- They're all different. It's not even close.
Grissom: Maybe he disguised his voice.
Archie: There's no distortion.
Warrick: Fromansky didn't make that call, Gris.
(GREG walks up to the lab doorway.)
Greg: The, uh, sweat from the uniform not a match to officer Fromansky.
(GRISSOM takes off his glasses. He realizes that they're concentrating on the wrong man.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - BREAK ROOM ]
(GRISSOM is in the breakroom, thinking. BRASS walks into the room.)
Brass: You're a hard guy to find.
Grissom: I messed up, Jim. I got ahead of the evidence. I made it personal, and I don't know why.
Brass: We both got a little stubborn. Did a little head-butting. I kind of liked it. You were like your old self there. Anyway ...
(BRASS gets a cup of coffee and sits down opposite GRISSOM.)
Brass: Fromansky was my money, too.
Grissom: I still think it's somebody inside.
Brass: Pull off a m*rder like this, it takes some practice. So... one thing I remembered. About six or seven months ago, we arrested a couple of g*ng-bangers. They were popping blackjack dealers on their way home from work, taking their toke envelopes. Because of some technicality, Judge Slater let them walk right out of the courtroom. I mean, they were talking about this in the precinct for weeks. Now this morality play has a very quick and unhappy ending. Somebody sh*t them.
Grissom: Vigilantes?
Brass: Maybe. But still, I don't like a cop for this.
Grissom: So take the cops out. Who's left?
CUT TO:
[INT. CSI - TRACE LAB]
(NICK has printed all the density levels onto clear plastic. He puts them together and comes up with one composite of the shoe print. He holds up the clear plastic sheets up as we:
DISSOLVE TO:
[NEVADA SEAL]
(Close up of the Nevada Seal: "All for our country * Nevada)
(Camera pulls back to show the heavy seal on the ground in front of a column. GRISSOM and BRASS stand over the seal.)
Grissom: "All for our country."
Brass: That's what he probably told himself.
(They head inside the County Courthouse Building.)
CUT TO:
[INT. JUDGE SLATER'S OFFICE -- DAY]
(GRISSOM and BRASS face the JUDGE.)
Judge Slater: Like I told you before, if you're here for a warrant, you better have evidence to back it up.
Brass: We're not here to get a warrant, Judge. We're here to serve one.
(BRASS hands the warrant to JUDGE SLATER.)
CUT TO:
[INT. CSI - INTERVIEW ROOM]
(CATHERINE, SARA and O'RILEY interview WAYNE.)
O'Riley: Wayne, you want to tell us about the game Friday night?
Wayne: You mean like strategy? Chalk talk?
Catherine: Start with the Shirley Temples and go from there.
(WAYNE laughs.)
Wayne: You're talking about those idiots from UNLV.
O'Riley: We have a witness that said you guys had a beef. Specifically, you and number seven.
Wayne: Dude, I don't even know those guys, okay? They came in, they tried to be funny, and we set them straight.
Catherine: How?
Wayne: Gave them a little talking to.
Sara: Any blows exchanged? Physical contact?
Wayne: Did that punk bitch rat us out? It was harmless. It was nothing.
Sara: Punk bitch? A kid is d*ad.
Wayne: (surprised) What?
Sara: Dan O'Hannissey is d*ad.
Wayne: I didn't do anything. Hey, that guy left before we did, and he was fine. He was still running his mouth.
O'Riley: I suppose your buddies will testify to that?
Wayne: Yeah, they'll testify to that. Look, you can ask anybody who was in there.
(CATHERINE notices his ring.)
Catherine: Interesting ring you've got on.
Wayne: The SMU sharks.
Catherine: That's a college ring. Mind if I borrow it?
Wayne: You want to borrow my ring?
Catherine: Yeah.
(He removes the ring and puts it on the table.)
Wayne: Okay. Take it. I didn't do anything.
O'Riley: You're not under arrest. You're free to go.
CUT TO:
[INT. JUDGE SLATER'S OFFICE]
Judge Slater: You have a lot of nerve walking in my chambers accusing me of m*rder.
Grissom: I'm not accusing you of m*rder. I just want to see your shoes.
Judge Slater: You've a warrant to search my closet?
Grissom: We need to see all your shoes.
Brass: That goes for your bailiff and your clerk as well. Gentlemen, please remove your shoes. I'm sure you'd want to set an example for all court employees.
Judge Slater: The warrant is limited to me, my Clerk and the Bailiff?
Brass: The Klinefeld warrant was generated from this office, and only you three had access to their personal information, so ... yeah.
Judge Slater: I look forward to the day you return to my courtroom, Detective.
(JUDGE SLATER sits in his seat and raises his shoes to be checked. BRASS sighs.)
Stuart Gardner: Who issued the warrant?
Brass: Judge Correll.
Stuart Gardner: Good Judge. Always count on him for paper.
(GRISSOM checks the bottom of the JUDGE'S shoes.)
Grissom: Not this pair.
(GRISSOM checks the bailiff's shoes.)
Grissom: Not those.
(GRISSOM sees the pack of cigarettes in STUART GARDNER'S shirt pocket.)
Grissom: You a smoker?
Stuart Gardner: Is that a crime?
Grissom: It's not good for you.
(GRISSOM finds the pair of shoes.)
(Quick flashback to: SUART GARDNER standing in front of the column and on the seal during his smoke break. Emphasis on his shoes when he steps away.)
(End of flashback. Resume to present.)
(GRISSOM looks up from the shoes to STUART GARDNER.)
CUT TO:
[INT. CSI -- LAB]
(SARA and CATHERINE are in the lab.)
Sara: What tipped you to the ring?
Catherine: Jaws.
Sara: Peter Benchley's Jaws?
Catherine: No, it was in Steven Spielberg's Jaws. They had this mechanical shark named Bruce. And he kept swimming round and round in circles.
Sara: How come?
Catherine: His dorsal fin was bent.
(Close up of the bent fin on the ring.)
Sara: How did Bruce's fin get bent?
Catherine: Same way the kid's ring did. It h*t something.
(Quick flashback to: Back at the bar that night, WAYNE approaches DANIEL O'HANNISSEY.)
Daniel O'Hannissey: Don't be pushing, tough guy!
(DANIEL turns around and pushes WAYNE back.)
Wayne: Come on!
(Suddenly the shouting and cheering on the television has DANIEL'S attention and he turns to cheer and whoop along with the game, turning his back to WAYNE.)
(Rather than wait around, WAYNE swings and hits DANIEL in the back of the head.)
(Quick CGI POV to: Inside DANIEL'S head, he starts bleeding. End of CGI POV.)
(DANIEL turns around and rushes WAYNE. His friends stop him.)
Wayne: Come on. Come on! WAYNE: Come on! FRIENDS: Forget it, man.
(End of flashback.)
CUT TO:
[INT. BAR -- DAY]
(SARA and CATHERINE re-interview WAYNE.)
Wayne: You got to be kidding me.
Sara: You threw a punch. Probably a sucker punch.
Wayne: Look, I told you, that guy walked away.
Catherine: But he was already dying. And you're responsible.
Sara: Now who's the punk... bitch?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM A -- DAY]
(BRASS is starting his interview with STUART GARDNER.)
Brass: (to tape recorder) This is detective Jim Brass, Las Vegas Police Department. Interview room "A." I'm with Stuart Gardner, County Court Clerk. Please, um, state your name.
(He puts the recorder on the table.)
Stuart Gardner: Stuart Gardner. G-A-R-D-N-E-R.
Brass: And spell it for the record. That's right. You used to be a cop.
Stuart Gardner: Once a cop, always a cop. You and I are brothers.
(BRASS leans forward.)
Brass: (quietly) I'm not your brother.
(BRASS straightens, turns and heads for the other end of the table where he takes a seat.)
Brass: You're a m*rder.
(Quick flashback to: [THE KLINEFELD'S] CAMERON KLINEFELD looks at the bogus warrant.)
Stuart Gardner: I have a warrant to search these premises.
Cameron Klinefeld: This is a joke. You can't arrest me.
(CAMERON turns and walks into the house.)
Stuart Gardner: I'm not here to arrest you.
(STUART GARDNER lifts up his g*n with the plastic bottle sil*ncer at the end of it and fires.)
Cameron Klinefeld: What, wait a second ...
(MANDY sees the sh*t, stands and runs for the door. He fires and hits her in the back.)
(STUART GARDNER grabs a towel of the faucet to use to open the back door. The newspaper on the counter falls to the floor. He steps on it on his way out. He closes the door behind him.)
(End of flashback. Resume to present.)
Brass: We also found your old uniform shirt, with your DNA on the collar. What are you going to retire on? Psych? Medical? What?
Stuart Gardner: Weren't you close to retirement? After you sh*t that bystander?
Brass: Ah, you want to talk about me, huh? Oh, you're a clerk. Get your facts straight. He wasn't a bystander. He was a passenger in a felony pursuit.
Stuart Gardner: So how'd you get promoted to Captain after that?
Brass: Must be my good looks.
Stuart Gardner: You agreed to drive a desk ... at CSI ... with all the sleazy civilians.
Brass: Don't knock the CSI, Stuart. They put a lot of bad guys away.
(BRASS stands up and walks toward the mirror.)
Brass: You know, I'm going to give you a little therapy for free. You know, if you had only shown a little restraint, they would have processed the DNA after Klinefelds'. Slam-dunk case.
Stuart Gardner: Lots of guys get off on slam-dunk cases.
Brass: Yeah, I bet you saw a lot of that working for Judge Slater, most liberal judge in the state.
[OBSERVATION ROOM]
(GRISSOM, WARRICK and NICK watch the interview.)
Brass: (through speakers) Bet you saw a lot of good cases go south, while you just processed those release forms, huh?
[INTERVIEW ROOM]
(STUART stands up and moves to stand directly behind BRASS. The officer at the back of the room follows close behind.)
Stuart Gardner: Let me ask you something. Doesn't it piss you off to put all your hard work in the hands of twelve people too stupid to get off jury duty?
[OBSERVATION ROOM]
(BRASS turns around.)
Brass: (through speakers) Stuart, sit down.
Warrick: This guy's a nut job vigilante. He's making the whole department look bad.
Grissom: I guess he'd just figured he'd take a shortcut. You've thought about it.
Warrick: Yeah, lots of times ... what about you?
(GRISSOM looks at WARRICK. Rather than answer the question, GRISSOM stands and leaves the room.)
(He walks out of the OBSERVATION ROOM and into the HALLWAY where he passes by OFFICER FROMANSKY walking in the opposite direction. OFFICER FROMANSKY looks at GRISSOM as he walks by.)
(GRISSOM stops and turns back to look at OFFICER FROMANSKY. FROMANSKY doesn't spare him a backward glance.)
CUT TO:
[sh**ting RANGE]
(GRISSOM is at the f*ring range with his g*n. He empties the cartridge. When he's done, he brings the target up forward where we see that GRISSOM is an excellent sh*t. All b*ll*ts h*t the 9-bullseye target center.)
(Camera holds on the target.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x02 - All for Our Country (2)"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
[EXT. HOME - STREET - NIGHT]
(A stream of liquid hits the ground. The empty can follows and hits the asphalt with a clang. TWO MEN, one carrying a crow bar, walk purposefully toward the house.)
[EXT. FOSTER RESIDENCE - BACKYARD - NIGHT - CONTINUOUS]
(The two men jump over the backyard fence. They use the crowbar and pry the backdoor open.)
[INT. FOSTER RESIDENCE - NIGHT - CONTINUOUS]
(They walk into the house.)
Intruder 1: Hey, this place is a dump.
Intruder 2: I'm telling you, this bitch is loaded and no one's seen her for weeks.
(They walk through the passageway and into the living room. The place has been trashed.)
Intruder 2: (alarmed) What the hell.
Intruder 1: This place is trashed. Hey, man, you trying to make me look stupid?
Intruder 2: No, man. I swear. Somebody must have b*at us to it.
(Looking around the room, they see a closed closet door with a chair wedged under the knob.)
Intruder 2: What the hell is this?
(Outside, there's a short, abrupt siren sound of a cop car approaching.)
Intruder 1: I'm out, man.
(They both turn and head out of the house as fast as they can.)
CUT TO:
[EXT. FOSTER RESIDENCE - BACKYARD - NIGHT - CONTINUOUS]
(The two INTRUDERS run out to the backyard, through the same way they came in. They jump over the fence. On the other side, they are greeted by two OFFICERS with their g*n drawn and pointed at the two men, headlights shining straight at them. They look up and see various police cars waiting for them, blocking their escape route.)
Officer: (overhead) Gentlemen, put your hands on your heads, please.
(They two INTRUDERS put their hands on the back of their heads.)
CUT TO:
[INT. FOSTER RESIDENCE -- NIGHT]
(GRISSOM examines the doorknob and the chair.)
(Camera pulls back to show both GRISSOM and WARRICK dusting the chair for prints. There's no telling how long they've been there, but no matter, they're thorough and are still working on the chair.)
(Behind them, an OFFICER stands guard watching them work.)
Warrick: Smudges. Nothing but smudges. Doesn't anybody use formica anymore?
Officer: First thing we did when we saw this was call you guys. Didn't touch a thing.
(WARRICK and GRISSOM continue to work on dusting the chair for prints.)
Officer: So you going to open it?
Grissom: Eventually.
(They're through with the chair. GRISSOM looks at the door knob. Both he and WARRICK get to their feet. They each take a hold of the chair and pulls it away from the doorknob.)
(WARRICK puts the chair aside.)
(GRISSOM steps forward and starts dusting the doorknob. He finds one print. He takes out a tape lift and carefully gets the print.)
(The OFFICER sighs and mutters to himself.)
Officer: This is going to take all day.
Grissom: Sun Tzu once said, "If you wait by the river long enough, the bodies of your enemies will float by."
(He hands the tape lift with the print to WARRICK. They're ready to open the door.)
(GRISSOM reaches out and opens the closet door.)
(Inside, they find the mummified figure of a dehydrated woman on the floor.)
Grissom: But those were brutal times.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. FOSTER RESIDENCE - YARD -- NIGHT]
(The DAVID PHILLIPS pushes up a gurney through the yard and up the walk to the front door. He picks up his paperwork and opens the door.)
[INT. FOSTER RESIDENCE - CONTINUOUS]
(Inside, WARRICK is just beyond the door blocking it from being opened.)
Warrick: Hey, hold up.
(He pushes the door shut.)
(The mail hole opens up and DAVID peers through the opening.)
David Phillips: Warrick?
Warrick: Hey, David. Give me a minute and let me clear a path here, okay?
David Phillips: All right, I'm not going anywhere.
(WARRICK picks up the mail in front of the door on the floor.)
Warrick: All right.
(He looks down at the postage mark on the mail: LAS VEGAS / SEP 06 '03 / NV.)
Warrick: There's at least four weeks of mail here, Grissom.
(GRISSOM is still kneeling down just inside the closet looking at the body.)
Grissom: Four weeks of 100 degree days, zero percent humidity. Eventually, the body tissues sublimate ...
(Quick CGI flashback to: MADELINE FOSTER is in the closet, just barely alive, just barely d*ad.)
Grissom: (V.O.) ... cell fluids vaporize ...
(MADELINE FOSTER dies. CGI takes over and the body slowly decomposes and mummifies, the flesh hardening on her body.)
Grissom: (V.O.) ... and all that's left ... proteins, fats and minerals.)
(End of CGI flashback. Resume to present.)
(WARRICK continues to leaf through the mail.)
Warrick: Turns a grape into a raisin.
Grissom: Well, the desert was making mummies long before the Egyptians.
(GRISSOM looks at the body and notices her hands. He looks up at the door and sees something.)
Grissom: Take a look at this.
(GRISSOM shines the light on the door. WARRICK moves in closer for a look. On the lower edge of the door, there are fingernail claw marks with flesh and blood smudged into the markings.)
Grissom: And look at her fingers.
(They both look down at her damaged fingertips.)
(Camera zooms in for a close up of the pieces of wood embedded in her broken and ravaged nail bed.)
Warrick: She tried to claw her way out.
Grissom: Yeah. Which means she was alive when she was entombed.
(GRISSOM looks up and around the closet.)
CUT TO:
[EXT. FOSTER RESIDENCE -- NIGHT]
(Outside, BRASS questions the INTRUDER who broke into the house.)
Intruder 2: She was supposed to be, like, this old widow, right? Like, always going out to dinner and coming home with shopping bags. Bitch had insurance money and word was that she kept it in a box hidden under her bed.
Brass: A retired grade-school teacher living on a pension ...
Intruder 2: Listen, man, we didn't k*ll her.
Brass: (simply) No, I know that. What I want to know is, other than the back door, did you or your partner touch anything in the house?
Intruder 2: No. There was nothing left to touch, man.
(BRASS nods.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - SUNRISE]
[INT. FOSTER RESIDENCE - KITCHEN -- MORNING]
(WARRICK walks around and looks through the small kitchen. He sees a small dainty tea set out on doilies on a serving tray. Next to it on the counter, he finds a piece of chocolate cake with a huge bite in it.)
Warrick: Hey, Griss.
(GRISSOM walks into the kitchen.)
Warrick: Don't you think this is kind of odd? A woman who spends the time making tea like this leaves a chunk of chocolate cake on the counter.
Grissom: With a big bite out of it?
(WARRICK picks up the plastic container. The label on it reads: LAVISH CAFÉ.)
Warrick: Yeah. Some crack head brutalizes an old lady, leaves her in a closet, and grabs a snack on the way out.
Grissom: Hopefully. Take it back to the lab.
(GRISSOM turns and walks back into the living room. He opens the closet door, walks inside and closes the door behind him.)
[INT. CLOSET - CONTINUOUS]
(Inside the small closet, GRISSOM looks around. He looks down. He looks up. He sees the light above, reaches up and taps the bulb.)
(He turns off his flashlight.)
(Quick flashback to: [INT. CLOSET] The door opens and the WOMAN is pushed inside.)
Madeline Foster: Oh!
Male Voice: Shut up! Get in!
Madeline Foster: Oh!
(Cut to: CLOSE UP: A chair is wedged under the door knob.)
(Cut to: MADELINE FOSTER reaches up and turns the closet light on.)
(End of flashback. Resume to present.)
(GRISSOM stands in the exact spot the woman was in when she turned the light on. He looks around the closet, then focuses on the markings on the door.)
(Quick flashback to: MADELINE FOSTER struggles with the doorknob, trying to get it open. The chair won't budge. She hits her hands on the door trying to push it open; she grabs and jiggles the doorknob.)
(End of flashback. Resume to GRISSOM. Continue sounds of MADELINE FOSTER struggling inside the closet.)
(GRISSOM stretches out his hand and places it on the door imagining MADELINE FOSTER clawing the door with her fingernails.)
(Quick flashback to: MADELINE FOSTER desperately claws at the door. She grabs at the doorknob.)
(End of flashback. Resume to GRISSOM. Continue sounds of MADELINE FOSTER struggling inside the closet.)
(Quick flash of MADELINE FOSTER inside the closet struggling to get out. She slowly slides to the floor. She curls up into a fetal position on the closet floor. The light burns out. In the darkness and by the light coming through the crack under the door, MADELINE FOSTER looks up at the closet ceiling. End of flashback. Resume to GRISSOM.)
(Camera holds on GRISSOM.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(MADELINE FOSTER'S body is out on the autopsy table as ROBBINS goes over his findings with GRISSOM.)
Robbins: Fluoroscope showed no b*llet or s*ab wounds, and apart from multiple fractures of her fingers and hands, no other apparent injuries.
Grissom: So whoever boarded her up in the closet maybe didn't intend to k*ll her.
Robbins: (shrugs) Yeah. They must have thought somebody'd find her -- a friend or relative.
Grissom: She lived alone. Only relative was a nephew. Brass is looking for him.
Robbins: Live alone, die alone. In this case, from massive dehydration. Rule of threes: Three minutes without air, three days without water, and three weeks without food.
Grissom: Three days must have felt like three years.
Robbins: Warrick said you found a possible print at the scene. Need to rule hers out?
Grissom: Yeah. Also need a dental impression.
Robbins: Well, that'll be easy.
(ROBBINS reaches out and removes the dentures from her mouth. He drops it into the metal bin on the side table. GRISSOM watches as ROBBINS cuts off the tip of her finger.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. TIMMEL RESIDENCE - BACKYARD -- DAY]
(The OFFICER leads CATHERINE out to the backyard.)
Catherine: So, what do we have here?
Officer: Well, boy was out playing, found the w*apon, fired one sh*t, dropped the w*apon. No one's touched it since.
Catherine: Hmm.
(She looks down at the g*n on the ground.)
Catherine: Okay, thanks.
(The OFFICER leaves.)
(CATHERINE puts her bag down and kneels to pick up the g*n. She looks at it and checks the cartridge. She sees something red inside the trigger guard and takes it out.)
(Camera zooms in for a close up for the red piece.)
CUT TO:
[EXT. TIMMEL RESIDENCE - BACKYARD - DAY -- CONTINUOUS]
(MRS. TIMMEL holds NATHAN on her lap as CATHERINE walks over to them.)
Catherine: Hey, Nathan. How's your foot?
Nathan Timmel: I got a rocket ship band-aid.
Catherine: Hmm. Yeah, I see that. Mrs. Timmel, does the g*n belong to someone in the house?
Mrs. Timmel: No, absolutely not. My husband and I don't believe in g*n. We moved here from the city because it was supposed to be safer.
Catherine: Nathan, where did you find the g*n?
Nathan Timmel: Seymour found it.
Catherine: Seymour?
Mrs. Timmel: (whispers) His imaginary friend.
Catherine: (to MRS. TIMMEL) Oh. (to NATHAN) So, you were playing with Seymour, and he found the g*n where?
Nathan Timmel: (points) Over there.
Catherine: Well, where exactly?
Nathan Timmel: In the backyard.
Catherine: Was it buried? Did you dig it up?
Nathan Timmel: Nope.
(Quick flashback to: NATHAN walks out into the backyard and picks up the g*n from the base of the tree. He points it downward ... and fires. End of flashback. Resume to present.)
Catherine: Will you ever play with g*n again?
Nathan Timmel: Nope.
CUT TO:
[INT. CSI - HALLWAY OUTSIDE MORGUE]
(GRISSOM leans against the wall as BRASS talks with him.)
Grissom: We don't need an I.D ...
Brass: Oh, the nephew said he wanted to see her. Insisted on it. Made me curious.
(A young man walks slowly toward them.)
Brass: You Connor Foster?
Connor Foster: Yeah. I'm sorry I'm late. I got lost. (He looks around.)
This is the morgue, huh?
[INT. MORGUE]
(A small group gathers around the door to the morgue body storage unit. DAVID PHILLIPS opens the door and pulls out the table with the body on it.)
Grissom: You have to prepare yourself for this. Your aunt was found in an advanced state of decomposition.
(DAVID pulls back the sheet. CONNOR FOSTER looks at the body and turns away.)
Connor Foster: Oh, this is messed up. This is really messed up.
(He turns back and glances at the body, then jumps.)
Connor Foster: Whoa! She just moved. Did you see that?
(BRASS and GRISSOM glance at each other at CONNOR'S bizarre behavior.)
Connor Foster: I'm telling you, she just moved.
Brass: Sometimes, when you see the body of someone you know, someone you've seen move before, you want them to move.
Connor Foster: That's not her. This lady's too thin. That's not her skin, either. My aunt always wore sunblock.
Grissom: Dry mouth. Diaphoresis. Red eyes, dilated pupils.
Connor Foster: Huh?
Brass: It means you're high.
(CONNOR looks at BRASS and GRISSOM.)
Connor Foster: I got to go.
Brass: We'd like you to stay.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - INTERVIEW ROOM]
(BRASS and GRISSOM interview CONNOR FOSTER. CONNOR takes a sip of his drink.)
Brass: Where are you living these days, Connor?
Connor Foster: At the YMCA off industrial, near the underpass.
Brass: Nice. How's work?
Connor Foster: I don't have a job. I used to.
Brass: Yeah. Yeah, two years ago, your aunt reported a pearl necklace stolen. You were busted trying to hock it at a pawn shop.
Connor Foster: She dropped those charges.
Brass: Oh, sure. Anything for her favorite nephew. And what have you done for her? She was lying in a coat closet for over a month. You didn't call. You didn't stop by.
Connor Foster: (interrupting) I don't call her much. We only have dinner on holidays. Whenever she sees me, it makes her kind of sad.
Grissom: Do you get the munchies?
Connor Foster: When?
Grissom: When you're high.
(When CONNOR doesn't answer, GRISSOM leans forward intently.)
Grissom: Do you like cake?
Connor Foster: (laughs) No, I go for burgers. Sonic.
Grissom: How would you like to make a dental impression for us?
Connor Foster: I'll do whatever you guys want.
CUT TO:
[INT. CSI - BALLISTICS LAB -- NIGHT]
(CATHERINE walks into the lab. RICH has his back to the door.)
Catherine: Hey, Rich.
(RICH turns around.)
Rich: Whatcha got for me?
Catherine: Found this somewhere where it didn't belong.
(She takes the g*n out and hands it to him.)
Catherine: Unregistered. No prints.
(He checks the g*n out.)
Rich: Huh. Sweet piece.
Catherine: Mm-hmm.
Rich: .32 beretta tomcat. Titanium frame, stainless steel barrel and slide. Super lightweight.
Catherine: Yeah, light enough for a five year old to use.
Rich: Ouch.
Catherine: He's okay. Thank god.
Rich: Good.
(RICH walks over to the cabinet to get some b*ll*ts for the g*n.)
Rich: .32 caliber. Not many of these in circulation.
Catherine: Well, that's a good thing.
Rich: Potentially.
(He finds the b*ll*ts.)
Rich: Okay. Here we go.
(He walks over to the table and loads the g*n. CATHERINE grabs a set of goggles and ear phones and puts them on.)
Catherine: Okay.
(RICH picks up the g*n.)
Rich: (shouts) Two sh*ts!
(He fires twice.)
SHORT TIME CUT TO:
[BALLISTICS LAB]
[SCOPE VIEW] of the b*llet.
(RICH does a computer comparison of the b*llet just sh*t with the database while CATHERINE waits and watches.)
(Various cuts of the database running the comparison.)
(There's a match to a b*llet attached with the following crime:
Type: D.B.
STATUTE: ***
Description: m*rder
Code: DOC# 1773621-43
CRIME SCENE REPORT
Investigating Officer: W. Brown
0012542 <Ballistics>
ID TYPE: b*llet <32 a*t*matic>
w*apon: N/A
0013837 <CORONER'S REPORT>
TYPE: d*ad BODY
NAME: FRANK MADDOX
LOCATION: MASLOW PARK
Rich: There's showing up for work and there's doing your job. Warrick brought in a .32 auto coroner's b*llet last week. D.B. in Maslow Park. You just found the m*rder w*apon.
CUT TO:
[INT. CSI - TRACE LAB -- NIGHT]
(CATHERINE looks at the photos for the MADDOX case. WARRICK is in the lab supplying additional information. Camera shows various photos of FRANK MADDOX.)
Catherine: Frank Maddox. 47-year-old white male. Professional bounty hunter. Single .32 round in the side of his head. Bruises on his face and chest.
Warrick: Autopsy ruled those premortem. At least a day old. It was a close sh*t, non-contact, downward angle. No primer residue on the hands. T.O.D. was approximately 2:00 A.M. No one found the body until 7:00 A.M. A lot of wind ...
Catherine: Warrick, your notes are great. Let the case speak for itself.
(WARRICK turns and heads out of the room.)
Warrick: I got to go see my mummy.
CUT TO:
[INT. CSI - DNA LAB -- NIGHT]
(Camera opens on a dish with the thumb in it. GREG picks it up and looks at it closely.)
Greg: (to WARRICK) You know, I could've sworn I heard Grissom telling you to do this.
Warrick: Yeah? You know what rolls downhill?
Greg: Apparently bloated fingertips.
(GREG inks the fingertip.)
Warrick: Come on, you got a lot of new skills to master. Field work's a little messier than your test tubes and your GCMS.
Greg: Yeah, and a lot less accurate.
Warrick: One continuous motion, nice and easy.
(GREG takes a print from the fingertip.)
Warrick: That's not bad. Keep practicing. Nine more to go.
(WARRICK leaves the lab.)
CUT TO:
[INT. CSI - HALLWAY -- CONTINUOUS]
(WARRICK walks down the hallway and runs into NICK and SARA on their way out.)
Sara: Hey.
Warrick: Hey.
Sara: I heard about your mummy in the closet. Very cool.
Nick: Yeah, and we get a 406 in Henderson. Want to trade?
Warrick: (no way) Nothing spells excitement like a B and E.
CUT TO:
[EXT. KIRKWOOD RESIDENCE -- NIGHT]
(NICK and SARA walk up the front walk accompanied by an OFFICER. The OFFICER knocks on the door.)
Michael Kirkwood: (through door) Who is it?
Officer: Las Vegas police, sir.
(The door opens.)
Michael Kirkwood: Hey.
Officer: We received a phone call from a neighbor about a break in.
Michael Kirkwood: Yeah, yeah, (He glances behind him.) I'm, uh, sorry, officers. There's been a misunderstanding. (He motions to his daughter. SARA looks past him inside the house.) My daughter, she had some friends over tonight without my permission, and, um, they started drinking.
(SARA sees LINDA KIRKWOOD cleaning up the broken glass on the floor and behind her is their daughter, SUZANNA KIRKWOOD, visibly shaking with her arms wrapped around her body. She looks, sees SARA watching her, then leaves the room.)
Michael Kirkwood: They got out of control. They broke some stuff. A couple of windows, but, uh, you know, we got it under control, we're cleaning it all up. So I apologize for the trouble.
Officer: No trouble at all, sir. You have a good night now.
Michael Kirkwood: Thanks.
(The door closes.)
(NICK, SARA and the OFFICER turn around and leave. NICK sighs.)
Nick: "To protect and serve."
(NICK chuckles and turns to the OFFICER. SARA heads back to the car.)
Nick: Are you boys ready for softball on Sunday?
Officer: Ready to kick your ass, Stokes.
Sara: See you back at the lab.
Nick: All right. You're ready to kiss my what?
Officer: You heard me.
(NICK and the OFFICER continue talking. SARA gets into the car. She puts her kit down and closes the door.)
(She reaches up and adjusts the rear view mirror. She finds SUZANNA KIRKWOOD sitting in the back seat of the car.)
Suzanna Kirkwood: (softly) I need to go to the hospital. Please.
CUT TO:
[INT. HOSPITAL - EMERGENCY ROOM -- NIGHT]
(SARA tries to talk with SUZANNA as they wait for the doctor. SUZANNA sits on the examination table with her back to SARA.)
Sara: Suzanna, if you were sexually as*ault ...
Suzanna Kirkwood: It was a party. It just got out of control. All I need is an AIDS test and a morning after pill.
Sara: Date r*pe is still r*pe.
Suzanna Kirkwood: (flatly) Thank you for clearing that up.
(The doctor walks into the room.)
Doctor: Hey.
Sara: Hi.
(SARA looks at SUZANNA and notices the bruises and bite marks on her shoulders.)
Suzanna: (to the DOCTOR) Does she ... ? Does she have to be in here for this?
Doctor: No.
(The DOCTOR looks at SARAH.)
Suzanna: Bye. Thank you.
Sara: Okay.
(SARA turns and leaves the room.)
Doctor: (to SUZANNA) Go ahead and put this on, okay?
(The DOCTOR turns to follow SARA out of the room. She pulls the curtain close as she leaves. SUZANNA starts to change into the gown.)
(Cut to: [OUTSIDE EXAM AREA NEAR DOOR] SARA speaks with the DOCTOR.)
Sara: We're going to need full-body photographs. If she can't talk, the kit's going to have to do it for her.
Doctor: Okay.
(The DOCTOR heads back into the examination area. SARA turns and leaves to wait.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(GRISSOM opens a box and takes out the chocolate cake. He sprays it. GREG walks into the lab.)
Greg: Your, uh, mummy prints.
(GREG puts the print card on the table in front of GRISSOM. He looks at it, then glances up at GREG.)
Grissom: Warrick's getting sloppy.
Greg: Yeah, someone should really have a talk with that guy.
(GRISSOM swabs the chocolate cake. GREG watches him.)
Greg: What's that?
Grissom: Dessert.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. KIRKWOOD RESIDENCE -- DAY]
(NICK and SARA are back talking with MICHAEL KIRKWOOD.)
Michael Kirkwood: Look, I thought we were done.
Nick: Well, sir, we need a list of all the kids who were here tonight.
Linda Kirkwood: Why?
Sara: Mrs. Kirkwood, Mr. Kirkwood, your daughter has been r*ped.
Michael Kirkwood: (sighs) What did she tell you?
(NICK notices the red splotches on MICHAEL KIRKWOOD'S knuckles.)
Nick: We're going to need to search the premises.
Michael Kirkwood: You can't. It's my house.
Sara: You don't have a choice. We have a warrant.
(SARA hands the warrant to MICHAEL KIRKWOOD as they walk into the house. NICK motions for them to leave.)
Nick: I'm going to have to ask you folks to step outside. Thank you.
(MICHAEL KIRKWOOD and LINDA KIRKWOOD leave the house.)
Sara: I'll take the girl's room.
Nick: Yeah, I'll take the master.
CUT TO:
[SUZANNA'S BEDROOM]
(SARA pulls the comforter off of the bed.)
[MASTER BEDROOM]
(NICK pulls the comforter off of the bed and uses the ALS.)
(Cut to: SARA uses the ALS on the bed.)
(Cut to: NICK scans the bed sheets.)
(Cut to: SARA.)
(Cut to: NICK puts the ALS aside and looks at the shelves. He finds a framed photo cracked. He finds several of the glass in the frames cracked. He picks up a photo and looks at it. He puts it back on the shelf.)
(He looks down and finds a chip in the table. He reaches out and finds the closet door knob loose.)
(NICK dusts the table and finds a print. He tape lifts it. He looks up at the closet door and on a hunch, flips the table over to wedge it under the door knob. It's a perfect fit. Right down to the chip in the table.)
(NICK puts the table back and slowly reaches out for the closet door knob.)
(He opens the closet door and finds it a mess inside. He finds bloody claw marks leading down to the low vent in the closet door. NICK pulls back and lowers his flashlight absolutely stunned by his thoughts.)
(Camera holds on NICK.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB -- DAY]
(GRISSOM, WARRICK, NICK and SARA surround a table full of photos.)
Sara: So, how do we know we're dealing with the same suspect?
Warrick: We don't.
Nick: Table against the closet door, chair shoved under the knob. It is the same M.O.
Sara: Any connections between the victims?
Grissom: Well, both victims were left alive, we think. I mean, the old lady's death was probably unintentional, and the girl's r*pe was ...
Sara: Crime of opportunity?
Warrick: If you're out to rob somebody's house, why would you do it when they're home?
Grissom: The difference between burglary and home invasion -- infliction of terror.
(Quick flashback to: [INT. KIRKWOOD RESIDENCE - NIGHT] The KIRKWOODS are on their knees in the bedroom as the PERPETRATOR stands above them.)
Perpetrator: Talk to the cops? Say a word, and I'll k*ll you.
(Flash to SUZANNA. Flash to: The PERPETRATOR holds the g*n up against MICHAEL KIRKWOOD'S head.)
Perpetrator: I'll k*ll you, okay?
(End of flashback. Resume to present.)
Nick: Bad guys leave, fear just stays behind.
CUT TO:
[EXT. MASLOW PARK -- DAY]
(CATHERINE and SGT. O'RILEY are at the park and head for the wooden bench.)
Catherine: Maslow Park. All fun and games till the sun goes down.
(CATHERINE glances down at the file in the hand.)
Catherine: So, the bounty hunter is here at 2:00 A.M.
O'Riley: Like sh**ting fish in a barrel. Almost guaranteed to run into one of his skips or some lowlife who knows ere they are.
Catherine: Well, apparently, someone found him first.
(Quick flashes of: [EXT. MASLOW PARK] FRANK MADDOX lifts the binoculars to his eyes and looks around the park. Someone walks up to him from behind, puts the g*n to his head and fires.)
(End of flashback. Resume to present.)
Catherine: Hunter becomes the hunted.
(CATHERINE looks around the park.)
Catherine: A dozen perfect dump sites within a mile of here. So, how does the g*n end up across town in the hands of a five-year-old boy?
O'Riley: Drive and dump.
Catherine: (shakes her head) Doesn't make any sense.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(Open on: Computer monitor: On the right is the print; on the left is the following information:
Officer: G. GRISSOM
Location: MADELINE FOSTER / (Closet Door Knob) / Residence
(A second print appears on the monitor for:
Officer: N. Stokes
Location: KIRKWOOD / (Side Table) / Residence
(JACQUI FRANCO is at the computer running the comparison while WARRICK and NICK watch and wait.)
Jacqui Franco: You never make it easy, do you?
Nick: The center whorls look similar.
Warrick: Can you generate a composite?
Franco: Well, it's all about gestalt. When the whole of the pattern is greater than the sum of its parts.
CUT TO:
[INT. CSI - LAB]
(GRISSOM works on the chocolate cake. He uses the magnifying glass and examines the bite detail.)
CUT TO:
[INT. CSI - ANOTHER LAB]
(SARA works on the photographs taken from SUZANNA KIRKWOOD. She traces the bite patter on her shoulder onto a clear plastic sheet.)
CUT TO:
[INT. CSI - PRINT LAB]
(JACQUI continues to work on matching the prints.)
CUT TO:
[INT. CSI -- LAB]
(GRISSOM peels off the bite mold.)
CUT TO:
[INT. CSI -- LAB]
(SARA shows GRISSOM her findings on the bite marks.)
Sara: Once I pulled details, I shrank it back down to 100%. Here's the thing. Looks like the bite came from behind.
Grissom: Well, it was probably easier to subdue her in that position.
(Quick flashback to: SUZANNA KIRKWOOD is thrown on the bed face-down and held as she struggles. The r*pist bites her shoulder from behind as she screams.)
(End of flashback. Resume to present.)
(Camera pauses on SARA who is unusually quiet. GRISSOM turns to look at her.)
Grissom: You okay?
Sara: Yeah.
(GRISSOM nods, then continues. He matches SARA'S bite drawings with the mold.)
Grissom: The occlusal plane looks the same. And the lateral incisor overlaps the canine ...
(He moves the clear sheet drawing from the photo to the mold to show that they match.)
Grissom: ... in both cases.
Sara: Same person.
Grissom: Definitely not the old lady's nephew.
(NICK and WARRICK walk in with the print results.)
Nick: Hey, hey. Two partials equal one slimeball. Jacqui got a h*t through AFIS.
Warrick: The guy with the closet fixation is Steve Jansson.
Sara: Let's see if he has an oral fixation as well.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(BRASS and SARA interview STEVE JANSSON.)
Brass: Little Stevie Jansson. How was the home of the good shepherd, Steve?
Steve Jansson: Mac and cheese was aces. Juvie offenses don't mean squat. My record -- it's been expunged.
Brass: Expunged, huh? So, what's this crap you're pulling now?
Sara: Two crime scenes, two prints-- both yours.
Brass: And looking at your adult record, this makes strike two and three with one pitch. That's a real time-saver for us.
Steve Jansson: I don't know what you're talking about.
Brass: Madeline Foster. The Kirkwoods.
Steve Jansson: I do work for them sometimes. Odd jobs.
Brass: So, if we asked The Kirkwoods, they'd say you were their handyman, huh?
Steve Jansson: Go ahead. Ask them.
Sara: You always help yourself to something sweet while you work?
(SARA holds out a mold.)
Sara: Bite it.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(CATHERINE watches some televisionvideo footage of FRANK MADDOX.)
Frank Maddox: (on footage) I'm saying it now, and I'm saying it loud. I will bring Terrango to justice.
(WARRICK walks into the room.)
Interviewer: (on footage) What makes you think you'll succeed where so many others have failed?
Frank Maddox: (on footage) Failure's not an option. It never has been. You feeling me, Terrango? You can keep on running, but I will keep coming. I will never stop.
Warrick: Them's fightin' words. Did he get his man?
(CATHERINE turns back to the lab table. WARRICK follows her.)
Catherine: Actually, no. Terrango k*lled two more people before another
"recovery agent" picked him up in Texas.
Warrick: Well, that probably hurt business.
Catherine: Oh, yeah, it did. After that case, his recovery rate went down practically to zero.
(She picks up a crime scene photo and looks at it.)
Catherine: What about su1c1de?
Warrick: No. It's a non-contact wound at a downward angle. It's a textbook m*rder.
Catherine: Maybe too textbook. A bounty hunter would know how to fake it. Let's check out his right sleeve. Very odd. It's unbuttoned - it's pulled way down. It would explain why there weren't any prints on the g*n.
(Quick flashback to: FRANK MADDOX unbuttons his sleeve and uses it to hold the g*n with as he puts it behind his own head. Flash to white. End of flashback. Resume to present.)
Warrick: Doesn't explain how the g*n left the scene.
Catherine: Maybe someone found it and grabbed it up.
Warrick: Just to toss it in suburbia a week later?
Catherine: We're always looking for a w*apon. You'd think it'd be easier when the w*apon finds us.
Warrick: What's in the scope?
(WARRICK looks through the microscope at the slip of ribbon.)
[SCOPE VIEW]
Catherine: It's polypropylene film. It was found in the trigger guard. It's ribbon, for wrapping presents and ...
(She trails off, thinking. She pauses as something occurs to her. She picks up a package off the desk and turns to head somewhere. Hearing her leave, WARRICK looks up.)
(Cut to: CATHERINE puts the g*n on a scale to weigh it. 131.05 oz. She puts the g*n down, resets the scale and weighs another item.)
(WARRICK walks into the room. He watches her as she fills the container with weight equivalent to the weight of the g*n.)
Warrick: You got a theory?
Catherine: You got ten bucks?
(CATHERINE puts the weight into a bag while WARRICK checks his pockets for the cash.)
Warrick: Yeah.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY]
(GRISSOM and BRASS walk down the hallway.)
Grissom: Jansson's dental impression is consistent with the bite mark on the girl's shoulder.
Brass: Consistent, but not conclusive. I spoke to Mr. Kirkwood. He wouldn't confirm or deny Jansson's handyman story. He said he couldn't remember. And without that, uh ...
(His voice trails off. They turn the corner and meet up with SARA and GREG.)
Sara: Hey, guys, we're screwed.
Greg: The semen from the r*pe kit doesn't belong to Steve Jansson. No hits off CODIS either.
(They all turn and start walking through the hallway.)
Sara: There was more than one guy. She was g*ng-r*ped.
(Quick flashback to: One man holds SUZANNE KIRKWOOD down while the other as*ault her. End of quick flashback. Resume to present.)
Brass: This gets cheerier by the minute.
Sara: Jansson's never going to roll over on his partner. They're going to do it again.
Brass: Yeah.
Grissom: We've given them no reason to stop.
(They group walks out of camera frame.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
Cue Sound: (PRELAP) DOORBELL
[INT. KIRKWOOD RESIDENCE -- DAY]
(SUZANNA KIRKWOOD opens the door to GRISSOM.)
Grissom: Hi. My name's Gil Grissom. I'm with the Las Vegas crime lab.
(He shows her his I.D.)
Michael Kirkwood: (o.s.) Suzanna, ...
(MICHAEL KIRKWOOD walks up to the door and SUZANNA steps away.)
Michael Kirkwood: (to SUZANNA) ... I said I'd get it. (to GRISSOM) What do you want? I already told the police I have nothing more to say.
Grissom: I think you do. And I need you to speak for someone who can't speak for herself. Another victim.
Michael Kirkwood: I don't care about another victim.
(GRISSOM looks up past MICHAEL KIRKWOOD at SUZANNA who hasn't completely left the room. MICHAEL KIRKWOOD turns and looks at his daughter.)
Michael Kirkwood: Suzanna, please.
(She turns and leaves the room.)
Grissom: Look, we know that two men broke into your house. We have one suspect in custody, but we can't hold him unless you talk to us.
Michael Kirkwood: I can't help you. I'm shutting the door now.
(MICHAEL KIRKWOOD grabs the door to close it. GRISSOM stops him.)
Grissom: Mr. Kirkwood, I've done all that I can. I need what you saw.
Michael Kirkwood: (swallows) Mr. Grissom, do you have a wife, children?
Grissom: No.
Michael Kirkwood: Then you can't possibly understand how I feel. All I am to you is a folder in a drawer.
Grissom: And if I had a wife and children ...
Michael Kirkwood: Then you wouldn't be here. I can't help you.
(MICHAEL KIRKWOOD steps back into the house and slams the door on GRISSOM.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - GARAGE -- DAY]
(WARRICK, NICK and SARA go through the KIRKWOOD'S trash.)
Nick: Man ... LINDA KIRKWOOD was a Hoover. She even bleached the sheets.
Sara: You know what I don't get? How do they get in? There's no sign of forced entry at either scene.
Nick: Ring the doorbell; that usually seems to work.
(SARA thinks about this.)
(NICK picks up the things in front of him and goes through it, tossing it aside.)
Warrick: Hey, hey, hey.
Nick: What?
Warrick: What is that you just threw in there?
(WARRICK reaches out and picks up the paper bag. He looks at it.)
Nick: Leftovers, I guess.
Warrick: You know that piece of half-eaten shark with cake that Gris and I found at the old lady Maddie's house? This is from the same restaurant.
Sara: Links the victims.
(WARRICK opens the package and looks inside. He finds a receipt:
LAVISH CAFÉ
14490 KILDARE RD.
LAS VEGAS, NV 89109
(702) 555-2398
SERVER: 8566
DATE: 10/08/03
7:18 PM
MCX 64755
CARD#: XXXXXXXXXXXXX9444 EXP: 0906
Magnetic Card Present KIRKWOOD
Approved 566849
Warrick: Same night as the home invasion. Signed by LINDA KIRKWOOD. Dinner for one.
Nick: Single women, dining alone -- easy targets.
(Quick flashback to: [LAVIS CAFÉ] LINDA KIRKWOOD sits at a table sipping a glass of wine.)
Nick: (V.O.) All you have to do is follow them home.
(The waiter puts the bag on the table for her. Cut to: As she leaves, she smiles at the waiter.)
(End of flashback. Resume to present.)
Warrick: (thinking) Same Restaurant ...
Nick: (looks at WARRICK) Same waiter?
(Their eyes meet.)
(WARRICK flips the receipt over. There's a hand-written note on it. "THANKS YOUR SERVER / RYAN"
CUT TO:
[INT. LAVISH CAFÉ -- DAY]
(BRASS, GRISSOM and WARRICK interview the WAITER.)
Ryan (waiter): Uh ... sure, they're regulars. I haven't seen, uh, Maddie in a while, but Mrs. K. comes in every Thursday while her daughter's at soccer practice.
Brass: Well, you know all your customers this well?
Ryan (waiter): I try to chat up the ones that come in alone. I feel bad for
'em.
Warrick: So both women came in alone?
Ryan (waiter): Every week.
Brass: Where were you after your shift on Thursday night?
Ryan (waiter): Oh, uh... I was best man at my friend's wedding. The Luxor has that new wedding chapel. You get it at a discount if you use it on a weekday. I can give you a number if you ...
Brass: (interrupts) Down, boy.
(RYAN stops talking.)
Brass: Thanks.
Ryan (waiter): Sure.
(RYAN picks up his tray of beer bottles and leaves.)
Warrick: I kind of doubt that a clean-cut guy like Ryan is hanging out with snaggletooth Steve.
Brass: No, but I'd bet somebody here was.
(They look around the small café at the other waiters.)
CUT TO:
[EXT. MASLOW PARK -- DAY]
(CATHERINE walks up to the balloon vendor. She shows him her I.D.)
Catherine: Hi.
Balloon Vendor: Hi.
Catherine: You here every day?
Balloon Vendor: Seven days a week, till the sun goes down. I got a wife, a kid, and 2.3 dogs to support.
Catherine: Do you recognize this man?
Balloon Vendor: Oh, yeah. He was here a few days ago. A little bigger than my average customer.
Catherine: Did he buy any balloons?
Balloon Vendor: Four big reds.
(Quick flashback to: FRANK MADDOX buys four big red balloons from the balloon vendor. End of flashback. Resume to present.)
Catherine: I'll take what he bought.
(Cut to: CATHERINE sits on the wooden bench and ties the bag with the weight equivalent to the g*n to the balloons. She lets it go and the balloons easily carry the bag up into the air.)
(She smiles. She knows how FRANK MADDOX was k*lled.)
CUT TO:
[INT. CSI - LAB -- DAY]
(GRISSOM, WARRICK, NICK and SARA are back at the lab. SARA stands in front of the clearboard with the pen while the other stand around the lab table.)
Warrick: We know Jansson's partner knew the customers at the restaurant.
Nick: Education, employment history and a driver's license are required for all employees.
Sara: I've made a timeline of Steve Jansson's illustrious life span. Places he's lived, the places he's been arrested-- you know, the highlights.
Grissom: You find any commonalities?
Nick: Well, Eric Shultz. Lives in the same neighborhood.
(SARA draws a connecting line from ERIC SCULTZ'S picture to "RESIDENCE HISTORIES".)
Warrick: Jose Cortez. Worked at the Wilson Street Grill from '93 to '94.
(SARA draws another connecting line.)
Nick: But the busboy, Kelly James -- not only went to the same high school, but graduated from the same juvie center.
Sara: It's always nice when they come out worse than when they went in.
Nick: (to GRISSOM) What do you think? That's our guy, right?
Grissom: It's a connection. It's not enough to compel DNA.
Sara: So we have nothing?
Grissom: No, we have a name, and we know where he works.
Nick: I'll find out where he was the night the Kirkwoods were inv*de.
(GRISSOM'S pager beeps. He checks it.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(The OFFICER leads SUZANNA KIRKWOOD down the hallway.)
(SLOW MOTION to: SUZANNA looks up and sees another OFFICER leading a MAN in prison orange down the hall in the opposite direction toward her. The MAN in orange looks at her as they pass by.)
(SLOW MOTION: SUZANNA sees a mother holding a distraught daughter in her arms as she cries. She sees a MAN in a t*nk top and tattoos leaning against the wall talking with a MAN in a gray suit.)
(SUZANNA and the OFFICER turn the corner.)
(Every step is difficult for her.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]
(BRASS stands with GRISSOM, SARA and a couple of LAWYERS. He glances at his watch.)
Brass: Lineup's almost ready to go.
Grissom: (to the LAWYERS) Listen, when she I.D.s Kelly James, we're going to need a DNA sample and an immediate hold, no bail.
Public Defender: He's not a flight risk.
Grissom: He's a risk.
(The OFFICER turns the corner with SUZANNA. They join the group.)
Sara: Hey, Suzanna.
(Everyone is suddenly aware of her and the conversation stops. BRASS looks down and glances over at SARA. GRISSOM glances at SARA. SARA looks back at GRISSOM and their eyes meet. SARA turns to SUZANNA.)
Sara: Um, why don't we go hang out until they're ready for us? We'll get a glass of water or something.
(SARA leads SUZANNA away from the group.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM - DAY -- CONTINUOUS]
(SARA and SUZANNA sit on the waiting room seats.)
Sara: I'm really glad you decided to come today.
(SUZANNA'S quiet as she stares at the air in front of her.)
Suzanna Kirkwood: (softly) Do you ... you want to hear something stupid?
Sara: Sure.
Suzanna Kirkwood: My boyfriend and I had been talking about having sex for a of couple months. I always said no because I was afraid that my parents would find out.
(SARA doesn't say anything.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]
(MICHAEL KIRKWOOD sits in the hallway chair. GRISSOM turns the corner and walks toward him.)
Grissom: Mr. Kirkwood, I'm sorry. The other day, I thought you were saying that you "wouldn't" help me, and now I realize that you 'couldn't'.
Michael Kirkwood: (shakes his head) I never got a good look at them.
(GRISSOM nods.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM - DAY -- CONTINUOUS]
(BRASS walks up to SARA and SUZANNA.)
Brass: We're ready.
Suzanna Kirkwood: Can she come with me?
Brass: I already cleared it with the Public Defender.
(SARA looks at SUZANNA.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]
(GRISSOM sits down next to MICHAEL KIRKWOOD and listens.)
Michael Kirkwood: She's 16. I only had two jobs left -- teach her to think for herself, keep her safe. I got one right.
CUT TO:
[INT. POLICE DEPARTMENT - OBSERVATION ROOM - DAY -- CONTINUOUS]
(Camera opens on SUZANNA who is having a difficult time with this. BRASS instructs her on the process.)
Brass: Here's how this works: There are five guys in a line. We're going to ask each of them to step forward, turn to the side, and then face forward again.
(SUZANNA nods.) Now, if you want a second look or you need more time, just let us know. When you're ready to make a decision, write it down on this piece of paper. (BRASS hands her a piece of paper.) Remember, you can see them, but they can't see you. Okay?
(SUZANNA nods. She looks through the window to the other side of the room.)
Suzanna Kirkwood: He already knows it's me.
Sara: Suzanna, you can do this. I know you can.
(SUZANNA shakes her head ... then gathers her courage and nods.)
Suzanna Kirkwood: Okay.
(BRASS and SARA take a step back.)
Man: (over intercom) Number one, please step forward.
(The first MAN steps forward into the light.)
Man: (over intercom) Turn to the left. Step back.
(He turns to the side, then steps back into the shadows.)
Man: (over intercom) Number two, step forward. Turn to your left.
(The second man steps forward into the light.)
Michael Kirkwood: (V.O.) You know, people say ...
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]
Michael Kirkwood: ... you never forget. Truth is... you do forget. And then you remember. It makes it worse. It was like, uh, it's like my brain ... doesn't know where to put it.
(Quick flashback to: The door bursts open and the two men enter the house. One of them grabs the woman walking toward the door. He pushes her back into the hallway as she struggles and screams.)
(Cut to: The two men push MICHAEL KIRKWOOD, hands tied behind his back, into the closet with LINDA KIRKWOOD. Sounds of crying and pleading in the background, echoing in his mind.)
(End of flashback. Resume to present.)
Michael Kirkwood: You know, it must've run through a million times in my mind ... somebody breaks in. I get a baseball bat. Get everybody out the back door. Call the cops. My family's safe. And I just stood there ...
CUT TO:
[INT. POLICE DEPARTMENT - OBSERVATION ROOM - DAY -- CONTINUOUS]
(SUZANNA stands in front of the window, visibly shaking at the ordeal. The voice over the intercom calls for the next man to step forward.)
Man: (over intercom) Number four, step forward.
(He steps forward into the light.)
(Camera refocuses from SUZANNA'S reflection to the man standing beyond it. It's him. It's KELLY JAMES.)
(At the sight of him, SUZANNA is frozen, trapped in her memories.)
(Both BRASS and SARA can tell by her reaction that this is the MAN, yet they can't say anything.)
Man: (over intercom) Turn to your left.
(The MAN turns to face the left.)
(Quick flashback of: The two men as*ault SUZANNA. Cut to: Her parents tied and trapped in the closet as they hear her screams.)
(End of flashback. Resume to present.)
(Camera holds on SUZANNA.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]
(MICHAEL KIRKWOOD talks and GRISSOM listens.)
Michael Kirkwood: And when Suzanna was a little girl, Linda made me put those, um, the child-proof locks on all the kitchen cabinets. I complained. You know what she said to me? She said, uh, "The least we can do is make her safe in her own house."
(MICHAEL KIRKWOOD looks down at his hands. GRISSOM'S heart goes out to the man.)
Grissom: Mr. Kirkwood ... you didn't do anything wrong.
(MICHAEL KIRKWOOD sighs.)
(SUZANNA steps out stiffly into the hallway and walks toward her father. He gets to his feet and catches her as she cries.)
Michael Kirkwood: (whispers) Baby.
(He kisses her forehead and leads her aside.)
Michael Kirkwood: Oh, it's okay, it's okay. Shh.
(GRISSOM gets to his feet as SARA and BRASS turn the corner, his eyes on the KIRKWOODS. GRISSOM turns around as SARA and BRASS reach him.)
Brass: She froze up. She couldn't do it.
Sara: Her reaction should be enough.
Grissom: (to BRASS) What do you think?
Brass: (sighs) Well, we've got enough to hold this Jansson kid, but the other guy ... unless she writes a number down, there's nothing we can do.
(SARA looks at GRISSOM and they share a look. SARA looks down while GRISSOM turns to look back at the KIRKWOODS.)
CUT TO:
[INT. CSI - LOCKER ROOM]
(WARRICK removes his shirt just as CATHERINE walks into the room.)
Catherine: Hey. I'm sorry to hear about your case.
Warrick: (sighs) We were so close, you don't even know.
Catherine: Well, he'll be back. We'll get him eventually.
Warrick: Yeah.
(WARRICK puts a clean shirt on.)
Catherine: Want to go for a ride?
Warrick: (nods) Probably safer than anything else I had planned. Yeah.
(He closes his locker door and follows CATHERINE out.)
CUT TO:
[EXT. TIMMEL RESIDENCE -- DAY]
(CATHERINE and WARRICK walk through the park as she explains her theory about the death and the g*n.)
Catherine: Frank Maddox - bad-ass bounty hunter on his way down. Loses his rep, loses his edge ...
Warrick: Loses his manhood. Guess he thought he had nothing left to live for.
Catherine: Except maybe one thing: Going out with his boots on.
(Quick flashback to: [EXT. MASLOW PARK - NIGHT] FRANK MADDOX sits on the park bench and sets up the g*n with the balloons.)
Catherine: (V.O.) He picks a known hot spot, and waits until it gets dark.
(He stands up and points the g*n to the back of his head ... )
Catherine: (V.O.) Angles the g*n down...
(... and fires. He falls to the ground, releasing his hold on the g*n and the balloons.)
Catherine: (V.O.) ... and the balloons make it look like m*rder.
(The balloons carry the g*n up.)
(Different angle on the balloons rising and the d*ad body on the ground.)
(Various angles of the balloons carrying the g*n up.)
Warrick: (V.O.) On a windy night, a balloon can go for miles.
(End of flashback. Resume to present.)
Catherine: Until ...
(CATHERINE lifts up her glasses and looks closely at the tree where she sees the red rubber of the burst balloon.)
(Quick flashback to: The weight of the g*n pulls the worn balloons down into the tree where it bursts on the branches. The g*n falls to the ground.)
(Cut to: NATHAN TIMMEL walks into the back yard and picks up the g*n. He looks at it.)
Cue Sound: g*n.
(End of flashback. Resume to present.)
Catherine: ... you leave the city to get away from crime, and g*n fall out of the sky.
(Long camera sh*t of CATHERINE and WARRICK standing at the base of the tree in the TIMMEL'S back yard.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(GRISSOM sits at his desk reading and listening to Classical music on the player.)
(Outside, we see BRASS walk through the hallway and stop just outside GRISSOM'S office door. He looks grimly at GRISSOM when he raises his head to look at him.)
Brass: Get your kit.
(Without waiting for a response, BRASS walks away. GRISSOM pauses for a moment.)
CUT TO:
[INT. KIRKWOOD RESIDENCE - FRONT WALK -- NIGHT]
GRISSOM and BRASS walk up to the crime scene. The OFFICERS there hold the crime scene tape up for them to walk under.
As they approach the body on the sidewalk, the CORONERS push a gurney past them. On the other side of the crime scene tape standing in the front walk of the house are the KIRKWOODS. SARA stands next to them.
The gurney passes by and GRISSOM sees SUZANNA KIRKWOOD lying in a pool of blood. GRISSOM stares at the body.
Suddenly, he looks up and sees MICHAEL KIRKWOOD with his arms around his wife, LINDA -- both staring at their daughter's body.
He shifts his gaze slightly and looks directly at SARA Their eyes meet and hold. There are just no words for this. Her tear-filled gaze breaks contact and shifts downward to SUZANNA on the ground between them.
ANGLE ON: Camera moves slowly across a top view of the entire scene ... from the KIRKWOODS and SARA ... to SUZANNA ... to the OFFICERS working on the crime scene ... to GRISSOM standing unmoving next to his kit ... to the crowd gathering just beyond the crime scene tape.
This is not just another crime scene.
Suddenly, SARA moves. She lifts up the crime scene tape and enters the crime scene with her kit. However, without looking up, she walks by the body as BRASS watches her.
GRISSOM looks down at SUZANNA. He kneels down next to her and begins to put on this gloves to get to work.
The KIRKWOODS stand aside and watch.
SARA sits quietly in the car, tears falling from her eyes as she watches the scene in front of her and
SUZANNA on the ground.
GRISSOM puts on his gloves.
Camera holds on GRISSOM.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x03 - Homebodies"} | foreverdreaming |
COLD OPEN:
[EXT. SKY (STOCK) - DAY]
(Sun slowly rises.)
[EXT. LAS VEGAS CITY (STOCK) - DAY]
(Various voice overs of several radio announcers dissolving one over of the other.)
Announcer (man): (V.O.) It's going to be a scorcher and ...
Announcer (woman): (V.O.) In Las Vegas, the temperature is already 108 degrees.
Announcer (man): (V.O.) Get yourself off to the tap and keep yourself drinking all day along
Announcer (woman): (V.O.) It's so hot, you could cook an egg on a sidewalk ...
Announcer (man): (V.O.) A record number of heat stroke victims.
Announcer (woman): (V.O.) ... no relief in sight.
DISSOLVE TO:
BLUR INTO:
(A woman slowly makes her way to her parked car. She puts her drink down on the car trunk and reaches into her bag to get her keys. She looks around and something catches her eye. She sees a baby in the baby seat in the back seat of a car.)
(She gets closer for a better look. Once she realizes that it is a baby, she cries out to get help. A small crowd gathers around at the commotion.)
Woman: Help! I need help!
Man: Ma'am, you all right?
Woman: There's a baby inside the car!
Man: Where are your keys?
Woman: It's not my car. Help! Somebody help us!
(A MAN gets a KID'S skateboard and rushes back to the car.)
Man: Get back! Get back!
Woman: Help!
(The MAN smashes the skateboard in through the car window. The broken glass shatters onto the unmoving baby inside.)
DISSOLVE TO:
[EXT. PARKING LOT -- LATER]
(EMERGENCY PERSONNEL are gathered around the car.)
(GRISSOM and CATHERINE make their way to the car. BRASS sits inside looking for the car ownership papers.)
Brass: Registration's not here. This is the shopping plaza. Mother can't be too far.
(CATHERINE peers in through the window.)
Catherine: When are parents going to learn a car is not a baby-sitter?
(GRISSOM looks at the thermometer. It reads: 108.2F.)
Grissom: 108 degrees outside.
Brass: You want to document the inside temperature?
(BRASS opens the back door and GRISSOM puts the thermometer inside the car. He shuts the car door.)
Brass: How many of these have we had this year?
Catherine: I lost count after ten.
Grissom: This one makes twelve.
(A man walks toward the car to see what the commotion is about.)
Paul Winston: Hey, that's my car. Look, what the hell is going on? Hey, that's my car. What are they doing? Did somebody break in to my car?
Brass: I'm Detective Brass, Las Vegas Police. Sir, do you have a son?
(PAUL WINSTON looks at BRASS as it occurs to him.)
Paul Winston: Oh, god! Joshua!
(GRISSOM reaches back into the car and checks the thermometer. It reads:
145.0F.)
Grissom: 145 degrees inside the car.
(GRISSOM turns and looks at PAUL WINSTON, in agony over his son.)
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS DESERT (STOCK) - DAY]
(Various voice over's of radio announcers.)
Announcer 1 (man): (V.O.) There is an advisory ...
Announcer 2 (woman): (V.O.) Stay in ...
Announcer 3 (man): (V.O.) ... make sure you wear a hat and drink plenty of liquids ...
CUT TO:
[EXT. PARKING LOT -- DAY]
(CATHERINE and DAVID PHILLIPS peer in to the back seat of the car. CATHERINE takes pictures while DAVID PHILLIPS does his paperwork.)
Catherine: If it's not babies in cars, it's babies in swimming pools. It's that time of year.
David Phillips: Body's fully rigid. Normally, I'd say the infant's been d*ad for a couple of hours, but in this weather, it's possible the infant died no more than an hour ago. I'm all through, Catherine.
Grissom: I brought a sheet. All these Looky-loo's, I think we'd better treat this like the baby's still alive.
(CATHERINE puts her camera down and reaches for the baby. She takes the baby out of the car, stands, allows GRISSOM to wrap the sheet around the baby, then she carries the baby over to the CORONER'S van. She steps inside, puts the baby on the gurney, straps the baby in, steps out of the van and shuts the doors.)
(The CORONER'S van leaves.)
CUT TO:
[EXT. LAKE (STOCK) - DAY]
Ranger Stone: I spotted her from my boat during a routine patrol.
Sara: Two prints and drag marks. Did you move her?
Ranger Stone: Had to. Didn't want her floating away.
(Quick flashback to: The two officers drag the body out of the water and up the bank to higher ground. End of flashback. Resume to present.)
Nick: Short shorts. Rock soft shoes. Dressed for sport.
Sara: No sign of bloating.
Nick: Chances are she's been d*ad less than twenty-four hours.
Sara: Her neck looks been broken, her head split, but there's no coat of foam.
Ranger Stone: No what?
Nick: Uh, we have air in our lungs, add water, you have foam.
Sara: It means she didn't drown.
Officer: Well, drownings not the only way to die out here.
(SARA looks around the area.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - INTERVIEW ROOM -DAY]
(BRASS interviews PAUL WINSTON while CATHERINE watches from the OBSERVATION ROOM.)
Paul Winston: I was supposed to drop Joshua off at Day Care. My wife usually brings him on the way to work. It was a hectic morning. My cell phone was going off. Problems at the office.
(Quick flashback to: [CAR (MOVING) - DAY] PAUL WINSTON is on his cell phone.)
Paul Winston: Look, I don't care how much pressure we get from the finance here. Will you hold on a second, I have another call.
(PAUL WINSTON presses his cell phone button and starts on the next call.)
Paul Winston: Yeah, sorry, I can't do this right now. I'm driving. Hold all the calls. Tell them, they have to wait.
(End of flashback. Resume to present.)
Paul Winston: I forgot he was in the backseat.
Brass: How could you forget?
Paul Winston: I'm not the one who drives him. Vicky does that.
(BRASS glances over at the mirrors. On the other side, CATHERINE watches the interview.)
Paul Winston: I was distracted. My job consumes so much of my mind.
Brass: What kind of job do you have?
Paul Winston: I'm an agent for the Gaming Commission. It's a twenty-five hour a day job, eight days a week.
Brass: Your wife work?
Paul Winston: She works as much as me. Joshua made it all worth while.
Brass: Where's your wife now?
Paul Winston: She's in L.A. on business. How am I going to tell her?
(PAUL WINSTON puts his head in his hands.)
(Camera holds on CATHERINE.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(NICK and SARA go over the body. NICK snaps photos while SARA takes off something from the WOMAN'S scalp.)
(Camera zooms in for a close up.)
Sara: Green ... something.
(NICK snaps more photos.)
Nick: No birthmark. No scars, no tattoos.
(NICK looks and sees an indention under the wrap around the WOMAN'S waist. He reaches out to check and finds a key for locker #28.)
Nick: I got a locker key.
(He looks at it. They continue working.)
Sara: You put in for the promotion, huh.
Nick: Yeah, yeah. Last week. I still haven't heard anything about it.
Sara: Yeah, neither have I.
(DAVID PHILLIPS walks in.)
David Phillips: Hey, you ready for me?
Nick: It's all yours.
(NICK leaves.)
Sara: Heard you had a rough morning.
David Phillips: I've had better.
(DAVID removes the shoes from the WOMAN'S feet. He starts to wash the body and finds something unusual. SARA notices the bluish tinge to the WOMAN'S lips.)
David Phillips: Sara, take a look at this. What is that?
Sara: I don't know.
(They share a look. DAVID shrugs.)
CUT TO:
[INT. CSI - DAY]
(The x-rays are spread out on the table as ROBBINS talks with SARA and NICK.)
Robbins: You were right about your d*ad swimmer. She didn't drown. Cause of death was a culpable fracture of the neck, C1-C2.
(ROBBINS reaches out and points to the area on the x-ray on the table.)
Sara: From the blow to the head.
Robbins: Probably. Cerebral contusions beneath the skull fracture. Savage h*t.
Nick: Greg processed the sexual as*ault kit. Positive for semen.
Robbins: There were no physical findings for r*pe. Not a lot to go on here. Gastric lumen contained dark, pasty material, maybe slightly digestive meat, stringy vegetable matter.
(NICK'S cell phone rings. He moves aside to answer it.)
Sara: Does it give us a timeline?
Robbins: Emptying rates vary from person to person, but I estimate that she ate two to four hours before death.
Nick: (b.g.) Hello. Yeah. All right. Good.
(NICK hangs up.)
Nick: Ranger Stone came through. We found our locker.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(CATHERINE turns the corner.)
Jeffrey Sinclair: Ms. Willows. Chief Deputy D.A. Jeffrey Sinclair.
(They shake hands.)
Catherine: mm-hmm. Personal visit. Must be important.
Jeffrey Sinclair: It is. Joshua Winston. The d*ad infant.
Catherine: We're working on it.
Jeffrey Sinclair: How long was the baby left inside the car?
Catherine: Based on the time of death, uh, we estimate roughly an hour. The 9-1-1 call came in 11:30 in the morning.
Jeffrey Sinclair: Okay. And what time does Paul Winston start work?
Catherine: According to Captain Brass ... uh, ten a.m.
Jeffrey Sinclair: Hour and a half. Come on. I got a three year old at home and I've left him inside in a covered garage with groceries two minutes tops. But two hours in this heat?
Catherine: I know. It's a tragedy.
Jeffrey Sinclair: You know, cases like these almost never see the inside of a court room, but this one will.
Catherine: Is there any worse punishment than losing your child?
Jeffrey Sinclair: Yeah, jail time. I want him behind bars so the next time a parent steps away from their vehicle in triple degree heat, they check the backseat before they lock the door.
Catherine: Doesn't change my job.
Jeffrey Sinclair: Look, I need you guys to thoroughly document this case. I don't want any more surprises in court. So, from the car to the kid, just try to cross your T's and dot your I's, okay?
(JEFFREY SINCLAIR steps away.)
Catherine: I always do.
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(CATHERINE and GRISSOM check the car out.)
Catherine: Car seat's fastened correctly. Most aren't.
(CATHERINE removes the car seat.)
Catherine: Hey, Gil. Look at this. What do you think?
Grissom: uhm ... nothing.
Catherine: Exactly. There's no indentations in the leather.
Grissom: Well, maybe this wasn't the primary vehicle for transporting the baby.
Catherine: Yeah. Same thing the father said.
(GRISSOM sees something.)
Grissom: What is that?
(CATHERINE looks and sees the drops.)
Catherine: I don't know.
(She takes a swab of it and tests it for blood.)
Catherine: Negative for blood.
(GRISSOM sighs.)
Catherine: What are you thinking?
Grissom: (shakes his head) I don't get people.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
Announcer (man): (V.O.) It's still hot out there folks.
Announcer (man): (V.O.) If you have to be outside, please, take your water bottle.
Announcer (woman): (V.O.) Take the advice and drink plenty of fluids.
CUT TO:
[INT. JONES' RESIDENCE -- DAY]
(WARRICK takes pictures as he walks around the d*ad body. He looks up as GRISSOM enters the room.)
Warrick: (surprised) You with me?
Grissom: I am now. Catherine's doing the baby case. It's hot in here.
Warrick: Oh, yeah.
(WARRICK takes more pictures of the scene around the body.)
Warrick: Super came in and checked the a/c and he found him like this. Wesley Jones. 33. His massage chair. No signs of forced entry.
Grissom: It doesn't appear that robbery was a motive.
Warrick: Small bruise on the fingertip, but no outward signs of trauma.
(WARRICK takes more pictures.)
Grissom: I had a case once where a soda can was the m*rder w*apon. Suspect used it to bash in the victim's head.
(GRISSOM looks around the room as WARRICK takes a picture of the soda can.)
Warrick: Diet shake, fitness magazines, cookie crumbs on a baking sheet. This guy's trying to start a diet or falling off one?
Grissom: He's got a workout schedule. And today? Three-mile run. Fat metabolizers containing ephedra. Scorching heat and ephedra? That's not good.
(Quick flashback of: WESLEY JONES walking through his apartment, wobbly and woozy. He gets a drink out of the refrigerator and makes his way to his chair. He sits down, then has problems breathing. He lays back and dies. End of flashback. Resume to present.)
Warrick: Sounds like a heat stroke to me.
Grissom: Yeah. Feel the burn.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(CATHERINE walks into the lab.)
Catherine: Hey, Greg.
Greg: Hey.
Catherine: How are we doing on that swab?
Greg: Ah, should be ready any minute. Another baby. I hear the D.A.'s really g*n for the father. What do you think they're going to charge him with? m*rder?
Catherine: Not likely. Child endangerment. Child neglect. Child abuse.
Greg: Sounds like a slap on the wrist to me.
Catherine: You and the D.A. can shake hands.
(The printer prints the results.)
Catherine: Your print out's ready.
Greg: The red stain in the car ... prophenerine malaeise.
Catherine: Cough syrup.
CUT TO:
[EXT. LAKE -- DAY]
(NICK reaches into the open locker and takes out some chips. He hands the chips to SARA.)
Nick: Dollar slots.
Sara: Is there truly no place left in Las Vegas without slot machines?
(He takes out the other contents of the locker. He hands the bag to SARA while he checks the wallet.)
Nick: University student ID. Sophia Renatta, 20 years old.
Sara: And a guy's wallet. No credit card. No driver's license.
(SARA pulls out a t-shirt from the bag.)
Sara: Oh, this is too big for Sophia. It's double extra large.
Nick: Well, that's certainly a guy's. Could be a boy-friend's ... beach buddy ... ?
Sara: Suspect?
CUT TO:
[EXT. LAKE - DAY - SHORT TIME LATER]
(NICK and SARA interview the OWNER of a WAVERUNNER RENTAL.)
Rental Owner: Yeah, I remember her and her punk in shining armor.
Nick: He wasn't a cool guy?
Rental Owner: He stiffed me. Twice, bro. Rented a waverunner, didn't bring it back, and that cheap-assed plastic got a two-pay limit. I'm out five grand.
Sara: Ouch.
Nick: They look like a couple to you?
Rental Owner: She was a pretty girl with a problem. He knew and in when he saw one.
(Quick flashback to: SOPHIA RENATTA tries to rent a waverunner.)
Rental Owner: You got a credit card?
Sophia Renatta: No.
Rental Owner: No? We got a line here, why don't' you step aside ...
(A MAN steps up to the front of the line.)
Mark Young: Maybe, I can help?
(He and SOPHIE look at each other and smile.)
(End of flashback. Resume to present.)
Nick: So, you think they just met?
Rental Owner: I'll bet. Something must've been in the air.
Sara: We're going to need the rental log, if you don't mind.
Rental Owner: Go crazy.
Sara: Thanks.
Nick: Thanks.
(SARA takes the log book and they both step back from the dock.)
Sara: Here it is. Mark Young. Checked out the Waverunner. 11:45, but he and Sophia didn't h*t the water till 2:15.
Nick: Well, if he did just meet her, he's a pretty smooth operator. Bailed her out, bought her lunch, and still had some coins left over to play the slots.
Sara: Classic lake date.
(They turn around to look at the waverunner on the water.)
(Quick flashback to SOPHIE and MARK on the waverunner. End of flashback. Resume to present.)
Sara: Boy meets girl. Girl ends up d*ad.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(CATHERINE and BRASS interview VICKY WINSTON.)
Catherine: Mrs. Winston.
Vicky Winston: I asked my husband to do one thing. One thing. I got up early, I fed Joshua, I got him changed, dressed. All he had to do was drop him off.
Catherine: You flew to Los Angeles, Mrs. Winston?
(VICKY WINSTON sighs.)
Vicky Winston: I had business in Anaheim. I'm in Horticulture. My company is designing a garden for a new hotel.
Brass: How'd you get to the airport?
Vicky Winston: I drove my car.
Catherine: I presume you have a babyseat in your vehicle.
Vicky Winston: Of course, it's the law. I put it in Paul's car before I left.
(Quick flashback to: VICKY WINSTON carries the car seat over to PAUL'S car and puts it in the back seat. End of flashback. Resume to present.)
Catherine: Ms. Winston, did Joshua have a cold?
Vicky Winston: He had a slight cough. There was a bug going around in day care.
Catherine: Did you give him anything for it?
Vicky Winston: Cough syrup. Last night.
Catherine: How about this morning?
Vicky Winston: There's a rule in our house that only one parent medicates a child. But, I told Paul to go ahead and give it to Joshua if he was still coughing. Why?
(She looks at them.)
Brass: Thanks for coming in. We're all done. Thank you.
(VICKY WINSTON looks out the door and sees PAUL walking outside the hallway. He looks inside the office and sees VICKY. She gets to her feet and heads toward him.)
(She starts to h*t him and scream at him.)
Vicky Winston: What is wrong with you? How could you leave him in the car? What is wrong with you?
(He holds her as she cries. CATHERINE and BRASS watch the WINSTONS move aside.)
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(SARA and NICK interviews MARK YOUNG'S father.)
Sara: Mr. Young, your son was last seen with a young girl. We know that he rented a waverunner. Now that young girl is in our morgue and we don't know where your son is.
Mr. Young: I can't believe this is happening. Mark has a job. There's no reason for him to be on the lake during a work day.
Sara: We contacted Mark's manager at work. He called in sick.
Mr. Young: What are you saying? That he k*lled this girl? What is this?!
Nick: No, no. No one's saying that. We're just ... Mr. Young, when is the last time that you saw Mark?
Mr. Young: Yesterday morning. He came by, got something to eat and he left. I mean, at this age, I can't keep track of him.
Nick: Hey, believe me, I understand. I've been there.
Mr. Young: Mr. Stokes, my son is not a criminal.
Nick: We're not saying he's a criminal.
Sara: All we're saying is your son had contact with the victim and now he's missing. What we'd like to do is get a warrant to search your house.
Mr. Young: A warrant?
Nick: But maybe we don't need one. If we could just come by there and collect some of Mark's things, uh, we could get a DNA sample, exclude him as a suspect.
Mr. Young: You can take whatever you want. Mark didn't hurt that girl.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS goes over the body findings with WARRICK.)
Robbins: Go ahead, pinch him.
Warrick: There's no tenting. So he wasn't dehydrated. No, heat stroke.
Robbins: Vitreous urea nitrogen and creatinine were normal. Same for sodium.
Warrick: What about drugs?
Robbins: Tox was negative.
Warrick: Heart att*ck?
Robbins: Organ was normal, under 400 grams. Left ventricle less than 1.5 centimeters.
Warrick: I've run out of questions.
Robbins: Well, I would've missed this one if it weren't for you.
(ROBBINS holds up the body's hand.)
Warrick: Oh, you sectioned off that fingertip bruise.
Robbins: Look at the scope.
(WARRICK looks at the scope.)
[SCOPE VIEW of skin cells]
Warrick: The skin cells look stressed out.
Robbins: It's called nuclear streaming. It occurs when an electric current passes through tissue.
Warrick: He was electrocuted. But how come there's no burn marks?
Robbins: Low-power shock. Uh, current crossed the heart. No damage to the muscle, but havoc on the rhythm.
(Quick flashback to: WESLEY JONES sits back in his chair in front of the fan.)
Robbins: (V.O.) Ventricular fibrillation.
(He starts to gasp for air)
(Quick CGI to: Camera moves through the chest to the heart to show the irregular b*at.)
Robbins: (V.O.) A precision clock becomes a bag of worms.
(End of CGI. Resume to present.)
Robbins: All it takes is a little current.
Warrick: And a point of contact.
CUT TO:
[INT. CSI - TRACE LAB - DAY]
(NICK and SARA are in the trace lab.)
David Hodges: The substance on her hips is suntan lotion. Waterproof, zinc oxide, high SPF.
Sara: Well, that's odd. The victim had a deep, even tan. We collected low SPF oil from the locker. It's a simple transfer -- him to her.
(Quick flashback to: MARK puts his hands on SOPHIE'S waist as she laughs. End of flashback. Resume to present.)
Sara: What about the green substance in the head wound?
David Hodges: Mm.
(DAVID moves aside and lets SARA look at the scope.)
[SCOPE VIEW of the algae (or 'green' stuff) ]
David Hodges: Navicula, hannaea, achnanthes, cymbella.
Sara: Algae.
David Hodges: Yeah, not the free-swimming kind. These are epilithic diatoms. Attached to rocks.
Sara: Girl's out at the lake. She meets some random guy she knows nothing about and she goes off with him.
David Hodges: She places herself in a bad situation.
Sara: And bad things happen.
(Quick flashback to: MARK and SOPHIE are on the waverunner. He makes a sharp turn and she falls off, hitting her head on the algae-covered rocks on the bottom.)
Sara: (V.O.) Sophia takes a header and he bails.
(End of flashback. Resume to present.)
CUT TO:
[INT. CSI - LAB ]
(NICK and SARA look at the map spread out on the table.)
Sara: This algae grows everywhere.
Nick: A waverunner ... point and throttle.
(NICK sighs.)
Nick: We have no idea where they went.
(GREG stands in the doorway.)
Greg: Heard you guys narrowed your search area to 44 square miles. That could take like months.
Nick: And I'm sure you're here to shed some light on the situation.
(GREG walks into the lab.)
Greg: Your case is a boy-girl thing, right?
Nick: Right.
Sara: Mm-hmm.
Greg: Body was washed up near Windmill Cove?
Nick: mm-hmm.
(GREG points to the next two coves on the map: SANDY POINT COVE and TEQUILA COVE.)
Greg: These two coves to the north -- Cotton Wood Island, Tequila -- huge make-out spots. But nearly impossible to get to by land.
Sara: And how would you know that, Greg?
Greg: A gentleman never tells. Anyway, I thought that would be a good place to start. If you guys need an extra set of hands ...
Nick: Uh, no. No. I think we got it, boss.
(GREG leaves the room. SARA smiles.)
CUT TO:
[INT. CSI - GARAGE -- DAY]
(CATHERINE turns on the garage lights and looks through the car. She finds a photo of the WINSTONS with a baby between them. She looks in the trunk and finds some drycleaning. She puts that aside. She finds a plastic bag of old clothes and things. Inside the bag, she finds a blanket with the name: HOWARD ASTON WINSTON embroidered on it.)
Catherine: "Howard Aston Winston."
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
Announcer (woman): Recording a record number of ...
Announcer (man): The Clark County Health Department still advises all citizens to stay hydrated and ...
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(BRASS and CATHERINE walk through the hallway.)
Brass: I got the state medical records for Howard Ashton Winston -- born August
12, 2000. Would've been three years old.
Catherine: When did he die?
Brass: Last year -- Tay-Sachs disease.
Catherine: Oh, that's incurable. Like MS, right?
Brass: Yeah, I worked with a cop in New Jersey whose son died from it. Aw, the poor kid went blind, couldn't swallow. In the end, he couldn't even lift his head up.
Catherine: The Winstons never mentioned they had another child.
Brass: Losing one kid is tough, but two?
Catherine: I know it.
CUT TO:
[INT. CSI - LAB -- DAY]
(Camera moves along the clearboard with a layout of the JONES' apartment. Next to that, WARRICK examines the massage chair. Also in the lab, ARCHIE works on something at the table.)
Warrick: These wires are all insulated. No burn marks. Current didn't pass through this chair.
Archie: Whoa-ho!
Warrick: What you got?
Archie: Ultimate power. I could program this bad boy to make me a cup of coffee.
Warrick: Is there any sign of electrical surging?
Archie: Well... this remote control's got plenty of juice, but ... the board's clean, no scoring. (pauses) You know, if I had my choice about how I was going to go out, it would not be electrocution. I think an aneurysm in my sleep-- quick and painless.
Warrick: I like surprises.
(ARCHIE opens the remote; WARRICK opens the phone.)
Warrick: Bingo. Look at that. Current went through the phone.
Archie: From what?
Warrick: Heat lightning. Storm rolls through the desert, sometimes it strikes in town.
(Quick flashback to: [EXT] Lightning strikes and hits a telephone pole, the current runs through the wires, through the box, through the phone lines, up the wires, into the house and zaps WESLEY JONES as he talks on the phone. End of flashback. Resume to present.)
Archie: Electrocution through the phone line? I thought that was a myth.
Warrick: This look like a myth to you?
CUT TO:
[EXT. LAKE - DAY]
(NICK and SARA are on the boat. They find the waverunner in a cove.)
Nick: Greg was right. There's our waverunner.
CUT TO:
[EXT. COVE - DAY]
(SARA swabs the towel. She tests the swab.)
Sara: Signs of sex; no sign of blood.
Nick: Half a t*nk of gas. Why didn't he just take this to get out of Dodge?
Sara: Well, if he leaves the dock with Sophia, comes back alone ... somebody might notice.
Nick: So... he just hoofs it out of here? How?
Ranger Stone: There's an access route about two miles east, but in this heat, no way.
(SARA looks on the dirt near the towel and sees several shoe prints.)
(Quick flashback to: Close up of SOPHIA'S soft shoes. The shoe prints match. End of flashback. Resume to present.)
Sara: Well, if you k*ll somebody ... you find a way. Check it out.
(SARA gets to her feet and follows the prints. NICK follows SARA up the hill.)
CUT TO:
[INT. CSI - LAB -- DAY]
(WARRICK shows GRISSOM the map on the monitor.)
Warrick: Strike map from the national lightning detection network.
(The computer beeps.)
Warrick: This is Vegas in yellow.
(A red beeping square appears on the monitor:
ID: 30994
Flash Radius: 4.2 km
(A second red beeping square appears on the monitor:
ID 30993
Flash Radius: 3.1 km
(Camera pulls back to show three blinking red squares on the monitor map.)
Warrick: Hasn't had a lightning strike in three days.
Grissom: You got another theory?
Warrick: All I got is a fried phone.
Grissom: One point on the electrical path to ground.
Warrick: If the phone wasn't the way in, maybe it was the way out.
CUT TO:
[INT. JONES' RESIDENCE -- DAY]
(WARRICK and ARCHIE put the massage chair back in the room where it was found.)
Archie: You good on your end?
Warrick: Yes.
Archie: Good.
Warrick: This about it?
Archie: Yeah.
Warrick: Okay ... now, electricity is fickle, right?
Archie: Yeah.
Warrick: One centimeter can mean the difference between a little zap and d*ad.
(WARRICK passes his flashlight over the chair and envisions WESLEY JONES sitting there d*ad.)
Warrick: So, let's assume that the current went out through his right index finger and the phone. For it to cross his heart, it must've come from the left side of his body, right?
Archie: We've ruled out the fan and the chair. Can was in his left hand, so ... the point of entry must've been somewhere else on his body.
(WARRICK passes the light down the chair and envisions seeing WESLEY JONES' legs and feet flat on the floor.)
(He and ARCHIE both kneel down. WARRICK looks at the floor and finds a foot print.)
Warrick: His bare foot touched the floor.
(Using the flashlight, he sees markings and follows the markings to the left toward the wall. Both he and ARCHIE get to their feet and follow the markings. WARRICK kneels down and looks between the shelves. He sees the b*rned out extension cord.)
Warrick: Path of least resistance.
CUT TO:
[EXT. COVE -- DAY]
(NICK and SARA follow the footprints up to the edge of the Cliffside.)
Sara: That's got to be a 50-foot drop.
Nick: Yeah, but when you're young, it just looks like a whole lot of fun.
Sara: Not for Sophia.
(Quick flashback to: MARK and SOPHIA go to the edge of the cliff. MARK'S urging SOPHIA to jump.)
Mark Young: Come on, go for it.
Sophia: No, I don't ...
Mark Young: It'll be a rush.
Sophia: I don't know.
(He pushes her in and she falls head first to the water below.)
(End of flashback. Resume to present.)
Nick: Well, if that's where she died ... the evidence isn't up here. It's down there.
CUT TO:
[INT. CSI - LOCKER ROOM -- DAY]
(CATHERINE opens her locker and gazes at the pictures of LINDSEY pinned to her locker door. The last picture is a drawing with "SUPER MOMMY" on it.)
Greg: Catherine ... Hey, I got your results. Found a therapeutic level of cough syrup in the baby's system, no more than the recommended dosage.
Catherine: So, between the cough syrup and the heat, Joshua probably fell asleep and the father forgot that he was there.
Greg: Maybe. I also found organophosphates, more specifically, disulfoton.
(CATHERINE turns and looks at GREG.)
Catherine: Pesticides.
(GREG hands the print results to CATHERINE to look at.)
Catherine: What the hell's he doing with pesticides in his system?
(GREG shrugs. CATHERINE turns and closes her locker door as she thinks about the possibilities.)
CUT TO:
[EXT. WINSTON RESIDENCE - FRONT WALK -- DAY]
(BRASS and CATHERINE walk up to the house.)
(The door opens and VICKY WINSTON appears.)
Brass: Mrs. Winston, we have a warrant to search the premises.
(Behind her, PAUL WINSTON walks into the living room.)
Catherine: Where do you keep your gardening supplies?
(Cut to: CATHERINE opens the shed door and looks inside.)
CUT TO:
[EXT. LAKE -- DAY]
(NICK and SARA instruct the divers in the water on what to look for.)
Nick: Spiral search pattern. The anchor chain is your center point. Do a 360, then drop your depth. Now, you're not done till you h*t the bottom, okay?
Sara: You're looking for anything she might've h*t her head on, probably something covered with algae.
Nick: Good luck.
(The divers head down into the lake.)
INTERCUT WITH:
(CATHERINE looks around the garden shed. She looks through the basket full of products. She picks up one after the other, looking at the labels. She picks up a third container on which reads: "ACTIVE INGREDIENTS: LAMBDA-CYHALOTHRIN, DISULFOTON, OTHER INGREDIENTS". It also reads: "Keep out of reach of children".)
CUT BACK TO:
(The diver surfaces.)
Nick: What do you got?
(He hands NICK a camera monitor with a picture of a d*ad face trapped in the algae below.)
Nick: That's got to be Mark Young.
Sara: Yeah.
CUT TO:
[EXT. WINSTON RESIDENCE -- DAY]
(CATHERINE walks up to BRASS and the WINSTONS. She shows them the bagged container.)
Brass: Mr. and Mrs. Winston, why don't we get out of this heat?
(They turn and head for the cars.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - BRASS' OFFICE - DAY]
(BRASS interviews VICKY and PAUL WINSTON.)
Brass: Why didn't you tell us you had another child who also died?
Vicky Winston: How dare you bring up Howard. I'm a mother in mourning. I've already buried one child. I have to bury another. One was in god's hands, the other in the incapable hands of my husband. Show some compassion. I'm not the guilty one here!
Paul Winston: I'm guilty. I'm not a bad parent; I was negligent. I take full responsibility for what I did, but leave Howard out of it.
Brass: We found pesticides in Joshua's bloodstream. I'm going to have to get a court order and exhume the body of your first child.
(PAUL WINSTON sighs.)
Paul Winston: Vicky and I went through hell watching Howard deteriorate. Can't you let my boy rest in peace?
Brass: I'm afraid not.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Camera opens on s small casket. On the monitor behind is a view of the baby inside the casket.)
Robbins: With exhumations, you always hope for a good embalmer, and I think we've got one. Body's well-preserved. Tay-sachs is a genetic disorder. You see the ret*rd musculature? Classic symptom.
Catherine: Night and day, compared to Joshua.
(CATHERINE uncaps the needle on the syringe. She reaches inside the casket and takes a sample from the baby.)
Catherine: Quite a lot of vitreous fluid left.
Robbins: I stand corrected -- great embalmer.
CUT TO:
[INT. CSI - DNA LAB --DAY]
(CATHERINE walks into the lab and hands GREG the vial.)
Catherine: Run this?
(GREG takes the baggie sample and looks at it.)
(He runs the sample.)
(Lots of cuts of GREG preparing and running the sample while CATHERINE waits.)
(The printer prints the results.)
Greg: No cough syrup. No pesticides. Traces of monocycline.
Catherine: Anti-inflammatory. Sometimes prescribed for Tay-Sachs. Well, it's the same principle of giving marijuana to glaucoma patients -- doesn't really cure the vision problems; it just buys you time.
Greg: Band-aid.
Catherine: Yeah.
Greg: Maybe the Winston's didn't want Howard to suffer.
Catherine: So, they don't k*ll their first child, who's dying. Why k*ll the second child, who's healthy?
(CATHERINE shakes her head.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. DR. GARNER'S OFFICE -- DAY]
(DR. GARNER looks at the x-rays on the view box as CATHERINE interviews him.)
Catherine: So, both Howard and Joshua Winston were patients of yours?
Dr. Garner: (nods) Yes. I was with them when Howard died. That was a dark time for them and I must say that it took a lot of courage for them to try again. Because both parents carry the Tay-Sachs allele, there was a twenty-five percent chance that the second child would be born with it.
Catherine: But Joshua dodged the b*llet.
Dr. Garner: We tested Vicki early in the second trimester; the results came back negative.
Catherine: Had you seen Joshua recently?
Dr. Garner: A couple days before he died.
Catherine: It was a regular checkup, or ... ?
Dr. Garner: No. Vicki called in a panic, said something was wrong. I told her to bring him right in.
(Quick flashback to: DR. GARNER checks JOSHUA as his parents watch.)
Dr. Garner: (V.O.) And despite the fetal test, Joshua seemed to be exhibiting all the classic signs of early Tay-Sachs. Floppiness, poor head control, unable to turn over, decreased muscle tone. When they brought him in it was Howard all over again.
(End of flashback. Resume to present.)
Dr. Garner: The only conclusion was that the fetal test was a false negative.
Catherine: What are the odds?
Dr. Garner: Under one percent. When I saw Joshua's retinas there were red spots -- classic Tay-Sachs. I sent out an enzyme test to confirm it.
Catherine: And did you confirm it?
Dr. Garner: Results haven't come back yet.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS goes over the autopsy findings with NICK and SARA.)
Robbins: Mark Young. Cause of death is asphyxia due to fresh water drowning. No bruises or other injuries. Except for a ruptured tympanic membrane.
Sara: Hmm.
(SARA leans forward and looks through the scope at the inside of MARK'S ear.)
Sara: Hmm.
(Quick CGI POV of the tear inside the ear. End of CGI POV. Resume to present.)
Sara: Tear's red. It's ragged.
Robbins: Ante-mortem injury. In water, burst eardrums typically result from rapid decent. Sudden changes in pressure without equalizing.
(Quick flashback to: MARK and SOPHIE are on the top of the ledge. MARK pushes SOPHIE off the edge.)
Nick: (V.O.) She went in first.
(She falls in. He screams, excited.)
Mark Young: Whoo-hoo!
Nick: (V.O.) And he jumped in after her.
(When he sees that she hasn't surfaced, he jumps in.)
(UNDERWATER: He finds SOPHIE and tries to get her free. He surfaces and dives back in. His ear drums burst and he dies, tangled in the weed below.)
(End of flashback. Resume to present.)
Nick: This was an accident, Sara. He was trying to save her.
Sara: That's a great theory. But we can't prove that.
Nick: Twenty-six feet under with a busted eardrum? If not to save her, why dive that deep?
Sara: I don't know. Case is over.
Nick: Almost over.
CUT TO:
[INT. CSI - LAB]
(Using the photos of the scene up on the wall, WARRICK shows GRISSOM his theory.)
Warrick: Found this mineral residue that led all the way from the massage chair to this burnt-out power strip across the room ... water stain.
Grissom: Well, there's your conductor.
Warrick: I also found them on the cookie sheet and this water-damaged magazine right here. And I found this plastic bag in the kitchen garbage.
Grissom: "Ice block."
Warrick: Add that with the fan, you got yourself a homemade swamp cooler.
(Quick flashback to: The ice block is set up in front of the running fan. WESLEY JONES sits in his chair cooling off. The water from the ice drips out of the pan, on to the magazine, down the table and pools on the floor at his feet.)
(As more ice melts, the water pools and runs along the power cord all the way to the electric socket. The socket shorts, the shock runs along the cord and water, up through WESLEY JONES' feet and out to the telephone in his hand.)
(End of flashback. Resume to present.)
Grissom: Inventive.
Warrick: Guy was just trying to stay cool.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY -- DAY]
(SARA rounds the corner and finds NICK talking with MR. YOUNG.)
Nick: I think he died trying to save someone's life.
Mr. Young: Thanks.
Nick: No, it's my pleasure.
(She sees them shake hands. MR. YOUNG leaves.)
Sara: Hey, Nick.
(NICK picks up his messages off the counter. They turn and head back inside.)
Nick: Hey.
Sara: What are you doing?
Nick: What do you mean?
Sara: What did you tell him? His son died a hero?
Nick: Look, I'm just trying to give the guy a little peace, you know?
Sara: Oh, well, who are you trying to help feel better, him or you?
Nick: Hey, let me ask you something, Sara: You're Mr. Young, would you rather know this much or nothing at all?
Sara: You know, if the evidence doesn't support the answer, a CSI shouldn't be asking that question.
Nick: Well, okay, if that works for you.
Sara: Be careful.
(SARA walks away. NICK walks off camera frame.)
CUT TO:
[INT. CSI - LAB ]
(CATHERINE looks at various projector sh*ts. The chemical compounds are reflected off of her and the walls behind her.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(BRASS and CATHERINE interview PAUL and VICKY WINSTON.)
Vicky Winston: I was in the garden this weekend. Why are you so interested in everything we do? I mean, when did our lives become an open book?
Brass: When your second son ended up d*ad.
Catherine: When you were in the garden, was Joshua with you?
Vicky Winston: No.
Paul Winston: Yes, he was. We had a fight...
(Quick flashback to: VICKY is in the garden. PAUL walks up with JOSHA in his arms, the baby's crying.)
Paul Winston: Vicky, it's your turn. I've had him for the past four hours.
Vicky Winston: What, are you counting hours now? He's your son.
Paul Winston: Look, if you're not gardening here, then it's at work. I've had him all day. It's your turn. Here.
(He hands the baby to VICKY, stands up and leaves.)
Paul Winston: Thank you.
Vicky Winston: See the pretty flowers, Joshua?
(End of flashback. Resume to present.)
(VICKY looks at PAUL and sighs.)
Vicky Winston: I guess he was. But the moment he passed Joshua off to me I went inside.
Catherine: Did you wash your hands?
Vicky Winston: Honestly, I don't remember. I'm in the garden a lot, so I'm sure I washed my hands.
Catherine: Well, I met with your pediatrician, Dr. Garner. When you brought Joshua in on that emergency call, it was because you feared that he, too, had Tay-Sachs.
Paul Winston: We had the test before he was born. Dr. Garner said we were fine.
Brass: I can imagine for both of you it must have been like reliving the nightmare. One child, now two.
Catherine: Did you know that repeated exposure to certain pesticides, even in small amounts, can have an adverse effect in infants? Even mimic the signs of Tay-Sachs?
Brass: The symptoms are similar. Floppiness of the head, arching of the back.
(VICKY and PAUL share a look of alarm.)
Brass: Blindness ... inability to swallow.
Catherine: You work with pesticides, Mrs. Winston, on your job and in your garden. And you handled Joshua -- we suspect that that's how the traces got into his system. I'm just speculating here, but I think this is what happened next:
(Quick flashback to)
Vicky Winston: No, Paul. I went through hell with Howard, I can't go through that with Joshua.
Paul Winston: We'll wait for the enzyme tests.
Vicky Winston: No. No more tests. No more drugs. No more kids. No more! I can't live through that again, and neither can you.
(End of flashback. Resume to present.)
Catherine: You gave Joshua cough syrup, Mr. Winston. Why did you medicate him?
Brass: 'Cause, maybe, you just didn't want him to suffer?
(Quick flashback to: PAUL WINSTON gives JOSHUA some cough syrup. He closes the car door and walks away. He looks back at the car, then turns the car alarm on, leaving JOSHUA in the car.)
(End of flashback. Resume to present.)
Vicky Winston: You have no idea what it's like to watch your child die.
Paul Winston: We couldn't go through that again.
Catherine: The shame of it is you didn't have to.
(She sighs.)
Catherine: The enzyme test that dr. Garner ran came back negative. Joshua didn't have Tay-Sachs. You k*lled a perfectly healthy baby.
(VICKY WINSTON whimpers softly, then starts to cry.)
FADE TO WHITE
[EXT. PARKING LOT]
(CATHERINE walks out to her car. She gets inside and shuts the door. She turns on the temperature gauge. It reads: 135 degrees F inside temp.)
(CATHERINE leans back in her seat and watches as the temperature rises. 136 ... 137 ... )
(Camera holds on CATHERINE. She sighs.)
(Blur out.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x04 - Feeling the Heat"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS ROADWAY (STOCK) - NIGHT]
[INT. CAR (MOVING) - NIGHT]
(LINDA JONES is driving her car. As she drives, she glances left and right as if looking for something. Her car hits something with a thud. She slams on the breaks and slows the car down a little. Rather than stopping to check it out, LINDA continues to drive as she tries to look behind at what she might have h*t.)
(When she turns back to the road, she finds that she's headed straight for a truck. The trunk honks his horn at her.)
(She screams.)
WHITE FLASH TO:
[EXT. ROADWAY - NIGHT - LATER]
(The TRUCK DRIVER talks with the OFFICER.)
Truck Driver: You can breathalize me all you want, but the broad came right at me. I swear, it wasn't my fault.
Officer: (o.s.) Sir, I understand.
(GRISSOM and CATHERINE approach the mangled car.)
Catherine: Ooh, that's what happens when 6,000 pounds of thrust meets three feet of hood.
Grissom: This was not a fair fight.
(They look into the car at the body behind the wheel. CATHERINE looks at the road.)
Catherine: Well, now, how did she end up way over here?
(She sees the skid marks on the road.)
Catherine: There must be 20 feet of rubber b*rned into this asphalt. She was braking hard.
Grissom: She definitely swerved out of her lane. I think I may know why.
(GRISSOM finds the paw prints on the road. CATHERINE looks at the paw prints.)
Catherine: Oh. What kind of animal are we talking about here?
Grissom: A big one.
Catherine: The victim could have clipped the animal when it ran in front of her.
(They continue to look down the road.)
Catherine: Well, it can't have gone far.
(They both follow the paw prints to the side of the road. Just at the bottom of the hill, they find the body of a man in a Raccoon suit. GRISSOM stares at the suit.)
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. ROADSIDE -- DAY]
(CATHERINE reaches out and removes the mask from the body. Inside the suit is a man. CATHERINE looks inside the mask.)
Catherine: Hmm. Ooh. Not much padding.
(GRISSOM looks at the mask.)
Grissom: Whoa. This is incredibly detailed. Eyelashes, nostrils ...
Catherine: Oh, yeah. That's what you see out of. I once dated the Detroit Lions Mascot. Off-season. Dutch was his name.
Grissom: The breadth of your social experience never ceases to impress me.
(CATHERINE smiles. GRISSOM takes photos of the body.)
(CATHERINE takes something out of the mouth of the mask. It's a piece of blue-colored yarn.)
Catherine: Dutch never had furballs, though.
(She puts it in a bag.)
(DAVID PHILLIPS grabs his clipboard and walks over to the body. He stares down at it.)
Grissom: Are you all right, David?
David Phillips: It's just ... disturbing. There was a big raccoon who hosted an after-school kids show when I was little. (smiles fondly at the memory)
Stripey. Everybody loved him. I loved him.
Grissom: "Stripey's" brother suffered blunt force trauma caused by a violent collision with a moving vehicle.
(Quick flashback to: [ROAD-NIGHT] The man in the raccoon suit is standing on the road waving a car down. The car heads straight for the man and hits him. He flies to the side of the road on impact. End of flashback. Resume to present.)
(DAVID PHILLIPS gets to work.)
(Cut to: DAVID pushes the body up the hillside on a gurney toward the coroner's van.
Catherine: The eternal question: Why did the man in the raccoon suit cross the road?
(GRISSOM glances sideways at CATHERINE.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. BIG & BEST WAREHOUSE -- FREEZER -- NIGHT]
(There's a man d*ad on the floor of a freezer. NICK and SARA stand over the body looking down at him.)
Nick: Frozen stiff.
Sara: Looks like he died trying to get out. Trying to get to the door, maybe.
Nick: It got messy. Check out the g*n spatter.
Sara: Single blast. Went in, went out. Ooh. This has got to be the coldest place in Vegas.
Nick: Let's go. Vega's got the security guard.
Sara: Yeah, he's not going anywhere.
(SARA and NICK stand up and leave the freezer.)
CUT TO:
[INT. BIG & BEST WAREHOUSE -- NIGHT]
(NICK and SARA step outside to join DET. SAM VEGA interviewing the Security Guard PETEY.)
Sam Vega: So, Peter, when you checked in at eight ...
Security Guard Petey: (protests) Not Peter. Petey. P-E-T-E-Y.
Nick: Hey, how you doing?
Security Guard Petey: Good.
(NICK walks over to the vending machine.)
Sam Vega: The sh**t may have cleaned out the machines.
Security Guard Petey: Those things hold a lot of dough.
Sam Vega: Take was maybe, uh, $600.
Nick: They sh*t a guy over a vending machine?
Sara: So, uh, Petey, where were you when all this went down?
Security Guard Petey: I was in the guard shack. Where else would I be?
Sam Vega: You tell us.
Sara: If a guy walks into a freezer, sh**t a guy and smashes six vending machines, I think I'd hear that.
Security Guard Petey: The shack's out there.
Nick: You don't make rounds?
Security Guard Petey: Look, I'm not supposed to leave the premises, okay?
Nick: Okay, but if you were here, you're a suspect. Come on, man. Middle of the shift, you're getting hungry. You figure, hey, I'll deck out and grab a bite to eat. Who's going to know, right?
Security Guard Petey: I was gone five minutes, tops.
Nick: When?
Security Guard Petey: A little after 11:00. Grabbed a burger and came back.
Nick: What kind of burger?
Security Guard Petey: In 'n' Out -- three blocks from here.
Nick: I love In 'n' Out. I always get the In 'n' Out double, animal style.
Security Guard Petey: That's what I get.
Nick: You grill the onions?
Security Guard Petey: Hell, yeah.
Nick: Now, that is crazy, Petey, 'cause you know, being an In 'n' Out kind of guy, I know it takes at least five minutes to grill the onions alone.
Security Guard Petey: Come on, man.
Nick: That time of night, you're lucky if you don't wait 20 minutes just to get to the window.
Security Guard Petey: Look, my boss finds out I'm leaving the site every night to get my burger on, I'm toast.
Sam Vega: You keep lying to us, you're going to be toast in a jumpsuit.
Security Guard Petey: Around 11:00, this cat George -- he usually works days -- drives up and asks me where Al is.
Sara: Al Sesto? The guy in the freezer?
Security Guard Petey: I told him he was back here. I came back. Everything was quiet. So I ate my dinner in my shack.
Sam Vega: Where'd George go?
Security Guard Petey: Beats me. His car's still in the parking lot.
Sam Vega: You want to show me which one?
Security Guard Petey: Sure.
(DET. VEGA and SECURITY GUARD PETEY leave. SARA takes a step toward NICK.)
Sara: Unless he was slick, the guy that did this definitely left behind a print, and, frankly, nothing about this looks slick.
CUT TO:
[INT. CSI - HALLWAY TO FORENSIC AUTOPSY -- NIGHT]
(DAVID PHILLIPS escorts CATHERINE and GRISSOM to forensic autopsy.)
David Phillips: Linda Jones, 35, single. We're trying to track down the next-of-kin. No mystery in cause of death, though.
(DAVID opens the door.)
Catherine: Your basic massive internal trauma.
David Phillips: And then some.
(They walk into the room.)
Catherine: Anything unusual about our furry friend?
David Phillips: We're about to find out.
(They walk into forensic autopsy. GRISSOM grabs a pair of gloves and puts them on.)
Grissom: Did you know that raccoons have opposable thumbs?
Catherine: Well, this one liked to wrap his around a bottle. "30 days: One day at a time." He was a friend of Bill W.'S.
(She shows them the 30 days tag.)
David Phillips: I'll send the blood work down to tox.
(CATHERINE looks at the stitching in the suit.)
Catherine: (admiring) Oh, my -- hand stitching.
David Phillips: Lining looks like some kind of latex.
(DAVID starts to cut through the suit. He hits the bottom and blood spills out onto the table.)
Grissom: Whoa. That's a lot of blood for blunt force trauma.
Catherine: This isn't a costume. It's a six-foot condom. Explains why there was no blood on the road.
Grissom: Yeah, his tailor didn't think of everything. His suit's not bulletproof.
(CATHERINE thinks about that one.)
Grissom: Shall we?
(They all help to flip the Raccoon over. CATHERINE opens the velcro and they find the b*llet wound on his back.)
Catherine: Through and through.
David Phillips: It's a high-velocity round. Gives the b*llet a smooth entry in and out.
Catherine: So, he was sh*t and h*t by a car.
David Phillips: Bad night.
Grissom: Even for a raccoon.
CUT TO:
[INT. BIG & BEST WAREHOUSE -- FREEZER -- NIGHT]
(ROBBINS is standing over the body)
Robbins: The last time this happened they tried to chop the guy out. 1989-- year The Mirage opened.
Nick: How'd it go?
Robbins: Lost an arm and a leg. I miss the cold weather.
Nick: So, what are we going to use, hot water?
Robbins: Boiling works best. Just, uh, spread it around the perimeter. Melt the ice.
Coroner's Assistant: Guys, let's do it here.
Nick: To preserve the body?
Robbins: That's right. Close as you can.
(They pour the hot water over the frozen blood.)
(Quick CGI POV of the heat working on melting the blood. White flash to end of CGI POV. Resume to present.)
Voice: And up.
(They lift the body onto the gurney and wrap the blanket around it.)
Robbins: All right, guys, let's go.
(The CORONERS' ASSISTANTS wheel the body out of the freezer.)
(Once they're gone, NICK looks at the blood spatter on the boxes and takes a sample of the pellet.)
(He extracts more pellets from the freezer.)
(Cut to: SARA dusts for prints on the vending machine glass.)
(Cut to: NICK looks at the blood on the ground. He moves over to the side and picks up a piece of something black and puts it in a bindle.)
CUT TO:
[INT. CSI - LAB]
(CATHERINE enters the lab. WARRICK is looking through a scope.)
Catherine: Hi, Warrick.
Warrick: Hey.
Catherine: Anything on Mr. Raccoon?
Warrick: Yeah. I got an AFIS h*t. Robert Pitt. Court-ordered to AA after a DUI.
(He points to the print out on the counter next to him. CATHERINE picks it up. WARRICK goes back to the scope.)
Catherine: Oh, that's where he got the 30-day chip. Maybe he fell off the wagon after he h*t 31.
Warrick: If I had to walk around dressed like Rocky Raccoon, I'd be drinking, too. I don't get this whole thing.
Catherine: Oh, hey, Warrick, it's Vegas. People come here to be animals.
Warrick: I hear you. Take a look at this.
(He steps aside and lets her look through the scope.)
[SCOPE VIEW of the blue fur.]
Catherine: Oh, yes, the blue fur ball.
Warrick: Yeah, it's synthetic, not natural.
(GREG enters the lab.)
Greg: Your manimal died sober. No alcohol.
Catherine: Really?
Greg: All this schmohawk had in his system was trace amounts of ipecac and civet oil, which, if you ask me, is even weirder than the raccoon suit he was wearing.
Catherine: Well, ipecac's an emetic. I once gave it to Lindsey when she swallowed mothballs, but civet oil?
(CATHERINE shakes her head.)
Greg: Yeah. Civet's a wild cat. Its scent has been prized since the pharaohs for being an aphrodisiac.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. ROBERT PITT'S RESIDENCE -- DAY]
(The door opens; BRASS walks into the room. CATHERINE and an OFFICER follow.)
Brass: Pitt was a computer programmer. No next-of-kin.
Catherine: Ooh.
(They look around the place.)
Catherine: Not an architectural digest reader.
(CATHERINE looks in the bedroom.)
[BEDROOM]
Catherine: If you want to know what the man really is all about, check out his bedroom.
(On ROBERT PITT'S bed is a stack of stuffed animals.)
Brass: Now, this scares me.
Catherine: A man lives alone. Has no relatives. No attachments. So, he forms his own furry little family.
(BRASS looks at the calendar on the wall and notes the red circled dates from October 29, 2003 through November 1, 2003 for the "PAF CON" at the "KINGS RIVER HOTEL".)
Brass: "PAF con meeting."
Catherine: What's PAF con?
Brass: I don't know, but whatever it is, it's still going on.
(CATHERINE looks at BRASS.)
Catherine: Minus one raccoon.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. KING'S RIVER HOTEL -- LOBBY]
(It's the Plushies & Furries PAF CON going on in the lobby. CATHERINE and GRISSOM walk into the lobby.)
Catherine: PAF con?
Grissom: The Plushies and Furries convention. And we're looking for a bright blue Plushie ... I think.
(GRISSOM and CATHERINE stare at the group of people dressed in costume. GRISSOM look fascinated by the sight; CATHERINE looks perplexed.)
Grissom: This is fascinating. A whole tribe of people who prefer to interact as furry animals rather than human beings.
Catherine: I think I'm having Hunter Thompson's flashbacks. This is weirding me out.
Grissom: It's not that weird. It's instinctual. Many native American tribes wore entire bearskins, including the bead, when they performed their w*r dances. They thought it made them brave.
Catherine: I'm not getting the brave thing.
Grissom: Well, think of stuffed animals as a Jungian archetype. What's the one quality they possess that a man like Bob Pitt might want?
Catherine: A full head of hair?
Grissom: They're lovable. We better divide and mingle.
(GRISSOM glances down at the schedule on the board:
9:00 A.M. Breakfast & Orientation
10:30 A.M. LECTURE #1 (Doe Eyes: Innovative Techniques in Looking for
Love.)
11:45 A.M. FURRY RAFFLE (MAIN LOBBY)
12:00 P.M. LECTURE #2 (Fur-Ever Young)
1:00 P.M. BANQUET LUNCH (BANQUET HALL)
3:30 P.M. LECTURE #3 (Claws and Effect: A Look at the Legal Issues
Regarding Fur in the Workplace.)
4:45 P.M. VINEYARDS & VENDORS
7:30 P.M. BANQUET DINNER (BANQUET HALL)
9:30 P.M. PILE-ON-PARTY (MAIN LOUNGE)
(He turns to CATHERINE.)
Grissom: I'm going to take in a lecture.
(GRISSOM steps away.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(RICH leads SARA and NICK back to the BALLISTICS LAB.)
Sara: Uh, why did you page us?
Rich: Your wood sample from the freezer.
Nick: The one we gave Hodges?
Rich: Yeah. He bounced it back to me.
Sara: I'm lost.
Rich: It's from a g*n stock. Probably a momossberg 500.
Sara: Probably our m*rder w*apon.
[BALLISTICS LAB - CONTINUOUS]
(RICH stops walking and turns around to look at them.)
Rich: Well, if you find it, I can match it.
Nick: Till we do, anything else?
Rich: That's up to Hodges.
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(SARA and NICK are in TRACE with HODGES.)
[SCOPE VIEW of the "gray stuff"]
David David Hodges: The gray stuff -- it's adhesive.
(SARA looks up from the scope.
Sara: On the g*n stock?
David David Hodges: (shrugs) Cheap repair.
Nick: So, some budget-minded garage g*n glues his g*n stock together ...
Sara: And then kills Al Sesto for $600 in change.
Nick: Even Petey can do better than that.
Sara: There's always the elusive "George."
CUT TO:
[INT. POLICE DEPARTMENT -- DAY]
(A tall, husky man walks into the police department. He looks around, then heads for the reception desk.)
Officer: Can I help you, sir?
George Bartell: Yeah, I want to report a crime.
(He holds out his hands to show the OFFICER behind reception the backs of his blood-stained hands.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(SAM VEGA, SARA and NICK interview GEORGE.)
Sam Vega: Let's start with what you were doing at Big & Best Warehouse, George. You're the day guy. It was the night shift there.
George Bartell: Expired ice cream. Trash for cash.
Sara: You're selling expired ice cream?
George Bartell: It's still good.
Sara: Oh.
Nick: Go on, please.
George Bartell: I wanted to give Al his piece of the action, 88 bucks. We, uh, walked into the break room, and someone was smashing up the candy machine.
(Quick flashback to: Someone in a ski mask with a g*n smashing the vending machines. He looks up and sees GEORGE. End of flashback. Resume to present.)
Sam Vega: Ski mask?
George Bartell: Yeah. And he had a g*n.
(Quick flashback to: The man with the g*n leads AL SESTO and GEORGE into the freezer.)
Al Sesto: Better chill, bro.
g*n: Okay. Get back.
Al Sesto: Don't sh**t!
g*n: Shut up!
(The g*n cocks the r*fle.)
Al Sesto: Don't sh**t.
(The g*n fires.)
(End of flashback. Resume to present.)
George Bartell: He sh*t Al. Then the guy hauls off and brains me. And after that, everything went black.
(SARA checks the back of GEORGE'S head and finds the bruise.)
Nick: Everything went black?
Sara: That's a pretty nasty bruise.
George Bartell: Yeah, I told you.
Sam Vega: So, you blacked out. Then what happened?
George Bartell: I was blindfolded, shoved into the trunk of some car and, uh, drove around for almost an hour.
(GEORGE proudly shows them his watch.)
George Bartell: It, uh, glows in the dark.
Nick: Oh, yeah.
Sara: (nods) Hmm.
Nick: So, uh, now, how did you get out?
George Bartell: Tire iron. I felt around in the dark, and, uh, there it was.
Nick: Where?
(As they talk, SARA puts on her gloves.)
George Bartell: Under the, uh, the trunk liner. I had to really twist to get at it.
Sara: Which hand did you use?
George Bartell: Right.
Sam Vega: And then what?
George Bartell: I popped the trunk.
(Quick flashback of GEORGE using the tire iron and popping the trunk. He falls out of the trunk. End of flashback. Resume to present.)
George Bartell: I-I was in Pahrump. I got family out there, but nobody was home.
Sara: All right, MacGyver, could you do me a favor? Could you stand up and hold your arms out? I'm just going to check you out here.
(SARA checks his clothes and takes a tape lift sample. As she presses the tape into GEORGE'S chest, he chuckles. SARA looks up at GEORGE.)
George Bartell: I'm ticklish.
Sara: Oh.
(SARA checks the rest of his shirt and his pants. She finds dried blood in the cuff of his pants.)
Sara: George ... I'm afraid you and your pants are going to be here for a while.
CUT TO:
[INT. KING'S RIVER HOTEL - LECTURE ROOM]
(The SPEAKER, dressed in a costume, gives a lecture to a room full of people.)
Speaker: In the eight ages of man, Erikson states that the child often indulges in fantasies of being a tiger, but in his dream, runs in terror for dear life, thus leaving the child forever divided in himself, as his true potential is squashed by the observing superego of society.
(In his seat, GRISSOM listens, captivated by the topic.)
Speaker: Birth is-is not destiny. And a human form doesn't always come with a human spirit. We gather here to embrace our inner animal, and to bring our true nature to bear. So to speak. Five-minute break.
(The stage lights turn of and there's a light smattering of applause in the room. GRISSOM turns to the animal next to him as asks.)
Grissom: Excuse me. Do you recognize this man, Robert Pitt?
(GRISSOM shows him the photo of ROBERT PITT. The animal shakes his head.)
CUT TO:
[LOBBY - DAY -- CONTINUOUS]
(CATHERINE walks up to a group of normally dressed people holding stuffed animals.)
Catherine: Hello, guys. Pardon me. Uh, can you help me out here? Do you recognize this guy?
(The MAN shakes his head.)
Catherine: Look-look again.
The Man: (shakes head again) Uh-uh.
Catherine: Hmm. Nice dog.
(The MAN possessively yanks the stuffed dog away from CATHERINE not wanting her to touch it. CATHERINE walks away.)
CUT TO:
[LOBBY - DAY -- CONTINUOUS]
(GRISSOM is looking at the different wares at the vendor tables. On the table in front of him, GRISSOM looks through some photographs of the animals at the PAF-CON.)
Voice: (over speaker) (b.g.) May I have your attention, please? Stop by the fur-bidden treasures in the next half-hour and get an added twenty percent off on all collars ...
(He picks up a photo of Rocky Raccoon with another animal. GRISSOM pays for the photo.)
Grissom: (to the vendor) There you go.
(He takes his photo. Behind him, he hears a cat purr. GRISSOM turns to look and finds himself looking at a person in a blue cat costume.)
CUT TO:
[FASHION SHOW - DAY -- CONTINUOUS]
(The WOLF in sunglasses on stage does the cat walk. CATHERINE watches from the side. In the back of the stage, a person in blue cat costume dances forward across the stage.)
(CATHERINE walks up to the stage.)
Catherine: I'm Catherine Willows. I'm with the crime lab.
(CATHERINE holds up her I.D. The cat hisses, then turns around and walks to the back of the stage leaving CATHERINE standing there.)
CUT TO:
[LOBBY - DAY -- CONTINUOUS]
(GRISSOM walks back to the center of the lobby with two blue cats following him. CATHERINE escorts the blue cat toward GRISSOM.)
Grissom: I guess we're lucky that blue's not a more popular color.
Sexy (Bud Simmons): Hello. This is racial profiling.
Catherine: Um, we're going to need samples of your fur.
Grissom: We're also going to need to talk to you without the masks on.
(The two blue Cats who walked in with GRISSOM remove their masks. They turn to look at the blue cat with CATHERINE and she shakes her head.)
Sexy (Bud Simmons): Uh-uh.
Catherine: You have a problem with that?
Sexy (Bud Simmons): You wouldn't ask a human lady to take her makeup off. If you want to talk to me, this is the me you're going to talk to.
(CATHERINE and GRISSOM look at each other.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY / INTERVIEW ROOM -- DAY]
(BRASS opens the door and escorts SEXY down the hallway. OFFICERS turn to watch BRASS with the BLUE CAT.)
(They turn into the interview room where GRISSOM and CATHERINE wait for them.)
Brass: Take this chair right here.
(SEXY takes a seat at the table. They close the door behind them.)
Brass: Do you a have a name, miss, uh ... ?
Sexy (Bud Simmons): My friends call me Sexy.
Brass: Oh, lucky you. Now, do you want some help with the ... your helmet?
Sexy (Bud Simmons): I'm a lawyer. I know my rights. You can't sequester a domestic animal without due cause.
Brass: Well, it's coming off one way or the other, so ...
Sexy (Bud Simmons): Fine, fine.
(SEXY takes off his gloves and then removes his head.)
Catherine: Hello, Sexy.
Bud Simmons : Okay. Happy now?
Grissom: Thrilled. Let's start at the top.
Brass: What's your human name, sir?
Bud Simmons: Bud. Bud Simmons. But I'm no criminal, and I don't have to talk to you people.
(GRISSOM leans in close and sniff's BUD'S costume.)
Grissom: You have a very musky odor, bud. Quite stimulating, I imagine. Look, we found blue fibers similar to the ones on your costume in the stomach of a d*ad man. Bob Pitt?
Bud Simmons: Huh?
Grissom: You may know him as Rocky Raccoon?
Bud Simmons: You think my costume k*lled rocky?
Grissom: We think it may have incapacitated him.
Bud Simmons: Rocky was... skritching me.
Catherine: That's one I haven't heard.
Bud Simmons: Skritching is like grooming. It's friendly scratching. People who don't know each other can't just nuzzle and trade tummy-rubs, but for animals, skritching is perfectly normal.
Catherine: Well, k*lling is perfectly normal for them, too. It doesn't make it legal for you.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - LAB - NIGHT]
(CATHERINE and GRISSOM examine BUD SIMMONS' blue Cat Costume.)
Grissom: Well, clearly, this kitty costume is where bud felt safe enough to skritch. I wonder if he felt safe enough to explore some of the more aggressive aspects of his animus.
Catherine: So, if we follow the ipecac and civet oil, maybe it'll lead us to the sh**t. I don't see a compartment for a concealed r*fle.
(They put on their goggles as CATHERINE ALS' the costume. They find body fluids.)
Catherine: Okay, well ... I've heard of some guys getting off in some weird ways, but humping an animal suit? Well, whatever happened to normal sex?
Grissom: What is normal sex?
Catherine: Uh, you think it's natural for a grown human to only be intimate with a talking animal?
Grissom: Well, Freud said that the only unnatural sexual behavior was to have none at all. And after that, it's just a question of opportunity and preference. And evidently, many prefer the feel of fur to the texture of human skin.
Catherine: Well, I like hairy chests, but I'm not about to bop a six-foot weasel.
(GREG walks into the lab.)
Grissom: Bud is starting to look like a pretty bad cat. Trace from his costume.
(GRISSOM looks at the print results.)
Grissom: Well, identical to the trace we found in Rocky Raccoon's vomit. Ipecac and civet oil.
Greg: Well, that's what you get for eating ...
(Camera holds on GREG.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB -- DAY]
(NICK and SARA check out GEORGE'S pants.)
Nick: What kind of a knucklehead rolls into pd wearing pants with blood on them?
Sara: The kind that knows eventually, re going to want to talk to him.
Nick: Yeah. Preemptive strike, huh?
Sara: There's only one drop here, and it originated on the inside of the cuff. I don't think George knew he had blood on him. We need to get this to Greg.
Nick: I was in that freezer. Man, there was spatter everywhere. Now, assuming that is al's blood, how does George not get it on the outside of his pants? Do you think George is telling the truth?
(SARA turns and looks at NICK. Experiment time.)
CUT TO:
[INT. CSI - LAB]
Sara: Room temperature: 72 degrees.
(NICK takes a syringe and fills it with blood.)
Nick: Okay ... ...f*re in the hole.
(He squirts the syringe at the wall through a hole.)
Sara: That's what blood spatter looks like at room temperature.
Nick: Now for the good stuff. Changing one variable. Dropping temperature to
22 degrees.
(NICK changes the temperature of the test t*nk, then re-squirts the syringe with blood at the wall. The blood freezes before it hits the wall, spattering all over the place.)
Sara: That explains how only one drop of blood got on the inside of George's pants.
(Quick CGI POV of: Al gets sh*t in the freezer and the blood freezes, spattering all over the place. A single drop of blood spatter falls into GEORGE'S pants cuff.)
(End of CGI POV. Resume to present.)
Sara: When he left the freezer, the drop melted.
Nick: sh**t was standing in front of Al. A spatter went back and to the sides.
Sara: George is not the sh**t.
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(SARA and NICK walk through the hallway discussing the case as they head to the Trace lab.)
Sara: So, who is the masked man?
Nick: Well, Lone Ranger had Tonto. Some Doofus has George.
David Hodges: Tape lifts from your suspect's clothing, loaded with paint chips.
Sara: What kind?
David Hodges: Dual layers. The bottom one's g*n vehicle paint.
[SCOPE VIEW OF THE PAINT CHIPS]
David Hodges: Factory pigment used on 1984 Monte Carlo.
Nick: What's the top layer?
David Hodges: In an unprecedented move, whoever it was painted over the g*n with ... want to venture a guess?
(NICK shakes his head.)
David Hodges: Bright blue house paint.
Nick: Doofus.
Sara: Why would somebody use house paint on a car?
David Hodges: Maybe he remodeled the breakfast nook and had some left over. Who knows? I don't try to figure out what people do anymore.
Sara: That's smart.
David Hodges: Yeah, I know.
(HODGES steps away from them.)
Nick: Oil and water. Love to be there when his hood starts to peel.
Sara: Okay, first things first. Let's go find a car.
Nick: Mm-hmm.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(CATHEIRNE and BRASS reinterview BUD SIMMONS.)
Brass: Okay, bud, I'm going to get right to it. Bob Pitt's semen was found all over your kitty costume.
Catherine: You lied to us. You were doing a little more than grooming.
Bud Simmons: It started as a skritch, then everyone got in a furpile and pretty soon, we were all yiffing.
(Quick flashback to: The Furpile, whipping sounds and animal whimperings in the background. You want more description, go watch the episode. End of flashback. Resume to present.)
Catherine: I get "furpile." Define "yiffing."
Bud Simmons: In a furpile, when all the animals start rubbing and wiggling, some of them start to do things.
(Quick flashback to: The furpile and obscene animal groaning noises. You want more description, then you really need to watch the episode. End of flashback. Resume to present.)
Brass: The kind of things that leave semen on your fur?
Bud Simmons: That never happened before.
(CATHERINE chuckles wryly.)
Bud Simmons: Okay. That happened before. I know what you're thinking.
Catherine: You couldn't possibly.
Bud Simmons: I didn't k*ll Rocky Raccoon.
Catherine: Did you smear ipecac and civet oil on the back of your costume?
Bud Simmons: That's crazy. I was there for the yiffing, and that's all. Look, if I don't have my costume on, I pretty much can't get yiffed.
Brass: Okay, Bud. We're going to leave you some time to think about it. Enjoy your new costume.
(BRASS and CATHERINE stand up to leave the room.)
(BRASS sighs as he walks out the door.)
Brass: (quietly) Wow.
(He and CATHERINE stop outside the interview room.)
Brass: Are you buying this guy?
Catherine: Oh, who the hell knows what goes on in a furpile? But if somebody doused their special scent on kitty's back, I'm sure he's going to want to know who did it.
Brass: Well, he gives us all the furnames of people in the pile. What are we going to do -- put out an APB on Tom and Jerry?
Catherine: (scoffs) Maybe we just ask him where the hip, young plushy-on-the-go likes to hang out?
CUT TO:
[INT. PLUSHIE BAR -- DAY]
(The white plushie walks out of the bar and through the back door and into the next room with loud pulsating music.)
(CATHERINE, GRISSOM and an OFFICER walk through the back door.)
(CATHERINE knocks. The WOLF at the door answers.)
Wolf: Password, please?
Catherine: E-I-E-I-O?
Wolf: This is a private party.
Grissom: Uh, we have an invitation from the Las Vegas police department.
(GRISSOM shows the WOLF their warrant.)
Wolf: Uh, okay.
(The WOLF glances at the warrant and lets them inside.)
(They walk into the room where the plushies and furries are furpiling on the white cat who's on the floor groaning and moaning. Some other fur animals are standing on the side shedding their fur.)
Catherine: (loudly) Whoa, Nellie!
PLUSHIE: Is this a raid?
Catherine: It's a homicide investigation.
Grissom: Look, we need you to stop skritching or yiffing or whatever, take off your costumes, and tell us your names.
(Some of the people take off their masks. Soon, the music stops.)
CUT TO:
[INT. CSI -- LAB]
(GRISSOM and CATHERINE go through the different animal costumes hanging on racks, smelling them one by one.)
Catherine: Ooh! These costumes are pretty marinated. Smokey could've used some deodorant.
Grissom: Well, you know, pheromones are the basis for mammalian reproduction. When the female is in estrus, the male picks up on her come-get-me scent. But most mammals only copulate seasonally.
Catherine: How boring.
Grissom: For some. No one else in that furpile threw up, right?
Catherine: Uh, Rocky was a target.
(GRISSOM smells a costume and finds it. He holds out the costume paw for CATHERINE.)
Grissom: Smell this.
(CATHERINE smells the paw.)
Catherine: Civet oil and ipecac.
Grissom: So I guess we're looking for a wolf ... in wolf's clothing.
CUT TO:
[INT. POLICE EPARTMENT - INTERVIEW ROOM]
(GRISSOM interviews MR. LEE.)
Grissom: Mr. Lee, the concentration of ipecac and civet oil on your paws speaks to application, rather than accidental transfer.
Okay. Fine. I ... I mixed up some ipecac and some civet oil and I-I ... I rubbed it on Sexy ... Sexy kitty.
(Quick flashback to: During a fur piling, the wolf puts the smell on Sexy. Sounds of moaning, groaning along with whip noises in the background. End of flashback. Resume to present.)
Grissom: Why sexy kitty?
Mr. Lee: 'Cause rocky couldn't get enough of her.
Grissom: What did Rocky do to you?
Mr. Lee: He's a raccoon. They're all lowlifes. I mean, honestly, what do they do? Screw ... eat garbage ... screw some more.
Grissom: Is this a, uh, general observation, or possibly a personal grievance?
Mr. Lee: At last year's convention, Rocky stole my girlfriend.
Grissom: And in the wild, wolves are monogamous, but raccoons are promiscuous.
Mr. Lee: That's right. And I just, I knew, I knew since Sexy Kitty was Rocky's fave, he'd have his filthy raccoon mouth all over her again this year. All I wanted to do was make him sick enough so that he'd have to go home and stop cheating on my mate.
Grissom: Your ex-mate?
Mr. Lee: Yes. I couldn't take seeing what that wanna-be marsupial put her through. My Linda Lamb deserved better.
Grissom: Mr. Lee, you're a wolf. How'd you end up with a lamb?
Mr. Lee: I used to work with Linda. And one day, I found out about what she did on the weekends. And she helped me ... become who I am. I always knew that I was a ... something else. And ... Linda made it real. She was one of a kind.
Grissom: Does, uh, Linda Lamb have a human last name?
Mr. Lee: Jones. Why?
CUT TO:
[INT. CSI - GARAGE]
(They're back to the car. GRISSOM pries open the trunk. He and CATHERINE see the animal costume in the back.)
Grissom: Linda Jones is Linda Lamb.
Catherine: Damn it. This was here the whole time.
Grissom: Yeah, but evidence without context is not evidence. We had no reason to search the trunk.
Catherine: So she didn't just h*t rocky, she knew him.
Grissom: For the philandering raccoon that he was.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- GARAGE]
(GRISSOM is at the map looking at the marked CRASH SITE to LINDA and BOB'S homes.)
Grissom: Okay, assuming that Linda and Bob were heading home after Bob got sick at the hotel, how did he end up on the side of the road?
Catherine: You ever have a car fight?
(GRISSOM turns around to look at CATHERINE.)
Catherine: You know, if a couple has any kind of history together, they know how to press each other's buttons. And you lock 'em up in a metal box with wheels on a bad night, they're going to start pressing 'em. You follow?
(CATHERINE opens the car door.)
Grissom: So, uh, either Bob told Linda to stop the car and let him out, or she told him to start walking?
Catherine: Yes. That one. I mean, it's bad enough that raccoon-boy blows his girlfriend off to go fur-piling -- he gets sick licking some nasty kitty and makes lambchop drive him home.
(CATHERINE starts looking for something in the back car seat.)
Grissom: Which begs the question: Why did she turn the car around and head back toward the hotel?
Catherine: Well, she wasn't heading back to the hotel. She was heading back for him. 'Cause that's how car-fights always end. After about a mile or two, you start to feel guilty that you've abandoned the person, and you turn around. Except she didn't plan on an 18-wheeler finishing her off.
Grissom: Mack truck ex machina.
(CATHERINE finds a match book.)
Grissom: But it still doesn't explain how bob got sh*t in the back.
Catherine: No ... but I think I may know the last person who saw them alive. Why don't we ask the valet if he saw some ... furriest conventioneers?
CUT TO:
[INT. CSI - HALLWAY]
(NICK finds SARA and they take a lovely walk through the hallway as they talk about the case.)
Nick: Hey, Sara, no luck on the car, but Hodges ran the g*n adhesive. It's primarily an epoxy posisin with traces of styrene and benzyl peroxide and ground terra-cotta.
Sara: Is that supposed to mean something to me?
Nick: Terra-cotta's the giveaway. It's a granite glue.
Sara: Granite glue?
Nick: Yeah. It's used for adhering joints on big pieces of stone.
Sara: House paint on his car; granite glue on his g*n...
Nick: Well, he used what was available. That's what people do.
Sara: Well, I understand the house paint, but where do you get granite glue?
Nick: I already checked. There's not too many places in clark county that specialize in granite installation, so...
Sara: Okay, I will bet you a double-double animal style that one of them employs a guy with a blue 1984 monte carlo.
Nick: That's a bet.
Sara: Excellent.
(NICK laughs, then follows SARA off camera frame.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. HOTEL FRONT -- DAY]
(GRISSOM and CATHERINE talk with the VALET. The VALET looks at the photo.)
Valet: Damn straight I remember them. How often do you see a six-foot raccoon heaving out a car window? Dude was hammered, man. His girl... she was pissed.
Grissom: Thank you. You've been very helpful.
Valet: All right, no problem. Hey, I got that.
(The VALET returns to work.)
Catherine: So, there's your car-fight. Now she thinks that he's back on the booze, which he denies, but the sicker he gets, the more she this he's lying.
(Quick flashback to: ROBERT PITT is getting sick. LINDA JONES is just plain angry. The two get into the car.)
Linda Jones: I can't believe you're drinking again. You promised.
Robert Pitt: I was not drinking.
(He closes the car door.)
Robert Pitt: Must be food poisoning.
Linda Jones: (scoffs) Oh? Didn't know they served food in a furpile.
(End of flashback. Resume to present.)
Grissom: The righteously angry versus the wrongly accused.
Catherine: And the battle's just beginning.
(Quick flashback to: [INT. CAR (MOVING) - NIGHT] They continue to argue. ROBERT PITT continues to get sick.)
Linda Jones: Would you just take off the mask and talk to me?!
Robert Pitt: No, just pull over and let me out of the car!
Linda Jones: You want out?
Robert Pitt: Ah ...
(She stops the car.)
Linda Jones: Get out! Just get out!
(ROBERT PITT stumbles out of the car.)
(End of flashback. Resume to present.)
Catherine: Okay, so it makes sense up to that point, but then what? He gets out and ... she sh**t him?
Grissom: I'm not so sure that people who dress up like cuddly forest creatures carry g*n.
Catherine: You don't think they allow plushies in the NRA? All right, then who sh*t him?
Grissom: Well, we have a grassy knoll ... but no Lee Harvey Oswald.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(SARA, NICK and SAM VEGA interview VIRGIL.)
Sam Vega: You're a triple thr*at -- robbery, kidnapping, m*rder. Big & best foods, Al Sesto, George Bartell. Any of this resonate?
Virgil: I don't know no al sesto.
(NICK puts photos of the g*n on the table in front of VIRGIL.)
Sara: Virgil, is that UR g*n? We found it in your garage. If, uh, you look, you'll see a chip in the stock. We found that in the freezer at the Big &
Best foods.
(VIRGIL chuckles.)
(NICK puts a photo of the car on the table.)
Nick: Is this your car? It was also in your garage. It has dual-layered paint, identical to the dual-layered paint chips we found on your kidnap victim.
Sam Vega: Anything to say, tough guy?
Virgil: Yeah. I want a lawyer.
CUT TO:
[INT. ROADSIDE -- DAY]
(Various cuts of CATHERINE and GRISSOM looking for the b*llet that k*lled ROBERT PITT.)
(CATHERINE'S metal detector beeps. She kneels down and finds the b*llet.)
Catherine: Hey, Grissom. Over here. I found the b*llet.
(GRISSOM walks across the street and kneels down to look at the b*llet.)
Grissom: Well done. So, we got a sick raccoon with an abdominal through-and-through who was sh*t from what appears to be a fairly steep trajectory.
Catherine: So, either he was sh*t by a giant ... or he was, uh, on all fours.
(Quick flashback to: [SITE VIEW] of Rocky Raccoon on his hands and knees. A g*n rings out and hits the dirt. End of flashback. Resume to present.)
Grissom: Or both. I mean, imagine looked like out here at night and from a distance.
(They stand up.)
Grissom: We've been looking for ... a person who sh*t a person, but ... maybe we should be looking for a person who sh*t an animal.
(As they look up the road, they see a red truck drive by.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(As they walk VIRGIL out into the hallway, GEORGE BARTELL walks into the police department.)
George: Hey, Virgil. What are you doing here?
Virgil: What am i doing here?
George: Yeah.
Sam Vega: Why, you guys know each other?
George: Yeah, that's my cousin.
Sam Vega: Pahrump?
Virgil: My own blood, and you set me up. After I saved your ass. I should have sh*t you in that freezer. You son of a bitch!
(He lunges for GEORGE. SAM VEGA holds him back.
Sam Vega: Hey, hey! You looking for more time? Now come on.
(They leave.)
(NICK sighs.)
George Bartell: (shakes his head) Oh, man. I'm so stupid.
Nick: Ah, you're not stupid. Man, your cousin just set you up.
George Bartell: Bowling night.
Nick: Is that where you told him about the vending machines?
(GEORGE nods.)
Sara: And Petey's burger runs?
George Bartell: My own cousin.
Nick: Well ... George, sometimes people, they, uh, disappoint us.
George Bartell: Why?
(NICK stares at GEORGE. SARA, at a loss of even trying to answer that question, shakes her head and looks expectantly at NICK.)
CUT TO:
[INT. -- DAY]
(Dogs bark in the distance. GRISSOM and CATHERINE are at the home of the man with the red truck.)
Ranger: How you doing? Can I help you?
Grissom: We're with the Las Vegas crime lab. This your place?
Ranger: Yeah. Must be here about that accident. Terrible thing. Like I said to the wife, the way these 18-wheelers fly down here ballin' the Jack, I ain't surprised. I'm surprised there ain't more accidents.
Grissom: Why don't you give us a brief history of your evening?
Ranger: Ah, well, I had dinner with the missus. Uh, fed the scraps to the dogs. Watched Jeopardy. Could hardly hear it, the dogs were, uh, so stirred up. Went outside to take a look, spotted a coyote. This is my business. Purebreds. Wouldn't want to lose one. So, I, uh, took care of it. Came back inside in time for Final Jeopardy.
CUT TO:
[INT. POLICE DEPARTMENT - OFFICE -- DAY]
(GRISSOM and CATHERINE fill BRASS in.)
Brass: So the raccoon was mistaken for a coyote. You gotta be kidding me.
Catherine: He was dosed intentionally but k*lled accidentally.
Grissom: We got the Ranger's r*fle, we collected a b*llet at the scene, and ballistics made a match.
Catherine: Bob Pitt was sick when he got out of the car, wounded when he got onto the road, and d*ad when he h*t the dirt.
(Quick flashback to: ROBERT PITT gets out of the car and slams the door shut.)
Linda Jones: Get out! Just get out!
(Cut to: Still in his costume, he throws up on the side of the road.)
(High above, the Ranger takes aim and sh**t at the "coyote". He fires.)
(Cut to: LINDA JONES turns the car around to pick ROBERT PITT up.)
(Cut to: ROBERT PITT crawls up onto the road.)
(He's in the middle of the road as the car approaches.)
(End of flashback. Resume to present.)
Brass: Well, the rancher's going to get off, Linda's d*ad, and Wolfie ... skates with a misdemeanor.
Catherine: We took one look at those furry suits and thought "foul play," but this was really just a domestic dispute gone mad.
Grissom: Hmm. Fur and loathing in Las Vegas.
(Camera pulls down and refocuses on the raccoon figure on the desk next to the badge.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x05 - Fur and Loathing"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(A box is on the autopsy table. It's addressed to:
DR. ROBBINS
3026 WESTFALL AVENUE
LAS VEGAS, NV 89109
(ROBBINS cuts the string and cuts the box open. Inside is a large blue plastic tub. ROBBINS takes the tub out and pushes the empty box to the side as he concentrates on the blue tub. He cuts the tape around the cover of the tub and opens the lid. Inside is a head.)
Robbins: Hmm.
(ROBBINS puts his glasses on to examine the head. GRISSOM walks into the room and appears at his side.)
Grissom: I heard you got some head.
Robbins: Just came in. How'd you know?
Grissom: I arranged house seats for David to see Celine, so he pages me the minute you get anything perishable.
Robbins: Sellout.
(ROBBINS reaches into the tub and removes the head. GRISSOM takes a deep breath.)
Grissom: Oh ... formaldehyde.
Robbins: Yeah, it fixes tissue, but it destroys DNA.
Grissom: No ID through CODIS. Quite a bit of leaf litter.
Robbins: Puncture wound above the orbital plate.
Grissom: That looks like animal activity.
Robbins: Heavy decomp. It's going to be, uh ... virtually impossible to determine time of death. This neck wasn't severed. It was disarticulated. No skill involved.
(ROBBINS puts the head down on the table and turns it to the left. On the left cheek, there's a Kn*fe cut.)
Robbins: Oh-oh. I take that back.
Grissom: That took skill.
(Quick CGI POV: Camera zooms into the cut - past the skin, into the muscle and flesh. End of CGI POV. Resume to present.)
(ROBBINS turns to look at GRISSOM.)
Grissom: The unkindest cut of all.
Robbins: (nods) Hmm.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(DAVID HODGES removes the leaf litter from the head while ROBBINS works on washing the head.)
David Hodges: There's more plant material here than geological.
Robbins: Hair roots and scalp are relatively clean.
David Hodges: So the vic wasn't buried?
Robbins: You tell me.
David Hodges: I will. Leaves and needles and dirt -- that's good as a map.
(CATHERINE walks into the room and up to the table. She frowns when she sees HODGES and ROBBINS working on the head.)
Catherine: Any idea when Grissom'll be back?
Robbins: Nope. It's going to be a while.
(CATHERINE glances down at the paper work in her hand.)
Catherine: Jackpot, Nevada. Where the hell is that?
CUT TO:
[EXT. MOUNTAIN LANDSCAPE (STOCK) - DUSK]
[EXT. TOP VIEW: ROADWAY (STOCK) - DUSK]
[EXT. LAKE (STOCK) - DUSK]
[EXT. TOP VIEW: VARIOUS ROADWAY (STOCK) - EARLY MORNING]
[EXT. MOUNTAIN LANDSCAPE (STOCK) - MORNING]
[EXT. TOP VIEW: ROADWAY (STOCK) - DUSK]
[EXT. JACKPOT -- GAS STATION -- DAY]
(The sign says: PAY AT THE PUMP. GRISSOM'S car travels up the road, past the gas station, and parks next to the Sheriff's car in the diner parking lot.)
CUT TO:
[INT. JACKPOT -- DINER - DAY]
(GRISSOM walks into the diner.)
Cook: Order's up, sweetie.
(GRISSOM closes the door behind him. There's quite a lot of activity in the full diner. He takes off his glasses and heads for the waitress behind the counter.)
Grissom: Good morning. I'm with the Las Vegas Crime Lab, and I ...
Gloria: (interrupts) Hey, Alan! 'S guy's here about the head.
(GRISSOM looks around. The Sheriff's sitting at the table and waves him over. As he heads in that direction, it appears that everyone in the diner already knows about the head.)
Man: Bet a wolf got him.
Man 2: There's no wolves around here dumbass. Bears.
Man 3: Ten bucks says satanic cult.
(GRISSOM approaches the Sheriff's table.)
Alan Brooks: Lieutenant Alan Brooks. This is my brother Leland.
Leland Brooks: How do you do?
Grissom: Gil Grissom, Las Vegas Crime Lab. May I?
Alan Brooks: Have a seat. Things must be pretty slow in Vegas to get one of you guys out here so quick.
Grissom: Well, the Elko County Sheriff made the request. We were happy to respond. It's an interesting case.
Alan Brooks: Mmm, not particularly.
Leland Brooks: It was probably some hiker or transient who got lost, took a bad luck fall.
Grissom: Must have been a heck of a fall. His head's in a plastic jar.
Alan Brooks: Listen, I filed the report. I sent in the head. Five'll get you ten, there's not much left of that body out there but coyote turds.
(LELAND chuckles.)
Alan Brooks: Look, nobody from this community's been reported missing. And I just don't have the resources to go searching for what might be left.
Grissom: Well, you do now.
Alan Brooks: There'd better be a whole lot more of you out there.
(MARTY COOPERMAN gets up and heads for the door.)
Alan Brooks: Have a good one, Marty.
(MARTY COOPERMAN leaves without saying a word.)
Grissom: Lieutenant, the preliminary autopsy revealed a single, straight, two-inch cut on the victim's jaw. It was a blade mark. So, there's not just a body out there, there's also a k*ller.
CUT TO:
[INT. CSI - TRACE LAB]
[SCOPE VIEW]
(DAVID HODGES explains what CATHERINE'S looking at in the scope.)
David Hodges: Of all the plant life gathered from the head, the conifers are the key. The one on the left -- abies zasiocarpa. The one on the right is picea engelmannii, engelmann spruce.
Catherine: Spruce and fir trees. Typical mountain forest.
David Hodges: Typical for 9,000 feet above sea level. The wood fragments are either cottonwood or aspen. And aspens only grow in areas that have been cleared.
Catherine: f*re, roads or ... logging.
David Hodges: After a major forest f*re, manzanita bushes grow like weeds for decades.
Catherine: No manzanita leaves here.
David Hodges: Which means that the head was on a damp north-facing slope, at least 9,000 feet up, cleared, but not recently exposed to f*re.
CUT TO:
[EXT. JACKPOT - OUTSIDE DINER -- DAY]
(GRISSOM and ALAN BROOKS leave the diner. GRISSOM'S phone rings. He answers it.)
Grissom: (to phone) Grissom.
INTERCUT WITH:
[INT. CSI - HALLWAY ON THE WAY TO GRISSOM'S OFFICE]
Catherine: Is the service actually bad out there or are you just keeping your phone off?
Grissom: I'm sorry. I should've called.
Catherine: This trip wouldn't have anything to do with you ducking case reviews, now would it?
Grissom: How can you think that? You wouldn't mind taking care of those for me, would you?
Catherine: Oh, your job, my pay. Why would I care?
Grissom: I'll make it up to you.
Catherine: Yeah, you had better.
(CATHERINE reaches GRISSOM'S office and her jaw drops at the stacks of files on his desk that he needs to review. The desk is a mess.)
Catherine: Hodges ID'd your leaf litter.
Grissom: Good. Thanks. I owe you one.
(GRISSOM hangs up.)
Alan Brooks: Trouble with the wife?
Grissom: Yeah. She hates it when we're apart.
(He shrugs.)
CUT TO:
[EXT. LAKE (STOCK) - DAY]
[EXT. SYLVIA ROGERS RESIDENCE -- DAY]
(GRISSOM interviews SYLVIA ROGERS while ALAN BROOKS watches.)
Grissom: So your dog found the head?
Sylvia Rogers: Well, Tripper's not exactly a Chihuahua. Goes where he wants, comes back for dinner. Sometimes he brings dinner back.
(Quick flashback to: SYLVIA ROGERS walks out of the house with a dish of food for the dog.)
Sylvia Rogers: Tripper! Come on, buddy, dinner.
(She puts the dish down. The dog barks and she looks. She sees he's playing with the head.)
Sylvia Rogers: Oh, what is it this time, a rabbit or a possum?
(End of flashback. Resume to present.)
Grissom: Is he okay?
Sylvia Rogers: Well, he got a little lethargic after chewing on that he took him to the vet, ran some tests. He got better. I just want to keep him that way. Where there's a head there's got to be hands and feet, and sooner or later, he'll dig 'em up.
Alan Brooks: Or what's left of 'em. No offense, Sylvia, but he's not exactly a scent hound.
Grissom: All animals can smell rotting flesh. Studies have shown that when domestic pets bring back human body parts, usually the remains are within a half-mile radius.
Sylvia Rogers: They do studies on that?
Grissom: It occurs more than you think. Have you noticed any buzzards or vultures around?
Sylvia Rogers: All the time.
Grissom: Thanks.
(She leaves. GRISSOM turns and looks at the hillside.)
Alan Brooks: So, are we done here?
Grissom: This slope faces north, doesn't it?
Alan Brooks: Yeah.
Grissom: You know that old expression, "heads will roll"? It's true -- especially downhill.
(GRISSOM heads for the north slope.)
Alan Brooks: (to radio) Barry, drop the doughnut. You're gonna earn your pay today.
CUT TO:
[EXT. NORTH SLOPE - DAY -SHORT TIME LATER]
(A couple of OFFICERS walk up the slope. GRISSOM and ALAN BROOKS follow them.)
Alan Brooks: Afraid you gonna trip over something?
Grissom: I'm hoping. Bodies make good fertilizer. You often see fresh, green sh**t near a gravesite.
Alan Brooks: Must be nice to know the answer to every little thing.
Grissom: I prefer questions actually.
Alan Brooks: And I don't, I suppose. Remember that waitress, Doris? Well, she's got an ex-husband likes to smack her around every once in a while. High school's got a dozen meth-heads who like boosting motorcycles and then drag racing 'em down main street, when they think nobody's watching. f*re chief's a closet pyro, and so forth. See, I don't have a lot of time to ask questions about buzzards and such.
(He points to the tree GRISOSM'S looking at.)
Alan Brooks: That's an aspen tree, in case you were wondering.
(Up on the hillside the OFFICERS call down to them.)
Officer: Lieutenant! Over here.
CUT TO:
[TOP OF THE HILL]
(GRISSOM reaches the top of the hill and sees the two OFFICERS standing just over the body. One of them is gagging.)
Grissom: Step away from there, would you please, fellas? Don't disturb the scene.
(They both rush aside as one of the OFFICERS throw up.)
(GRISSOM kneels next to the body.)
Grissom: Carabid beetles. Second instar maggots.
(GRISSOM picks up a bug.)
Grissom: Formica obscuripes.
(Camera zooms in for a close up.)
Alan Brooks: Let me guess. You like bugs?
Grissom: Yeah, I do. They're perfect. They always do their jobs.
(He glances at the Sheriff.)
Grissom: (declares) This body's been here four to seven days.
(GRISSOM stands up.)
Grissom: How deep would you say this hole is, Lieutenant?
Alan Brooks: I'd say about four feet, depending on ... how he's stuffed in there.
Grissom: Takes a fair amount of dedication to dig a hole this deep up here, don't you think?
Alan Brooks: Unless the k*ller had help.
Grissom: Maybe.
(GRISSOM takes a picture of the blood on the rock near the body, then kneels down to look at the spatter.)
Alan Brooks: It's like you said -- he was cut.
Grissom: This blood's not from a cut. The drops imply directionality. The stellated circles imply ...
(Quick CGI POV of: The blood spatters on the rock.)
Grissom: (V.O.) ... perpendicular impact.
(End of CGI POV. Resume to present.)
Grissom: This spatter is in direct line with the victim's carotid. It's arterial spurt.
Alan Brooks: Are you saying he was alive when he was buried?
Grissom: I think that the cut we found on his jaw ... was a lure to draw predators.
(Quick flashback to: The Kn*fe cuts into the victim's cheek as he screams. Cut to: Growling as the animal rushes forward. The victim screams. Cut to: Blood spattering on the rock.)
(End of flashback. Resume to present.)
(GRISSOM and gets to his feet.)
Grissom: This wasn't just m*rder. It was t*rture.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. HILLSIDE -- DAY]
(GRISSOM looks out at the tree-covered mountainside, waiting. ALAN BROOKS gets impatient.)
Alan Brooks: Hey, Einstein, we going to stand here all day or what?
Grissom: You're going to have to be patient, Lieutenant. The scene hasn't been released yet. You know, this may be a variation on an old native American form of punishment. The body was bound and buried up to its neck. Tree sap was poured over the head to attract ants.
Alan Brooks: Punishment for what?
Grissom: You see? That's a good question.
(DALE STERLING appears on the hill, huffing and puffing with exertion.)
Alan Brooks: It's about time, Dale.
(DALE STERLING looks at the body in the ground.)
Grissom: You are the coroner, I presume.
Dale Sterling: Mr. Grissom. Dr. Dale Sterling. I sent you the head. How can I help?
Grissom: Well, we can't touch the body until you authorize it.
Dale Sterling: Oh.
(DALE STERLING looks at ALAN BROOKS, then he looks over at the other OFFICER. They all look puzzled by this. Game, DALE STERLING looks down at the body.)
Dale Sterling: He's d*ad. You're authorized.
Alan Brooks: Thanks, Doc. That's nice work. Can we get it out now?
Grissom: There may be evidence in the gravesite. We need to preserve it.
Alan Brooks: Okay, so what do you want to do, call your lab? Have them send the right gear, the right guys, what?
Grissom: The site's already been compromised. We'll make do with what we have here. Now, for each foot of dirt that's removed, go on a separate bag. I'll sift through it later.
Alan Brooks: All right. Out of the way, Doc. Pardon me.
Grissom: Hold on. Make sure your shovels don't get within six inches of that body.
Alan Brooks: Can we please get on with getting him out of there? We're losing light.
(They start to dig the body out.)
CUT TO:
[EXT. LAKE - EVENING]
[INT. DALE STERLING'S OFFICE -- NIGHT]
(GRISSOM faces the wall with a degree on it from: THE UNIVERSITY OF VETERINARY STUDIES for DALE STERLING.)
(DALE STERLING takes off his jacket and sees GRISSOM looking at the wall.)
Dale Sterling: I was in the 99th percentile on the MCATs. I could have gone to med school. I chose to be a vet.
Grissom: Well, veterinary school's harder to get into than medical school. That's not what I was looking at. This is you and that gal from the diner.
Dale Sterling: Doris. We were married. High school sweethearts. Didn't work out.
(The body is put on the examining table.)
Dale Sterling: I know how to cut. I could ... I could do the autopsy right here.
Grissom: Only a licensed pathologist can perform an autopsy. All we're allowed to do is search for evidence on the body.
Alan Brooks: And then what?
Grissom: Then we take it to Vegas. Tonight. We'll need someone to drive the body.
(BARRY is just about to sit down, when ALAN BROOKS looks at him.)
Alan Brooks: Barry, it's your lucky day. Get your car. Come on.
Grissom: Our medical examiner will send you his report. You'll need to sign the death certificate as to cause and manner of death.
(GRISSOM looks around at the body. DALE reaches into the pants pocket.)
Dale Sterling: No wallet and no ID.
(GRISSOM pulls out a ball of paper from the other side pants pocket.)
Dale Sterling: What have you got there?
Grissom: Well, I'm not sure yet.
(ALAN BROOKS settles in and waits while they gather evidence.)
(GRISSOM checks the wrists and ankles.)
Grissom: No ligature marks.
Dale Sterling: Well, he wasn't tied up?
Grissom: Apparently not.
Dale Sterling: Well, no one just lets themselves get buried alive.
Grissom: Well, maybe the k*ller had a g*n on him.
Alan Brooks: Well, you can't dig a hole and hold a g*n on an unbound victim all at the same time.
Dale Sterling: Well, maybe the hole was dug earlier?
Grissom: That would imply premeditation.
Alan Brooks: Or more than one k*ller.
Dale Sterling: Maybe the victim was drugged.
Grissom: Sylvia Rogers' dog got sick after chewing on the victim's head, correct?
Dale Sterling: That's right.
Grissom: Did you do blood work?
Dale Sterling: I sent it off to a lab in Reno. Still waiting for the results.
Grissom: Call the lab. Have them do a full drug and tox panel on the blood.
(DALE leaves the room as GRISSOM takes the body's fingerprints. ALAN BROOKS watches.)
Grissom: Maybe whatever was in this man's body is also in the dog's.
CUT TO:
[EXT. PARKING LOT -- NIGHT]
(The SHERIFF and his men put the body in the back seat of the car. They're about to close the door when GRISSOM stops them.)
Grissom: Hold on a second, fellows.
(GRISSOM puts a tie on the zipper of the bag sealing it shut. ALAN BROOKS looks at his watch. GRISSOM takes a picture of the tie.)
(Done, he backs out and lets them close the back door.)
Grissom: Okay.
(GRISSOM then takes a picture of BARRY, the driver.)
Grissom: Say cheese.
Alan Brooks: Oh, what the hell was that for?
Grissom: Souvenir.
Alan Brooks: Why, is that French for 'evidence'? Straight drive, Barry. Stay out of the casinos.
Barry: You got it, boss.
(BARRY heads for the driver's seat.)
Alan Brooks: You boys have a good night.
(ALAN BROOKS walks past DALE STERLING and GRISSOM as the car with the body moves away.)
Dale Sterling: (murmurs) Man. It was one hell of day. You need a place to sleep?
Grissom: I need a place to work.
CUT TO:
[INT. OFFICE - LATE NIGHT]
(CLOSE UP: GRISSOM sprays the wad of paper he removed from the victim's pants pocket. He slowly and carefully pries it open.)
(He hears a door opening and closing.)
(GRISSOM looks up and slowly reaches for his g*n. He puts the g*n on the desk within easy reach, then goes back to work on the paper.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(CATHERINE receives a fax and looks at it. WARRICK appears in the doorway and looks at CATHERINE behind GRISSOM'S desk.)
Warrick: Did I miss a memo or something?
Catherine: Oh, no. Grissom's on a safari.
Warrick: He's got you pushing his paperwork, huh?
Catherine: Oh, no. I'm trying to avoid that. His headless D.B. had a Western LVU bookstore receipt in his pocket. Grissom just unraveled it.
Warrick: Really?
(WARRICK walks into the office.)
Catherine: Wow! Some of these books are a hundred bucks a pop. Tuition, plus room and board -- that's at least another 10k.
Warrick: You got to have money to go to college these days.
Catherine: Yeah, well, I missed that boat. So, most of these are freshman textbooks. Core curriculum.
Warrick: Well, that's at least two thousand students. Maybe you'll get lucky with the victim's prints.
Catherine: Oh, wait. Hang on. "Chiaroscuro Theory and Technique". It's a h*m*-level fine arts text.
Warrick: Freshman in a h*m* course?
Catherine: Narrows the field.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
Brass: (V.O.) Actually, we're here about your roommate,
[INT. DORMROOM -- DAY]
(BRASS and CATHERINE question ERIC BROOKS.)
Brass: ... Ross Jenson. Do you know where we can find him?
Eric Brooks: Uh, I actually haven't even seen him since last Friday. I had Wheezer tickets, and we were supposed to go, but he, uh, he blew me off.
Brass: Gone almost a week. That normal?
Eric Brooks: Yeah, he's an art student, you know. He goes off a lot, and for days sometimes.
Brass: Huh.
Eric Brooks: I've been, uh, studying my ass off for this American History midterm, but, uh, feel free to have a look around.
(BRASS finds some drugs in an ALTOID'S container.)
Eric Brooks: That's not mine. I don't know what that is.
Brass: Relax, buddy. This is a homicide investigation.
(CATHERINE sees the shoes and dirt in the closet.)
Catherine: Are these Ross's shoes?
Eric Brooks: I don't know.
Brass: What do you got?
Catherine: Aspen leaf. A little piece of the countryside. Has Ross spent a lot of time up in northern Nevada?
Eric Brooks: Yeah, he liked the scenery up there.
Brass: We're going to need to take that computer and a few things back to the lab.
Eric Brooks: Okay.
CUT TO:
[EXT. SCENERY (STOCK) - DAY]
[INT. OFFICE -- DAY]
(GRISSOM is lying on the office couch with his jacket around him as a blanket. The fax prints out some information.)
(GRISSOM is startled awake and he gets up. In his hand, under his jacket he has his g*n.)
(He puts the g*n on the table and grabs the fax printout. It reads:
WESTERN LAS VEGAS UNIVERSITY STUDENT ID
ROSS JENSON
ID # JENSEN9547
DOB: 8-25-83
{signature}
On the bottom of the sheet, CATHERINE wrote:
TO: GRISSOM
A FACE FOR YOUR HEAD.
CUT TO:
[INT. DINER - MORNING]
(GRISSOM talks with GLORIA.)
Gloria: Yeah. Came in here last week. Handsome boy. Nice clothes. Just passing through.
(Quick flashback to: GLORIA talks with ROSS JENSON.)
Gloria: There's, uh, fried chicken, me ...
Ross Jenson: Coffee's about all I can handle right now. Maybe some other time, okay?
(End of flashback. Resume to present.)
Woman: (to GLORIA) Guess you weren't his type.
Customer (man): Wasn't he the guy driving that gutless little four-banger?
Grissom: What kind of car was it?
Customer (man): Don't know. Kid's car. Something to drive around the city. It's no good for hills. Black, or, what, blue, maybe.
Grissom: Lieutenant?
Alan Brooks: Yeah.
Grissom: The victim was on his way out of town. We know he didn't get very far. So where's his vehicle?
Alan Brooks: (loudly to the diner crowd) Anybody here seen a black or blue mystery vehicle?
Customers: No. CUSTOMERS: Uh-uh. CUSTOMERS: No.
Alan Brooks: Well, I'd say that car's long gone by now.
Grissom: If the k*ller was a local, he could have ditched the car somewhere near here.
Alan Brooks: Do you have a local suspect?
Grissom: It's a theory.
Alan Brooks: Oh.
Grissom: And like any theory, it doesn't mean anything unless you can prove it.
Alan Brooks: Yeah.
Grissom: May I borrow this?
(GRISSOM pulls the paper place mat with a map of the area toward him.)
Grissom: The victim was last seen here, right?
(GRISSOM marks up the map.)
Alan Brooks: Yeah.
(CUSTOMERS at the counter crane their necks to see what GRISSOM'S doing.)
Grissom: We found his body here.
Alan Brooks: Mm-hmm.
Grissom: This is the only way out of town. The k*ller had to intercept him somewhere along this road.
Alan Brooks: Knock yourself out.
CUT TO:
[ROAD - DAY]
(GRISSOM drives down the road. He stops when he sees something on the side of the road. He backs his car up.)
(He sees tire tracks.)
(GRISSOM stops his car and gets out to investigate.)
(Camera lingers on the field kit in the front seat.)
(Taking his camera with him, GRISSOM closes the door. He puts the car alarm on then follows the car tires off to the road side.)
(Just up to the right, he sees the crime scene tape and the hole where they found the body.)
(GRISSOM continues to follow the tracks.)
(Just in front of him, a distance away from the road, he sees a barn.)
(GRISSOM climbs the fence and investigates the barn. He looks inside the barn through a crack in the door and sees a car parked inside. He tries the door and finds that it's barred shut with a wooden plank.)
(GRISSOM walks around the barn and finds an open window.)
(He opens the window and looks inside. On the ground, he sees an old screen.)
(Quick flashback to: The MAN steps on the screen, pushes the window open and jumps outside. End of flashback. Resume to present.)
(In the distance, GRISSOM hears his car alarm beeping.)
(Cut to: GRISSOM reaches his car. He turns the alarm off.)
(GRISSOM opens the door and finds that the window is broken and his field kit is missing from the front seat.)
(GRISSOM steps back and looks around the empty road.)
(Camera holds on GRISSOM.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. STERLING'S OFFICE -- DAY]
(GRISSOM walks into the office. DALE STERLING is working on a dog.)
Grissom: Hey, doc, I need to use some of your medical supplies and make a telephone call. It's local.
Dale Sterling: Uh ... okay.
(GRISSOM grabs some supplies and heads for the phone. He puts the supplies on the desk and picks the phone up. He dials. As the phone rings, he notices the windows.)
Grissom: Did you tint these windows yourself?
Dale Sterling: M-m-may be not the best job in the world, but it does the trick.
Grissom: Do you have any tinting film left?
Dale Sterling: Think so.
Grissom: May I use it?
Dale Sterling: Okay. I'll have to go check.
CUT TO:
[EXT. PARKING LOT -- DAY]
(GRISSOM walks out of the office with a package of medical supplies. ALAN BROOKS pulls up in his car.)
Grissom: (sarcastic) Oh, good, the police. I'd like to report a crime.
Alan Brooks: No kidding?
Grissom: Yeah, my vehicle was broken into and my field kit was stolen.
Alan Brooks: That's going to cramp your style.
Grissom: Not necessarily.
(Not pausing another moment, GRISSOM walks away and heads for the HARDWARE STORE.)
CUT TO:
[INT. HARDWARE STORE -- DAY]
(GRISSOM walks into the store. He leaves his package with the clerk.)
Grissom: Would you keep an eye on this for me?
Clerk: Sure.
Grissom: Thanks.
(GRISSOM picks up a shopping basket.)
Grissom: Excuse me.
(GRISSOM walks down the aisle and picks up various supplies - a battery, a box of storage bags, refillable pencil lead. He moves from aisle to aisle and picks up blank index cards and clear tape off the shelves.)
(ALAN BROOKS walks into the HARDWARE STORE.)
Alan Brooks: Kip.
Clerk: Sheriff.
Alan Brooks: (to GRISSOM) Listen, why don't you come on by and fill out a report about that kit.
Grissom: You think that would help?
Alan Brooks: It wouldn't hurt.
Grissom: (deliberately) I, uh, found the victim's car.
Alan Brooks: Well, I am impressed. Wh ... where was it?
Grissom: It was, uh, ditched in an old barn up in the hills.
Alan Brooks: Uh-huh.
Grissom: I know you don't have any men to spare, so I called the highway patrol. They're sending troopers up there to secure the site.
Alan Brooks: Oh, well, nearest station's in Elko. Should take 'em a couple hours to get here.
Grissom: Well, that should, uh, give you enough time to burn down the barn.
CUT TO:
[INT. BARN -- DAY]
(GRISSOM opens the barn doors to let in the light.)
(He takes out the battery and puts it aside. He puts on his gloves as he gets to work on the frame in front of the window. He looks down at the frame and smiles.)
(GRISSOM removes some wiring and attaches it to the battery. He takes out the film and unrolls it over the frame on the floor with the print he wants to remove. He attaches the other ends of the wires to opposite ends of the film.)
(Quick CGI POV: Particles list from the screen to the film. End of CGI POV. Resume to present.)
(GRISSOM flips the film over and looks at the shoe print underneath.)
(Cut to: GRISSOM opens the car door and examines inside. On the floor he finds a thermos. He shakes it.)
(Cut to: GRISSOM grabs the bag from the backseat and finds clothes inside covered with hair. He takes a sample of the hair.)
(Cut to: GRISSOM looks at the steering wheel.)
(Cut to: He empties the pencil lead in his hand, crushes it in a container cover and uses a soft brush to dust the steering wheel for prints.)
(He uses the clear tape to lift the print off of the steering wheel.)
(He holds the print up and looks at it.)
(As GRISSOM finishes, ALAN BROOKS walks up to the open doorway.)
Grissom: You going to just stand there, or are you coming in?
Alan Brooks: Oh, I don't want to disturb the scene. You carry on. (b*at)
Shame to see so much work go to waste.
(ALAN BROOKS steps back. GRISSOM walks out of the barn and pushes the door partially closed behind him.)
Grissom: What does that mean exactly?
(THE SHERIFF leans back against the fence, his hands on the rail.)
Alan Brooks: Well, unless you've managed to improvise yourself a warrant as well, this is an illegal search.
Grissom: This barn had been broken into, which makes it a crime scene, even without the m*rder victim's car inside, so I don't need a warrant. Who owns this place?
Alan Brooks: Nobody. Owner died a few years ago.
Grissom: Well, then who's responsible for the property?
Alan Brooks: His nephew. Marty Cooperman.
(The SHERIFF turns and heads back to his car.)
Alan Brooks: Runs the gas station.
Grissom: Is that who you're protecting?
(The SHERIFF stops and turns around, then heads back to his car. GRISSOM looks at the fence rail the SHERIFF was leaning against, then dusts it for his prints.)
CUT TO:
[EXT. GAS STATION -- DAY]
(GRISSOM pulls in to the gas station. He gets out of the car and sees MARTY COOPERMAN through the broken window.)
Grissom: Hey, you think you can fix this window?
(MARTY walks up to the car and looks at the window.)
Marty Cooperman: Yeah, I think I can fix that.
Grissom: You know that kid that got m*rder? We found his car up in the hills. In your uncle's old barn.
Marty Cooperman: Oh, I haven't been up there for years.
Grissom: That's understandable. It's hard to get to. Not too many gas stations around here. You must do pretty good business.
Marty Cooperman: Yeah, I got the only pumps for 23 miles. I do pretty good.
Grissom: You know, uh, the victim's car was full of gas. So you must've seen him, right, even though you said you didn't?
(MARTY turns around to look at GRISSOM.)
Marty Cooperman: I can have your window fixed in a couple hours, Mr. Grissom, and then you can get back home. I think you should do that.
(MARTY turns and leaves.)
(GRISSOM'S phone rings. He answers it.)
Grissom: Grissom.
INTERCUT WITH:
[INT. CSI - HALLWAY]
Catherine: Everybody in Sleepy Hollow still drawing a blank on the victim?
Grissom: More or less.
Catherine: Well, then somebody's lying. Ross Jenson was having a relationship with someone in jackpot. Greg traced a series of romantic I.M.s from your victim's computer.
Grissom: Greg did?
Catherine: Yeah, he knows stuff. Pretty hot, too. Sounds like he was in love. Brass is still working on a court order for the name. You ever coming back?
(GRISSOM glances over at MARTY COOPERMAN.)
Grissom: Hopefully.
(JUDY walks up to CATHERINE and hands her an envelope.)
Judy: Ms. Willows, this came for you, certified mail.
Catherine: Oh. Thanks, Judy.
(CATHERINE hangs up and takes the envelope from JUDY. She looks at the envelope from:
THE RAMPART CASINO
221 N. RAMPART BOULEVARD
LAS VEGAS, NEVADA 89145.
(It's certified: P 247 546 410.)
(She opens it and finds a check from:
SAM BRAUN
1153 STONE CREEK SUITE 4159
LAS VEGAS, CA 89101
PAY TO THE ORDER: CATHERINE WILLOWS
(DATED) NOV, 03 2003
(CHECK #) 8133
(For $250,000.00.)
(CATHERINE gasps.)
CUT TO:
[EXT. LAKE - EVENING]
[INT. OFFICE -- EVENING]
(GRISSOM holds two sets of fingerprint cards and examines both of them. DALE STERLING walks into the room.)
Dale Sterling: Just got the blood test results back from Sylvia's dog. There were traces of GHB in his system. I thought GHB was a party drug.
Grissom: It is. It's also a powerful sedative. Could be what was used to subdue him. You know anybody in town that would use this?
Dale Sterling: (chuckles) Uh, weed and speed are the drugs of choice around here.
Grissom: Hey, Doc, take a look at the scope, will you?
(DALE STERLING moves around GRISSOM to take a seat at the table to look through the scope.)
Grissom: I found some hair in Ross Jenson's shirts.
Dale Sterling: That is cat hair.
[SCOPE VIEW: HAIR]
Dale Sterling: Tricolored. Probably ... abyssinian.
Grissom: You wouldn't happen to have any abyssinian patients?
Dale Sterling: One.
(DALE STERLING walks over to his wall where he has pictures of his patients. He takes a particular framed photo down.)
Dale Sterling: Uh ... ah. Here she is. !sis.
(He shows the picture to GRISSOM.)
Dale Sterling: Her owner has allergies. He needed an aggressive, shorthair mouser.
(The picture is of LELAND BROOKS and his cat.)
CUT TO:
[EXT. PARKING LOT -- EVENING]
(GRISSOM walks over to ALAN BROOKS who is standing outside talking with one of this OFFICERS.)
Grissom: Excuse me, Lieutenant. We need to talk.
Alan Brooks: So talk.
Grissom: Privately, please.
Alan Brooks: (to the OFFICER) Just call them.
(He stops in front of GRISSOM.)
Alan Brooks: What?
Grissom: Ross Jenson was having a romantic relationship with someone in this town.
Alan Brooks: And you can you prove that?
Grissom: Yes. I believe he was up here visiting that person. I found cat hairs on his t-shirts. From an abyssinian cat. The kind your brother owns.
Alan Brooks: Just what the hell are you saying?
Grissom: Does your brother live alone?
Alan Brooks: Yes.
Grissom: Is he gay?
Alan Brooks: That is nobody's business.
Grissom: I realize that, but it's relevant to this investigation.
Alan Brooks: No, he was married. He has a kid.
Grissom: Was married?
Alan Brooks: She left him flat, ten years ago. So, what?
Grissom: Look, whether you like it or not, Leland is a suspect. But you already knew that. I'm giving you an opportunity, Lieutenant. So far, you're only guilty of being a good brother.
Alan Brooks: Get in.
(ALAN BROOKS turns, walks around his car and gets behind the wheel. He notices GRISSOM'S hesitation.)
Alan Brooks: What are you worried about? You do have a g*n, don't you?
(He starts the car engine.)
CUT TO:
[EXT. TOP VIEW ROAD WAY (STOCK) - LATE EVENING]
[EXT. LELAND BROOKS RESIDENCE -- NIGHT]
(The car stops in the driveway. GRISSOM and ALAN BROOKS get out of the car. LELAND stands in the doorway.)
Alan Brooks: Look, um, just give me a minute with him.
(GRISSOM nods.)
Leland Brooks: Hey, Bubba.
Alan Brooks: Leland. We need to ask you a few ...
Leland Brooks: What's he doing here?
Alan Brooks: Never mind him. You and I need to have a talk.
(LELAND motions for ALAN to come inside with him.)
(The door closes behind them.)
(GRISSOM walks around the driveway and sees a single set of tire tracks.)
(A cat meows and GRISSOM sees the cat on the chair and walks toward it. The voices arguing in the house are closed-captioned at first, then slowly get louder as he approaches the cat.)
(cc) LELAND BROOKS: I said I don't know what you're talking about.
(cc) ALAN BROOKS: Leland, you cannot hide this anymore and I am tired of looking the other way.
Alan Brooks: What are you doing? You put that ... put that down!
Leland Brooks: I don't know what you're talking about.
Alan Brooks: Put that down!
Leland Brooks: I don't know what you're talking about!
(The cat jumps off the chair. GRISSOM turns to follow the cat when a g*n goes off and blasts through the window near GRISSOM.)
Leland Brooks: Let me do this!
Alan Brooks: Don't you...!
(GRISSOM looks inside through the broken window and sees the two brothers fighting over a g*n. ALAN wrestles the g*n away from LELAND.)
Alan Brooks: Leland!
Leland Brooks: Let me do this!
Alan Brooks: Leland!
Leland Brooks: Let me do this!
(ALAN BROOKS uncocks the r*fle while LELAND is down on the couch crying.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAKE - EVENING]
[INT. SHERIFF'S OFFICE -- DAY]
(GRISSOM talks with ALAN BROOKS.)
Grissom: You're going to keep Leland in there, right?
Alan Brooks: Yeah, until he's ready to go home.
Grissom: He took at sh*t at me, and he tried to k*ll himself.
Alan Brooks: That's not the way I saw it. FYI, Leland's always run pretty hot. Now, that's no secret. As a matter of fact, back in high school he and Marty Cooperman played football together. One Friday night, after a couple of beers, Marty started busting on Leland. And Leland just busts him back. And I helped. And we fractured Marty's leg in three places.
Grissom: So I should be grateful that you showed restraint with me.
Alan Brooks: No, I didn't do it for you. A man shouldn't go through life ashamed of who he is.
(GRISSOM looks down at LELAND BROOKS' fingerprint card.)
CUT TO:
[EXT. CORRAL -- DAY]
(CATHERINE walks up to SAM BRAUN. He leans against the fence watching a horse being exercised. CATHERINE shows SAM the check.)
Catherine: What is this?
Sam Braun: A way to get you to talk to me.
Catherine: Well, I didn't come here to talk. I came to give it back.
Sam Braun: Not enough?
Catherine: You're a m*rder.
Sam Braun: Not in the eyes of the law. You look good, Mugs. How's Lindsey? She likes horses, right?
Catherine: Lindsey's none of your business. You keep her out of this.
Sam Braun: I'm her grandfather.
Catherine: Yeah, well, nothing I can do about that.
Sam Bruan: Catherine, it's just a gift. You need the money.
Catherine: And the next time you s*ab one of your showgirls and you need CSI to cover it, I'm supposed to help you out, right?
Sam Braun: Take a good look at me. Plenty of fresh air, sun on my face. You think I need your help?
Catherine: I don't need your Charity.
Sam Braun: You know what your problem is? You enjoy making life hard.
Catherine: You're lucky Lindsey's too young to understand that.
Sam Braun: Cash it, or tear it up. Do whatever you want. I have one son in jail ... another in the ground. I never did right by your mother. But I'm damn sure going to try to do right by you.
CUT TO:
[INT. CSI - LOCKER ROOM]
(CATHERINE looks down at the check in her hand. She looks at it, then moves to tear it up, but pauses. She can't do it. She looks at the check again.)
(GREG appears in the doorway.)
Greg: Hey, Catherine ...
(CATHERINE hides the check and turns around.)
Catherine: Hey. What's up?
Greg: A possible inconsistency.
CUT TO:
[INT. OFFICE -- DAY]
(GRISSOM looks at LELAND'S finger print card. DALE STERLING interrupts him.)
Dale Sterling: Hey ... you have a phone call. Line two. I think it's your wife.
Grissom: Thanks. (to phone) Hello, dear.
INTERCUT WITH:
[INT. CSI - GRISSOM'S OFFICE]
Catherine: The day Ross Jenson left Vegas, he used MapQuest to get directions from his dorm to jackpot.
Grissom: Well, that makes sense. From what I've been able to gather, this was his first and only visit up here.
Catherine: Well, that doesn't make sense. He was involved with someone in jackpot for several months. There were traces of aspen leaves in his dorm room closet. I just assumed he'd been there before.
Grissom: Well, if I believe this was his first and only visit, how do we explain the leaves in his closet?
Catherine: He has a roommate.
Grissom: Does the roommate have a name?
Catherine: Yeah, his name is ... Eric Brooks.
Grissom: (repeats out loud to DALE STERLING) Eric Brooks?
Dale Sterling: Oh, yeah, that's Leland's boy. You guys going to tell him about his dad?
(GRISSOM looks at DALE.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS and CATHERINE interview ERIC BROOKS.)
Brass: Did you know your father was having a sexual relationship with Ross Jenson?
Eric Brooks: My dad's not gay.
Catherine: Was Ross?
Eric Brooks: We never talked about it.
Brass: Were you in Jackpot, Nevada last weekend?
Eric Brooks: No.
Brass: Ross Jenson was ... visiting your dad. We found his car ditched in a barn outside town.
Catherine: We got your fingerprints from a former ROTC commander of yours, and ... they matched a print that we recovered from the steering wheel.
Eric Brooks: (shrugs and shakes his head) He let me borrow his car all the time. We were roommates.
Brass: That's right. You don't own a car. You ride a motorcycle.
(Quick flashback to: View of the single tire tracks in LELAND BROOKS' driveway with sounds of a motorcycle in the background. End of flashback. Resume to present.)
Eric Brooks: Yeah. So?
Catherine: Could I see the bottom of your shoes, please?
(ERIC BROOKS puts his foot on the table for CATHERINE to look at. She compares the shoe with the print.)
Catherine: Well, that's an unusual wear pattern. Matches the shoe print we recovered from the barn near the vehicle.
Brass: Put a lot of miles on your bike. It shows.
(Quick flashback to: The shoe on the motorcycle stirrup. End of flashback. Resume to present.)
Catherine: You were there.
(Quick flashback to: ERIC BROOKS arriving at home and findings his dad with ROSS JENSON.)
Grissom: (V.O.) Eric must've known for a while.
CUT TO:
[INT. JACKPOT - SHERIFF'S OFFICE -- DAY]
(GRISSOM and ALAN BROOKS talk with LELAND.)
Grissom: How did you intend to keep the relationship from your own son?
Leland Brooks: I've been hiding it my whole life.
(LELAND looks at his brother, ALAN.)
Leland Brooks: You knew.
Alan Brooks: Yeah ... I figured you'd tell me when you were ready. I saw you with Ross. I stopped by here last weekend. You and he were taking a walk.
Leland Brooks: I'm sorry.
Alan Brooks: You got nothing to be sorry about. Nothing.
Leland Brooks: Lee, it turns out Eric ...
Grissom: Mr. Brooks, your son k*lled Ross Jenson.
Leland Brooks: That is t possible.
Grissom: According to the evidence, it is.
(Quick flashback to: ERIC BROOKS reaches into the car and takes out ROSS JENSON'S thermos.)
Catherine: (V.O.) We tested the thermos and found traces of GHB.
(ERIC pours the drugs into the thermos.)
(End of flashback. Resume to present.)
INTERCUT WITH:
[INT. POLICE DEPARTMENT - INTERVIE ROOM]
Catherine: You used Ross' drugs to subdue him.
Brass: It's a long drive from Jackpot to Vegas. You knew he'd stop for a refill before he left town.
(Quick flashback to: ROSS JENSON takes a drink from his cup. Cut to: ROSS JENSON starts to get woozy. He falls asleep and his car goes off the road.)
(ERIC finds ROSS out cold in the car.)
(End of flashback. Resume to present.)
Leland Brooks: (crying) Eric never could deal with the fact that his mother left. And, uh, she just wanted a husband. All I wanted was a family.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIE ROOM]
Eric Brooks: People in town ... they said my dad was "different." But he wasn't. He was just lonely. And Ross, like, totally used that to ruin him. It was all Ross.
Brass: That why you drugged him? Drove him into the woods? Put him in a hole ...
(Quick flashback to: ERIC walks ROSS to the hole.)
Ross Jenson: Where are you taking me?
(End of flashback. Resume to present.)
Brass: ... buried him up to his neck ...
(Quick flashback to: ERIC starts to cover ROSS with dirt. End of flashback. Resume to present.)
Brass: ... cut him ...
(Quick flashback to: ERIC takes out his Kn*fe and cuts ROSS on the cheek.)
Ross Jenson: What are you doing?
(He screams.)
(End of flashback. Resume to present.)
Catherine: Why didn't you go the distance? Why didn't you finish him off yourself?
Eric Brooks: Because I wanted him to suffer.
Catherine: Because he was in love with your father? Or because he wasn't in love with you?
CUT TO:
[EXT. LAKE - DAY]
[EXT. GAS STATION -- DAY]
(MARTY finishes the repair on GRISSOM'S car window.)
Grissom: I don't suppose that comes with a warranty?
Marty Cooperman: Nothing around here does, Mr. Grissom. Thanks for the business.
(ALAN BROOKS walks out of the building.)
Alan Brooks: Hey, Marty.
(MARTY doesn't say anything and heads back to the gas station.)
Grissom: Does he ever talk to you?
Alan Brooks: Not one word since high school. Listen, when we found that torso in the hole, on the crest of that hill ... I recognized the kid's shirt, and I knew he'd been with Leland, so ...
Grissom: So you assumed your brother was capable of m*rder.
Alan Brooks: Didn't even ask him what happened.
Grissom: Questions, remember? Not asking them is what got everybody in trouble here in the first place.
Alan Brooks: You don't keep any secrets, Mr. Grissom? Not even from your wife?
Grissom: (amused) I used to. I'm trying to change.
Brooks: It's a bitch. Have a good trip.
(GRISSOM gets into his car.)
(He glances in the back seat and finds his field kit. He looks at the SHERIFF standing outside. He smiles, then starts the car and leaves heading out of Jackpot.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x06 - Jackpot"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS (STOCK) - DAY]
CUT TO:
[INT. JUDGE BRENNER'S COURTROOM -- DAY]
(WARRICK is on the stand.)
Warrick: I searched the vehicle at the CSI garage. I discovered the Kn*fe under the passenger's seat.
Prosecutor: Now, is this the Kn*fe you found?
(The PROSECUTOR hands the container with the Kn*fe to WARRICK. He looks at it.)
Warrick: Yes, it is.
Prosecutor: Hmm. Who was the registered owner of the vehicle?
Warrick: Michael Fife, the defendant.
(They glance over at the Defense Table.)
Prosecutor: Please describe the physical condition of the Kn*fe when you discovered it.
Warrick: The Kn*fe was wrapped in a white towel. Both the towel and the Kn*fe were caked with dried blood.
Prosecutor: And how did you process this evidence?
Warrick: I swabbed the blood and sent a sample to the DNA lab. The lab technician ran the sample through CODIS. The DNA sample was a match to a recent r*pe and homicide victim, Rachel Lyford.
Prosecutor: Rachel Lyford who lived in unit seven of the Saturn Arms apartment complex. The same complex as the defendant?
Warrick: That's correct.
Prosecutor: Is this Kn*fe consistent in size and shape to the fatal wounds sustained by Rachel Lyford?
Warrick: Yes, it is.
Prosecutor: Thank you. Your honor, we have no further questions for CSI Brown.
Judge Brenner: Mr. Matthews.
(The DEFENSE ATTORNEY stands and walks forward.)
Defense Attorney Matthews: Mr. Brown, you stated that you found the Kn*fe in Mr. Fife's vehicle. Is that correct?
Warrick: Yes, that's correct.
Defense Attorney Matthews: Why did you search his vehicle?
Warrick: I received a call from Officer Watson. He informed me that he had pulled the defendant over to cite him for a broken taillight. After running his plates, it was discovered that the defendant had an outstanding warrant for drugs. He then arrested Mr. Fife and ordered a respond and tow. At which point, he asked me to search the vehicle for drugs. That's when I found the Kn*fe.
Defense Attorney Matthews: Mm-hmm. At what point did you secure the warrant to search Mr. Fife's vehicle?
Warrick: Officer Watson would have secured the warrant prior to calling me.
Defense Attorney Matthews: Officer Watson never secured a warrant.
(GRISSOM and WARRICK both look alarmed at this development.)
Defense Attorney Matthews: Did you?
Warrick: No.
Defense Attorney Matthews: Your honor, the Kn*fe is a product of an unlawful search, and under NRS Chapter 179, we submit the Kn*fe and the towel be ruled inadmissible. Furthermore, all evidence acquired as a result of the seizure must at this time be excluded.
Judge Brenner: So ruled. Fruit of the poisonous tree. What else do you have?
(The PROSECUTOR gets to his feet.)
Prosecutor: Additional evidence is pending. The Kn*fe would've been more than sufficient for the purpose of a prelim.
Judge Brenner: You have no other evidence to present?
Prosecutor: Not at this time.
Judge Brenner: I find insufficient evidence to hold the defendant over for trial. He's free to go.
Prosecutor: Your honor, the defendant is accused of raping and k*lling a 19-year-old woman. You can't just let him back on the street.
Judge Brenner: Are you suggesting that I violate his constitutional rights, counselor?
(GRISSOM stands up and leans toward the PROSECUTOR.)
Grissom: (whispers) Ask him for 24 hours.
Prosecutor: Your honor, we received no prior notice of this motion. Um ... we would ask for a continuance and opportunity to reopen.
(b*at)
Prosecutor: We're only asking for 24 hours.
Judge Brenner: Okay. If you can't make your case, Mr. Fife walks. We will recess for 24 hours.
(The JUDGE bangs his gavel and court is adjourned. WARRICK picks up the Kn*fe container off of the witness counter and heads toward GRISSOM.)
Grissom: The m*rder w*apon's been excluded, that's all. We still have a lab full of evidence we can process.
Warrick: We've been completely blind-sided here.
(OFFICER WATSON interrupts them.)
Officer Watson: Brown, what is going on?
Warrick: You got to be kidding me.
Officer Watson: You were unprepared. All the evidence you CSIs collect, and all you bring into this courtroom is a Kn*fe? Come on.
Warrick: I found the Kn*fe. I processed the Kn*fe. I presented the Kn*fe. All you had to do was the paperwork.
Officer Watson: Yeah, blame it on the cop, huh? Look, you wouldn't even have a suspect if I didn't pull that guy over.
Warrick: If you'd've followed protocol, our suspect would be going to trial.
(GRISSOM holds up a hand to OFFICER WATSON.)
Grissom: If you have a problem with CSI, file a complaint -- we're busy.
(OFFICER WATSON sighs and steps away. GRISSOM and WARRICK head out of the courtroom.)
Warrick: What about what you said about never rushing evidence?
Grissom: Well, for the next 24 hours, we're breaking the rules.
(They walk out of camera frame.)
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- AFTERNOON]
CLOCK: 5:04 P.M.
(GRISSOM and WARRICK walk through the hallway and meet up with SHERIFF RORY ATWATER.)
Sheriff Rory Atwater: Grissom.
Grissom: Sheriff. We need to talk ... (waves a finger at WARRICK) ... about him.
Warrick: Nice to finally meet you, too, Sheriff.
Grissom: (to WARRICK) Why don't you go ahead and start the briefing? I'll be in in a minute.
Warrick: Yeah.
(WARRICK leaves.)
Sheriff Rory Atwater: Where to?
(GRISSOM shows THE SHERIFF to the office.)
CUT TO:
[LOCKER ROOM - CONTINUOUS]
(WARRICK bangs his forehead in frustration against the locker door. Feeling the weight of the case on his shoulders, he takes a moment and sits there.)
CUT TO:
[GRISSOM'S OFFICE - CONTINUOUS]
(SHERIFF RORY ATWATER and GRISSOM walk into his office. GRISSOM heads for his desk while the SHERIFF looks at the things on the office shelves.)
Grissom: Warrick Brown followed protocol. You cannot pin this mess on him.
Sheriff Rory Atwater: Warrick Brown was on the stand. He's the face of the case. It's all about perception. If Fife walks, the public only hears one thing -- "evidence against a k*ller was thrown out of court because CSI conducted an improper search."
Grissom: You think I don't know that?
(The SHERRIF points to the pig fetus in a bottle on the shelf.)
Sheriff Rory Atwater: What the hell is this?
Grissom: It's irradiated fetal pig. I used the tissue to determine the effects of radiation ...
Sheriff Rory Atwater: (interrupts) Look, Grissom, you and your team have done exemplary work.
(He takes a seat at GRISSOM'S desk.)
Sheriff Rory Atwater: Thanks to the crime lab, some very difficult cases have gone our way. You've elevated the status of the whole bureau.
Grissom: Uh-huh. Then why are you here?
Sheriff Rory Atwater: I'm holding a press conference in an hour where I'll be telling the media that this case is under your purview.
(GRISSOM chuckles.)
Grissom: Oh, it is about perception, isn't it?
Sheriff Rory Atwater: Glad we understand each other.
(GRISSOM nods.)
Sheriff Rory Atwater: Uh... why don't you call my office next week? (whispers)
Put a little lunch on the books, hmm?
(The SHERIFF gets to his feet and heads for the door.)
Grissom: I work nights.
(The SHERIFF turns around to look at GRISSOM.)
Sheriff Rory Atwater: So make it a dinner.
(The SHERIFF leaves the office.)
CUT TO:
[INT. CSI - CONFERENCE ROOM -- EVENING]
CLOCK: 5:15 P.M. CLOCK: 5:16 P.M.
(WARRICK conducts the meeting.)
Warrick: Impound towed the vehicle to the garage. Michael Fife's outstanding warrant was for marijuana possession, so that's what I was looking for.
(Quick flashback to: [INT. CSI - GARAGE] WARRICK searches the back seat of the car and finds the bloodied Kn*fe wrapped in the towel under the seat.)
(End of flashback. Resume to present.)
Warrick: I swabbed the Kn*fe and I sent the blood sample to Greg.
Greg: I ran it through CODIS and matched it to another case.
Catherine: My case. Rachel Lyford, 19. m*rder in her apartment.
(CATHERINE hands out some papers to everyone.)
(Quick flashback to: [INT. SATURN ARMS APT] RACHEL LYFORD is d*ad on the bed.)
(End of flashback. Resume to present.)
Catherine: The assistant coroner examined the body. Based on the vaginal introitus, he suspected r*pe. I processed the scene. There was nothing probative. There were no prints, no DNA. Everything I collected is in the vault.
Sara: Now, once Warrick found the Kn*fe, the D.A. thought there was sufficient probable cause and rushed the prelim.
(GRISSOM walks to the room and lingers in the doorway.)
Catherine: Further processing of the evidence became a low priority, pending the trial date.
Grissom: This is a rush case. Everyone's in the pool for 24 hours. Warrick, you need to see Robbins. Have him walk you through his notes on the autopsy. Nick, Sara, the Judge issued a warrant for Fife's vehicle. Detail is towing it back to our garage.
Nick: Hold on. Warrick's already searched the car and the Kn*fe's been excluded. What exactly are we hoping to find?
Grissom: I don't know. But the Kn*fe and the towel are invisible evidence. The jury will never see them. So we have to find something that's visible.
Sara: Uh, listen, I recognize the importance of this, but I'm in the middle of my own homicide investigation.
Grissom: I'll talk to your detective. Explain the deal.
Sara: Well, it's not about the detective. It's about my own responsibility.
Grissom: (firmly) I'm handing out assignments, Sara. It's not a negotiation.
Catherine: I'll go back to the scene and look at it with fresh eyes.
Grissom: Deadline's 4:00 P.M. Tomorrow. "Once more into the breach."
[Note: Henry V, Act 3, Scene 1, Wm. Shakespeare.]
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - AFTERNOON]
[EXT. CSI - GARAGE -- AFTERNOON]
CLOCK: 6:18 PM
(NICK and SARA wait for auto detail to bring the car. SARA leans against the wire fence, still perturbed by the meeting. NICK finishes his phone call and walks toward her.)
Nick: That was auto detail. There's a traffic jam on Flamingo. Tow truck should be here any second.
Sara: You know what pisses me off?
Nick: Lots of things.
Sara: (ignoring him) Victims aren't equal. High profile cases get priority.
Nick: A ticking clock gets priority.
Sara: Every case is a ticking clock. The only difference between a cold case and a hot case is time.
Nick: I don't care if you're working on the hottest case of your career. If your supervisor tells you to leave a scene to go wash his car, you do it.
(SARA looks at NICK. She can't believe what she just heard.)
Nick: (clarifies) You don't have a career without a job.
(AUTO DETAIL arrives with the car. Or what's left of the car.)
Auto Detail: Heard you're on a rush. Sorry.
Nick: That's not the right car, man.
(He checks his chart.)
Auto Detail: Uh, registered owner Michael Fife, BMW 325. Impounded ten days ago.
Sara: What the hell happened?
Auto Detail: It's been pancaked.
Nick: We can see that. Why?
Auto Detail: Hey, I just move 'em.
Nick: This is evidence in an active investigation.
Auto Detail: Paperwork mix-up?
Sara: Or some moron checked the wrong box. You can just unload it here.
Auto Detail: Sign here. I got to get back to the lot.
(SARA signs the paper and hands it back to AUTO DETAIL.)
Sara: Thanks.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS goes over the autopsy photographs with WARRICK.)
Robbins: Body was released last week. Cremated at Desert Haven. I.D.'d by the sister, pretty girl. Couldn't stop crying.
Warrick: Yeah, Rita. They were real close. Lived together up until a couple months ago. These s*ab wounds look like they're limited to the neck and upper torso area, huh?
Robbins: Fatal s*ab was to the left side of the neck.
(Quick flashback to: [INT. SATURN ARMS APTS] RACHEL LYFORD fights as she gets s*ab.)
Robbins: (V.O.) The blade traversed the subcutaneous tissue,
(Quick CGI POV to: The Kn*fe cuts through her flesh. Close up of the Kn*fe sinking in through muscle and blood. Nice squishy sound effects for added viewing pleasure.)
Robbins: (V.O.) ... sternocleido-mastoid muscle, jugular venous complex,
(End of CGI POV. Resume to present.)
Robbins: ... the carotid artery and the vagus nerve. She bled right out. r*ped. No semen in the vaginal vault. I don't know if it's relevant, but check out the abrasion. There was something around her neck.
Warrick: Noted. What is this foreign substance on her wrist?
(WARRICK points to something in the photo.)
Robbins: Pre-autopsy. David snapped the photo before he washed her body. He's in clean up.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(WARRICK walks into the room. DAVID PHILLIPS is at the stove boiling something in a large pot.)
Warrick: Bringing your laundry to work again, David?
(He lifts up the heavy bone and shows it to WARRICK.)
David Phillips: I'm cleaning a pelvis.
Warrick: Great. I'm here about one Rachel Lyford. You prepped her body?
David Phillips: Yeah, ten days ago. I thought it was Catherine's case.
Warrick: It's mine now. You notice this foreign substance on her wrists?
(WARRICK shows the photograph to DAVID and points to the substance.)
David Phillips: It was flaky. Like the glaze on a doughnut? I sent a sample to trace.
Warrick: Trace. Thanks. You're the man. Have fun.
(WARRICK leaves the room.)
CUT TO:
[INT. CSI - TRACE LAB -- NIGHT]
CLOCK: 7:13 P.M.
(WARRICK walks into trace, but before he can say anything, DAVID HODGES answers his question as he looks through the scope. He doesn't even lift his head up.)
David Hodges: Sample's still running through the GCMS. I'll let you know.
Warrick: How'd you know that I was...
(HODGES looks at WARRICK.)
David Hodges: (interrupts) 4-1-1 from David. (drawls) Hey, I heard about court today. Must have been embarrassing, huh?
Warrick: Hodges, why'd you leave L.A. Again? Never mind, it's probably none of my business.
(WARRICK leaves trace and walks out into the hallway.)
[INT. CSI - HALLWAY - NIGHT -- CONTINUOUS]
(BRASS calls out to WARRICK.)
Brass: Hey, Rick, you okay? 'Cause I'm here to drop some more pressure on you.
Warrick: Yeah?
(They both continue down the hallway.)
Brass: Rachel Lyford's sister showed up at the police station. Man, she was angry. She was f*ring on all cylinders.
Warrick: I don't blame her.
Brass: Apparently, Rachel wore a silver chain around her neck. It wasn't with her personal effects. (WARRICK flips through the file folder in his hand.) Had her father's army dog tags on it and the family wants it back.
Warrick: You came all the way over here for dog tags?
Brass: Well ... the Sheriff asked me to find it. You know, Rory Atwater's been in office for - what? -- Four months, so it's political. He doesn't want the victim's sister bad-mouthing his department.
Warrick: Mm-hmm. Check it out.
(WARRICK shows BRASS the photo of the abrasions on RACHEL LYFORD'S neck.)
Brass: Mm-hmm.
Warrick: Dr. Robbins found consistent abrasions on the back of her neck, so ... that's probably your chain.
Brass: Uh-huh. Okay. k*ller took a souvenir. I'll let the Sheriff know. Thanks.
Warrick: All right.
(BRASS turns back; WARRICK moves forward through the hallway.)
CUT TO:
[INT. CSI - LAYOUT ROOM -- NIGHT]
(GRISSOM dusts a beer bottle. WARRICK enters the room.)
Warrick: What do you got?
Grissom: Got a print off this bottle I found in the garbage. It was the only bottle like it. None others in the apartment.
Warrick: Need a hand?
Grissom: You could do the sheets.
Warrick: Done.
(WARRICK grabs a set of gloves to put on as GRISSOM tapes the print. WARRICK looks at the knives on the table.)
Warrick: You know, the steak Kn*fe I found in that car matches that set.
Grissom: We only found five knives in Rachel's kitchen.
Warrick: Five's an odd number of steak knives.
Grissom: Exactly. w*apon of opportunity, perhaps?
Warrick: Perhaps.
(WARRICK glances up at the clock: It's 7:49 PM. He turns to work on the sheets.)
(WARRICK spreads the sheet out on the table and sees something smudged in with the blood. He picks up a magnifying glass to look at it.)
Warrick: Grissom, what do you make of this? We noted a similar type substance on the girl's wrists.
(He hands the glass to GRISSOM to look at.)
Grissom: Doesn't look like it belongs on the victim or her sheets.
(WARRICK glances up at the clock again. This time, GRISSOM notices the movement. It's still 7:49 P.M.)
(GRISSOM turns to look at WARRICK.)
Grissom: Stop it.
Warrick: What?
Grissom: Watching the clock.
(WARRICK takes a swab sample of the substance on the sheet.)
Warrick: (frustrated) It's just that new evidence is coming in and the old evidence hasn't even been processed yet. We're running out of time here, you know?
Grissom: If you're watching the clock, you're not watching the case.
Warrick: Well, not even you can stop time.
(GRISSOM and WARRICK share a look. Camera holds on WARRICK.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. SATURN ARMS APARTMENTS - POOLSIDE -- NIGHT]
[INT. SATURN ARMS APARTMENTS - RACHEL LYFORD'S APT. -- NIGHT]
(The WOMAN OFFICER lets CATHERINE into the apartment.)
Catherine: Thank you.
(CATHERINE looks around the place.)
Catherine: Oh ... I remember now.
(CATHERINE puts her kit down and starts to look around the apartment. The WOMAN OFFICER follows her inside, keeping close.)
(CATHERINE looks from the refrigerator to the table with an oversized softcover book on it, "The Fifth Sacred Thing", by Starhawk. She reaches down and flips through it.)
Woman Officer: I'm reading the same book.
Catherine: Really? Any good?
Woman Officer: Yeah, so far.
(CATHERINE leaves the kitchen area and walks over to the bed. She kneels down and looks at the blood on the mattress. The phone rings, startling CATHERINE.)
Rachel Lyford (answering machine): Hi, it's Rachel. Sorry I missed your call. I promise to get back to you as soon as I can. Have a great day.
(The machine beeps.)
Walter Burr: (answering machine) Hey, Rachel. It's Walter. Walter Burr. We exchanged numbers at Diane's party a few weeks ago. Anyway, just thought you might want to grab a drink sometime. So, give me a call.
(CATHERINE stands up and looks around.)
Catherine: I processed this place for twelve straight hours. I never took a break. Couldn't eat.
Officer (woman): Yeah, my sister calls that the CSI diet. She's a CSI out in Bakersfield. (proudly) Whole family wears a badge.
(CATHERINE smiles and sighs.)
Officer (woman): If you want to ALS again, I'll grab the lights.
Catherine: No, I went over every square inch of this place. I did the mattress, the sheets, the floors, the cabinets. If the r*pist ejaculated, he was smart enough to use a condom.
Officer (woman): I'm no expert, but most guys can't wait to take off their rubber jacket. You check the wastebasket?
Catherine: Yeah, I did, but ...
(Something occurs to her.)
Catherine: Not every guy uses the trash.
[BATHROOM]
(CATHERINE walks into the bathroom with the ALS. The WOMAN OFFICER follows her. CATHERINE puts her kit down and lifts up the seat. She checks the porcelain and finds a semen stain on the handle.)
Catherine: Guy had sticky fingers.
Officer (woman): Semen?
(Quick flashback to: The r*pist drops the condom into the toilet, then flushes it.)
(End of flashback. Resume to present.)
(CATHERINE takes out a swab.)
Catherine: Oh, yeah. Fresh eyes, new evidence.
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(NICK uses a large hand-held device to pry up and open portions of the car while SARA inserts inflatable pads in the pockets.)
(Various cuts of NICK and SARA preparing the car.)
(When the inflatable pads are positioned, SARA attaches a hose to the pads and inflates them, lifting the car roof up a bit.)
(SARA and NICK remove the inflatable pads.)
Sara: I think we're done.
Nick: Then let's get started.
(They both take out their flashlights and start checking the inside of the car. SARA finds something on the front seat floor.)
Nick: What do you got?
(SARA holds up a red and white parking placard:
SATURN ARMS
PARKING PERMIT
4-R
BPA ... )
Sara: Parking placard. "Saturn Arms." It was affixed to the rearview mirror. It's the same kind of permit we use at my apartment building.
Nick: Hmm.
(NICK looks around and finds some fiber with blood on it. He picks it up.)
Nick: White threads...
Sara: It is impossible to trace the source of a white thread.
Nick: Reddish-brown stain consistent with blood.
Sara: Really?
Nick: Mmm.
Sara: That could match the bloody towel that Warrick found.
Nick: Well, the towel is inadmissible, but the threads are still fair game.
(SARA nods.)
Nick: So ... you still upset about your case being put on hold?
(SARA rolls her eyes and glares at NICK. NICK chuckles mischievously at her.)
CUT TO:
[INT. CSI - PRINT LAB -- NIGHT]
(WARRICK walks into the print lab.)
Warrick: Jacqui Franco.
Jacqui Franco: You responded to my page in under 45 seconds. Gotta be a record.
Warrick: Tell me you've found something probative.
Jacqui Franco: Extremely probative. Grissom lifted a print off a beer bottle Catherine found in Rachel Lyford's trash. Print matches your suspect.
(JACQUI FRANCO hands the print results to WARRICK.)
Warrick: Oh, wicked. You know, in the pretrial interview, fife denied ever being in the victim's apartment.
Jacqui Franco: Let him try to deny the print.
Warrick: Thank you.
(WARRICK leaves the lab.)
Jacqui Franco: Mm-hmm.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(BRASS and WARRICK re-interview MICHAEL FIFE in the presence of his attorney MATTHEWS.)
Brass: Counselor, your client's rights ...
Defense Attorney Matthews: Detective, let me finish.
Brass: ... Will not be violated.
Defense Attorney Matthews: I want it on the record that my client has been advised not to take this meeting.
Michael Fife: I want to hear what they have to say.
Warrick: Several hours ago, we found blood-stained threads in the back of your client's car. DNA ran the blood. It is consistent with Rachel Lyford's. It is admissible into evidence.
Brass: Now, what do you have to say?
Michael Fife: I don't know anything about any threads.
Brass: How well did you know the victim? That's an easy one.
Michael Fife: Rachel was a neighbor. I'd say, "hi." "How are you?" That's it.
Brass: Were you ever in her apartment?
Defense Attorney Matthews: We've been through this before.
Brass: Well, we're gonna go through it again.
Defense Attorney Matthews: He's never been inside the victim's apartment.
Brass: Were you ever in her apartment?
Warrick: Your client's fingerprints were on a beer bottle collected from the victim's trash.
Defense Attorney Matthews: You don't have to submit to this, Michael. Just say the word.
Michael Fife: No, I got this one. The night before Rachel was k*lled, there was a party in the courtyard ...
(Quick flashback to the party in the courtyard. As the party progresses, MICHAEL FIFE takes a sip of beer from the bottle, finishes it and puts it down on the ground. He walks away.)
(End of flashback. Resume to present.)
Michael Fife: She must've taken the trash back inside her unit.
(BRASS laughs.)
Brass: What do I look like, Mike?
(MICHAEL FIFE leans forward toward BRASS.)
Michael Fife: Listen to me. I don't know who k*lled Rachel. I don't know how that Kn*fe got in my car. I didn't even know my taillight was busted until that dumb-ass cop pulled me over. I've been in jail for ten days on something I didn't do, and I am tired of this crap!
Brass: You might want to control your temper, Mike. It can get you in a lot of trouble.
Defense Attorney Matthews: Detective Brass, if you were to make your case, we'd be back in court, not an interrogation room. Assuming without the Kn*fe, you have nothing to directly connect my client to the att*ck, in twelve hours, he's going to be getting his street clothes.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - RECEPTION -- NIGHT]
(RITA LYFORD walks up to the reception desk.)
RITA LYFORD I'd like to speak to Mr. Brown. I don't mind waiting.
Receptionist: Oh, ma'am, he's at P.D. I can relay a message ...
Rita Lyford: That's okay. I'm just ... I need to talk to him, so ...
(WARRICK walks into the building. RITA LYFORD sees him and turns around to get his attention.)
Rita Lyford: Mr. Brown.
(WARRICK stops.)
Warrick: Yeah. Hi.
Rita Lyford: (barely holding it together) I know you must be extremely busy ... but I need to know ... I need you to tell me that Michael Fife is going to pay for what he did to my sister.
Warrick: I'm doing everything I can.
Rita Lyford: My mother's been medicated, and I can't sleep, and you're, what?
(She glances down.) You're on a coffee break?
Warrick: Actually, it's the first break I've had since court, so, if you'll excuse me, I have a lot of work to do.
(WARRICK excuses himself and walks away. Near the doorway, NICK watches. RITA looses it completely.)
Rita Lyford: (shouts) What's going on here?! Does anyone even care?!
(People in the labs start and look up from their work. NICK walks up to her to intervene.)
Nick: ... Ms. Lyford? Ms. Lyford, I'm Nick Stokes. I'm also a criminalist here in the lab, and I want you to know I understand. I understand your frustration. This is not an easy thing to deal with, but I can assure you that this entire lab is on your sister's case. Okay? I can't make any promises, but we're doing everything possible to keep this suspect behind bars, where he belongs.
Rita Lyford: Thank you. That's all I needed to hear.
Nick: Okay. Okay.
(RITA LYFORD turns to the receptionist.)
Rita Lyford: Thank you.
Nick: Hang in there.
(RITA LYFORD leaves. NICK watches her go for a moment, then turns to find WARRICK.)
CUT TO:
[INT. CSI - BREAK ROOM - NIGHT -- CONTINUOUS]
(WARRICK is in the break room when NICK walks up to him.)
Nick: What's up, Warrick?
Warrick: What's up with what?
Nick: With you.
Warrick: This job is hard enough without having victims' families up in your face.
Nick: Her sister was r*ped and m*rder. She watched the defense decimate your case. I think you could have given her five minutes.
Warrick: You want to hold this girl's hand, that's fine by me. That seems to be your M.O., but when you empathize instead of sympathize, I don't judge you.
Nick: She just wants to know that someone around here gives a damn, Warrick.
(WARRICK stands up, his chair falling back to the floor. He heads for the door without a backward glance at NICK.)
Warrick: You know what? Lunch is over. Time to go back to work.
(Frustrated, NICK kicks the trash can over.)
CUT TO:
[INT. CSI -- BATHROOM - NIGHT -- CONTINUOUS]
(WARRICK splashes water on his face trying to regain control. He shuts the water off and looks at himself in the mirror.)
CLOCK: 5:12 A.M. CLOCK: 5:13 A.M.
(CATHERINE walks into the bathroom. She seems surprised to find WARRICK at the sink. He looks b*at. CATHERINE closes the door.)
Catherine: Hey, you.
Warrick: Hey.
Catherine: How, uh, are you holding up?
Warrick: I'm fine.
Catherine: You sure?
Warrick: Yeah.
Catherine: You're in the women's bathroom.
(WARRICK straightens up and looks around. CATHERINE cracks a smile as WARRICK turns to get some paper towels to dry his face.)
Warrick: Oh, god, I'm sorry.
Catherine: No, I ... I'm all for it.
Warrick: (he chuckles) Oh, god ... Oh ...
(WARRICK walks back to CATHERINE and sighs.)
Warrick: This case is twisting me up. Interrogation room ... was a bust. Fife can lie better than I can tell the truth.
Catherine: Better to know his lies before we go to trial.
Warrick: I don't think it's going to trial.
Catherine: We've got time. Seminal DNA's being processed as we speak. This case can break any minute.
Warrick: I'm not giving up. I'm just being realistic.
Catherine: Come on, you know, Warrick, we don't just call these cases rush
'cause we're in a hurry. It's a rush 'cause our pulse races, it's a rush when we nail the guy ...
Warrick: (nods) I like that.
CUT TO:
[INT. CSI - TRACE LAB -- NIGHT]
CLOCK: 6:37 A.M.
(The printer beeps and prints out the results. HODGES grabs the print out, glances at it and waves over to GRISSOM who is walking through the hallway.)
David Hodges: Oh, hey! Hey, boss!
(GRISSOM walks into trace.)
Grissom: Yes?
David Hodges: I just ID'ed the substance from Rachel Lyford's wrist. Same substance found on the sheets.
Grissom: Have you told Warrick? He's the lead on this.
David Hodges: Yeah, about Warrick, what exactly happened in court today? I tried to talk to him, he just shut down.
Grissom: He just shut you down. What is the substance?
David Hodges: Uh ... wax.
Grissom: What kind of wax?
(GRISSOM looks at the printout.)
David Hodges: Uh, still working on that, but I can tell you that it does have a low melting point. The GCMS doesn't have a wax library. I've ordered up a reference from the New Jersey State Lab. Rush.
Grissom: Okay. Cross-check the product labels off the internet. And, uh, listen, if you need someone to talk to ...
David Hodges: Yeah, when's a good time?
Grissom: ... we have a psychologist here on Tuesdays and Fridays.
(GRISSOM walks out of the lab.)
CUT TO:
[INT. CSI - DNA LAB -- NIGHT]
(WARRICK, CATHERINE and GREG sit and watch the printer when GRISSOM walks into the lab and notices them.)
Catherine: DNA on the toilet flusher.
Greg: On the three-ten, we're five seconds out. Three, two, one.
(GREG looks at the printout.)
Greg: Sorry.
Catherine: Suspect's DNA is inconsistent with the semen found at the scene.
Warrick: Great.
(NICK walks into the lab.)
Nick: Hey, Grissom, that Sheriff checked with just about every tech in the lab looking for you. He's bugging for an update.
Warrick: I suggest you avoid him.
Nick: Why? What happened?
Catherine: Our only suspect may be innocent.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - BREAK ROOM]
(The team meets to go over the evidence they have.)
Sara: You're saying that the DNA results excluded our suspect, but couldn't the semen have come from a prior sexual encounter with another man?
Nick: Fife still could have r*ped and m*rder Rachel.
Catherine: Well, the toilet bowl was clean. The semen belongs to whoever flushed the toilet last, but there was a drop, not a smear.
Grissom: Look, we have no evidence that he r*ped her, no evidence that he k*lled her, and even if we consider the invisible evidence, it still doesn't give us enough to put him at the scene of the crime during the commission of the crime. Our trinity of evidence is incomplete.
Catherine: Okay, so, for argument's sake, let's assume that Fife didn't put the Kn*fe in the car. How did it get there?
Sara: Okay, um, does he live alone?
Warrick: Yeah. Recently separated. His wife moved back to Albuquerque. And no one else had access to his vehicle.
Nick: Was there any sign of forced entry?
Warrick: No sign of forced entry.
Catherine: And what evidence is still outstanding?
Grissom: The wax. What's-his-name is still analyzing it.
Catherine: Well, I know that there was wax on the sheets and the victim's body. How about the m*rder w*apon?
Warrick: I didn't notice, but I wasn't looking.
Nick: Doesn't matter. Kn*fe's excluded.
Grissom: The exclusionary rule only applies to the person whose constitutional rights were violated. If we have another suspect, then the Kn*fe is back into play.
(CATHERINE sees SHERIFF RORY ATWATER walk toward the break room.)
Catherine: Grissom?
(GRISSOM turns around to look at him. He sighs and gets up to meet with him.)
[HALLWAY]
Grissom: I'm sorry. You look lost.
Sheriff Rory Atwater: I've been calling your cell.
Grissom: Well, we get bad reception at CSI. Listen, if this is about dinner, I'm free next week. I'll be having the fish.
Sheriff Rory Atwater: We have nine hours left on the clock, Grissom.
(The team disburses from the conference table.)
Grissom: Well, the investigation, which is under my purview, has taken an unexpected turn. So, when I know something, you'll know something.
Sheriff Rory Atwater: I don't like surprises.
Grissom: Me, neither.
Sheriff Rory Atwater: What, you're not going to tell me anything?
Grissom: No.
(He considers it.)
Sheriff Rory Atwater: Okay. For now. Mm-hmm.
(THE SHERIFF walks away.)
CUT TO:
[INT. CSI - LAB]
(NICK goes back to the Kn*fe and takes it out of its container. He checks it under the light and sees something.)
(NICK takes a scraping sample off of the Kn*fe.)
(He folds up the sample and looks at it.)
CUT TO:
[INT. CSI -- LAB]
CLOCK: 7:47 AM CLOCK: 7:48 AM
(SARA is standing in front of the bed sheet hanging against the wall, studying it when GRISSOM walks into the lab and sees her.)
Grissom: Checking my work?
Sara: Oh, I'm just looking around.
(He stands next to her for a moment and looks at the sheet. After a b*at, he turns to look at her.)
Grissom: What are you thinking?
Sara: Well, her body left behind this void.
(SARA walks up to the sheet, her hands out in front of her to indicate the area she's talking about.
Sara: The attacker was on top. He held her down by her wrists.
(She turns around to look at GRISSOM.)
Grissom: Which would explain the transfer of wax from him to her.
Sara: (nods) Yes.
(He nods.)
Sara: Pin me down.
(GRISSOM takes a step forward. He holds SARA'S wrists and pushes against her as she pushes back to illustrate what she's thinking.)
Sara: She would have struggled. Then, she gave up. Afterward, when he got up, he put his hands on the sheet for leverage.
(After a moment, GRISSOM releases SARA'S wrists and places his hands on the sheet near her waist.)
Grissom: Like this.
(SARA nods.)
Grissom: Which explains how the wax got from him to the sheets.
(SARA turns to look at GRISSOM.)
Sara: Yes.
(For a moment, the two are standing there. SARA takes a breath and breaks the moment. She puts her hands down and steps away from the sheet - away from GRISSOM.)
Sara: Grissom, um, I, um, wanted to talk to you about something.
(GRISSOM turns around with her.)
Grissom: Go ahead.
Sara: Well, you know, I applied for the promotion for the key position.
Grissom: (nods) Your application's on my desk.
Sara: About that -- I, um ... I needed to know ... (she stops) ... I ... I wanted to make sure, rather, that anything that happened or didn't happen between us won't be a factor.
(A little lost at what she's saying, GRISSOM doesn't say anything. Awkward, SARA breaks the silent patch.)
Sara: Never mind. I-I shouldn't have said anything.
(GRISSOM still has a stunned look on his face, just staring at SARA and what she's asking.)
Sara: (smiles, embarrassed) I, um ... I'm always over-talking around you.
(SARA turns and leaves the lab, escaping.)
(Camera holds on GRISSOM.)
CUT TO:
[INT. CSI - TRACE LAB]
(HODGES is doing research on the internet when CATHERINE walks into the lab.)
David Hodges: Have you ever heard of body wax?
(He's looking at a Body Wax site.)
Catherine: Made with soy, burns clean. Drip it all over your partner's body. I thought that we installed a f*re-wall for sites like these.
David Hodges: This is research. Body wax has been eliminated.
Catherine: What have you got?
David Hodges: Well, I've I.D.'D the wax. But, per Grissom, I am not allowed to release any of my results except to the lead CSI, and that would be Warrick. I've already paged him.
Catherine: Give me.
(HODGES smirks and turns the monitor to CATHERINE. He hits a button and the site changes to the Axion car wax site.)
David Hodges: Axion car wax. Contains carnuba wax, butyl cellusolve and cationic surfactant. Exact same ratio as the exemplars.
(The printer beeps.)
DAVID HODGES Ahh. There's a little souvenir for you.
(CATHERINE takes the print out and leaves.)
Catherine: Thank you.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM is looking a the print results with CATHERINE and WARRICK in the office.)
Grissom: Axion wax is industrial grade. It's sold to car washers for commercial use only.
Warrick: Yeah. Fife's an electrician. I doubt he would come into contact with that at work.
Grissom: Then, we need to know where he gets his car washed.
Catherine: Except, if we ask him, we show our cards, and his lawyer will know that we're looking in another direction.
Warrick: Yeah, then he'll petition Judge Brenner for fife's immediate release.
Grissom: How do you feel about letting him walk?
Warrick: We've got, what, less than seven hours. Let's not pull any punches. If the evidence is leading us away from Fife, I say we go with it.
(Camera holds on WARRICK.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
CLOCK: 10:11 AM
(BRASS is re-interviewing FIFE with his attorney MATTHEWS present. WARRICK sits in the back listening.)
Brass: Let's establish a sequence of events. Walk us through the night of the party at your apartment complex right up until your arrest the next day. Don't skip a b*at.
Michael Fife: Devil's in the details, huh?
(BRASS shrugs.)
Warrick: Could be.
Michael Fife: (sighs) I hung out until about midnight. Drank my six pack. h*t on a couple girls. Struck out. Went back to my apartment, passed out. In the morning, I drove up to Green Valley and installed a chandelier, two sconces. At noon, I went back to my apartment, and I made a tuna fish sandwich. Lettuce, tomato, spoon of relish. Wheat bread. Then ... I took a leak. I don't want to skip a b*at.
Brass: Outstanding.
[OBSERVATION ROOM]
(GRISSOM and CATHERINE watch the interview.)
Brass: (through speaker) So, then what?
Catherine: So, I liked your tough act yesterday.
Grissom: Huh?
Catherine: "I hand out the assignments. This isn't a negotiation."
Grissom: What, too much?
Catherine: (shakes her head) Not enough.
[INTERVIEW ROOM]
Michael Fife: That afternoon, I had a job in Henderson. On my way, I stopped, uh, at a car wash. It was a lunch-hour discount.
Warrick: What car wash?
Michael Fife: Reliant, on Chardon Circle. It's about a block from my apartment.
Defense Attorney Matthews: Why are you asking about a car wash?
Brass: At Reliant, did the attendant say anything about your broken taillight?
Michael Fife: No. Yeah, in fact, I mean, they should've said something.
[OBSERVATION ROOM]
Defense Attorney Matthews: (through speaker) The tenor of these questions leads me to believe the focus of your investigation has shifted. This conversation is over, Michael.
(Hold on CATHERINE and GRISSOM.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. RELIANT CAR WASH -- DAY]
(WARRICK and CATHERINE speak with the MANAGER.)
Warrick: I just talked to the manager. Of course, he didn't recognize Fife from the six pack of photos. We're still cleared to look around.
Catherine: By bringing your car to a car wash, you pretty much open it up into the entire world, right? Vehicles are most vulnerable down that tunnel. So, I'm thinking that Michael Fife's taillight was intact when he arrived.
Warrick: I'm sure the attendant would have told him something. They're liable, right?
Catherine: Exactly. So, his car proceeds on down the line, and then inside the tunnel, someone, presumably our k*ller, stashes the Kn*fe, breaks the taillight.
Officer: Busted taillight's an equipment violation. NRS 485.511.
Warrick: Yeah, you'd get pulled over for that pretty quickly.
Catherine: Right. And the k*ller is banking on some ambitious cop searching the vehicle. Okay, so, a broken taillight. The pieces fall into the water.
Warrick: The fragments have to run off through some kind of drain, right?
(WARRICK and CATHERINE approach the CAR WASH MANAGER.)
Catherine: Uh, excuse me, sir. A-are you the manager?
Car Wash Manager: Yeah.
Catherine: Does your drain have a filter?
Car Wash Manager: There's a screen trap behind the drain. Catches everything bigger than an ice cream sprinkle.
Catherine: Well, when was the last time you had it cleaned?
Car Wash Manager: About a month ago. Why?
Catherine: I'm going to have to clean your traps.
Car Wash Manager: (chuckles) Sorry, lady. Can't just close down the shop. I got customers.
Catherine: I understand, sir, but you know, just let us shut you down for about an hour or so. Otherwise, we can get a search warrant, come back on Saturday, your busiest day, and, well ... it's up to you.
Car Wash Manager: Soon as that Porsche Cayenne works its way through the line ... I'll shut her off.
Catherine: The crime lab thanks you for your cooperation, sir.
Car Wash Manager: You're welcome.
Warrick: All right, sassy.
SHORT TIME CUT TO:
[INT. RELIANT CAR WASH -- DAY]
(CATHERINE and WARRICK check the filter and find the pieces of the tail light.)
Catherine: Look what I found.
Warrick: A broken taillight.
(WARRICK looks up at the CAR WASH MANAGER.)
Warrick: Hey, could two cars get too close to each other and have an accident in here?
Car Wash Manager: There's no way. Photocell technology. Whole system shuts down if the cars get within three feet of each other. Believe me, in this tunnel, accidents do not happen.
Catherine: Which means the taillight was broken on purpose.
(Quick flashback to: The car goes through the tunnel and someone breaks the tail light. Cut to: The pieces of the tail light fall through the drain.)
(End of flashback. Resume to present.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(BRASS speaks with the car wash workers who are there to submit DNA samples. WARRICK and CATHERINE put their gloves on.)
Brass: Okay, uh, thank you, thanks for coming down here and volunteering to give a DNA sample. We know you work hard, so, in an effort to be nice, we've provided some lunch, some burgers and stuff, compliments of the Las Vegas police department. Okay, let's form two lines now. Everybody whose birthday is from January to June in this line, everybody else over here.
Car Wash Manager: How long is this crap going to take?
Brass: As long as it takes, okay? Thank you.
Catherine: All right, you guys, I'm going to be swabbing your left cheek, so, uh ... try not to bite down.
Quinn: Uh, ma'am, I got to take a leak.
Catherine: Well, you just hold on there. It's only going to take a second. Open.
(Various cuts of CATHERINE and WARRICK taking DNA swab samples.)
Catherine: Thank you.
(CATHERINE takes a swab sample from QUINN, the worker who asked to use the bathroom. From the back, we can see that he's wearing a chain around his neck.)
Catherine: Uh, Akers, do me a favor and escort this guy to the john.
Officer Akers: Let's go.
(QUINN moves past WARRICK. WARRICK notices the chain around his neck as he walks out of the waiting room.)
Quinn: (V.O.) You guys are making a big mistake.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(CATHERINE and WARRICK interviews QUINN in the presence of his LAWYER, MARGARET FINN.)
Quinn: ... I don't know a Rachel Lyford, I swear.
Catherine: Really? Well, I swear that you do. I found semen on the toilet in Rachel's apartment that matches your DNA
Margaret Finn (lawyer): You don't have to respond, but if you can explain the semen ...
Quinn: I know a Rachel, okay? I never knew her last name. Did the girl that you guys are looking for live at the Saturn Arms Apartments?
Catherine: So, you do know her.
Quinn: I ... here's the deal, okay? A car wax costs sixty bucks, okay? We give you discounts sometimes. I' show up early and, you know, I'll go to a girl's apartment before work, or whatever, you know, and all the guys do this.
Warrick: (interrupts) So, Rachel hired you to wax her car, is that it?
Quinn: I only charged her 25.
(He chuckles.)
(Quick flashback to: [INT. SATURN ARMS APT.] RACHEL LYFORD opens the door.)
Rachel Lyford: Hi.
Quinn: Shiny as a new penny.
(She holds up the money and invites him in. He laughs and enters the apartment.)
(End of flashback. Resume to present.)
Warrick: And your story is that Rachel came on to you?
Quinn: Yeah. She was all over me. She answered the door in, like, this sexy little thing, and stuff. Most of the time, when a woman answers the door, it's in sweats, they got the money ready. This was not like that.
(CATHERINE leans forward.)
Quinn: (laughs) What am I supposed to think?
Catherine: I don't think so.
(Quick flashback to: [INT. SATURN ARMS APT] RACHEL LYFORD opens the door.)
Quinn: Hey, I'm all done.
Rachel Lyford: Uh, hold on a second.
(She turns to get the money to pay him. As she gets the money, he stands there and looks at her. She glances nervously at him, then shoves the money toward him.)
Rachel Lyford: Okay, here you go.
(She tries to close the door, but he stops her, forcing his way into the apartment. She screams and struggles as he pushes her inside.)
Rachel Lyford: Stop it! Stop it!
(End of flashback. Resume to present.)
Catherine: After raping her, you realized she had your name, knew where you worked. One call to the cops and you're looking at 25 to life.
(Quick flashback to: RACHEL LYFORD is crying on the bed. End of flashback. Resume to present.)
Warrick: You freaked. So, you k*lled her.
(Quick flashback to: QUINN opens the Kn*fe drawer and takes out a Kn*fe. He shuts the drawer and goes back to the bed. RACHEL turns around and starts fighting for her life. End of flashback. Resume to QUINN.)
(Quick flashback to: After he kills her, the wraps the bloody Kn*fe in a towel. He takes his things and leaves. End of flashback. Resume to present.)
Catherine: Forget life; you're looking at the death penalty.
Quinn: Lady, you are whacked.
Margaret Finn (lawyer): You didn't find the m*rder w*apon in my client's car.
Warrick: Your client went from Rachel's apartment to his job at the car wash. He took the Kn*fe with him. A few hours later, Michael Fife drove in, and he planted the Kn*fe in his car.
(Quick flashback to: [INT. RELIANT CAR WASH] QUINN breaks the tail light, the pieces fall down the drain. He opens the back door, lifts up his shirt and plants the Kn*fe and towel under the chair. End of flashback. Resume to present.)
Margaret Finn (lawyer): He just happened to hide the m*rder w*apon in a car that belonged to one of Rachel's neighbors?
Warrick: It wasn't a coincidence. It was your lucky day. You recognized the parking permit in his car window.
(Quick flashback to: The parking permit in the car window. End of flashback. Resume to present.)
Catherine: You broke the taillight, you stashed the Kn*fe. Instant suspect.
(WARRICK holds up the dog tags.)
Warrick: You recognize these?
(He puts the dog tags on the table.)
Warrick: The name on the dog tags is Aaron Lyford. That's Rachel's father.
Quinn: She gave them to me.
Warrick: She gave them to you.
(b*at)
Warrick: Why did you try to hide them?
(Quick flashback to: [EARLIER] QUINN goes to the bathroom and as he passes him, WARRICK notices the chain on the back of his neck.)
Warrick: (V.O.) Why did you take off to the bathroom with the dog tags on? And you came back with them missing.
(Cut to: WARRICK goes into the men's room to check the bathroom stalls.)
Warrick: (V.O.) So, I checked it out.
(He checks the trash and the stalls. In one of the bowls, the finds the dog tags.)
(End of flashback. Resume to present.)
Warrick: This is an autopsy photo.
(WARRICK puts the photo on the table.)
Warrick: The abrasions are evidence. Those dog tags were ripped from her neck.
(Quick flashback to: QUINN rips the dog tags from RACHEL'S body. He looks at them and leaves. End of flashback. Resume to present.)
Catherine: She gave them to you ... over her d*ad body.
(Camera holds on QUINN.)
CUT TO:
[INT. JUDGE BRENNER'S COURT -- DAY]
(WARRICK is on the witness stand. It's a different court; different defendant.)
Warrick: The defendant arrived at the station on his own accord. He provided us with a sample of his DNA, and we rushed that sample to our lab for analysis.
Prosecutor: You compared Mr. Quinn's DNA to DNA from semen recovered at the crime scene, is that correct?
Warrick: Yes, that's correct. It was a match.
Prosecutor: Judge, we have no further questions.
Judge Brenner: Ms. Finn?
(DEFENSE ATTORNEY MARGARET FINN gets to her feet.)
Margaret Finn (lawyer): Your honor, we have no questions for CSI Brown.
Judge Brenner: Based on the evidence, I find sufficient probable cause to order the defendant to stand trial for the sexual as*ault and m*rder of Rachel Lyford.
(The gavel sounds. Court is adjourned. Everyone stands up as. WARRICK steps down from the witness stand and heads over to the LYFORDS.)
Warrick: I'm terribly sorry for your loss. And your father's tags are in a safe place. I'll make sure they get back to you.
Rita Lyford: Thank you for everything.
Warrick: You're more than welcome.
(WARRICK turns to leave when SHERIFF RORY ATWATER walks into the courtroom.)
Sheriff Rory Atwater: Hey, sorry I'm late.
Grissom: Well, I think you're right on time. There must be a press conference nearby, huh?
(SHERIFF RORY ATWATER chuckles.)
Sheriff Rory Atwater: I wanted to include CSI Brown in this. There might be a few questions outside my ...
Grissom: ... purview?
(The SHERIFF turns around and heads for the front.)
Sheriff Rory Atwater: Want to meet me out in the corridor ASAP?
(WARRICK tries to get out of it.)
Warrick: Sheriff, I'm not too good with cameras.
(He turns to look at GRISSOM.)
Grissom: You won't have to talk much.
Warrick: Grissom, thanks.
Grissom: For what?
Warrick: (nods) See you back at the lab.
(GRISSOM watches as WARRICK leaves the courtroom.)
(Camera holds on GRISSOM, smiling.)
FADE TO WHITE.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x07 - Invisible Evidence"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
(Camera moves in slowly to the large screen on the side of the hotel/casino under the headline: VEGAS SHOWGIRL REVUE. On the screen is a stage view of the Showgirls on Stage.)
Julie Waters: (V.O.) Some girls want to be Homecoming Queen. Some girls want to be Miss America. I have always wanted to be a Showgirl.
DISSOLVE TO:
[INT. DELHOMME RESIDENCE - LIVING ROOM - NIGHT]
[ON TELEVISION]
(Extreme close up of JULIE WATERS' eye. Camera moves out and we see that we're watching footage of JULIE WATERS giving an interview.)
Julie Waters: (on tv) I mean, I've been taking dancing lessons since I was five. I would, um ... I would pull my leotards really high up on my hips,
(A man's hand reaches out to the monitor and lightly caresses her image on screen.)
Julie Waters: (on tv) ... and stick feathers in my hair, put on my mom's high heels, and then I would put on this show.
(JULIE WATERS laughs self-consciously.)
Paula Francis: (on tv) This is day six in the search for Julie Waters, the model and aspiring reported missing by her parents last Thursday. Authorities are asking for the public's help in any information regarding her whereabouts.
(HOWARD DELHOMME changes the channel and finds that JULIE WATERS' image is on every station. In his other hand, he holds a cordless phone.)
Male Reporter: (on tv): Where is Julie Waters? That's the question authorities thus far ...
Operator (male): (from phone) Can you tell me your address, sir? What is your emergency?
Howard Delhomme: (whispers) She's so beautiful.
Julie Waters: (b.g. on tv) The first day I got here, I went straight to the Tropicana ...
Howard Delhomme: (to phone) Soft and ...
Julie Waters: (b.g. on tv) I walked right past all the slots and the tables, to the tiffany theater. ...
Howard Delhomme: (to phone) ... sweet ... like an angel.
Julie Waters: (b.g. on tv) I snuck in, and I just sat there in the back row, just watching. (She sighs.)
Operator (male): (from phone) What is your emergency?
Howard Delhomme: (crying) I never meant to hurt her ...
(HOWARD DELHOMME hangs up the phone.)
Julie Waters: (on tv) I couldn't get the smile off of my face.
(HOWARD falls to his hands and knees in front of the television and searches the floor for his g*n.)
Julie Waters: (on tv) (she laughs) I didn't even see when the security guard came up to me, and he told me that I had to leave. You know, "all rehearsals are closed."
(Camera focuses on her MOUTH, then moves up to focus on her EYE.)
Julie Waters: (on tv) So I got up, and then he turns to me ... and he says, um ... "go ahead and stay."
(HOWARD lifts the g*n and places the tip of the barrel against his lips.)
CUT TO:
[EXT. DELHOMME RESIDENCE -- NIGHT]
(Officer cars line the front lawn like a barricade; SWAT members aim their g*n on the front door.)
SWAT Officer: He's coming out. Be advised: Suspect is armed. He's coming out.
(The door opens and HOWARD DELHOMME slowly, painfully walks out of the house.)
Officer: We have visual. OFFICER: Drop your w*apon! OFFICER: Freeze! Freeze!
(The OFFICERS start to converge on the suspect.)
SWAT Leader: Get on your knees right now!
(The suspect falls to his knees, the SWAT LEADER and other officers approach him.)
SWAT Leader: Right there, right on your knees!
(An OFFICER cuffs the suspect where he kneels.)
Brass: Clear the house. Look for the girl.
(All but a few OFFICERS leave and head into the house.)
WHITE FLASH TO:
[EXT. DELHOMME RESIDENCE - NIGHT]
(It's a short time later, reporters and other curious onlookers gather around the front lawn.)
(BRASS runs out of the house and across the lawn.)
Reporters: Captain! Captain! Captain Brass!
(He heads for DELHOMME where he sits on the side while NICK gives him a breathalizer test.)
Brass: Where is she?
Delhomme: Huh?
Brass: (leans in close) See this face? I'm going to be all over you till you give her up.
Nick: (warning) Jim, the world's watching.
Brass: I want him waiting for me.
(The OFFICERS take DELHOMME away. CATHERINE and SARA, carrying their kits, join the group.)
Brass: Swat cleared the house. It's empty.
Catherine: So no girl?
(BRASS shakes his head.)
Catherine: (to NICK) What did he blow?
Nick: A .21.
Catherine: Going to take him a long time to sober up.
Brass: I'm not waiting.
Sara: Did he say anything about her?
Brass: He never actually mentioned her name. All he said was, "I never meant to hurt her."
Catherine: Six days missing? He didn't just hurt her.
CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[CLOSE UP: DELHOMME'S EYES]
(DELHOMME looks up and around, not really focusing on any one thing around him. In the background, we hear continuing news reports from the television.)
Sheriff Rory Atwater: (v.o. from tv) At this time, the Las Vegas Police Department has in custody one Howard Delhomme, ...
CUT TO:
[INT. DELHOMME RESIDENCE - LIVING ROOM - NIGHT]
(The television set is on and we see SHERIFF RORY ATWATER giving a press conference. The heading on the bottom of the screen reads:
LIVE
ATWATER NEWS CONFERENCE
EYEWITNESS NEWS 8
Sheriff Rory Atwater: (on tv) ... whom we believe to be responsible for the disappearance of Julie Waters. Our forensic team is currently combing the Delhomme residence searching for clues to her whereabouts.
Reporter: (from tv) Sheriff, how long will it take to find her?
(CATHERINE is kneeling in the center of the living room on top of a carpeting of newspapers and in front of the large television set of the press conference.)
(CATHERINE picks up a newspaper and looks at it. The title of the paper is:
NEVADA and the west
{heading on right}
PARTYING BEAUTY AT AGE 73
LAS VEGAS RENO NEVADA * November 8
{LARGE photo of JULIE WATERS on left}
{headline on right}
WATERS INVESTIGATION
TAKES TOP PRIORITY )
(CATHERINE puts the paper aside.)
(Behind her, SARA quietly goes through more newspapers on the coffee table.)
Sheriff Rory Atwater: (on tv) I expect an answer to that just as soon as the team is finished processing the house.
Catherine: (mutters) Attaboy, Sheriff. Nothing like predicting the future.
(The paper that SARA looks at has multiple doodling sketches of various drawings of an eye or eyes in black ink. The newspaper's headlines read: ... ES TO LOSE FAITH ... Under the headlines is a large photo of JULIE WATERS with another woman. DELHOMME drew a large eye over JULIE'S forehead and completely traced over both sets of women's eyes in the photo like black eyeliner.)
Sara: This guy was unraveling.
(SARA looks at a nearby magazine on the coffee table with a beautiful cover sh*t of JULIE WATERS in a yellow showgirl-sequenced-outfit. The title story reads: DYING FOR FAME, THE LIFE OF JULIE WATERS.)
(CATHERINE picks up a newspaper. It's dated NOVEMBER 11, 2003; the headline reads:
[NO LEADS IN JULIE WATERS CASE By Mike Botomi Review-Journal
Article reads: LAS VEGAS - Authorities are growing increasingly frustrated in their search for Julie Waters, the missing model/showgirl whom in recent days, has captured the sympathy of the entire Las Vegas Community. The LVPD released a statement late last night indicating that the crime well was drying up with very few fresh leads to explore. LVPD Sheriff Rory Atwater when asked about the likelihood ...
... expressing a sentiment that should be familiar to those who have followed that unfolding events of the past week, "Julie is a face to remind us of everyone's daughter, as anyone with a child can attest to."
It should be noted that the natural general principle that will subgame this boring case requires considerable sexual performance ... ]
Catherine: This is like a timeline. Day one all the way up until this morning.
(Camera pans slowly across the carpent of papers to show the variety and headlines:
* The LAS VEGAS SUN with large photo of JULIE WATERS on the front page with the headline: FEARED d*ad.
* METRO ... with a large photo of JULIE WATERS on the front page.
* NEVADA with the headline STATE RAIDS CRAWFISH OPERATION
* LIVING with a photo of JULIE WATERS on the front page. )
(SARA looks around the living room and notes the kitchen television set on televising an interview with JULIE WATERS.)
Julie Waters: (on tv) I mean, I've been taking dancing lessons since I was five. I would, um ... I would pull my leotards ...
Sara: More Julie Waters.
Julie Waters: (on tv) ...Stick feathers in my hair, put on my mom's high heels, and then I would put on this show.
(CATHERINE moves past SARA and into the KITCHEN. She keeps walking down the hallway toward the room at the end of the hall. She opens the room and finds that it's a darkroom, red lights are still on.)
(The first thing they see is a photo of an extreme close up of an EYE hanging on the line to dry. CATHERINE and SARA enter the dark room.)
(Other pictures hanging from the line to dry are other multiple photos of EXTREME CLOSE UP of a person's EYE.)
(In fact, it almost appears as if every single photo hanging on the line to dry is a photo of a person's eye.)
(CATHERINE looks down on the table and sees a photo of an speedometer, more photos of an EYE, then a business card.)
(CATHERINE picks on up and looks at it. It reads:
HOWARD DELHOMME
PHOTOGRAPHY
78586 AMBERS AVE., LAS VEGAS, 89108
702-555-0176 / (cell) 702-555-0178
Catherine: (reading) "Howard Delhomme Photography."
(CATHERINE puts the card down and looks at the photos hanging on the drying line. Camera passes a couple of odd-looking photos and another close up photo of an eye.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Camera opens on HOWARD DELHOMME'S eyes. He blinks rapidly and is out of focus. BRASS walks in and stops next to him.)
Brass: Media's gone now. Just you and me. Where is she?
(HOWARD DELHOMME continues to look around and blink. He's not focused on BRASS or what BRASS has to say.)
Brass: Nobody calls 911 unless they're ready to talk.
(HOWARD DELHOMME continues to look around.)
Brass: Tell me.
(BRASS grabs HOWARD DELHOMME'S chin and turns his face to look at his directly.)
Brass: Tell me. Get used to this room, bud. You're not going anywhere.
(BRASS lets go and leaves the room.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(CATHERINE, NICK and SARA review the crime scene photos via slideshow.)
Catherine: Who reported Julie Waters missing?
Nick: Her mom. She said she talks to her every day. Called the station when she couldn't reach her by nightfall.
Sara: Grissom sent Nick and I to her apartment on the "missing." Her bills were paid, ready to mail.
Nick: Doesn't look like any of her toiletries were missing.
(There are a couple of slides of a prescription container from the LATONA PHARMACY. The label reads:
JULIE WATERS
10/06/03 945818
555-0150 J. BRADLEY
TAKE ONE TABLET EVERY NIGHT
CYCLE *** 100MG
12/31/03 2/20/01
1 11/13/03 20 )
Sara: She even left her birth control pills. Strange.
Nick: Her mom said she had dinner with the producers of Real Vegas Showgirls.
Catherine: What's that?
Nick: It's a reality-based show sh**ting here in Vegas.
Catherine: What about her car?
Nick: It was found four days ago at Dante's pizza on boulder highway -- parking lot.
(GRISSOM walks into the lab.)
Sara: Locked. No signs of foul play.
Catherine: Purse?
Sara: It's the only thing that was missing.
Grissom: What about the drunk guy?
Nick: A professional photographer, lives alone ...
Grissom: You collected everything at his house -- no evidence of Julie?
Catherine: Although the place was papered with articles about her, all acquired after the fact.
(CATHERINE'S phone rings. She looks at the ID. It reads: BRASS.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - NIGHT]
(GRISSOM and CATHERINE walk through the hallway. The closer they approach the room they can hear BRASS and the OFFICER talking.)
Officer Joe: I was following protocol.
Brass: Come on, Joe, I ask you to do one thing and this happens?
Officer Joe: I'm sorry, Captain. I got called away on a PCP ...
(BRASS sees CATHERINE and GRISSOM turn the corner and he stops JOE from continuing.)
Brass: Joe.
Catherine: Where is he?
Brass: Getting stitched up, but he left something for you.
(GRISSOM and CATHERINE walk into the interview room. On the wall, written in blood is a message.)
Catherine: (reading) "I'm sorry. I never meant to hurt anyone."
(GRISSOM looks a the broken metal lining with blood on it. He looks down and sees the blood pooling on the floor. GRISSOM leans in for a closer look.)
(Quick flashback to: DELHOMME uses his thumbnail and pries the metal siding away from the table. He digs it into his hand, drawing blood. He dips his finger in to his own blood and uses it to write his message on the wall. End of flashback. Resume to present.)
Catherine: "Anyone"? What's that supposed to mean? That Julie Waters isn't his first victim? He's done this before?
(An OFFICER escorts HOWARD DELHOMME back to the cell. CATHERINE turns around and HOWARD gets a good look at CATHERINE. Their eyes meet and HOWARD can't seem to take his eyes off of CATHERINE. He's very, very focused on CATHERINE.)
(GRISSOM looks up from the table and sees HOWARD'S fixation on CATHERINE.)
Grissom: (to the OFFICER) You want to take him into the next room, please?
(The OFFICER pulls HOWARD out of the room. Camera holds on CATHERINE.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS and SARA interview HOWARD DELHOMME. HOWARD is not focused on them, he picks on the bandage over his wound.)
Sara: Look, I know you want to make this right. You called 911.
(HOWARD doesn't answer them.)
Brass: What, do you think you're going to walk out of here? You're in for the long haul.
(Still, HOWARD doesn't answer.)
Sara: If you help me, I can help you. We already know who you're talking about. All we need to know is where to find her.
Brass: Are we boring you? Huh? 'Cause what you're not getting is I got all night. One of us is getting overtime to be here, and it isn't you, so talk to me.
(HOWARD lifts his head.)
Howard Delhomme: I'll talk ... only for the one in the next room -- The Pretty One.
(Camera holds on SARA.)
CUT TO:
[EXT. LAS VEGAS DESERT ROAD - DAY]
(OFFICER cars speed down the roadway.)
[EXT. LAS VEGAS DESERT -- DAY]
(CATHERINE and HOWARD DELHOMME walk over the hill. Behind them, OFFICERS and NEWSREPORTERS follow.)
Catherine: How many yards did you say it was from mile marker 15?
Howard Delhomme: Why don't you take off your sunglasses and your hat?
Catherine: Need your help here, Mr. Delhomme.
Howard Delhomme: Howard.
Catherine: All right.
(CATHERINE takes off her glasses and looks at HOWARD.)
Catherine: Howard. Are we in the right place?
Howard Delhomme: You walk like a dancer. Do you moonlight? I'll bet you're featured, huh? High dollar. Nice long hair down your back?
Catherine: What were you wearing that day, Howard?
Howard Delhomme: I like long hair.
Catherine: You recognize any of these rock formations?
Howard Delhomme: You could grow yours out more, but ...
(They continue to walk down the hill.)
(In the back, ready and waiting, are the scent dogs.)
(Cut to: The news media stand along the edge of the search waiting for word and interviewing various OFFICERS. Down below, GRISSOM, SARA other OFFICERS form a search line to look for evidence.)
CUT TO:
[SUNSET]
(Silhouette against the evening sunset, SARA and GRISSOM talk.)
Sara: What are we doing? I-is this logical? We have suspects picking their criminalists now.
Grissom: Well, we all want the same thing, Sara. Catherine may have a way in. It could be helpful.
Sara: So this looks 'helpful' to you?
CUT TO:
[EVENING]
(A search helicopter flies above.)
(GRISSOM and CATHERINE walk HOWARD DELHOMME back to the car.)
Grissom: We're not finding anything. You said she was here.
Howard Delhomme: I'm getting confused. All these people here.
Catherine: You'd be less confused if it was just you and me?
Howard Delhomme: I see pictures of her on tv, in the magazines, the newspapers ...
Grissom: Mr. Delhomme, we're going to take you back to the station.
Howard Delhomme: I'd rather go home.
Catherine: Not yet.
(The OFFICER not too gently pushes DELHOMME into the car.)
Officer: Get in.
Catherine: Hey, uh ... We need him in one piece.
(HOWARD notices CATHERINE and looks at her. She meets his gaze and his mouth twitches in a smile.)
(The car leaves.)
Catherine: All right, at least we can hold onto him for a while.
Grissom: Well, the public defender may have him out on bail by tomorrow morning.
Nick: Meanwhile, we still haven't found anything. Now, did anyone stop to think this guy might just be nuts?
Catherine: Well, until we find the body, he is all the evidence we've got.
Sara: We don't even know if he did it.
Catherine: Oh, I've got a good feeling about this.
Sara: So does the suspect. The only reason that we're out here today on this wild goose chase is because he wanted to hang out with you.
(GRISSOM hears SARA and turns to look at her.)
Sara: It's weird.
Catherine: Believe me, I'd rather follow the evidence, but if it takes having the evidence follow me ...
(GRISSOM turns to look at NICK.)
Nick: The original missing persons call was mine and Sara's.
Catherine: I'm the Senior CSI here.
Grissom: Uh-uh. I'm the Senior CSI here.
Catherine: You want it?
Nick: Hold on, now. This is a career case, Grissom. You know Sara and I both put in for a promotion. If we work this, we're on departmental radar here.
Catherine: I got the most high-profile cases under my belt; I think that the Sheriff would rest easier knowing that I was heading it up.
Sara: It's a big department. There's a lot of room at the top.
(NICK looks at GRISSOM.)
Nick: We wouldn't ask for it if we couldn't do it.
(Thinking, GRISSOM looks down at the ground. He lifts his head and looks directly at SARA.)
(SARA reads his look and isn't happy about it at all.)
Sara: Fine.
(NICK also reads GRISSOM'S look and leaves with SARA. CATHERINE turns to look at GRISSOM.)
Catherine: You going to have my back?
Grissom: I always have your back.
Catherine: He wanted me. He's got me.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(The lab techs watch the most recent news report on television: JULIE WATERS m*rder CASE / EYEWITNESS NEWS 8.)
News Reporter (woman): (on tv) Suspected m*rder Howard Delhomme led police department personnel on a fruitless search for the body of Julie Waters. The search was called off in darkness with no indication that law enforcement personnel will continue to comb the red rock area.
Sheriff Rory Atwater: Just don't make me look bad.
Grissom: Hey, you set the stage.
Sheriff Rory Atwater: Voters -- they like swift resolutions. If he's the guy, I need to say it.
Grissom: Well, let's find out if he is the guy first.
(They reach the lab and stop. THE SHERIFF looks inside the lab.)
Sheriff Rory Atwater: Who's that with Catherine?
Grissom: Greg Sanders. DNA.
Sheriff Rory Atwater: Is he on the case?
Grissom: Yeah.
Sheriff Rory Atwater: Hell of a time to break out the "B" team, isn't it?
(GRISSOM glances from the lab to the SHERIFF.)
CUT TO:
[INT. CSI - LAB -- CONTINUOUS]
(CATHERINE and GREG sort through HOWARD DELHOMME'S trash.)
Catherine: Remember, we're looking for anything this guy did last Thursday, November 6.
Greg: Find where he was seven days ago, and we'll find Julie.
(They sort through the receipts and slips of paper putting it into piles by dates 11/6, 11/7, 11/8 ...)
Greg: So, I know Warrick's off. And Sara's pissed. Why not ask Nick to help?
Catherine: You want to learn. And you can start by not repeating my mistakes.
Greg: You mean Sam Braun?
Catherine: I screwed up. You covered me.
Greg: That's why I'm here?
Catherine: No, you're here because I want you to be here.
Greg: (pleased) Oh.
(GREG looks down at the receipt in his hand from:
BIG SNAX
517 Bourban Way
Las Vegas, NV
89123
(702) 555-0187
11/06/03 12:20:39
NORMAL SALE )
Greg: He was hungry. "Big Snax." A chain. He bought soda for 75 cents, snack for 75 cents, and a household item for $9.99.
(The items on the receipt read:
**82349349 SODA 0.75
**4237582 SNACK 0.75
**7234816 HOUSEHOLD 9.99
SUBTOTAL 11.49
TAX @ 7.25% 0.83
TOTAL 12.32
20.00 )
Catherine: Household item? That could be anything.
(CATHERINE picks up a vehicle release agreement.)
Catherine: Inucci motors.
[HOME PHONE NUMBER: 702-555-0176
TIME OUT: 2 PM 11/6
TIME IN: 11/17 9 AM ]
Catherine: He checked out a car at 2:00 that afternoon and returned it the following morning at 9:00 am.
CUT TO:
[INT. INUCCI MOTORS - SHOWROOM -- DAY
(CATHERINE talks with the MANAGER.)
Catherine: Why would Howard Delhomme have a receipt for one of your cars?
Manager: We hired him to photograph it.
Catherine: Did you instruct him to hire a model for the photo sh**t?
Manager: A model? Never. Nothing in the photographs should be sexier than the automobile.
Catherine: Where is the car?
Manager: It's not just a car. It's a Maserati.
Catherine: Oh. Well, I appreciate that. I still need to look at it.
Manager: Honey ... The car has been detailed three times since Howard brought it back. It's getting primed for a whale tomorrow. You're wasting your time.
Catherine: You know what I did the last time I looked at a car? I cut out a
12-by-12-inch section of leather from every seat. Guy was a drug dealer. You know, a salesman?
Manager: I need this car. Untouched.
Catherine: Oh, well, I can't promise you that. But what I can promise you is that for the next few hours ...
(CATHERINE hands him the warrant.)
Catherine: ... that car is mine.
CUT TO:
[INT. CSI - GARAGE - DAY]
(CATHERINE uses the ALS and checks the inside of the car. She finds a strand of hair and puts it in a bindle. She GSR tests the upholstery for blood and finds it positive.)
(Cut to: GREG walks into the garage and sees the car.)
Greg: Boy, what I could do with a car like this.
(CATHERINE backs out of the car backseat and hands the hair sample to GREG.)
Catherine: Take these and compare them to the toothbrush that Sara collected from Julie Waters' apartment.
(GREG doesn't move, his eyes are on the car.)
Catherine: Hey ... you want to gawk, do it on your own time. You want to work with me, stay focused.
Greg: Got it.
CUT TO:
[INT. CSI - OFFICE]
(SARA goes through the files and pulls out a file.)
Sara: I don't believe this.
Nick: What does it matter? We're all on the same team.
(SARA sits down at the other side of the desk.)
Sara: Nick, it was our case. You said it: You wait a career for a case like this. Puts us on the front line for promotion.
Nick: Let's just find her, okay?
Sara: You know what the worst part about this whole thing is? Catherine knows I can do this case.
Nick: So can I.
Sara: I would take you and me over Catherine and Greg anytime.
(This news startles NICK.)
Nick: She's got Greg helping her?
Sara: Yeah.
Nick: (rationalizing) Well, the only way to learn is by getting out in the field, and if Greg helps find her, I'm okay with that.
(SARA looks at NICK.)
CUT TO:
[INT. CSI - LAB]
(CATHERINE sits and watches JULIE WATERS' interview.)
Julie Waters: (on tv) The first day that I got here I went straight to the Tropicana. I walked right past all the slots and the tables, to the tiffany theater. I snuck in, and I just sat there in the back row, just watching.
(sighs) I couldn't get the smile off of my face. (laughs) I didn't even see when the security guard came up to me, and he told me that I had to leave. You know, "all rehearsals are closed."
(GRISSOM walks into the lab and watches the video with CATHERINE.)
Julie Waters: (on tv) So I got up. And then he turns to me, and he says, um ... "go ahead and stay."
Grissom: Is there anything on these tapes?
Catherine: Nothing. How's it going with the Sheriff?
Grissom: He wants to know why you're working with young Greg. You could have had Warrick, you know. Or asked Nick to help.
Catherine: I need someone without an agenda.
Grissom: Like when Fung brought in Mazzola? Everybody lost.
Catherine: This isn't O.J.
Grissom: Could be. A trainee on a career case...
Catherine: I know what I'm doing.
CUT TO:
[INT. CSI - OFFICE]
(On the desk between them, SARA and NICK go through the various case files.)
Sara: Twelve missing girls so far over the last two years. Ten of them found d*ad.
Nick: How many were models?
Sara: None, except for this one. Robyn Knight. Day shift found her skeletal remains six months ago.
(SARA shows the file to NICK. He looks at it.)
Nick: Washed up during heavy rains. Furnace Creek. "Left in the morning for a photo sh**t. Has a list of photographers in her day planner."
(Camera focuses on the report:
DAY PLANNER - NAMES
TERRY MANNING
M. KIMBLE
HOWARD DELHOMME
KENNY BERLIN
... 5/20 A BODY ... )
(NICK looks up at SARA.)
Nick: Guess whose name is on the list?
Sara: Howard Delhomme.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. CSI - LAB - DAY]
(NICK and SARA are in the lab working on the laptop when CATHERINE walks in with a file.)
Catherine: Hey.
(NICK and SARA continue working.)
Catherine: How's it going?
Sara: Your case. You tell us.
Catherine: The odometer of the Maserati had 142 miles on it. The car dealer said that the vehicle only had nine miles when DelHomme picked it up. That means Delhomme drove it for 133 miles. If you do the math, that makes the search radius approximately 66 miles.
Nick: Julie's vehicle was found in the parking lot of Dante's Pizza, off Boulder highway. That's what? 12 miles away?
(SARA puts the locations into the map on the monitor.)
Catherine: It's probably where she hooked up with DelHomme.
Nick: So they hopped in the car and went to a photo sh**t.
Sara: If they did do a photo sh**t, and we don't even know that they did, where are the photos?
(GREG walks into the lab.)
Greg: I finished the DNA from the car. Matches the reference Sara got from Julie's apartment. And the snack shop? It's the one on Granite's pass. I also found out what the household item was on the receipt.
(SARA marks the location on the monitor.)
Greg: It was a shovel.
Sara: He'd already k*lled her.
Catherine: That explains the blood and the hair in the back seat of the Maserati.
Nick: He drove her body to the snack bar and went back and buried her. Question is where?
(CATHERINE sees the car photos on the table.)
Sara: Robyn Knight washed up near Furnace Creek.
(SARA marks the location on the map and colors in the radius in red.)
(CATHERINE picks up a photo and recognizes the rock formations in the background.)
Catherine: That's "Devil's Smile."
(Camera holds on the photo of the cars.)
CUT TO:
[EXT. DESERT -- DEVIL'S SMILE - NIGHT]
(Search crews are out looking for JULIE WATERS' body. CATHERINE and GREG watch from the side.)
Greg: I understand why all these cadets are here. They have to be. But what's up with all these off-duty cops?
Catherine: Chance to be a hero. Girl's beautiful. These guys don't get many chances.
Greg: For what?
Catherine: To rescue a princess.
Cadet: (o.s.) I think we may have found something!
(A helicopter flies over head.)
(The cadet leads CATHERINE and GREG to the spot. As they approach, they see someone leaning forward to move something. CATHERINE stops them.)
Catherine: Hey, hey! Hold on. Nobody touch the crime scene. We do this right.
(She reaches the body and kneels down to look at the fingers sticking out of the ground. GREG kneels down behind her.)
Catherine: All right ... I want you to search every trash can, drainage ditch, dump site between here and the city. We're looking for a shovel, a purse, anything else that looks like it belonged to her.
Officer: Okay ...
(The group disburses.)
(Dissolve to: A top view of the scene.)
Nick: (V.O.) Okay, Greg, diagram every rock on the pile. By trial time, defense will make us recreate this whole crime scene.
(Various dissolves as the scene is cleared of the pile of rocks, photos taken and the body uncovered.)
(On the side, sand is sifted.)
(NICK and CATHERINE uncover the body. CATHERINE sighs as she looks down at the body.)
Catherine: (nods) Sleeping Beauty.
(Camera holds on JULIE WATERS.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. DESERT - DEVIL'S SMILE -- DAY]
(BRASS walks down the hill toward the group around the body.)
(Everyone sits a moment quietly looking down at the body. BRASS leans in.)
Brass: Julie Waters?
Catherine: (nods) Nature preserved her.
(Quick CGI POV to: The rocks and sand and fingers.)
Catherine: (V.O.) Loose sandy soil, shady area, November temperatures -- it was like a freezer.
(End of CGI POV. Resume to present.)
(CATHERINE points to her shirt zippered up all the way up to her chin.)
Catherine: A girl this beautiful wouldn't zip up this far.
(BRASS leans in to look.)
Catherine: She's not wearing any makeup.
Sara: Maybe he cleaned her.
Nick: Yeah, and then he used these rocks to cover her so that she wouldn't wash up in a storm the way the other girl did.
Brass: What other girl?
Catherine: We think there may be a connection to the Robyn Knight case from last year.
Brass: Can we prove it?
Catherine: Well, only skeletal remains were found. There's nothing definitive to connect Delhomme to the m*rder.
Brass: Then we better make this one stick.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY
(CATHERINE and BRASS interview HOWARD DELHOMME.)
Brass: You lost your bargaining chip. We found her body.
Howard Delhomme: (re: CATHERINE) And smart, too.
Arthur Scott (lawyer): I advise you to remain silent.
Catherine: Howard, just help us with one thing. How did this happen?
Brass: You're pretty composed, Howard. I mean, you k*ll her. You go buy a shovel, a soda. It's thirsty work, digging a grave, huh?
Howard Delhomme: That's not how it happened.
Catherine: I understand. Photographer. Model. Had to get the light just right.
Howard Delhomme: I'd like to photograph you.
Catherine: Mmm ... can't do anything until we figure this out.
Howard Delhomme: (sighs) It was an accident. I wanted to move the car ... and I didn't see her.
(Quick flashback to: HOWARD DELHOMME carrying JULIE WATERS' lifeless body to the car and putting her in the back seat. Camera close up of a drop of blood falling onto the upholstery. End of flashback. Resume to present.)
Brass: Why was she even there?
Howard Delhomme: Miss Waters had modeled for my client on previous occasions.
Catherine: Well, the problem I have with that is the dealer representative specifically stated that no model was hired to appear in the photos.
Howard Delhomme: I was sh**ting ... new head sh*ts for her. She was all out. It was a favor. I'm a professional. Ask any of my models.
Catherine: So, you took photographs of Julie?
Howard Delhomme: A couple of rolls.
Catherine: Any idea where they are?
Howard Delhomme: (thinking) Mmm ... no.
Catherine: Well, if you remember, let me know.
Howard Delhomme: (smiles) Okay.
(CATHERINE smiles back.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS goes over the findings report with CATHERINE, the body between them.)
Robbins: She has no injuries consistent with a car accident. Cause of death is, uh, positional asphyxia.
(Quick flashback to: JULIE WATERS screaming and suffocating. HOWARD DELHOMME straddles her and chokes her. End of flashback. Resume to present.)
Catherine: Guy we're looking at was 180-plus.
Robbins: Sufficient weight.
Catherine: He must have h*t her, which ripped her earring out.
Robbins: Occurred antemortem.
(Quick flashback to: DELHOMME hits JULIE across the face, ripping her earring out. She bleeds in her hands.)
Robbins: (V.O.) Close to time of death. Only bleeding injury.
(End of flashback. Resume to present.)
Catherine: Was there any evidence of sexual as*ault?
Robbins: Lots of trauma. Collected a kit.
Catherine: Anything else?
Robbins: Yeah, tox came back with a blood alcohol content of .18.
Catherine: On the day of her dinner with the producers of Real Vegas Showgirls. She'd be like Dorothy racing for Oz. There's no way that she slowed down to get drunk.
Robbins: Decomposing blood can generate ethanol postmortem.
(Quick CGI POV: Camera zooms to JULIE'S chest, through the muscle, bones and into the blood. Camera focuses on the red blood cells that expand and expend a gas.)
Robbins: (V.O.) As the cell walls lyse and contact with the sugar in alcohol, bacterial growth produces the byproducts of carbon dioxide and ethanol.
(End of flashback. Resume to present.)
Robbins: It's inexact, but the body's capable of producing somewhere around .08 grams percent on its own.
Catherine: But in order to have a postmortem level of .18 ...
Robbins: Well, she had a head start.
Catherine: So, that's three sh*ts in an hour? He could have forced her to drink.
CUT TO:
[INT. CSI - LAB]
(CATHERINE and GRISSOM go over the photos.)
Catherine: Robbins rushed the protocol. Released Julie's body to her parents.
Grissom: So they could take her home to provo.
Catherine: Mmm. Thousands of girls come to vegas every year just hoping to b*at the odds.
Grissom: Mmm, some of them do.
Catherine: And some of them don't.
(GRISSOM looks at a photo.)
Grissom: Multiple abrasions on her cervix.
Catherine: Sexual as*ault kit had no semen, no trace evidence.
Grissom: So, it's possible he used a foreign object on her.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(CATHERINE interviews HOWARD DELHOMME with his attorney present. BRASS watches from the OBSERVATION ROOM.)
Catherine: Now I'm confused. Julie Waters died of positional asphyxia. That means that someone sat on her chest, and ... two years ago, you were arrested for forced oral cop.
Howard Delhomme: You don't think I'd ever do something like that, do you?
Arthur Scott (lawyer): My client went to trial and was found not guilty.
Howard Delhomme: I liked Julie. I took a lot of photographs of her. Even Julie's mother said that no one captured her on film the way I did.
Catherine: Just one more thing from the autopsy report. Julie was drinking.
Howard Delhomme: She wanted to loosen up, you know?
(Quick flashback to: At the sh**t, JULIE flirts with the camera.)
Julie Waters: (laughing) You got what you needed. Now, get what you want. Come on.
(End of flashback. Resume to present.)
Howard Delhomme: She never said stop.
Catherine: Why didn't you tell me this before?
Howard Delhomme: I was afraid of what you'd think of me.
CUT TO:
[INT. CSI - HALLWAY INTO LAB]
[ON MONITOR]
Arthur Scott (lawyer): (on tv) The Sheriff has tried my client in the media. But right now, evidence that will exonerate Howard Delhomme from these false charges is being handed over to the authorities.
Receptionist: (o.s.) CSI Willows, you have a visitor at the front desk. Willows, you have a visitor ...
CUT TO:
[FRONT DESK]
James Delhomme: My brother sent this to me, and his attorney told me to give it to you.
(He holds it out to her. She motions to the counter.)
Catherine: Just set it on the counter. (to receptionist) Could you please get me a pair of gloves and an evidence bag?
Receptionist: Sure.
Catherine: Thanks.
(CATHERINE looks at the package. It's addressed to:
JAMES DELHOMME
14490 KILDARE RD.
LAS VEGAS NV 89101 )
James Delhomme: I can show you what's in there.
Catherine: Okay.
(JAMES tilts the package and rolls of film roll out onto the counter.)
Catherine: When did you get this?
James Delhomme: Today.
(She looks at the cancellation stamp. It's dated: NOV 10 2003.)
Catherine: It was mailed two days ago. There's no return address. How do you know your brother sent this?
James Delhomme: That's his handwriting.
Catherine: Was there a note in the envelope?
James Delhomme: Yeah. Uh ...
(He takes the note out of his pocket and holds it out to her. She motions for him to put it on the counter.)
(The note reads: IF I GET ARRESTED, USE THESE TO HELP ME.)
Catherine: "If I get arrested." Now, why would he think that?
(CATHERINE looks at JAMES. Camera holds on JAMES.)
CUT TO:
[INT. CSI - LAB]
(CATHERINE and ARCHIE look through the film. They are pictures of JULIE'S photo sh**t.)
Archie Johnson: How are these supposed to help him b*at a m*rder rap?
(They look through the film.)
Catherine: I'm guessing he's trying to create an alibi
Archie Johnson: Four rolls, all of Julie.
Catherine: Something's off, though. White shoes, black stockings, and all ripped up. Not to mention these aren't the clothes that we found her in.
(Toward the end of a film roll, they find different photos.)
Catherine: Now, what is this?
Archie Johnson: It's a nude.
Catherine: Is that Julie's body?
Archie Johnson: If it is, it's double exposed. I'll have to get them printed to be sure.
(SARA walks into the lab.)
Sara: Cadet got a h*t off a trash can. I brought it in. You want me to get Greg?
Catherine: Archie, let me know when you've got these printed up.
Archie Johnson: Yeah.
(CATHERINE and SARA leave.)
CUT TO:
[INT. CSI - LAB]
(CATHERINE and SARA go through the trash.)
(SARA finds an envelope with head sh*ts of JULIE WATERS.)
Sara: There's a lot of head sh*ts here.
Catherine: Here's our little lie. Delhomme said that he took her out to photograph her because she had no more head sh*ts. Needed new ones.
(CATHERINE finds the make-up remover cloths.)
Catherine: Explains how he cleaned her up.
(Quick flashback to: [DESERT] DELHOMME wipes the make-up off of JULIE WATERS' face. End of flashback. Resume to present.)
Sara: Doesn't explain why. Well, here's her day planner.
(SARA looks through the Day Planner as CATHERINE takes out a bag from the trash.)
Sara: Let's see, there's only two things written in her book the day she disappeared -- "Real Vegas Showgirl Producer's dinner 7:00 P.M.," And the other -- "Meet Howard, Dante's Pizza, 2:00 P.M." That would have given her plenty of time to get back for the producer's dinner.
Catherine: Here's her clothes.
(Inside the bag, they find several outfits.)
Catherine: First thing you learn as a model -- bring several outfits with you. You never know what the photographer might like.
(CATHERINE finds the black stockings with blood spots on it.)
Catherine: Here's our big lie. Delhomme said when she injured her earlobe, she was in her underwear and she was barefoot.
(CATHERINE shows SARA the blood on the stockings.)
Sara: I think Howard's been lying to you.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - LAB]
(SARA stares at JULIE'S receipt. CATHERINE is dressed in shorts and prepares to put on the left black stocking.)
Sara: $65?
Catherine: Capital investment. Our victim hadn't made it to the show yet. Her life was all about after the show. The right guy, the right meal, and after that ...
Sara: It's a tough way to get ahead.
(SARA swabs and tests JULIE'S shoes.)
Catherine: Did your father ever tell you you were pretty?
Sara: (shrugs) I guess.
Catherine: He ever tell you you were smart?
Sara: Yeah.
Catherine: So, it probably never occurred to you that you wouldn't be successful. If all you ever hear is that you're gorgeous, you can let everything else fall away, and it can leave you in a very dangerous place. Okay, the bloodstain on the top of the foot is round. Gravitational. On the bottom of the foot, it's smeared.
Sara: There's no blood on these. She wasn't wearing them.
Catherine: The only way we can get this guy is if the evidence counters every one of his lies.
(CATHERINE takes a sample of the blood, holds it up to the area of her ear and releases a single drop to fall directly on the top of her foot.)
(Camera zooms in as the blood drops and lands on her stocking.)
Catherine: That matches the drop on the top of her stocking. Separate bloodstain. Separate drop.
(She releases a second drop onto the covered floor, then steps on it. She lifts her foot to show SARA.)
Sara: She was standing.
(cc) Sara: That makes him a liar again.
(Quick flashback to: [DESERT] JULIE WATERS backs away from HOWARD DELHOMME. She's clutching her bleeding ear, blood seeping through her fingers. A blood drops on her foot and another drop falls to the ground. JULIE steps on the blood. End of flashback. Resume to present.)
Catherine: And there was none to help her.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - AUDIO/VISUAL LAB]
(ARCHIE goes over the photos with NICK.)
Archie: This is from the fifth roll of film Delhomme took with your vic.
Nick: What is that, double exposure?
Archie: Yup. It's two separate images.
Nick: Separate them?
(ARCHIE separates the two images.)
Nick: Do you have Catherine's crime scene photos of the car?
Archie: Mm-hmm.
Nick: Just give me the instrument panel and put it side-by-side with the double-exposed instrument panel.
(ARCHIE finds the picture, CS#109.400.)
Nick: Now just the speedometers.
(Camera moves from the first photo of the speedometer with 142 km/h on it to the second photo with 99004 km on it.)
Nick: Does that look like the same car to you?
(ARCHIE shakes his head.)
CUT TO:
[INT. CSI - LAB]
(SARA and CATHERINE go through the photos.)
Sara: She looks fine here.
(SARA hands the photos to CATHERINE.)
Sara: And here, it's like she's not quite sure what's going on.
(CATHERINE looks at the photos.)
Sara: Then here, uh ...
Catherine: She knew.
Sara: We have looked through every piece of evidence on this case. Whatever caused these abrasions is gone.
Catherine: Well, it's got to be here. We found this guy in pieces, and putting himself together ever since. If we don't find something, he's going to walk out of here and forget about this like a bad dream.
(NICK walks into the lab.)
Nick: Hey, y'all. I got something on the double-exposed roll of film.
CUT TO:
[INT. CSI - A/V LAB - CONTINUOUS]
(NICK shows CATHERINE and SARA what he found.)
Catherine: The odometers don't match.
Nick: No, on the left is you. Crime scene photo from the Maserati.
Sara: What about the other one?
Nick: Well, it's unknown. Must have used a picture he already had for the double exposure.
(Quick flashback to: HOWARD DELHOMME in his darkroom developing the photos. End of flashback. Resume to present.)
Sara: Guys, if it's a different car, maybe it's a different girl.
Catherine: What's on the rest of the double-exposed roll?
Nick: A female body, naked. No face to go with an ID.
Catherine: Archie, do you have the SART photos from the autopsy?
Archie: Yeah.
Catherine: We need to compare bodies.
(ARCHIE pulls the SART photos on screen and starts to go through them. CATHERINE starts to get uncomfortable.)
Catherine: Uh, why don't you guys take a break?
(The guys stand up and leave.)
Sara: Uh, it's okay. These photos don't bother me.
Catherine: They bother me.
(SARA gets the hint, doesn't like it, gets up and leaves.)
(CATHERINE takes a seat in front of the monitor. She goes through the photos on screen.)
(Various cuts of CATHERINE comparing the photos of the two bodies.)
CUT TO:
[INT. CSI -- LAB]
(CATHERINE walks into the lab. SARA'S already there.)
Sara: Well?
Catherine: The naked pictures weren't of Julie.
Sara: So, what? Delhomme fakes a bunch of nude pictures and sends them to his brother?
Catherine: At this point I don't care why he did it. What do you have?
Sara: Nothing. Absolutely nothing. If he r*ped her with a foreign object, it is not on this table.
(CATHERINE doesn't say anything.)
Sara: Do you want me to leave you alone so you can do it yourself?
Catherine: Look, the entire lab didn't need to see pictures of Julie's vagina plastered all over the screen.
Sara: So, Nick and I are the whole lab now? That's not it, Catherine, and you know it.
Catherine: I saw the look in Howard's eye. I used to make my living off that look. He wanted me. We needed him. I decided to exploit that situation. And as angry as that made you, when you're in my shoes, you'll do the same thing.
(CATHERINE opens the g*n case.)
Sara: I already checked that.
(Quick flashback to: HOWARD DELHOMME, in the teaser, putting the barrel of his g*n against his lips. End of flashback. Resume to present.)
(CATHERINE stares at the empty case.)
Catherine: We're looking at the wrong evidence. His initial arrest was for brandishing a firearm.
CUT TO:
[INT. CSI - LAB]
(CATHERINE gets the gum, removes the cartridge and swabs the tip of the barrel.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - HALLWAY - NIGHT]
(CATHERINE heads for the interview room. She stands at the doorway and sees HOWARD DELHOMME looking at her. He's alone and confident.)
(CATHERINE enters the room.)
[INTERVIEW ROOM]
(She walks in.)
Howard Delhomme: I fired my lawyer.
Catherine: We waiting on a new one?
Howard Delhomme: No.
(She puts the envelope on the table and takes a seat opposite HOWARD.)
Catherine: Is that what you like? Being alone with a woman?
(Quick flashback to: [DESERT] HOWARD and JULIE are alone in the desert at the photo sh**t. JULIE'S laughing. End of flashback. Resume to present.)
Howard Delhomme: A woman like you.
Catherine: Take her out in the middle of nowhere.
(Quick flashback to: [DESERT] JULIE starts to look worried.)
Julie Waters: You know I think I got to go.
(HOWARD continues to take pictures.)
Julie Waters: Howard, it's getting late. I got to go. I have a meeting back in town.
(HOWARD continues to take pictures.)
(End of flashback. Resume to present.)
Howard Delhomme: She posed naked for me. My brother gave you the pictures. I never forced her to do anything.
Catherine: You slapped her.
(Quick flashback to: [DESERT] HOWARD slaps JULIE across the face. End of flashback. Resume to present.)
Catherine: Then you violated her.
(Quick flashback to: [DESERT] JULIE'S crying.)
Julie Waters: No more pictures. HOWARD DELHOMME: No more pictures.
(HOWARD takes out his g*n.)
(End of flashback. Resume to present.)
Catherine: Julie Waters' cervical tissue was on your g*n sight.
(HOWARD doesn't say anything.)
Catherine: What's the matter? Couldn't swallow it when you saw her all over the TV?
(HOWARD gets angry and pushes the table, lunging toward CATHERINE. The GUARD standing behind him, grabs him.)
Howard Delhomme: God. You bitch. You ... bitch!
(CATHERINE stares at HOWARD DELHOMME, her look cold and hard. HOWARD smirks at CATHERINE, finally showing his true self.)
CUT TO:
[ON TELEVISION]
(HOWARD DELHOMME is escorted to the car.)
Paula Francis: Prosecutors will seek a life sentence without the possibility of parole for Howard Delhomme in the m*rder of Julie Waters.
[INT. CSI - OFFICE - DAY]
(GRISSOM and CATHERINE sit at the table watching the television.)
Grissom: You did good, Cath.
Catherine: I had help.
Grissom: How are things with you and Nick and Sara?
Catherine: They're good. They're pros.
Paula Francis: This case has been one of the most high-profiled in this reporter's memory. Never before have I seen ...
Catherine: All he had to do was stay quiet.
Grissom: Unlike Robyn Knight, Julie Waters became Las Vegas' postmortem sweetheart. The media as moral conscience.
Catherine: She couldn't get away from him and he couldn't get away from her.
(Camera pushes in slowly toward the television screen which is now showing JULIE WATERS' interview.)
Julie Waters: (smiling and animated) I think that is why I would be perfect for your show. Well, at least, that's what my dad thinks. He always says, "Julie, people can't help but love you."
FADE TO BLACK
Julie Waters: (V.O.) And it's true.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x08 - After the Show"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
[EXT. ORPHEUS (STOCK) - NIGHT]
(The limo pulls up in front of the hotel.)
(Cut to: A woman leans out the driver's window and hands the valet a cash tip.)
Valet 1: Thank you. Have a good night.
(The woman drives away. As he heads back, a second valet walks by him on his way to his own customer.)
Valet 2: Eagles covered, bro. Cough up the twenty.
Valet 1: Man, backdoor touchdown. Man, kills you every time.
(The first valet hands the money over to the second valet. He grins and laughs as he checks the bill out.)
Valet 2: Ha-ha!
(Cut back to the front door: SHERIFF RORY ATWATER and his dinner party walk out of the hotel. The women laugh at something he says. He heads over to the valet.)
(Cut to: [DRIVER'S POV] ADAM WATSON drives up the hotel front heading for the valet service.)
(Resume: VALET 2 walks toward the driver's window.)
(Cut to: SHERIFF RORY ATWATER tips the HEAD VALET and hands him the ticket for his car.)
(VALET 2 reaches the car's driver and leans in through the open window.)
Valet 2: Welcome to the Orpheus. You checking in or just donating?
Adam Watson: Checking in.
Valet 2: Any bags, sir?
(ADAM WATSON looks at the passenger seat to indicate the carry-on next to him.)
Adam Watson: I got this one. Grab the one in the trunk.
(VALET 2 walks around the back of the car. No sooner than he reaches the trunk, it explodes sending him flying high up into the air. Patrons around the area scream and duck at the unexpected att*ck; f*re engulfs the car interior shattering the car glass. The VALET'S body lands on the asphalt with a thud.)
(SHERIFF RORY ATWATER watches from the side, crouched low.)
CUT TO:
[EXT. ORPHEUS - FRONT -- NIGHT]
(Emergency Personnel, f*re Units and Officer Cars assist with helping the injured. The f*re Units work on putting the car f*re out.)
(GRISSOM and CATHERINE exit their vehicle and make their way toward the scene. SHERIFF RORY ATWATER speaks with a couple of members of the b*mb SQUAD. He looks up and sees GRISSOM and CATHERINE walking toward him. He turns and heads toward them.)
Sheriff Rory Atwater: Car b*mb. Driver and valet are d*ad. Another valet is critical. Got at least a dozen injured. I was having dinner here; was on my way out. It'd gone off a couple of seconds later, you'd be picking my badge up off the ground.
Grissom: Thank God you're all right. (GRISSOM points to the area behind him.)
Sheriff, did they, uh, sweep the area for secondaries?
Sheriff Rory Atwater: b*mb squad says it's all clear.
Catherine: (looking around) We'll photo-document the scene. Overalls from all angles. Aerials as well.
(Suddenly consecutive g*n rings out in the area. GRISSOM grabs CATHERINE and pushes her toward the nearest vehicle to shield her from the g*n. The SHERIFF ducks down and heads for the vehicle as well.)
(Uninjured people scream and run for cover.)
(The g*n continues.)
(GRISSOM stays where he his using his body to cover CATHERINE. The SHERIFF draws his g*n and stands up looking around for the sh**t.)
(GRISSOM looks around.)
(The g*n stops.)
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. ORPHEUS - FRONT -- NIGHT]
(GRISSOM and SHERIFF RORY ATWATER look into the open trunk at the partially b*rned suitcase inside.)
Sheriff Rory Atwater: Guess it wasn't a sn*per.
Grissom: (explains) Fixed amm*nit*on in the trunk. The g*n must have heated up, and the, uh, rounds cooked off.
(Quick CGI of: Inside the back of the trunk, the suitcase is burning. Camera pushes into the suitcase where we see the box of amm*nit*on burning. Sounds of the rounds going off as they heat up and explode. End of CGI. Resume to present.)
(CATHERINE stands to the side of the car.)
Catherine: I'm going to start marking the evidence.
(She steps away. GRISSOM moves from the back of the car to the front as he narrates what he thinks happened.)
Grissom: I believe the, uh, glass pressure traveled from the rear of the vehicle, through the front ...
(GRISSOM reaches the driver's side shining his flashlight on the steering wheel. He moves the light down to the floor where he finds a pair of feet flat on the floor cut off at the ankles.)
Grissom: ... and evidently separated the driver's body at the ankles. (louder)
David, we have body parts in the car!
David Phillips: I've been looking for the feet.
Grissom: I found 'em.
(The SHERIFF stands to the side, his arms crossed looking at what GRISSOM'S showing him.)
Sheriff Rory Atwater: We gotta ID the driver ASAP.
(GRISSOM looks at the dash.)
Grissom: Well, the VIN number's still attached.
Sheriff Rory Atwater: (to the officer) Write that down. Call in the DMV.
Officer: (cc) Yes, sir.
(Cut to: DAVID PHILLIPS holds a b*rned hand cut off at the wrist. He gently wraps it in a white cloth.)
(Cut to: CATHERINE places evidence markers on the ground as she sees something worth examining further. She places evidence marker #34 on the ground next to an empty b*llet casing. She straightens, takes a couple steps forward then places evidence marker #35 on the ground next to what looks like a g*n.)
(She photographs it.)
(In the background, a black vehicle pulls up. NICK exits the car. He looks around, sees her and walks over to her.)
Nick: Sorry, Catherine. Traffic's backed up all the way to the strip.
(CATHERINE picks up the g*n.)
Catherine: Got a sig-sauer. Probably the driver's.
Nick: I'll start bagging. Gather the detritus and separate out the b*mb components.
Catherine: (distracted) Okay.
(She points the camera downward and snaps another picture.)
(Cut back to: The media van pulls up in front of the hotel.)
Grissom: Here's press. You're on. Wish I could help, but, uh, I got a vehicle to process.
(The SHERIFF runs a hand through his hair.)
Sheriff Rory Atwater: Come on, Grissom -- a b*mb goes off these days, they're going to assume it's a h*t. What are you thinking?
Grissom: I'm not thinking. I'm just looking.
(The SHERIFF heads for the media vans and crew setting up their equipment.)
Sheriff Rory Atwater: (over his shoulder) That's good. Can I use that?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Camera pans across the strip to a large lit billboard on THE MEDITERRANEAN for MYLES RUEBEN, "Prince of Soul".)
[INT. THE MEDITERRANEAN - SUITE - NIGHT]
(WARRICK, SARA and a detective walk into the hotel suite. There's a body floating face down in the bubbling hot tub.)
Detective Vartann: Amelia Rueben. Twenty-five.
Warrick: She a guest? Or a guest of a guest?
Detective Vartann: Myles Rueben's wife.
Sara: Who found her?
Detective Vartann: About forty minutes ago, a maid walked in for "turn-down" service. Called hotel security.
(WARRICK starts taking pictures of the scene.)
Sara: Still on a timer.
(SARA sees something. She puts her kit down and reaches into the tub to pull out a glass.)
Sara: Got a wine glass.
Warrick: Does Myles know?
Detective Vartann: He's still onstage.
[INT. THE MEDITERRANEAN - ON STAGE -- NIGHT]
(MYLES RUEBEN is on stage singing to a thrilled audience.)
Myles Ruben: (lyrics) hold up, slow to row / let's lay low before you go too far / remember who you are / why you want to start givin' me the third degree / all of this responsibility... /
[HOTEL SUITE]
(SARA opens her kit. WARRICK looks around the room and finds the wine bottle on the dressing table.)
Warrick: Got a wine bottle.
(He takes a picture of it, puts his camera aside and picks up the bottle to check it.)
Warrick: Almost empty.
(SARA glances over her shoulder at WARRICK.)
[ON STAGE]
Myles Ruben: (lyrics)
Love ain't gonna get me till I know I'm ready ...
[HOTEL SUITE]
(WARRICK glances from the bottle to SARA.)
Warrick: Alcohol. Hot tub. A little bit too relaxed.
(Camera sh*t of AMELIA RUEBEN face down in the tub.)
[ON STAGE]
Myles Ruben: (lyrics) ...That you see / you see / just a part of me / just a part of me ...
[HOTEL SUITE]
(ROBBINS checks the body temperature. The body is now out of the hot tub and on a gurney.)
Robbins: Temperature of the spa water makes liver temp irrelevant. But given the redness of her eyes, I'd estimate she's been d*ad less than an hour.
(SARA processes the hot tub buttons.)
(In the background, we can hear MYLES RUEBEN sing.)
[ON STAGE]
Myles Ruben: (lyrics)
You're having visions of happy ever after, lost in love /
[HOTEL SUITE]
(ROBBINS places the white sheet over AMELIA RUEBEN'S head, covering her.)
[ON STAGE]
Myles Ruben: (lyrics) why you want the rush / why you want the rush / but yeah, I care for you / but I can't trust my heart the way that you do / 'cause when it comes/to love ...
[HOTEL SUITE]
(The CORONER'S office wheels the gurney away. SARA lifts a print off of the hot tub button.)
Warrick: It just dawned on me what's Rueben's biggest h*t was.
Sara: What's that?
Warrick: "Amelia."
(SARA turns and glances over her shoulder at WARRICK.)
[ON STAGE]
Myles Ruben: (lyrics)
Girl, love ain't gonna get me / gonna get me / till I know I'm ready / you think you know me / oh / but I'm hopin' that you see / you see / just a fantasy...
(Backstage, the curtains shift as WARRICK, SARA and SAM HOPKINS, MYLES' manager enter. They stand on the side and watch MYLES RUEBEN onstage.)
Sam Hopkins: I'll handle this when Myles breaks for the encore. Been the kid's manager since '97.
Myles Ruben: (lyrics)
But I'm hopin' that you see...
Sam Hopkins: I should be the one to tell him.
Myles Ruben: (lyrics)
Just a part of me / I'm always gonna be / just a fantasy / a fantasy.
(The song ends to the audience cheering and applauding. MYLES RUEBEN backs away and rushes off stage. A towel is handed to him and he walks down the steps toward SAM.)
[BACKSTAGE]
(Using the towel, MYLES dabs the sweat from his face.)
Myles Ruben: How was that, Sam? Sound good?
Sam Hopkins: (unenthusiastic) Great, Myles. The best.
Myles Ruben: What? What's wrong? I missed a high note, huh? Man ...
Sam Hopkins: No, no, no. Everything sounded great. (He glances at WARRICK and SARA) Listen, Myles, these are Crime Scene Investigators. Myles, uh ... there's been an accident.
Myles Ruben: (panicking) An accident? What, is it my mother? Did-did something happen back East?
Sam Hopkins: No, no, no. Your mother's fine. Look, Myles, it's, uh ...
(SAM falters. He looks down, unable to continue. SARA picks it up.)
Sara: Mr. Rueben, I'm very sorry to have to tell you this, but your wife is d*ad.
(MYLES is stunned. He looks at SAM. SAM nods. MYLES looks around, lost.)
Myles Ruben: (mumbling) I gotta ... I gotta ...
(He turns and looks back at the audience who is clapping and chanting for an encore.)
Audience: (chanting) Amelia! Amelia!
(He shakes his head and turns to SAM.)
Myles Ruben: Turn the houselights up, Sam. There's no encore tonight.
(MYLES walks past SAM and heads out. Everyone watches him go.)
CUT TO:
[INT. CSI - HALLWAY / GARAGE -- NIGHT]
(GREG turns the hallway corner and walks into the garage where GRISSOM is working on the car.)
Greg: I heard about the b*mb. I'm here to help.
Grissom: I located the seat of the expl*si*n. The b*mb was attached to the fuel t*nk.
Greg: Gas-enhanced. b*mb maximized his bang.
(GRISSOM doesn't look up, but motions to under the car.)
Grissom: You really want to help, climb under here and find the initiation switch.
(INTERCUT WITH: [UNDER THE CAR] GREG is on a dolly and pushes himself under the car. He uses his flashlight to examine under the car.)
(GRISSOM examines the car steering wheel.)
(GREG continues to examine under the car. He finds something.)
Greg: Got a stray wire.
(He follows the wire.)
Greg: Leading away from the gas t*nk, right into the center of the dash.
(Camera zooms to show us a close up of the frayed edge of the wire.)
Greg: Nowhere near the loom.
(Back in the front seat, GRISSOM shifts his gaze from examining the steering wheel to the dash.)
(The damaged dash morphs back into its pre-expl*si*n state. GRISSOM sees something.)
(Quick CGI through the digital clock in the dash in to the mechanism inside. A small jolt of electricity sets off inside the clock.)
Grissom: (V.O.) The digital clock was the switch.
(The camera follows the blue electrical jolt through the wiring in the digital clock.)
(End of quick CGI. Resume to GRISSOM.)
Grissom: It was time-activated.
Greg: What's next?
Grissom: Nick has to reconstruct the b*mb.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(NICK empties the tray with the b*mb parts onto the table. He separates the larger pieces out of the mix and sets them aside. He picks up a piece, looks at it, then sets it aside.)
(He picks up another piece, examines it and sets that aside next to the first piece.)
(He empties the contents of the second tray onto the table and sorts through those items. He examines every item piece by piece and sorts through them.)
(Finally, he's left with the wire. He examines the wire and sets it aside.)
(Camera zooms in to the group of small fragments on the table.)
(Quick CGI: The fragments assemble themselves to show a pipe. Inside the pipe, is the wire. Finally, the exploding cap twists onto the end of the pipe. Camera pulls away to show the pipe resting on some clay stuck to two red stands.)
(End of quick CGI. Resume to:
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
(NICK reports his findings to GRISSOM and SHERIFF RORY ATWATER.)
Nick: It was a pipe b*mb. Initiated by a lightbulb filament.
Grissom: b*mb was attached to the fuel t*nk.
Nick: There were still magnet and solder fragments attached to the pipe.
(NICK shows the photo to the SHERIFF.)
Sheriff Rory Atwater: Did you find any kind of timing device?
Nick: Digital clock in the dash.
Sheriff Rory Atwater: What about the type of expl*sive used?
Grissom: Not yet.
Nick: I was about to analyze the chemical residue left on the b*mb frags.
Grissom: Be sure to do an organics and inorganics test.
Nick: Will do.
(NICK leaves the office. The SHERIFF sighs, steps toward the seat in front of GRISSOM'S desk and sits down.)
Sheriff Rory Atwater: So ... what does it all mean?
Grissom: What does what all mean?
Sheriff Rory Atwater: Don't play dumb with me, Gil. expl*si*n lead the news. I need to know who, and I need to know why.
Grissom: Well, the evidence is only teaching us about the b*mb, not the b*mb.
Sheriff Rory Atwater: What about a signature? Is there anything distinct, unusual about this particular b*mb?
Grissom: (shakes his head) No. (thinks about it) Nothing.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS goes over the preliminary findings with SARA and WARRICK.)
Robbins: Amelia Rueben didn't drown. If she had, there'd be fluid in her nasal sinuses.
(Quick CGI to: AMELIA RUEBEN face-down in the water. Her head is submerged under the water. Camera zooms in toward her nose and in through her nose to show her sinuses. Water fills up the sinuses.)
Robbins: (V.O.) Clear as a bell.
(End of quick CGI. Resume to present.)
Sara: What was the cause of death?
Robbins: Cardiac arrest.
(WARRICK opens and references back to the file folder.)
Warrick: (surprised) She was only 25. Was there some kind of defect?
Robbins: No, her heart was in perfect condition. In fact, I have it over here.
(ROBBINS motions to the side. They all step to gather around the tray with the heart in it.)
Robbins: See the myocardium? There's no evidence of hemorrhage, infarct or scarring. No coronary occlusions. I can't explain it.
Warrick: (gazing down at the heart) It's like a mystery of the heart.
(ROBBINS and SARA turn to look at WARRICK. He raises his head to look back at them.)
CUT TO:
[INT. CSI - BALLISTICS LAB]
(Scene opens on the b*rned g*n in a tray. BOBBY DAWSON explains his findings to CATHERINE.)
Bobby Dawson: So, that sig-sauer you found ...
Catherine: Yes.
Bobby Dawson: Relatively nondescript. Uh, the blue stuff, sent a sample to Trace. Pretty sure it's from some sort of bag that melted in the expl*si*n.
Catherine: Right. And the b*ll*ts from the Camaro's trunk?
Bobby Dawson: A-ha. Pre-fragmented a*mo. Now they're unique. Exemplar's under the magnifier.
(CATHERINE looks at the b*llet under the magnifier. Camera zooms in to the b*llet for a close-up.)
Bobby Dawson: Copper jacket contains lead sh*t sealed with a clear epoxy plug.
Catherine: I've never seen anything like that.
Bobby Dawson: It's designed to enter a target, but not exit.
(Quick flash to: A b*llet is fired from a g*n and impacts through a clothed target. The shirt disappears to reveal the chest and an x-ray view of the chest. The camera angle turns sideways to show the b*llet enter the chest and dissipate inside the body.)
(End of quick flash. Resume to present.)
Catherine: Penetration, not perforation. Why?
Bobby Dawson: Well, say you're on a commercial flight. Plane gets hijacked. US Air Marshal needs to take down the hijacker ...
Catherine: ... but not the plane.
Bobby Dawson: Right. Nowadays, magsafes are sold commercially, but there's really not much of a market. So chances are, your driver's a Federal Air Marshal.
CUT TO:
[INT. CSI - PRINT LAB]
(Scene opens on a close up of two prints, side-by-side, on the monitor screen. The computer is trying to match the print through the database.)
(Different angle on the room. SARA sits behind the monitor while WARRICK watches next to her. The computer beeps.)
(Back to the monitor to show the print match.)
Sara: It's a match. PRT on the hot tub dial was Sam Hopkins.
(Monitor shows the following information:
SAM HOPKINS
493 PYRAMID WAY
LAS VEGAS, NV
Manager for Myles Ruben
No prior Criminal Record
<<File 02157.5784>>
Warrick: Rueben's manager? Amelia was butt-naked in the hot tub. What was he doing in her room tweaking dials?
Sara: While her husband's onstage?
(GREG walks into the lab.)
Greg: Spectroscopy just got back. Hydrofluoric acid in her system.
Sara: Isn't that an industrial solvent?
Greg: High-powered stuff. Mainly used to remove rust, clean glass, brighten aluminum, dissolve silicas ... and commit m*rder.
Warrick: She was poisoned. That would explain her heart att*ck.
CUT TO:
[INT. LAS VEGAS HOTEL -- DAY]
(SAM HOPKINS is standing center stage while the spotlight is on him. He shields his eyes from the lights and yells to the LightMan, Jimmy.)
Sam Hopkins: You're k*lling me, Jimmy. You're k*lling me. All night the spotlight was off. Way too hot on his face. It's too hot on me right now. They guy's not Wayne Newton, all right? Can you see it on my face, Jim? I need ... Jimmy. Thank ... I need a cast shadow on him for all the love songs.
(SARA and WARRICK stand in front of the stage.)
Warrick: Mr. Hopkins, could you answer the question, please.
(SAM HOPKINS steps aside to pay attention to them.)
Sam Hopkins: Sorry.
(He kneels down on stage to look at them.)
Sam Hopkins: Yes, I was in Amelia's room. I'm in there all the time. We're like family.
Sara: We know you were close. Do you always turn on the hot tub for her?
Sam Hopkins: I represent one of the biggest headliners in town. Wear a lot of hats: Manager, marriage counselor, confidante. I kept Myles happy by keeping her happy.
(Quick flashback to: [BATHROOM] AMELIA is in the hot tub as the water runs, filling the tub. SAM HOPKINS stands nearby.)
Sam Hopkins: Amelia, anything else I can get for you?
(AMELIA doesn't answer, although she glances at SAM.)
(Cut to: AMELIA again doesn't answer. SAM kneels down next to the hot tub.)
Sam Hopkins: Look, sweetheart. Here's how this works. You give him his space, he sings his heart out. Honey, we all prosper. Let me set up a dinner for you two -- quiet, alone -- after the show.
Amelia Ruben: No work. Never happen.
Sam Hopkins: Relax.
(He reaches and turns the water off.)
Sam Hopkins: Give me an hour.
(He turns to leave the bathroom. AMELIA reaches for her wineglass.)
(End of flashback. Resume to present.)
Warrick: But you must admit, the boss' wife, naked in a hot tub, looks kind of funky.
Sam Hopkins: Look at me. Do I look like a thr*at? The reason I've succeeded in this business, I don't squat where I eat, you know what I mean?
Sara: All right, let's talk about drinking. There was a bottle of wine found near the tub. Did you have a drink with her?
Sam Hopkins: No. Never. I don't touch it. I'm on call 24/7. Myles can pick up the phone, have me do anything, anytime. Fly to L.A., pick someone up at the airport.
Warrick: So, you'd do just about anything for him then?
Sam Hopkins: When it comes to Myles, yeah. What's this all about?
Sara: Mr. Hopkins, Amelia didn't drown. She was poisoned.
Sam Hopkins: Poisoned? By who?
Warrick: That's what we're trying to find out.
CUT TO:
[EXT. CAR RENTAL -- DAY]
(BRASS interview's the MANAGER.)
Brass: According to the DMV, the Camaro was one of yours, is that right?
Manager: Yeah, it was rented to an Adam Watson. Waived insurance. Government discount.
Brass: Well, we have reason to believe Mr. Watson was a US Air Marshal.
Manager: Right. How could I forget him? He threw it in my face when I told him we were out of compacts.
(Quick flashback to: ADAM WATSON shows the MANAGER his badge.)
Adam Watson: I'm a US Air Marshal, okay? I travel for a living. I don't need this crap.
(End of flashback. Resume to present.)
Brass: But you found him a car.
(Quick flashback to: The MANAGER responds.)
Manager: I'll put you in a full-size and won't charge you for the difference.
Adam Watson: (shakes his head) No, forget it.
(He turns, looks around and sees the Camaro parked just outside the windows.)
Adam Watson: I'll take the Camaro.
(End of flashback. Resume to present.)
Brass: What time was that?
Manager: Vehicle entered the lot at 9:31 P.M. Mr. Watson drove out nine minutes later.
Brass: Thanks a lot.
(BRASS turns to head back toward GRISSOM. The MANAGER follows him.)
Manager: The Guy worked for Homeland Security. You think maybe some t*rror1st blew him up?
Brass: (non-committally) You'll be the first to know.
(BRASS reaches GRISSOM.)
Brass: Well, it's been confirmed. The driver, Adam Watson, was a Federal Air Marshal.
Grissom: So, one of us needs to call the Sheriff.
Brass: I'll flip you for it.
Grissom: Well, before we make that call, what time did the Air Marshal drive off the lot?
Brass: Nine-forty. Why?
Grissom: Well, the b*mb went off thirty minutes later. It takes that long to get from here to the Orpheus.
Brass: So you're saying the b*mb was already in the car when he drove out? Well, that can't be. According to the manager, the Camaro was only in the lot for, uh, nine minutes.
Grissom: Well, it takes longer than that to hard-wire a b*mb. Which can only mean that the b*mb was already in the car when it was returned.
Brass: So, who rented the car before him?
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
Brass: (V.O.) Roger Dunbar! Open up! Las Vegas police!
[INT. ROGER DUNBAR'S RESIDENCE -- DAY]
(BRASS kicks the door open and enters the residence with his g*n drawn. OFFICERS follow him inside. Together the search the residence.)
(GRISSOM approaches the door standing just outside.)
(The OFFICERS walk out of the rooms and reholster their g*n.
Officer: Clear.
Brass: Stand down.
(The OFFICERS leave the apartment.)
Brass: Good job, guys.
(GRISSOM and CATHERINE walk into the apartment.)
Brass: Okay, well. This guy was obviously on a week-to-week lease.
(The residence is sparse at best. There's a mattress on the floor in the corner of the room. GRISSOM and CATHERINE walk into the bedroom.)
(CATHERINE looks a the closet.)
Catherine: Left some clothes behind ... and a paper shredder. I'll bag it.)
(GRISSOM checks the bathroom out.)
(BRASS looks at CATHERINE.)
Brass: No sign of any b*mb-making material. I'll go check the garage.
(BRASS walks out.)
(GRISSOM bags the toothbrush. CATHERINE looks at the contents on the table: a book and some magazines. On the cover of the magazine, she finds some written impressions. She opens her kit.)
(In the bathroom, GRISSOM looks through the trash. He finds a discarded band-aid.)
(In the next room, CATHERINE dusts the magazine cover. GRISSOM steps out of the bathroom as she reads the writing.)
Catherine: "Dr. Amerian, 4:00 P.M." Oh, today.
(CATHERINE turns to look at GRISSOM.)
Catherine: I'll make an appointment.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(BRASS and CATHERINE interview ROGER DUNBAR.)
Roger Dunbar: You drag me out of my dentist's office. You throw me in a squad car. Now you're accusing me of planting a car b*mb?
Brass: Mr. Dunbar, you rented a Camaro from thrift rite rental. Returned it last night, 9:30 P.M. It blew up a half an hour later in front of the Orpheus.
Roger Dunbar: (shocked) It's all over the news. That was my Camaro?
Brass: Yeah.
Roger Dunbar: But this is crazy.
Brass: So, what happened? You have a beef with the rental car company?
Roger Dunbar: No. I-I get double miles. I'm a premier card member.
Brass: Oh, I'm sure you are.
Roger Dunbar: You know what, I'm not saying another word without an attorney.
Catherine: That's your right, Mr. Dunbar.
(CATHERINE pushes the piece of paper across the table toward ROGER DUNBAR. He looks down at it.)
Catherine: Warrant for your clothes.
(She hands him some clothing and a bag.)
Catherine: Strip. Everything in the bag.
(He starts to unbutton his shirt.)
CUT TO:
[INT. CSI -- LAB]
(NICK works on the parts. He takes a liquid sample from the parts, dries it out into a powder, places some of the powder in a test tube and tests it. The liquid turns blue and crystallizes.)
(GRISSOM walks into the lab.)
Nick: ID'd the expl*sive.
Grissom: Ammonium perchlorate.
Nick: Yeah, rocket fuel. GCMS picked up the other half of the equation-- gasoline.
Grissom: Combination of the two creates an unstable mass. Both shock-and friction-sensitive.
Nick: Ammonium perchlorate's available at any chemical supply store. You can gas up on every corner. Anyone could've made this b*mb.
(We hear footsteps of someone approaching the lab. NICK'S gaze shifts and he nods to GRISSOM that there's someone there to see him. GRISSOM turns around to find SHERIFF RORY ATWATER standing in the doorway, his arms crossed.)
Grissom: Sheriff? What can we do for you?
Sheriff Rory Atwater: Need a little clarification. I know Captain Brass has a suspect in custody. Where it get a little hazy for me, is I'm not getting his connection to the Air Marshal.
Grissom: Well, it's entirely possible that Mr. Watson was just in the wrong place at the wrong time.
Sheriff Rory Water: Another thing, you said that the switch was a digital clock. The b*mb had been set to go off at a designated time, right? How do we get a wrong time?
(NICK nods.)
Nick: I can answer that, too.
(He turns to indicate the scope set up on the next table.)
Nick: Take a look.
(GRISSOM looks through the scope.)
[SCOPE VIEW] of the frayed wire.
Grissom: Short in the wire.
Nick: Compromised the timing device. Made the b*mb unpredictable.
Grissom: We may never know when that b*mb was supposed to explode.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(GREG is examining the wine glass as WARRICK walks up to the lab.)
Warrick: I got your page. You'd be a good maitre d'. Checking glassware for spots?
Greg: You know, a hot tub is just like a dishwasher. Washes away all of the impurities.
Warrick: Including hydrofluoric acid, huh?
(GREG puts the wine glass down and picks up the glass container with the wine sample inside.)
Greg: '93 pinot. (French accent) Either it was a bad year for wine or a bad year for Amelia. (normal) I found trace amounts of hydrofluoric acid in the vino.
Warrick: So, somebody did spike the wine.
Greg: Oui.
CUT TO:
[INT. HOTEL KITCHEN -- DAY]
(WARRICK and SARA interview the WAITER.)
Warrick: We just want to know what happened the other night. Did you open the bottle for her?
Room Service Waiter: Hey, Amelia requested me. I was up there every night. I hooked her up. And she wasn't drinking no Italian Rotgut either. She was ordering '93 pinot from Russian River Valley. That's three-fifty a bottle, twenty percent delivery charge. You do the math.
Sara: Was anyone there with her?
Room Service Waiter: No.
Sara: What about Sam Hopkins?
Room Service Waiter: No, that mutt wasn't there.
Warrick: "Mutt"?
Room Service Waiter: Yeah, that manager scumbag. You bring a bottle of wine when he's there, forget about it. He signs for the bill and stiff city. Now, when the Prince of Soul is there, that's a different story. He'd give you $500 just to get lost.
Sara: But you didn't see Myles the other night?
Room Service Waiter: Yeah, I saw him for a sec. He came in between shows. He showed me the door.
(Quick flashback to: [HOTEL SUITE] The ROOM SERVICE WAITER is opening the bottle of wine for AMELIA when MYLES RUBEN walks into the suite. He sees them.)
Myles Ruben: Whoa, whoa, whoa. My man.
(The ROOM SERVICE WAITER turns around to see MYLES already reaching for his wallet.)
Myles Ruben: There's only one man who practices chivalry around here, and it ain't you, Ducky.
(He hands the ROOM SERVICE WAITER a lot of bills, then leans over to kiss his wife on the cheek.)
(End of flashback. Resume to present.)
Room Service Waiter: Hey, I could tell they were in love, you know? But he was never around. I mean, I felt bad for Amelia. She'd have four times a night.
"You forgot the fork. Can you bring some salt? How about some ice?" If you ask me, I'd say she was lonely.
Warrick: Did you ever see them fight?
Room Service Waiter: No, but I heard 'em. And I'm sure 2202 and 2206 heard
'em, too. Hey, but I don't bite the hand that feeds me.
(WARRICK looks at SARA and nods. He looks at the ROOM SERVICE WAITER.)
Warrick: Thanks.
CUT TO:
[INT. CSI -- LAB]
(CATHERINE stands at the printer as she waits for the results. She looks at the test results. It reads:
Searched: : C:\Database\Wiley27
: 99
: ROGER DUNBAR CLOTHING
AMMONIUM PERCHLORATE
(She takes the results and walks out of the lab.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(CATHERINE is back in the interview room questioning ROGER DUNBAR while his lawyer RANDY PAINTER is present.)
Catherine: There was rocket fuel in the b*mb and rocket fuel on your t-shirt.
Randy Painter: (to ROGER) That you need to explain.
Roger Dunbar: Well, I'm not really sure, but my son, he's got this science project due. You're right, I'm not supposed to help, but, really, all the parents do. We made a volcano. Spilled some of the chemicals.
(Quick flashback to: ROGER DUNBAR adds the chemicals to the volcano. It bubbles, sizzles, and gurgles as liquid pours out from the top. Then it spurts
- all over his shirt.)
(End of flashback. Resume to present.)
Brass: We've been to your apartment. What volcano? What kid?
Roger Dunbar: Timmy. Third grade. Mesquite Elementary.
Brass: You're divorced?
Roger Dunbar: No. No, well, look, here's the situation is the family, they live in Mesquite, and I'm there on the weekends.
Brass: And during the week?
Roger Dunbar: I-I'm in sales, so I travel all over the country.
Randy Painter: Which is why he rents a car when he's in town. It's cheaper than leasing.
Brass: Cheaper. All right, but it still doesn't explain the empty apartment.
Roger Dunbar: Look, I... like being married. I ... love my wife, my kid, but ... I need my space. I-I-I don't want to hurt anyone's feelings, so I just tell them that I'm out of town even when I'm not.
Brass: We're going to need your home address.
Roger Dunbar: No, look ... I'm begging you. Please don't blow things for me with the wife.
CUT TO:
[EXT. DUNBAR RESIDENCE (MESQUITE) -- DAY]
(GRISSOM and CATHERINE stand on the porch as BETH DUNBAR looks at the search warrant.)
Timmy Dunbar: Mom, what's going on?
Beth Dunbar: I don't understand.
Catherine: Mrs. Dunbar, could you and your son wait outside, please?
Officer: Ma'am, come with me. I'll fill you in.
(BETH DUNBAR follows the OFFICER as CATHERINE and GRISSOM step into the house.)
[INT. LIVING ROOM]
(CATHERINE puts her kit down and picks up a framed family photograph from the coffee table. GRISSOM looks around. He finds the volcano with gold stars on the table. He puts his kit down.)
Grissom: Catherine, there is a volcano on the table.
(CATHERINE walks over to the kitchen table. GRISSOM picks up the containers of ingredients and reads the labels.)
Grissom: Aluminum powder. Polyvinylbutadiene. Ammonium perchlorate.
Catherine: (nods) The three ingredients to make lava flow.
(CATHERINE takes a moment a reminisces.)
Catherine: In fifth grade, I built one of these as my science fair project. It was awesome. First place should've been mine. But they ended up giving it to this kid with some lame red ant colony.
(GRISSOM smirks at the thought as if he's remembering something, too. CATHERINE glances at GRISSOM, barely catches a glimpse of the smirk and does a double take.)
Catherine: (accusing) That was you.
Grissom: Yeah, only my ants were Black Argentinians.
Catherine: Uh-huh.
Grissom: I learned at a very early age that the bugs always win.
Catherine: Right.
(GRISSOM shrugs.)
CUT TO:
[EXT. DUNBAR RESIDENCE (MESQUITE) -- DAY]
(CATHERINE interviews BETH DUNBAR.)
Beth Dunbar: Trust me, Roger didn't build a b*mb. I love my husband, but he's inept. Just last week, the hose bib cracked. Front yard was a river. Roger was helpless till I got home.
Catherine: Well, what about that volcano? Your husband said that he helped your son build it.
Beth Dunbar: He watched. I'm a teacher. Timmy knows which parent to go to for help.
Catherine: Mrs. Dunbar, your husband told us that he was in sales.
Beth Dunbar: He's with the State Department. You know, all that sensitive government stuff. Keeps him on the road. He doesn't say much about it.
Catherine: As far as you know, has he talked about his job with anyone else? Any other family members? Friends?
Beth Dunbar: His parents are d*ad. Roger's an only child. He doesn't have time for friends. There was this one night, years ago. We were both a little drunk and ... (sighs) Roger confessed he was CIA.
(CATHERINE nods.)
CUT TO:
[INT. CSI - LAB]
(NICK walks into the lab where GRISSOM is working on the volcano from the DUNBAR-MESQUITE residence.)
Nick: Hey, I made one of those in third grade. Science fair. Should have won, too.
Grissom: Got to let it go Nick.
Nick: b*mb end-cap with tool marks. Given the orientation and spread of the marks, consistent with pliers, vise-grips.
Grissom: There were no vise-grips in the Dunbars' toolbox.
Nick: Hmm.
Grissom: But given that the b*mb and the volcano were similarly constructed ...
Nick: We can compare the tool marks on both end-caps. Doesn't matter what you make; it's what you make it with.
(NICK removes the b*mb end cap from the container. GRISSOM pulls the pipe out from the volcano. They compare vice grips markings. They don't match.)
Grissom: Not even close.
Nick: Mm-mm. So, whatever tool made the volcano did not make the b*mb.
CUT TO:
[INT. CSI - QUESTIONED DOCUMENTS]
(RONNIE LITRE goes over his findings with CATHERINE.)
Ronnie Litre: Okay, I reconstructed the contents of the paper shredder. Five bills. All in Roger Dunbar's name. Addressed to 2175 La Pressa.
(A close up of the document reads:
ACCOUNT NUMBER: 421327921
BILLING ADDRESS: Roger A. Dunbar
2175 La Pressa
Las Vegas, NV 89101
PAYMENT DUE DATE: 11/20/03
Catherine: Mm-hmm. His apartment.
Ronnie Litre: Okay, top two are credit card bills. Both VISA. Separate accounts.
(A close up of the document reads:
ROGER A. DUNBAR
2175 LA PRESSA
LAS VEGAS, NV 89101
(A close up of a second document reads:
ROGER B. DUNBAR
2175 LA PRESSA
LAS VEGAS, NV 89101
Catherine: Roger A. Dunbar. Roger B. Dunbar. That's an easy way to separate out expenses.
Ronnie Litre: Check out the gas bills. Three different meters.
Catherine: (reading) 2175 La Pressa.
(The next document reads:
METER ADDRESS: 822 DEVON ST.
MESQUITE, NV 89282
BILLING CYCLE: 09/26/03
DAYS OF SERVICE: 34
BILL TYPE: DUE BILL
Catherine: (reading) 822 Devon, Mesquite.
(The next document reads:
METER ADDRESS: 1845 GALEWOOD AVE
HENDERSON, NV 890...
BILLING CYCLE: 09/26/03
DAYS OF SERVICE: 34
BILL TYPE: DUE BILL
Catherine: (reading) 1845 Galewood, Henderson.
(GREG walks into the lab.)
Greg: Hey, got the DNA results back from that bloody band-aid that Grissom found at Dunbar's apartment. Compared it to his DNA. Not a match. But I did find seven alleles in common.
Catherine: His son.
Greg: No. It's female. Mother, sister, daughter.
Catherine: Well, according to his wife, his mother's deceased. He's an only child. So, that leaves a daughter. Well, there's no way there was a kid at that apartment.
Ronnie Litre: Well, maybe she was living in Henderson.
Catherine: Forget "secret agent." Roger Dunbar was living a secret life.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. DUNBAR RESIDENCE (HENDERSON) -- NIGHT]
(GRISSOM and CATHERINE head up the front walk toward the front door. The woman of the house puts out the trash and sees them.)
Debbie Dunbar: Can I help you?
(They turn and see her.)
Catherine: Good evening. We're with the Las Vegas Crime Lab.
Debbie Dunbar: Oh, god. Did something happen to my husband? He was supposed to be home on Monday night. I've been calling his cell. He's not at work.
Catherine: Is this your husband?
(CATHERINE holds out a copy of ROGER DUNBAR'S Nevada Driver's License. She takes it from her.)
Debbie Dunbar: Yes.
Catherine: You're currently married to him?
Debbie Dunbar: Yes. What is going on?
(GRISSOM looks over at the trash bin.)
Catherine: Well, your husband is a suspect in a criminal investigation. Currently, he's in police custody.
(He heads to the trash and opens it to find bottles of chemicals.)
Grissom: Mrs. Dunbar? Do you have a daughter?
Debbie Dunbar: Amy.
Grissom: Is she entered in the science fair?
CUT TO:
[INT. DUNBAR HOUSE (HENDERSON) - NIGHT -- CONTINUOUS]
(AMY'S emphatic.)
Amy Dunbar: You can't take it.
(GRISSOM holds out the vice grips.)
Grissom: Amy, did you use this the tool to work on the inside of your volcano?
Amy Dunbar: Yeah, my dad did.
Catherine: He helped you build it?
Amy Dunbar: Yeah.
Debbie Dunbar: I teach yoga. I have no idea how this works. It was all Roger.
Grissom: When's your science fair?
Amy Dunbar: Friday.
Grissom: Well, we'll do our best to get this back to you by Friday, okay?
Amy Dunbar: (nods) Okay.
(GRISSOM nods and winks at AMY.)
CUT TO:
[INT. MYLES RUBEN'S RESIDENCE -- NIGHT]
(SARA and WARRICK walk into the opulent living room.)
Warrick: Which side do you want?
Sara: I'll take the west wing.
Warrick: It's a nice place.
Sara: Uh-huh.
(SARA walks toward the bar area and opens the cabinet. She looks inside, then closes the cabinet.)
(WARRICK looks around the living room.)
Warrick: You could record a whole album in this studio.
(SARA opens the cabinet under the sink.)
Warrick: This guy's got it made.
(She looks at the tray of sponges, picks up a sponge and smells it.)
Sara: The life of a celebrity.
(WARRICK walks over to the piano. He sits down and can't help but play a little informal something.)
(SARA looks up and heads back to the living room. WARRICK shakes his head, then looks around again.)
Sara: I don't know, I think it sounds kind of isolating, living in a fishbowl.
Warrick: Wouldn't be isolated. You'd have a butler, a maid service, laundry service.
(He picks up some staff paper.)
Warrick: Sheet music. Guy writes his own stuff.
(Under it, he finds a pair of yellow rubber gloves.)
Warrick: Dishwashing gloves. Dry erase markers.
(He picks up the spray bottle.)
Warrick: Slate Industrial Glass Cleaner. (reading) The ingredients -- distilled water and hydrofluoric acid. Fatal if swallowed.
(WARRICK and SARA look at each other.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(DETECTIVE VARTAN, WARRICK and SARA interview MYLES RUBEN.)
Detective: You're sure you want to waive your right to an attorney?
Myles Ruben: (shrugs) I got nothin' to hide.
Warrick: Do you recognize this product?
Myles Ruben: Yeah. I use it to clean my windows.
Warrick: Don't you have a maid or someone to do that for you?
Myles Ruben: I write songs late at night. Windows are my chalkboard.
(Quick flashback to: [LIVING ROOM] AMELIA sits on the bar counter leafing through a magazine as MYLES writes.)
Myles Ruben: (singing) Only what you feel / now I can ...
(He pauses and writes on the glass windows with the dry erase markers. He stops, swipes at the words with a cloth, erasing them.)
Myles Ruben: (singing) ...clearly see...
(End of flashback. Resume to present.)
Sara: Mr. Rueben ... your wife was poisoned. We suspect window cleaner was slipped into her wine.
Myles Ruben: It can't be. I was there. I opened that wine.
Sara: Did you have a fight?
Myles Ruben: Not lately.
Warrick: But you have had fights in the past.
Myles Ruben: Who doesn't? I mean, fighting, loving, laughing ... it all comes from the same place, man. It's passion. And we loved each other passionately.
(He shakes his head as he remembers.)
Myles Ruben: When we met, it was Fate.
(Quick flashback to: MYLES RUBEN is on stage. He speaks out to the audience.)
Myles Ruben: But you know what I need right now? I need a woman. I need a woman to come up here and be my inspiration.
(He points into the audience at AMELIA.)
Myles Ruben: You, baby. Second row. Come on up here.
(She smiles, stands and heads for the stage.)
(Cut to: On stage, he puts his hat on her and sings to her.)
Myles Ruben: (lyrics)
I can see by the love in your eyes / you've been hurt by love / so it's hard for you to trust a guy ...
(End of flashback. Resume to present.)
Myles Ruben: I was looking for love. She was looking for the same thing. She loved my music. I loved her smile.
(SARA turns and looks at WARRICK.)
Myles Ruben: It's hard being on top, you know? I mean, everybody loves you. Wants their piece. That's why we fought. I mean, all the time. Every night. She knew she could never have me to herself. (He starts to loose it, but composes himself.) Look, I got sound check for the late show in an hour. Can I go?
Warrick: Sure.
Detective Vartann: We might want to talk to you later.
(MYLES walks out of the room.)
Sara: Wife's been d*ad less than 48 hours.
Warrick: Well, there's a man who definitely has his priorities straight.
Sara: Okay, three people have admitted to being with Amelia the night that she died. The room service waiter, Myles, and Myles's manager.
Detective Vartann: Room service guy's out. He left before the cork was popped.
Sara: So, did Myles k*ll Amelia and the manager's covering for him or did the manager k*ll Amelia and Myles doesn't have a clue?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS shows copies of both marriage to ROGER DUNBAR.)
Brass: Bigamy is a Class D Felony. If convicted, you could be sentenced from one to four years in prison, do you know that?
Roger Dunbar: I'd just married Beth, when I met Debbie. She was a student. UNLV. She got pregnant. I did the right thing. Ever since, it's been Monday through Friday with Debbie and weekends with Beth. They both think I travel for a living.
Brass: I know I keep coming back to this, but, uh ... I mean, I got to ask you. What's with the empty apartment? Do you have a girlfriend on the side as well?
Roger Dunbar: No.
(ROGER turns to his lawyer, RANDY PAINTER, and they confer.)
Randy Painter: Just tell them the truth.
(ROGER turns back to BRASS and CATHERINE.)
Roger Dunbar: My life is really a balancing act. Early on, I took Debbie to dinner and Beth saw it on a credit card statement. So instead of a P.O. Box, I figured why not rent a cheap apartment, you know? Have a night to myself once in a while.
Catherine: We found a band-aid with your daughter Amy's blood at your apartment. So, you bring your daughter there, but not your wives?
Roger Dunbar: Oh, no. It's not like that. You know how kids are.
(Quick flashback to: AMY DUNBAR is wearing a helmet. She runs up the sidewalk toward her dad as she holds out the band-aid in her hand.)
Amy Dunbar: Dad, take this. It keeps falling off.
(He tucks the band-aid in his pocket.)
(End of flashback. Resume to present.)
Roger Dunbar: I emptied my pockets at the apartment.
Catherine: Mr. Dunbar, we collected both of your children's volcanoes and supplies. And we found a pair of pliers at your home in Henderson. Those pliers were used to make both of the volcanoes.
Roger Dunbar: That's right. I needed pliers in Henderson, so I borrowed Beth's pliers from Mesquite.
Randy Painter: There's no crime in that.
Catherine: I'm just really confused. Um ... your wife, Beth, told us that you couldn't build a volcano to save your soul. Yet your wife, Debbie, claims that it was all you that made your daughter's volcano. So, what is it?
Roger Dunbar: Well, I watched Beth when she made Timmy's volcano. So, then when Amy had a science project, I knew the drill. Now, granted, it wasn't as symmetrical as Beth's and the lava flow was a little anemic, but ... Amy liked it.
Catherine: When did you borrow those pliers?
Roger Dunbar: I don't know. Couple weeks ago. Why?
Catherine: You never returned them to your wife, Beth?
(He puts a hand to his mouth as he realizes his mistake.)
Roger Dunbar: I've been meaning to do that.
(CATHERINE closes her eyes as she, too, realizes.)
CUT TO:
[INT. DUNBAR RESIDENCE (MESQUITE) -- DAY]
(CATHERINE compares the plastic with the vice grip markings to the vice grip markings on the garden hose pipe.)
Catherine: Same characteristics. We got a match.
(CATHERINE glances at BETH DUNBAR standing on the porch watching. She then turns to look at the OFFICER.)
Catherine: Take her in.
Officer: Come with me, Mrs. Dunbar.
CUT TO:
[INT. CSI -- LAB]
(WARRICK is working in the lab. He picks up the photo of the spray bottle. He picks up the bag with the yellow rubber gloves in it. He looks at the gloves and finds two holes in it.)
(SARA walks into the lab.)
Sara: Hey. I dusted the bottle. I got prints.
Warrick: I've got burns. You first. Sam or Myles?
Sara: Amelia's.
CUT TO:
[INT. CSI - MORGUE]
(The table with AMELIA on it is pulled out. WARRICK and SARA walk into the room. WARRICK puts on a pair of gloves.)
Robbins: Well, you're just in time. She gets shipped in an hour.
Warrick: This should just take a second. Could you give me her right hand, please?
(ROBBINS shows the back of AMELIA'S hand. WARRICK holds out the glove. They find correlating burns to match the holes in the glove.)
Sara: Three acid burns.
Warrick: This is not a m*rder. It's a su1c1de.
(Quick flashback to: AMELIA opens the spray bottle and pours some of the industrial liquid into the wine bottle. She sets the spray bottle side. She walks the wine bottle to the next room and pours herself a glass of wine.)
(She holds MYLES' hat to her nose and inhales.)
(Cut to: [HOT TUB] AMELIA reaches for the wine glass. Crying, she drinks it all down. She falls backward in pain, then slips down into the water, the empty wine glass falling from her fingers. She clutches the side of the hot tub as the poison takes effect.)
(End of flashback. Cut to:
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
(The camera holds on the billboard of MYLES RUEBEN, "Prince of Soul".)
[INT. MEDITERRANEAN - BACK STAGE - NIGHT]
(WARRICK and SAM HOPKINS stand in front of MYLES RUEBEN. They're all backstage.)
Myles Rueben: I knew she wasn't happy. I guess I just didn't pay attention.
Warrick: You shouldn't blame yourself for this.
Myles Rueben: Shouldn't I? Why shouldn't I? I spend most of my time making them happy. I never ... I never took the time to make her happy.
(Out in the show room, the audience chants for MYLES.)
Audience: (chanting) Amelia, Amelia!
(MYLES looks at them.)
Sam Hopkins: What do you want to do, kid?
(MYLES looks at WARRICK.)
Myles Rueben: The show must go on, right?
Warrick: It's your call.
(MYLES turns and heads back on stage. The audience cheers. WARRICK turns and leaves.)
(MYLES starts to sing.)
Myles Ruben: (lyrics)
Amelia / ooh, Amelia / ooh, Amelia / I see the love in your eyes you've been hurt by ...
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(CATHERINE puts the bagged vice grips on the table.)
Catherine: We found these pliers in your car's glove box. You used them to fix the hose bib. And to ... make a b*mb.
Grissom: Mrs. Dunbar ... how long have you known about Roger's double life?
Beth Dunbar: His other wife's name is Debbie. Once or twice a year he'd call me by that name. I ignored it.
Grissom: It's very difficult for two people to live a lie, let alone three.
Beth Dunbar: Look, when Roger and I were together, he was a good husband. Terrific father. It was almost like being in a state of suspended honeymoon.
Grissom: Really? So what changed?
Beth Dunbar: He asked me to get his dirty laundry out of the trunk of his car.
(Quick flashback to: BETH opens the car trunk and reaches in to get the laundry. She also sees the bag next to it.)
Beth Dunbar: (V.O.) There was a plastic bag with all the makings of a volcano. Including the stars I had hand-cut for my son.
(She reaches into the bag and picks up the gold stars.)
(End of flashback. Resume to present.)
Beth Dunbar: I'd always suspected there was another woman, but never ... another family. So. Two weeks ago Sunday, I followed him. He, uh, dropped off his rental car and walked to some apartment building. Then he changed his clothes, and got into a nicer car, and drove out to Henderson.
Catherine: Why didn't you just leave him? Turn him in?
Beth Dunbar: He made a fool out of me. A mockery of our life.
Catherine: Mrs. Dunbar, you k*lled three innocent people.
Beth Dunbar: (shakes) That was never my intention. That b*mb was supposed to go off at 8:30 on his way to the airport.
Grissom: Why a b*mb?
Beth Dunbar: It, it's not much harder to make a b*mb than a volcano.
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x09 - Grissom Versus the Volcano"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- DAY]
[EXT. LAS VEGAS COMMUNITY (STOCK) - EVENING]
[EXT. CONSTRUCTION SITE - EVENING]
(Camera close up of a hammer pounding a nail into the board.)
(Close up of: A circular saw being used to cut a board into two.)
(Close up of: A tape measure extended to measure the width, then snapping shut.)
(Close up of: A power drill.)
(Close up of: A power stapler drilling nails into wood.)
(The CONSTRUCTION WORKER carries a box into the building frame. He puts a roll of tape on the box and uses his free arm to push away the plastic sheeting as he walks into the section of the house.)
(He looks up, sees something horrible, then drops the box to the ground.)
(Camera pulls away to show the d*ad body, face down on the floor in the center of the room. The CONSTRUCTION WORKER backs out of the room.)
Construction Worker: Boss! Boss!
(In the background, GREGORY CURTWELL steps down from the ladder as he looks at the CONSTRUCTION WORKER.)
Construction Worker: We-we got a problem.
CUT TO:
[INT. CONSTRUCTION SITE -- DAY]
(The building frame is taped off with crime scene tape. GRISSOM ducks under the tape and enters the building. In the background, sirens and indistinct radio chatter sound. GRISSOM makes his way to the room.)
(He enters the room. BRASS is already there, crouched low on the side and looking at the body.)
(GRISSOM takes his glasses off and looks at the teenager face down, his head in a splatter of blood. He looks around at the walls.)
Grissom: Well, clean surfaces make for good analysis.
(BRASS gets to his feet. In the background we see what they see, the far walls are covered with blood.)
Brass: Yeah. Well, that may be the only good thing. I checked for a wallet, no ID. Nothing on him.
(GRISSOM puts his kit down on the ground.)
Brass: The kid looks like a minor. Coroner's investigator says he's been d*ad for over twelve hours. Happened sometime this weekend.
(By the camera angle, we see that the kid is in his underwear, his pants down around his knees. GRISSOM kneels down next to the body and sees something in the kid's grip.)
Brass: You going to pry that piece of cloth from his hand?
Grissom: Not just yet.
Brass: Help me out here. Got any ideas on this one?
(GRISSOM looks around.)
Grissom: Well, based on his pants around the knees, I would say a crime of passion.
(GRISSOM gets to his feet. Camera shows a top view of the room to give us a better image of the entire scene at play. The body lies in the center of the empty room, the kid's head in a large spatter of blood.)
Grissom: Given the brutality of it ... seems to me an act of rage.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. CONSTRUCTION SITE -- DAY]
(BRASS talks with the CONSTRUCTION SITE FOREMAN. In the background, a black car drives up and parks.)
Foreman: You know, I lose an hour a day cleaning up their beer bottles and their cigarette butts.
Brass: Kids use it as a hangout, huh?
Foreman: Oh, sure. They think the house doesn't have a lock, it belongs to them.
Brass: Well, it's a crime scene, so it belongs to us now.
Foreman: Yeah. How long?
Brass: (sighs) As long as it takes.
(WARRICK and SARA get out of the car.)
Foreman: You know, I got two teenagers at home, and they know how to respect other people's property. Now, who's going to feed them when I don't get paid for today, huh?
Brass: Huh? I can't tell you that.
CUT TO:
[INT. CONSTRUCTION SITE - ROOM - DAY -- CONTINUOUS]
(GRISSOM is in the room taking photos when WARRICK and SARA walk in.)
Grissom: Take a look at his head, tell me what you see.
(SARA steps forward to look down at the body. WARRICK is kneeling in front of the body. He takes off his glasses, then reaches out and pushes the shirt collar aside to show the back of the kid's head.)
(Camera zooms in on the impact marking.)
Warrick: Definitely blunt force.
(SARA recognizes the markings.)
Sara: That's a hammerhead.
(GRISSOM looks at SARA.)
Grissom: I thought you might say that.
(SARA steps back and heads toward the door. She looks back at GRISSOM.)
Grissom: Well, we know that people often commit crimes in places they're familiar with.
(SARA gets it. She turns and heads out the door. She glances out the hallway, then sees that every single construction worker has their own hammer hooked to their utility belt. That's a lot of hammers.)
(SARA looks back at GRISSOM.)
Sara: You got to be kidding me.
(GRISSOM looks at SARA and doesn't say anything. He turns his attention to the walls. SARA glares at GRISSOM, then heads out to get those hammers.)
(GRISSOM takes a picture of the blood spatter on the walls.)
Warrick: I'll swab the blood and see if it's all his.
(WARRICK takes a swab of the blood on the floor under the victim's head. He then pushes the victim's jacket aside to reveal a bloody shoe print underneath.)
Warrick: Grissom?
(GRISSOM turns and looks at the shoe print. He looks at WARRICK.)
Grissom: Well, that should help.
[EXT. CONSTRUCTION SITE - DAY - CONTINUOUS]
(SARA sets up a table to bag and tag the hammers.)
Construction Worker: I'll trade you a hammer for a screw.
(He laughs and turns to glance back at the long line of workers behind him. They also chuckle along with him.)
Sara: Name, please.
Construction Worker: I'll tell you mine, you tell me yours.
(SARA doesn't smile.)
Construction Worker: Oh, come on, baby. I'm stuck with these ugly fools all day. A pretty girl comes by. Just having a little fun.
Sara: Yeah, m*rder always makes me feel a little randy, too.
Construction Worker: Ooh.
(The CONSTRUCTION WORKER puts his hammer into SARA'S bag.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. MITCHELL RESIDENCE -- DAY]
(DAVID PHILLIPS and DET. SAM VEGA stand around the body of a WOMAN face-up on the grass. NICK approaches the scene.)
Nick: Fellows.
David Phillips: Hey, uh, Mrs. Marlene Mitchell, 32. Apparent g*n wound to the chest. Entry, no exit. No other apparent injuries.
(NICK looks at VEGA.)
Nick: Do we know who sh*t her?
Vega: I patted down all her friends. Nobody's carrying. Got a couple officers scanning the neighborhood in case the, uh, w*apon got tossed. She was breaking up a fight when she went down.
Nick: Nobody saw anything? Nobody heard anything?
Vega: No.
Nick: Somebody's lying.
(NICK turns back to see a MAN talking with an OFFICER.)
Nick: That the husband?
Vega: The current one. The other one -- he's the ex.
(NICK turns to see another man talking with another OFFICER.)
Nick: Interesting family reunion. Whose brilliant idea was that?
Vega: The Mitchell's were moving in. The ex stopped by to say hi.
Nick: Don't you hate it when hello leads to g*n?
(VEGA nods.)
Nick: I'll need to GSR both.
(NICK walks over to the husband.)
Nick: Sir? I'm going to need to test your hands for GSR.
Mr. Mitchell: What's that?
Nick: g*n residue.
Mr. Mitchell: Why?
Nick: To rule you out.
Mr. Mitchell: You think I sh*t my wife the day after our honeymoon.
(NICK doesn't say anything. He continues to test for GSR.)
Mr. Mitchell: We were just moving our stuff. Her ex, Todd, shows up. He knows he's not supposed to come within 100 yards of her. But he did.
(Quick flashback to: MR. MITCHELL and TODD are locked in a fight when MARLENE walks up to them to break it up.)
Marlene Mitchell: Stop it! Please?
(Suddenly, she slumps back and hits the table out on the lawn. MR. MITCHELL turns from TODD to rush over to MARLENE.)
Mr. Mitchell: Marlene?
(She doesn't respond. MR. MITCHELL turns to TODD.)
Mr. Mitchell: Call 911.
(End of flashback. Resume to present.)
Mr. Mitchell: I thought it was a heart att*ck. Then I saw the blood.
(NICK finishes the test, then turns to see VEGA talking with TODD, MARLENE'S ex-husband. We hear part of what he's saying.)
Vega: Yes, but there was a restraining order against you. Why were you here?
(NICK turns back to MR. MITCHELL.)
Nick: Thank you.
(NICK steps away.)
CUT TO:
[INT. CONSTRUCTION SITE -- DAY]
(GRISSOM takes the piece of cloth out of the kid's grip.)
(Cut to: GRISSOM holds the piece of cloth to the dog's nose.)
K-9 Officer: Distinguish!
(The K-9 OFFICER stands next to SARA as they watch GRISSOM prep the dog.)
K-9 Officer: (to GRISSOM) You ready to run?
(GRISSOM points to SARA.)
Grissom: She does all my running.
Sara: Thanks.
(The K-9 OFFICERS and SARA head out.)
K-9 Officer: Trail!
DISSOLVE TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. - DAY]
(The OFFICERS and SARA follow PENNY, the dog, through the mall, down the stopped escalator.)
Sara: It's a hell of a place to get lost.
K-9 Officer: Yeah. We have five million olfactory sensory receptors. Penny's got 220 million. She sees the world differently.
[PENNY'S POV]
(Low Camera sh*t in black and white with a reddish trail through the mall. She pauses at various other colored "smells" indicated by blues and green hues, but it's the reddish trail she's following.)
[RESUME POV]
(PENNY stops.)
K-9 Officer: The suspect stopped here.
(PENNY howls and whimpers. She continues.)
[PENNY'S POV]
(Low camera sh*t in black and white with the reddish smell trailing through the mall.)
(cc) Trail is still strong here.
(The group continues to follow PENNY.)
[EXT. BACK ALLEY]
(The door opens and the small group exits the mall. PENNY howls and leads them to the dumpster.)
K-9 Officer: She's got a h*t on the dumpster.
(SARA opens the dumpster lid and takes out an empty drink and tray. She holds it out for PENNY to sniff.)
K-9 Officer: She's getting nothing, but penny will pick up on anything they touched.
(SARA tosses it aside and reaches into the dumpster for the next item. She pulls out two plastic garbage bags.)
(PENNY howls as she sniffs the abandoned shopping bag.)
K-9 Officer: There we go.
(SARA opens the bag.
K-9 Officer: There's something in the silver bag.
PENNY smells inside. We see by the reddish hue that the smell is inside the bag.)
Sara: What do you think? Bought new clothes, ditched the old ones?
(SARA takes out a sweater from the bag.)
K-9 Officer: What's missing from that sweater's what that d*ad kid had in his hand.
(SARA stands up.)
Sara: So, we're looking for a girl who bought a new outfit ...
(She looks at the receipts from the bag.)
Receipt 1 reads:
STORE: 00225 REGISTER: 002
Cashier: 724567
W. SHIRT 29.99
0000000164038 1 @ 29.99
PANTS 49.99
0000000638289 1 @ 51.99
SUBTOTAL 79.98
TAX 5.32
Receipt 2 reads:
6121 002 8215 12/09/03
SALE 2.2 11
59255 EARRINGS 27.99
SUBTOTAL 27.99
27.99 TAX 6.50% 1.82
TOTAL 29.81
Sara: Some earrings and a latte. (She puts the receipt up against the garbage bin cover.) Oh, an iced cappuccino, actually.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS has the chest cavity open. NICK stands next to the table watching ROBBINS work on the body.)
Robbins: Congealed blood in the pericardium. Heart's what took the b*llet.
Nick: Explains why she just dropped.
Robbins: Yeah, she was d*ad in seconds. (He feels the heart.) Hmm. b*llet's still in the heart.
(He cuts the heart open.)
Robbins: Here we go.
(He removes the b*llet.)
Robbins: There.
(He holds the b*llet out for NICK. NICK takes the b*llet and looks at it.)
Nick: Well, it looks like a nine millimeter. I'll let Vega know.
Robbins: Fairly intact. Want to do the honors?
Nick: Sure.
(NICK takes a rod and sticks it into the heart to find the depth of the b*llet.)
Robbins: That's it.
(He removes the rod and measures it.)
Nick: Four inches? That's shallow. Standard g*n b*llet penetration's twelve.
Robbins: Right.
Nick: Give me a hand, will you?
Robbins: Sure.
(He hands the ruler to ROBBINS who holds it up as NICK measures the angle.)
Nick: Eighty-five degree downward angle?
Robbins: Well, that's, uh, fairly standard. Most g*n wounds are ninety degrees, give or take.
(NICK puts the bloody b*llet in the bindle.)
Nick: Oh. Thanks, doc.
Robbins: Right.
(NICK turns to leave the room.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK swabs the hammer heads and tests them for blood. One by one, they turn up negative. He tosses the used swabs to the side and keeps opening up fresh swabs. Finally, he finds the hammer that turns the swab pink.)
(He looks at the label on the evidence bag.)
DATE: 12/10/03
003-44567
GREGORY CURTWELL
CONST. SITE
SS {signature}
1. HAMMER
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(ARCHIE reviews the dressing room security tapes. The time stamp at the bottom of the screen reads: 07:52:15: ... )
Archie Johnson: They say in America, you're on camera an average of seven times a day. Go to a mall, and you can at least triple that.
(SARA stands next to ARCHIE watching the video.)
Sara: I guess that's good for us. I'm going to think twice the next time I try on a shirt.
Archie: Well, legally, they can't put cameras in dressing rooms, but there's legal, and then there's what people do.
Sara: Our girl bought her clothes at 8:31. Let's scan the dressing room footage from 8:00 on.
(ARCHIE sets the video up and starts the tape.)
Sara: Hold it.
(At 08:01:09, SARA sees the GIRL on the table.)
Sara: That's our sweater. And that's our girl.
(ARCHIE speeds the tape up and sees the girl walk out of the store wearing the new clothes.)
Archie: She did a walk out.
Sara: A "walk out?"
Archie: Yeah, my girlfriend does it all the time. She finds something she likes, rips the tags off in the dressing room, hands them to the clerk, and walks out wearing the new stuff.
Sara: (smiling) You go shopping with your girlfriend? That's nice.
(ARCHIE smiles.)
(He freeze-frames the video to 08:16:08.)
Archie: Well, you can get her prints from the receipts. DNA from the sweater. And you've got a face. You're close.
Sara: Well, look at her. She's a minor. She paid in cash. She's not going to be in any database. Without a name, we don't have much.
(WARRICK enters the lab.)
Warrick: Okay, one of our hammers had blood on it. It matches the victim's.
Sara: Did Greg analyze the clothes from the dumpster yet?
Warrick: Yeah. Blood's a match, too.
Sara: Okay. So, the question is, what is the connection between this girl and a construction worker?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and WARRICK interview GREGORY CURTWELL, the owner of the hammer.)
Brass: Mr. Curtwell, where were you this weekend?
Gregory Curtwell: I was fishing in Tahoe.
Brass: Catch anything?
Gregory Curtwell: No. Nothing was biting.
Brass: Anyone go with you?
Gregory Curtwell: No.
Brass: How long were you gone?
Gregory Curtwell: Friday to Sunday. Look, I thought I was just here to pick up my hammer.
Warrick: Do you ever leave your tools at the job site?
Gregory Curtwell: No way. That hammer -- it's perfectly balanced.
Brass: Then how do you explain the blood on it? And your injuries.
(He looks down at the bruises on his hand.)
Gregory Curtwell: Well a construction site. People get hurt.
Warrick: The blood that we found on your hammer ... matches this kid right here.
(WARRICK stands up and takes a photo of the kid out of the file folder in his hand. He puts it on the table in front of GREGORY CURTWELL. He looks at it and sighs.)
Gregory Curtwell: Is that the d*ad kid from the house?
Warrick: Yeah.
Gregory Curtwell: I never got a look at him. I-I I didn't go inside.
(He looks down at the photo and then back at WARRICK and BRASS.)
Warrick: What about her?
Gregory Curtwell: That's my kid sister, Ashley. Why? What's she got to do with it?
Brass: You tell us.
(GREGORY looks at BRASS.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(SARA interviews ASHLEY CURTWELL.)
Ashley Curtwell: My parents died in a car accident four years ago.
Sara: I'm very sorry. Your brother Gregory is your guardian, right?
Ashley Curtwell: Yeah.
Sara: And he left you alone all weekend?
Ashley Curtwell: He goes away a lot.
Sara: Okay. Why don't you tell me what happened last night?
[OBSERVATION ROOM]
(WARRICK and BRASS watch the interview.)
Ashley Curtwell: (over speaker) I was on my way to the mall to get something to eat. I always cut through the construction site.
[INTERVIEW ROOM]
Ashley Curtwell: My brother tells me not to, but it saves me, like, ten minutes.
Sara: That makes sense. What happened after that?
Ashley Curtwell: Well, this guy from school, Brian, comes out of nowhere.
Sara: Do you know Brian's last name?
Ashley Curtwell: (shuddering breath) Yeah. It's, um ... Haddick. We were in homeroom together freshman year.
(SARA sees that ASHLEY'S hands are fidgeting nervously with her sweater sleeves.)
Ashley Curtwell: So, anyway, he says his cat ran away ... and will I help him find it.
Sara: And you did?
(ASHLEY looks down and cries softly.)
Ashley Curtwell: A cat. I'm so stupid.
Sara: You're not stupid, Ashley. I know this is hard.
(Tears fall down ASHLEY'S cheeks.)
Sara: If we could just go over it from start to finish just one time.
Ashley Curtwell: So, we walked into the house ...
(She starts to cry.)
(Quick flashback to: [CONSTRUCTION SITE - HOUSE - NIGHT] BRIAN HADDICK leads ASHLEY into the house.)
Brian Haddick: Come on. Hurry up.
(They both walk through the house.)
Brian Haddick: I think I saw him come in here.
(He leads her into the empty room.)
Ashley Curtwell: What color is he?
Brian Haddick: Gray.
Ashley Curtwell: Here, kitty, kitty.
(With her back to him, he grabs her and pushes her up against the wall.)
Brian Haddick: You're going to like it, you dirty bitch. You're going to like it.
(End of flashback. Resume to present.)
(SARA glances and sees the bruises around ASHLEY'S right wrist.)
Ashley Curtwell: It was like the more I shouted, the more he liked it.
(Quick flash to: BRIAN holds ASHLEY up against the wall as she struggles. End of flashback. Resume to present.)
Sara: (swallows) r*pe is not about sex. It's about v*olence.
(ASHLEY tugs her sweater sleeves down over her bruised wrists.)
Sara: You were against the wall.
(Quick flashback to: BRIAN HADDICK has ASHLEY pressed up against the wall.)
Ashley Curtwell: No!
(As she struggles and cries, someone comes up behind BRIAN HADDICK and hits him over the head. BRIAN falls to the ground and ASHLEY runs out of the place.)
(End of flashback. Resume to present.)
Sara: Did you see who h*t Brian?
(From the Observation Room, WARRICK watches.)
Sara: Ashley, after all that had happened, you went shopping?
Ashley Curtwell: (crying) He was all over me. I just had to get him off me.
Sara: And you got some coffee and some earrings.
Ashley Curtwell: What? I bought that stuff? All I remember is getting new clothes and going home. Why does all this bad stuff keep happening to my family?
[OBSERVATION ROOM]
(BRASS watches.)
Brass: She's covering for her brother.
(BRASS turns to look at WARRICK.)
Warrick: He's got a non-confirmable alibi. I'm sure she doesn't want to lose the only guardian she's got.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY - DAY]
(ROBBINS goes over the preliminary findings with GRISSOM.)
Robbins: It's pretty obvious the initial blows were to the head.
Grissom: Well, according to Sara, that's consistent with the girl's story.
Robbins: Whoever att*cked him just kept going. Used some real force. Severed his spinal cord at C-l, C-2.
(ROBBINS points to the viewbox with the x-rays up. GRISSOM glances back at them. He turns to look at ROBBINS.)
Grissom: Well, that would have rendered him immobile.
Robbins: Right, so why keep hitting?
(ROBBINS pulls the sheet back to show GRISSOM the marks on the upper arms.)
Robbins: The epidermis was disturbed, leaving areas of exposed derma, which we'd normally see as red or purple abrasions. But in this case, no blood rushed to the area.
Grissom: He was beaten postmortem.
Robbins: Right.
Grissom: So, Gregory Curtwell sees Brian attacking his sister. His adrenaline starts going, and he can't stop.
(ROBBINS shows GRISSOM the bruises on the victim's knuckles.)
Robbins: Well, Brian may have gotten off a punch of his own. I can't identify the pattern, but I sent blood and skin transfer to Greg.
(ROBBINS hands the file with the autopsy photos inside to GRISSOM.)
Robbins: And you're going to need these.
Grissom: Thanks.
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(GRISSOM shows the photos to BRIAN HADDICK'S parents.)
Mr. Haddick: That's our son.
Mrs. Haddick: Who could have done this to my baby?
Grissom: Do you recognize this girl?
(GRISSOM shows them the security video photo of ASHLEY CURTWELL. They look at the photo and shake their heads.)
Grissom: Did Brian ever mention the name Ashley Curtwell?
Mrs. Haddick: He got a little out of hand for a while. We couldn't keep track of his friends.
Grissom: "Out of hand"?
Mrs. Haddick: I found some marijuana in his room. Broke curfew. The nipple piercing was the last straw.
Mr. Haddick: I told him he could do anything he wanted to the body God gave him once he moved out. Until then ...
Mrs. Haddick: He was grounded. But he was doing so much better. His grades were up. He got a job.
Grissom: Where did he work?
Mr. Haddick: My brother owns a restaurant. Got him a job bussing and waiting tables. Five hundred bucks every two weeks.
(GRISSOM nods slowly.)
Mr. Haddick: Cash under the table. Pretty good for a kid who can't drive.
(MRS. HADDICK cries.)
CUT TO:
[INT. CSI - BALLISTICS LAB]
(BOBBY DAWSON goes over the b*llet findings with NICK.)
Bobby Dawson: No GSR on either the husband's or ex-husband's hands.
Nick: That's not definitive. One of them still could have fired the g*n and washed his hands.
Bobby Dawson: Yeah. Well, you know, you asked me to check Marlene Mitchell's b*llet for trace?
Nick: (nods) Hmm.
Bobby Dawson: Well, there isn't any. It's in pristine condition.
Nick: The only reason for shallow penetration is loss of momentum.
Bobby Dawson: Yeah, and it was a standard full metal jacket, not a pre-fragmented.
Nick: So, assuming that the b*llet didn't come in contact with any intervening object, what slowed it down?
CUT TO:
[INT. CSI - DNA LAB]
(GREG is in the lab when WARRICK walks in.)
Warrick: Hey, Sanders, you got anything on that knuckle sludge? Grissom's asking.
(GREG picks up the test results from the side.)
Greg: Yeah, a skin sample taken from Brian Haddick's defensive wounds, hair samples from Ashley Curtwell, and buccal swab collected from Gregory Curtwell. No match to the brother or sister. Construction worker didn't do it.
(GREG hands the test results to WARRICK.)
Warrick: Or he didn't do it alone.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CONSTRUCTION SITE - BUILDING ROOM -- CRIME SCENE]
(GRISSOM, SARA and WARRICK are back at the crime scene.)
Sara: Seventy-two-degree impact angle puts Brian here for the initial blows.
(Quick flashback to: The beating. End of flashback. Resume to present.)
(SARA kneels down to measure the size of the blood spatter on the wall.)
Sara: Width is three millimeters. Length is six.
(WARRICK punches in the figures in a hand-held calculating device.)
Warrick: Arcsine gives us 30 degrees.
Sara: So, Brian was crawling.
(Quick flashback to: The attacker hits BRIAN behind his neck, BRIAN falls to his knees. End of flashback. Resume to present.)
Warrick: That must be when his neck was exposed.
(Quick flashback to: BRIAN is h*t behind his neck. Quick CGI POV to a close up of the spinal cord being severed. Resume Flashback. BRIAN is flat on the floor as the attacker continues to b*at him on his neck. End of flashback. Resume to present.)
Grissom: He ended up here on the floor with his spinal cord severed.
Warrick: Well, if he was laying down, this looks too high to be a spatter.
(WARRICK walks over to the blood spatter on the walls.)
Warrick: Must be cast-off.
(SARA looks at the blood spatter on the walls.)
Sara: On three walls. Assailants tend to move only in reaction to a target, Brian was stationary.
(GRISSOM slowly gets to his feet as he gets an idea.)
Sara: Why would the attacker keep moving? It doesn't make sense.
Grissom: It does if there were three hammers and three attackers.
(SARA turns to look at GRISSOM.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - FILE ROOM -- NIGHT]
(CATHERINE is going through the filing cabinet drawers as NICK walks past the room. He turns and sees her. He walks into the room.)
Nick: Hey, Catherine, feel like doin' some real work?
Catherine: And leave all this?
Nick: I got a woman who DFO'd in front of her house trying to break up a fight. It's a single g*n wound to the chest. The penetration is ... shallow. I want to know why.
Catherine: And you want me to cook?
CUT TO:
[INT. CSI -- LAB]
(CATHERINE makes gel molds.)
(Cut to: In another lab, NICK makes several b*ll*ts at varying weights.)
CUT TO:
[INT. CSI - BALLISTICS LAB]
(NICK and BOBBY DAWSON prepare the g*n as CATHERINE rolls in the gel molds on a cart.)
Catherine: Okay, boys. There's always room for jell-O.
Nick: Oh, yeah.
Bobby Dawson: Uh, Catherine, technically, that's just gel.
Catherine: I wasn't planning on eating it.
(CATHERINE puts the mold on the table.)
Bobby Dawson: Okay, let's sh**t it.
(She walks back where BOBBY offers her ear phones.)
Bobby Dawson: Betty Crocker.
(BOBBY puts on his protective eyewear. Everyone puts on their eye wear and ear phones. BOBBY loads the first b*llet.)
Bobby Dawson: (loudly) f*ring one at 100%!
(He fires. The b*llet pierces into the gel mold.)
Nick: Standard velocity is 1,100 feet per second.
(CATHERINE measures the distance the b*llet traveled into the mold.)
Catherine: All right, that is A ... twelve-inch penetration.
(NICK and BOBBY share a look and a smile.)
Catherine: So ... a, um ... hundred percent load gives us twelve inches.
(Cut to: BOBBY fires the second b*llet.)
Bobby Dawson: (loudly) f*ring one at 70%!
(CATHERINE measures the b*llet in the mold.)
Catherine: Seven and three-quarter inches.
(Cut to: BOBBY fires the third b*llet.)
Bobby Dawson: (loudly) f*ring one at 40%!
(NICK checks the read-out.)
Nick: 500 and ... 50 feet per second.
(CATHERINE measures the penetration.)
Catherine: Four inches.
Bobby Dawson: Same as Ms. Mitchell.
Catherine: So Mrs. Mitchell was sh*t by a b*llet traveling 550 feet per second.
Nick: Now that we know the speed, we can calculate the distance. Thanks, Catherine.
CUT TO:
[INT. CSI - BALLISTICS LAB -- LATER]
(BOBBY and NICK figure it out.)
Bobby Dawson: So standard velocity for a nine millimeter b*llet is 1,100 feet per second.
Nick: How far does a nine millimeter b*llet have to travel before it slows down to 550 feet per second?
Bobby Dawson: Let's see.
(They put it in the computer and get a calculation.)
Bobby Dawson: Eighteen hundred feet. Whoa. We're talking six football fields.
Nick: Yeah, that would pretty much eliminate anyone that was in the Mitchell's front yard. Can a nine millimeter b*llet even travel that far?
Bobby Dawson: Hang on.
(BOBBY clears the screen and picks up a pen.)
Bobby Dawson: All right. If a nine millimeter were fired straight ... it'd go about 600 feet before gravity brought it down, but if a b*llet were fired at an angle ... could go a heck of a lot further.
Nick: That would account for the distance, but ms. Mitchell was sh*t at an eighty-five-degree angle. That's basically perpendicular.
Bobby Dawson: Um ... b*ll*ts are predictable.
Nick: People ... aren't.
(NICK looks at the photos in the file again. He thinks about it.)
(Quick flashback to: MR. MITCHELL and TODD are fighting. MARLENE MITCHELL steps between them to stop the fight.)
Marlene Mitchell: No, stop it!
(She's pushed back and falls back on the mattress with a b*llet hole in her chest.)
(End of flashback. Resume to present.)
Nick: I assumed she was standing.
(NICK reaches for the laptop and pen.)
Nick: Okay, this is the Mitchell's house,
(NICK puts the map of the community on the monitor.)
Nick: ... and by all eyewitness accounts, she was standing in front the house, facing away north, when she was sh*t, so this line represents the 1,800 feet our b*llet traveled.
(NICK calculates the 1800 feet away from the house.)
Nick: It had to have come from somewhere ... on that arc.
(A red line in an arc appears on the monitor.)
Bobby Dawson: Good luck knocking on doors.
(They both smile.)
CUT TO:
[INT. CSI -- HALLWAY]
(BRASS finds GRISSOM in the hallway.)
Brass: Here I'm looking for three guys, but you only found one hammer with blood on it, so who do you want me to follow?
Grissom: Me.
(GRISSOM turns and enters the lab. BRASS follows him.)
[INT. LAB - CONTINUOUS]
(WARRICK is in the lab sitting at the table at a laptop.)
Grissom: What's up?
Warrick: The shoe tread I found at the scene -- it's a world industries Diablo. It's a skate shoe. Size 11.
Brass: On a construction worker?
Warrick: Screams 'teenager', I know.
Grissom: Why is Gregory Curtwell hanging out with teenage boys?
Warrick: Well, he has a teenage sister.
Brass: And the sister and Brian Haddick were both students at McKinley high.
Grissom: I bet the shoe also goes to school there.
CUT TO:
[EXT. MCKINLEY HIGH -- DAY]
[INT. MCKINLEY HIGH - GYM - DAY]
(The kids wearing sneakers are in the gym sitting on the bleachers. WARRICK walks down the bleachers looking at their sneakers.)
Warrick: Nice kicks. I like those.
Teenaged Boy: Thank you.
Warrick: You guys play ball?
Teenaged Boy: Yeah.
Warrick: Yeah?
Teenaged Boy: Uh-huh.
Warrick: Nice backpack.
Teenaged Boy: Thanks.
(Cut to: BRASS walks with the PRINCIPAL along floors. The PRINCIPAL appears nervous at what's going on.)
Principal: We're treading a razor-thin line of illegal search and seizure here.
Brass: Now, I'm not a with you, but shoes are a plain-view item.
(BRASS leads the PRINCIPAL to GRISSOM.)
Brass: Anyway, here's the guy who's going to be investigating ...
(They're interrupted by a Father who walks along the floors. He motions to his son.)
Tyler's Dad: Tyler, come on, we're going.
(TYLER stands up and follows his dad who walks straight to the group.)
Tyler's Dad: Are you crazy? Do you know what my law firm does? You can't question these kids without a parent present.
Brass: We're not questioning them, which is why you're here-- so we can.
Tyler's Dad: (to the PRINCIPAL) Oh. And I'm holding you responsible.
Principal: Clark County Law Enforcement and I have taken every precaution to make sure that these students' rights were not violated.
Tyler's Dad: You are sequestering these kids without probable cause. I hate that I've been called out of work to come down here, and I'm going to be so far up your ass, you're not going to be able to sit down straight.
Grissom: You know what I hate? People who hurt kids. And you know who those people sometimes are?
Tyler's Dad: Cops?
Grissom: Other kids. If it had been your son whose skull was smashed in with a hammer, you'd be asking me where I was when I should've been protecting him. Kids bring g*n to school to sh**t other kids, so who are you protecting?
Tyler's Dad: Let's discuss it in court.
(TYLER'S DAD turns and leaves.)
Principal: (to BRASS) Excuse me.
(The PRINCIPAL follows him.)
Brass: Well, way to clear a room.
Principal: Those of you with parents here are dismissed, and the rest of you please wait here.
(Many of the kids stand up and head down the bleachers to the floor. One kid who doesn't move continues to sit there as if he knows that his parents aren't in that group mentioned. WARRICK looks at the kid and notices his sneakers.)
Warrick: Brass.
(BRASS walks over to WARRICK. They both see the blood on his sneakers.)
Warrick: Check this out.
Brass: Hey, bud. What's your name?
Benny Lizzio: Benny.
Brass: Benny, where's your father? Is he around?
Benny Lizzio: Uh, he's at home. Probably called in drunk.
Brass: Well, lucky for you, we make house calls.
(BRASS smiles.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. LIZZIO RESIDENCE -- DAY]
(MR. LIZZIO walks into the house to find his son, BENNY, with WARRICK and BRASS.)
Mr. Lizzio: You good for nothing little bastard ... I knew you stole that game thing. A hundred and twenty-five bucks, my ass.
Benny Lizzio: I told you. I bought that with my own money.
Mr. Lizzio: You talkin' back to me? Huh?
(MR. LIZZIO reaches out and whacks BENNY on the side of his head. BRASS breaks it up.)
Brass: Hey ... Let's sit down. Let's all sit down. Come on.
(MR. LIZZIO and BENNY both move over to the couch. BENNY sits down, but MR. LIZZIO remains standing.)
(BRASS sighs and moves over to WARRICK.)
Brass: Look, I'll take this. Let 'em argue diminished capacity after the fact.
Warrick: You think they know how a DNA test works?
Brass: I don't know. Let's find out.
(BRASS turns to MR. LIZZIO.)
Brass: Mr. Lizzio, do you mind if we test Benny's sneaker for DNA?
Mr. Lizzio: You do what you got to do, officers.
Warrick: Lift your right shoe, please.
(WARRICK takes the sample and tests to see if it's human.)
Warrick: We got a problem. The blood on your shoe is a match to Brian Haddick's.
(WARRICK flips the test to show them.)
Warrick: DNA doesn't lie.
Brass: So, do you want to tell us how a d*ad kid's blood ended up on the bottom of your sneaker, Benny?
Mr. Lizzio: Yeah, Benny. Why don't you tell us that?
Benny Lizzio: Sometimes I go to the construction site just to hang out.
(Quick flashback to: BENNY walks through the construction site. He's distracted with trying to get a cigarette out of the carton when he realizes that he's nearly upon the body. He backs away, but not before leaving behind the shoeprint.)
(End of flashback. Resume to present.)
Brass: So, you just, uh ... happened upon it? Didn't report it to anybody?
Benny Lizzio: I was trespassing. I didn't want to get in trouble.
Warrick: Mr. Lizzio, would you mind if I took a look around?
Mr. Lizzio: Be my guest.
(WARRICK looks around as BRASS keeps MR. LIZZIO occupied.)
Brass: Mr. Lizzio, why don't you sit down? We're going to be a while, okay? You been drinking today, Mr. Lizzio?
Mr. Lizzio: Couple of beers.
(WARRICK leaves the room and looks around. He walks into the garage and finds a tube of lip gloss on the chair. He looks at the CDs. He then sees the smashed watermelons on the floor on the plastic. He sees the hammer on the shelf.)
(Quick flashback to: Watermelons are being smashed with the hammer. End of flashback. Resume to present.)
Warrick: Practice makes perfect.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS puts a tape recorder down on the table as he starts his interview with BENNY LIZZIO.)
Brass: So, Benny, for the record, you've waived your right to have your parent or an advocate present.
Benny Lizzio: Yep.
Brass: So, how do you know Brian?
Benny Lizzio: We hung out a few times when we were freshmen.
Brass: You know Gregory Curtwell?
Benny Lizzio: Ashley's brother? Yeah. He bought me beer a couple times.
Brass: Oh, so you know Ashley, too?
Benny Lizzio: Yeah. I'm a friendly guy.
Brass: Well, that's good, Benny, because...
(BRASS clears his throat and sits down.)
Brass: ... you're looking at m*rder. And if you're friendly and you cooperate, and you tell me what happened to Brian Haddick, maybe I can cut you a deal.
Benny Lizzio: Ain't gonna happen. I'm no snitch.
Brass: You want to tell me about those melons at your house? You looking to be another Gallagher? You know who that is?
Benny Lizzio: Since when is whacking fruit a crime?
Brass: When it's practice for whacking people.
(BENNY nervously looks away for a moment.)
Brass: Your hammer had Brian's blood all over it. Understand something, Benny, I'm talking about months versus years of juvenile detention. It's your call.
Benny Lizzio: (shrugs) They got cable? Food? My dad locked on the outside? Sounds good to me. Besides, I'm a minor. By the time I'm 21, it's like it never happened.
CUT TO:
[INT. CSI - LAB]
(As he puts on his gloves, GRISSOM walks into the lab. GREG follows. WARRICK and SARA are already there. WARRICK looks up.)
Warrick: Did he roll?
Grissom: Brass says the kid is looking forward to going to jail.
Warrick: Hmm.
Grissom: So, what do we got here?
Warrick: It's hard to tell what's relevant and what's trash. This is everything we brought back from Benny's party room.
(GRISSOM picks up the small evidence bag of rubber bands. He looks at it unable to make heads or tails of what it is.)
Grissom: Are these ... ?
(He looks at SARA.)
Grissom: Spaghetti-oh's?
Sara: I don't think so.
Greg: Nah. Nah, those would be orthodontic rubber bands. Hook 'em to your braces, uh, upper to lower. Helps pull the jaw in the right direction. Also great for flinging. Yeah, I had it all -- palate expander, braces, retainer, head gear. Ah, five years of misery, but worth every penny, don't you think?
(GREG looks at SARA and grins, showing her his perfect teeth. GRISSOM opens the bag of lip gloss. He opens the lip gloss and smells it.)
Greg: Um, there might be some saliva residue on them. I can see what I can pull off, if you want.
Sara: Yeah. Would you?
Greg: Well, you're going to need something. Strike three on the knuckles.
(GREG hands SARA the test results.)
Warrick: Benny's DNA doesn't match. Gregory's doesn't match. Ashley's doesn't match. Who did this guy h*t?
Grissom: Greg, test both of these.
(GRISSOM hands GREG the two evidence bags.)
Grissom: If a third guy has braces, it may explain the strange pattern on Brian's hand.
Sara: It's probably another student, but Benny's not talking.
Warrick: Benny has a party room, right? You can't have a party without the music. I found some new CD's in his room.
(GRISSOM looks at the CD's in the evidence bag.)
Grissom: What's "C & D"?
Warrick: It's like a music club, twelve CDs for the price of one.
(GRISSOM looks at the address label:
GILBERT, AARON
7748 CANYON AVE
LAS VEGAS, NV 89123
Grissom: And Aaron Gilbert was...?
(SARA picks up a piece of watermelon and looks at it.)
Warrick: (to GRISSOM) The deejay maybe?
Sara: You know, at this time of year, watermelon isn't cheap, particularly organic. Maybe the music isn't the only thing that Aaron Gilbert brought to the party.
(SARA shows them the watermelon skin. GRISSOM looks at the sticker on the watermelon skin: GILBERT ORGANIC FARMS.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. RESIDENCE -- DAY]
(NICK and DET. SAM VEGA interview a YOUNG MOTHER in the community.)
Young Mother: Yeah, I heard g*n a couple of days ago. Johnnie, the idiot behind us, was playing like G.I. Joe in his backyard. I screamed out my window. I got kids, you know? Why do you want to know?
Nick: Just curious.
CUT TO:
[EXT. JOHNNIE'S RESIDENCE - DAY]
(NICK and DET. SAM VEGA interview JOHNNIE.)
Johnnie: She called you guys, right? It's like having a wife. g*n's brand-new. sh*t it one time. She told me to stop, I stopped.
Det. Sam Vega: Sir, you're going to have to tell us where that g*n is.
(JOHNNIE turns and heads back into the house to get the g*n.)
CUT TO:
(NICK has the g*n in his hand.)
Nick: And this is the g*n that you fired?
Johnnie: Yeah.
(NICK checks the cartridge.)
Nick: Empty ten-round magazine.
Det. Sam Vega: It was full when you started?
Johnnie: Yeah.
(NICK walks over to the target board JOHNNIE set up at the end of the yard. He checks out the holes.)
Nick: I, uh, only count nine holes in your target.
Johnnie: I must have missed one.
Nick: Oh, you didn't miss.
(Quick flashback to: [EXT. BACKYARD - DAY] JOHNNIE is out in his back yard f*ring his g*n at the board.)
(The YOUNG MOTHER next door leans out and shouts.)
Young Mother: Hey! You want to k*ll someone?!
(Distracted, JOHNNIE turns as he fires. The b*llet goes high into the air.)
(cc) YOUNG MOTHER: Put that thing away! I have kids!
(The b*llet comes down and hits MARLENE MITCHELL in the chest.)
(End of flashback. Resume to present.)
(SAM VEGA puts the handcuffs on JOHNNIE.)
Det. Sam Vega: Just nice and easy.
Nick: You see, your neighbor didn't lose her kid, but six blocks away, a guy lost his wife.
Johnnie: It was just a little target practice.
Nick: And that's why it's illegal to discharge firearms within the city limits, genius.
(NICK turns and leads VEGA and JOHNNIE out the backyard.)
CUT TO:
[INT. McKINLEY HIGH SCHOOL - LOCKERS - DAY]
(BRASS, WARRICK and SARA walk up to AARON GILBERT.)
Brass: Aaron Gilbert?
(AARON removes the ear phones.)
Aaron Gilbert: Yeah.
Brass: I'm detective Brass, Las Vegas police. We need to talk.
Aaron Gilbert: Oh, dude, I got to get home. My mom's waiting for me and my brother.
Warrick: Oh, we talked to your mom.
Sara: Yeah, she gave us your hammer and this.
(SARA shows AARON a twenty dollar bill with a bloody print on it.)
Jared: Yo, Dawg, we going or what?
(SARA turns and sees another boy walk up to AARON. JARED has a cut on his upper lip.)
Warrick: Or what ... Dawg.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM A]
(BRASS interviews AARON GILBERT in the presence of a Child Advocate.)
Brass: That's a nice walkman you had. What'd that cost? 125 bucks? Same as Benny's gameboy. Same as your brother's secret stash.
(AARON doesn't say anything.)
Brass: Speaking of Benny, he's not too smart, is he? He wouldn't give up you and your brother for a lesser sentence. You know what? There's an opportunity here, and I think you got more on the ball than Benny. Tell me what happened.
(Camera pans over from one interview room into the next one.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM B]
(WARRICK interview JARED GILBERT in the presence of a Child Advocate.)
Warrick: Jared ... ain't braces a bitch? I see that cut on your lip. Is that where Brian h*t you? They do make for a good impression though.
(WARRICK pushes the photo of the bruises from BRIAN'S knuckles on the table toward JARED.)
Warrick: See all these grooves here? It's perfect for storing DNA. That would be your DNA. Look, Jared, I'm not a cop, but if you tell me what happened, I will put in a good word for you.
CUT TO:
[INT. CSI - BREAK ROOM]
(The team meets and discusses the case.)
Sara: We have a problem. We have three hammers and four suspects.
Warrick: Well, the Gilbert brothers both seem ready to go down for it.
Brass: And Benny can't wait to go to jail.
Sara: If they were defending Ashley against an attacker, why not say so?
Grissom: They weren't. The smashed watermelon suggests the whole thing was premeditated.
Sara: Making the motive robbery?
Warrick: Well, Benny, Aaron and Jared each had about $125 worth of cash and assorted prizes.
Grissom: $375. Brian's parents said that he was being paid $500 every two weeks. Cash under the table.
Sara: It was payday, so who got the other $125?
Warrick: Well, Gregory Curtwell makes good money. Hundred twenty-five bucks is a spit in the ocean for a construction worker. If he wasn't defending his sister, then he has no motive.
Brass: Well, if he didn't do it, how did his hammer end up with Brian's blood on it?
(SARA looks at ASHLEY'S receipts.)
Sara: Clothing-- $85; earrings - $30; coffee-- four dollars. Getting away with m*rder ...
Grissom: ... priceless.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(SARA re-interviews ASHLEY CURTWELL.)
Sara: That hand that holds the wallet is the hand that rules the world. Huh, Ashley?
(SARA puts the photos on the table to show ASHLEY.)
Sara: Your fingerprint in Brian's blood on Jared's money. This is what we call
"completing the triangle."
Ashley: Okay. So he att*cked me, and I did see who defended me. But I didn't want to get my friends in trouble, and the money was for, like ... like, pain and suffering.
Sara: (interrupts) You weren't att*cked, Ashley. Brian was. We figured none of the boys wore cotton candy, so we had it tested.
(SARA puts the evidence bag with the lip gloss on the table in front of ASHLEY.)
Sara: Turns out you were at Benny's house, too.
(Quick flashback to: [BENNY'S HOUSE] ASHLEY puts on her lip gloss. She jumps up on the couch as the boys circle the watermelons with their hammers.)
Ashley Curtwell: Let's do it!
(Hard rock music plays in the background as ASHLEY urges the boys on.)
Ashley: Come on, guys! Whoo!
(The boys use the hammers and pulverize the watermelons.)
(End of flashback. Resume to present.)
Sara: At the mall, you weren't in shock, you were celebrating.
(Quick flashback to: ASHLEY shopping at the mall. End of flashback. Resume to present.)
Sara: Your brother was up in Tahoe this past weekend, wasn't he?
Ashley Curtwell: He goes away almost every weekend.
Sara: (interrupts) You know, I'm done with the Ashley pity party. My guess is Aaron and Jared only had one hammer, but you had access to your brother's tools. Why Brian?
Ashley Curtwell: Before he went straight, we were buds, but then he got too good for us, but he wasn't too good to want to get with this.
(Quick flashback to: [CONSTRUCTION SITE - NIGHT] BRIAN and ASHLEY are at the site.)
Brian Haddick: Where do you want to do it at? ASHLEY CURTWELL: Right here. BRIAN HADDICK: In here? ASHLEY CURTWELL: Yeah.
(BRIAN unbuckles his belt and lowers his pants. ASHLEY laughs and pulls away.)
Ashley Curtwell: (laughs) Stop.
(The other boys walk into the room.)
Brian Haddick: You set me up?
Ashley Curtwell: Get him!
(The boys begin to att*ck BRIAN, beating him with their hammers as they did the watermelons.)
Ashley Curtwell: Get him!
(Blood spurts everywhere.)
(End of flashback. Resume to present.)
Sara: You're not a victim, you were a lure. Do you know how many people don't report a r*pe because they're afraid that no one will believe them?
Ashley Curtwell: (wide-eyed) Of course. It's what I was counting on.
Sara: I'm going to do everything in my power to make sure that you're tried as an adult.
Ashley Curtwell: Good luck. I dress up real nice -- couple barrettes, little lace collar, two d*ad parents. I'll be the saddest little girl in the world.
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x10 - Coming of Rage"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - MGM GRAND -- NIGHT]
(Lightning flashes; thunder crashes.)
Man: (V.O.) I saw you with him. I know you're lying.
Woman: (V.O.) (screaming) You've got it all wrong. I'm telling you. Nothing happened.
(Quick flash to: The MAN wraps the belt around the woman's neck and chokes her.)
Man: Nobody cheats on me.
(The WOMAN continues to scream and yell.)
Man: I hate you. How could you do this to me?
(The MAN chokes the WOMAN. She struggles.)
Lizette: (V.O.) His fingerprints were all over that belt.
[INT. CONFERENCE ROOM - DAY]
Lizette: That's the only way it could have happened.
Bob Durham: I'm with Lizette, all right? We heard from the D.A. They called the cops last week on a domestic disturbance.
Davis: Kimble was just getting warmed up. Believe me. I know the type.
Brown-haired Juror: Husband was a casino host. Just happens to come home in the middle of a shift? Come on.
Jervis: Oh, look, we've really talked this thing to death, haven't we?
Tara Newsome: (stilted) Chris, can we please put this to another vote?
(CHRIS looks around the table at the faces of the other anxious jurors. After a long pause, he comments.)
Chris Gibbons: The burden of proof is beyond a reasonable doubt.
(Everyone lets out a frustrated breath.)
Chris Gibbons: We don't have that. There was somebody else in the house that day. The cable guy.
(Quick flashback to: The CABLE GUY is choking MRS. KIMBLE when MR. KIMBLE comes in and breaks it up.)
(End of flashback. Resume to present.)
Chris Gibbons: Cable guy's got priors. He skipped town.
Bob Durham: You're still on the cable guy theory? His fingerprints weren't even on the belt.
(JERVIS bites his nails nervously.)
Chris Gibbons: He could have worn gloves.
Jervis: (frustrated) I can't take this anymore!
(JERVIS stands up and goes to the window. He opens it.)
Jervis: Who keeps shutting this damn window?
Lizette: Lunch will be here soon. Let's take a break.
(Everyone stands up.)
CUT TO:
[HALLWAY NEAR VENDING MACHINES]
(JERVIS stands at the vending machine with the DARK-HAIRED WOMAN.)
Jervis: This guy is driving me nuts.
(On the other side of the hallway, BOB DURHAM talks with DAVIS.
Bob Durham: We've got to get Chris Gibbons replaced.
Davis: Oh, I pointed him in the right direction, but he didn't snap.
(TARA NEWSOME walks up to the JERVIS:
Tara Newsome: I'd k*ll for a candy bar right now.
(The BAILIFF walks out into the hallway to make an announcement.)
Officer: Hey, people. Your lunch is getting cold.
(Everyone heads back into the conference room.)
CUT TO:
[CONFERENCE ROOM - DAY -- CONTINUOUS]
(The jurors open the double doors to the conference room and the group walks inside. They're preoccupied chatting with each other. Suddenly they stop and notice CHRIS GIBBONS lying on the floor d*ad.)
WHITE FLASH TO:
[INT. CONFERENCE ROOM -- DAY]
(GRISSOM ducks under the crime scene tape barring the doorway. He walks into the conference room carrying his kit. He meets BRASS who is standing over the body.)
Brass: Chris Gibbons, UNLV grad student. The jury's been sequestered two and a half weeks on a m*rder trial.
Grissom: Twelve strangers ... stuck in a room with no exit. It's like Sartre said: "Hell is other people."
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. COURTHOUSE -- DAY]
[CAMERA VIEW]
(The camera flashes on a close up of the cut on CHRIS GIBBON'S forehead.)
(White flash to:
[INT. COURTHOUSE - CONFERENCE ROOM - DAY]
(GRISSOM stands over the body taking pictures. BRASS walks up to him.)
Brass: What do you got?
Grissom: My early opinion? Blunt force.
(Quick flashback to: CHRIS GIBBONS sits at the conference table. Someone walks up to him, grabs his head and slams it against the table. End of flashback. Resume to present.)
(They both kneel down to look over the body. GRISSOM notices the bracelet.)
Grissom: He's got a, uh, medical alert bracelet. Allergy to penicillin.
Brass: Well ... we got eleven potential suspects.
(GRISSOM finds a strand of hair on the victim's shirt. He picks it up with a tweezer.)
(Camera zooms in for a close up of the hair.)
Grissom: Do you have one with blond hair?
Brass: Yeah. There's one I know of. Um, Miss Davis -- she's a stripper at The Shimmer.
(GRISSOM looks at the hair and notices that it doesn't have a tag.)
Grissom: There's no tag cells, and she's not a natural blonde, and it looks synthetic.
(BRASS stands over by the counter looking through the slips of paper.)
Brass: Hey, this is Vegas, baby.
(GRISSOM looks at BRASS.)
Brass: (reading) Guilty. Guilty. "Not Guilty." Eleven "guilty," one "not guilty." Now that's motive.
(BRASS turns to GRISSOM and holds up the slips of paper.)
CUT TO:
[INT. COURTHOUSE - HALLWAY -- DAY]
(The jurors stand out in the hallway talking amongst themselves. CATHERINE walks up to them.)
Catherine: (loudly) Excuse me. May I have your...?
(The crowd doesn't notice CATHERINE and continues conversing.)
Catherine: (louder) Excuse me. May I have your attention, please?
(The crowd slowly quiets down.)
Catherine: Thank you. I'm Catherine Willows. I'm from the crime lab.
(The BROWN-HAIRED JUROR gets to his feet.)
Brown-haired Juror: So it's a mistrial, right?
Tara Newsome: Can we go home?
Catherine: No. I'm sorry. No one is going anywhere. Ms. Davis. I'll start with you. Will you follow me, please?
(CATHERINE turns and leads MS. DAVIS off to another room. Conversation resumes with the other jurors.)
CUT TO:
[INT. COURTHOUSE - ROOM - DAY -- CONTINUOUS]
(CATHERINE interviews MS. DAVIS.)
Catherine: Miss Davis, we found a synthetic blond hair on the victim's body. Care to explain?
(MS. DAVIS removes her wig.)
Davis: Girl to girl. I'm a dancer. I came off the pole. I teased him a little bit.
(Quick flashback to: CHRIS GIBBONS stands in front of the vending machines. MS. DAVIS approaches him and leans her back against the machines, looking at CHRIS.)
Davis: I need a release, so why don't you get us out of here, and I'll ...
(She moves closer to him, her arms around his neck and whispers into his ear.)
(End of flashback. Resume to present.)
Catherine: Did he take you up on your offer?
Davis: Well, if you ask me, arguing was his turn-on.
Catherine: Lucky for you. Attempting to influence is a category D Felony. It's up to four years in prison and a $5,000 fine.
Davis: Am I under arrest?
Catherine: Woman to woman? The pole is there for a reason. It's what you hang on to so the creeps don't pull you out of there. Smarten up.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(NICK is at the front counter signing some papers.)
Nick: Thanks, man.
(He finishes and heads out when DETECTIVE VARTANN rounds the corner and finds him.)
Det. Vartann: Stokes.
Nick: Detective. Hey.
Det. Vartann: Hey. You've got a minute?
(They shake hands.)
Nick: Yeah. Sure, what's up?
Det. Vartann: Four years ago, you and Grissom worked a missing persons out in Moapa Valley? She lived on a farm with her husband?
Nick: Wow. Um ... (trying to remember) ... yeah, I remember uh-uh, Rita?
Det. Vartann: Rita Westonson.
Nick: Found nothing suspicious. Nothing criminal. Figured she wanted to skip town, disappear.
Det. Vartann: Rita's sister is in interrogation. She's claiming Rita was m*rder.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(NICK and DET. VARTANN interview FAYE MINDEN.)
Nick: Faye, it's been four years since your sister went missing. Now, CSI conducted a full investigation -- found nothing suspicious, nothing criminal. Why are you coming forward now?
Faye Minden: I lied to you back then, and I live with the guilt every day.
Det. Vartann: Miss Minden? It's my duty to advise you of your right to counsel.
Faye Minden: I don't want an attorney. I admit I withheld information. That's why I'm here. And if I have to go to jail, so be it. I just want to do right by my sister.
Nick: Okay. Let's start from the beginning. Your sister disappeared over a weekend ...
Faye Minden: Rita didn't disappear. Her business trip to Fresno got cut short, and she came home early.
(Quick flashback to: The barn door opens and RITA WESTONSON sees her husband AARON with another woman.)
Faye Minden: (V.O.) And she found Aaron, her husband, in the barn with another woman.
(End of flashback. Resume to present.)
Faye Minden: Rita freaked out and started screaming and saying she was going to leave him. Aaron saw red and lost it.
(Quick flashback to: RITA is h*t and she falls to the ground. AARON stands over her.)
(End of flashback. Resume to present.)
Nick: Now if memory serves, her husband had an alibi?
Faye Minden: Yeah. He was camping in red rock with Harris Mathey.
Nick: That's his business partner, right?
Faye Minden: Yeah, but Harris owed Aaron a lot of money. He would have said anything.
Det. Vartann: If that's true, Mr. Mathey is guilty of conspiracy after the fact.
Faye Minden: He died last month. And he's the only one who knew, besides me.
Nick: Do you know what Aaron did with Rita's body?
(She looks at NICK and nods.)
(Quick flashback to: AARON carries RITA'S body and puts it in a barrel. He slides the barrel to the back of his truck and fills the barrel up with gas.)
(End of flashback. Resume to present.)
Faye Minden: He drove her out to the river, about a half mile from his farm, and, um, set her on f*re. She b*rned all night, and then in the morning, he dumped her ashes in the water.
Det. Vartann: Miss Minden ... how did you come across this information?
(She looks at them both.)
Nick: You were the other woman.
CUT TO:
[EXT. COURTHOUSE (STOCK) - DAY]
[INT. COURTHOUSE - CONFERENCE ROOM -- DAY]
(Camera opens on a close up of a blood-stained window handle. WARRICK swabs the blood and tests it. SARA'S also in the room and she's writing on a clipboard.)
Warrick: Hey, Sara. Any jurors have blood on their hands?
CUT TO:
[INT. COURTHOUSE - INTERVIEW ROOM -- DAY]
(CATHERINE interviews MR. JERVIS as he bites his nails.)
Catherine: Mr. Jervis. Why are your fingers bloodied?
Jervis: You ever been on a jury before?
(Quick flashback to: The jury sits around the table.)
Lizette: How many grad students does it take to screw in a lightbulb?
Jervis: I can't take this anymore!
(JERVIS surges to his feet and heads for the window to open it. He uses his hand, the one that he's been biting, and opens the window leaving a smudge of blood on the opener.)
(End of flashback. Resume to present.)
Jervis: It's the worst experience of my life.
Catherine: Would you hold your hands up for me, please?
(CATHERINE walks over to him as he holds out his hands over the table, palms down.)
Jervis: The case was a lock anyway. I mean, Kimble obviously had...
Catherine: Mr. Jervis. I need to remind you that you're still under judge's orders not to discuss the case.
(CATHERINE puts on her gloves.)
Jervis: That's great. This guy's d*ad, and I still can't go home? Let me tell you something.
(CATHERINE swabs JERVIS' bloodied fingertips.)
Jervis: From the very beginning, day one day after day, this guy is the only holdout. Do you want to know what my boss calls me? "Mr. Replaceable".
(Quick flashback to: The jury argues around the table while CHRIS GIBBONS sits at the head smiling, watching yet not participating . JERVIS sits next to him and finally blows up. He grabs CHRIS GIBBONS by the arms.)
Jervis: (V.O.) (yelling) I had to get back to work.
(End of flashback. Resume to present.)
Jervis: I lost my temper.
Catherine: You sure it's lost?
(JERVIS looks at CATHERINE.)
CUT TO:
[INT. CSI - LAB -- DAY]
(NICK takes out the photos from the closed case box and goes through them. GRISSOM walks past the evidence room and finds NICK looking over the file. He walks into the room.)
Grissom: Homicide just called. They're reopening the Rita Westonson case based on new information from the eyewitness?
Nick: File's thinner than I remembered.
Grissom: You think we missed something?
Nick: We figured she skipped town, wanting to disappear. At the time, that was a reasonable conclusion based on the evidence.
Grissom: Does the witness seem credible to you?
Nick: Well, if she's lying, she's obstructing justice and wasting my time, but if she's telling the truth, we may have closed the investigation early.
Grissom: At the time, you were a level two, I believe. So closing the case would have been my decision.
Nick: Yeah, it would have. I'm checking out her story. I'll see if it holds up.
Grissom: Let me know.
Nick: Mm-hmm.
(GRISSOM walks out of the lab.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS goes over CHRIS GIBBONS' body with SARA.)
Robbins: Blunt-force trauma didn't k*ll him. But this might have.
(He points to the hives covering CHRIS GIBBONS' chest.)
Sara: Hives? Whoo. Severe allergic reaction.
Robbins: Cause of death: Anaphylactic shock. Outer skin becomes irritated, the eyes inflamed, throat closes ...
(Quick CGI POV of the throat as the camera pulls back. The walls in the throat constrict and the person gasps. Camera pulls back out through the mouth. End of CGI POV. Resume to flashback of CHRIS GIBBONS standing in the conference room choking.)
(CHRIS falls and hits his head against the table.)
(End of flashback. Resume to present.)
Sara: He was allergic to penicillin, but that's not the kind of thing you can just easily slip someone.
Robbins: No, but you can inject it.
(ROBBINS moves further down the body and lifts up the sheet to show SARA the puncture wound in CHRIS GIBBONS' thigh.)
(Camera zooms in for a close up of the puncture wound.)
Robbins: Puncture wound is consistent with a hypodermic needle.
Sara: He wore a medic alert bracelet. Everyone hated him, and everyone knew how to k*ll him.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. MOAPA VALLEY -- DAY]
[EXT. WOODS NEAR RIVER - DAY]
(FAYE MINDEN shows NICK and DET. VARTANN where the body was b*rned.)
Faye Minden: Haven't been back here since that night. Sometimes it feels like yesterday; sometimes it feels like it never happened. Funny, the things you remember.
(She looks around and continues walking. NICK eyes her strangely. She comes to an area and slows as she takes in the place.)
Faye Minden: Who could've imagined?
(She sighs.)
Faye Minden: This is it. This is the spot under the tree.
(DET. VARTANN points.)
Det. Vartann: You sure?
Faye Minden: Yes. This is where Aaron b*rned her body.
(Quick flashback to: [NIGHT] AARON lights a match over the barrel as FAYE watches. Inside the barrel is RITA'S body in gasoline, her d*ad eyes wide open and staring at nothing. He tosses the match in and watches it burn.)
(End of flashback. Resume to present.)
Faye Minden: I remember the ... yucca plant was flowering.
(DET. VARTANN turns around to look at the plant. NICK steps forward to look at the burn spot.)
Nick: Right here?
Faye Minden: Yes.
(NICK kneels down and takes out a large bag and a small hand shovel.)
Faye Minden: What are you doing?
Nick: Well, if Rita's body was incinerated here, the gasoline fumes would have settled into the soil...
(Quick flashback of: [NIGHT] Ash from the burning falls onto the ground.)
(End of flashback. Resume to present.)
(NICK shovels up some dirt and puts it in the bag for testing later.)
Nick: ...and trace amounts of hydrocarbon would still be detectable.
Faye Minden: (nods) Good.
(He looks up at her.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(DORSEY takes out the dirt from the bag and while some nifty music plays in the background, he tests it.)
CUT TO:
[INT. CSI - TRACE LAB - DAY -- LATER]
(DORSEY looks over the results when NICK walks into the lab.)
Nick: Mr. Dorsey.
Dorsey: I just analyzed your dirt. Where there's smoke, there's f*re, and where there's no smoke ...
(He holds out the test results for NICK who grabs it.)
Nick: There are no hydrocarbons. Damn.
(NICK looks at the report.)
Nick: There's no evidence of gasoline whatsoever. Where's Hodges?
Dorsey: Conference in San Francisco. Total boondoggle. Three days of sourdough and seafood. (DORSEY glances around and lowers his voice confidentially.) By the way ... I heard the rumor, and I'm sorry.
Nick: What rumor?
Dorsey: Everybody on the day shift says that you deserved that promotion. You ask me, Grissom only gave Sara a higher evaluation because of their history.
Nick: He gave Sara ... ?
(DET. VARTANN walks into the lab.)
Det. Vartann: Hey. You get anything?
Nick: Well, science seems to have trumped the eyewitness. That story doesn't hold up.
Det. Vartann: I may know why. I ran a background. Faye had two sisters --
Rita, older and Terry, younger. Now get this -- a couple weeks ago Terry and Aaron ... got engaged.
CUT TO:
[INT. CSI - HALLWAY - LAB -- DAY]
(CATHERINE sees GRISSOM in the lab and rushes through the hallway toward him.)
Catherine: Hey, Gil.
(GRISSOM finishes up with the tech and turns to walk out of the lab to meet CATHERINE and they walk down the hallway together.)
Catherine: So tox came back on Chris Gibbons. He may have been allergic to penicillin but didn't have any in his system.
Grissom: We sent a sample of his pants to trace. The area around the injection mark ...
(GRISSOM shows CATHERINE the file folder.)
Catherine: Epinephrine. So maybe Mr. Gibbons had an allergic reaction to something else. Such as...?
(She hands the folders back to GRISSOM.)
Grissom: I don't know, but if Gibbons knew he was severely allergic, I bet he carried one of those auto-injector pens.
Catherine: So we're looking for a used hypodermic.
Grissom: And another allergy.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(CATHERINE goes to talk with GREG.)
Greg: (shakes his head) I'm not the allergy ace. I'm trying to get out in the field, and you're multitasking me in the lab.
Catherine: Greg, I'm the one that actually put you on a case, not just talked about it.
Greg: You're also the one who took me off the case.
(GREG stands up and heads for the lab table. CATHERINE turns around and follows him.)
Catherine: You know what? You started, and you gave me six strong innings, and I brought in the closer. What's wrong with that?
Greg: So what am I? Fish or fowl?
Catherine: Fish -- that's a good place to start. I need you to check the victim's blood for shellfish, egg whites, nuts and soy.
Greg: The biggies.
(GREG takes the paper from CATHERINE.)
Catherine: (smiles) Got to start somewhere.
(CATHERINE leaves.)
CUT TO:
[INT. CSI -- DNA LAB -- LATER]
(GREG processes the blood.)
CUT TO:
[INT. COURTHOUSE - CONFERENCE ROOM -- EVENING]
(WARRICK hangs up and turns to look at SARA.)
Warrick: That was Catherine.
Sara: What are we looking for?
Warrick: Nuts. Specifically those that begin with a "P."
(SARA nods.)
(Cut to: WARRICK takes out BOB DURHAM'S lunch from the box. He puts it on the table in front of his name card.)
(Cut to: SARA kneels down and goes through CHRIS GIBBONS' lunch.)
(WARRICK sees something under the lunch delivery box. He moves the box aside and finds some broken peanut skin. He picks one up with the tweezers. Camera zooms in close.)
Warrick: Take me out to the ball game.
Sara: Buy me some peanuts.
(WARRICK looks and finds some peanut shells under GIBBON'S seat.)
Warrick: There's peanut skins under Mr. Durham's seat.
(SARA pushes her chair back and also checks the floor. She sees something.)
Sara: That's very interesting.
(She picks up some peanut shells.)
Sara: There's peanut shells under Mr. Gibbon's seat.
Warrick: Mr. Gibbons couldn't eat peanuts. What are they doing under his seat?
Sara: Let's ask Mr. Durham.
CUT TO:
[INT. COURTHOUSE - CONFERENCE ROOM -- DAY]
(SARA and WARRICK interview BOB DURHAM.)
Bob Durham: Just 'cause he's allergic doesn't mean I can't have them.
Sara: Chris Gibbons died from a severe allergic reaction. You were the only guy in the jury room who was eating peanuts. You might have k*lled him.
Bob Durham: I was only messing with his head.
(Quick flashback to: BOB DURHAM pops peanuts into his mouth and flicks the empty shells at CHRIS GIBBONS. It nearly hits him.)
Chris Gibbons: What are you trying to do, k*ll me? I'm allergic!
(He flicks another peanut shell and it hits him in his arm.)
Bob Durham: You're a hypochondriac.
(CHRIS GIBBONS rolls up his sleeve and shows him the welt on his arm.)
Chris Gibbons: Does that look like hypochondria to you?
(End of flashback. Resume to present.)
Bob Durham: Look, I didn't know that just by touching a shell it would send him into some kind of fit.
(Quick flashback to: CHRIS GIBBONS starts to gasp and cough in front of the other jurors. He reaches into pocket for the syringe and sticks it in his leg. He sits back down in his chair.)
(End of flashback. Resume to present.)
Bob Durham: I apologized.
Sara: None of the other jurors mentioned anything about Chris throwing a fit.
Bob Durham: Hey, look, it wasn't that big of a deal. I mean, we went back to work, deliberated for a couple hours ... the guy was fine.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. POLICE DEPARTMENT -- EVENING]
(NICK and DET. VARTANN re-interviews FAYE MINDEN.)
Nick: You withheld information.
Faye Minden: No, it's not like that. You don't understand.
Nick: They why didn't you tell us about your younger sister?
Faye Minden: Because I knew it would come to this. I was dumped by Aaron for my younger sister. I was hurt and angry and jealous, and I wanted to get back at him, so I falsely accused him of k*lling Rita. I am not jealous of Terry. I'm scared for her. I don't want her to end up like Rita.
Nick: Did your relationship with Aaron end amicably?
Faye Minden: It ended. After the night he k*lled Rita, I saw him handful of times. I want nothing to do with him.
Det. Arten: So why not warn Terry? Tell her what you told us.
Faye Minden: Because she's in love with him. If I told her what Aaron did to Rita, she'd run right to him. "Crazy Faye always causing trouble." Aaron would like nothing more than to drive a wedge between me and my sister. I've seen what he's capable of.
(Quick flashback to: AARON pushes FAYE to the ground and shows her the barrel with RITA inside.)
Faye Minden: (V.O.) That night he made me help him.
(End of flashback. Resume to present.)
Faye Minden: Her eyes were still opened.
Nick: It was muddy?
Faye Minden: Yeah.
Nick: Okay, was it raining?
Faye Minden: No, not that night. It was a wet winter.
(NICK nods.)
Faye Minden: Say you believe me.
CUT TO:
[INT. CSI - LAB ]
(WARRICK sifts through the trash and finds the used injector.)
Warrick: One auto-injector... used.
Sara: That's substantiates Bob Durham's story that Gibbons had a reaction to peanut shells.
(WARRICK puts the used auto-injector in a baggie.)
Warrick: What do you want to bet he only brought one of these with him.
(SARA goes through CHRIS GIBBONS' chili.)
Sara: Well, he was sequestered. He couldn't exactly go out and get another one.
Warrick: Ah, he was later held defenseless against the att*ck of the k*ller peanut.
Sara: I guess it's possible. We're not finding anything in Chris Gibbon's chili. No peanuts, no shells, no skins.
(WARRICK finds a partially crushed soda can with peanut butter smudged on the mouth hole. He smells it. Inside the can, he finds a discarded peanut butter wrapper.)
Warrick: What about peanut butter?
(Camera zooms for a close up of the wrapper. WARRICK removes the wrapper from the can.)
Warrick: In an individually wrapped tube?
Sara: That could belong to any of the jurors.
(SARA goes through the chili and finds a clump of peanut butter.)
Sara: Hold up. This looks like peanut butter right here. Someone was doing more than just flicking peanut shells.
(Quick flashback to: A hand squeezes out the peanut butter into the chili, then mixes it into the chili.)
(End of flashback. Resume to present.)
Sara: If Gibbons had that severe a reaction to peanut shells, imagine what eating peanut butter would do to him.
Warrick: Yeah, that's more than just messing with a guy's head.
Sara: That's m*rder.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(SARA catches GRISSOM in the hallway.)
Sara: Hey, defense motioned for a mistrial. Suspicion of jury tampering.
Grissom: Based on peanut butter in the chili? How does a juror benefit from Gibbons' death?
Sara: I don't know. Lone hold out, now they get to go home?
Grissom: That's nuts. The risk isn't worth the reward.
Sara: Well, Warrick's still working on that print.
Grissom: Good. What are you working on?
(SARA stops walking; GRISSOM turns and leaves. She shakes her head, then turns.)
CUT TO:
[EXT. MOAPA VALLEY -- DAY]
(NICK heads out to the burn site. He tests the soil with an M-300 soil moisture meter. It reads 18%.)
(Dissolve to: NICK cuts off several branches off the tree nearby.)
CUT TO:
[INT. CSI -- LAB]
(NICK studies the rings of the tree branches. GRISSOM walks into the lab carrying the soil report.)
Grissom: So the soil doesn't support the eye witness testimony.
Nick: No. So I stuck a moisture testing probe into the ground at the burn site, registered 18%. Now anything over 10% is indicative of full saturation over the last couple of years.
Grissom: The river might have washed away all trace of hydrocarbons.
Nick: Exactly, but before it washed away, some of the hydrocarbons could have seeped into the ground into the tree's roots. Roots carry nutrients to the tree. Some of the hydrocarbons could have hitched a ride. Oaks don't bear fruit, but this one bears witness.
(NICK turns around to the board where he has more than 18 photos of the tree rings posted. He explains it to GRISSOM.)
Nick: Every year, a branch grows a new ring composed of alike, dark band. Counting from the outside in, going back four years -- one, two, three, four ...
Grissom: The ring from four years ago is thinner and distorted.
Nick: Yeah, the same distortion is present in ring four of every branch.
Grissom: And distortion could mean evidence of a toxic event.
Nick: I'm thinking the burning of gasoline under the tree.
Grissom: How are you going to prove it?
Nick: (holds up the branch piece) Saw dust.
(NICK turns and leaves the lab. A tiny smile crosses GRISSOM'S face.)
CUT TO:
[INT. TRACE LAB -- DAY]
(DORSEY takes a sample of sawdust from the tree branch and starts to test it.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(DORSEY catches up with NICK in the hallway.)
Dorsey: Nick, I think you're going to like this.
(DORSEY hands the report to NICK.)
Nick: Affirmative for hydrocarbons. Now we're talking.
(NICK continues down the hallway, DORSEY tagging along.)
Dorsey: Nick, no offense, but proving the boss wrong is not the quickest path to career advancement.
CUT TO:
[INT. COURTHOUSE - HALLWAY -- DAY]
(SARA talks with the BAILIFF.)
Bailiff: The trial lasted four weeks. They've been locked in deliberations for two and a half.
Sara: Sequestered?
Bailiff: Well, it's a high-profile case. Judge Slater limited contact, censored newspapers, no television, shuttle between here and their hotel. That's a juror's life.
Sara: What about the food, how does that work?
Bailiff: This case, uh, jurors had breakfast and dinner at the hotel. Lunch, I brought in a menu, they order ...
(Quick flashback to: The BROWN-HAIRED JUROR (MALE) grabs the menu from CHRIS.)
Brown-haired Juror (male): Gee, let me guess. For the 17th day in a row, you're going to order chili.
Chris Gibbons: Oh, now you're criticizing my food choices.
(End of flashback. Resume to present.)
Sara: Chris Gibbons had chili the day he died.
Bailiff: Yeah, the guy had food allergies. We had one place we ordered from. He had chili every day.
Sara: Did jurors have access to these vending machines?
Bailiff: Uh, yeah, that's why they're here. It's their nickel. I mean, they got to have something. They're away from their families.
(Camera shows us the peanut butter in the vending machine.)
Bailiff: I have all their cell phone ... well, almost all of them. Caught a guy double packing.
(Quick flashback to: The BROWN-HAIRED JUROR (MALE) casually removes his cell phone tucked inside his socks as it beeps from its low batter.)
Brown-haired Juror (male): Can't anybody make a battery that lasts more than a couple of hours?
(The BAILIFF walks up to him.)
Bailiff: Give it up.
(End of flashback. Resume to present.)
Bailiff: Hey, I confiscated his primary at the beginning of deliberations, but I don't do cavity searches.
(SARA chuckles.)
Sara: How do you burn out your cell phone battery when you're not allowed to use your phone?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and SARA interview the BROWN-HAIRED JUROR.)
Brown-haired Juror (male): They don't make cell phones like they used to.
(SARA looks over his cell phone.)
Sara: That's true, actually. Now they make them better. Did you know that this one takes pictures? And having met your fellow jurors, I think you really captured them.
Brass: Okay, let's start with the misdemeanor. Cell phones and cameras or cell phones with cameras are prohibited in the jury room. Somebody must have told you that.
Brown-haired Juror (male): See, after a while they're family. I-I thought I could throw a scrapbook together for everyone for after the trial.
Sara: Oh, and-and when where you planning on handing that out? At Mr. Gibbons' funeral? I guess you would consider the folks at the credit company family, too.
Brown-haired Juror (male): What?
Brass: Yeah, according to them, uh, you got a little bit of a gambling Jones, hmm? $25,000 in markers all over town. So what's your game, dice, cards, sports book? Or all of the above?
Brown-haired Juror (male): Let's just say it was a bad month.
Sara: Not that bad. $30,000 deposit two days ago.
Brass: All right, now the questions get hard. I mean, you can't be getting rich on jury duty, forty bucks a day. Or can you?
Brown-haired Juror (male): Look, I'm self-employed, which means I've been unemployed for the last six and a half weeks.
Sara: You just made $30,000.
Brass: To deliver the jury?
Brown-haired Juror (male): No. My story. To a tabloid. Hey ... it's one of those cases-- high-profile, jurors at each other's throats.
(Quick flashback to: [CONFERENCE ROOM] The jury is in heated discussion as CHRIS GIBBONS sits back and smiles. JERVIS loses his cool and grabs GIBBONS in frustration.)
(The BROWN-HAIRED JUROR (MALE) reaches down and adjusts his cell phone secretly tucked away in his socks.)
(End of flashback. Resume to present.)
Brown-haired Juror (male): Why should the guy that k*lled his wife be the only one to make a buck?
CUT TO:
[EXT. WESTONSON'S RESIDENCE -- DAY]
(DET. VARTANN and NICK head for the WESTONSON'S front gate. DET. VARTANN knocks on the gate. NICK puts his kit down on the road and waits as the gate opens.)
Terry Minden: Can I help you?
Det. Vartann: I'm Detective Vartan. This is Nick Stokes from the crime lab. Terry Minden?
Aaron Westonson: Honey, who is it?
Terry Minden: It's the police.
(AARON WESTONSON looks at NICK.)
Aaron Westonson: I remember you. You were here about Rita.
Nick: Yeah.
Aaron Westonson: You found her.
Nick: No, no, not exactly, but we have a potential new lead.
(DET. VARTANN takes out the warrant from his jacket pocket and hands it to TERRY MINDEN.)
Det. Vartann: And we have a warrant.
Terry Minden: I'm an attorney. You want a sample of gasoline?
Nick: Uh, yes, ma'am -- eight ounces from Mr. Westonson's pump.
Terry Minden: Why?
Aaron Westonson: This is about Rita. I have a right to know.
Terry Minden: Warrant was issued by Judge Brenner. I'll make a call.
Nick: Say hello for me.
Aaron Westonson: Four years ago, you tore this place apart. That was okay with me. Now you come back with no answers, and you're looking at me with that same face. I'm going to tell you the same thing I said before. I had nothing to do with Rita's disappearance.
Nick: Fuel pump's behind the barn, right?
Aaron Westonson: Yeah. Help yourself.
CUT TO:
[FUEL PUMP BEHIND BARN - DAY -- CONTINUOUS]
(NICK stands at the distance looking at the fuel pump. DET. VARTANN joins him.)
Det. Vartann: What are you looking at?
(NICK looks around and shakes his head.)
Nick: I was standing right here four years ago asking myself the same question.
(NICK picks up his kit and they both head over to the fuel pump.)
Nick: You know, Aaron Westonson's right about one thing. Back then Grissom and I processed every inch of that house and this barn and found no signs of a struggle.
Det. Vartann: Aaron versus Rita? He's twice her size.
Nick: Yeah, it would've been over before it started.
(NICK takes out a jar and DET. VARTANN fills it up with gasoline.)
Nick: Okay, fill her up.
Det. Vartann: Smells like diesel. Why is it red?
Nick: It's an EPA requirement. Farm's don't have to pay taxes on fuel, so refineries, they mark their agricultural diesel by dying it red.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - PRINT LAB -- DAY]
(WARRICK processes the Poncho's Peanut Butter Stix wrapper for prints. He finds one.)
(Cut to: WARRICK runs the print through the database and finds a match to:
LAS VEGAS METROPOLITAN AREA
LAS VEGAS WORK CARD
TARA NEWSOME
SOUS CHEF ORPHEUS HOTEL/CASINO
ISSUED: 10/23/2001
EXPIRE: 12/23/2004
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(WARRICK interviews TARA NEWSOME.)
Tara Newsome: I'm getting married in five days.
Warrick: Not if you can't explain to me how your fingerprints ended up on this peanut butter tube.
(He puts a photo of the Poncho's Peanut Butter Stix wrapper on the table to show her.)
Warrick: Stuffed inside a soda can. We found it in the jury room.
Tara Newsome: I just wanted to go home, have my fittings. I spent my bridal shower with eleven strangers. My sister filled in for me. I'll never get to experience that.
Warrick: Mr. Gibbons will never get to experience the rest of his life.
Tara Newsome: We were on a break, and the lunch order came.
(Quick flashback to: [CONFERENCE ROOM] The BAILIFF carries in the box of lunches and finds TARA NEWSOME in the room.)
Bailiff: Hey. What did you order?
(She takes the box of lunches from him.)
Tara Newsome: Don't worry, I'll pass it out.
(She puts the box on the table and quick takes out the chili and puts the peanut butter inside the container.)
(End of flashback. Resume to present.)
Tara Newsome: I got the peanut butter out of the vending machine a couple days ago. I wanted to stuff it down the guy's throat, but I didn't.
Warrick: So you decided to put it in his chili instead?
(Quick flashback to: TARA mixes the peanut butter into the chili and covers it. CHRIS GIBBONS walks into the room.)
Chris Gibbons: Great, food's here. I'm starving. Where's mine?
(He heads for his seat and looks at her.)
Tara Newsome: (V.O.) But at the last minute, I couldn't do that.
(TARA gets up and reaches for a fresh one from the box.)
Tara Newsome: Here's yours.
(She hands it to him and spills it on the carpet.)
Tara Newsome: Oh! Oh, I'm so sorry.
Chris Gibbons: No, that's okay, I'll take yours. You can reorder.
(End of flashback. Resume to present.)
Tara Newsome: Then I cleaned up and I walked out.
Warrick: You had to know it was going to k*ll him.
Tara Newsome: No, I didn't know it was going to be lethal. When Bob was flicking peanut shells at him, it's not like he choked up. I swear, I didn't know it was going to k*ll him. I just thought that it would get him replaced with one of the alternates who would vote guilty.
Warrick: Well, Miss Newsome, you are officially off of jury duty.
Tara Newsome: Oh, I k*lled him.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
Greg: (shakes his head) No, she didn't.
(GREG stands in front of GRISSOM, SARA and WARRICK.)
Sara: Greg, she told Warrick she put peanut butter in the chili.
Greg: I don't care if Mr. Peanut was taking a bath in the vic's lunch. It's not what k*lled him.
Grissom: Be specific, Greg.
Greg: I got the detailed results back from the assay test. The level of immunoglobulin e was insufficient to cause a lethal reaction.
Warrick: Well, that does go along with what the bride-to-be said about the victim. That he had a dermatological response to the allergen and not a respiratory one.
Grissom: Did the assay test show any other food allergies?
Greg: No, uh-uh.
Warrick: So the cause of death is still anaphylactic shock.
Sara: Okay, what caused it?
Grissom: And who?
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[MONITOR]
(The NEVADA DEPARTMENT OF ENVIRONMENTAL PROTECTION DATABASE is loading up to the computer. NICK waits. DET. VARTANN walks into the lab.)
Det. Vartann: I got your page. Who sh*t your dog?
Nick: Trace Tech. He analyzed the fuel from Aaron's pump. Confirmed it's diesel. The hydrocarbons found in the tree were from unleaded gasoline.
Det. Vartann: Means the fuel on Aaron's farm was not used to cremate Rita's body. Maybe it pumped unleaded four years ago. Converted to diesel at some point since.
Nick: Ah, I thought the same thing myself, so I called the NDEP.
Det. Vartann: Mm-hmm.
Nick: The permit for Aaron's fuel t*nk was specifically for diesel.
Det. Vartann: Where does that leave us?
(The database finishes the search and a map appears on screen.)
Nick: NDEP's database for Clark County. Now, the red dots represent the areas of permitted fuel t*nk.
Det. Vartann: Isolate Moapa.
Nick: Yeah.
Det. Vartann: Aaron's farm's located at the cross streets of White Oak and Stansberry.
Det. Vartann: The burn spot is a half mile east along the river.
Nick: Mm-hmm.
Nick: Only two permitted fuel t*nk up in that area. The one on the left is Aaron's. We can exclude that one .
Det. Vartann: Who owns the other one?
The information box appears:
LOCATION: 2157 Whispering Leaves Dr.
REGISTERED Owner: FAYE MINDEN
Nick: Faye Minden.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS examines the hives on CHRIS GIBBONS' body and explains it to GRISSOM.)
Robbins: We've ruled out food allergy as the cause of death. If it was an environmental agent, I expect one of the other jurors had a reaction as well. His body reacted to something. It's why I'm reexamining the exposed areas of his body -- face and the neck.
(ROBBINS finds something. Camera zooms in as ROBBINS extracts the stinger from CHRIS' neck.)
Robbins: Look at this.
(He holds it out to GRISSOM.)
Grissom: Apis mellifera linnaeus. We're looking for another body.
CUT TO:
[EXT. LAS VEGAS COURTHOUSE (STOCK) - DAY]
[INT. COURTHOUSE - CONFERENCE ROOM -- DAY]
(GRISSOM and SARA search the floors for the source of CHRIS GIBBONS' allergies.)
Sara: Greg ran the assay test for bee venom on Chris Gibbons. IG levels were spiked.
Grissom: Was Gibbons even aware that he had a bee allergy?
Sara: Brass finally tracked down his allergist. Gibbons was allergic to a lot of things.
(They continue to search the floors. SARA finds it.)
Sara: The k*ller, I presume.
(She picks up the d*ad bee from the table leg. GRISSOM kneels down next to her.)
Grissom: Or what's left of him.
(Quick flashback to: [BEE'S POV] The bee flies around the room and stings CHRIS GIBBONS on the neck. CHRIS starts to gasp for breath.)
(End of flashback. Resume to present.)
Sara: He had an immediate reaction to a bee sting.
Grissom: Lost consciousness, fell forward, h*t his head on the table.
Sara: You know how Jervis was complaining that it was too hot. He said he opened the window.
(Quick flashback to: [CONFERENCE ROOM] JERVIS stands up, frustrated.)
Jervis: I can't take this anymore!
(He heads over to the window.)
Jervis: Who keeps shutting this damn window?!
(As he holds the window open, we see the bee slip into the room.)
(End of flashback. Resume to present.)
Grissom: Well, that explains it. It was an outside job.
(GRISSOM glances at SARA. She smiles.)
CUT TO:
[EXT. MINDEN RESIDENCE -- DAY]
(NICK and DET. VARTAN'S car drives up and parks in front of FAYE MINDEN as she speaks with the FOREMAN.)
Faye Minden: Okay, good. Thank you.
(NICK and DET. VARTANN exit the vehicle. FAYE sees them and smiles.)
Faye Minden: Hey.
Nick: Hey.
Faye Minden: Heard you were over at Aaron's farm.
Nick: Yep.
Faye Minden: (smiling) I bet that shook him up. Thank you for pushing forward with the investigation.
Det. Vartann: And we continue to push forward. We need to take a sample of fuel from your pump.
Nick: Yeah. Yeah, you wouldn't mind, would you, Faye?
Faye Minden: My pump?
Nick: Yeah.
Faye Minden: Well, what'd he say? Didn't I tell you he'd turn on me?
Nick: Oh, he didn't say anything. Just want to take a look.
(NICK walks over to the gasoline t*nk. It's green and labeled: UNLEADED. He puts his kit down.)
Faye Minden: My trees are Douglas Firs. The ... the needles grow in spirals around the twigs. It's amazing. Any time you guys want, you come back here, take your pick. Free of charge.
Nick: The pump on Aaron's farm is diesel. Your sister was cremated with unleaded.
(He looks at her for an explanation. She thinks about it.)
Faye Minden: You know what? Thinking back now, I-I remember Aaron's pump was empty, and, uh, he insisted we drive over here. He used mine. Sorry for the confusion.
(NICK looks past FAYE at her barn.)
Nick: Excuse me.
Faye Minden: Please say you believe me.
(NICK doesn't say anything and heads for the barn.)
[BARN]
(The barn doors open and NICK walks inside. He looks around. The camera notes the barrels lined up along side the inner wall. NICK walks inside and sees the various tools lined up on the table. He sprays the tools looking for evidence of blood.)
(The cutters glow.)
[EXT. - DAY -- CONTINUOUS]
(NICK walks out of the barn carrying the cutters.)
Nick: I believe you, Faye. You see, blood evidence doesn't disappear over time. Your sister was m*rder ... by you.
(Quick flashback to: [BARN] The barn door opens and RITA walks inside.)
Rita Minden-Westanson: Faye? Faye, you in here?
(FAYE jumps RITA from behind and hits her with the cutters.)
(Cut to: FAYE lights a match and throws it into the barrel.)
Nick: (V.O.) Unleaded gasoline, barrels for incineration, cast off on the walls. DNA consistent with Rita Westonson.
(End of flashback. Resume to GRISSOM'S OFFICE.)
[INT. CSI - GRISSOM'S OFFICE]
(NICK explains the results of the investigation to GRISSOM.)
Nick: Faye k*lled Rita to be with Aaron. And a couple of weeks ago, hears he's getting engaged to her younger sister Terry. They couldn't handle it, man. She just freaked. So she tried to pin Rita's m*rder on Aaron.
Grissom: Four years ago when I decided to close the case, did you agree with my decision?
(GRISSOM takes the file and heads back to his desk.)
Nick: Well, you were following protocol.
Grissom: And now?
Nick: Now I'd fight you on it, yeah.
Grissom: Why?
Nick: Rita Westonson was a dependable, predictable girl. We never answered the question why she just woke up one morning and walked away from the rest of her life.
Grissom: It happens. And that's what the evidence was telling us.
Nick: Well, that's what the physical evidence was telling us. We should have dug deeper. You can't just ignore the human element, Grissom.
Grissom: I agree, Nick. But when you start to have feelings for the people involved, you risk your objectivity.
Nick: So what? You know, I'm always getting criticized for empathizing with the victims and their families, but that's who I am. That's how I do my job. And as far as the promotion goes, it's all good, man. I can live without it. I'm not you.
Grissom: Good. We certainly don't need another me around here.
(NICK leaves. GRISSOM starts typing.)
To: Robert Cavallo, Assistant Director, CSI From: Gil Grissom, Night Shift Supervisor, CSI Subject: CSI promotion
Dear Sir,
I strongly recommend Nick Stokes for the promotion to Lead CSI.
(GRISSOM stops typing and he smiles.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x11 - Eleven Angry Jurors"} | foreverdreaming |
DUE TO ADULT CONTENT VIEWER DISCRETION IS ADVISED.
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
(Sirens blare in the distance.)
WHITE FLASH TO:
[INT. DEBBIE MARLIN'S RESIDENCE -- NIGHT]
[LIVING ROOM]
(Scene opens on a close up of GRISSOM'S covered feet together as he stands on the side of the room. He cautiously takes a step to the side, hugging the wall as he looks around the silent living room.)
(He takes another cautious step, his flashlight noting the various items in the room - a red lantern floor lamp turned on at the base of the living room counter, the vase full of wilted red roses on the center of the coffee table, two empty and unused wine glasses, a bottle of wine and a wine opener is on the coffee table. On the back table are more candles.)
(GRISSOM takes several more cautious steps along the living room wall and faces the long stretch of hallway in front of him. He pauses and shines his flashlight all the way down the hallway carpet. He sees the brush tracks of a vacuum cleaner and on it, one set of normally spaced shoeprints leading away from him, toward the bedroom, and one set of wider spaced shoeprints leading toward him.)
[HALLWAY]
(Careful to hug the hallway wall, GRISSOM cautiously makes his way along the carpet careful not to disturb the shoeprints.)
(He moves along the hallway and shines his flashlight into the first open room door, the spare bedroom, where he sees something red with a tassel hanging from a stand next to a red sofa bed. On the bed is a red blanket, several red pillows, one red pillow with butterflies on it and a white pillow. He moves his flashlight to a wall metal framed shelf with various items with a similar butterfly motif - from a glass case with various butterflies in it to boxes and other small items.)
(GRISSOM continues down the hallway toward the master bedroom. He takes another cautious step along the wall toward the end of the hallway. On the hallway floor at the base of the door to the master bedroom is a stack of red candles. He looks at it and moves on.)
[MASTER BEDROOM]
(GRISSOM looks into the master bedroom. On the bed is a red pillow in the center of the bed; something small and red in the center of the bed. Our eyes catch the red bowl on the dresser at the back of the room and the red blouse hanging in the closet.)
(Hugging the wall, GRISSOM slowly makes his way toward the bathroom.)
[BATHROOM]
(GRISSOM slowly enters the bathroom. The lights are on. The room is large decorated in a white and black checkerboard pattern. He looks around and moves further into the bathroom knowing that the body is there in the shower area. He inches his way around the corner and through the clear shower glass, sees the body of the dark-haired young woman in a pool of blood on the black and white checkerboard floor, the blood as black as the floor itself.)
(She is kneeling face down, her knees tucked under her close to her chest, heels under her bottom and her arms positioned to her side and back, hands near her feet. She's wearing a powder pink spaghetti-strapped top and low-riding blue jeans prominently displaying her red satin and lace thong just under a butterfly tattoo on the small of her back.)
(Her head lies in a large dark-red nearly black pool of blood, forehead barely touching the floor, face turned toward the bathroom entrance with her hair pushed away from her face and clothes.)
(Something catches GRISSOM'S eye. He kneels slowly down to get a closer look at the body.)
(For a long moment, he stares at the woman - slender, young, dark-haired, pale skinned -- transfixed by her familiarity and haunting similarity to someone he knows.)
CUT TO:
[INT./EXT. DEBBIE MARLIN'S RESIDENCE - NIGHT]
(GRISSOM opens the front door and walks outside where everyone is waiting for him. He steps out onto the front porch and stops, his eyes seeking out and latching onto ...
[GRISSOM'S POV]
(SARA - slender, young, dark-haired, pale skinned -- turns and looks directly at GRISSOM.)
[RESUME POV]
(His gaze doesn't falter.)
(BRASS turns and sees GRISSOM. He steps forward and around SARA toward GRISSOM.)
Brass: Ready for us?
(Everyone turns to look at GRISSOM waiting for his instructions.)
Grissom: For now, no one enters this house except CSI.
(BRASS nods.)
(And, as if he can't help it, GRISSOM'S eyes shift to look behind BRASS at ... )
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. DEBBIE MARLIN'S RESIDENCE - NIGHT]
(GRISSOM hands out assignments.)
Grissom: Warrick, you got the car.
(WARRICK turns around to look at the cluster of cars behind him.)
Warrick: Which one?
Grissom: Both.
(BRASS turns to WARRICK.)
Brass: Uh, take the Honda. The VW belongs to the victim's friend, over there.
(He points to the woman talking with the officer in the back.) She called it in.
Warrick: Aw, that's too bad. This will be a day she'll never forget.
Grissom: Sara, you take the perimeter.
Sara: What? You just did a one-hour walk-through. The perimeter cannot be a priority.
Grissom: I need you to work the outside. Catherine and I will be inside.
(Not thrilled, SARA levels GRISSOM a look, then turns to work the perimeter.)
Catherine: I'll go talk to the friend.
Grissom: Find out where she walked and what she might have touched in there.
(GRISSOM turns to go back to the house while CATHERINE joins BRASS.)
Catherine: Hey, Jim.
Brass: Yeah?
Catherine: Did you talk to that guy across the street?
(CATHERINE points to a young man busy talking enthusiastically to a small crowd of neighbors.)
Brass: The neighbor? He's on my list.
Catherine: Yeah, he looks like he has something to say.
(CATHERINE ducks under the tape and makes her way to the friend wearing scrubs, sitting on the gurney while being checked out by the medics.)
Catherine: Hi, I'm Catherine Willows. I'm with the crime lab. What is your name, Miss?
Kelly McNeil: Kelly McNeil. Deb and I are best friends. We were supposed to get together yesterday. It was our day off.
Catherine: You're a nurse?
Kelly McNeil: Yeah. Both of us. Desert Palm Hospital. We made lunch plans, but she canceled.
Catherine: She give a reason why?
Kelly McNeil: Michael.
Catherine: Michael?
Kelly McNeil: Michael Clark. Um, she's been seeing him for a month or so. He's a surgical intern. When she didn't show up for work today, I called the house ... her cell ... no answer, so I drove by after shift.
Catherine: And how did you get in?
Kelly McNeil: We have each other's keys.
Catherine: Did you touch anything inside?
Kelly McNeil: No. I walked in and ... I saw her and I ran out.
(Quick flashback to: [HALLWAY] The image of KELLY MCNEIL runs through the hallway away from the bedroom toward the exit. Camera moves down to the carpet to show the shoe prints left behind.)
(End of flashback. Resume to present.)
Catherine: Kelly, this, uh, Michael -- is he just a guy, or is he somebody special?
Kelly McNeil: He was the first guy that Debbie ever blew me off for.
Catherine: And did you see him today, at the hospital?
Kelly McNeil: No. I figured they were both playing hooky.
(She looks at CATHERINE.)
CUT TO:
[EXT. SIDE OF THE HOUSE]
(SARA examines the side of the house. She reaches the back gate and sees something. She puts her kit down and runs a black gloved finger on the pavement to show a white powdery film coating the concrete. Thinking, she looks around the area.)
Jeff Pike: (V.O.) Moved in about two months ago.
CUT TO:
[EXT. FRONT OF THE HOUSE]
(BRASS interviews the NEIGHBOR.)
Jeff Pike: ... Single girl. Alone in the house. Got my attention. I'm running for captain of the neighborhood watch. I'll probably have to self-appoint myself, but I'm going to put out a flyer, you know, about shutting doors, locking windows, I mean, the thing is ... you just don't think it's going to happen to you. You know what I'm saying? On your block ...
(BRASS puts up a hand to stop the campaign speech.)
Brass: Listen, Pike. Stop talking. I never seen somebody so excited about their neighbor being k*lled.
Jeff Pike: Let me tell you something: I know the business of everyone up and down this block, all right? Who's cheating on his wife, who's behind on his bills, whose kid's going to become the next Manson.
Brass: Let's talk about Debbie Marlin.
Jeff Pike: You know what they say about nurses.
Brass: What's that?
Jeff Pike: (hinting) That-that they like to party.
(BRASS doesn't say anything.)
Jeff Pike: Hey, look. You see a stethoscope around this chest? No. You want to know why? I'm not a doctor. So I couldn't even get close to her.
Brass: Well, who is getting close?
Jeff Pike: It's like a fricking doctor auto mall over there. You know, hunky surgeons, board certified, lots of dough. And if you want my opinion, I think they were dropping quarts.
Brass: Okay, did you notice any automobiles, any cars out front?
Jeff Pike: You know, as a matter of fact, sir, yes. Black Mercedes, E320.
2004 model, been there about a month. Rolls in all hours. I'm figuring on call, booty call. That kind of thing.
Brass: When's the last time you saw the Mercedes?
Jeff Pike: Two days ago. Around lunch. And, uh, I think he stayed for a little bit of dinner, too.
Brass: Thanks a lot.
(Finished, BRASS excuses himself and walks away. He takes out his phone and makes a call.)
Brass: (to phone) Yeah, this is Detective Jim Brass.
(WARRICK, in the meantime is taking photos of the paper grocery bags in the back of the car.)
Brass: (o.s.) See if you can find a 2004 Mercedes, black, registered to a Michael Clark, M.D. Thanks.
(SARA walks up to WARRICK.)
Sara: I have absolutely nothing. How are you doing?
Warrick: I got a lot. Check out the backseat.
(SARA looks at the grocery bags.)
Sara: Bananas. Stuffed mushrooms.
Warrick: Chocolate syrup, a six-pack of soda, a box of condoms.
Sara: No surprises there.
Warrick: Fresh bag of groceries in an unlocked car?
Sara: (thinking) Maybe she was interrupted.
(SARA turns to look at the house and stares directly at the camera.)
DISSOLVE TO:
[INT. DEBBIE MARLIN'S RESIDENCE - BATHROOM - NIGHT - CONTINUOUS]
(SARA'S face DISSOLVES IN to a close up of DEBBIE MARLIN and her lifeless eyes.)
(GRISSOM is kneeling down just outside the shower area to look at the body.)
(CATHERINE walks into the bathroom. She looks down at the body, taking it all in. She shakes her head.)
Catherine: (softly) One thing I can never get over with this job: Anything can happen to anybody.
Grissom: That's why we're here.
(GRISSOM continues to stare at the body. CATHERINE looks around the bathroom.
Catherine: I bet this bathroom was the reason she bought this place.
(GRISSOM notices something and looks around ... sniffs around.)
Grissom: What am I smelling?
Catherine: Cleanser. Bleach maybe.
(There's blood all over the walls and on the shower glass.)
Catherine: Arterial spray is neck high. Indicates she was standing when she was att*cked.
(Quick flashback to: [BATHROOM] DEBBIE MARLIN stands in the shower. Her attacker grabs her from behind, hooking his arm around her shoulders, ripping the Kn*fe violently across her neck. Blood sprays on the shower glass.)
(End of flashback. Resume to present.)
Catherine: And the highest gush of blood has the most volume.
Grissom: Definite lack of lividity. She must have bled out.
(GRISSOM stands, still staring at the body.)
Catherine: The k*ller had to get something on him. Had to be a bloody mess, but there's no ... footprints, there's no handprints, no smears.
Grissom: She looks like she was placed in this position.
Catherine: What's the message?
(GRISSOM doesn't answer her.)
CUT TO:
[INT. DEBBIE MARLIN'S RESIDENCE - KITCHEN - NIGHT - CONTINUOUS]
(The refrigerator door opens. WARRICK and SARA kneel to look at the contents inside.)
Warrick: What do we got here? Pendale's milk. Non-fat. Half a gallon. Unopened.
(WARRICK takes a photo of the milk.)
Sara: Groceries that made it inside.
(SARA walks over to the grocery bag on the counter and looks through it taking out items from the bag.)
Sara: Fancy crackers ... brie. Coupons with no receipt.
Warrick: No receipt? This milk expires on the 23rd.
Sara: Eight days from now.
Warrick: Milk is delivered daily to the supermarket. That's a ten-day window. People usually reach back for a fresh one. Hmm ... subtract ten from the 23rd?
Sara: She was at Pendale's two days ago.
Warrick: Well, according to Brass, that was the last time her boyfriend's car was seen out front.
CUT TO:
[BATHROOM]
(CATHERINE works at the sink while GRISSOM sits in the bathtub taking out swabs. He takes a swab of the drain. CATHERINE takes a swab of the drain. She tests it and sticks the red tipped swab in the test tube. GRISSOM tests his swab and places the white tipped swab in the next test tube. He adds liquid to the swab and it turns yellow. CATHERINE continues to test her swabs.)
(GRISSOM holds out the tube rack.)
Grissom: Positive for both.
(CATHERINE'S final swab turns purple.)
Catherine: Same here. So there's blood in all four drains, followed by bleach.
Grissom: He kills Debbie in the shower. Then he washes up in both sinks and in the tub? Why?
Catherine: The answer is in the drains.
CUT TO:
[UNDER THE HOUSE]
(SARA crawls under the house. She reaches the bathroom pipe under the tub. She takes a wrench and loosens the pipe. Water drips out. She quickly gets a container to get the water as she removes the pipe. She pours the red-stained water into the container and looks at it. She then crawls under the pipe and looks up.)
(Camera zooms forward ... up through the pipe ... and up to the tub drain. Drops of luminol drip through. Camera pushes through the holes in the drain to ... )
[BATHROOM]
(GRISSOM kneels inside the tub spraying luminol around the drain. The lights are off and the area glows. CATHERINE sprays luminol on the bathroom tile around the tub. The tile glows with circular patterned swirls. Finished, CATHERINE looks at the results.)
Grissom: He cleaned everywhere but inside the shower.
Catherine: We're never going to know where the blood ends and the bleach begins.
Grissom: Where's all this blood coming from?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. DESERT PALM HOSPITAL - NIGHT]
(BRASS interviews VINCENT LURIE about MICHAEL CLARK.)
Vincent Lurie: Dr. Clark is on my surgical rotation. He was scheduled to assist this morning. No show.
Brass: Oh. Was that like him?
Vincent Lurie: No. It's completely out of character. See, half these interns come in here so scared, they couldn't carve a turkey. I have to give them scalpels with training wheels. Clark was different. He, uh, he's a real artist, a steady hand. Yeah, he has a gift.
Brass: How about outside the O.R.? Was he socially gifted?
Vincent Lurie: He turned a lot of nurses' heads, but it never interfered with his work. Why the questions?
Brass: Debbie Marlin, one of your nurses, was m*rder. Throat slashed. You didn't know this? Dr. Clark and his "steady hand" haven't been seen or heard from since, so you don't have to be a brain surgeon to guess what I'm thinking.
(DR. LURIE'S pager beeps. He glances down at it.)
Vincent Lurie: Uh ... all I can ask is that I ... I hope that you're wrong about Dr. Clark. Excuse me.
(DR. LURIE turns and walks away.)
CUT TO:
[INT. DEBBIE MARLIN'S RESIDENCE - NIGHT]
(CATHERINE and WARRICK search the cabinets for cleaning supplies. GRISSOM looks around the room.)
Catherine: No cleansers. No rags, no sponges, no paper towels ...
Warrick: You'd think that she restocked when she went shopping.
Catherine: Well, I'm thinking the k*ller used everything the victim had.
(GRISSOM looks into the trash can and finds it empty.)
Grissom: And then disposed of it.
[EXT. DEBBIE MARLIN'S RESIDENCE - BACK DOOR]
(GRISSOM steps outside. He takes a moment to remove the covers over his shoes. CATHERINE and WARRICK look outside.)
(They step out onto the alley where the trash bins are lined up against the fences on both sides of the road. CATHERINE lifts the lid and checks the nearest bin. WARRICK and GRISSOM spread out to check the other bins.)
(She drops the lid closed.)
Catherine: Nothing.
(GRISSOM walks across the road and checks the bin. He finds the bin empty.)
(CATHERINE moves to the next bin.)
(WARRICK checks a bin and sees it filled with leaves. He sticks his hand inside to check the contents.)
(GRISSOM looks around and notices the flies buzzing around a particular bin.
Warrick: Nothing here.
(GRISSOM makes his way to the bin with the flies. WARRICK and CATHERINE also turn to see what's inside the bin.)
(GRISSOM lifts the trash lid and waves the flies away. He sees a trash bag. Inside the trash bag are bloodied towels and empty bleach containers. He digs in further and finds a plastic bag with flesh inside.)
(CATHERINE takes a photo of it.)
(GRISSOM looks at the other trash bins lining the road.)
(cc) GRISSOM: There's gotta be more.
(He leaves the bin with CATHERINE and WARRICK and slowly walks down the alley with the trash bins lining both sides of the road.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. ALLEY BEHIND DEBBIE MARLIN'S HOUSE -- DAY]
(A group of agents work at going through the trash bins lining the sides of the back alley.)
(GRISSOM, WARRICK and CATHERINE each work at their own trash bin. GRISSOM empties the contents of his bag. CATHERINE overturns her bag and finds more plastic bags of flesh.)
(WARRICK finds a particularly gruesome bag filled with intestines.)
Warrick: I think I found the victim's internal organs.
(CATHERINE picks up a bag with a left hand in it.)
Warrick: This guy meant business.
(She picks up a second bag and examines its contents.)
Catherine: I think I can confirm the victim's male.
Grissom: It seems he vacuumed to remove any trace from the house.
Catherine: City picks up the evidence and spreads it all over the dump.
Warrick: We have the victim's clothes. Very neatly folded.
(He puts the clothes aside and picks up a plastic bag with a face in it.)
Warrick: Well, if this is our boyfriend, then ... Brass is looking for a ghost.
(GRISSOM looks at the bags and sighs.)
CUT TO:
[INT. CSI - LAB - DAY]
(SARA filters the water sample from the bath tub pipe. She checks the filter and lifts off a strand of hair.)
(GREG walks into the lab.)
Greg: Heard about the shower. Nurse, huh?
Sara: Multiple hairs, multiple donors.
Greg: Looks like she had a few "friends" over. A little nurses gone wild.
(SARA looks at GREG; he shrugs at her. She goes back to her filter and lifts off another strand of hair. GREG looks at it.)
Greg: Blanched.
Sara: k*ller poured bleach down all the drains.
Greg: Talk about sucking all the life out of DNA.
Sara: If there's anything left, it's probably denatured.
(Quick close up of a strand of hair stuck in the drain, the bleach dripping off the wilted strand. Camera zooms into the hair follicle, down to the DNA to show the DNA strands deteriorating.)
(End of CGI POV. Resume to present.)
(SARA thinks about it and picks up the pipe. She looks inside and lifts off a strand directly from the pipe.)
Sara: Wait a minute. Wait, wait, wait ... bleach might have missed this one.
(Quick CGI POV: Camera zooms down the pipe as the bleach drips down the walls. Camera stops on a single strand of hair stuck in the pipe, protected from the bleach.)
(End of CGI POV. Resume to present.)
(SARA examines the hair strand.)
Sara: Lucky for us ... we got a skin tag.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(DAVID PHILLIPS puts the bags of flesh together on a table while DR. ROBBINS goes over the preliminary findings with CATHERINE.)
Robbins: She's exsanguinated time of death is anybody's guess. Rigor's past, so it's over 24 hours. Deep incised wound of the anterior and lateral neck, transecting both carotids and the anterior trachea.
(CATHERINE stares at the body on the table..)
Robbins: Cut's clean. Extremely sharp, short instrument.
Catherine: Scalpel?
Robbins: That's what I'm thinking.
(ROBBINS touches the head lightly. He moves around the table to the other body.)
Robbins: You know, I caught a 25-pound yellowtail last year off the coast of Mexico, and it took me half an hour to filet. Dismembering an adult male with this precision and without cutting through the bone, twelve hours minimum.
Catherine: Half a day. That's patience.
Robbins: The, uh, patella was cleanly removed. And with one slice, the femur was separated from the tibia and the fibula. There's a perverse elegance to this butchery.
Catherine: Oh, I'm not so sure I see it that way. A k*ller with knowledge of anatomy whose tool is a scalpel. I think the butcher was a doctor.
(CATHERINE turns to look at DAVID PHILLIPS.)
Catherine: So David, isolate all ten fingers, ink them, give Jacqui the ten-card. We need to know who he is.
CUT TO:
[INT. DEBBIE MARLIN'S RESIDENCE - SPARE ROOM -- DAY]
(GRISSOM stares at a blue butterfly. He puts the blue butterfly down on the dresser. He picks up the framed photograph on the dresser. DEBBIE MARLIN is smiling, her arms raised up high above her head.)
(The resemblance is uncanny.)
(GRISSOM sighs and shakes his head.)
(He stares at the photo unable to get her out of his mind. He looks at the mirror.)
(Quick flash to: DEBBIE MARLIN sits at the vanity behind GRISSOM. She's dressed in the powder pink spaghetti strapped top, low-riding blue jeans with the bottom half of the butterfly tattoo exposed.)
(She turns around slightly and looks over her shoulder behind her at GRISSOM.)
(Quick flash to: SARA sits at the vanity behind GRISSOM, turned and looking over her shoulder at him.)
(GRISSOM stares at the mirror for a long moment.)
(His cell phone rings; he automatically answers it.)
Grissom: Grissom.
Sara: (from phone) Hey.
(Startled, GRISSOM realizes whom he's talking to and is thrown a little off-balance.)
Grissom: Sara, uh, listen, I'm in a bad area. I'll call you back.
INTERCUT WITH:
[INT. CSI - HALLWAY]
Sara: I got a skin tag off the bathtub drain pipe.
Grissom: (distant) Skin tag? That's great. Uh, give it to Greg.
Sara: Yeah, I did. Hey, do you want me to come over there and give you a hand?
Grissom: (faltering) No, I-I'm fine. I'll-I'll, uh ... I'll talk to you back at the lab.
(GRISSOM quickly disconnects the phone. SARA hangs up.)
(GRISSOM stares at himself in the mirror.)
(SARA pockets her phone, turns and walks back into the garage where WARRICK is working on the car.)
[INT. CSI - GARAGE - CONTINUOUS]
Sara: Hey, where'd Brass find the car?
Warrick: Long-term parking at McCarran. Ran the plates. R.O.-- Dr. Michael Clark. The head of security is giving us a copy of the surveillance tape.
Sara: So, he kills her and whoever she was with, and then he hops a plane?
Warrick: Well, it seems like that. You know what they say down at P.D. The quickest way to get a car stolen is to leave it at the airport unlocked.
(WARRICK easily opens the unlocked door.)
Warrick: See what I mean?
Sara: Who doesn't know that?
(SARA opens the passenger door and they both check out the front seat.)
Sara: Black powder on a black dash.
Warrick: I know. Let's just superglue it, huh?
(Cut to: WARRICK secures the cyanoacrylate fumer on its stand inside the car. He and SARA close the car doors and watch the fumes fill the car.)
(Dissolve to: They wait for the fumes to settle, then open the doors. On the passenger seat, circular patterns cover the chair; the driver's seat is clean.)
(SARA looks at WARRICK.)
Sara: Wipes and swirls. He cleaned everything but the driver's seat.
Warrick: Well, he had to drive himself to the airport, right?
Sara: He put something on the seat.
Warrick: Whatever he put, he took it with him.
(WARRICK looks around and spots something. Camera zooms in to a piece of black plastic stuck under the chair.)
Warrick: The black, plastic bag, maybe?
(WARRICK takes it out.)
Warrick: He missed a piece.
(Quick flashback to: The DRIVER puts a large black, plastic bag on the driver's chair.
Sara: (V.O.) He puts a bag on the seat, and then he adjusts it.
(The DRIVER slips into the car, sits on the plastic and adjusts the chair catching the plastic in the gears.)
(End of flashback. Resume to present.)
Warrick: How tall was he? Five-nine, according to the DMV report?
(WARRICK sits in the driver's seat to check the seat adjustment.)
Warrick: Wow. I'm six-two, and this is more than enough room for me.
Sara: So, whoever was driving this car, was way taller than five-nine.
CUT TO:
[INT. CSI - CONFERENCE ROOM]
(CATHERINE, WARRICK and SARA sit at the table to go over the case with GRISSOM on the phone.)
Catherine: Two days ago, Debbie Marlin is off work. Sometime in the morning, she buys groceries.
Warrick: It's from Pendale's, the closest store in West Charleston.
Sara: Brass talks to the box boy, remembered her, saw her just before his lunch break at 11:15.
Catherine: Pendale's is about 20 minutes from her house. Where's Nick?
Sara: American Academy of Forensics Science Convention.
Grissom: (from phone) Hey, guys, can we continue, please?
(Quick flashback to: [EXT. DEBBIE MARLIN'S FRONT PORCH] GRISSOM visualizes DEBBIE MARLIN taking a bag of groceries out of the back seat of her car.)
Grissom: (V.O.) (from phone) She comes home from the grocery store.
(GRISSOM leans on the front porch talking on his cell phone, looking out at the driveway and visualizes DEBBIE MARLIN carrying the groceries to the house.)
Grissom: (V.O.) She parks in the driveway, and she begins to unload.
(DEBBIE MARLIN walks into the house.)
(End of flashback. Resume to Conference Room.)
Warrick: She takes out her perishables first. She has to go back for second shifts, so she probably leaves the front door open.
Sara: Explains why there was no forced entry.
(GRISSOM steps to the hallway and looks down its long stretch.)
Catherine: (from phone) Getting ready for her date.
(He slowly makes his way down the hallway.)
(Quick flashback to: [HALLWAY] GRISSOM visualizes DEBBIE MARLIN kneeling and lighting the candles on the floor at both sides of the entrance to her bedroom.)
Catherine: (from phone) (V.O.) Lighting candles. Multi-tasking.
(Finished, DEBBIE puts the match out and walks into her bedroom.)
(End of flashback.)
(GRISSOM walks to the bedroom doorway.)
Warrick: (from phone) She opens up a bottle of wine, two glasses.
(Quick flashback to: Standing in the doorway, GRISSOM visualizes DEBBIE MARLIN kneeling and lighting candles at the base of the porcelain white bath tub.
Catherine: (from phone) Her girlfriend said that she was locking down for the afternoon with Michael Clark.
(End of flashback. Resume to Conference room.)
(In the background, we see GREG walking down the hallway toward the Conference Room.)
Sara: Nosy neighbor puts the Mercedes in the driveway sometime around noon.
(GREG walks into the Room with the test results.)
Greg: Thought you guys would want to know. The hair Sara found is a match to the bags of human tissue. Prints confirm it. Per Jacqui, it's Michael Clark.
(GRISSOM is on the other end of the phone listening to GREG'S report.)
Catherine: (from phone) So, um, most of our efforts have been towards identifying another victim.
Grissom: Michael Clark. But can we place him d*ad at the house?
(GRISSOM stands at the bedroom doorway looking at the bathroom.)
Grissom: Greg, what else can you tell us about that hair?
Greg: (from phone) You mean hairs? There were two. Ancillary, maybe arm or leg hair.
Sara: Found it in the tub drain.
(GRISSOM heads for the bathroom.)
Grissom: (to phone) The avatar of choice ... for dismemberments.
Greg: According to Jacqui, there were no prints found on the scalpel blades or handle,
(Quick flashback to: [BATHROOM] The k*ller picks up a scalpel with a gloved hand. End of flashback.)
Greg: ... but the blood's a match to both victims.
Catherine: So Michael Clark was d*ad in the tub.
(Quick flashback to: [BATHROOM] MICHAEL CLARK, eyes wide open, is d*ad in the bathtub.)
Catherine: (V.O.) We just don't know how he got there.
(End of flashback. Resume to GRISSOM.)
Grissom: Well, I KM'd the carpet at the threshold of the bathroom. It's negative for blood.
Sara: So all the v*olence took place in the bathroom, at least anything that had to do with blood.
(GRISSOM steps into the bathroom and turns to look at the shower.)
Catherine: The bathroom is big, but it's not big enough to k*ll two at the same time.
(Quick flashback to: [BATHROOM] GRISSOM visualizes DEBBIE MARLIN standing inside the shower, lighting a candle on the shelf.)
Grissom: (V.O.) She lights the candles in the shower. Her back is to the door. He grabs her from behind...
(The k*ller grabs DEBBIE from behind and slashes her throat with a Kn*fe, blood sprays on the shower glass.)
Grissom: (V.O.) ... and slits her throat.
(GRISSOM looks down at the pool of blood near the shower drain in the empty shower area.)
Grissom: (V.O.) Then he positions her body ...
(Flash to: Close up of DEBBIE MARLIN'S head being deliberately turned toward the door, her eyes are open.)
(Flash to: GRISSOM deliberately turns DEBBIE MARLIN'S head toward the door.)
(Flash to: MICHAEL CLARK walks into the bathroom. DEBBIE MARLIN is already d*ad and positioned on the shower floor.)
Grissom: (V.O.) ... so that her face is the first thing the boyfriend sees when he walks in.
(MICHAEL CLARK turns and sees her.)
(End of flashback. Resume to CATHERINE.)
Catherine: So he takes seconds to k*ll Debbie.
(Quick flashback to: [BATHROOM] MICHAEL CLARK is d*ad in the bathtub. The k*ller picks up a scalpel and starts working on the body.)
Catherine: (V.O.) So why does he spend so much time cutting up Michael Clark?
(End of flashback. Resume to GRISSOM.)
Grissom: (to phone) Most likely because Michael Clark was the real focus of his rage.
(Flash to: Back view of DEBBIE MARLIN d*ad and positioned, her face turned to the door, hair fanned out behind her and facing GRISSOM who is standing just outside the shower stall.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. DEBBIE MARLIN'S RESIDENCE - HALLWAY -- NIGHT]
(GRISSOM is on his hands and knees in the hallway. He leans forward and rubs a circular pad on a small section of carpet directly in front of him and tests for GSR. He finds nothing. He puts the pad aside and picks up another pad to continue testing for GSR. Camera pulls back slowly.)
(Dissolve to: GRISSOM rubs the pad on the small section of carpet directly in front of him. Camera pulls back further down the hallway.)
(Dissolve to: GRISSOM continues testing the carpet.)
CUT TO:
[HALLWAY]
(CATHERINE steps out into the hallway and sees GRISSOM on his hands and knees at the other end continuing his tests.)
Catherine: Don't tell me you never went home?
(GRISSOM looks up.)
Grissom: Okay. I just got started in here. Haven't even gotten to the other rooms yet.
Catherine: You know you lose your edge after sixteen hours. You're into your third shift. I mean, I'm all for overtime, but this is just plain greedy.
Grissom: My knees can't take this anymore.
Catherine: Have you eaten anything?
Grissom: What did you bring?
Catherine: (shrugs) I'll see what's in the fridge.
(CATHERINE leaves the hallway.)
Grissom: (shouts) We have to replace that, you know.
CUT TO:
[INT. CSI -- LAB]
(WARRICK sifts through the vacuum bag. He picks out various items of interest and places them in open petri dishes according to HAIR, FOOD CARPET, PAPER &
OTHER.)
(He coughs. SARA walks in.)
Sara: Hey ... black lung.
Warrick: Ha, ha. I've been sifting through this trash for about six hours. You coming to rescue me or make fun of me?
Sara: I am just looking. Relax.
(SARA points to a particular dish.)
Sara: What are these white fibers here?
Warrick: They must be from the spare bedroom because all the other carpets are green.
(SARA turns and looks at the layout of DEBBIE MARLIN'S house, the "SCHEMATIC PLAN VIEW OF CRIME SCENE", CASE #00469-2.)
Sara: Spare bedroom wasn't on his entrance or exit path.
Warrick: Look, all I know is that they were near the top of the bag, so it must have been one of the last things he vacuumed.
(SARA nods.)
Warrick: I did happen to find this butterfly pendant, with some white fibers on it.
(WARRICK picks up a pendant from a dish.)
Warrick: It looks like a necklace or a bracelet and it has this link that snaps, so I'm thinking ... sign of struggle?
Sara: The k*ller was in that spare bedroom.
CUT TO:
[INT. DEBBIE MARLIN'S RESIDENCE - PATIO -- DAY]
(GRISSOM is eating out of a yogurt container, an open jar of peanut butter on the table in front of him. CATHERINE enters the room.)
Catherine: Feel better?
(She sits down at the table across from GRISSOM.)
Catherine: Well, now that we fed you, we should probably talk about a shower.
(He looks at her.)
Catherine: I mean at your place. You need to go home.
Grissom: As soon as we find some evidence, I promise.
Catherine: With fresh eyes, you won't miss it.
(GRISSOM puts the yogurt container and spoon down on the table in front of him.)
Grissom: Just talk it through with me, will you? What do we know?
Catherine: All right. The bathroom is where things got started -- candles, oils, steam shower, cleaned up, oiled up, sexed up.
(GRISSOM dips his finger in the peanut butter and sticks it in his mouth.)
Grissom: Let's go back to the bedroom.
CUT TO:
[INT. DEBBIE MARLIN'S RESIDENCE - BEDROOM]
(CATHERINE stands on one side of the bed using the ASL on the bedsheets while GRISSOM stands on the opposite side of the bed.)
(GRISSOM lifts the sheet corner.)
Grissom: No, nothing on this sheet.
(He and CATHERINE remove the top sheet. They ASL the second sheet.)
Catherine: She changed her sheets for her date-- I would.
(GRISSOM looks around and sees something. He sees a red silk scarf tied to the mattress.)
Grissom: Hey, Cath? Got silk?
(CATHERINE looks at the other side and finds the matching tie on the other side of the bed.)
Catherine: (smiling) Why, yes, I do.
(Quick flashback to: DEBBIE MARLIN is on the bed, her arms tied with the red silk. End of flashback. Resume to present.)
Catherine: I don't mean to embarrass you, but, um ...
(CATHERINE lifts up the sheet away from the bed frame.)
Catherine: ... some guys need leverage.
(Quick flashback to: A pair of male feet pressed up against the bed frame. End of flashback. Resume to present.)
Grissom: They do?
Catherine: (nods) I'll dust for prints.
(GRISSOM'S phone rings; he answers it.)
Grissom: (to phone) Grissom.
Warrick: (from phone) It's Warrick. I have something for you. I found a butterfly link with some white fibers on it.
(CATHERINE opens her powder container to dust the bed frame.)
Grissom: (to phone) Butterfly? Where?
(GRISSOM steps out of the bedroom into the hallway.)
Warrick: (from phone) In the vacuum bag. You check all the rooms?
Grissom: (cc) I haven't checked the spare bedroom. (audio) Let me look again and I'll call you back.
Warrick: All right.
(The phone disconnects; GRISSOM hangs up.)
[SPARE BEDROOM]
(GRISSOM lingers in the doorway and notices the butterfly collection on the shelf against the far wall. He walks into the room and examines the items in the collection: pins, pieces of jewelry, boxes and a couple of framed photos of DEBBIE and MICHAEL.)
(GRISSOM opens the butterfly jewelry box and looks inside. Bracelets line the inside, a pendant with "LOVE, DR. T", and other butterfly items. GRISSOM pushes the jewelry around and sees the butterfly pendant.)
CUT TO:
[MASTER BEDROOM]
(CATHERINE finds a print and lifts it off the bed frame.)
CUT TO:
[SPARE BEDROOM]
(CATHERINE walks in and lingers at the doorway. She holds up the print card.)
Catherine: Hang one. Toe print.
(CATHERINE walks into the room and joins GRISSOM in front of the shelves.)
Catherine: I'll have Sara compare it against both victims.
Grissom: Good. Warrick found a butterfly charm in the vacuum bag. I think I just found a piece from the same chain in this box.
Catherine: Butterfly, huh?
Grissom: She had a collection.
Catherine: Gifts from her ... gentlemen callers?
Grissom: Maybe the k*ller was taking his gift back, as in leave no trace. Maybe he finally ran out of patience and got sloppy.
(GRISSOM finds a strand of hair on the shelf. He picks it up. CATHERINE kneels next to him to look at the hair.)
Grissom: And this is why I didn't leave.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(DEBBIE MARLIN'S body is on the table, a large identification tag hanging from her right big toe.)
(SARA settles in on the left of the body and begins to automatically take toe print samples. From where she sits, she pauses and looks up at the body. After a moment, she continues to take print samples.)
(Curiosity getting the better of her, she pauses and looks up at the body again. This time, she wants a better look. She pushes her chair away from DEBBIE MARLIN'S feet to get a good look at her face. SARA stares grimly at the face in front of her - a face that could be her own.)
(Unable to look anymore, SARA turns away, affected by the girl on the table.)
CUT TO:
[INT. CSI - LOCKER ROOM -- DAY]
(CATHERINE is sitting on the bench and changing her shoes when SARA appears in the doorway.)
Sara: Hey, you seen Grissom?
Catherine: He's still at the crime scene.
Sara: (quietly) I eliminated both victims from the print you pulled off the bed.
Catherine: Well, we know she was fishing off the company pier.
(SARA nods. CATHERINE turns around and looks at her.)
Catherine: You, uh, seen Debbie?
Sara: Yeah.
Catherine: (prompting) And?
Sara: (avoiding) Yeah, I compared her toe prints.
Catherine: If I didn't know better, I'd think that was you on that table.
Sara: (tightly, smile forced) I didn't really look at her face.
(CATHERINE doesn't say anything, yet we get the feeling that she knows that SARA'S not telling the truth.)
Sara: (quietly) When you see Grissom, will you tell him?
(CATHERINE nods as SARA moves away from the door. CATHERINE watches her go, concerned.)
CUT TO:
[INT. DESERT PALM HOSPITAL]
(CATHERINE takes the foot print of a doctor at the hospital while the other male hospital workers stand around waiting their turn. BRASS stands on the side and watches.)
Doctor: Oh, that feels nice. Do you have something to take this off?
Catherine: Just step on the card, please.
Doctor: Good thing you caught me early in the shift.
(He steps on the card.)
Catherine: Yeah, lucky for me. I think I could probably tell who pulled a double.
(Finished, CATHERINE hands the card to JACQUI FRANCO who manually compares prints right there in the room. THE DOCTOR stands and leaves. HOWARD TRIPTON takes a seat to take his prints.)
Howard Tripton: Listen, I've got a patient waiting in pre-op.
Brass: We'll have you out in a minute. We appreciate you providing your prints voluntarily.
Howard Tripton: Well, there's probably a little bit of a lot of us in Debbie's house.
(JACQUI looks up.)
Jacqui Franco: Oh, we'll know soon enough.
(CATHERINE finishes with the prints.)
Catherine: (to the surgeon) Thank you.
(VINCENT LURIE walks over to BRASS.)
Vincent Lurie: You understand, right? The police aren't the only ones with a code of honor. Now, some of these men are married, and if this gets out ...
Brass: Nothing gets out unless it needs to get out.
(In the background, JACQUI finishes and looks at CATHERINE.)
Jacqui Franco: Got a match.
(She points at the print sample and the print card.)
Catherine: Dr. Tripton.
(HOWARD TRIPTON looks up.)
Brass: I'm afraid your patient in pre-op is going to have to wait a little while longer.
(Camera holds on HOWARD TRIPTON.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(HOWARD TRIPTON takes a sip from his cup. BRASS and CATHERINE interview him.)
Howard Tripton: Don't really know why I'm here.
Catherine: Your toe print was found in Debbie Marlin's house.
Brass: Same house she was m*rder in.
Howard Tripton: Her car was in the shop, and I gave her a ride home one night, and she invited me in for a cup of coffee. She didn't like anyone wearing shoes in the house. Some Feng Shui thing.
Catherine: So, you Feng Shui-ed your way to the bed?
Howard Tripton: She was provocative. You take your coat off, she has her clothes off. She came on to me.
(Quick flashback to: [BEDROOM] DEBBIE grabs TRIPTON'S shirt and pulls him toward her.)
Debbie Marlin: Come on, doc, let's do it.
(She flips over onto her stomach.)
Debbie Marlin: Take a look.
(He lifts up her shirt to look at her butterfly tattoo.)
(Cut to: They're in bed; DEBBIE'S straddled on TRIPTON. She's wearing a sheer cover; her arms are outstretched with the silk ties in her hands sort of looks like butterfly wings. Oh, yeah, they're doing it - no more needed here.)
(Close up of TRIPTON'S toes against the bed frame.)
(End of flashback. Resume to present.)
Catherine: All right, well, let's talk about what's not open to interpretation. Yours were the only prints found in the house.
Brass: Michael Clark was on your rotation -- he was on your surgical team the day he was k*lled. You called in sick. Surgery was cancelled. Freed him up to be with Debbie, who also had the day off. What luck.
Howard Tripton: My son had a ball game. My daughter was at a swim meet. My wife was at a conference, and the surgery was elective. Not a stretch.
Brass: Your wife know about you and Debbie?
Howard Tripton: No.
Brass: She asked for sex, right? She also asked for the bracelet, too, huh?
(CATHERINE puts the bag with the butterfly charm on the table.)
Howard Tripton: No, but ... I gave it to her. (He points.) This one.
(CATHERINE picks it up.)
Howard Tripton: She loved butterflies. Uh, I figured if I gave something special to her, she'd give something special to me.
Brass: Hmm. So it was a long-term relationship?
CUT TO:
[INT. CSI - DNA LAB]
[SCOPE VIEW] of a hair strand
Greg: That's the hair from the spare bedroom.
(GRISSOM lifts his head from the scope.)
Grissom: There's an oily film on the surface of the hair.
Greg: Propylene glycol. Active ingredient in rogaine for male pattern baldness. Personally, I don't use the stuff, but my grandfather, Papa Olaf -- he was Bruce Willis at age 16. Lucky for me, baldness comes from the mother's side, so I'm safe ...
Grissom: Greg, please, I'm very tired.
Greg: Well, maybe the guy we're looking for is going bald ... or trying not to. According to Papa Olaf, a lot of guys who use rogaine also use propecia, kind of like a cocktail. I ran the hair through massspec. I got four peaks: Ethyl alcohol, propylene glycol, minoxidil, and finasteride.
(GRISSOM looks at the test results.)
Grissom: Finasteride, the chemical name for propecia.
Greg: But wait, there's more, and it's a family secret. Sexual. Happens in less than two percent of users. (whispers) Papa Olaf was one of those guys that needed hydraulics.
(GRISSOM thinks about it, shakes his head, then leaves the lab.)
CUT TO:
[INT. CSI - HALLWAY -- CONTINUOUS]
(CATHERINE looks into the break room. She's looking for GRISSOM. GRISSOM turns the corner; CATHERINE turns and sees him.)
Catherine: Oh.
(GRISSOM walks up to her.)
Catherine: The prodigal CSI returns. You get any sleep?
Grissom: Not yet.
Catherine: So, uh, Brass had to let Dr. Tripton go. The old sex alibi. Too bad he didn't leave a toe print on a scalpel blade.
Grissom: You got a take on him?
Catherine: Balloon head, but credible ... like most adulterers.
Grissom: Is he going bald?
Catherine: Not really.
Grissom: Grey hair?
Catherine: No.
Grissom: Anything else?
Catherine: He's a lefty.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(TOP VIEW of MICHAEL CLARK'S body put together from the pieces found in the trash cans. ROBBINS goes over his findings with GRISSOM.)
Robbins: Okay, keep in mind, this is just a theory. It's a hot button issue among forensic pathologists.
Grissom: What's the consensus?
Robbins: Most doctors say it's impossible to prove handedness based on the wounds inflicted on a victim.
Grissom: Forget hard science. What's your hypothesis?
Robbins: Based on micro-incisions and hesitation marks, the victim was lying face up when he was k*lled. Take a look at the right knee.
(ROBBINS turns the knee over to show GRISSOM the cut. Camera zooms in close for a really good look at the cut.)
Robbins: The cut on the cartilage of the right distal femur has slight angulations from the, uh ... left distal to the right proximal, which suggests the k*ller was left-handed. This angulation is consistent with cuts made to the acetabulum and to the wrist, but bear in mind, it's not going to be admissible in court.
Grissom: I don't care about court. My mind's on a left-handed, propecia-using surgeon who's probably on staff at Desert Palm.
CUT TO:
[INT. DESERT PALM HOSPITAL]
(The older doctors who fit the required description sit in a single row as GREG uses the ALS on their heads. He starts with the first doctor and goes one by one down the row of men. Finally, he finds the match.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(GRISSOM and BRASS question VINCENT LURIE while his LAWYER is with them.)
Vincent Lurie: There was no need for the light show. All you had to do was ask.
Brass: Good. Since we're being completely honest ... are you losing your hair?
Vincent Lurie: I'm a 48-year-old man. I'm not unique.
Grissom: Your hair is, though. (He holds up the bagged evidence.) We found it at the crime scene. Minoxidil absorbs infrared light.
Vincent Lurie: I-I take rogaine and propecia. Again, not unique.
Brass: Well, we think that Debbie Marlin and Michael Clark were k*lled by a surgeon who is left-handed, and we know of two left-handed surgeons at Desert Palm: Dr. Tripton, who has an alibi, and you.
Vincent Lurie: Well, if you're going to make accusations, you should really do your homework. Howard and I are the only lefties on staff. Dr. Randolph, who has privileges at the hospital, he's also a lefty. We play tennis every Wednesday. He's got a heck of a back-hand. (BRASS nods.) If you want me to name more names, I could, but you don't want me to do your job for you, do you?
Lawyer: Gentlemen ... we're here as a courtesy, so if you're quite through wasting our time, I think that the doctor would like to get back to the business of saving lives.
Brass: Not so fast. Is this a link from a bracelet you gave Debbie?
(He puts on his glasses.)
Vincent Lurie: Mm-hmm. It looks like it. Where's the rest of it?
Brass: This link was vacuumed from the floor of the spare bedroom after the m*rder. The other link was in her jewelry box. The funny thing is that all the bracelets from the other guys she slept with are intact.
Vincent Lurie: Well, all I can tell you is when I gave it to her, it was in one piece.
(LURIE puts a hand on his LAWYER'S arm to get his attention; they confer for a moment. The LAWYER turns back to BRASS and GRISSOM.)
Lawyer: Do you have any other evidence?
Grissom: No, we don't.
Brass: We might not have any other evidence, but we have a theory.
Lawyer: That's not admissible in court.
Vincent Lurie: (indulgently) Oh, no, no, it's worth a listen.
(BRASS stands up and walks over to LURIE.)
Brass: (quietly) We think you k*lled Debbie Marlin because she rejected you, and Michael Clark paid the price.
(LURIE smile and chuckles a bit.)
Lawyer: Thank you for your time and your theories, but you said it yourself: You don't have a case. (he turns to LURIE) Doctor.
(VINCENT LURIE and the LAWYER stand up and head for the door. The LAWYER holds the door open for LURIE. Before he can leave, GRISSOM stops him.)
Grissom: (quietly) It's sad, isn't it, doc? Guys like us. Couple of middle-aged men who've allowed their work to consume their lives.
(Although he doesn't turn to look at GRISSOM, he's listening.)
Grissom: The only time we ever touch other people is when we're wearing our latex gloves.
(LURIE turns to look at GRISSOM.)
Grissom: We wake up one day and realize that for fifty years we haven't really lived at all. But then, all of a sudden ... we get a second chance.
(Quick flashback to: [DAY OF THE m*rder] DEBBIE MARLIN rushes out to the living room carrying a wine bottle and two glasses. She puts them on the table.)
(She lights the candles on the table, then turns and rushes down the hallway to light the other candles. Camera moves and we see a figure standing in the doorway watching her.)
Grissom: (V.O.) Somebody young and beautiful shows up. Somebody ...
(End of flashback. Resume to present.)
Grissom: ... we could care about. She offers us a new life with her ... ... but we have a big decision to make, right? Because we have to risk everything we've worked for in order to have her.
(GRISSOM'S eyes move off of LURIE and his words turn introspective.)
Grissom: I couldn't do it ...
(He refocuses on LURIE; their eyes meet.)
Grissom: ... but you did. You risked it all ...
(LURIE looks away, unable to hold GRISSOM'S knowing gaze.)
Grissom: ... and she showed you a wonderful life, didn't she? But then she took it away and gave it to somebody else, ...
(Quick flashback to: [BEDROOM] LURIE sits on the bed as DEBBIE MARLIN ends their relationship. LURIE buries his head in his hands.)
Grissom: (V.O.) ... and you were lost.
(End of flashback. Resume to present.)
Grissom: So you took her life.
(Quick flashback to: [BATHROOM] DEBBIE lights the candles in the shower. LURIE grabs her from behind, she gasps. He slashes her throat, blood sprays on the shower wall.)
(Cut to: [SPARE BEDROOM] LURIE, hands bloodied, picks up the butterfly bracelet from the box on the shelf. He rips the bracelet apart in anguish; the charms fall onto the carpet. He stands there, his head in his hands.)
Michael Clark: (o.s.) Debbie, it's me, Michael.
(LURIE hears MICHAEL and quickly bends down, hastily picking up the links off the carpet. He misses one.)
Michael Clark: (o.s.) Debbie?
(Cut to: [BATHROOM] VINCENT LURIE stands in the doorway looking at DEBBIE positioned in the shower. He turns around and we see MICHAEL CLARK d*ad, throat slashed, lying in the tub.)
(End of flashback. Resume to present.)
Grissom: You k*lled them both, and now you have nothing.
Vincent Lurie: (nods) I'm still here.
Grissom: Are you?
(VINCENT LURIE turns and walks out of the interview room, his LAWYER following behind him.)
[OBSERVATION ROOM VIEW]
(Through the glass, SARA watches GRISSOM sitting at the interview table, her image reflected in the glass. Just how long she's been standing there, how much she's heard, is anyone's guess.)
(Camera refocuses on SARA.)
(Although by the look on her face, we suspect she's heard it all. She watches as GRISSOM shakes his head and lowers it. BRASS walks out of the room leaving GRISSOM alone at the table while SARA watches him.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x12 - Butterflied"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
(Camera pulls back across the city's building tops during the voice over announcement.)
Ty Caulfield: (V.O.) People say that Las Vegas has no culture, ... no history-- that we emulate, ... not create.
WHITE FLASH TO:
[EXT./INT. CASINO - POOL SIDE / EXHIBITION HALL - NIGHT]
(TY CAULFIELD, the casino owner, makes the grand formal announcement to the small gathering in front of him.)
Ty Caulfield: They forget that this was once a desert from which this city was created.
(Waitresses dressed in kimono and obis -- dressed up like geisha -- pass out drinks to the crowd.)
Ty Caulfield: Millions come every week and share their money with us. Well, tonight, we give back.
(Cut to: Inside the exhibition hall, glass cases display the various Japanese antiquities. The camera moves in slowly toward the centerpiece, a katana. The guard walks around the display case.)
Ty Caulfield: (V.O.) An exhibition of rare and valuable japanese antiquities.
(Cut to: A Japanese statue of a soldier on a horse.)
Ty Caulfield: (V.O.) Shown in the us for the first time,
(Cut to: A close up of the katana's intricate sheath design.)
Ty Caulfield: (V.O.) ... this 17th century samurai collection ...
(Cut to: Camera is focused on the full Japanese armor in the background. The camera refocuses to the statue in the foreground.)
Ty Caulfield: (V.O.) ... is owned by one of the Mediterranean's most special guests, Mr. Yuri Yamamoto, who sadly can't be here with us tonight.
(TY CAULFIELD raises his glass to the crowd.)
Ty Caulfield: To his impeccable taste. On behalf of my hotel and the City of Las Vegas, I thank him.
(The audience cheers. TY CAULFIELD takes a sip of his glass.)
(A woman's screams pierces through the applause. Everyone turns around.)
CUT TO:
[POOL SIDE - NIGHT - CONTINUOUS]
(VANESSA GREEN stares at something horrible in front of her and screams. TY CAULFIELD rushes over to see what the commotion is about.)
(She waves him near as she looks at the live wire cable near the pool.)
Vanessa Green: The cable fell. He was electrocuted.
(In the center of the swimming pool, there is a body floating face down.)
Vanessa Green: Oh, my god.
(She turns and buries her face in the shoulder of the man standing there.)
(TY CAULFIELD and the crowd of curious party goers rush toward the pool.)
(The SECURITY GUARD steps forward and motions everyone to a safe distance away from the pool side.)
Security Guard: Excuse me. Okay, folks. I need everyone to stay back. There's a live wire in the pool, okay? Everybody stand back.
WHITE FLASH TO:
[EXT. POOL SIDE - NIGHT - LATER]
(GRISSOM and SARA head toward the pool. As they near, they take the scene in. GRISSOM stands next to BRASS who is looking at the body in the water. SARA heads for the live wire.)
Brass: Watch yourself Gil.
(GRISSOM steps even closer to the pool side, his eyes on the body in the water. He takes the scene in.)
Grissom: This is odd. Arms and legs become deadweight in the water. He should have sunk to the bottom of the pool.
Sara: He wouldn't float until after putrefaction.
Grissom: Sara, would you see where the source of that cable is?
Sara: Yeah.
(SARA heads toward the cable. She follows it to the bushes. GRISSOM picks up the pool pole. SARA steps into the bushes as she finds the cable source: a car battery. She picks it up carries it back to GRISSOM.)
Sara: Found the power source. Car battery.
(She disconnects the cable.)
(GRISSOM uses the pole and pulls the body toward him. He picks up the head of the body and finds a CPR dummy. GRISSOM looks at BRASS.)
(BRASS shakes his head.)
Grissom: This is not a crime scene.
(The hotel security alarm blares. GRISSOM and BRASS turn to look at the exhibition room entryway.)
CUT TO:
[INT. EXHIBITION ROOM - NIGHT - CONTINUOUS]
(BRASS pushes the doors open and walks into the room followed closely by GRISSOM, SARA and the SECURITY GUARD.)
(The glass case housing the 17th century Japanese katana is broken. The sword is gone.)
(GRISSOM looks down at the SECURITY GUARD duct taped on the side. He turns and looks at the broken glass case.)
Grissom: THIS is a crime scene.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. HOTEL/CASINO - EXHIBITION ROOM -- NIGHT]
(The alarm blares. GRISSOM looks at the taped up SECURITY GUARD explaining what he's about to do.)
Grissom: I'm sorry, but there's really no gentle way to do this.
(GRISSOM reaches out and rips the tape off of BRANDON MILLER'S mouth.)
(BRASS walks into the room past all the curious on-lookers and hotel security standing on the side.)
Brass: Keep these people out. And turn that damn thing off, will you?
(He heads for SARA who stands in front of the broken glass case.)
Sara: They only took the one piece. Samurai sword, 17th century.
Brass: They say how much it was worth?
Sara: Worth the risk of walking past 100 guests into a guarded room.
(The alarm stops. BRASS turns around and looks at BRANDON MILLER.)
Brass: Hey, buddy, you see anything?
(GRISSOM crouches behind BRANDON MILLER trying to cut the tape off of him.)
Brandon Miller: No. I got h*t from nowhere. Next thing I know, I'm taped up.
(BRASS looks at GRISSOM. GRISSOM nods at the desk.)
Grissom: Blood smear on the desk.
(Camera close up of the blood smear.)
(Quick flashback to: Someone clubs BRANDON MILLER behind his head. He falls unconscious, the intruder forcibly hitting his head against the desk.)
(End of flashback. Resume to present.)
Brandon Miller: I feel like an idiot.
Grissom: Well, you may have a concussion.
Brass: Let's get you checked out.
(BRASS looks at the door and shouts.)
Brass: Paramedics out there?
(A couple of paramedics walk into the room.)
Brass: Check him up.
(SARA continues to examine the room. She walks up to the Japanese armour in the glass case and looks at it. She looks at the display card: SUIT OF ARMOR, 17TH c. She continues looking down and notices some clear liquid at the base of the show case.)
(Cut to: The paramedics escort BRANDON MILLER out of the room as the HOTEL SECURITY walks in.)
Head of Hotel Security: Well, none of my men saw anyone suspicious enter or exit.
Brass: The surveillance cameras?
(They stop and both look at the broken, empty case.)
Head of Hotel Security: Our cameras only watch the money and the exits. Not rooms like these. Damn, they got the sword. Most expensive piece in the collection. This is all Mr. Caulfield needs right now.
(GRISSOM pauses and looks up as he listens.)
Brass: Why is that?
Head of Hotel Security: 9/!!, the depressed Asian economy, Indian gaming in California. Every casino on the strip's taken a h*t.
(BRASS nods.)
Brass: I'm going to want to talk to the girl who found the body.
(BRASS steps out of the room.)
(Meanwhile, SARA takes a swab sample of the clear liquid. She looks at it and smells it.)
Sara: Smells sweet. The sign over there says no food or drink in this room, right?
Grissom: Make sure you take it back to Greg.
(GRISSOM looks around and notices the empty tape roll on the stand. He removes the tape roll and looks at it.)
CUT TO:
[EXT. VACANT HOUSE -- NIGHT]
(CATHERINE and WARRICK walk up the sidewalk toward the front of the house. They meet up with the officer at the scene.)
Woman Officer: My third time at this address. Two suicides a few years ago, and now a 419. This house is cursed.
(She leads them up the front walk toward the door.)
Catherine: You don't strike me as the type who believes in curses.
(She turns around.)
Woman Officer: Yeah, well, I'm not the type to believe in coincidences, either.
Warrick: Is this house abandoned?
Woman Officer: Bank foreclosed four years ago. Been vacant ever since.
(She turns and continues to lead them under the crime scene tape toward the front entrance.)
Woman Officer: Neighbor heard a scream. I was the responding officer.
[INT. VACANT HOUSE - NIGHT - CONTINUOUS]
(CATHERINE walks into the house, her flashlight on. WARRICK follows her as she heads inside. They turn around to look at the WOMAN OFFICER who declines and stays outside the house.)
(CATHERINE continues forward through the house. In one of the bedrooms, they find DAVID with the body. He's engrossed with filling out the clipboard and doesn't notice them.)
Catherine: Uh ... oh, hey, David.
David Phillips: (startled) Yeah! (He looks up.) Oh, hey. Uh, jugular's been punctured.
(CATHERINE steps closer for a better look.)
David Phillips: Two marks. (points to the marks) Possibly bite marks.
Catherine: Bite marks?
(CATHERINE kneels down for a better look.)
David Phillips: Punctures are 32 millimeters apart. That's the average distance between the eyeteeth in an adult male's mouth.
Catherine: Right, but those punctures aren't consistent with human teeth.
David Phillips: Yeah, well, what about fangs?
Warrick: Fangs? Come on.
(DAVID opens the woman's mouth to show her pierced tongue and ... fangs.)
David Phillips: Wounds are deep. She bled out.
Warrick: Then where's all the blood?
David Phillips: Lividity tells me she wasn't moved postmortem, so, I don't know.
Warrick: I'm going to take a look around.
(WARRICK stands up and leaves the room.)
Catherine: David, I don't know a whole lot about vampires, but if she was bit, there's spit, and if there's spit, there's DNA, so swab the neck.
Warrick: (o.s.) Catherine, take a look at this.
[MAIN HALL -- CONTINUOUS]
(WARRICK looks down at something on the floor. CATHERINE joins him. He's found a red-painted insignia on the wooden floor.)
Warrick: Please tell me that's not blood.
(They step into the room. CATHERINE takes a sample and tests for blood.)
Catherine: Negative. It's probably just house paint.
Warrick: Well, we know one thing for sure. This place wasn't vacant.
CUT TO:
[EXT. HOTEL/CASINO -- POOL SIDE -- NIGHT]
(BRASS talks with the HEAD OF HOTEL SECRUTIY. Behind them near the pool, NICK is examining the CPR dummy.)
Brass: Come on, nobody should have been allowed to leave.
Head of Hotel Security: Your officers didn't say anything about detaining Mr. Caulfield's guests.
Brass: Just give me a list of names, okay?
Head of Hotel Security: Yeah.
(HOTEL SECURITY leaves.)
Nick: Weird night.
Brass: (points to the dummy) That's not the only dummy here.
Nick: Yeah, it's a CPR demonstration dummy. Fully articulated.
Brass: Oh, yeah?
Nick: Yeah. You know, paramedics, firemen -- they use these things to teach lifesaving techniques.
Brass: Any prints?
Nick: Oh, no, no, no. Been in the water way too long, man. Sorry.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(DOC ROBBINS goes over the body. CATHERINE and WARRICK walk into the room.)
Robbins: David says you found evidence of vampires in North Las Vegas.
Warrick: Well, let's just say evidence at the crime scene suggests occult, ritualistic activity.
Catherine: I'm not sure what we found. Did you ID the Vic?
Robbins: Angela Sommerville, 20, from Henderson. License was in her pocket. Cause of death: Exsanguination.
Warrick: You check out her fangs?
Robbins: Well, her bark was worse than her bite.
(ROBBINS opens the body's mouth.)
Robbins: There we go.
(He removes the fangs from her teeth.)
Robbins: Ah. They're acrylic. Check out her gum line.
(Camera zooms in for a close-up of the gum line.)
Robbins: Thin grooves carved into the canine's enamel. Fangs are clip-ons. Multiple bite marks on the tongue suggest she was still breaking them in.
Catherine: Warrick, the symbol on her ankle -- it's similar to the one that was painted on the floor of the crime scene.
(WARRICK looks.)
Warrick: The ankh. Egyptian symbol for eternal life. I went on-line and found out it's also the universal insignia for vampires.
Robbins: Dracula didn't drink all her blood. I sent a sample to tox. I'm not sure if it's probative.
(He points to the markings on her shoulders.)
Robbins: Multiple incised wounds on the anterior of both shoulders. Some are fresh.
Warrick: Well, the shoulder area is rich in blood, right? Heals quickly?
Robbins: Yeah.
(CATHERINE looks at WARRICK and shakes her head.)
Catherine: Relevance?
Warrick: I figure, if you're going to drink someone's blood, it's a good place to start.
Catherine: Then why switch to the jugular?
CUT TO:
[INT. CSI - LAB -- NIGHT]
(GRISSOM works on the tape removed from BRANDON MILLER'S mouth. SARA walks into the lab.)
Sara: Hey. Got anything?
Grissom: A partial thumb, perhaps, on the tape that was used to cover the security guard's mouth. Not torn, either. Both ends were cut.
Sara: Pre-cut, in fact. Indicates planning.
Grissom: How about you?
Sara: Trace analyzed the liquid we found near the suit of armor: Glucose syrup.
Grissom: Sugar water. Why just the sword?
Sara: Well, it is the one piece from the exhibit you could hide on your person. Down a pant leg, maybe, or ...
Grissom: Yeah, but if you're going to steal from a casino, why take an antique? Why not take cash?
Sara: Good point.
Grissom: How's your knowledge of Japanese history, particularly, antiquities?
Sara: (smiles and shakes her head) Not good. Why?
Grissom: To find the hunter ... know the game.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. SOMMERVILLE RESIDENCE - ANGELA'S ROOM - DAY]
(The bedroom door opens; CATHERINE and WARRICK walk in followed by the SOMMERVILLES.)
Mrs. Sommerville: Angela was the sweetest child. She actually liked spending time with us. Her friends were always over here, and then ... puberty h*t and everything changed.
(CATHERINE looks around the room and notices a framed prom photo.)
Mr. Sommerville: She shaved her head, then she grew dreads.
Mrs. Sommerville: It was like she couldn't get comfortable in her own skin.
(On the bedside table are some candles.)
Mrs. Sommerville: About, um, six months ago, Angela went Goth. Black clothing ... she only went out at night ...
Mrs. Sommerville: We tried to support Angela the best we could. We only wanted her to be happy.
(CATHERINE picks up a book and reads the title and looks through the book.)
Catherine: "The Black Veil: 13 Rules of Community."
Mrs. Sommerville: Guidelines for Vampires. She wrote them down in there, along with all her thoughts.
Catherine: So you've read what's in here?
(CATHERINE looks at MRS. SOMMERVILLE who nods slightly.)
Catherine: Your daughter believed that she was a vampire?
Mrs. Sommerville: She was 18. She wanted to stand out, to be special. I tried not to judge her, but I also wanted to know what was going on in her head.
Mr. Sommerville: She snooped.
(MRS. SOMMERVILLE sighs and continues.)
Mrs. Sommerville: Each time Angela tried something new, I would take a crash course.
(CATHERINE reaches into the bookshelf and pulls out a piece of paper. She looks at it:
HIV TEST RESULTS
--NAME: ANGELA SOMMERVILLE
--ID: 3759060X
--AGE: 20
--SEX: F
--E ID NO: 6729-BAMI
--SESSION NO. 716885 20
--ER ID NO. 70722345
RESULT UNITS
NEGATIVE COPIES ...
Catherine: Lab results.
Mrs. Sommerville: Angela's HIV test. It was negative. That was the one thing we insisted upon, not that it matters now.
(WARRICK opens the closet door to reveal a table made up in the manner of a shrine complete with black and white photo of a man.)
Warrick: Who's the guy?
Mrs. Sommerville: Angela wouldn't say. The statue's an incubus. According to the legend, incubi seduce young women while they sleep ... and drink their blood.
Catherine: Well, your daughter was found in an abandoned house. And we believe that there was, um, someone there with her. Do you have any idea who that might be?
Mrs. Sommerville: Her court. I can give you their names.
Catherine: Her "court"?
Mrs. Sommerville: It's like a coven for vampires.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. HOTEL/ CASINO - EXHIBITION ROOM -- DAY
(GRISSOM and SARA walk into the exhibition room, GRISSOM'S carrying both kits while SARA carries an armful of research books.)
(HOTEL SECURITY stands in the room with other GUARDS. What's left of the exhibition has been moved.)
Sara: Don't tell me, they came back and stole the rest?
Head of Hotel Security: No, not quite. At Mr. Yamamoto's request, the collection's been moved to Mr. Caulfield's office vault. He was pretty upset. He's on his way here now from Tokyo.
Sara: We were hoping to take a look at the rest of the exhibit.
Head of Hotel Security: Mr. Caulfield's vault is off limits.
Grissom: Okay, what about photographs?
(HOTEL SECURITY hands GRISSOM the clipboard.)
Head of Hotel Security: You're in luck there. Our hotel registrar took polaroids of the collection when she logged it in.
(He takes out the Polaroid photos out of the pocket and shows it to them.)
Sara: Can we talk to her?
Head of Hotel Security: Well, Miss Green is on vacation, but, uh, I can try and contact her.
(GRISSOM finishes looking at he list.)
Grissom: Well, this is just a list of inventory. How about the insurance policy?
Head of Hotel Security: Yamamoto carried his own insurance.
(GRISSOM adds the clipboard to the top of the stack of books SARA'S carrying.)
Head of Hotel Security: Our hotel registrar just documents the condition of each piece. We extended Mr. Yamamoto every courtesy, but weren't going to assume responsibility. This is a Casino, not a museum.
(HOTEL SECURITY walks away.)
CUT TO:
[INT. CSI - WAITING ROOM -- DAY]
(CATHERINE and WARRICK interview ANGELA'S court consisting of three other girls.)
Catherine: Alice, you need to answer the question.
Court Girl 1: She won't respond to that name. She goes by Luminessa.
Catherine: Okay, let's start over. Do any of you ladies recognize this man?
(CATHERINE holds out the photo for them to look at. It's clipped to the police report. The girls shake their heads.)
Warrick: When was the last time you saw Angela?
Alice (Luminessa): Who?
(CATHERINE chuckles humorlessly.)
Catherine: Okay. All right, I've had enough. (She clears her throat.) Your friend is d*ad. This is a m*rder case. If you're not willing to help us, we will split you up and treat you as suspects. Hold you for 24 hours. Is that what you want?
(The girls look at each other.)
Alice (Luminessa): We called her Daegonna. We were together last night. At court.
(Quick flashback to: [VACANT HOUSE - NIGHT] ANGELA faces her court over a burning candle.)
Angela Sommerville: (frustrated, angry) Being a vampire is about feeding.
(She holds up the book and throws it down in front of them.) This is pathetic.
(End of flashback. Resume to present.)
Alice (Luminessa): Angela had been going to this blood bar. Wanted us to join her.
Warrick: Blood bar?
Alice (Luminessa): The people who go there, they drink blood.
Court Girl 1: For real.
Court Girl 2: Hardcore.
Warrick: And I guess you girls don't do that?
Court Girl 1: Hell, no. And that's what we told her. She totally lost it. She called us "Gajas."
Warrick: Which is ... ?
Court Girl 1: A fashion vampire. Normal people who just play dress-up.
Court Girl 2: You don't have to drink blood to be a vampire.
Alice (Luminessa): For us, it's spiritual. We feed off each other's energies.
Court Girl 1: Yeah.
Court Girl 2: Energy.
Court Girl 1: So, we voted her invisible. Kicked her out of our court.
Alice (Luminessa): But she wouldn't leave. So we did. And that's the last time we saw her.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HOTEL/CASINO - EXHIBITION ROOM -- DAY]
(SARA reads the list as GRISSOM stands in the middle of the room looking at the empty display cases.)
Sara: Other items in the exhibit include a 17th century decorated silk.
(She turns the page.)
Sara: 17th century iron w*r mask.
(She turns to the next page.)
Sara: 17th century kabuki robe used in the first kabuki dances in Kyoto.
(GRISSOM stops in front of the empty display case with the card still in it:
Suit of Armor
17th c.
lacquer, horsehair, iron, beading, silk cord, wood
Collection of Yuri Yamamoto
The Japanese suit of samurai armor was only worn by the highest military class and emperors. Oda Nobunaga played a key role in shaping the course of history in feudal Japan. His policy of unifying a country controlled by many feuding daimyo was furthered in a series of victories characterized by brilliant w*r tactics and firearms. )
Grissom: Seventeenth century suit of armor. Wasn't the Japanese military established long after that?
Sara: Let's see.
(SARA puts the clipboard aside and checks on of the many reference books next to her. GRISSOM looks around and waits for the answer.)
Sara: (reading) 1868, by Emperor Ma-ji? Meiji?
Grissom: So, this is out of place.
Sara: Just like the sugar water we found nearby.
(GRISSOM'S phone rings. He answers it.)
Grissom: Grissom.
Nick: Grissom, ...
INTERCUT WITH:
[INT. CSI - HALLWAY]
Nick: I got a h*t on your partial print from the hotel employee database. (He looks at a copy of the license in his hand.) Brandon Miller. He's your duct-taped security guard.
Grissom: I thought he was unconscious. How does his prints end up on the tape?
(SARA looks up from her book.)
Nick: You tell me.
Grissom: All right. Thanks, Nick.
(GRISSOM hangs up. He looks around, thinking about it. He stops and notices the divider pole where he found the empty tape roll.)
Grissom: Sara?
Sara: Hmm?
Grissom: Do you have any duct tape in your kit?
Sara: Yeah, it's what I use to keep it together.
(GRISSOM stares at the pole as SARA gets the duct tape out of her kit. She hands it to him.)
Grissom: Thank you.
(he puts the tape on the pole and starts spinning in his chair.)
Sara: He taped himself up.
Grissom: We've been conned.
(SARA turns GRISSOM around and cuts him free.)
Sara: Well, you saw the paramedics take him out of here. If he'd had a samurai sword hanging out of his pant leg, you would've noticed.
(GRISSOM removes himself from the tape.)
(He sits there and sighs. In the quiet, he and SARA both notice a metallic rattling sound coming from the ceiling air conditioner. They look up and notice that the vent is skewed.)
(GRISSOM checks the vent and finds the missing sword hidden in the ceiling. He smiles.)
Grissom: huh. Domo arigato.
CUT TO:
[INT. HOTEL/CASINO - MAIN CASINO FLOOR-- DAY]
(GRISSOM carries the sword as he, SARA and the HOTEL SECURITY make their way through the casino.)
Head of Hotel Security: So Brandon Miller never made it to the hospital, huh? Concussion, my happy ass.
Grissom: It's an old trick. Don't steal the item; just leave it at the location, come back and get it when the cops leave.
Head of Hotel Security: Well, your timing's perfect. Mr. Yamamoto just arrived. Mr. Caulfield's with him right now.
[INT. CONFERENCE ROOM - DAY - CONTINUOUS]
(HOTEL SECURITY opens the door and walks into the room. GRISSOM and SARA follow. In the center of the room, TY CAULFIELD stands next to YURI YAMAMOTO.)
Head of Hotel Security: Mr. Caulfield.
(TY CAULFIELD turns around as they descend the stairs.)
Head of Hotel Security: You asked to be kept up to date on our progress.
Ty Caulfield: I'll be damned. You found the guy?
Grissom: Perhaps. We found the sword.
Ty Caulfield: (to YURI YAMAMOTO) See? I promised you this matter would be resolved, Yuri.
(YURI YAMAMOTO steps toward GRISSOM intending to take his sword back.)
Grissom: Uh ... we'll need to take this back to our lab.
Yuri Yamamoto: No. You people have already lost it once.
(GRISSOM hands the sword to SARA.)
Grissom: It's part of an on-going investigation. We need to process it.
Yuri Yamamoto: This sword is invaluable.
Grissom: To us as well.
Ty Caulfield: Surely this is open for conversation, Mr ...
Grissom: I don't think so. I do have a question for Mr. Yamamoto. Your collection is primarily 17th century, but we found one piece, a suit of armor, that our research dates to the mid-19th century.
Yuri Yamamoto: I don't have a suit of armor in my collection.
(TY CAULFIELD looks at YURI YAMAMOTO who turns to look at back at GRISSOM.)
Yuri Yamamoto: What is going on here?
Grissom: Mr. Caulfield, we'd like to take a look at your personal vault.
CUT TO:
[EXT./INT. HOTEL/CASINO - VAULT -- DAY]
(TY CAULFIELD punches the security key pad combination and opens the vault doors only to find the shelves stripped bare.)
Ty Caulfield: Oh, my god. The cash-- it's gone. (He turns to look at his HEAD OF SECURITY.) How the hell did they get in here?
(GRISSOM picks up one of the $10,000 money bands on the vault counter and looks at it.)
Grissom: How much cash did you have in here?
Ty Caulfield: Ninety percent of the casino's cash is in the basement vault. I only keep an emergency reserve here.
(GRISSOM looks away for a moment, nodding.)
Ty Caulfield: Ten million ... at all times.
(GRISSOM and SARA turn to look at CAULFIELD. GRISSOM looks around at the abandoned suit of armor on the vault floor.)
Grissom: There's the suit of armor. The Trojan Horse?
Sara: Someone was inside the armor, hiding in plain sight?
(Quick flashback to: [INT. VAULT] HOTEL SECURITY walks out of the vault after moving the collection inside. He turns off the lights.)
(Cut to: The person in the suit of armor opens his eyes and looks around.)
(End of flashback. Resume to present.)
Grissom: Might be.
(TY CAULFIELD turns and looks at his HEAD OF HOTEL SECURITY.)
Ty Caulfield: And you just wheeled him in here?
(He heads out of the vault.)
Ty Caulfield: Get my lawyer. Assemble everyone. I need answers.
Head of Hotel Security: Yes, sir.
(GRISSOM looks back at the suit of armor, then turns back to SARA.)
Grissom: And the con goes on.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. HOTEL/CASINO - VAULT - DAY]
(GRISSOM and SARA are in the vault processing the scene. GRISSOM examines the discarded suit of armor while SARA collects the money bands.)
(As she picks up each money band one-by-one, GRISSOM finds two plastic bags under the armor.)
Grissom: Well, this explains the glucose. Food source. Probably didn't know how long he was going to be in the suit.
Sara: What's in the other bag?
Grissom: Urine. (She nods.) He was in there for a while. How you doing with those money bands?
Sara: Ten thousand dollars per band. When I get to a thousand, I'll let you know.
(GRISSOM finds a small hand-held digital recording device. He plays it. There are a series of beeps.)
Grissom: I think it's the code from the vault. Must've recorded it.
(Quick flash to: [INT. VAULT] The person in the suit of armor holds up the digital recorder as the key pad is being pressed. End of flashback. Resume to present.)
(GRISSOM stands near the door and tries several key combinations till he finds the right sequence.)
(The vault door opens. CAULFIELD and YAMAMOTO are standing outside.)
Ty Caulfield: How did you open the safe door?
Grissom: The same way our thief did: Using your musical code.
(GRISSOM plays the recorder.)
Grissom: Mr. Caulfield, you have video surveillance?
Ty Caulfield: Nothing in my vault or in my office, but I'll get you everything from this floor.
CUT TO:
[INT. CSI - DNA LAB - NIGHT]
(CATHERINE and WARRICK walk into the lab. GREG whips out a wooden stake and holds it out to CATHERINE, startling her.)
Greg: For you ...
(CATHERINE takes GREG'S stake. GREG holds out a crucifix for WARRICK.)
Greg: ... and you. Just in case.
Catherine: Are Angela's tox result in yet?
Greg: Blood alcohol level of .14 percent.
Catherine: Her friends didn't say anything about drinking.
Greg: Well, I'm just getting warmed up. Tox panel detected traces of thujone. Thujone is the psychoactive chemical found in absinthe, a liquor distilled from wormwood.
Warrick: Isn't absinthe illegal?
Greg: In the US. Banned in 1912. Apparently, toxic byproducts are released during the distilling process. Stuff's supposed to make you a little crazy.
Catherine: And how would Angela get a hold of this?
Greg: Well, this is not coming from personal experience, but according to a friend of a friend of an acquaintance, absinthe is rumored to be served in certain underground clubs.
Warrick: Like a blood bar.
CUT TO:
[INT. BLOOD BAR -- NIGHT]
(Various scenes of the dance floor.)
Lyric: Are you ... ready for the new ...? / Stand up and admit it: Tomorrow's never coming / this is the new ... / stand up and admit it / do we need it? / No! / Do we want it? / Yeah! / This is the new ...
(LAZARUS KANE swallows his drink. CATHERINE and WARRICK appear next to him.)
Catherine: Mind if we join you?
Lazarus Kane: Sure. What are you into?
Warrick: We're into crime scenes.
Catherine: And you are ... ?
Lazarus Kane: Lazarus Kane.
Warrick: Did Angela Sommerville call you that?
Lazarus Kane: I don't know any Angela Sommerville.
Warrick: What about Daegonna?
Lazarus Kane: She file a complaint against me?
Catherine: Why would she do that?
Lazarus Kane: Look, everything we did was consensual. It's not illegal to drink someone's blood. She was into it. That neonate ... she offered herself to me.
Warrick: Did she offer herself to you last night?
Lazarus Kane: We had a drink together here.
Warrick: Absinthe?
Lazarus Kane: What's this about?
Catherine: Was that the last time you saw her?
Lazarus Kane: No. Later on, I swung by her court and daggered the relationship.
Catherine: How long had the two of you been together?
Lazarus Kane: For the past three months, she's been my "donor".
(He pushes aside his shirt to show CATHERINE the scars on his shoulder.)
Catherine: And you were her donor?
Lazarus Kane: No, it doesn't work like that. Daegonna belonged to me.
Catherine: (confused) Okay... but you were someone's donor.
Lazarus Kane: Well, under the right circumstances, I'll do just about anything.
Warrick: How 'bout m*rder? Daegonna was k*lled last night.
Lazarus Kane: Well, I don't know anything about that. See, I follow very strict guidelines: Black veil. Principle 11: You never mistreat your donors.
Catherine: And that pendant around you neck? That wouldn't happen to contain blood, would it?
Lazarus Kane: Yeah.
Catherine: Whose?
Lazarus Kane: It's Daegonna's, okay? She gave it to me couple weeks ago. I offered to give it back, but she wanted me to keep it ... said her PSI belonged to me.
Warrick: "Psi"?
Lazarus Kane: Life-force, blood.
Warrick: We're going to need that pendant for evidence.
Catherine: And a sample of your ... DNA.
(He bares his shoulder for CATHERINE.)
Lazarus Kane: Knock yourself out.
Catherine: Oh, I prefer saliva.
Lazarus Kane: (disappointed) Aw ...
Catherine: Open up.
(LAZARUS opens his mouth wide, baring his "fangs".)
Catherine: Right.
(CATHERINE takes a swab sample.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - A/V LAB -- NIGHT]
(NICK goes over the security tape video with GRISSOM and SARA.)
Nick: There's our man.
Grissom: And the time?
Nick: 3:15 A.M.
Sara: He's certainly aware of the cameras.
Nick: Yeah, you really can't get a good look at him from any angle. He's walking like he crapped his pants.
Grissom: I'm thinking that might be the money.
(Quick flashback to: [INT. VAULT] The thief straps the packs of money to his body. He zips up his jumpsuit. End of flashback. Resume to present.)
(On video: The thief heads to the far door and swipes a card through the key pad.)
Grissom: An employee ID card?
Nick: It gets better.
(On video: The thief exits the building and gets into a waiting car.)
(NICK punches some keys on the keyboard and the video zooms in to show the identity of the driver.)
Sara: That's Brandon Miller, the security guard.
Grissom: Hmm. Okay, so find the best sh*t you can of our mystery thief. If he is an employee, you should be able to ID him.
Nick: There's over three thousand employees who work at the Mediterranean, and this guy is not really giving me much to go on here.
Grissom: Yes, but technology is a wonderful thing, Nick.
(GRISSOM turns and leaves. SARA puts a hand on NICK'S shoulder, gives him a
"glad its you and not me" smile, then follows GRISSOM out the door.)
CUT TO:
[INT. CSI - DNA LAB -- NIGHT]
(GREG reports back to CATHERINE and WARRICK.)
Greg: Lazarus may have been sucking on Angela's shoulders, but he did not bite her jugular. His DNA's inconsistent with the saliva swabbed from the puncture wounds around her neck.
Warrick: Damn.
Catherine: What about that pendant?
Greg: You know, nothing says "I love you" like an ounce of fresh blood. It is Angela's blood, and it's mixed with a polyester base. Polyester base is an inert fluid pre-packaged in test tubes used for HIV testing. It helps prepare the blood for centrifugation by forming a barrier between the blood cells and the serum.
Warrick: Angela's parents only insisted upon only one thing ...
Catherine: ... that she be tested for HIV.
CUT TO:
[INT. CSI - AUDIO/VIDEO LAB -- NIGHT]
(NICK works on finding the identity of the mystery thief. I'm way to lazy to describe this music video for you. He does graphic manipulation on the computer.)
Lyric: Hey, you ugly people / I want you to set my baby free / hey, people / set my baby free / said he was man / what did he know / spent his time living in a casino / never know / couldn't get away, couldn't ever get it anyway / couldn't ever level 'cause he's living like a devil / hey / hey, set my baby free / set my baby free ...
(NICK finishes the computer graphic composite of the mystery thief.)
DISSOLVE TO:
[EXT. HOTEL / CASINO - POOL SIDE -- DAY]
(Close up of the composite.)
(NICK and SARA show the computer composite of the mystery thief to the LIFEGUARD.)
Lifeguard: Yeah, that's Nathan. Do me a favor when you find him. Let him know he's fired. He hasn't shown up in four days.
Nick: Will do. You missing anything else around here?
Lifeguard: Like what?
Nick: CPR dummy.
Lifeguard: Yeah. Had to cancel a class on Sunday 'cause we couldn't find Macaulay.
Sara: Macaulay?
Lifeguard: Culkin. Our dummy. You know, 'cause his mouth is always open.
(He does the "Home Alone" pose. NICK laughs. SARA stares at NICK. She shows the photo of the electrocuted dummy from the pool to the LIFEGUARD.)
Nick: Is this Macaulay?
Lifeguard: Yeah, that's him. Can we get him back?
Sara: Soon as we're done with him.
CUT TO:
[INT. CSI - LAB -- DAY]
(GRISSOM dusts the sword's scabbard. SARA sits across the table and watches him.)
Sara: Security guard put the sword in the crawlspace. It's got to be his prints.
Grissom: Well, let's find out, shall we?
(NICK walks into the lab and joins them.)
Nick: Hey.
Grissom: Nick, want to do me a favor and tape-lift that?
Nick: Sure.
(NICK takes a tape lift and puts it over the dusted print. He presses. He rips the tape lift off the scabbard taking part of the hide covering with it.)
(NICK'S eyes widen and he looks at SARA to see if she saw. Oh, yeah. SARA looks at NICK, her eyes just as wide. NICK swallows.)
Nick: Grissom, how's our insurance?
(GRISSOM turns and sees the damaged sword.)
Nick: I was being careful, I swear.
(GRISSOM examines the damage as SARA walks around the table for a better view.)
Grissom: Should four-hundred-year-old lacquer look this good? (He sniffs it.)
And smell like acrylic?
(He looks at them and puts the sword back on the table. NICK smells the tape lift. GRISSOM removes one of the precious stones from the scabbard and crushes it easily.)
Sara: What kind of precious stone breaks that easily?
Grissom: A fake one. This is nothing more than a hardened ball of wax.
Nick: Do you think someone switched swords on us?
Grissom: Well, so far, nothing's what it seems.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HOTEL/CASINO - VAULT -- DAY]
(GRISSOM, NICK and SARA test and check every piece in the collection.)
(SARA smells the kimono.)
Sara: Smells like tea.
Grissom: Sometimes paper products or other materials like silk -- they soak it in tea to give an aged look.
Nick: The paint on this mask is coming right off, layer by layer.
Grissom: I think this is boot polish.
Sara: Another aging method?
(TY CAULFIELD appears in the doorway.)
Nick: So it's not just the sword. This ... his whole collection's a fake?
Ty Caulfield: A what?
Grissom: We believe this collection is worthless. Well-made, historically accurate, ... probably worthless.
(TY CAULFIELD steps out of the vault and sits down thoughtfully on the table just outside. GRISSOM steps outside also.)
Grissom: Your head of security said that Mr. Yamamoto's collection was documented by an internal registrar.
Ty Caulfield: Vanessa Green. I-I thought you spoke to her yesterday.
Grissom: She was on vacation ... but even though she's not an official appraiser, she should've been able to tell these were fakes, don't you think?
(CAULFIELD presses his fingertips against the bridge of his nose.)
CUT TO:
[INT. HOTEL - HALLWAY -- DAY]
(The HEAD OF SECURITY leads TY CAULFIELD and GRISSOM to YURI YAMAMOTO'S room.)
(He opens the doors.)
Ty Caulfield: Mr. Yamamoto? Mr. Yamamoto? I'd like a word with you. Mr. Yamamoto?
Grissom: It seems he's left.
Head of Security: Gentlemen, no luggage. Nothing.
(CAULFIELD grabs the vase off the table and smashes it to the floor in anger.)
Ty Caulfield: Son of a bitch! He made a fool out of me.
Grissom: Well, we have that in common.
Ty Caulfield: Find out when he checked out.
Head of Security: I'm on it.
Ty Caulfield: And Vanessa Green. Where did she go?
(The HEAD OF SECURITY picks up the phone.)
Grissom: Brandon Miller, Nathan Pollard, Vanessa Green, and Yuri Yamamoto. Three of your employees and one whale ... all evidently disappear.
Ty Caulfield: Along with my $10 million.
(The HEAD OF SECURITY hangs up.)
Head of Security: Yamamoto never checked out. Vanessa Green made reservations at the Princeville in Kauai. She never checked in.
Ty Caulfield: And he left without his antiques.
Grissom: Well ... he knew they were worthless.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. ADMINALAB CLINIC]
(The technician, BOBBY JONES, draws blood from an older woman. CATHERINE and WARRICK step in the doorway.)
Catherine: Um ...
Bobby Jones: I'll be right with you. (to the woman) The tests will be mailed to you in seven days, and they'll include a toll-free number if you have any questions.
Woman: Thank you. I didn't feel a thing.
(The WOMAN leaves. CATHERINE and WARRICK walk into the room.)
Bobby Jones: Walk-ins? Or do you have an appointment?
Warrick: We're from the crime lab. We're here about a Miss Angela Sommerville. Last month, your clinic tested her blood.
Bobby Jones: Actually, we don't do the testing. Common mistake. I'm contracted by Adminalab to withdraw blood, and the lab processes. And the whole thing is confidential, so ...
Catherine: Oh, we've already seen her results. She's d*ad, so, the confidentiality privilege no longer applies. We need to know which tech withdrew her blood.
Bobby Jones: I'm the only tech here.
Catherine: Oh. Well, there was a pendant with her blood inside it.
Bobby Jones: What does that have to do with me?
Catherine: Her blood was mixed with a polyester base. I think you know what that means.
Bobby Jones: I ... know who you're talking about.
(Quick flashback to: BOBBY JONES withdraws ANGELA SOMMERVILLE'S blood.)
Angela Sommerville: I have a favor to ask you.
(She holds up the pendant.)
Angela Sommerville: Do you want to help?
(End of flashback. Resume to present.)
Bobby Jones: I'd taken more than enough for testing purposes, so, I figured it's her blood. Why not just give it to her?
(WARRICK walks around CATHERINE and looks around the lab.)
Catherine: My bet is that it's against your lab's policy.
Bobby Jones: Great. You going to report me?
(WARRICK opens the refrigerator.)
Bobby Jones: Uh, you can't go in there.
Warrick: We have a warrant.
(WARRICK hands the warrant to BOBBY JONES.)
Bobby Jones: Th-th-that's my personal fridge.
(WARRICK finds a container of blood in the fridge.)
Warrick: Now, what's this blood doing in there?
(BOBBY JONES doesn't say anything.)
Catherine: Mr. Jones ... I'm going to need a sample of your DNA.
Bobby Jones: I bet you don't have a warrant for that.
Warrick: (looking at the container) Catherine, I think we have all we need here.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. CSI - BREAK ROOM- DAY]
(SARA carries the sword to GRISSOM.)
Sara: Handle is molded plastic fiber. Materials are used by hundreds of manufacturers throughout the country. It's impossible to trace.
Nick: Vintage cherry red leathers, bronze pvc fabric, aged. Countless furniture and clothing suppliers. Nothing really unique.
Sara: But the ivory on the sword's scabbard is unique. In fact it's not ivory. It's treated bone from an emu. Inexpensive, but not widely used.
(She gives the sword to GRISSOM.)
Nick: Only about half a dozen us importers. One did recently make a sale to a business in Las Vegas.
Sara: That same business also bought vintage leather, molded plastics and everything else he used to make this collection.
Nick: Chen's scenic prop house -- owned by Graeme Chen of 1 Engelfield Road, Las Vegas, Nevada. Also his place of business.
Sara: As of five minutes ago, no one's answering the phone.
Grissom: Call Brass. Get a warrant.
(GRISSOM whips out his mighty sword and startles SARA.)
CUT TO:
[INT. CHEN'S SCENIC PROP HOUSE -- NIGHT]
(The warehouse doors open. BRASS, GRISSOM, SARA and NICK enter and look around.)
Brass: You know, I always imagined your house would look like this, Gil.
(NICK grins at the comment and heads for the back of the room while the others examine the other items along the way.)
Nick: Hey, Grissom, check this out.
(On the table are swords in various stages of completion. GRISSOM and SARA join him as they examine the swords.)
Sara: Prototypes, maybe.
Nick: Yeah, definitely.
(In the back, BRASS continues to search the warehouse. He finds the sleeping area. He walks past a large Mikado showboard with a huge ladder leaning up against it pretty much blocking it.)
Nick: Looks like Mr. Chen tried a few times before committing.
Grissom: Well, he certainly does beautiful work.
(BRASS puts on his latex gloves and moves aside the pants on the bed only to find a wallet just tossed there. And still, the showboard is in the background with the ladder leaning against it.)
Brass: Want to see a picture of Mr. Chen?
(GRISSOM walks over to BRASS to find him holding up a NEVADA DRIVER LICENSE for:
CHEN, GRAEME
55 VISTA COURT
LAS VEGAS, NEVADA
Brass: I guess he lived here, too.
Grissom: Mr. Chen is Mr. Yamamoto. He's not even Japanese.
Brass: So, this is how Ty Caulfield's high rollers live -- a cot in a warehouse.
Grissom: Well, I'm guessing he spent all his money on the baccarat tables, buying himself a reputation.
(Quick flashback to: GRAEME CHEN at the gambling tables. TY CAULFIELD whispers over to the HEAD of SECURITY as GRAEME CHEN fans open his stack of bills. End of flashback. Resume to present.)
Brass: You got to spend money to make money.
(NICK moves the ladder covering the showboard.)
Sara: Hey. Take a look at this.
(GRISSOM turns around and walks over to SARA who's staring at the Mikado's showboard. On the front are large photos of the actors of THE 33 THEATRE in LAS VEGAS, NV.)
Sara: Brandon Miller, the security guard, the lifeguard, Nathan Pollard, and I'm guessing the registrar, Vanessa Green.
Nick: So, Mr. Chen made their costumes, their props and their scenery.
(GRISSOM looks at the title of the show, Gilbert and Sullivan's "The Mikado".)
[CUE BACKGROUND: WOMEN CHORUS SINGING]
Women: (echoy) Three little maids from school are we ...
(GRISSOM starts singing the same phrase.)
Grissom: (singing) ... three little maids from school are we ...
[CUE BACKGROUND: DIGITAL RECORDING TONES BEEPING]
(We hear the faint echoing combination of the digital recording beeps that opened the CAULFIELD vault.)
(He puts it together.)
Grissom: You ever listen to Gilbert and Sullivan?
Nick: (nods) No.
Grissom: Ty Caulfield does.
Sara: The code from his digital vault.
Nick: Coincidence?
Grissom: I don't think so. How much does $10 million in cash weigh, I wonder?
Nick: A lot.
Grissom: Sara, I'm going to need the money bands you collected. Nick, you get to do the math.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(CATHERINE re-interviews BOBBY JONES. She shows him photos of the container of blood.)
Catherine: The blood in your personal fridge belonged to Angela Sommerville.
(She shows a second photo of the bloody lip print.) We found a lip print on the rim of the container we confiscated.
(Quick flashback to: [INT. CLINIC] BOBBY JONES opens the refrigerator and drinks the blood straight out of the container. End of flashback. Resume to present.)
Bobby Jones: It's not a crime to drink someone's blood.
(They're interviewing BOBBY JONES in a weird looking white room.)
Warrick: How did her blood end up in your fridge?
Bobby Jones: When Angela came in for her HIV test, she asked me to withdraw an extra unit. She paid me twenty bucks to store it, and never came back to pick it up.
Catherine: And what, you just got thirsty? Angela's test date was 32 days ago, and our lab determined that the blood from your fridge was less than a week old. Would you explain that?
Bobby Jones: Most girls turn away when I stick the needle in.
(Quick flashback of: BOBBY JONES drawing ANGELA'S blood as she watches. He notices that she's not afraid of the blood ... or of the pain.)
Bobby Jones: (V.O.) She was into it.
(End of flashback. Resume to present.)
Bobby Jones: I started watching over her. She was dating this wannabe total hollywood freak show.
Warrick: Oh, so you're the real thing?
Bobby Jones: These don't come
(He points to his fangs as he smiles proudly at WARRICK.)
Catherine: (o.s.) Mr. Jones, give me a file, and I could sharpen my teeth into fangs.
Bobby Jones: I was born with these.
Catherine: Mm-hmm. The night that Angela was m*rder, you were "watching over her."
(Quick flashback to: [VIEW THROUGH THE WINDOW] ANGELA begs LAZARUS.)
Lazarus Kane: I will not be tied down.
Angela Sommerville: No, Lazarus, please don't go.
Bobby Jones: (V.O.) The poser just took off.
(End of flashback. Resume to present.)
Bobby Jones: She ... invited me in.
(Quick flashback to: ANGELA opens the door to find BOBBY on the doorstep.)
Angela Sommerville: Yeah?
(End of flashback. Resume to present.)
Bobby Jones: She was glad to see me.
(Quick flashback to: BOBBY steps into the house.)
Angela Sommerville: Who are you?
(End of flashback. Resume to present.)
Bobby Jones: We kissed.
(Quick flashback to: BOBBY kisses ANGELA as she struggles against him.)
Angela Sommerville: Get off me!
(End of flashback. Resume to present.)
Bobby Jones: She, um ... "offered" herself to me.
(Quick flashback to: BOBBY bites ANGELA.)
Angela Sommerville: Stop it!
(End of flashback. Resume to present.)
Warrick: You mean she offered her blood to you?
Bobby Jones: (smiling at the memory) Yeah.
(Quick flashback to: BOBBY bites ANGELA as she screams and struggles. End of flashback. Resume to present.)
Catherine: She may have offered her blood to you, but you took her life. You m*rder her.
(Quick flashback to: BOBBY pulls back and takes her blood. End of flashback. Resume to present.)
(BOBBY smiles.)
Bobby Jones: You can't prove that.
Catherine: DNA from your saliva was on the rim of the container. It's consistent with the saliva surrounding the puncture marks on Angela's neck.
Bobby Jones: I released Angela from her body. She's inside of me now. A part of me. And she's very much alive.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. HOTEL / CASINO - CAULFIELD'S OFFICE -- NIGHT]
(GRISSOM tosses a bag of money on CAULFIELD'S desk.)
Ty Caulfield: What's this?
Grissom: This is what's left of your $10 million.
Ty Caulfield: Thank you for reminding me.
Grissom: Do you know how much $10 million weighs?
(CAULFIELD shakes his head.)
Grissom: 220 pounds. Your lifeguard, Nathan Pollard-- 5'6", 140 pounds.
Ty Caulfield: Strong little bastard.
Grissom: Mmm. Say, could I borrow $10,000 in $100 bills?
Ty Caulfield: What?
Grissom: Only for a demonstration.
Ty Caulfield: I'm sorry. I'm all out.
Grissom: That's okay. I brought my own. (GRISSOM shows him the blank money bills.) It's only paper, but it's the same size, weight and density. (He puts it down on the table to continue the demonstration.) Did you know ... money bands are wrapped tightly around stacks of bills? They're very difficult to slip off. In fact, the only way you can get them off is to tear them.
Ty Caulfield: What's your point?
Grissom: None of your money bands were torn. Now, I don't know how much money you had in your vault, Mr. Caulfield, but I'm pretty sure I know how much you're going to be asking your insurance company for. You see, that's why you had your
"thief" leave the money bands behind. You hired Mr. Chen and his merry band of actors to rip you off. I'm sure you paid them, but nothing close to $10 million.
Ty Caulfield: "Your notions, though many, are not worth a penny."
Grissom: Mmm. "The Mikado".
Ty Caulfield: Notions are all you have. Otherwise, we'd be downtown instead of here in my office. You know, I've always been a big supporter of the arts. Hence, Mr. Yamamoto ...
Grissom: Uh, Mr. Chen's ...
Ty Caulfield: hence, the exhibition. Over the years, I've financed theatrical productions.
Grissom: Including The Mikado? Well, you know, one of your "partners" is going to come back again someday. He's going to miss his family, friends, the ensemble. He'll be back. And I'm guessing he'll tell us all about your latest production.
Ty Caulfield: Yes, well, until then, Mr. Grissom.
Grissom: Until then.
(GRISSOM stands up and collects his things.)
Grissom: I'm going to hand my findings over to your insurance company. I wouldn't count on receiving a payment.
(GRISSOM picks up his kit and heads out the door ... whistling.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x13 - Suckers"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
[EXT. BEST BARGAIN SUPERMARKET - PARKING LOT -- NIGHT]
(A police car pulls up the parking lot and stops in front of the store.)
[INT. OFFICER CAR (PARKED) - NIGHT]
Officer Clay: What do you need to get?
Officer Fromansky: Actually, it's what you need to get, rook.
(OFFICER FROMANSKY hands OFFICER CLAY some bills.)
Officer Clay: Aw, come on, man. We're off duty.
Officer Fromansky: You're off when I say you're off.
(With the bills in his fingers, he motions toward the store. OFFICER CLAY grabs the bills. He opens the car door and gets out.)
Officer Fromansky: (through the open window) Don't forget the Ho-Hos.
(OFFICER CLAY waves the bills over his shoulder as he heads into the supermarket.)
[INT. BEST BARGAIN SUPERMARKET - NIGHT - CONTINUOUS]
(OFFICER CLAY walks into the supermarket. Stifling a yawn, he heads toward the aisle to get his things.)
(Cut to: He looks into the refrigerator racks, finds what he's looking for, opens the door and grabs the container of milk.)
(Cut to: OFFICER CLAY heads back to the checkout counter.)
Celeste Turner: I can help you over here, sir.
(He points to the light.)
Officer Clay: That's not what your light says.
(She reaches out and turns the light on.)
Officer Clay: Slow night?
Celeste Turner: Kind of.
(He puts the container of milk on the check out counter and turns to head back into the aisle.)
Officer Clay: Oh ... can't forget the Ho-Hos.
(He finds the Ho-Ho's and absently glances up at the mirrors in the ceiling. He sees a man in black carrying a g*n walking up the next aisle.)
(OFFICER CLAY unholsters his g*n.)
WHITE FLASH TO:
[EXT. BEST BARGAIN SUPERMARKET - PARKING LOT -- NIGHT - LATER]
(GRISSOM, CATHERINE and WARRICK carry their kits past the emergency vehicles in the parking lot and head into the supermarket.)
(They see bodies on gurneys being rolled into the EMT vehicles. They see a MR. REED desperately trying to get past the officers and into the store.)
Mr. Reed: Get out of my way! I've got to get in there! What the hell is wrong with you people? My wife is still in there! Why isn't anybody helping my wife?!
Officer: (b.g.) We're doing the best we can, sir. ...
Mr. Reed: Please!
Brass: Body count's five.
(GRISSOM looks around and sees OFFICER FROMANSKY sitting on the side, a blanket wrapped around his shoulder. OFFICER FROMANSKY watches GRISSOM head into the store.)
CUT TO:
[INT. BEST BARGAIN SUPERMARKET - NIGHT -- CONTINUOUS]
(BRASS walks into the store followed by CATHERINE, WARRICK and GRISSOM. BRASS stops in front of the fallen officer and kneels down as he gives them the information.)
Brass: Officer Clay entered the store unaware of a robbery that was in progress. Officer Fromansky came in after he heard a sh*t fired. Engaged two suspects. Lit the place up.
(WARRICK looks down the aisle and sees additional d*ad bodies.)
Brass: The ski masks are John Does. The rest have wallet IDs.
(Cut to: GRISSOM holds up the camera and snaps photos of the scene.)
(CATHERINE snaps photos of JULIA REED.)
Brass: (V.O.) Woman at the back is Julia Reed, cocktail waitress at the Tangiers.
(WARRICK snaps photos of RUFUS SANDERS.)
Brass: (V.O.) Man on aisle four is Rufus Sanders, cab driver.
(He snaps more photos. When finished, he moves over to the open bag of cash on the aisle floor. He snaps a photo.)
Warrick: How you want us to handle this, Grissom?
Grissom: Same way you'd eat an elephant ... one bite at a time.
(GRISSOM looks around and notices some blood drops on the floor leading to under a table. He makes his way toward it. BRASS finishes up with an officer.)
Grissom: Hey, Jim ... did you know that Charles Manson is only 5'2"?
Brass: Yeah, little guys tend to overcompensate.
Grissom: Do you remember the, uh, story about ... how and where the marshals found old Charlie when they raided barker ranch?
Brass: (gets it) Yeah. I always, uh ...
(BRASS quietly unholsters his g*n.)
Brass: I always liked that story.
(He kneels down and aims under the table. GRISSOM moves the cloth aside to show a little boy, awake, huddled on his side, shivering and bleeding from a g*n wound.)
Grissom: (shouts) We need a medic!
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. BEST BARGAIN SUPERMARKET - PARKING LOT]
(The medics wheel out the HENRY TURNER on a gurney. BRASS and GRISSOM interview OFFICER FROMANSKY.)
Brass: All right, tell me what happened.
Officer Fromansky: I was in my radio car when I heard sh*ts fired. I called for backup. I went in.
(Quick flashback to: OFFICER FROMANSKY cautiously enters the supermarket. OFFICER CLAY is already d*ad on the floor.)
Officer Fromansky: Clay, talk to me. Clay!
(g*n sh*ts are exchanged between OFFICER FROMANSKY and the ARMED SUSPECTS. They f*re; he fires. A woman screams.)
(OFFICER FROMANSKY hits the ARMED SUSPECT.)
(End of flashback. Resume to present.)
Brass: How many sh*ts you f*re?
Officer Fromansky: Three. No, four. I fired four.
Brass: Then what?
Officer Fromansky: I saw my partner on the floor. I went towards him.
(Quick flashback to: [FROMANSKY'S POV] OFFICER CLAY is on the floor, d*ad and bloody, his head in a small pool of blood.)
Officer Fromansky: (V.O.) Second g*n came at me.
(OFFICER FROMANSKY looks up and sees the SECOND g*n. He fires multiple times. He gets h*t in the shoulder. A woman screams.)
(OFFICER FROMANSKY gets back on his feet and continues f*ring until the g*n goes down. The woman screams.)
(End of flashback. Resume to present.)
Brass: How many sh*ts you f*re at the second g*n, total?
Officer Fromansky: (thinking) Maybe-maybe five. I'd taken a sh*t in my vest.
Grissom: Hard to count under those conditions. Are you sure?
Officer Fromansky: No, I'm not sure. That's why I said maybe ... ...but I know I sh*t four at the third guy. I was going to check on my partner. I caught movement in the back. Black coat, ski mask, g*n ... I put him down.
(Quick flashback to: A THIRD g*n as a dark blur runs across the screen from left to right. OFFICER FROMANSKY kneels next to his partner, looks up, sees the figure and fires multiple sh*ts.)
(A woman screams. The g*n falls to the floor.)
(End of flashback. Resume to present.)
Brass: He f*re at you?
Officer Fromansky: Didn't give him a chance.
Brass: All right, that's all we need to know. I need your w*apon.
(BRASS holds out his hand and OFFICER FROMANSKY hands the g*n handle first to him. GRISSOM watches BRASS check the w*apon.)
Officer Fromansky: My partner ... I want to be the one to tell his wife. He was my responsibility.
Brass: All right.
(OFFICER FROMANSKY stands up to make the call. BRASS turns to GRISSOM.)
Brass: All right, look, if you're not going to say it, I will. Fromansky said he k*lled three, and there are two d*ad ski masks in there. Now, you cranked him up pretty good on that vigilante case last year. Is that going to be a problem?
Grissom: No.
(GRISSOM turns and walks away.)
CUT TO:
[INT. BEST BARGAIN SUPERMARKET - BACK ROOM -- NIGHT -- CONTINUOUS]
(CATHERINE and WARRICK speak with the other workers and witnesses at the back of the market.)
Catherine: Everybody, could I please have your attention? All right, folks, I know that you've been through an awful lot this evening. If you could just bear with me a little longer, I need to talk with every one of you one at a time, so I promise to get you out of here as quickly as possible. (quietly to the officer) Is the, uh, guy in black the cocktail waitress' husband?
Officer Metcalf: Yeah. Do you want him first?
(She looks at him, his head in his hands.)
Willows: I don't think he's ready for me just yet. I'm going to get to him soon enough.
CUT TO:
[INT. BEST BARGAIN SUPERMARKET - FRONT OF STORE -- DAY]
(SARA walks into find WARRICK processing OFFICER CLAY.)
(He puts down evidence marker #55 and #56 near the casing. GRISSOM appears next to SARA.)
Grissom: What happened to your as*ault in Henderson?
Sara: I closed it. Where do you need me?
Grissom: There's two more bodies over by the beer.
Sara: You got it.
(SARA heads for the back.)
Warrick: Barely cleared the holster.
Grissom: Reflex, maybe. Pulled the trigger before he had a target.
(Quick flashback to: OFFICER CLAY pulling out his g*n and f*ring before clearing the holster. End of flashback. Resume to present.)
Warrick: Not quick enough.
(WARRICK looks around at the blood spatter on the SUZY Q boxes. He puts down evidence marker #57 next to OFFICER CLAY'S head.)
CUT TO:
[BACK ROOM]
(CATHERINE interviews the BAGBOY.)
Bagboy: Those two guys came out of nowhere ... made everybody go to the corner.
Catherine: Where, specifically?
Bagboy: Uh ... dry goods. Then one guy grabs Celeste ...
(Quick flashback to: CELESTE TURNER behind the check out counter.)
(Cut to: Through the reflection of the ceiling mirror, the g*n pushes CELESTE TURNER, forcing her to open the register.)
(End of flashback. Resume to present.)
Catherine: Which guy?
(He glances quickly behind him before answering.)
Bagboy: I was looking at his piece, not his face, okay?
Catherine: g*n or g*n?
Bagboy: Uh, g*n. He drags her over to the registers, makes her open 'em up. She does. They're pulling out the cash, and then he sees the cops roll up. Second guy says, "everybody, get down and don't say a freaking word," so that's what I did.
(He glances behind him.)
Catherine: And then ...
Bagboy: ... And then?
(Quick flashback to: Everyone is huddled in the aisles, the g*n as the g*n on them. He looks up and runs over.)
(There's g*n everywhere.)
Bagboy: (V.O.) ... ankles and flashes and booms.
(The BAGBOY has his head tucked under his arms.)
(End of flashback. Resume to present.)
Bagboy: That's all I remember.
Catherine: And you never moved from that spot?
Bagboy: (glances behind him) No, I didn't.
Catherine: Do you have somewhere you need to be?
(He looks at CATHERINE and pauses, embarrassed.)
Bagboy: I got to change my pants.
(She glances down.)
Catherine: Sorry.
CUT TO:
[MAIN MARKET]
(GRISSOM processes the scene around the d*ad g*n. He caps the swab tip, looks at the g*n, then pulls the ski mask down below his chin to look at his face.)
(Cut to: SARA processes the scene around the SECOND g*n.)
CUT TO:
[SECURITY BOOTH]
(NICK gathers the security tapes from the machines.)
Manager: Well, you know, we're not the most modern store around.
Nick: How long is the surveillance loop?
Manager: About 24 hours.
(NICK finds some tapes missing.)
Nick: What, uh ... what happened to these tapes here?
Manager: Nothing.
Nick: These are active cameras, right?
Manager: Those VCRs are busted. Never got 'em fixed. You know, cutbacks. Over the register and outside works. That's all we really need. Gotta keep an eye on the employees, right?
Nick: Right.
Manager: They steal worse than the customers.
CUT TO:
[SLOT MACHINES]
(WARRICK checks the win at the machine.)
CUT TO:
[SARA]
(SARA picks up something from the pool of blood. She bags it.)
Warrick: You know, this guy h*t a $75 jackpot. Probably shoving quarters in his pockets when this whole thing went down.
Sara: The door was twenty feet away. He probably could've made a run for it.
Warrick: You know, after the MGM grand f*re, they found people fused to slot machines. Never even made it out of their seats. This guy probably thought it was his lucky day. I'm sure he wasn't going to leave without his money.
(Camera holds on the quarters in the blood.)
CUT TO:
[BACK OF STORE]
(CATHERINE interviews an older check out woman.)
Woman Cashier: We all just started running when those two psychos started sh**ting it out with the cop...
(Quick flashback to: When the g*n turns to exchange b*ll*ts with the officer, the group of hostages start running. RUFUS SANDERS gets sh*t.)
(End of flashback. Resume to present.)
Woman Cashier: I took a first aid course about a hundred years ago,
(Quick flashback to: The WOMAN rushes over to help him.)
Woman Cashier: (V.O.) ... so I-I-I tried to keep pressure on the wound, but it just kept bleeding, you know?
(End of flashback. Resume to present.)
Woman Cashier: I couldn't leave Rufus all alone, scared, dying.
Catherine: You were friends?
Woman Cashier: Mmm, sort of. He-he'd come in a couple of times a week and play the quarter slots.
Catherine: From where you and Rufus were, could you see Officer Fromansky?
Woman Cashier: Oh, the cop who saved us? (shakes head) No. I couldn't see anything. I just heard all that g*n just blasting away.
CUT TO:
[WARRICK]
(WARRICK looks around and finds a container of drain cleaner, spilled and empty from the b*llet holes.)
(Quick flash of the b*llet hitting the drain cleaner. Resume to present.)
(He clips it over and reads that the main ingredient is Sodium Hydroxide. He puts the empty container back down on the ground.)
(He turns and looks at the b*llet holes in the glass.)
(He turns and joins DAVID PHILLIPS who is attending JULIA REED.)
David Phillips: Hey.
Warrick: Hey.
David Phillips: Entry wound's on the left side.
Warrick: There's no exit wound?
(DAVID checks her back and doesn't find it.
Warrick: Skin's thicker on the back. Captured the b*llet.
David Phillips: We'll retrieve it at autopsy.
CUT TO:
[BACK OF MARKET]
(CATHERINE interviews MR. REED, JULIA REED'S husband.)
Mr. Reed: I was, uh ... holding Julia's hand trying to find a place to hide ... somewhere safe. It was those stupid heels, you know. She was always forgetting to bring her flats to work.
(Quick flashback to: MR. REED pulls JULIA through the aisle. g*n f*re and JULIA falls to the ground.)
Mr. Reed: Come on.
(He turns around and finds her d*ad. End of flashback. Resume to present.)
Mr. Reed: They didn't have to sh**t her. They were wearing masks. We didn't even get a good look at them.
Catherine: Mr. Reed, you can't look for reasons here.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(WARRICK watches as DR. ROBBINS extracts the b*llet from JULIA REED.)
Robbins: We'll have it out in a second. The trick is to apply even pressure all around.
(ROBBINS uses his fingers and pushes the b*llet out.)
Warrick: Is there something wrong with tweezers?
Robbins: They can mess up the striae. You've got enough to deal with without my toolmarks in the mix. Here we go.
(He holds up the b*llet.)
Robbins: Huh. Paper or plastic?
(In his other hand, he holds up a baggie and a bindle for WARRICK to choose.)
CUT TO:
[INT. CSI - MORGUE]
(GRISSOM walks in to find DAVID PHILLIPS with the other bodies.)
David Phillips: Officer Clay's already been processed. We wanted to get him to his family.
Grissom: Did you get prints off the two suspects?
David Phillips: Uh, yeah. They're right here.
(DAVID hands them to GRISSOM.)
David Phillips: And we also got b*ll*ts from both of them.
Grissom: Good. (GRISSOM notices the tattoos.) Prison tattoos. They weren't virgins.
CUT TO:
[INT. HOSPITAL -- HALLWAY]
(CATHERINE talks with the nurse at the desk.)
Catherine: Hi, I was wondering if I might be able to speak with Celeste Turner. She, uh, has a g*n wound. She was brought in from the grocery store robbery.
Nurse: Right. Curtain three. Just out of surgery. s*ab. She's still pretty doped up, though. You're going to have to come back later. You going to need these?
(She hands the bag with the b*ll*ts to CATHERINE.)
Catherine: Yes. Thank you.
(She looks at the b*ll*ts.)
Catherine: What can you tell me about the little boy who was also brought in from the robbery incident?
Nurse: Minor injuries. He's fine. Mostly shock. He's with his mom. Hell of a night, huh? Take your kid to work, both end up sh*t.
Catherine: Wait a minute. So, the little boy's mother is Celeste Turner?
Nurse: Yeah.
[HALLWAY OUTSIDE ROOM]
(CATHERINE watches through the glass as mother and son share the same bed. They're both sleeping.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(CATHERINE watches the security video with NICK.)
Catherine: Bastard was behind her the whole time.
Nick: Yeah.
(He sighs.)
Nick: Okay, here's what I got so far ... there's our two DOA suspects. Looks like they just walked in off the street.
Catherine: Is there any sign of Fromansky's mystery g*n?
Nick: No. All the cars in the parking lot were accounted for, and the loading dock out back was deserted, so ...
(He hits more keys.)
Nick: ... this is the only view of what went down.
(On video: The g*n pushes CELESTE TURNER back to her cash register.)
Nick: And see here? Here comes our cop.
(On video: OFFICER CLAY steps onto screen, puts the milk container on the check out counter, turns around and walks off frame.)
Nick: Three, four feet away, doesn't even see him. The thing I hate the most is the bad guys always know if there's going to be a g*n.
(On video: The g*n steps out from around CELEST TURNER to point his g*n at OFFICER CLAY.)
CUT TO:
[INT. CSI -- HALLWAY]
(WARRICK, SARA and GRISSOM walk through the hallway.)
Warrick: Officer Clay's one sh*t went into the floor. The b*llet fragmented. That's probably how that kid got h*t. But Officer Fromansky's beretta and that suspect's tec-9, they both had hollow .9 millimeters. Between the two of them, they sh*t off 18 rounds.
Sara: g*n was a mossberg, model 500. Eight rounds fired. a*mo was double-aught buckshot, nine pellets per shell.
Grissom: 18 b*ll*ts, a total of 26 shells, 72 pellets. Enjoy.
(GRISSOM turns and heads into the office. SARA and WARRICK sigh.)
CUT TO:
[INT. CSI - BALLISTICS LAB]
(BOBBY DAWSON test fires a w*apon.)
Bobby Dawson: f*ring two sh*ts!
(Cut to: BOBBY compares the b*ll*ts.)
(Cut to: SARA weighs the b*llet.)
(Cut to: SARA swabs the b*llet.)
(Cut to: SARA puts a sample under the scope.)
(Cut to: WARRICK works on a computer reinactment of the b*ll*ts fired and positions of the people in the market.)
(Dissolve to: A close up of the crime scene photo of OFFICER CLAY.)
(Cut to: The computer lines up the b*ll*ts and sh*ts fired.)
(Dissolve to: A close up of the crime scene photo of the d*ad g*n.)
(Dissolve back to the computer screen showing the sh*ts fired from the g*n to RUFUS SANDERS.)
(Dissolve to: A close up of the crime scene photo of the d*ad RUFUS SANDERS.)
(Dissolve back to the computer screen showing the sh*ts fired from OFFICER FROMANSKY to JULIA REED.)
(Dissolve to: A close up of the crime scene photo of JULIA REED.)
(WARRICK looks at the monitor.)
(BOBBY DAWSON walks into the lab.)
Grissom: Warrick.
(He hands WARRICK the rest results. WARRICK looks at it.)
CUT TO:
[INT. CSI -- HALLWAY]
(WARRICK finds GRISSOM reading a book and walking in the hallway.)
Warrick: Grissom, we got a problem.
Grissom: Only one?
Warrick: We've identified all the b*ll*ts recovered at the scene. There's no evidence of a third g*n. It gets worse. The b*llet that k*lled the cocktail waitress -- it came from Fromansky's g*n.
(They walk out of camera frame.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(BRASS and GRISSOM interview OFFICER FROMANSKY.)
Brass: How you feeling, Officer?
Officer Fromansky: Little sore.
Brass: Desk duty hurts a lot more. Is there anything you want to add to your statement?
Officer Fromansky: What's he saying I did this time?
Brass: A b*llet from your g*n k*lled a cocktail waitress.
Officer Fromansky: A ricochet.
Grissom: No. A clean sh*t.
Officer Fromansky: Not possible.
Brass: No one at the scene saw a third g*n.
Officer Fromansky: I would never sh**t at a civilian. I saw a guy wearing a ski mask, dark coat, holding a g*n.
Grissom: The girl was wearing a black sweater, carrying a purse.
Officer Fromansky: I didn't sh**t at that.
Brass: You'd just took a full load in the chest. Maybe you were confused.
Officer Fromansky: (shakes his head) Wasn't confused.
Grissom: Your statement says that you fired four sh*ts at this third g*n.
Officer Fromansky: Yeah.
Grissom: Ballistics evidence shows that you spread five sh*ts over the back wall.
Officer Fromansky: So I fired more than I thought. So what. I was engaged with multiple hostile targets.
Brass: You're not back in the Gulf. You're a police officer. You're supposed to identify a target.
Officer Fromansky: (to BRASS) And that's what I did. (to GRISSOM) What are you, pissed off because the last time you tried to jam me up didn't work?
Brass: Hey, ease up.
Officer Fromansky: What I said in my statement is the truth.
Grissom: The truth is, we have a d*ad civilian with your b*llet in her.
(OFFICER FROMANSKY stops and looks at BRASS.)
Officer Fromansky: This going to the next step?
Brass: It has to. You're on administrative leave pending an IAB review.
CUT TO:
[INT. HOSPITAL ROOM]
(CATHERINE interviews CELESTE TURNER.)
Celeste Turner: There was no way I could warn that cop. I wanted to ...
(Quick flashback to: [VIDEO VIEW] The g*n stands behind CELESTE at the register.)
Celeste Turner: (V.O.) ... but the guy was right there,
(End of flashback. Resume to present.)
Celeste Turner: under the counter ... pushing his g*n right in my stomach. I'm sorry.
Catherine: You're not the one that pulled the trigger. Ms. Turner, what was your son doing there with you?
Celeste Turner: Well, my ex was looking after him that night. Then the son of a bitch shows up at the store. Had a party to go to. Practically shoved Henry out of the car. I mean ... I'm not allowed to bring kids to work. So I snuck Henry into the office, and I told him to stay there.
Catherine: Then?
Celeste Turner: Then those two maniacs came in. They sh*t that poor policeman. And then everything just went crazy.
(Quick flashback to: CELESTE runs to the office.)
Celeste Turner: (V.O.) I was running, and I ran to go find Henry ...
Celeste Turner: Henry!
(She turns around and runs out of the office. The g*n sh**t her.)
Celeste Turner: (V.O.) ... but I couldn't find him anywhere.
(End of flashback. Resume to present.)
Celeste Turner: That's all I remember.
(CATHERINE looks at HENRY and sees him asleep, a candy bar clutched in his hand.)
Catherine: Henry likes his candy, doesn't he?
Celeste Turner: He's got five cavities to prove it. How'd you know?
Catherine: Well, we found him in a storage cabinet, near the candy rack.
Celeste Turner: He never listens to me.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI -- LAB]
(A couple of techs count the cash as NICK instructs them.)
Nick: Double counts, two people in the room at all times. When you're done, match the total amounts with the register receipts, okay?
(CATHERINE walks into the room.)
Catherine: So, explain to me what all the money was doing in the registers and not the store safe.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(NICK sh*ts CATHERINE a close up of the cash register on the monitor.)
Nick: See that light? It's called a halo. It's keyed to the sensor in the cash register. Now, at a preset amount, that light goes off, letting the store manager know it's time to transfer the cash to the safe. Now check this out ...
(On video: Most of the cash register lights flash.)
Catherine: Most of the halos are lit.
Nick: Maximum cash, just lying in the drawers.
Catherine: So, those guys did their homework. They picked the perfect time to h*t.
Nick: Mm-hmm.
CUT TO:
[INT. CSI -- LAB]
(GRISSOM goes over the autopsy photos with ROBBINS. The photos are spread out on the table.)
Grissom: AFIS hits on our suspects, both just recently released from five-year sentences at Lompoc.
Robbins: California boys.
Grissom: Born and raised.
Robbins: Okay. Let's do this. Officer Clay was k*lled by a single close-range g*n blast to the back of the head. Excessive penetration and laceration of the brain. Suspect Clyde Tremmel ...
Grissom: The tec-9 guy.
Robbins: Two distant-range, medium-caliber g*n wounds to the front of the chest, with penetration of the lung and heart.
(CATHERINE enters the room and quietly listens.)
Robbins: Suspect Jack Delver ...
Grissom: g*n guy.
Robbins: One distant-range, medium-caliber g*n wound to the forehead. The b*llet penetrated the brain and was recovered in the occipital lobe. Rufus Sanders, bystander ...
(As ROBBINS narrates, GRISSOM takes notes.)
Robbins: ... five scattered buckshot perforations on the outer thigh. One severed the femoral artery, resulting in massive hemorrhage. And Julia Reed, cocktail waitress. Single medium-caliber g*n wound to the left chest. The b*llet perforated the lung and thoracic aorta, then perforated the opposite lung. And that's it.
Grissom: Thanks, Doc.
(CATHERINE looks at the photo of JULIA REED.)
Robbins: Catherine, something bothering you?
Catherine: A little.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(CATHERINE re-questions MR. REED.)
Mr. Reed: Look, I came here to pick up my wife's body. I already gave you my statement.
Catherine: Well, we just need a few more details before we can release the body. I promise this won't be long.
Mr. Reed: What?
Catherine: Well, you said that your wife fell during the g*n, that that's how you got separated.
Mr. Reed: Yeah.
Catherine: Do you recall exactly how she fell?
Mr. Reed: Well, what do you mean?
Catherine: How did she land? Did she land sideways, backwards ... ?
Mr. Reed: She fell forward, I think.
Catherine: She fell forward. So her hands broke the fall, landed on her knees?
Mr. Reed: Yeah.
Catherine: Well, there weren't any bruises or scrapes on her knees or elbows, which is leading me to believe that she didn't fall.
Mr. Reed: Well, what's-what's the difference? She's d*ad.
Catherine: Mr. Reed, there were a lot of b*ll*ts flying around that store and a lot of victims, and every detail is important, but they don't help if they're not accurate.
Mr. Reed: Well, when we started running ... she was right behind me.
(Quick flashback: MR. REED and JULIA REED run across the aisle as g*n sh*ts sound around them. MR. REED ducks behind a display and is separated from JULIA who stands out in the open against the refrigerator doors.)
(End of flashback. Resume to present.)
Mr. Reed: She froze up. Just stood there looking right at me ... scared out of her mind. I ... yelled at her to get down, to come over to me. Sh-she wouldn't move. I mean I'm ... I'm pretty sure I yelled.
CUT TO:
[INT. CSI -- LAB]
(GRISSOM and WARRICK work on the schematics of g*n.)
Grissom: Highlight the sh*ts that k*lled the tec-9 sh**t.
(WARRICK puts it on screen.)
Grissom: Fromansky said that he fired three or four sh*ts at that target.
Warrick: He fired four. That accounts for those sh*ts.
(Quick flashback to: The g*n and FROMANSKY f*ring back. End of flashback. Resume to present.)
Grissom: Okay, the guy with the g*n was k*lled with... one b*llet.
Warrick: Well, those four sh*ts were definitely meant for him.
Grissom: But this sh*t is closer to the second g*n than it is to the cocktail waitress.
Warrick: Well, Fromansky was turning when he fired so his sh*ts were spread out.
(Quick flashback to: FROMANSKY and the g*n f*re at each other. FROMANSKY is h*t. The g*n is h*t. RUFUS SANDERS is h*t in the leg. End of flashback. Resume to present.)
Grissom: Okay.
Warrick: Which means Fromansky fired four sh*ts at a target at the back of the store.
Grissom: Just like he said he did.
Warrick: Yeah.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(In the observation room, GRISSOM and BRASS watch IAB interview OFFICER FROMANSKY.)
IAB Officer: At the walk-through you said that you saw a third suspect at the back of the store. Why did you make the decision to sh**t?
Officer Fromansky: I was in fear for my life.
IAB Officer: Did you see a w*apon?
Officer Fromansky: Yes.
IAB Officer: What kind?
Officer Fromansky: A semiautomatic p*stol.
IAB Officer: So you fired first.
Officer Fromansky: Yes.
IAB Officer: Four times.
Officer Fromansky: Yes.
IAB Officer: Can you explain the lack of evidence for a third suspect at the scene?
Officer Fromansky: That's not my job.
Brass: Right or wrong, there'll be guys on the job who'll think this was personal.
Grissom: They'd be wrong.
IAB Officer: Did you see Julia Reed in your line of f*re?
Officer Fromansky: No.
IAB Officer: According to Supervising Criminalist Grissom's report, you had an unobstructed view of Ms. Reed, so how do you explain the fact that you didn't see her?
Officer Fromansky: I can't.
IAB Officer: You don't deny that a b*llet from your w*apon k*lled her?
Officer Fromansky: I'm not denying that.
IAB Officer: But you can't explain it?
Officer Fromansky: No.
IAB Officer: Look, your partner was d*ad. You'd been sh*t. You saw someone you thought was a suspect and you fired. Under those circumstances, any one of us could make a mistake. Did you?
(OFFICER FROMANSKY doesn't say anything.)
IAB Officer: Officer Fromansky, answer the question.
(He still doesn't say anything.)
(In the observation room, BRASS watches.)
Brass: He says yes, he's a bad cop. He says no, he's a liar.
Grissom: Maybe he really doesn't know what happened.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. BEST BARGAIN SUPERMARKET -- DAY]
(GRISSOM and WARRICK use dummies and laser lights to show the trajectories of the g*n.)
Warrick: A little over. Perfect.
Grissom: Good.
Warrick: Let's say I'm Fromansky.
(WARRICK holds out his hands in front of him as if holding a g*n. He
Warrick: There's nothing between Fromansky and the cocktail waitress. I got a clean view and a clear sh*t.
(GRISSOM notices something in the refrigerator glass.)
Grissom: Hey, take a look at this. The cracks in the glass from sh*t 22 are terminated by the cracks from sh*t 23.
(Close up of the sh*ts and the glass cracking.)
Grissom: So, sh*t 23 had to occur before sh*t 22. Which means that Fromansky was f*ring from left to right, not right to left.
(Quick flashback to: FROMANSKY f*ring four sh*ts. Resume to present.)
Warrick: Four sh*ts on a level spread. He was sh**ting at a moving target.
Grissom: According to Catherine's witness, the cocktail waitress wasn't moving. She was a stationary target.
(Quick flashback to: JULIA REED standing in the middle of the aisle, panicking. Resume to present.)
Grissom: So, if he was sh**ting at a moving target, where was it moving to?
(He looks in the direction and finds the EXIT door.)
(Cut to: GRISSOM and WARRICK walk through the exit door and out to the back of the market.)
[EXT. ALLEYWAY - DAY]
(WARRICK points to the camera.)
Warrick: We have the surveillance tape. Shows nothing going on here before, during or after the robbery.
Grissom: Well, just because it shows nothing doesn't mean it's seeing everything.
CUT TO:
[SECURITY OFFICE - DAY -- CONTINUOUS]
(On the monitor, WARRICK stands on the loading dock while looking up at the camera.)
Warrick: (to phone) You can see me now, right?
Grissom: Keep moving to your right.
Warrick: (to phone) All right.
Grissom: Keep going. Keep going.
Warrick: (to phone) I'm still in?
GRISSOM Right there. Now you're out.
(WARRICK looks around at the area outside the camera view. He notices the scrapings on the wall and sees a perfect line up the ramp.)
Grissom: Tell me what you see.
Warrick: A getaway.
(Quick flashback to: [NIGHT] The getaway car takes off. Resume to present.)
(WARRICK notices the skid marks on the ground.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(WARRICK, CATHERINE and NICK walk through the hallway.)
Warrick: We found metal paint scrapings and skid marks. Both recent on that loading dock. These guys definitely had a wheelman.
Nick: Yeah, guy slips in after everything gets started. During the confusion, nobody sees him. Or no one that was alive to tell anyway.
Warrick: Except Fromansky.
Nick: Yeah.
Catherine: Well, the suspects knew there was a blind spot. It has to be an inside job.
Nick: Oh, no doubt. Matched the cash from the garbage bag to the register receipts-- $878 was missing.
Catherine: Somebody came out ahead. Inside guy?
Nick: Well, I'll run the employees. Maybe somebody's got a record.
CUT TO:
[INT. FBI - TRACE LAB]
(HODGES works on identifying the source of the paint chips. He identifies the color: AEGEAN BLUE.)
(Cut to: HODGES reports his findings to WARRICK.)
Hodges: Ran your paint chips through ppg and Dupont. Got a h*t. Aegean Blue Honda Accord.
Warrick: Popular color.
Hodges: They carried it over for four years. Go figure. I'm a teal man myself. You?
(HODGES looks at WARRICK. WARRICK doesn't say anything.)
Hodges: Stupid question. Anyway, model years '84 to '87.
Warrick: I'll put out a broadcast. Thanks, Hodges.
Hodges: Sure.
(WARRICK leaves the lab.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM works at his desk when OFFICER FROMANSKY walks in.)
Officer Fromansky: Before this goes any deeper, I want to hear it from you. Are you going to try to screw me on this?
(GRISSOM looks at the photos in his hand.)
Officer Fromansky: Well?
Grissom: I guess it depends on whether I get stuck in traffic on the way to your hearing.
(GRISSOM looks at OFFICER FROMANSKY. FROMANSKY turns and walks out of the office.)
CUT TO:
[EXT. SIDEWALK -- DAY]
(WARRICK and BRASS head for the getaway car parked on the side of the street.)
Brass: So, this car was reported stolen about, uh, oh, about three weeks ago. Why don't you take the front. I'll take the back.
(They open the doors and look inside. WARRICK notices something white staining the seats. He does a pH test.)
Warrick: Ph 13. Sodium hydroxide.
(Quick flashback to: [THE MARKET] g*n h*t the drain cleaner stand. Resume to present.)
(WARRICK notices the busted starter. He photographs it. BRASS finds a cell phone.)
Brass: Got a cell phone. There's a lot of scung on it. Won't be too good for prints, but let me check the call history.
(Received Calls show:
1. 702-555-0176
2. 702-555-0176
3. 702-555-0176
Brass: Same number keeps popping up.
(BRASS pulls out his own phone and dials.)
Answering Machine: (recording on phone): Best bargain is temporarily closed. Please check back tomorrow.
Brass: Well, this is interesting. Before the robbery went down, somebody at the store was very eager to talk to our suspects. Same number.
Warrick: Yeah? Maybe he can tell us who.
(WARRICK holds up the print card.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS interviews TODD HALLICKEY.)
Brass: Todd Hallickey.
Todd Hallickey: Look, I don't know why you guys brought me here, but you got no right tossing my apartment.
Brass: We matched your prints from a stolen car off the prints from a prior car theft, and bingo, we had a match. Got a warrant for your apartment.
Todd Hallickey: I don't boost cars no more.
Brass: (chuckles) Yeah, right.
Todd Hallickey: Oh, wait. No, I ... I was looking into getting some wheels a couple of weeks ago. I test-drove this old Honda Accord this guy was trying to unload.
Brass: An '86 Aegean Blue with matching velour interior?
Todd Hallickey: Yeah, that was it. Must be how my print got there. Well, didn't buy the car. Guy seemed kind of shady.
CUT TO:
[INT. CSI -- LAB]
(WARRICK takes out a sweater from an evidence box. He examines the sweater as we continue to hear BRASS' interview in voice over.)
Brass: (V.O.) You wouldn't happen to remember this shady guy's name, would you?
Todd Hallickey: (V.O.) Come on. No one keeps track of stuff like that.
Brass: (V.O.) Uh, right. You own any firearms, Mr. Hallickey?
Todd Hallickey: (V.O.) No, sir, I'm on parole. Besides, I don't believe in g*n. They're dangerous.
[INTERVIEW -- CONTINUOUS]
(BRASS notices the red burn marks on TODD HALLICKEY'S knuckles.
Brass: You know, that's a nasty injury you got there, Todd. Looks kind of painful. How'd you get it?
Todd Hallickey: It's a rash.
Brass: Looks like a chemical burn to me. You know what sodium hydroxide is?
Todd Hallickey: Never heard of it.
(Cut back to: WARRICK examines the jacket and finds the hole in the sleeve.)
Brass: (V.O.) Let me tell you what it is. It's the active ingredient in drain cleaner. It opens up the pipes, dissolves flesh and fabrics.
[INTERVIEW - CONTINUOUS]
(WARRICK walks into the interview with the test results.)
Todd Hallickey: Look, you want to pin that car on me, you go ahead and try.
Warrick: I got this off the jacket from your apartment. What the hell is this?
Brown: It's a b*llet wipe. A test for lead.
(Quick CGI POV to: A b*llet is sh*t and it hits the jacket. End of CGI POV.)
Warrick: Congratulations. You passed.
(TODD HALLICKEY stares at WARRICK and swallows.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - BREAK ROOM - LATE DAY]
(GRISSOM, WARRICK and CATHERINE meet to discuss the case.)
Warrick: Hallickey's got no connection to the grocery store. He was just the wheel man. Even, still, he's looking at four counts of felony m*rder. But he's not talking. He lawyered up.
Grissom: We got a b*llet hole in a jacket. That's not even enough to prove that he was in the store.
Catherine: What about the cash?
Warrick: It wasn't in his apartment. Maybe somebody else took it.
Catherine: Almost $900 in small bills? We'd have noticed pockets bulging with a wad like that.
Grissom: What about the calls from the grocery store to the suspect's cell? That could have been somebody giving the "go" signal.
Warrick: There's no way to tell who. The store runs off of an old PBX system, and every call that comes in goes back to the same number. Every employee was near a phone, so, it could have been anybody.
(NICK walks into the room and takes a seat.)
Nick: Hey, y'all. Ran the criminal records for the employees. Came up with a Raul Valdez. Freight loader.
(NICK hands GRISSOM a photo.)
Nick: He clocked in for work that night. Never clocked out.
Catherine: No one by that name interviewed at the scene?
Nick: Here's the kicker. A few years ago, he spent some time in prison. Lompoc. So, Brass is trying to find him now.
(GRISSOM hands the photo to CATHERINE.)
CUT TO:
[INT. BEST BARGAIN SUPERMARKET]
(CATHERINE walks through the aisles. She looks at the photo where the bag of money was found and heads for that spot in the aisle. She looks down at the ground.)
(Quick flash to the bag of money.)
(CATHERINE looks around. She puts her bag down and checks the aisles.)
(She finds a brown stain on the floor. She rubs her finger in it and smells it. She knows what it is.)
(Quick flash to: The interview with the BAGBOY.)
Bagboy: I got to change my pants.
(She looks down and notices the stain. End of flashback. Resume to present.)
(CATHERINE checks the shelves and finds a box of PUFFIOS stuffed with the missing money.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(CATHERINE re-interviews the BAGBOY.)
Catherine: You left something in the store besides a urine stain.
(She puts the photo of the box of PUFFIOS in front of him.)
Catherine: Just a little too tempting, huh? All that cash just sitting there right in front of your face ...
(Quick flashback to: With g*n all around him, the BAGBOY has his head down. He looks up and notices the money in the shelves. He starts grabbing it.)
(End of flashback. Resume to present.)
Bagboy: Look, I go to that store to bag groceries, not to get my ass sh*t off. I figure I earned the money. Kind of like working overtime.
Catherine: Might as well get something for all your trouble, right? Considering the fact that your nice little robbery had gone straight to hell.
Bagboy: Whoa, wait a minute. You think ... ? No way.
Catherine: It was an inside job. You knew the registers were full. Those g*n had help from an employee.
Bagboy: Not from me, they didn't. Look, you want to bust me for the money, go ahead, I took it. But I did not set the thing up.
(CATHERINE stares at him.)
CUT TO:
[INT. CSI -- LAB]
(GRISSOM looks through the scope. WARRICK walks in.)
Warrick: You know, Hodges already analyzed trace on the b*ll*ts.
Grissom: Yeah, I wanted to take a look myself.
Warrick: He'll take it personally.
Grissom: Good. The report says that the cocktail waitress was wearing a black wool sweater. Was she also wearing something polyester?
Warrick: No.
Grissom: Take a look at this.
(WARRICK looks through the scope.)
Warrick: Black fibers. Probably synthetic. Mixed in with the wool. If their g*n was wearing a black polyester jacket ...
Grissom: Fromansky claims that he was tunnel-visioned on the g*n. So, it's possible that he never even saw the cocktail waitress.
(Quick flashback to: THE g*n runs across the aisle. FROMANSKY raises his g*n and fires at the moving target.)
(Camera zooms in and follows the b*llet as it travels straight for JULIA REED piercing through her clothes and flesh.)
(The g*n continues to run; JULIA REED falls to the ground.)
(End of flashback. Resume to present.)
Warrick: You may have just saved Fromansky's ass.
CUT TO:
[INT. CSI -- HALLWAY]
(NICK catches up with CATHERINE in the hallway.)
Nick: Hey, Catherine, how'd it go with the bag boy?
Catherine: He admitted to swiping the cash, but he wouldn't cop to the robbery.
Nick: Then I have something you should see. I was going back through the surveillance tapes covering the loading dock, thinking I might find someone scouting a blind spot, you know? But instead, I found this. Two nights before the robbery.
(NICK shows CATHERINE what's on the video.)
(On video: The camera moves to the left.)
Nick: There. See that?
Catherine: One more time.
Nick: Yeah.
(On video: The camera shifts to the left.)
Nick: That camera's stationary, so ...
Catherine: Somebody moved the camera.
(NICK smiles.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(CATHERINE interviews CELESTE TURNER.)
Catherine: You used to part-time at the forum shops. We got your prints off your work card. It was the same print that we got off the loading dock surveillance camera.
(CATHERINE shows the photo to CELESTE TURNER.)
(Quick flash of CELESTE TURNER moving the security camera.)
(Cut to: The camera view.)
(End of flashback. Resume to present.)
Brass: Raul Valdez, an ex-con -- your co-worker. You got him to give you the names of some guys to do the job.
Catherine: You give them the best time to h*t the registers. You tell them where to park. It's a good plan. Until your Ex showed up and leaves you with your kid.
Brass: Then you panic, and you call your guys, try to call it off, but they won't listen.
Catherine: If that's what happened, that could go in your favor.
Brass: When we find Raul, he'll give you up in a heartbeat.
Celeste Turner: (swallows) I think I need to get a lawyer.
Brass: What you need is come clean and cooperate. And you better hope and pray the DA doesn't want to put a needle in your arm for k*lling five people, including a cop.
Celeste Turner: I have been working at that store for five years. Thirty-eight hours a week. Thirty-eight ... not forty. You know why? Because my manager won't give me enough hours to qualify for benefits. I have a kid ... with rotten teeth. I never meant for anybody to get hurt.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
(OFFICER FROMANSKY receives an award at the police department. REPORTERS take photos of the presentation.)
Reporter: Officer Fromansky, if you could smile, please? REPORTER: Thank you; right over here.
(BRASS and GRISSOM walk past the gathering.)
Brass: Guy from the mayor's office. Fromansky's getting a commendation. What do you think?
Grissom: Two d*ad felons, two d*ad civilians a d*ad policeman ... I don't know what to think.
(They walk out of camera frame.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x14 - Paper or Plastic?"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS GOLF COURSE (STOCK) -- DAY]
Camera zooms through the following different scenes and views.
[EXT. LAS VEGAS - HOUSES ON GOLF COURSE (STOCK) -- DAY]
[EXT. LAS VEGAS - CLOSED COMMUNITY (STOCK) -- DAY]
[EXT. TRENT'S RESIDENCE -- DAY]
[INT. TRENT'S RESIDENCE - KITCHEN - DAY]
(LAUREL TRENT stands at the kitchen sink washing the coffee cup, wiping it and putting it aside as MIKE TRENT walks into the kitchen, puts his arm on her shoulder and kisses her on her cheek.)
Mike Trent: Ready to go? I'll get the paper, you get the car.
Laurel Trent: (smiles in agreement) Okay.
(She turns and heads out of the kitchen.)
[EXT. TRENT'S RESIDENCE - FRONT DRIVEWAY - DAY -- CONTINUOUS]
(The front door opens and MIKE TRENT steps outside. He picks up the paper on the front walk and heads for the garage. He crosses the lawn and absently opens the paper to read the headlines.)
(Cut to: [INT. CAR (PARKED)] LAUREL fiddles with the radio controls in the car. It's 6:40 a.m. She shifts the car into gear.)
(Cut to: MIKE reaches the bottom of the drive and waits for the car as it reverses down the driveway. He looks back down at the paper.)
(LAUREL smiles as she reverses the car. In the rear view mirror, she sees her husband. Suddenly from the side, a man dressed completely in black grabs MIKE from behind and puts a taser up to his neck, zapping him.)
(As she sits there in shock, a second man opens the driver's door and pulls LAUREL out of the car. She grabs the steering wheel and screams.)
WHITE FLASH TO:
(LAUREL TRENT lies d*ad on the driveway pavement in a pool of blood in front of her car, her eyes wide open.)
(Flash to: MIKE TRENT is also d*ad on the driveway facing up, his eyes wide open.)
WHITE FLASH TO:
[EXT. TRENT'S RESIDENCE - FRONT DRIVEWAY - DAY -- LATER]
(From a camera view high above the front of the house, we see Officers swarm around the crime scene and we also noticed the large blood smear from the top of the driveway down to the edge near the sidewalk. CATHERINE and GRISSOM get their things out of the cars.)
Catherine: Early morning call-out, the worst.
(CATHERINE shuts the back door of her car.)
Catherine: Where did you come from?
Grissom: Home.
(They turn and head toward the driveway.)
Catherine: Did you get any sleep?
Grissom: No. You?
Catherine: About a half an hour.
Grissom: I was watching the world series of poker. Waiting for Sam Farha to light his cigarette.
Catherine: Mm-hmm.
(BRASS looks at them.)
Brass: Ever been to the Acid Drop?
Catherine: I try to avoid those places.
Brass: The victims were the owners. Mike Trent and his wife Laurel. Both sh*t execution-style back of the head. A neighbor walking the dog found 'em. Mike used to own a semi-pro hockey team with some other guy. He made a ton of money, sunk it all into clubs like Acid Drop, uh, Psychedelic Hoe-Down ...
(An OFFICER calls out to BRASS.)
Officer: Captain Brass.
Brass: (trails off) ... fun joints.
(BRASS turns and leaves with the OFFICER.)
Catherine: Looks like they never got out of the driveway.
(Quick flashback to: MIKE TRENT is on his knees as the g*n fires sh*ts at the back of his neck. LAUREL TRENT watches, then is sh*t herself. End of flashback. Resume to present.)
Grissom: She dropped where she was sh*t, but he looks like he was dragged.
(Quick flashback to: The g*n drags MIKE TRENT'S body down the driveway. End of flashback. Resume to present.)
Catherine: You drag a body away to hide it, not down a driveway for the world to see it.
Grissom: (looks out at the street thoughtfully) Unless that was the point.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. TRENT'S RESIDENCE - LIVING ROOM - DAY]
(The front door opens. CATHERINE and WARRICK walk into the house carrying their kits. They look around and notice the center foyer table full of framed photos of the couple.)
Warrick: Bling-bling.
(CATHERINE picks up a framed photo and looks at it.)
Catherine: The ol' trophy wife.
Warrick: You think?
Catherine: Classic Vegas. He pays for her boobs, tummy tuck, Prada, weekly spa, french manicure. And she's just hanging on his arm like she belongs.
Warrick: Tell us how you really feel, Catherine.
Catherine: Oh, it's gross. I wouldn't want to be her for the world. I wouldn't mind being her for a day, I guess.
Warrick: Well, not this day.
Catherine: (agrees) No.
Warrick: Looks like it was just the two of them.
Catherine: Nobody I know lives like this with kids.
(WARRICK'S phone rings. He answers it.)
INTERCUT WITH:
[EXT. EAST COAST BACK GATE]
(GREG stands outside the locked gate as he listens to the phone ringing.)
Warrick: Brown.
Greg: I've been here for twenty minutes. What's the code?
Warrick: You on the East Coast looking for a sunset?
Greg: I am.
Warrick: You're at the wrong gate. Drive back down the road, make three lefts. When you get to the main gate, speak to Officer Ray and tell her you're with the crime lab. When you get to the scene, make sure I'm the first person you speak to.
Greg: Okay.
(GREG hangs up.)
CUT TO:
[EXT. DRIVEWAY -- DAY]
(BRASS shows NICK and SARA the crime scene.)
Nick: Mike Trent?
Brass: Mm-hmm.
Nick: Boy, he's a big dog in the club world. Rumour is he paid Lil' Kim
$10,000 one time just to walk into one of his clubs, turn around and walk back out.
Brass: Yeah, I heard Jah Rule gets the same fee.
(NICK and SARA share a look.)
Brass: (shrugs) It's what I heard.
(SARA pops a cough drop into her mouth. NICK holds out his hand.)
Nick: Hey, uh, let me have one of those, Sara.
Sara: Sorry, last one.
Brass: (eye-ing her) You have a cold, Sara?
Sara: I've been feeling a little run down lately.
Brass: Okay, it's a gated community. The main gate has a guard all the time. The resident gate is at the north end, has punch-key access. Those are the only two ways in and out of this place.
Nick: I thought you moved into communities like this for this not to happen.
(NICK and SARA walk up to GRISSOM who is checking the purse inside of the car.)
Nick: Hey, Grissom. What do you got?
(They peer in through the open car window. He looks up.)
Grissom: So far, an empty briefcase and a purse.
Sara: You want us to take the perimeter?
Grissom: Yeah, please. Catherine and Warrick are inside. The bodies were found on the driveway, so any evidence of the K*llers is going to be out here.
Nick: I'll check the rear for any sign of forced entry.
Sara: I'll take the side yard.
CUT TO:
[EXT. DRIVEWAY - FRONT CURB -- DAY]
(WARRICK approaches GREG who is getting out of his car.)
Warrick: You just get off a shift?
Greg: Catherine called me. I'm here to help with the case.
Warrick: You look like a man who just rolled out of bed. You all right?
Greg: Yeah, why?
Warrick: T-shirt, sneakers. You're already a half hour late. Grissom will rip you a new one if he sees you like that.
(WARRICK walks around the car to take a look at GREG'S open trunk.)
Greg: Serious?
Warrick: Yeah, it's not a rebel game. It's a crime scene. See, this is what I'm talking about right here.
(He reaches into GREG'S kit and takes out his flashlight.)
Warrick: The battery's not changed kit's open. It's not stocked; no swabs. Did you sterilize your equipment after your last case?
Greg: Uh, no.
Warrick: See, you know when I'm on call because my clothes are folded next to my bed. Shoes, jacket, ball cap, bottle of water, pen, paper, Thomas Guide, next to the phone. That way, if I get a call at 3:00 in the morning, I'm not scrambled. Everything's there before the phone rings. My game is tight, like my trunk. Check it out.
(WARRICK shows GREG the trunk of his car.)
Warrick: Camera case, tripod, film is in the fridge. Markers, check. Extra field kit, fully stocked, sterilized. Shoeprint lift kit, wet weather gear. Files "mama." Forms for days. First call form, first officer form, consent to search, bird's eye view inside, bird's eye view outside. It's down to how I like my lunch. Picking up what I'm putting down?
Greg: Yeah. See, no one ever told me.
Warrick: You've been told.
Greg: Yes, sir.
CUT TO:
[EXT. DRIVEWAY -- DAY]
(SARA walks past the body on the driveway toward the side wall. She pops another cough drop into her mouth as she climbs over the wall. She starts looking around.)
(A few steps in, she finds some cigarette butts and orange peel pieces.)
(She takes off her glasses and kneels down to look. Thinking.)
(She looks up and visualizes the image of the g*n standing there, waiting, taking a puff of his cigarette and throwing it to the ground. The g*n pulls off an orange from the tree and ...
(The visualization ends to reveal NICK standing in the spot in front of SARA.)
Nick: No sign of disturbance in the rear.
Sara: Cigarette butts. Orange peel, seeds. Lying in wait, maybe.
Nick: You still sucking on that same cough drop?
Sara: Yeah. I'm a ... a slow sucker.
Nick: So, assuming the k*ller didn't live in the community, how did he gain entry?
(NICK checks out the rest of the yard while SARA stays with the cigarette butts and orange peels.)
(NICK finds some bike tracks in the dirt.)
(He walks back onto the driveway looking out over the hill where he visualizes the two g*n each on their own bike riding over the hill. They ride out onto the street.
(End of visualization. Resume to present.)
(NICK looks down on the ground in front of him to see the bike tracks on the road.)
CUT TO:
[INT. TRENT RESIDENCE - STAIRWAY -- DAY]
(CATHERINE and GREG walk up the stairs up to the second floor.)
Catherine: Crime occurred in the driveway. Nothing to indicate that the suspects were inside the house.
Greg: Yes, ma'am. I got it. So, then, what are we looking for?
Catherine: Anything inside that'll make the outside make sense.
[BEDROOM - DAY -- CONTINUOUS]
(They walk into the bedroom.)
Catherine: On your hands and knees. Check the carpet for trace.
(GREG puts his kit down while CATHERINE checks out the closet. Starting along the doorway, Greg crawls along the carpet floor with his flashlight. CATHERINE opens the drawer inside the closet. GREG works his way toward the foot of the bed.)
(CATHERINE checks the jewelry box and finds it empty.)
Catherine: Hey. Greg. I'm going to need you to photograph something.
(GREG finds some storage boxes under the bed.)
Greg: Why, what'd you find?
Catherine: It's what I didn't find.
(At the foot of the bed, GREG finds some blood on the carpet.)
Greg: Well, I found something. Blood.
(CATHERINE walks out of the closet and finds GREG kneeling at the foot of the bed with one of the storage boxes in front of him..)
Catherine: Blood? Where?
Greg: Right here.
(He points to the spot with his flashlight. CATHERINE walks over and looks at it. GREG opens the storage lock box and finds a stash of p*rn video tapes - starring Laurel Lust.)
Greg: Ooh, I also found some videos. Looks like amateur p*rn.
Catherine: p*rn. That figures. (CATHERINE looks at one of the video tapes.)
"Sunburn Sin". Ooh. "Starring Laurel Lust." (realizing) That's Laurel Trent.
Greg: Isn't that the wife?
Catherine: Yeah. A few years back. (reading) "A Goode/Mike T. Production."
"Mike T" as in Mike Trent? (She flips the box over and reads the back.) Well, I bet he seduced her, and then he produced her.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS goes over LAUREL TRENT'S body with GRISSOM.)
Robbins: Laurel Trent definitely had some work done. Implants which she later had removed. She has a four-centimeter-long scar at the edge of the collapsed fibrous capsules in both breasts.
Grissom: Fascinating. Cause of death?
Robbins: I was just getting to that. Two g*n wounds to the back of the head, just like her husband. Close range. Either one immediately debilitating and fatal. I sent the b*ll*ts to the lab. But this is why I sent for you.
(ROBBINS walks over to MIKE TRENT'S body and points out the burns on the neck.)
Grissom: Stun g*n burns?
(Quick flashback to: [EXT. TRENT'S DRIVEWAY] MIKE TRENT is waiting for his wife to pick him up when the g*n rushes up behind him zapping him on the neck with a stun g*n.)
(End of flashback. Resume to present.)
Robbins: If you're close enough to stun him, you're close enough to sh**t him.
Grissom: And we suspect that there were two assailants.
Robbins: Well, maybe they were trying to buy time.
(b*at)
Grissom: For what?
(GRISSOM slowly turns and looks at ROBBINS.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. COMMUNITY GATE -- NIGHT]
(WARRICK and NICK walk across the lawn.)
Warrick: Now, the first order of business is to k*ll the Trents. Then the suspects go upstairs and rip off laurel's jewelry.
Nick: And bail on bikes. That's a little low-rent, don't you think?
Warrick: Yeah, but I'm thinking, in a neighborhood like this, if you burn rubber out of here, it's gonna cause a lot of attention. If you roll quietly away on a bike, though ...
Nick: Ah, no one's the wiser. Okay, I get it.
(They stop in front of the community gate.)
Warrick: This is the resident gate that Greg called me from; he couldn't get in. He needed a code.
Nick: Sara did find an orange peel in the side yard. What do you think, sticky fingers?
Warrick: Does citrus illuminate?
Nick: Sure it will, if it's derivatized. Do you have any fluorescent reagents?
Warrick: I've got ANTs. Not the insect.
Nick: Amino-Naphthalene Trisulfonic acid.
Warrick: (jumps in) -- Trisulfonic acid.
Nick: You're trying to stump me. I can feel it.
(WARRICK puts his kit down and takes out the container. He hands it to NICK.)
Warrick: Let me check it out. The ants should make it light up under the ALS.
(NICK dusts the key pad for prints. WARRICK uses the ALS and checks the key pad for the numbers that glow.)
Warrick: One, three ... five and six. In some configuration. They had the code.
CUT TO:
[INT. GRISSOM'S OFFICE -- NIGHT]
(CATHERINE is with GRISSOM in his office. She stands near the window as he sits behind his desk with a file folder open in front of him.)
Catherine: We're mid-case. Why do we have to do this now?
Grissom: I have to get this evaluation in, or I'm gonna get written up.
Catherine: Okay. My goals. Mm ... oh, all right, okay.
(She takes a seat in front of GRISSOM'S desk.)
Catherine: For starters, I'd like two consecutive nights off. I would like to cut my triples down to ten a year instead of the usual twenty, and, uh, I would love to find a reliable baby-sitter, so I could have myself some kind of a personal life.
Grissom: You don't have a personal life?
Catherine: I ... write this down: I haven't had sex in six -- no -- seven months.
(GRISSOM looks at CATHERINE.)
Grissom: (sighs) How can I help?
(CATHERINE stares at GRISSOM, her eyes wide.)
Grissom: (awkwardly) You. Advance, I mean. Do you ... have any interest in changing sections in the lab, for instance?
Catherine: Gil, how do you do this? Honestly, how do you juggle scheduling and vacations and ...
Grissom: The goal of any supervisor is to teach someone how to take his place someday. Are you going someplace?
Grissom: You never know.
Catherine: Are you considering me?
Grissom: Why not? You're certainly qualified. But ... a CSI who uses the DNA lab to establish her own paternity ... calls into question ... her judgment, don't you think?
(He moves the evaluation file folder in front of CATHERINE. She looks at what he's written.)
Catherine: You've left that out. Are you covering for me?
Grissom: I believe that we've dealt with this issue, handled it internally. As far as I'm concerned, it's d*ad. Besides, you'll never do it again. So just sign your name by the red "X."
(CATHERINE hesitates.)
Catherine: Before I sign, um, since we're putting all of our cards on the table, there's something you should know. Sam Braun wrote me a check, and ... I cashed it.
Grissom: For how much?
Catherine: Enough to where Lindsay and I can do anything and ... not enough to where we can do nothing.
Grissom: Sam Braun was a m*rder suspect in one of your cases. How does this not look like a payoff?
Catherine: I consulted an attorney. It is a check from a father to a daughter. It is completely out of departmental jurisdiction.
Grissom: What about conflict of interest? Not just for you but for this lab.
Catherine: Gil, I would never compromise you or the lab.
Grissom: Maybe not legally, but ethically?
(CATHERINE doesn't say anything.)
Grissom: What else should I know, Catherine?
Catherine: That's everything.
(She signs the evaluation, stands up and walks out of the office.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(SARA'S in the lab going through the things found at the site. CATHERINE walks in putting on a pair of latex gloves.)
Catherine: Talk to me.
Sara: Orange peels, seeds, cigarette butts. I'm logging them in and moving them to DNA.
(CATHERINE picks up the purse, opens and closes it, then goes through the other bags on the table.)
Catherine: Okay, so you've gone through her purse, uh, her wallet ...
Sara: Yeah, everything's there -- money, credit cards.
Catherine: What about the briefcase?
Sara: Empty. Stop. I-I got a system here. I found this wadded up in her purse. It's a release form -- permission to film an adult movie at the Acid Drop from Drake the Snake productions. Signed by a Drake Snow.
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[INT. ACID DROP -- NIGHT]
(CATHERINE walks through the club. She shows her I.D. to the bouncer.)
Catherine: I need to see your boss.
Bouncer: (motions to her) Follow me.
[BACK]
(The BOUNCER leads CATHERINE to the back room where his boss, CHRIS BEZICH, is giving last minute instructions to the waitresses.)
Chris Bezich: Tonight's for Mike. We pay our respects by ringing the register. Now, I don't mind if you're talking, just as long as they're drinking. Watch the doubles ...
(He looks up and sees the BOUNCER with CATHERINE.)
Chris Bezich: Uh ... Watch the doubles. Be smart. You do that, we're gonna take this party through till 6:00 in the morning. And most importantly, have fun.
(The waitresses smile.)
Waitress: Okay.
Chris Bezich: Go make some money. See you later.
Waitress: Thanks.
(The waitresses leave. He turns his attention to CATHERINE.)
Chris Bezich: You here about Mike?
Catherine: Yes, I am.
Chris Bezich: Let's go somewhere private.
[BACKROOM]
(They make their way to a back room. CHRIS BEZICH sees some PATRONS leaving the back room.)
Chris Bezich: (to patrons) Sorry for the inconvenience, everybody. When you come back, next bottle's on me.
Patrons: Great.
(He motions CATHERINE inside.)
Chris Bezich: Go ahead.
(CATHERINE clears her throat.)
Chris Bezich: Thanks, chief. We're going to shut her down for about half an hour.
Catherine: (looks around) Well ... this is private.
Chris Bezich: It was, um ... it was a real shock, you know? Mike and Laurel getting k*lled like that. But I got to say, if they had a choice how to go out, it would have been together. For him, the sun rose and set with her.
Catherine: He didn't treat her like a trophy wife?
Chris Bezich: No. You kidding? No. He got her off the VHS covers, and she made a home for him.
(He sits down and motions for her to sit down also.)
Chris Bezich: Have a seat.
Catherine: Um, and what was, uh ... what was your professional affiliation with him?
Chris Bezich: I run his clubs. Ever since he got out of the partner business with Kyle Goode.
Catherine: Have you seen this Mr. Goode lately?
Chris Bezich: He shows his face every once in a while. I just try to keep him away from Mike, you know? As much as humanly possible.
Catherine: And ... What about this Drake Snow guy?
Chris Bezich: Drake? (chuckles) Drake the Snake. I, uh ... I hired him. He's harmless. He saw one Ron Jeremy movie. Now the guy just sees dollar signs.
Catherine: Uh, and how did he get along with the Trents?
Chris Bezich: Why don't you go ask him?
Catherine: Reading my mind.
Chris Bezich: Mm.
(She stands up and he also stands up, rushing to stop her from leaving.)
Chris Bezich: You, uh ... you never gave me your name.
Catherine: Oh. Catherine.
Chris Bezich: Catherine.
(They shake hands.)
Catherine: Willows.
Chris Bezich: Chris Bezich.
Catherine: Chris Bezich.
Chris Bezich: (motions to her) Come on.
[BAR -- LATER]
(CATHERINE sits and talks with the bartender, DRAKE SNOW.)
Drake Snow: Mike and Kyle -- they made all their money out of Laurel taking it off. She-she was a cash register in panties is what she was.
Catherine: And you wanted in?
Drake Snow: No. Trust me. The last thing that I wanted was to be partners with Mike. Guy'd ... would chew you up and spit you out soon as look at you.
Catherine: And Kyle -
Drake Snow: Forget it. Guy'd tell you right to your face he's sticking it to you. Pasadena, baby. I got my own plans. I-I just ... I just need a location. One location.
Catherine: And what? Mike didn't agree to it?
Drake Snow: Didn't ask him. Last time I asked him for something, he took a swing at me.
(Quick flashback to: [INT. TRENT'S RESIDENCE - KITCHEN] MIKE TRENT throws DRAKE SNOW out of the house.)
Mike Trent: Get the hell out of my ...
Drake Snow: I just want the same sh*t that you had, Mike. Laurel said that ...
Mike Trent: You two aren't in business anymore.
(MIKE takes a swing and hits DRAKE SNOW in the face.)
(End of flashback. Resume to present.)
Catherine: In the kitchen, you said?
Drake Snow: Yeah. So, I wasn't going to make that mistake again, so I had to try something different. So, I pulled a Geffen. I went straight to Yoko.
Catherine: Oh, you gave Laurel the release form.
Drake Snow: Yeah. She was going to give it to Mike. He was going to sign it, and they were going to get it back to me. So much for that.
Catherine: All right. So, uh, listen, Drake. I'm going to help you get that dream sh*t. So that when you do get into the p*rn biz, you won't have a m*rder rap hanging over your head.
(She takes out a swab.)
Catherine: Here. Crime Scene 101. Stick this in your mouth.
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(WARRICK rolls in another set of bikes.)
Nick: Hey, you can set 'em right there.
Warrick: Can't believe that there's this many abandoned bikes in Charleston Hills. These were found in the alley behind the f*re department, so check them out.
(NICK dusts the handlebars and sees some prints glow under the ALS.)
Nick: Sugar on the handlebars of both bikes. Just like the keypad.
Warrick: So we may have our getaway bikes.
Nick: We could check the serial numbers, but they're usually not recorded.
(WARRICK sighs.)
Warrick: You know what? I got an idea.
Nick: Hmm?
(WARRICK takes the seat off of the bike.)
Nick: What are you doing?
Warrick: Get me a pair of tweezers, will you?
(He checks inside the seat and pulls out a receipt.)
Nick: Now how did you know that receipt was in there?
Warrick: Well, I used to read point spreads. Now I read books.
Nick: Good for you. Bad for Ross Davis, though.
CUT TO:
[INT. CSI - WAITING ROOM -- NIGHT]
(GRISSOM and WARRICK interview ROSS DAVIS.)
Ross Davis: This is a little intense for getting my bike stolen. I already got a new one.
Warrick: Did you report it?
Ross Davis: No. You're kidding me, right? I got jumped, man.
Warrick: By whom?
Ross Davis: By two bucked-ass brothers. They were both yoked as hell. Ripped. I thought for a second they were going to k*ll me.
(Quick flashback to: [NIGHT] ROSS DAVIS rides his bike along the street. A car screeches to a halt in front of him, blocking his path. A man in black jumps out of the car and stuns him.)
(End of flashback. Resume to present.)
(He rubs the back of his neck.)
Warrick: Something wrong with your neck?
Ross Davis: Man, it's k*lling me. I don't know what the hell they h*t me with, but my knees was the first to go.
Grissom: I believe you were h*t with a stun g*n.
Warrick: Just like Mike Trent.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY]
(CATHERINE walks down the hallway; GREG rushes to catch up with her.)
Greg: I found something on your butt.
Catherine: Checking out my butt again, Greg?
Greg: I was ...
Catherine: mm-hmm.
Greg: ... as well as the four butts Sara got at the crime scene.
Catherine: Oh.
Greg: Found something on them that I can't explain, so I sent them over to Hodges. Your butt's fine.
(b*at.)
Greg: Switching gears. Blood found in the Trents' bedroom is a match to Drake Snow.
Catherine: So he told the truth about the blood and lied about the kitchen. Figures.
Greg: Three of the four cigarette butts are also a match to Drake.
Catherine: Puts him at the scene. And the fourth butt?
Greg: Female, not a match to Laurel Trent.
Catherine: Orange seeds?
Greg: Two additional donors, both male. Not a match to any of our players. No hits on CODIS.
Catherine: So we're looking for two guys and a gal who might know Drake.
(GREG nods. They both walk out of camera frame.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS interviews DRAKE SNOW.)
Brass: We already know you lied. We found your blood in the Trents' bedroom, not in the kitchen. So what were you doing in there? You putting the sh*t in her, or what?
Drake Snow: Hey, look. I know where you're going with this. Okay, I was in the bedroom. She wasn't on her knees. I was. I was begging. Not for sex. I was begging for my business. Drake the Snake Productions. Mike comes busting in, goes ballistic, smacks me in the nose ...
Brass: I mean, I know I keep coming back to this three-and-out thing, but maybe because you're in bed with his wife.
Drake Snow: Laurel and I didn't have sex in the bedroom. We had it on the set- past tense -- long time ago.
Brass: Then along came Mike.
Drake Snow: Mike was good for Laurel. Mike was not good for me. She got carte blanche -- Laurel. Me, I got a bar back. Now I'm popping blue pills looking for something to bring me down, but I know the business. I just don't have the capital to get behind the camera.
Brass: So what does k*lling the Trents get you?
(pause)
Drake Snow: Zero. No one was more upset than me.
Brass: You're still pouring drinks. Boo-hoo. And what are you doing smoking around their place?
Drake Snow: (shakes his head, confused) What?
Brass: Yeah, we found cigarette butts with your DNA on it on their property.
Drake Snow: I don't know what you're talking about. I don't. I smoke one place, okay? I smoke at work. I'm down to one a day. Right after happy hour, I have my one cigarette, and it's out back by the service register. You ask anybody.
CUT TO:
[INT. ACID DROP - BACK BY SERVICE REGISTER - NIGHT]
(CHRIS BEZICH leads CATHERINE out back by the service register.)
Chris Bezich: Drake's telling the truth, you know? He smokes one a day. Not on the floor, right here, my rule.
Catherine: mm-hmm. Well, I'll have to verify it with evidence.
(CATHERINE puts her kit down.)
Chris Bezich: You verify everything?
Catherine: Everything. Including you. You're clear.
Chris Bezich: Can you blame Drake, you know? He's trying to give up cigarettes. That's like me trying to give up ...
(CATHERINE pours a shovel of sand into the baggie. She turns around.)
Catherine: Sex?
Chris Bezich: Everybody needs to indulge in a vice at least once a day, right?
Catherine: Yes, well, I did happen to notice those little waitress girlies trying to serve their way into bed with you.
Chris Bezich: That's work. I prefer women. Speaking of work, do you, um ... ever get a day off?
Catherine: What? You want to get to know me?
Chris Bezich: Yes.
(They inch closer and closer together until finally, they kiss. CATHERINE pulls back.)
Catherine: Um ...
Chris Bezich: What?
Catherine: Wait. Hang on. I'm on the clock.
Chris Bezich: You started it.
Catherine: Yes, and when the time is right, maybe I'll finish it.
(She smiles at him.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - BREAK ROOM -- NIGHT]
(BRASS steps out into the hallway and finds SARA sipping coffee in the break room.)
Brass: How you feeling?
Sara: Hey. What do you mean?
Brass: Well, you were popping cough drops at the scene the other day a mile a minute.
Sara: I thought I was coming down with a cold.
Brass: Ah. Yeah, I, uh ...
(They both sit down.)
Brass: I understand colds. You know, back in Jersey when I was getting it from both ends, from my wife and my work, uh ... things started to get heavy. I started "medicating". (He motions drinking with his hand.) "Cure" my cold. And, um, and god forbid I had an early morning roll-out and I had that tell-tale breath, you know what I mean? So I would dodge my supe, and I started popping cough drops.
Sara: Huh.
Brass: I mean, what I'm trying to say is that ... there's more problems than answers in the bottom of a bottle, believe me.
Sara: Yeah.
(She sighs.)
Sara: Actually, I had a couple of beers with breakfast when I got off shift. And then I got called in.
Brass: Just a couple?
Sara: Yeah.
Brass: (smiles a bit) I'm just looking out for you.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(BRASS walks into the office and finds GRISSOM sitting at his desk looking at the photos of jewelry.)
Brass: Hey, what are you doing after work?
Grissom: More work.
Brass: You've photos of Laurel Trent's jewelry.
Grissom: Yeah, two-carat diamond earrings, ruby necklace, diamond and sapphire bracelet, lady's gold rolex.
Brass: The insurance company says it's worth somewhere north of two mil. I got every pawn shop in town on the lookout.
(GRISSOM nods.)
Brass: What?
Grissom: You know that feeling you get when you just can't quite put your finger on something?
Brass: What can't you put your finger on besides the clock-out button?
Grissom: Why did they drag his body down the driveway?
Brass: Dragging's your racket. But I can tell you who's dragging Mike Trent into court. His ex-business partner, Kyle Goode.
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(DAVID HODGES shows CATHERINE the results of the evidence sent to trace. He holds up the evidence bag.)
David Hodges: Evidence.
(He puts a hand on the scope.)
David Hodges: Evidence in context. Take a look.
[SCOPE VIEW OF CIGARETTE BUTT]
Catherine: Trace on the cigarette butt is a match to the sand I collected from the ashtray.
David Hodges: At Acid Drop.
(He puts in a different slide under the scope.)
David Hodges: Now ... take a look at this. I found trace amounts of soil in the orange seeds and the orange peel ...
[SCOPE VIEW OF THE SOIL]
David Hodges: ... but not on any of the butts.
Catherine: So it's possible that the butts were planted.
(Quick flashback to: PERSON places the cigarette butts on the found near the orange peels. End of flashback. Resume to present.)
Catherine: May explain why there seems to be so many suspects at the crime scene.
David Hodges: Probably clears Drake Snow and your unidentified female smoker. Where does that leave you?
Catherine: With two guys on bikes.
CUT TO:
[INT. ARCADE -- DAY]
(ALEX GOODE plays the arcade machine as KYLE GOODE stands next to him watching and smoking his cigarette.)
Kyle Goode: h*t that ninja. On the bridge. KYLE GOODE: That's it.
(BRASS walks up to them.)
Brass: Kyle Goode?
Kyle Goode: Uh-huh.
Brass: I'm Detective Jim Brass, homicide.
(BRASS gives KYLE GOODE his card.)
Kyle Goode: I was wondering when you guys would get around to me.
Brass: Why's that?
Kyle Goode: My ex-partner's m*rder. I got a lawsuit against him. He owes me millions. I'd like me for it.
Brass: Great, then we won't have to pull teeth to get to the truth. Where were you yesterday morning?
Kyle Goode: With my son, Alex.
Brass: Where?
Kyle Goode: You're not going to believe anything I tell you. Why don't you ask him?
Brass: Okay.
Kyle Goode: Come, Alex. Get off the game.
(ALEX continues to play the game.)
Kyle Goode: That's enough.
(KYLE grabs the plastic g*n out of ALEX'S hand.)
Alex Goode: (whines) You cost me a man.
Kyle Goode: I got more quarters.
(KYLE takes out the quarters for ALEX.)
Brass: So, Alex, where were you yesterday morning?
Alex Goode: At grandma's.
Brass: All morning?
Alex Goode: No. She lives in Laughlin. My dad drove me.
Brass: What time did you get there?
Alex Goode: I don't know. I was sleeping. Maybe around ... 11:00?
Brass: You sure about that?
Alex Goode: Yeah. When I woke up, Captain Caveman was on.
Brass: Okay, Laughlin's about two hours away, so you and your son left home around 8:30?
Kyle Goode: More like 8:00. Alex likes those breakfast sandwiches. We picked a couple up. Ate them on the way.
Brass: Where'd you pick them up?
Kyle Goode: Sunny Side's over on Eastern. You looking for an alibi?
Brass: Something like that, yeah.
Kyle Goode: Come on, Alex. Let's go over to Circus Circus. They got a real arcade.
(KYLE takes a last puff from his cigarette and snuffs it out in the ashtray. He and ALEX leave. BRASS tucks his notebook into his jacket pocket and uses a handkerchief to take the recently discarded cigarette butt out of the ashtray.)
CUT TO:
[INT. SUNNY SIDE - COUNTER -- DAY]
Missy Wilson: Thank you for visiting Sunny Side's. Next in line, please.
(NICK steps up to the counter.)
Nick: Hi.
Missy Wilson: Would you like to try the Sunny Side's special?
Nick: No, I'm Nick Stokes. I'm with the Las Vegas crime lab. Can I talk to you for a second?
Missy Wilson: Um ...
(She looks around and motions to the clerk next to her. She steps aside with NICK.)
Nick: Are you Missy Wilson?
Missy Wilson: Are you a truant officer?
Nick: No. Your Manager said you were working breakfast the other day at the pick-up window.
Missy Wilson: Yeah.
Nick: Do you remember this guy?
(He shows her the DMV photo copy of KYLE GOODE'S license.)
Missy Wilson: Oh, my god. That's the creep who was hitting on me. He was so repulsive. You know what he said to me?
(Quick flashback to: KYLE GOODE muttering to MISSY WILSON through the order window.)
Kyle Goode: I'd like to bend you over the counter, baby.
(MISSY WILSON gasps at him, then closes the window shut.)
(End of flashback. Resume to present.)
Missy Wilson: And he said it in front of his kid. What kind of father acts like that?
Nick: Sounds like he wanted to make an impression.
Missy Wilson: Oh, he did. I hope you're going to arrest him.
Nick: One thing at a time. Now this window ...
Missy Wilson: I get all the creeps in drive-through -- teenagers, perverts, walk-ups, and those are my favorites. "Hi, I'm on a skateboard. Can I have a burger combo?" "No, dork."
Nick: Does this window have a surveillance camera?
Missy Wilson: Oh, yeah, we have cameras all over here. Even in the cooler.
CUT TO:
[INT. CSI - AUDIO / VISUAL LAB -- DAY]
(CLOSE UP: SECURITY VIDEO FOOTAGE of KYLE GOOD ordering through MISSY WILSON'S window.)
Nick: Confirms his alibi. Every suspect Brass leans on seems to have a case of the "airtights."
Grissom: Hold it. Run that back.
(NICK rewinds the video.)
Grissom: Pause it.
(He pauses the video.)
Grissom: What is that around the kid's neck?
Nick: I don't know. Let's enhance it.
(The video is enhanced with a focus on ALEX GOODE.)
Nick: Hard to tell, but, it almost looks like a canteen.
Grissom: You bring a canteen up to your lips, not to your eyes.
Nick: I'll pull some stills, see what I can make of it.
(The lab phone rings. GRISSOM answers it.)
Grissom: AV Lab. Grissom. (pause) I'll be right there.
(GRISSOM hangs up.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. RESIDENCE -- NIGHT]
(A body is d*ad from a g*n wound, blood seeping onto the carpet. A taser w*apon is discarded nearby.)
(Fade to: Several taser marks on the victim's skin.)
(Fade to: A g*n wound to the back of the head.)
(BRASS, GRISSOM and DAVID PHILLIPS is in the crime scene. DAVID is looking over the body.)
Brass: Well, he lived by the stun, but I don't think he died by it.
David Phillips: He didn't. Uh, two g*n wounds to the back of the head. TOD is within the hour.
(GRISSOM looks around and sees the blood spatter on the walls.)
Grissom: Blood spatter everywhere. Multiple directionalities.
(GRISSOM looks around and sees a chain in the victim's pocket.)
Grissom: You almost done, David?
David Phillips: Uh, yes, sir. He's all yours.
(DAVID takes his things and moves away from the body.)
Grissom: Thanks. I want to pick his pockets.
(GRISSOM finds a rope chain with two initials charms on it.)
Grissom: M ... and T. Doesn't look like Michael Trent.
Brass: If he's one of our bad guys on the bicycle, where's his partner?
Grissom: And where's the rest of the jewelry?
Brass: That's probably what his partner said before he tossed the room.
(GRISSOM nods. They both stand up and look around. GRISSOM sees the open window and looks outside.)
[EXT. RESIDENCE - NIGHT - CONTINUOUS]
(GRISSOM walks outside the side of the house. He walks around the house to the open window where he finds some blood drops on the outside of the wall.)
(He looks around and finds blood drops on the fiber glass sheet on the ground.)
(Quick flashback to: THE g*n is bleeding on the fiber glass. He coughs and runs through the bushes.)
(End of flashback. Resume to present.)
(GRISSOM heads into the bushes where he finds a SECOND BODY d*ad on the ground. He kneels down to look at the body.)
(BRASS walks around the corner carrying a plastic bag. He holds it up.)
Brass: Hey, look what I found: A Kn*fe with blood on it.
Grissom: Look what I found: A d*ad guy.
(BRASS nods.)
(GRISSOM picks up the g*n at the scene.)
Grissom: Nine-millimeter. Pillowcase full of jewelry. Two stacks of $10,000 bricks.
Brass: Well, either they pawned some diamonds at the US Treasury, or they're on someone's payroll. You know what that means: h*t-for-hire.
Grissom: And we're still looking for somebody.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY]
(GRISSOM and ROBBINS stand between the two bodies.)
Grissom: Who gets the honors: Him or him?
Robbins: Eh, let's start with Mr. Head wound.
(They turn to the first body. ROBBINS points to the stun g*n burns on his chest.)
Robbins: You've seen these before.
Grissom: Stun g*n. The debilitator of choice.
(Quick flashback to: The two g*n fight. One uses the stun g*n on the other, driving him to his knees, then down to the ground.)
(Flash to: Close up of a g*n f*ring two sh*ts.)
(End of flashback. Resume to present.)
Robbins: Heard you found a nine-millimeter at the scene?
Grissom: Mm-hmm.
Robbins: I sent the b*ll*ts to ballistics.
Grissom: How about his buddy? Any lead in him?
(They turn to the second body.)
Robbins: No, but he took a blade to the stomach. The cut was shallow, five or six centimeters below the sternum. Like the soft spot in a dragon.
(Quick CGI flashback to: The Kn*fe sinks into flesh, then is pulled out. The fight between the two men ensue and the taser g*n brings the other man to his knees. White flash to end of CGI Flashback.)
CUT TO:
[INT. CSI - HALLWAY]
(BRASS and CATHERINE walk through the hallway.0
Catherine: Sounds like no honor among thieves.
Brass: Well, I'll tell you what they were fighting over. The jewelry was hot. Either you fence it fast or eat the loss.
Catherine: I'm thinking more and more it was never part of the plan.
Brass: You know, you could be right. I talked to the Trents' bank. They were on their way to the safety deposit box that morning and then off to Hawaii at the end of the week.
Catherine: So it was Laurel Trent who cleaned out her own jewelry box.
Brass: Yeah. m*rder was their wage, and jewelry was their tip.
CUT TO:
[INT. CSI -- LAB]
(CLOSE UP OF: WARRICK checking the bills.)
(Dissolve to: SARA and WARRICK are documenting bills.)
Warrick: How's your hands?
Sara: Sore. Document every single bill. Fun.
Warrick: I got to hand it to these casinos. They got it all figured out.
Sara: What do you mean?
(WARRICK holds the stack of money in his hand.)
Warrick: Well, this is a ten thousand dollar brick, right?
Sara: Mm-hmm.
Warrick: I could either lose this in a hand of blackjack, or I could lose cranberry chip. What's worse?
(SARA doesn't look up.)
Sara: To me, losing's losing.
(WARRICK chuckles. Camera holds on SARA. WARRICK watches her and notices that she's staring at something.)
Warrick: Sara?
Sara: I got a bloodstain.
(SARA looks up at WARRICK.)
CUT TO:
[INT. CSI - DNA LAB]
(CLOSE UP of the blood stain on One Hundred Dollar Bill, #CL89631217A.)
Greg: You know, the last time I checked, defacing government property was a federal offense.
Sara: Not when it's logged in as property, Greg. The blood might be from a paper cut.
Greg: Okay, but you're my witness.
(GREG cuts off a bit of the bill with the blood on it.)
Sara: Run it against all our players.
Greg: Uh-huh.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(NICK stands in front of GRISSOM'S desk holding a file folder in his hands.)
Nick: I finished up on those still photos. The canteen around Little Alex's neck ... is really a set of binoculars.
(GRISSOM looks at the clear photo still of ALEX looking through a pair of binoculars in the car.)
Nick: If you keep flipping, it tells the rest of the story.
(He goes through each photo still one by one.)
(Quick flashback to: The photo stills moving faster showing KYLE GOODE grabbing the binoculars out of ALEX'S hands.)
Kyle Goode: You're going to break them. ALEX GOODE: I-I-I ...
(End of flashback. Resume to present.)
Nick: Now, call me crazy, but it looks like daddy doesn't like the little man wearing the binoculars around his neck so much.
Grissom: I wonder why?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. TRENT RESIDENCE - FRONT DRIVEWAY -- NIGHT]
(GRISSOM and NICK check out the front driveway as Christmas lights in the trees behind them and the front car headlights light their way. Cute.)
(GRISSOM looks at the empty lot beyond the fence across the street from the driveway. He looks down and positions himself where the blood ends.)
(Quick flashback to: MIKE TRENT lying on the concrete drive. End of flashback. Resume to present.)
(GRISSOM looks up and sees a lit spot across the street on the hillside.)
Nick: What are you thinking?
Grissom: Stay right here until I call you.
(NICK shrugs.)
(GRISSOM moves forward to leave.)
DISSOLVE TO:
[BINOCULARS VIEW: NICK standing in the driveway]
(GRISSOM focuses the binoculars on NICK.)
(He takes out his cell phone and dials. NICK'S phone rings. He answers it.)
Nick: Yeah?
Grissom: Nick, would you move about halfway up the driveway?
Nick: Back where Mike Trent was sh*t?
Grissom: Exactly.
(NICK turns and walks back up the driveway, hidden behind the bushes.)
Nick: How's this? Can you see me here?
Grissom: No, I can't. Thank you.
(NICK pulls the phone away from his ear and gets it. He smiles.)
(GRISSOM puts down the binoculars and hangs up
(Quick flashback to: MIKE TRENT is being dragged down the driveway. The g*n pulls MIKE TRENT'S d*ad body down the driveway as SOMEONE across the street watches.)
(The g*n stops and sits MIKE TRENT up to show the person that it really is MIKE TRENT.)
(The person across the street puts his binoculars down. It's KYLE GOODE.)
(End of flashback. Resume to present.)
(GRISSOM walks forward, his phone still in his hand. He takes out his flashlight and looks at the barrier in front of him where he sees some scrapings on the side.)
(Quick flashback to: A moving car scrapes the barrier, sparks fly. End of flashback. Resume to present.)
(GRISSOM dials.)
Grissom: (to phone) Jim? Gil. (He pauses.) I'm fine. How are you? Would you put an APB out on Kyle Goode's vehicle, please?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and GRISSOM interview KYLE GOODE in the presence of his lawyer.)
(BRASS puts the photo still on the table in front of KYLE GOODE.)
Brass: You recognize this?
Kyle Goode: That's my kid.
Brass: What's that around his neck?
Kyle Goode: That's his binoculars.
Brass: Yeah. Zeiss, 20x60, BSGA. Forty-five hundred a pop.
Kyle Goode: You know how it is. You got your kid in the car, traveling a long distance. Whatever keeps them occupied.
Grissom: According to your son, he slept all the way to Laughlin.
Lawyer: Kid falling asleep in a car on the way to his grandma's house? You guys won't even make it through the courthouse door.
Brass: Court. That's where the lawyers get fat. And you know all about that. I mean, you've got a lawsuit with your ex-business partner, and your ex-wife, who's suing you for past alimony ...
Lawyer: That's irrelevant.
Brass: Not according to his wife it isn't. She gave us permission for a hair sample from your son.
Kyle Goode: For what?
Grissom: The good thing about drugs? They work their way through the bloodstream in the urine, but not the hair. Our lab found trace elements of ambien, which is a hypnotic sleep sedative, in your son's hair root.
Lawyer: Until we see the test results, we're withholding comment.
Brass: No problem, counselor. Okay, moving on.
(GRISSOM hands the file folder to the lawyer.)
Brass: The "buy" money, the 20k that we found on the two geniuses you hired?
Kyle Goode: What geniuses?
Brass: You know, the brothers, who are so cool and laid back, they're in the morgue.
(KYLE GOODE looks surprised.)
Brass: Oh, what? You didn't know they're d*ad? Yeah, they greased each other over the jewelry. And that wasn't even part of the deal in the first place, was it?
(Quick flashback to: THE g*n find the jewelry in the car ... and take it. End of flashback. Resume to present.)
Brass: Good help is hard to find, huh, Kyle?
Lawyer: He's not answering that.
Kyle Goode: I hated that son of a bitch. Mike Trent was a scumbag, worst of the worst. Use you up and blow right through you. I brought him in on my nickel. And he throws me out? Invests our money in clubs and kicks me out? To do what? To ride off into the sunset with my piece of sushi? And it's not just me. There's a lot guys out there got b*rned by him who wouldn't mind a little revenge. I'll even go so far as to say I'm not sorry he's d*ad, or rotting somewhere in some box.
(He looks at both of them.)
Kyle Goode: But I'll say this for sure: I didn't k*ll him.
Brass: I'm not saying you did.
Kyle Goode: Or his wife.
Brass: But your $20,000 incentive pulled the trigger. And you know what? You won't believe this -- a paper cut gave you away.
(Quick flashback to: [NIGHT] KYLE GOODE hands the stack of bills over to the g*n.)
Kyle Goode: ... Ten makes twenty large.
(The g*n takes the stack of bills out of KYLE'S hands, cutting his finger in the process. He sticks his finger in his mouth to stop the bleeding.)
Kyle Goode: When you do it, I want to see it. I'll be up here.
(End of flashback. Resume to present.)
Brass: We did the DNA test for the cigarette butt you left at the arcade. Plain view, right counselor? And we matched it to the blood we found on the money.
Lawyer: He didn't hire two K*llers. He only hired me.
Grissom: Yeah, well, lawsuits take a while. I don't think you cared about a verdict anyway, did you, Kyle? You wanted much more than that.
(Quick flashback to: [DAY] The g*n rushes up and grabs MIKE TRENT from behind. He tasers his neck, bringing him down to his knees.)
(Cut to: The SECOND g*n pulls LAUREL TRENT out of the car, screaming.)
Laurel Trent: God ... !
(He pushes her down to her knees.)
(Cut back to: The FIRST g*n brings the g*n to the back of MIKE TRENT'S neck.)
(LAUREL TRENT tries to get to her husband. The SECOND g*n fires twice, sh**ting her in the back of the head.)
Mike Trent: No!
(The FIRST g*n fires twice at MIKE TRENT.)
(End of flashback. Resume to present.)
Lawyer: My client was with his son all day that day.
Grissom: Yeah, that's where he screwed up. Your hatred of Trent was stronger than your love for your own child. You drugged your son so you could use him as an alibi.
Brass: And that's all a jury's going to need to hear to convict you. (b*at)
Kyle Goode, you've been bad. You're under arrest.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EARLY MORNING]
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(CATHERINE passes by GRISSOM'S office door and finds him sitting behind his desk.)
Catherine: Oh ... you're still here. Uh ... (She clears her throat as she puts her jacket on.) So I'm leaving. Need anything?
Grissom: No, I'm good.
(b*at)
Catherine: Are we good?
Grissom: We'll be fine.
Catherine: Okay. I'll see you tomorrow.
Grissom: Going out?
Catherine: I've got some unfinished business to take care of. (She smiles.)
I'll see you.
(She leaves. GRISSOM watches her as she goes.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x15 - Early Rollout"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
(Thunder rumbles.)
[EXT. UNDER THE BRIDGE - NIGHT]
(Under the bridge, homeless people keep warm by the flames of the burning barrels. Hookers and drug addicts try to keep warm.)
(A car drives by slowly and pulls up along side the curb. The hookers are already peering in through the car window asking questions.)
(Nothing.)
(The car drives off and slows down in front of another group of men. The car continues.)
(The man behind the wheel continues driving. He turns the corner and parks. He gets out of the car, shuts the door and looks down below at the group of people standing below.)
(He makes his way toward them.)
FLASH TO:
[LATER]
(Camera opens on the d*ad man lying face-up with bloodied s*ab wounds in his chest. GRISSOM and BRASS kneel down next to the body looking it over.)
Grissom: No watch, no wallet, no shoes. This guy was picked clean.
Brass: In this neighborhood, he's lucky to have the fillings in his teeth.
(GRISSOM checks.)
Grissom: Still there.
(BRASS shakes his head and smiles. GRISSOM notices the MAN'S fingernails.)
Grissom: This guy was well-groomed.
Brass: I don't care if he was lemon-scented and martinized, if he was on Washington and D, he was copping. He should have just said no.
(GRISSOM looks at the group of people standing nearby not caring that there's a d*ad body right there.)
Grissom: Maybe somebody wouldn't take no for an answer.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. JUNKYARD -- NIGHT]
(CATHERINE, SARA and DET. CAVALIERE make their way toward the body.)
Catherine: So, how long have you been in Vegas, Detective Cavaliere?
Det. Cavaliere: Couple of weeks.
Sara: Welcome to tr*nny-town. This is where the hustlers come.
Det. Cavaliere: Yeah, I can see why. It's very romantic.
(They reach the body. SARA puts her kit down. They all step forward toward the body tucked inside a huge tire.)
Sara: This is new.
(DET. CAVALIERE snaps a picture. The flash startles SARA and she turns to look at him.)
Det. Cavaliere: Don't get territorial. It's for my own personal collection.
Catherine: Whatever blows your skirt up. Burn me a copy.
Sara: There's a small cut on the forehead.
Catherine: Yeah, it looks like he's wearing makeup. Blush on the cheeks ... lipstick.
Sara: tr*nsv*stite. Fits the profile.
(She looks up at the junked bus nearby.)
Sara: Honeymoon suite's across the way. Anonyms sex becomes anonymous sex crime.
Catherine: m*rder usually personal.
Sara: Maybe whoever had the last dance left behind a corsage.
Catherine: I'd settle for his clothes.
Det. Cavaliere: Hey, I'll give you a hand.
(DET. CAVALIERE and SARA stand up and move away. DAVID PHILLIPS settles in next to CATHERINE. He looks over the tire.)
David Phillips: You think a hacksaw's going to do the trick?
Catherine: No. But that's why god invented sawzalls.
(Cut to: CATHERINE works at cutting the top of the tire off to expose the body. DAVID stands aside and watches.)
(Cut to: SARA and DET. CAVALIERE head toward the bus and step inside. They look around and find the place a mess, discarded used condoms on the seat.)
(Cut to: CATHERINE gets the tire cut through and the CORONERS remove the body from the tire and put it down on a plastic sheet on the ground.)
(Cut to: SARA and DET. CAVALIERE examine the contents in the bus.)
(Dissolve to: SARA finds a naked, decapitated Barbie doll on the bedsheet.)
(Cut to: CATHERINE waits for DAVID to finish with the body. SARA and DET. CAVALIERE join them.)
Sara: All we got is a decapitated doll.
Catherine: That's still legal in Nevada.
(They look at the body and notice that DAVID'S been awfully quiet.)
Catherine: Dave, what's up? You find something?
David Phillips: I was just thinking I wouldn't be caught d*ad in those shorts.
CUT TO:
[EXT. UNDER THE BRIDGE -- NIGHT]
(OFFICER cars surround the area. WARRICK tries to work as the HOOKERS nearby watch.)
Hooker: Yo, baby, look, why're you rushing the day? We got plenty of night left.
Warrick: I'm working, lady.
Hooker: See, that's something we already got in common, 'cause I'm working, too.
Warrick: Oh, yeah?
Hooker: mm-Hmm.
Warrick: Were you working him?
(WARRICK turns to indicate the d*ad body.)
Hooker: Him? No. No, sir. But I tell you one thing. Good-looking white boy like that? I know plenty of women who'd be tripping over their platform to get a little somethin' somethin'. But no, sir, he wasn't nobody's customer.
Warrick: Really?
(The HOOKER nods. WARRICK goes back to the body where GRISSOM is.)
Warrick: This guy get here on foot? I don't see a car.
Grissom: They haven't found one yet.
Warrick: I suppose nobody saw it drive away.
Grissom: They were all in the bathroom.
(He and WARRICK look out at the gathering crowd.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(ROBBINS goes over the body with GRISSOM.)
Robbins: Multiple s*ab wounds. The deepest of which transected the thoracic aorta and the right mainstream bronchus.
Grissom: Anything else?
Robbins: His name is Ed Burnell. Matched his prints, prior for possession. And it's not the first time he stared death in the face. Our man had a double dose of cirrhosis. That takes work. Years of hard-core alcohol abuse, plus hepatitis, probably acquired by dirty needles.
Grissom: In Chinese medicine, the liver is the organ of anger. Addicts and alcoholics medicate their anger, consequently, destroy their liver.
Robbins: Actually, half the liver is pretty healthy.
(ROBBINS reaches for the side and puts a metal tray with a new liver on the body to show GRISSOM.)
Robbins: The new half.
Grissom: Oh ... a graft from a less angry donor.
Robbins: Organ recipient procedure is pretty clear. They only do transplants on people who test clean for a year.
Grissom: Well, he probably got his new liver, figured he could, uh, start all over again.
Robbins: Is that what you think? That once an addict, always an addict?
(They share a look.)
CUT TO:
[INT. CSI - LAB]
(GREG checks the body's underwear as CATHERINE instructs him.)
Catherine: Don't let the scope touch the garment. You don't want to contaminate the evidence. And work systematically.
Greg: Up-down, left-right, what?
Catherine: Oh, Well, whatever works for you. Just don't miss any spots.
(CATHERINE sees something on the monitor.)
Catherine: All right, hang on. What do those look like to you?
Greg: Semen stains.
Catherine: Yes.
Greg: Which, on a man's underwear, aren't exactly probative.
Catherine: No.
Greg: Can't tell you how long they've been there, or how often the guy changes his shorts. You know, I knew guys that could go up to four days on one single pair of tighty-whities.
Catherine: Thanks for putting that picture in my brain.
(GREG nods.)
Catherine: All right, so ...
(She uncaps a pen.)
Catherine: I want you to outline each individual stain with dots. But keep them at least an eighth of an inch from the edge to avoid contamination.
Greg: And then, cut out the swatches and send them to myself in DNA.
Catherine: You got it.
(She leaves the pen and heads out of the lab.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Extreme close up of something in hair. Camera pulls back and we see something is being removed from the body's nose.)
Catherine: A fiber in his nose.
Sara: Yeah, I'll get it to trace.
(SARA puts the fiber in a baggie. She checks the eyes.)
Sara: Petechial hemorrhaging.
Catherine: I would've thought he was strangled during some kind of rough sex-play, but there's no marks.
Sara: Suffocation maybe?
(In the back of the room, DAVID is working on another body. He overhears and can't help but comment.)
David Phillips: That's why undertakers love smother-victims.
Sara: He's got something under his nails.
(SARA takes another instrument to dig out the stuff from his nails.)
Sara: Looks like silver paint.
(CATHERINE notices the shadow on the man's eyes.)
Catherine: Vegas brow. (SARA looks at CATHERINE. She shrugs.) A showgirl thing. Eyebrows thin out from all the plucking and waxing and filling in.
Sara: Well, we can kind of rule him out as a showgirl.
Catherine: Yeah.
Sara: And, you know, he's hairy for a drag queen. Hey, David?
David Phillips: Yeah?
Sara: Could you h*t the lights?
(SARA reaches for the ALS as DAVID PHILLIPS reaches for the lights.)
(As she shines the light on his face, the make-up removed shines through.)
Catherine: His face looks painted. (SARA nods.) Kinda looks like a clown.
(CATHERINE and SARA share a look.)
CUT TO:
[EXT. ROAD -- NIGHT]
(EMERGENCY CREWS work to cut JAMAL out from the car. He's drugged up and stuck in the car wreck, his mouth going off loudly and a mile-a- minute.)
Jamal: Yo, man, get these spiders off my face, man! I gotta beam up outta here. I need my medication. I'm a CEO of a five-bag-a-day corporation, you know that?
(The door opens. JAMAL looks at the OFFICERS.)
Officer: Uh, come on. Let's go.
(They help him out of the car.)
Jamal: Thank you.
(The officers hold on onto him in front of WARRICK and BRASS.)
Jamal: (laughs) Y'all look like cartoons, man. Okay, thank you.
(JAMAL extracts himself out of the OFFICER'S grips and nearly falls down.)
Brass: Whoa, whoa, whoa. Take it easy, pal. You're not running the four-minute mile on those pins.
Warrick: Nice shoes.
Jamal: It's all good, it's all good.
(The officers help him onto the gurney where JAMAL finally gets a good look at the damage to the car.)
Jamal: Whoa! Who gonna pay for that hole in my ride, man?
Brass: Your ride? This was never your ride. This car belongs to Ed Burnell.
Jamal: Finders keepers, baby. I gotta bag me some ho's.
Warrick: What drug is he on?
Brass: I don't know. Whatever it is, he either took too much or not enough.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EARLY MORNING]
[EXT. BUILDING - HALLWAY -- MORNING]
(SARA and CATHERINE walk down the hallway toward the BUDDY WEEK, CLOWN AGENCY.)
Sara: Just 'cause the guy looks like a clown doesn't mean he is a clown.
Catherine: Description didn't match anyone in missing persons. If you've got a better idea, now's the time.
(CATHERINE opens the door and walks inside. SARA follows and closes the door behind her.)
[INT. BUDDY WEEN CLOWN AGENCY - DAY - CONTINUOUS]
(CATHERINE and SARA make their way to the office where BUDDY WEEN yells on the phone. They pass by several clowns sitting in the waiting room.)
Catherine: I'd say we're in the right place.
Sara: Yeah. Either that or they're casting a John Wayne Gacey revue.
Buddy Ween: (to phone) And you can tell that putz that Buddy Ween doesn't send cruise ship talent for bar mitzvah wages. You got that? (He hangs up, looks at them and points.) Uh, strippers are down the hall, girls. This is clowns.
Sara: (dryly) No kidding.
(CATHERINE shows him her I.D.)
Catherine: I'm Catherine Willows. This is Sara Sidle. We're with the crime lab.
Buddy Ween: Well, why didn't you say so? We do lots of police parties.
Catherine: The party has already happened.
(She shows him the photo of the d*ad clown.)
Buddy Ween: What am I supposed to do with this?
Catherine: Identify the body. Did that man ever work for you?
Buddy Ween: Well, let me put it this way: I rep clowns. (He points to the clowns in the waiting room.) That's Flappy, that's Flappy Junior, that's Allen ... he doesn't work that much ... Popo ... get it? All I do is book the face. I don't care what's underneath.
Sara: If our victim was a professional clown, would he be in this book?
Buddy Ween: Uh-huh.
Sara: What are these numbers for?
(She indicates the numbers under the photos in the book.)
Buddy Ween: That's the national clown and character registry.
Catherine: How do you register a clown?
Buddy Ween: Well, not the clown. The look, the face. Each one is unique. It's like snowflakes.
Sara: We're going to need to take this with us.
Buddy Ween: You got a warrant? I'm kidding. Okay, it's just a loaner, though.
CUT TO:
[INT. HOSPITAL -- EMERGENCY ROOM - DAY]
(JAMAL is on the bed, his foot up in traction, and his mouth continuing to yell loudly.)
Jamal: I know you stealin' my medication. I am in pain, damn it! Bring me some stuff!
(He looks up at the nurse down the hall who doesn't move. GRISSOM and WARRICK both stand at the foot of JAMAL'S bed. He stares at them.)
Jamal: What are you two ladies lookin' at?
Grissom: Uh ... (reading) Jamal ... we're with the Las Vegas crime lab. It seems you were driving a d*ad man's car when you got in your accident.
Jamal: Half the peoples I know be d*ad. It don't mean they can't own a vehicle.
Warrick: Hey, Vanilla Ice ... at this point you're lookin' at a m*rder rap, which may end you up on death row, and I'm not talking about the record label.
Jamal: (shouting) Nurse, this be cruel and unusual!
Grissom: Look, pal, right now the evidence tells us that you k*lled the man whose car you were driving. You want to explain that?
Jamal: Explain what, B? I was laid up sh**t' speedballs all day. Look, man, when I get off, I'm gone. Feel me? I can't see nothin', I can't hear nothin'. Wherever high is, that's where I take the elevator up.
(The nurse pushes past GRISSOM and WARRICK to attend to JAMAL. He looks at her and starts criticizing her.)
Jamal: Oh, you damn cow! Took you long enough. When I call you, you come, you understand me?
(She pushes the contents of a syringe into his I.V.)
Jamal: Why you got to do me like this? That's right. (panting) Man's d*ad. What difference it make how he got there? Now, if you'll excuse me, I got a date with Mrs. Jones. (sighs) Man's already d*ad. Why he be needing shoes, anyway?
Warrick: Was that a confession?
Grissom: I think a plea of insanity.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - GARAGE -- DAY]
(The car is in the garage. WARRICK opens the front passenger door and waves away the fumes inside. He looks through it and finds an unopened condom on the dash. GREG hangs just outside the door.)
Greg: DNA results on the blood from Jamal's clothes. It's his own.
Warrick: Well, the blood spatter's consistent with a front end collision.
Greg: So he didn't k*ll him in the car.
Warrick: Doesn't mean he didn't k*ll him. What I want to know is how's a strung-out junkie like Jamal get a guy out of the car with just his Kn*fe?
Greg: Yeah, and why s*ab him six times?
Warrick: Well, let's just say for argument's sake that Jamal is telling the truth and that Burnell was already d*ad when he took his wallet, his shoes and his car.
Greg: Well, if the motive wasn't robbery ... what was it?
(WARRICK finds a small packet of powder in the middle of the car.)
Warrick: Maybe this'll tell us.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(GREG tests the contents of the package. He puts a sample of it under a scope. GRISSOM walks up to him.)
Grissom: Heroin?
Greg: Negative on marquis-mecke-froede.
Grissom: So, if it's not an opiate, what is it?
Greg: I don't know. I've never seen it before. I ran a color and crystal test. Take a look.
(GRISSOM looks through the scope.)
[SCOPE VIEW: PINK CRYSTALS]
Greg: All I can tell you is it's an indole alkaloid.
Grissom: Did you run it through the GCMS?
Greg: Yeah, but it's not in the library.
(GREG hands the results to GRISSOM.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(CATHERINE uses the photo and digitally adds the paints on the d*ad clown's face while SARA goes through the book and tries to find a visual match.)
(CATHERINE paints the eyebrows, the eyes and the area around the mouth. SARA finds the photo in the book.)
CUT TO:
[INT. BUDDY WEEN CLOWN AGENCY -- LATER]
(CATHERINE and SARA sit in BUDDY WEEN'S office.)
Buddy Ween: That's Doodles. A.K.A. Donny Zanko.
Sara: So you know him.
Buddy Ween: There are two kinds of clowns: There's your ex-circus pros, washed out of Ringling Bros., Barnum and Bailey, and then there's your basic chuckleheads.
Catherine: Which kind was Doodles?
Buddy Ween: Basic chucklehead. You know, buy a getup, learn some tricks, and grab some scratch boring the crap out of nine-year-olds. He was a good birthday man, except when he, uh ...
(He motions drinking with his hand.)
Sara: So, he made money boring kids?
Buddy Ween: Parents throw parties. They like clowns because they think their kids like clowns.
Catherine: Mm-hmm. Lindsey's fourth ... bad scene.
Sara: Oh.
Catherine: So, what was the last gig you booked for him?
Buddy Ween: Uh ... car wash, couple of weeks back. Why?
Sara: Mr. Ween, he's been d*ad less than 48 hours and he was wearing his makeup when he was k*lled.
Buddy Ween: That son of a bitch. He was working off the books. I never thought Doodles would try to stiff me.
Sara: He, actually, was the one who got stiffed.
(BUDDY WEEN looks at SARA.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM pours over books at his desk when BRASS walks in.)
Brass: So, it turns out Burnell's tox report was clean. Not only that, he works at some sort of recovery center.
Grissom: Well, that makes sense.
Brass: It does?
Grissom: Well, the substance we found in his car was ibogaine.
Brass: What's that, the stuff that grows hair?
Grissom: A choline-esterase inhibitor that acts as a stimulant in the central nervous system.
(GRISSOM hands BRASS a piece of paper for him to look at.)
Grissom: In the liver, it converts to an active metabolite ... noribogaine. Noribogaine locks onto addiction receptors ... blocking the feedback loops that reinforce dependency.
Brass: In human speak?
Grissom: Well, apparently, in some cases, one dose of ibogaine can cure physical addiction.
Brass: Does it come with a free set of steak knives?
Grissom: It comes with a free trip. Curing physical addiction is a side effect. Its intended use is to facilitate visual, tactile, and auditory experiences of alternate realities.
Brass: So it's an hallucinogen.
Grissom: Mm-hmm. Used by the Bwiti tribe of Central Africa. It comes from the powdered bark of a tree growing in Cameroon.
(Quick flash of: A huge bon f*re probably in Central Africa. End of quick flash. Resume to present.)
Brass: No kidding.
Grissom: Many ethno-botanists believe that the iboga is what the bible is talking about when it refers to the tree of knowledge.
(Quick flash of: A huge bon f*re probably in Central Africa. Several young men drink from a bowl, most probably of the Bwiti tribe.)
Grissom: (V.O.) The Bwiti consume the powdered bark as part of an initiation ceremony.
(End of quick flash. Resume to present.)
Grissom: After the ritual, a man is called baanzi, one who has seen the other world.
Brass: No way it's legal.
Grissom: Not in the U.S.
Brass: So, Ed Burnell was a drug dealer.
Grissom: Well ...
Brass: He's either dealing in the addiction or the cure, and a dealer's a dealer. And this guy's dealing out of a halfway house.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. DONNIE ZONKO'S RESIDENCE]
(CATHERINE and SARA walk into DONNIE ZONKO, a.k.a. "Doodles" apartment and look around.)
Sara: Well ... I can see why Doodles drank.
Catherine: So, if he's hooking up in tr*nny-town, you'd expect to find some man-on-man p*rn.
(CATHERINE picks up the BIG BODACIOUS magazine.)
Catherine: All we've got is varying flavors of juggs.
Sara: Hmm.
(They look around some more. SARA turns around a clown blow-up punching bag and finds some tape around its mouth.)
Sara: Looks like Doodles was working out some animosity.
(CATHERINE finds the answering machine with three unheard messages..)
Catherine: Oh, an answering machine with messages.
(She hits the button. It beeps.)
Answering Machine: Friday, 11:02.
(SARA opens the closet door and looks inside. CATHERINE looks at the mess of things on the table.)
Woman: Hey, Doodle-pie. I can't stop thinking about your enormous feet. Call me.
(The machines beeps.)
Catherine: You know what they say about big feet.
Answering Machine: Saturday, 7:00 P.M.
Mime: Ay, paddle boy, you want a w*r, you got one. And just so you know, I do appreciate the irony of me leaving you a message.
(The machine beeps.)
Catherine: Interesting.
Answering Machine: Sunday, 11:45 A.M.
Taxi Driver: Hey, Mr. Doodles, your taxi's here.
Donnie Zonko (Doodles): Yeah, yeah, cool your jets. I'll be right down.
(The answering machine beeps.)
Sara: He took a cab ride two days ago ... and his costume's not here.
Catherine: Makes sense if he's out of town on a job. I'll call Detective Cavaliere and have him pull the phone records.
CUT TO:
[INT. HALFWAY HOUSE -- DAY]
(The worker talks with BRASS and GRISSOM. They peer in through the door window into room 1e as a drug addict throws up into a pan.)
Worker (man): Ed Burnell worked here for about a year. We're a halfway house. We provide a safe place to live. I mean, if they're going to do ibogaine, I'd rather have them do it in here than out in the street.
(They turn away from the door and he leads them down the hall.)
Brass: And despite the fact that San Quentin is your alma mater and you have a record as long as my leg, you wouldn't do anything illegal, right?
Worker (man): I wouldn't do anything to jeopardize this place, and we don't give out illegal drugs. We do a lot of good work here.
Brass: You know, if ibogaine is such a miracle cure, wouldn't it make your life easier?
Worker (man): The drug doesn't promise anything. You got to earn it. If a user doesn't realize why he used in the first place, I mean, no power in the world is going to make him stop. Right here is a good case in point.
(He leads them to room 1g. Inside, MINDY DUPONT is packing, taking her clothes out of the dresser drawer and shoving them into a package. She looks up when he opens the door.)
Worker (man): So, you're going?
Mindy Dupont: Yeah.
Worker (man): You sure that's what you want to do?
Mindy Dupont: Yeah. This place just reminds me too much of Ed.
Worker (man): Look, I really wish you'd stay here a little longer.
Mindy Dupont: I can't.
(She walks past him and out the room.)
Worker (man): You did a good job here, Mindy.
(She turns around to look at him.)
Mindy Dupont: I'm still doing it.
(She turns and leaves.)
[HALLWAY]
Brass: What's her story?
Worker (man): Ed got her clean. Let me show you what she looked like two months ago.
(He leads them into another room.)
(Cut to: [ON VIDEO TAPE] A close up of MINDY DUPONT'S entrance interview. She looks ragged.)
Ed Burnell: (on video, o.s.) Why are you here, Mindy?
Mindy Dupont: Wanna get off. I ... I don't got another run in me, but I can't stop. (She cries.)
Ed Burnell: (on video, o.s.) My name is Ed Burnell. I'm here to help you, Mindy.
Mindy Dupont: This place is nice. Can I stay here, Ed?
Ed Burnell: (on video, o.s.) Yes.
Mindy Dupont: 'Cause you're gonna take care of me, right?
Ed Burnell: (on video, o.s.) Yes, I'm going to take care of you.
(The WORKER turns the video tape off. He sits down opposite BRASS and GRISSOM.)
Worker (man): So, was it the ibogaine or the months she spent here?
Grissom: You don't believe in ibogaine?
Worker (man): I don't believe in miracles.
Brass: But Ed did?
Worker (man): Look, when Ed first came here, he was an asset to the place. And then he got ... religious about it. You know, there's a reason why Mohammed kept his ass on the mountain. It was safe there. The thing about recovery is it only works for those who want it, not for those who need it.
Grissom: But Ed came down from the mountain, and he brought the ibogaine with him.
Worker (man): Yeah, and he started pushing it on everyone. Sometimes he won, sometimes he lost.
Grissom: From one addiction to another.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. MAGUIRE'S RESIDENCE - DINING ROOM -- DAY]
(CATHERINE and DET. CAVALIERE interview the MACGUIRES.)
Merrill Maguire: I can't Doodles is d*ad. When did it happen?
Catherine: We're hoping you can help us find out.
Det. Cavaliere: Yeah, according to Sunburst Taxi one of the drivers dropped off the clown here two days ago.
Al Maguire: Yeah, that's right. My son was having a birthday.
Merrill Maguire: It's my own little tradition. Birthdays, special occasions, I always hire a clown. The kids love them.
Al Maguire: (chuckles) Except this time, I think maybe we should've gone to Circus Circus.
Catherine: What do you mean by that?
Al Maguire: Well, we hired a clown -- squirting flower, big floppy shoes and all that -- what we got was a smackdown.
(Quick flashback to: [PARTY] Doodles is putting on his act for the small crowd of kids.)
Al Maguire: (V.O.) Doodles was going through his clown bit, and, uh, then this mime comes through our kitchen, which at first we thought it was part of the act.
(A MIME walks in behind DOODLES.)
Donnie Zonko (Doodles): What the hell are you doing here?
(DODDLES turns around, sees the MIME and they start fighting. Really fighting in front of the kids. They destroy the birthday cake.)
(End of flashback. Resume to present.)
Al Maguire: So, uh, I jumped in and broke it up and dragged the Mime into the kitchen. I was going to call you guys ...
Det. Cavaliere: Mmm.
Al Maguire: ... But he apologized and said that, uh, there was bad blood between him and Doodles. And he gave me a hundred bucks for the damages, which I thought was a pretty stand up thing to do, so I let him go.
Det. Cavaliere: Did you get his name?
Al Maguire: I did better than that.
(AL digs into his pocket for the MIME'S business card.)
Al Maguire: He, uh, told me he'd give me great rate if I ever wanted to upgrade from clowns.
(He hands it to them. It reads:
JOEY SIZEMORE
ARTISTIC MIME ...
2529 HARMON HTS
LAS VEGAS, NV 91...
(702) 555-019...
Catherine: And what time did Doodles leave?
Al Maguire: The kids were really upset after the fight, so I took them out for ice cream.
Merrill Maguire: Doodles stuck around to help me clean up, and then he asked me to call him a cab.
Catherine: Do you remember the name of the taxi company or the time of the call?
Merrill Maguire: Well, he'd been such a good sport that I offered to give him a ride home. I dropped him off at his place at around 8:30.
CUT TO:
[EXT. SIDEWALK -- DAY]
(JOEY SIZEMORE, the MIME, does his routine in the middle of the sidewalk. SARA and DET. CAVALIERE walk up to JOEY. He shows him his badge.)
Det. Cavaliere: Hey, excuse me.
(He shows JOEY the photo of DOODLES.)
Det. Cavaliere: Take a look.
(JOEY continues with the routine.)
Det. Cavaliere: Look, you do have the right to remain silent, but unless you want a trip to the station, I really wouldn't keep it up.
Joey Sizemore: You want to talk about Doodles, fine. Take a look at what that skeek did to me.
(He starts rubbing at the make-up on his face to show them his black eye.)
Sara: You got that at Maguires'?
(Quick flashback to: [MAGUIRE PARTY] DOODLES punches the MIME in the face as they fight. End of flashback. Resume to present.)
Joey Sizemore: Stick a mime and a clown in the same place, it's like a cobra and a mongoose.
Sara: You crashed Doodles' party, he kicked your ass, and now Doodles is d*ad.
Joey Sizemore: I didn't k*ll him.
Sara: You left a thr*at message on his answering machine. You declared w*r.
Joey Sizemore: Look, the creep was a parasite. When he wasn't bad-mouthing me, he was horning in on my gigs. Every time I line up a job, "ring-ring," Doodles calls the mom, gets her to hire him, too. That's money out of my pocket. So, yeah, I figured a little payback was in order.
Det. Cavaliere: Yeah, what did you do after you left the Maguires?
Joey Sizemore: I had a strip mall opening out of town.
Det. Cavaliere: You didn't stop by his house? You know, wait for him to come back?
Joey Sizemore: No. I got two hookers in Pahrump who can verify.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. MINDY'S RESIDENCE - DAY]
(BRASS and GRISSOM walk up the front.)
Grissom: We found prints belonging to three separate people in Ed Burnell's car: His, Jamal the thief, and Mindy.
Brass: He could have given her a lift.
Grissom: Except we found her print on a condom.
Brass: Well, she said she loved Ed.
Grissom: Yeah? How much, I wonder.
(BRASS knocks on the door. RILEY RENALDO opens the door. In the back leaning on a door jam, a drug addict inhales from his pipe. He looks up, sees BRASS at the door, then slips into the backroom.)
Brass: We're looking for information on Mindy Dupont. This was her last known address.
(BRASS shows RILEY his badge.)
Riley Renaldo: Yeah, she's here.
Brass: Mind if we talk with her?
(Inside the room, GRISSOM notes the various drug paraphernalia and broken vials on the floor.)
Riley Renaldo: You got a search warrant?
Brass: You don't need a warrant just to talk. But if you want, we'll go get one and come back.
Riley Renaldo: Hey, it's a free country.
Brass: Yes, it is.
(BRASS and GRISSOM walk into the residence. They walk into the back room and find MINDY DUPONT stoned on the couch.)
[BACK ROOM]
Brass: Mindy Dupont. We heard you cleaned yourself up.
Mindy Dupont: I tried so hard. He said I would feel again. I never wanted to feel.
(BRASS glances at GRISSOM.)
Mindy Dupont: Ed saved my life.
Brass: How do you repay a favor like that?
Mindy Dupont: I tried.
(Quick flashback to: [ED'S CAR] MINDY slips into the car.)
Ed Burnell: We're going to clean you up.
Mindy Dupont: What if I don't want to be clean?
(She takes out a condom and moves toward ED.)
Ed Burnell: No. I'm going to help you.
(End of flashback. Resume to present.)
Mindy Dupont: He was an angel. He gave me that stuff.
Grissom: And you didn't want to get high anymore.
(She whimpers.)
(GRISSOM sees the Kn*fe with blood on it.)
Grissom: Did you come here to remember or to forget?
(MINDY starts to cry.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(SARA and CATHERINE walk through the hallway.)
Sara: Well, the mime's alibi checks out. He took polaroids, with the hookers. Strip mall opened at 7:30. He didn't leave Pahrump till the next morning.
Catherine: Uh-huh. So that leaves us with what?
(They walk into the locker room.)
[LOCKER ROOM - DAY - CONTINUOUS]
Sara: Nothing.
Catherine: Hmm.
(CATHERINE opens her locker.)
Catherine: What about timeline? Mrs. Maguire gives Doodles a lift, getting him home around 8:30.
Sara: As far as we know, he didn't have another job that night.
Catherine: Doodles goes home, having performing all day for kids, wrestling with mimes. His costume would've been a little skanky, yet he doesn't change out of it?
Sara: Maybe he never got inside.
Catherine: And he walks around town in his clown suit until he gets k*lled?
Sara: Okay, what are the knowns? Um ... Doodles was suffocated. We found yellow fibers up his nose.
Catherine: Greg analyzed the semen stains on his boxer shorts and found an unknown vaginal contribution in the sample.
Sara: Mrs. Maguire was the last person to see him alive.
(CATHERINE shuts her locker door and smiles.)
CUT TO:
[INT POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and GRISSOM interview MINDY DUPONT.)
Brass: The night Ed Burnell was k*lled you never checked into the halfway house.
Grissom: Mindy, we found a Kn*fe in your basket of clothes with Ed Burnell's blood on it.
Brass: Help us connect the dots.
Mindy Dupont: We all have this secret, terrible cave in our hearts, and the more we try to escape it, the deeper we drive ourselves inside of it.
Brass: This isn't the halfway house, Mindy. You're looking at a m*rder rap, so let's talk specifics.
Grissom: There were fifty-seven micrograms per milliliter of monoacetylmorphine in your urine sample. That means you were using for a while.
Mindy Dupont: Ed gave me ibogaine.
Brass: That was months ago. Where were you the night Ed was k*lled?
Mindy Dupont: It was like Adam and Eve taking you to the movies except the movie was your life and you were watching it and in it at the same time.
Grissom: (sighs) Why would you have a Kn*fe with his blood on it?
(GRISSOM puts the photo of the Kn*fe on the table. MINDY doesn't say anything.)
Grissom: I think Ed Burnell knew you were using again and he was out there that night looking for you.
Mindy Dupont: The spirits ... they protect you.
Brass: Well, you better hope so, because you're under arrest for the m*rder of Ed Burnell.
(Camera holds on MINDY DUPONT.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(GRISSOM catches up with SARA in the hallway. He pulls her away from talking with someone.)
Grissom: Sara. Excuse me. Could you, uh, help me out?
Sara: Yeah, with what?
Grissom: A woman. I need you to process a female suspect for me.
Sara: Sure.
CUT TO:
[INT. POLICE DEPARTMENT - ROOM -- DAY]
(SARA takes samples from under MINDY DUPONT'S finger nails.)
Sara: Palms down.
(SARA looks at MINDY.)
(Cut to: SARA snaps photos of the bruises and markings on MINDY
Sara: Would you hold your arms out, please?
(She snaps more photos, then finishes.)
(Dissolve to: SARA combs out MINDY'S hair allowing the particles to fall to the paper below. Camera zooms in for a close up of the things falling to the paper.)
(SARA kneels down and picks up a skin sample.)
Sara: (quietly) Thanks. You can get dressed now.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(SARA finds GRISSOM in the hallway. She reports her findings to him.)
Sara: Samples from your suspect. There's nothing but a few track marks. No defensive wounds, no bruising. Junkies usually bruise if you breathe on them too hard. She is a pile of twigs, very frail.
(GRISSOM looks at SARA.)
Sara: What?
Grissom: I haven't seen you for a while, have I?
Sara: You see me every day.
(Finished, SARA leaves. GRISSOM stands there a moment, then takes the samples and leaves.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. MAGUIRE RESIDENCE - FRONT PORCH -- DAY]
(DET. CAVALIERE escorts the MAGUIRES and their two children out of the house.)
Det. Cavaliere: It's all yours.
Sara: Thanks.
Det. Cavaliere: Yeah.
(They head into the house.)
Catherine: So, we're looking for clown sex ...
Sara: ... and clown m*rder.
CUT TO:
[EXT. MAGUIRE RESIDENCE - FRONT PORCH -- DAY]
(CATHERINE and SARA use the ALS on the bedsheets looking for body fluid. They lift up the cover and continue to look for body fluids.)
(SARA notes the pillowcases.)
Sara: This fabric is consistent with the fibers we found in Doodles' nose.
Catherine: You notice how everything matches except this one pillow sham?
Sara: Yeah.
(Quick flashback to: [BEDROOM] SOMEONE grabs a pillow and holds it over DOODLES' face. End of flashback. Resume to present.)
Catherine: The white-faced clown with a pillow covering his face. There must've been some transfer.
Sara: If a pillowcase like that had grease paint on it, would you throw it out?
Catherine: I'd clean it first.
(Cut to: [LAUNDRY ROOM - DAY] SARA goes through the laundry.)
INTERCUT WITH:
([BED ROOM - DAY] CATHERINE looks at the framed photos on the dresser. She puts the photos down and opens the dresser drawer.)
(SARA digs through the laundry basket and finds the sham with the yellow fibers. She takes out the ALS and finds the evidence of body fluid on the covers.)
(SARA smiles.)
(CATHERINE opens the drawer and finds DOODLES' clown costume inside.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM A]
(CATHERINE interviews MERRILL MAGUIRE.)
Catherine: You lied about driving the clown home. He was in your bedroom.
(She puts the test results on the table in front of her.) DNA on his boxer shorts indicates that you had sex with him. We checked with the Buddy Ween Agency, and, uh, you hire clowns on a fairly regular basis: Four, five, six times a year. That's a lot of clowns.
Merrill Maguire: I already told you. I like clowns.
Catherine: I think you like them more than most people.
(Quick flashback to: [BEDROOM] DOODLES falls down backward on the bed. MERRILL MAGUIRE crawls on top of him and they start kissing.)
(End of flashback. Resume to next interview room.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM B]
(SARA and DET. CAVALIERE interview AL MAGUIRE.)
Sara: Mr. Maguire, I hate to tell you this, but while you were off driving the other kiddies home, your wife was doing the clown.
Det. Cavaliere: We figured you must've walked in on them ... in flagrante.
(Quick flashback to: [BEDROOM] AL MAGUIRE walks in on his wife with DOODLES. He rushes up to them and breaks it up.)
Al Maguire: My wife!
(He grabs the pillow and smothers DOODLES.)
(End of flashback. Resume to CATHERINE'S interview.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM A]
Catherine: You stripped the body and dumped it in an area frequented by transvestites, hoping that it would just... go away. Another forgotten sex crime. You covered your tracks. You cleaned the house. You washed that pillowcase. What I don't understand, though ... why did you keep the clown suit?
(CATHERINE puts the photos of the clown suit on the table.)
(Quick flashback to: [BEDROOM] MERRILL holds up the clown jacket and looks at AL. She smiles at him.)
(End of flashback. Resume to SARA'S interview.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM B]
Al Maguire: You don't understand. Merrill and I have been married nine years. We have two kids.
Sara: Not much left to get excited about?
Al Maguire: I love my wife.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM A]
Merrill Maguire: When Al wore the suit ... it worked ... and it was good. If you found something that got you off ... wouldn't you keep it?
(CATHERINE smiles.)
CUT TO:
[INT. CSI -- LAB]
(WARRICK picks up MINDY'S panties off the table.)
Warrick: Man, there is something so heartbreaking about a woman with raggedy drawers.
Nick: Mm-hmm.
(NICK tests the clothes for GSR.)
(GRISSOM walks
Warrick: Grissom, we've gone through all of Mindy's stuff twice. There's no trace of blood.
Nick: Doesn't make any sense. If she disposes of her clothes, she's not just going to forget about the Kn*fe.
(GREG walks into the lab.)
Greg: Hey, guys, got a male DNA skin sample collected from Mindy's hair.
Warrick: Burnell?
Greg: Yes and no. The blood is Burnell's, but the skin belongs to another guy.
Grissom: Do we know who?
Greg: The gods of CODIS have blessed us with a h*t: Riley "Boom-Boom" Renaldo, proud owner of two as*ault and battery charges and a possession with intent to distribute.
(GREG reads off the rap sheet.)
Greg: Current occupation: Apartment manager.
Grissom: What do you bet Boom Boom's estate is on the corner of Washington and D Street?
Nick: Renaldo was Mindy's landlord?
Warrick: That'd make her a bag-bride ... a strawberry. Paid her rent horizontally. As long as a dealer keeps a strawberry high, the strawberry does whatever the dealer wants.
(Quick flashback to: MINDY is face down on the bed, her eyes staring out blankly at nothing in front of her. RILEY REYNOLDO is behind her. He digs his fingers into her hair pulling her head up. Camera close up of the skin sample in her hair.)
(End of flashback. Resume to GRISSOM.)
CUT TO:
[INT. CRACKHOUSE -- NIGHT]
(BRASS, GRISSOM and WARRICK walk up to the CRACKHOUSE. BRASS pounds on the door.)
Brass: Las Vegas Police. Open up.
(The door opens. RILEY RENALDO puts his shirt on. Behind him, another woman walks out of the bedroom.
Crackhead Girl: Riley ... you said I could have a taste when we were done. Riley!
Riley Renaldo: Shut up, sunshine.
Brass: Nice. We keep Mindy for a couple of hours, and you've already moved on.
Grissom: What's the matter? Lose faith in Mindy? She always comes back to you.
Brass: Guess Burnell was bad for business, huh?
(Quick flashback to: [ED BURNELL'S CAR] The door opens and MINDY DUPON slips inside. He drives off as RILEY RENALDO watches them. End of flashback. Resume to present.)
Warrick: Yeah, old Ed gets enough people in the 'hood clean, you get no love.
Crackhead Girl: Riley ... I need it.
Riley Renaldo: I said shut up.
Grissom: Mindy didn't need it anymore, right? That's why you helped her remember.
(Quick flashback to: [CLOSE UP of a packet of drugs] RILEY holds the packet out in front of MINDY.)
Mindy Dupont: I don't need that anymore.
Riley Renaldo: What do you mean, you don't need it?
Mindy Dupont: Just one more, and that's it.
(End of flashback. Resume to present.)
Brass: Burnell wasn't hard to find, was he?
(Quick flashback to: [CRACKHOUSE] The door opens and a DRUG ADDICT reports to RILEY.
Drug Addict: Yo, man ... that jackass who be messin' with Mindy is back ...
(Cut to: [NIGHT] RILEY turns and walks toward ED BURNELL who is looking for MINDY.)
(Cut to: RILEY removes the bloody Kn*fe from ED BURNELL'S d*ad body. He walks away leaving him there.)
(End of flashback. Resume to present.)
Riley Renaldo: (smiling) You've got nothing on me.
Grissom: Yeah, we do: Burnell's blood on your skin.
(BRASS steps forward and leads RILEY RENALDO out of the house.
Brass: So, come on, let's go, let's go. Come on, you have the right to remain silent. Anything you say ...
Riley Renaldo: Yeah, yeah, yeah.
(GRISSOM turns back and sees the CRACKHEAD GIRL slowly slide down the wall to sit on the floor.)
Warrick: It's her choice, right?
Grissom: (nods) Unfortunately.
Warrick: What do you want to do, take her to lock up?
Grissom: Lateral move. She's already there.
(They both turn and walk away.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - CIRCUS CIRCUS - NIGHT]
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
(The officer leads RILEY RENALDO down the hallway to be processed. MINDY DUPONT watches. GRISSOM walks up to her.)
Mindy Dupont: One guy's d*ad. One guy's going to jail.
Grissom: Well, you're free to go.
Mindy Dupont: Go where?
(MINDY turns and slowly walks out. GRISSOM watches her leave.)
CUT TO:
[EXT. CSI - PARKING LOT -- NIGHT]
(CATHERINE walks out of the building. She stops and sees the car parked on the curb waiting for her.)
Catherine: You got my message.
Chris Bezich: Yeah. You sounded hungry. I was thinking ... dinner at the Bellagio.
Catherine: (smiling) All right.
(CATHERINE gets into the car.)
Chris Bezich: What are you in the mood for?
Catherine: Room service.
(CHRIS smiles.)
(Camera holds on the car's tail lights as it drives away.)
BLUR OUT TO FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x16 - Getting Off"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS DESERT (STOCK) - DAY]
[EXT. HIGHWAY (STOCK) - DAY]
[EXT. ROADWAY (STOCK) - DAY]
[EXT. ROADWAY - DAY]
(A bus travels along the roadway. A car with a young couple in it follows closely behind. The car horn beeps impatiently. The bus continues to travel at its current speed which is apparently way too slow for the car behind it.)
(The driver of the car behind the bus continues to beep his car horn.)
Man (driver): (shouts) Come on!
(The man in the car behind the bus continues to beep his car horn in frustration.)
Woman (passenger): Honey, just pass him.
(He pulls the car a little toward the center line to see if there's room enough to pass.)
Man (driver): (shouts) Move it!
Woman (passenger): Calm down and just pass him.
(The man takes her advice and speeds up to overtake the bus but an oncoming SUV stops him. He pulls back into his lane behind the bus to avoid an accident.)
(The bus hits a bump in the road and a human appendage from under the bus flies out and hits the car in the windshield leaving a trail of goo on the glass.)
(The MAN and the WOMAN in the car scream.)
(He hits the brakes and pulls the car over to the side of the road.)
[EXT. ROADWAY - DAY - LATER]
(BRASS looks at the mess on the car's windshield.)
Catherine: (o.s.) Hey, Jim!
(BRASS turns around to see CATHERINE and NICK walk toward him.)
Catherine: We got a call. A possible 4-19. Is there a d*ad body or not?
Brass: That arm crash-landed on the windshield of the car. According to the driver, it sh*t out from under the bus. Generally speaking, where there's an arm, there's a body.
Nick: What say we check out the bus?
Brass: Good call.
(NICK heads over to the bus, passing the female inmates along the way.)
Brass: Now, the, uh, passengers were on their way to St. Matthew's Church in Pioche. They were from a work release program at Nevada Correctional Institution.
(CATHERINE looks at the wheels.)
Catherine: Okay, well, I got some blood on the wheel well.
(She kneels down to look under the bus.)
Catherine: Oh, yeah, that's a definite on the 4-19.
(Under the bus, they see torn bloodied sheets and what's left of the body hanging from the underside rails.)
Catherine: Um, well ... appears to be female. Caucasian.
Nick: Tied to the undercarriage ... maybe.
Brass: Hitch a ride under a bus. Well, that's one way to get out jail.
Nick: Yeah, and I bet this big boy spit out body parts all the way down the road.
Catherine: So ... the bus is traveling sixty-five miles per hour. What's the distance from the tip of her nose to the tip of her toes?
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. ROADSIDE -- NIGHT]
(CATHERINE climbs out from under the bus. NICK walks over to her.)
Catherine: Well, looks like she used strips from a white cotton sheet.
Nick: Yeah, use whatever's available when you're breaking out of prison, I guess.
(Quick flashback to: [EXT. HIGHWAY - DAY] Under the bus, the female inmate hangs on to the sheets. End of flashback. Resume to present.)
(CATHERINE looks at the cotton sheet.)
Catherine: Low thread count. Average tensile strength wasn't strong enough to support her weight.
(Quick flashback to: [UNDER THE BUS] The prison inmate hangs by the cotton sheets under the bus. As the tires spin, she falls to the road. End of flashback. Resume to present.)
Nick: The torque of the spinning axle ripped her apart like the rubber off a bad retread.
Catherine: Yep. If she'd used a nylon rope, she'd be on her way to Tijuana.
Nick: Right. I'll call auto detail, have the bus sent to the garage, yeah?
Catherine: Oh, hey, after that, grab Sara and go directly to jail. I'm going to supervise this body part collection.
FLASH TO:
(CATHERINE takes photos while DAVID PHILLIPS collects the body parts.)
(Various flash cuts of the various body parts being collected: The leg, a finger, what looks like an ear, another body part, and even more body parts.)
(Finished, CATHERINE looks around.)
Catherine: Okay, David, I think that's it.
(DAVID fills out the evidence bag info sheets.)
David Phillips: I'll get these parts to Dr. Robbins. He'll start putting her back together.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
(A siren wails in the distance.)
[INT. ADAMS' RESIDENCE - NIGHT]
(GRISSOM looks around and sees the bloodied mess on the floor leading up to the d*ad body. The Kn*fe, presumably the m*rder w*apon, is on the floor next to the body.)
(WARRICK snaps a photo of the body. From where he stands, GRISSOM looks around the apartment.)
(WARRICK snaps a photo of the Kn*fe.)
(GRISSOM spots more blood on the sofa.)
(WARRICK looks up from the camera and sighs.)
Warrick: Helter-skelter.
Grissom: Yeah ... except there's no blood spatter on the walls or the ceiling.
Warrick: We have the m*rder w*apon. He was s*ab in the chest.
(Quick flashback to: [CLOSE UP] of the Kn*fe in someone's hand. He s*ab the man in the chest. The man grunts. Blood falls to the floor. He falls down. End of flashback. Resume to present.)
(Quick flashes of the body.)
[INT. ADAMS' APARTMENT BUILDING - HALLWAY -- NIGHT]
(DET. VARTANN interviews the LANDLORD.)
Landlord: There's two of them in that apartment. The name's Adanto Adams. He don't live in that apartment. He's visiting from out of town. That's Zero's little brother.
Det. Vartann: 'Zero'?
Landlord: Zero Adams. He's the one who lives there.
[INT. ADAMS' APARTMENT - NIGHT -- CONTINUOUS]
(GRISSOM walks over to the sofa. He looks from the blood spot on the sofa cushion over to the body on the floor.)
Grissom: Well, unless he was bending over the sofa with his chest pushed against this cushion, this bloodstain is inconsistent with that wound.
Grissom: Paul, would you turn him over for us?
Paul: Okay.
(The CORONER standing nearby walks over and moves the body for GRISSOM. On the victim's back, they find more s*ab wounds. WARRICK and GRISSOM both kneel down to look at the wounds.)
Warrick: Oh, yeah. s*ab in the chest and the back.
(WARRICK snaps more photos of the wounds.)
[INT. ADAMS' APARTMENT BUILDING - HALLWAY -- NIGHT]
(The LANDLORD tries to look at the body inside the apartment. DET. VARTANN turns him back to answer the questions.)
Det. Vartann: So, uh, where is this Zero now?
Landlord: I don't know. I'm not his mother. I'm his landlord.
Det. Vartann: Well, if you see him, give me a call.
(DET. VARTANN gives the LANDLORD his card. The LANDLORD takes it.)
Landlord: Yeah, yeah, sure.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(DR. ROBBINS goes over the preliminary findings with CATHERINE.)
Catherine: When I do a jigsaw puzzle, I like to start with a corner piece.
Robbins: When the puzzle's a body, the corner piece is the pelvis. Oh, uh, Nick ID'd your vic. She missed her last bed check. Convict number sixty-nine twenty.
(ROBBINS hands CATHERINE the file with information and photo. She reads through it.)
Catherine: Antoinette Stella. Two-year sentence for identity theft. She was due for release next month. Guess she was in a hurry.
Robbins: No, she wasn't trying to escape. She was m*rder.
(ROBBINS picks up the arm off the table.)
Robbins: I dissected her arm.
(Camera zooms in for a close up of inside the arm.)
Robbins: The blood in the brachial artery is clotted, which is indicative of a post-mortem laceration.
Catherine: Have you determined the cause of death?
Robbins: Yep. Cranio-cerebral injury...
(He peels back the hair on the head to show the injury underneath.)
Robbins: ... due to blunt-force trauma. Depressed skull fracture imbedded with tiny white fibers. Given the depth and position of the, uh, fracture, I'd say she was h*t on the head with something hard on the inside and white and fuzzy on the outside.
Catherine: I'd like a clean look at that fracture.
Robbins: Sure. I'll start her bath.
Catherine: Anything else?
Robbins: Well, you might want to check out her left forearm.
(CATHERINE looks but doesn't see anything.)
Catherine: Birthmark?
Robbins: Rap sheet's referenced "dermatological anomalies." According to her, she didn't have any. I'll take a slice down to histology.
(ROBBINS grabs a Kn*fe off the table and prepares to cut off the skin.)
CUT TO:
[EXT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY (STOCK) - DAY]
[INT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY - CORRIDOR -- DAY]
(WARDEN HUTTON escorts SARA and NICK through the facility to the victim's cell.)
Warden Hutton: We locked down as soon as we got the call. We do bed checks six times a day. All inmates were accounted for at thirteen hours.
Nick: What time did the bus leave for church?
Warden Hutton: Thirteen-thirty.
Harris (inmate): Hey, sexy, how 'bout you come back here on your day off?
(NICK turns and sees HARRIS hanging out through the bars. She tapes the bottom of her chin with the back of her hand.)
Harris (inmate): No gag reflex.
Warden Hutton: Watch it, Harris. Got a drawer full of C-9s with your name on
'em.
(They continue through the hallway to the victim's cell. As they pass a cell, the inmate yells out to them.)
Inmate: What are you lookin' at?
(They stop in front of the victim's cell where CHRISTINE stands inside.)
Nick: What can you tell us about the vic?
Warden Hutton: Antoinette? She was popular with the other inmates. No enemies to speak of.
(The cell door opens.)
Warden Hutton: This was Antoinette's cell. Christine, you're going to step out. Officer.
(The OFFICER steps forward to escort CHRISTINE out of the cell. SARA and NICK walk into the cell.)
Warden Hutton: When's the last time you saw baby girl?
Christine: I'll need to check my calendar.
Warden Hutton: Don't get stupid on me, Christine.
Nick: Baby girl -- was that a street name?
Warden Hutton: Yes. That's what everyone called her. Christine?
Christine: I saw baby girl at lunch 'bout an hour before we got on the bus.
(The WARDEN steps into the cell and unlocks the lock on a locker.)
Christine: Hey, that's my locker. I didn't take none of Baby's stuff.
Warden Hutton: Didn't say you did.
Christine: Look ... I didn't hardly know baby girl. She only lived up in here eight days.
Sara: Eight days?
Warden Hutton: In this cell. Few weeks ago, I found her smuggling contraband.
Christine: It was just a silver necklace.
Warden Hutton: Inmates aren't allowed jewelry. It wasn't a major infraction, but I transferred her cell.
Sara: Makeup, deodorant, shampoo.
Warden Hutton: Inmates are allowed commissary visits once a month, unless they rack up two weeks in nights.
(SARA finds the shoes at the bottom of the locker and checks it.)
Sara: Do you keep track of purchases?
Warden Hutton: I can get you a list. And just for the record, in the state of Nevada, there's never been a homicide in a Female Correctional Facility.
Sara: Until now.
(NICK uses the ALS on CHRISTINE'S bed. She sees him and appears alarmed.)
Christine: What are you doing?
Nick: I'm ruling you out as a suspect, ma'am.
(He finishes, straightens and sighs.)
Nick: No evidence of blood.
Christine: I could've told you that.
Sara: Warden, could you show us where the bus was parked before it left the facility?
CUT TO:
[EXT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY - GARAGE - DAY]
(DOUG HANSON, the bus driver and prison guard at the facility, escorts SARA to the bus.)
Doug Hanson: The bus was stationed right here.
Sara: Are you the only driver?
Doug Hanson: Only bus driver. Got my CDLC last May.
MAN (over P.A. System) Attention, inmates ...
Sara: Officer, before you drove out of here, did you inspect the vehicle?
Doug Hanson: Miss ... Sidle, I don't get time to scratch my ass. I haven't had a junior officer in my department in two years. Now, usually, I work the road, and when the warden asks, I take inmates on field trips.
Sara: Did you know the d*ad woman, baby girl, Antoinette Stella?
Doug Hanson: Start seeing 'em as real people, start carin' when they go back to their pimp dealer scumbag boyfriend?
Sara: That's enlightened.
Doug Hanson: That's reality.
(NICK joins them.)
Nick: No sign of a struggle, no evidence of a body drag. If the att*ck didn't happen in her cell or in here, maybe it happened on the bus.
Sara: Who maintains your transpo fleet?
(Off to the side, JUANITA peers around the wire fence. She has a bucket in her hand.)
Doug Hanson: Fleet? We got three antique buses. Inmates do all the work.
Nick: You allow inmates to service your prison vehicles?
Doug Hanson: You bet. On Saturday, I even bring in my SUV. Juanita washes it.
(He nods over to her.)
Doug Hanson: Ain't that right, Juan'a? I've got to get something on top of my
$11.65 an hour. (NICK walks away.) Look, we're in the middle of the desert. We're a hundred miles from the pit of nowhere.
Sara: Is that gate always unlocked?
Doug Hanson: It's not like someone's going to hot-wire the bus and hightail it out of here.
Sara: Right, so essentially anyone in the prison population could have walked into the garage, onto the bus and no one would have said boo?
Doug Hanson: Boo.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - SUNSET]
[INT. CSI - PRINT LAB]
(GRISSOM processes the Kn*fe. He finds a coating of something on the Kn*fe. He scrapes off a sample of it.)
(He fumes the Kn*fe and finds a fingerprint.)
(He removes the Kn*fe from the container and dusts the print.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - SUNSET]
Frank Samuels: (V.O.) I got a call at work and was told to get over here right away and he's not here.
[INT. APARTMENT BUILDING - HALLWAY]
(DET. VARTANN is out in the hallway with FRANK SAMUELS when WARRICK approaches them.)
Warrick: Detective, I got your page.
(DET. VARTANN steps away from FRANK SAMUELS and heads for WARRICK.)
Det. Vartann: Hey, we were canvassing the area when Mr. Samuels showed up. He says he's the tenant's guardian. He's got questions.
Warrick: So do I.
(They both turn back to FRANK SAMUELS.)
Warrick: Mr. Samuels, I'm Warrick Brown. I'm from the crime lab.
Frank Samuels: What happened to Zero? There's crime tape on his door. These guys won't let me in.
Warrick: His brother was m*rder.
Frank Samuels: Adanto?
Warrick: Did you know him?
Frank Samuels: Yeah, I've known them both since they were kids.
(ZERO ADAMS steps into the hallway accompanied by an OFFICER. ZERO'S shirt is bloodied.)
Zero Adams: Frank ...
Frank Samuels: Zero.
Zero Adams: I'm so sorry. I'm sorry.
CUT TO:
[EXT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY - GARAGE - NIGHT]
(SARA and NICK examine the inside of the bus. They start from the front and work their way to the back.)
(At the back of the bus, NICK finds something.)
Nick: Absorption.
(SARA joins him.)
Sara: Blood?
Nick: Yeah, and it's more than just a paper cut.
Sara: I'll swab it for DNA.
(SARA opens her kit and takes a swab sample of the blood.)
(As she does that, NICK checks out the other side of the bus and finds something else.)
Nick: Florescence. Bluish-white.
(NICK swabs and tests the fluorescence.)
Nick: Acid phosphatase tests positive.
Sara: What is semen doing in the back of a female prison bus?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - WAITING ROOM -- NIGHT]
(ZERO ADAMS is being questioned by WARRICK and DET. VARTANN in FRANK SAMUELS' presence.)
Frank Samuels: It's okay, Zero. Just answer the questions.
Zero Adams: I said I was sorry 'cause I'm not supposed to be out by myself.
Warrick: So, why did you go out?
Zero Adams: Well, I came home from special school, I found Adanto in the kitchen.
(Quick flashback to: ZERO holds ADANTO and cries.)
Zero Adams: I love you.
(End of flashback. Resume to present.)
Warrick: When was the last time you talked to your brother?
Zero Adams: Just before school.
(Quick flashback to: [INT. ADAMS' APARTMENT - KITCHEN] ZERO and ADANTO sit across each other at the kitchen table.)
Adanto Adams: What I'm about to tell you, you can't tell anybody.
Zero Adams: No. No, I won't. Scout's honor.
Adanto Adams: We're going to be rich like we always talked about.
(ADANTOA drops a deck of cards on the table. He reaches out and touches ZERO affectionately.)
Adanto Adams: I love you, kid.
Zero Adams: I love you, too.
(End of flashback. Resume to present.)
Zero Adams: Said he was going to buy me a shiny new car and a driver to take me anywhere I wanted to go.
(ZERO leans in close to WARRICK. WARRICK leans in close as if receiving a secret.)
Zero Adams: (confidentially) He said we were going to be rich.
CUT TO:
[EXT. DESERT (STOCK) - EVENING]
(Thunder rumbles in the distance.)
[INT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY - WARDEN HUTTON'S OFFICE --
EVENING]
(CATHERINE questions JUANITA ROYA in WARDEN HUTTON'S office.)
Warden Hutton: Juanita's in charge of bus detail. I'm sure she'll be happy to answer your questions.
Catherine: Juanita? Do you recall the last time that you washed out the interior of the bus?
Juanita Roya: Yesterday, a few hours before we left for work release. (JUANITA turns to look at the WARDEN.) If something's missing, it wasn't me. You can check my locker.
Catherine: Did you notice anything unusual in the back of the bus?
Juanita Roya: Like what?
Catherine: Blood or ... semen?
Juanita Roya: Didn't see any blood.
Catherine: What about semen?
Juanita Roya: Don't they still do it in the backseat in the free world?
Catherine: Yeah. But I doubt if conjugal visits are permitted in a prison bus.
Juanita Roya: Conjugal visits aren't permitted anywhere. The ACLU was going to bring a case that's ...
(JUANITA looks at the WARDEN, then abruptly stops talking. CATHERINE turns to look at the WARDEN.)
Juanita Roya: The only men permitted in this correctional facility are the correctional officers.
Warden Hutton: It's a class "d" felony for a co to have sexual contact with an inmate.
Catherine: Lots of things are felonies, but people still do them. Otherwise, you and I'd be out of a job.
CUT TO:
[INT. CSI - TRACE LAB -- NIGHT]
(OPEN on the evidence bag label:
Article: CLOTH FIBERS
Data Found, Located or Developed: 3/11/04
Where This Article Was Found: SKULL
Investigation Officer: C. WILLOWS
002-12654-4655-01
David Hodges: The white fibers from the head wound were straight out of any Wal-market.
(HODGES hands the sample bag to NICK as he reports to him and SARA.)
David Hodges: Seventy-eight percent cotton, fourteen percent polyester and seven percent nylon elastic.
Nick: Sounds like we're looking for a lethal pair of white underpants.
David Hodges: Yeah, or a bra, pair of socks. The skin discoloration, that was a real challenge. You know, uh, on her forearm. Looked like a birthmark. Yeah, that skin sample was supposed to be sent to histology. Yeah, well, they kicked it back to me. Uh, the coloration was an adulterant. Aluminum chelate of carminic acid.
Nick: Aluminum ch ... ? I've never heard of this before.
Sara: It's a cochineal.
Nick: A what?
Sara: A cochineal. They're scaled insects. Carminic acid is found in their intestines.
(Quick flash of the bug eating a leaf.)
Sara: (V.O.) It's bitter, so it discourages predators.
(End of flash. Resume to SARA.)
Sara: As a dye, it's been prized for centuries.
David Hodges: Since when did you become an insects expert?
Sara: Entomology textbook. Grissom gave it to me last Christmas.
David Hodges: Oh.
Sara: When I can't sleep, I read.
(HODGES turns to look at NICK.)
Nick: Funny, I didn't get a Christmas gift from Grissom. Did you?
David Hodges: No. Uh, so, assuming that she was tattooed in prison, how'd she get a hold of the bugs?
Sara: Well, um, cochineals feed on cactus plants. They probably grow wild in the prison area.
(Quick flash of: [EXT. DESERT] ANTOINETTE STELLA collects the bugs and smashes them up.)
Sara: (V.O.) Baby girl could've smashed up a few bugs, used the carminic acid to tattoo herself.
(She uses the acid like ink to tattoo her arm.)
(End of flashback. Resume to present.)
Sara: Do you have a photo of the tattoo?
David Hodges: Yeah.
(HODGES shows SARA the tattoo. She and NICK look at the photo.)
Nick: Looks like a half moon. g*ng moniker, maybe.
Sara: Every woman knows what that is. It's a heart. Well, half a heart.
(NICK turns the photo on its side where it's recognizable to him.)
Nick: Oh. Yeah. Where's the other half?
(NICK looks at SARA.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - DAY]
(WARRICK and DET. VARTANN interview FRANK SAMUELS.)
Warrick: Mr. Samuels, we found your prints on the Kn*fe used to k*ll Adanto Adams.
Frank Samuels: Now, wait a minute. I didn't s*ab Adanto.
(Quick flashback to: [INT. ADAMS' RESIDENCE] FRANK SAMUELS walks into the apartment and sees ADANTO on the floor. He starts yelling for ZERO.)
Frank Samuels: Oh, my god. Zero?! FRANK SAMUELS: Zero?!
(He reaches down and pulls the Kn*fe out from the body.)
(End of flashback. Resume to present.)
Warrick: But you didn't call 9-1-1. Or the police. You just took off?
Det. Vartann: That's a felony.
Frank Samuels: Look, I was concerned about Zero. He's a nine-year-old kid in a man's body. I didn't know if he did it. Zero's like a son to me. I've been his guardian since he was fourteen. Everybody used to make fun of him. Called him "Zero." I told him only special people get nicknames.
Warrick: Where's his parents now?
Frank Samuels: They passed away. He left a small inheritance for his boys and ... Zero doesn't spend much.
Det. Vartann: Okay, I'll ask again. You found the body and then you went to work?
Frank Samuels: I just needed some time to think.
Warrick: Well, you'll get plenty of that now.
Det. Vartann: Twenty-four hours in a holding cell. Come on. Let's go.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS goes over the body with GRISSOM.)
Robbins: It's very peculiar. Take a look at his chest wound. No right or left angulation. No up or down. Straight in, straight out.
(He makes the motions with his hands.)
Grissom: Well, the crime scene suggests he was moving around his apartment while being s*ab so, "straight in, straight out" doesn't seem likely.
Robbins: Well, one time is an anomaly. Five times?
(ROBBINS lifts up the body to show the back wounds to GRISSOM.)
Robbins: All four back wounds are clustered and parallel.
(He puts the body back down on the table.)
Robbins: And the chest wound is at the same distance from the crown of his head as the other four.
Grissom: What about defensive wounds?
Robbins: There are none.
Grissom: Okay, so, he's running around his apartment trying to get away from his attacker and he incurs no nicks or cuts?
Robbins: Nope.
Grissom: What else?
Robbins: Well, I found this in his stomach.
(ROBBINS picks up the clump from the metal container and shows it to GRISSOM.)
Robbins: Looks like a paper wad of some sort.
Grissom: Maybe a treasure map.
CUT TO:
[INT. CSI - QUESTIONED DOCUMENTS LAB]
(RONNIE LITRE works on opening up the clump taken from ADANTO ADAMS' stomach.)
Ronnie Litre: Good thing this guy's not concerned with his cholesterol. He ate fatty foods. Paper's pretty well preserved. Uh, most of the ink is washed off.
(He gets the paper opened and sees something.)
Ronnie Litre: Whoa, whoa, whoa, whoa. There's something there in the corner.
(The camera servo clicks in rapid succession.)
Ronnie Litre: Help me put it in there, Warrick.
(Together, they put the piece of paper between two sheets of plastic. WARRICK puts it under the scope.)
Warrick: (reading) Uh ... "P-A... L..." Oh, the Palms. I know what this is. It's a receipt for a marker.
(WARRICK looks down to get the amount.)
Warrick: For ten grand.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - SUNSET]
[INT. PALMS CASINO/HOTEL]
(WARRICK shows the MANAGER the photo of ADANTO ADAMS. The MANAGER recognizes him immediately.)
Manager: Oh, yeah, that's him. Adanto Adams. Said he wanted to play BJ in the no-limit area. So I had the cage check his credit. (He signs a clip board and hands it back to the man.) Qualified for ten grand.
Worker: Thank you.
Manager: And I wrote him up.
Warrick: Did he have some kind of a system?
Manager: They all got systems. This one was a small-time double-up type thing. Bet 100, lose; bet 200 lose. Bet four, lose. Double-up-till-you-win type thing.
(Quick flashback to: [INT. PALMS CASINO - BLACKJACK TABLE] ADANTO plays the cards and gets frustrated at losing. He looks at the dealer.)
Adanto Adams: Now, don't you get anything other than a 20? Hmm?
(He bangs the table in frustration.)
(End of flashback. Resume to present.)
Manager: The one thing about systems in this town -- if you got one, we want you here.
Warrick: Can I get a copy of that footage?
Manager: Listen, you look familiar. I seen you before? You been in here?
Warrick: Maybe just on a case. How about that footage?
CUT TO:
[INT. CSI - HALLWAY]
(SARA enters the hallway and rushes to catch up with CATHERINE.)
Sara: Hey, got your page. What's up?
Catherine: Oh, the Warden faxed over Baby Girl's commissary purchases. She bought one twenty-count box of tampons every month like clockwork, but check out the last few months.
(CATHERINE shows the list to SARA.)
Sara: What are you thinking? She might not have needed any for, oh, nine months?
Catherine: I think Baby Girl was having a baby.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS is cooking the skull in a large pot. He lifts the skull up from the pot just as CATHERINE walks into the room.)
Robbins: Skull's not ready yet. Enzymes are still eating away at the proteins.
Catherine: Did you, by any chance, do a pregnancy test on Baby Girl?
Robbins: I thought she'd been incarcerated for the last 23 months.
Catherine: (nods) She had been.
CUT TO:
(ROBBINS pulls out the table from the morgue cabinet. He pulls the sheet away from the body. He plunges a syringe into the necessary area to get the liquid sample. CATHERINE watches.)
Robbins: Urine ... you're out.
(He fills the syringe with urine.)
Robbins: Okay ...
(He expels the urine into a petrie dish and reaches for a Home Pregnancy Test Kit.)
Catherine: Home Pregnancy Test, huh?
Robbins: About ten times cheaper than the brand sold by our medical supply company, and just as accurate.
(He sticks the stick into the urine and waits.)
Catherine: Eye on the bottom line. I find that very ...
Robbins: (prompts) ... sexy?
Catherine: "Prudent". But that was a good try.
(He removes the stick and shows the results to CATHERINE.)
Robbins: Yeah, plus sign. You know what that means.
Catherine: Who's your daddy?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - A/V LAB]
(ARCHIE is in the AV Lab reviewing casino video when WARRICK walks in.)
Warrick: Archie?
Archie: Hey. Got your surveillance tape of Zero's brother.
Warrick: Roll it. Now, according to the pit boss, the kid was playing a double-up system. What I want to know is, how many hands did he back himself up?
Archie: Let's find out.
(ARCHIE fast forwards the video.)
Archie: First hand, hundred. Loser.
Archie: Second hand, two hundred. Lose.
Archie: Third hand, four hundred. Lose.
(WARRICK shakes his head.)
Archie: Fourth hand, Eight hundred. So he's doubling every bet.
Warrick: Yeah, that's the classic double-up system.
(They watch for a moment.)
Warrick: Go back out wide.
(ARCHIE changes the view.)
Archie: Looks like he's all in.
Warrick: Tenth bet, $51,200. Adanto has 20. He sticks. She has two up. Another two, and thats four. Two, three, two. That's eleven. Ace, ace, ace, ace. Fifteen. Six.
Archie: Ten-card twenty-one. What are the odds of that?
Warrick: The record's an eleven-card twenty-one. That was back in '78.
(On video, ADANTO leaves the table.)
Archie: So he loses $102,300 in ten hands. What's the $10,000 marker for?
Warrick: Try to chase back the 102.
(They watch him play.)
Warrick: He lost it all.
(On video, they watch ADANTO fold up the marker and put it in his mouth.)
Warrick: He swallowed his loss.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - WAITING ROOM -- NIGHT]
Woman: (over intercom) All COs sign in with the desk sergeant. All COs sign in with the desk sergeant.
(WARDEN HUTTON walks over to CATHERINE.)
Warden Hutton: Miss Willows. My COs are level 3 peace officers. I will not subject them to a DNA lineup that is nothing more than a wild goose chase.
Catherine: We have probable cause to believe that a Correctional Officer was involved with Baby Girl.
Warden Hutton: Involved in getting her pregnant, maybe, but that's a far cry from homicide.
Catherine: Nevertheless, as you pointed out, sex with an inmate is a crime. Which is the basis for my warrant.
(CATHERINE holds out the warrant for the WARDEN. The WARDEN takes it and CATHERINE walks away.)
(She opens the door to the waiting room and walks inside.)
Catherine: Okay, everybody, can I have your attention, please?
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(DET. VARTANN finds WARRICK.)
Det. Vartann: Hey, I did some digging. Withdrawal slip from Zero Adams' custodial account the day of the m*rder.
Warrick: How much?
Det. Vartann: $102,000 even.
Warrick: Who are the signatories?
DET. VARTANN Zero Zdams and Frank Samuels.
(DET. VARTANN shows WARRICK the slip.)
CUT TO:
[INT. OFFICE -- DAY]
(DET. VARTANN and WARRICK take their findings to FRANK SAMUELS.)
Frank Samuels: Uh, this is not my signature. This is Zero's account. I'm the custodian, but, um, I didn't sign this. Adanto. That son of a ...
Warrick: What? You knew about this?
Frank Samuels: Indirectly. We had it out.
(Quick flashback to: [APARTMENT] FRANK is pacing the floors upset at ADANTO who sits there with his head in his hands.)
Frank Samuels: Tell you something, you degenerate. All I've heard from you is how much money you blow day-trading, and now you want to touch your brother's life savings? You can forget about it.
Adanto Adams: Don't you see? If I play perfect blackjack, there is no way we can lose ...
(Around the corner out of sight, ZERO has his hands over his ears as he listens to them arguing.)
Frank Samuels: There is no perfect blackjack.
(The men continue to argue.)
(End of flashback. Resume to present.)
(WARRICK puts a piece of paper in front of FRANK.)
Warrick: I'm going to need, uh, a sample of ... of your handwriting. Also need a sample from Zero.
(FRANK takes the paper.)
Frank Samuels: Just copy this?
Warrick: Yes.
(He writes.)
(Fade to: ZERO ADAMS gives a sample of his writing.)
(Fade to: The sheet.)
CUT TO:
[INT. CSI - QUESTIONED DOCUMENTS]
(RONNIE LITRE goes over his findings of the writing samples with WARRICK.)
Ronnie Litre: London letters is one of my favorite standard writing tests. Uh, the paragraph has every capital letter in the alphabet, as well as numbers one through nine.
Warrick: Just tell me who's lying.
Ronnie Litre: Uh, okay. Uh, Zero's not. Uh, his signature is authentic. Proof is in the "Z."
(RONNIE puts an enlarged sheet of paper on the table.)
Ronnie Litre: Okay, uh, look at the "F" in "Frank Samuels" from the withdrawal slip, and then look at the "F" from the London Letters.
(He puts another sheet down on the table.)
Ronnie Litre: Different. As well as the "S" in "Samuels," and the "S" in
"Switzerland." Again, way off. I hate to tell you, Warrick, but I think your guardian might be telling you the truth. And from what I can see, Zero didn't forge it.
Warrick: Well, then who did? Adanto?
Ronnie Litre: (shrugs) Without a sample, I can't tell you.
CUT TO:
[INT. CSI - HALLWAY]
(CATHERINE walks through the hallway when a smiling GREG finds her.)
Catherine: Start talking.
Greg: The blood Nick and Sara found in the back of the bus-- consistent with the victim.
Catherine: Not a surprise.
Greg: Semen found in the back of the bus matches your bus driver's DNA.
Catherine: Also, not a surprise.
Greg: Try this one. Bus driver's DNA has 13 alleles in common with the victim's unborn fetus.
(GREG walks away leaving CATHERINE with her mouth open in surprise.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(CATHERINE interviews the bus driver DOUG HANSON in the presence of his attorney.)
Doug Hanson: I don't believe you.
Catherine: She was pregnant. Twelve weeks. And you're the father. Your attorney has reviewed your case file.
(DOUG HANSON turns to his LAWYER.)
Lawyer: It's in there.
[OBSERVATION ROOM]
(NICK and SARA watch the interview.)
Nick: When he said he expected something on top of his $11.65 an hour, I thought he was talking about free car washes.
Sara: There's no evidence of anti- or paramortem r*pe. He'll claim it was consensual.
Nick: It's still r*pe. Under cover of authority.
[INTERVIEW ROOM]
Doug Hanson: She swore she couldn't have kids. Too many turns at the coat hanger ... (CATHERINE shakes her head.) ... her words.
Catherine: Yeah. I imagine that you were pissed off when she broke the news. It kind of changes the power dynamics.
Nick: And she blabs to the warden. He's demoted from officer to inmate.
Sara: That is m*rder.
Doug Hanson: I swear, I had no idea.
Lawyer: Doug, let me handle this. If the DA had sufficient evidence to file m*rder charges, he would have.
Catherine: Well, your client's already been charged with a felony. DA has all the time in the world.
Doug Hanson: Look, I can't fight the evidence.
Lawyer: Doug, Doug, would you be quiet?
Doug Hanson: (to his lawyer) Look, I got her pregnant. I admit it. I'll do the time, okay? (to CATHERINE) But you can't prove that I k*lled her because I didn't.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - HALLWAY]
(WARRICK finds HODGES.)
Warrick: How's the Kn*fe handle coming?
David Hodges: Handled. The substance Grissom scraped off was interior latex house paint with titanium dioxide.
Warrick: That would be glossy, right?
David Hodges: Mm-hmm.
Warrick: What's house paint doing on a Kn*fe handle?
CUT TO:
[INT. CSI - LAB]
(WARRICK talks with GRISSOM.)
Grissom: In 1984, William Bergstrom asked old man Binion if he could come into his casino and bet a million dollars on one roll of craps. That November, he put a briefcase full of $1 million on the "don't pass" line, rolled a seven on the come-up.
Warrick: Loser.
Grissom: Soon after that, he k*lled himself.
Warrick: So, what are you getting at?
Grissom: If the wounds couldn't have been made by a handheld Kn*fe, maybe the Kn*fe wasn't handheld.
Warrick: How else are you going to s*ab a guy?
Grissom: Well, put the evidence aside for a second. What was Adanto's state of mind? You've had a few bad runs.
Warrick: Guy comes into town, convinces his brother to invest in some two-bit double-up system, ends up losing his life savings in a ten-card twenty-one. In a word: Desperate.
Grissom: So put that into context with your evidence.
(WARRICK looks at the Kn*fe.)
CUT TO:
[INT. CSI - DNA LAB]
(CATHERINE walks into the lab.)
Catherine: Greg.
Greg: Do you think skin cells can survive fifty miles of rough desert road?
Catherine: That's what I asked you.
Greg: I analyzed every strip of fabric from the bus' chassis. Zilch. But I'm a guy who likes to tie up loose ends, so I asked Doc Robbins to send over the scraps that were tied to the body parts. That's where I found them. Fresh, abraded epithelials.
(Quick flashback to: Someone ties the wrists to the bus. End of flashback. Resume to present.)
Catherine: So, if the epithelial DNA matches the bus driver, this case is closed.
Greg: One problem. Double "X" marks the spot.
Catherine: It's female DNA? Well, I guess we're looking at an inmate.
Greg: Or female staff.
(ROBBINS walks into the lab.)
Robbins: Excuse me. Am I interrupting?
Catherine: Oh, not if the vic's skull is in that bag.
(ROBBINS pulls out the plastic bag with the skull in it and looks at it.)
Robbins: Alas, poor Yorick. (looks at GREG) I knew him, Horatio.
(He shows the skull to CATHERINE.)
Robbins: The occipital bone retained the shape of the m*rder w*apon.
CUT TO:
[INT. ADAMS' RESIDENCE]
(WARRICK looks around the apartment.)
(Quick flashback of: [KITCHEN] ADANTO sits alone in the kitchen looking at the Kn*fe in his hands. End of flashback. Resume to present.)
(WARRICK sighs.)
Warrick: Desperation.
(He lifts up his flashlight and looks at the blood on the sofa cushion.)
(Quick flashback to: ADANTO sits on the sofa. End of flashback.)
(WARRICK steps forward and looks at the blood on the floor.)
(Quick flashback to: ADANTO lying on the floor, the Kn*fe in his chest. End of flashback.)
(WARRICK continues to look around. He sees the damaged wood bits on the floor. He kneels down to look at it. Then, he looks up and sees the damage in the wall.)
(Quick flashback to: ADANTO wedges the Kn*fe in the wall.)
Adanto Adams: (voice overs) No way we can lose.
(ADANTO turns around, his back to the Kn*fe.)
Adanto Adams: (V.O.) This is Vegas. ADANTO ADAMS: (V.O.) Anything can happen.
(He slams his back into the Kn*fe. Over and over again.)
(He staggers over to the sofa and rests on it for a moment. It's not enough. He looks at the Kn*fe again.)
Adanto Adams: (V.O.) I found a way to make us some money.
(He grits his teeth, gets up and heads back to the Kn*fe.)
Adanto Adams: We're going to be rich like we always talked about. I love you, kid.
Zero Adams: I love you, too.
(He slams his chest into the Kn*fe.)
(End of flashback.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
Zero Adams: He k*lled himself?
Warrick: I'm afraid so.
Zero Adams: No. Why would he do that?
Det. Vartann: Your brother took out an insurance policy with an accidental death clause. It means that if he was m*rder, the beneficiary would be entitled to a million dollars. You're the beneficiary.
Warrick: Unfortunately, the coroner is going to rule the case a su1c1de ... and not a homicide, which makes that policy worthless.
Zero Adams: I-I was just trying to help my brother. Oh ... (groans) I want Frank.
Det. Vartann: Listen to me. Frank will be facing charges of obstructing justice. Do you understand? The court will appoint you another guardian.
Zero Adams: No, I don't want another guardian. (shouts) I want Frank!
(He looks imploringly at WARRICK.)
Warrick: (softly) I'm sorry.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI -- LAB]
(The skull is on a rotating metal plate as it's being scanned into computer.)
Nick: This program is scanning the topography of the skull and building a three-dimensional image based on the data. It should be done in a second, but you can already see two concentric arcs.
(The monitor shows the 3-d image of the skull.)
Nick: Inner arc is impressed just a little bit deeper into the skull. Check it out.
(It pauses on the wound.)
Sara: Like a crater in a crater.
Nick: Yeah.
Sara: Can you enlarge to full screen?
Nick: There.
(On the monitor, the image of the skull focuses on the injury.)
Nick: Small ...
(The image moves even closer to the injury.)
Nick: ... evenly spaced indentations on the edge of the inner arc.
Sara: I know what that is.
(The shape of the injury fades into the shape of a locker padlock.)
(The CGI padlock flips over and dissolves into the real padlock on the locker.)
DISSOLVE TO:
[INT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY - CELL -- DAY]
(CLOSE-UP: PADLOCK on locker.)
(CATHERINE lifts up the padlock on CHRISTINE'S locker and sprays it to test for blood.)
Christine: Skinny-ass feather worth as much trouble d*ad as she was alive? I didn't ask her to move in here.
Warden Hutton: No one asked you.
(CATHERINE finds nothing. She turns and looks at BRASS.)
Brass: So, Warden, baby girl was transferred to this cell about a week ago?
Warden Hutton: That's right.
Brass: Where was she last housed?
Warden Hutton: "D" block.
CUT TO:
[INT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY - D BLOCK -- DAY]
(CATHERINE tests the padlock on JUANITA ROYA'S locker. The padlock glows.)
(She looks at the padlock and find something else.)
Catherine: (softly) White fibers.
(CATHERINE looks around the small cell.)
Catherine: Warden, how often do the inmates have their laundry washed?
Warden Hutton: Twice a week: One day for colors, one day for whites. Tomorrow's a white day.
(CATHERINE grabs the laundry bag and checks it.)
Catherine: You don't mind if I empty out your laundry bag, do you?
(CATHERINE goes through the whites in the bag. She walks over to JUANITA.)
Catherine: Juanita, would you remove your shoes, please?
(JUANITA doesn't move.)
Warden Hutton: Now.
(JUANITA removes her left shoe.)
Warden Hutton: The other.
(JUANITA removes her right shoe. CATHERINE checks under JUANITA'S feet and finds a blood stain under her right foot.)
Catherine: A lock in a sock.
CUT TO:
[EXT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY - (STOCK) -- DAY]
[INT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY - INTERVIEW ROOM -- DAY]
(CATHERINE interviews JUANITA ROYA.)
Catherine: Juanita, I read your rap sheet. Possession with intent to sell. Your old man was using you as a drug meal, right?
Juanita Roya: He was supposed to protect me. He said if I got caught, he'd take the fall. After the drug raid, he disappeared. Vanished. I get locked up. I should've known better.
Catherine: (sighs) Well ... my ex drained my bank account. I was saving up for this nice little house for my daughter and me, and ...
Juanita Roya: as soon as you let 'em in, huh?
(JUANITA moves her arm and CATHERINE sees a tattoo of a half a heart on her arm.)
Catherine: (sighs) Gets lonely in prison, doesn't it? Was it the first time you had a relationship with a woman?
(JUANITA looks at CATHERINE.)
Catherine: Tattoo. Baby Girl had the other half.
Juanita Roya: I'm not ... like that.
Catherine: It wouldn't be the first time to cross gender lines in search of some ... affection.
Juanita Roya: It was the first time I felt that way about anyone.
Catherine: And Baby Girl ended up pregnant. It's not like she could hide that from you.
Juanity: She said she had the flu. Yeah, right.
(Quick flashback to: BABY GIRL is throwing up in the toilet. JUANITA is angry.)
Juanita Roya: That's what you get for lying to me, for sneaking around.
(Flash to: BABY GIRL walks up to the bars, her back is to JUANITA.)
Antoinette Stella (Baby Girl): I was just playing him, Juanita. I was doing it for us.
Juanita Roya: (angrily) You're a liar!
Antoinette Stella (Baby Girl): Want to know the truth, Juanita? In one month, I am out of this hole ... and away from you.
(End of flashback. Resume to present.)
Juanita Roya: And then, later that night, she said she was sorry, and we made up. The next day, she got the Warden to transfer her ... out of our cell. She wasn't playing Doug. She was playing me.
Catherine: So you k*lled her?
Juanita Roya: She promised to end it with Doug.
(Quick flashback to: [THE BUS] JUANITA goes to the bus to clean it and finds BABY GIRL and DOUG HANSON inside. She turns and runs out of the bus.)
(Cut to: [THE CELL] JUANITA takes the pad lock off the locker and slips it into a sock. She angrily hits the bedding.)
(Cut back to: [THE BUS] DOUG HANSON walks out of the bus. JUANITA slips into the bus where she finds BABY GIRL putting her clothes on. She walks up behind BABY GIRL and hits her on the head with the sock. BABY GIRL falls to the floor.)
(End of flashback. Resume to present.)
Catherine: You tied her body to the undercarriage of the bus and assumed we'd think that she died while attempting to escape ... right?
Juanita Roya: If there's one thing I learned in prison ... it's to stick up for myself ... because nobody else will.
Catherine: I think that you should know that Baby Girl was telling the truth about the transfer. It wasn't her request. It was Warden Hutton's decision.
(CATHERINE shows JUANITA the necklace.)
Catherine: She was caught trying to smuggle in this necklace and was reprimanded. I'm guessing it was for you.
(JUANITA looks at the necklace and cries.)
CUT TO:
[EXT./INT. FALLBROOK WOMEN'S CORRECTIONAL FACILITY - DAY]
(Various cuts of: JUANITA is escorted through the facility and put back into her cell. The cell door closes behind her.)
(JUANITA climbs up on the top bunk and lies down.)
(Camera holds on JUANITA.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x17 - XX"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS STREETS (STOCK) - NIGHT]
[INT. CASINO - MAIN FLOOR - NIGHT]
(A large man in a leather jacket and sporting a beard walks into the casino. He stops in the aisle and looks around. Most of the people continue about their business without sparing him a second glance.)
(He sees something across the room and heads straight for it. He turns through the aisle and barrels into an elderly man, pushing him aside.)
Tony Sciarra: (mutters) Get out of the way!
(The man continues walking across the room and we see that he's following someone who really isn't noticing that he's being targeted.)
(The MAN in the blue shirt walks past the various displays.)
The MAN in the leather jacket continues to follow him. He turns the corner and sees the door "TO PARKING" closing shut. He pauses a moment getting angrier by the second. Suddenly he moves forward, kicks the door open and walks through into the parking structure.)
FLASH TO BLACK.
FADE IN.
(BRASS and GRISSOM kneel over the body of the late TONY SCIARRA, the man in the leather jacket.)
Brass: Wow, that had to hurt.
(GRISSOM reaches into the leather jacket pocket and pulls out several chips.)
Brass: Well, robbery wasn't a motive.
Grissom: His eyes took the brunt of the punishment.
Brass: If you can't see, you can't fight back.
(GRISSOM notices the blood under the man's finger nails along with several strands of light-colored hair.)
Grissom: No. But he may have tried.
(BRASS reaches into the jacket pocket and pulls out a PENNSYLVANIA DRIVER'S LICENSE. It reads:
TONY SCIARRA
7259 W. PORT ST.
PHILADELPHIA PA 19078
Brass: Tony Sciarra. From Philadelphia.
Grissom: So much for brotherly love.
(GRISSOM looks up at BRASS.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CASINO PARKING STRUCTURE -- NIGHT]
(The camera flashes. WARRICK snaps photos while CATHERINE gathers evidence. She picks up a tooth off the floor and puts it in a bindle. She picks up the second tooth and puts it in another bindle. They work quietly and efficiently.)
[CASINO HALLWAY TO PARKING LOT -- CONTINUOUS]
(GRISSOM stands just inside the doorway to the parking lot looking out through the open door over the crime scene tape to where the body is. He turns when BRASS starts to report his findings.)
Brass: Our victim Tony just checked into the hotel. He hadn't even unpacked.
Grissom: He made enemies fast.
Brass: Yeah, old man at the casino, who he knocked down, said the same thing. He was hauling ass.
Grissom: Why?
[PARKING STRUCTURE]
(CATHERINE shines her flashlight on the blood-spattered wall. She turns and gets a swab to take a sample of the blood on the floor next to TONY SCIARRA'S head.)
Catherine: Blood drops are medium to large. Low-velocity spatter. No castoff.
(WARRICK watches from the side.)
Warrick: Maybe he wasn't beaten with a w*apon.
Catherine: Hand to hand?
Warrick: I know this guy's yoked. He's what? 6'2"? 6'3"?
Catherine: Size doesn't matter when you're outnumbered.
(Quick flashback to: TONY SCIARRA'S on the floor being held while he's being punched repeatedly in the face.)
(End of flashback. Resume to present.)
(WARRICK leans over and gets a good look at the battered face.)
Warrick: Damn.
(He leans over and snaps a photo.)
CUT TO:
[INT. CASINO - SECURITY CONTROL ROOM - NIGHT]
(SARA and NICK review the security camera video. On it, they see TONY SCIARRA bump into an old man and push him aside. He continues down the aisle.)
Sara: Here's our vic. Leaving the floor.
Surveillance Tech: And the cameras. No eyes in the corridors or the rest rooms.
Nick: Yeah, well, we know where he went. Just show us where he came from, please.
(The SURVEILLANCE TECH rewinds the tape and they see TONY SCIARRA over at the crap table. He stands next to a man in a blue shirt.)
Nick: Whoa. Whoa. That's good. Start it from right there.
(They stop rewinding the tape. The tape plays and they watch as the man in the blue shirt grabs a chip off TONY SCIARRA'S pile.)
Sara: Did you see that?
Nick: Yeah, the little guy on the right just snaked him.
(They watch as TONY SCIARRA rolls again and the man in the blue shirt grabs another chip off of his pile.)
Sara: You've got to be kidding me. He just did it again.
Nick: Two for two.
Sara: That guy has got stones going after a mark as big as Tony.
Nick: He knows he has backup. Is the third time a charm?
(The tape continues and they watch as the man in the blue shirt lifts another chip off of TONY'S pile.)
Nick: Yes, it is.
(TONY notices the slight.)
Sara: Busted.
(On the monitor, they watch as the two men have words with each other.)
Nick: Accusations from Tony. He's getting hot.
Sara: Some kind of denial from the little guy.
Nick: Tony got worked. Just wanted his money back.
Sara: We're going to need a still of the little guy's face, if you could.
Surveillance Tech: You got it.
(Camera moves in on the man in the blue shirt standing at the craps table.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Open on the monitor of TONY SCIARRA'S beaten face. DR. ALBERT ROBBINS goes over the preliminary findings with GRISSOM.)
Dr. Albert Robbins: Fractures to the zygomatic, ethmoidal, nasal bones. Also the mandible and maxilla. How many teeth did you find at the scene?
Grissom: Two.
(DR. ALBERT ROBBINS pries open the lips and shows the missing teeth to GRISSOM.)
Dr. Albert Robbins: He's missing six. I found one in the back of his mouth. He probably swallowed the other three. I'll check his stomach.
Grissom: Blood evidence at the scene suggests that his attackers did not use a w*apon.
Dr. Albert Robbins: Contusions are nondescript. No foreign tool marks.
Grissom: Bare knuckles?
Dr. Albert Robbins: That's what I'm thinking. Multiple blows to the head produced angular acceleration and deceleration in the brain.
(Quick CGI flashback to: TONY SCIARRA'S on the floor. The man hits his head with his fist. A CGI view of TONY'S brains jiggle upon impact.)
(Slow motion of another h*t to TONY'S head. Blood spurts from his mouth.)
Dr. Albert Robbins: (V.O.) Twisting of the brain causes the bridging veins to rip. From there it's all downhill. The axons within the white matter of the brain begin to snap.
(Camera zooms into TONY'S head to show us a lovely graphic sh*t of the bridging veins ripping. Lovely.)
(End of CGI flashback. Resume to present.)
Dr. Albert Robbins: Officially, COD is diffuse axonal injury. Unofficially ... it's the most brutal beating I've ever seen.
(GRISSOM places his left hand over the bruise pattern on the body.)
Grissom: Neck bruises were made by a left hand?
(He points to another set of bruises.)
Grissom: What about these bruises?
Dr. Albert Robbins: Well, there's no defensive wounds on the hands or forearm. So I'm guessing it was restrained. Bruises could be somebody's knees on his chest.
Grissom: So a hand on his throat, knees on his chest, his head was butted up against a wall, and all the blows were directed at his face.
Dr. Albert Robbins: That doesn't leave much room for any other attackers to get their licks in.
Grissom: Maybe there were no other attackers.
(Quick flashback to: A hallway view of one man beating the crap out of TONY SCIARRA while holding him down on the floor. TONY grunts and groans with each h*t.)
(End of flashback. Resume to present.)
Dr. Albert Robbins: One guy did all this?
CUT TO:
[INT. HOTEL / CASINO - NIGHT]
(BRASS questions HOUSEKEEPER. He shows her the surveillance video photo of the man in the blue shirt at the craps table.)
Brass: So you're sure this was the man you saw?
Housekeeper: Yes. I was in the bathroom.
(Quick flashback to: [BATHROOM] The MAN IN THE BLUE SHIRT walks past the bathroom. He goes over to the sink and washes his hands. Standing on the side, she watches him.)
(End of flashback. Resume to present.)
Housekeeper: I waited for him to leave. Then I called security.
Brass: Do you see this man now?
(She hesitates.)
Brass: All you have to do is nod.
(She looks around the room and sees the back of the man's head. He's wearing a white shirt and sitting at the table. She nods.)
Brass: Thanks.
(They turn and look at the man at the table immediately recognizing him. NICK whispers to BRASS.)
Nick: ID's off. We're looking for a blue shirt and jeans.
Brass: He could have ditched the clothes. Let's be smart about this.
[COFFEE SHOP - CONTINUOUS]
(BRASS opens the door to the coffee shop and walks inside. NICK and a couple of officers follow him. They walk up to the man. They notice the missing hair and blood smears on his skin behind his ear.)
(BRASS stops behind them man.)
Brass: Las Vegas Police. Put your hands behind your head and stand up.
(The man pauses from taking a bite of his burger. He doesn't move.)
Brass: Come on.
(The man puts his burger down. He stands up and puts his hands behind his head. The OFFICER grabs him and puts the cuffs on him.)
(In the process he turns the man around. He looks at BRASS and sneers.)
(The officer leads the MAN away. BRASS watches them go.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(BRASS interviews WALTER DARIAN. GRISSOM stands on the side and watches. BRASS walks up to WALTER DARIAN and speaks in a low voice into the DARIAN'S ear.)
Brass: You're not much of a talker, are you, Walter?
(He leans in close and continues talking. WALKTER DARIAN doesn't move.)
Brass: I'll tell you. You must be a pretty tough guy to take on Tony. A guy as big as that? He's huge. That's his name, you know? Tony Sciarro from Philadelphia.
(GRISSOM watches the exchange.)
Brass: Do you know Tony? How come you left his wallet and $500 in chips in his pocket, huh? That makes me think that this was about something else.
(WALTER DARIAN clenches his handcuffed fists. BRASS continues.)
Brass: Did he ... wrong you in some way? He hurt you?
(WALTER DARIAN doesn't answer.)
Brass: Huh?
(BRASS steps back.)
Brass: Maybe it was just a ... lover's quarrel.
Walter Darian: I'm not soft.
Brass: That's okay. This is Vegas. But that's not what we saw on the video. You're at the crap table. You swiped his chips. And then you whispered sweet nothings in his ear. What did you say?
Walter Darian: Give me a reason.
Brass: That a confession?
Walter Darian: No. (He turns to look at BRASS.) That's what I said.
Brass: That stare doesn't work on me. But save it. Because they're going to love you in prison.
Grissom: Mr. Darian, may I see your fingers?
Walter Darian: Why?
(GRISSOM steps forward and places a clean sheet of paper under WALTER DARIAN'S hands.)
Grissom: Well, because you may have evidence underneath the fingernails, and I'd like to collect it.
(He reaches out and grabs his hand and suddenly lets go as if b*rned. GRISSOM takes a step back. WALTER DARIAN glances at GRISSOM.)
(GRISSOM looks at BRASS who edges closer to WALTER DARIAN just in case something happens.)
(GRISSOM cautiously reaches out again and takes ahold of WALTER DARIAN'S hand as he prepares to scrape under his fingernails.)
Grissom: Mr. Darian, do you have a fever?
(WALTER DARIAN'S eyes grow wide as GRISSOM scrapes under his fingernails. GRISSOM glances at him several times and continues to scrape.)
(Suddenly, DARIAN yells and lunges out of his seat. He goes for GRISSOM'S neck, pushing him back all the way to the wall.)
Brass: Hey! Hey! WALTER DARIAN: I'll k*ll you.
(BRASS pries DARIAN off of GRISSOM. The other OFFICERS join in trying to subdue DARIAN. He pushes back and one of the OFFICERS hits the glass wall shattering it. He pushes another OFFICER off of him and down to the floor.)
(WALTER DARIAN puts up a fight. There's an OFFICER holding him from behind, but he still manages to h*t and push away the other THREE OFFICERS. He screams and grunts.)
(Finally, an OFFICER takes out his club and starts hitting him into submission.)
Officer: Down. Down. OFFICER: Down. Down.
(BRASS stands to the side and watches. GRISSOM stands in the back and watches. WALTER DARIAN slowly goes down to the floor, grunting along the way. Finally, he's quiet.)
(BRASS checks DARIAN'S neck for a pulse.)
Brass: Jeez.
(He can't find any.)
(GRISSOM watches from the back.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(DAVID PHILLIPS sticks the meat thermometer into the deceased's liver. The temperature reads 101.5. CATHERINE glances at DAVID.)
Catherine: You might want to check that.
David Phillips: I did.
(He picks up his pen and notates the final findings on the paper. CATHERINE sees something and stands up. She sees GRISSOM standing quietly to the side, leaning against the wall, a hand rubbing the back of his neck. Quietly freaked.)
[HALLWAY - CONTINUOUS]
(SHERIFF RORY ATWATER arrives. He's also rubbing the back of his own neck. He heads toward BRASS who's leaning a shoulder up against the wall.)
Brass: It's not as bad as it looks.
Sheriff Rory Atwater: It never looks too good when a suspects dies in custody.
(The SHERIFF sighs.)
Brass: What are you saying, Rory? You'd rather it be one of us?
Sheriff Rory Atwater: No, that's not what I'm saying. If I was here, I'd have been in there with you, you know that. (He paces the floor.) I assume we're going to come out looking like the bad guy again.
(CATHERINE steps out into the hallway. She notes the SHERIFF talking with BRASS. They both note her as she looks at them. She heads over to GRISSOM.)
Catherine: You okay?
(He stops rubbing his neck and waves away her concern.)
Grissom: I'm fine.
(CATHERINE reaches out and looks at the reddish-burn/bruise on GRISSOM'S neck.)
Catherine: Nasty. That kind of looks like a hickey. (She sighs.) You want to tell me what got this party started?
Grissom: I scraped his nails.
Catherine: That's it?
Grissom: What was his liver temp?
Catherine: 101.5.
Grissom: He's been d*ad an hour. That means his body temperature was 103. I touched his skin, Catherine. He felt like he was on f*re.
CUT TO:
[INT. CSI - GARAGE]
(SARA and NICK stand just outside WALTER DARIAN'S car. It is packed with stuff. Stuff, stuff and more stuff.)
Sara: How did Walter Darian even drive this thing?
Nick: Where there's a will, there's a way. PD found it in the Orpheus parking lot.
(They open the car door and sees the blood-stained clothes.)
Sara: Blue shirt and jeans right on top. (She picks it up.) He didn't even try to hide them.
(She tests the blood for blood.)
Sara: Positive for blood. I'll get it to Greg.
Nick: So this scumbag, Walter Darian, he beats a guy to death, goes out to his car, changes clothes and then goes back into the casino, washes his hands and just gets something to eat.
Sara: Just another day.
Nick: Wow.
(NICK turns and looks inside a box in the car. It's filled with chips. NICK'S impressed.)
Nick: Whoa ... yahtzee.
(He takes the box out of the car and puts it on the table. He opens it and looks at it.)
Nick: Whoa. Must be a few thousand dollars' worth of chips here.
(He picks up a couple of chips.)
Nick: So, he grifts, but doesn't cash in?
Sara: Maybe it wasn't about the money. I got gloves, a t-shirt and a jacket all with the tags still on them. Maybe he just likes to steal things.
(NICK drops the chips in the box and turns to look at what else is in the car. He pulls out a woman's waitress blouse. He reads the tag.)
Nick: "Road side diner, Libby." Sara.
(SARA turns around. NICK holds it up to show her the blouse. SARA drops what she's looking at and walks over toward NICK.)
Sara: What does that look like to you?
(Camera zooms in to focus on the two small burn holes in the blouse.)
Nick: Burn holes.
Sara: The guy takes on five cops in their house. Makes you wonder what he might have done to a waitress.
(NICK and SARA look at each other.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS is picking at the body on the table when GRISSOM walks in.)
Robbins: Didn't get enough of this guy in the interrogation room?
Grissom: I have a question.
Robbins: Yes?
Grissom: Cause of death?
Robbins: Well, it wasn't the nightstick action.
(ROBBINS picks up the pan with the heart in it and shows it to GRISSOM.)
Robbins: Cardiac arrhythmia. His heart rate increased till he went into tachycardia. Started throwing PVCs and then v-fib.
Grissom: Prior condition?
Robbins: Nothing I could find. The guy had a big heart-550 grams-- but otherwise healthy.
Grissom: (sighs) This guy was pumped up before the fight. White knuckles, veins popping.
Robbins: Well, he could have been on something -- tox is pending -- but there were no observable effects of long-term drug abuse. No atrophy, cirrhosis, tissue necrosis. I checked all the hot spots.
Grissom: He had a temperature of 103 when he died. Any pathology to explain that?
Robbins: The organs showed no sign of infection or disease.
Grissom: So there was nothing wrong with this guy.
Robbins: Well, I'll send a tissue sample to histology, but 98.6 is just an average. Some people run hot.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM]
(SHERRIF RORY ATWATER breaks the news to BETH DARIAN.)
Sheriff Rory Atwater: See, during questioning, your brother became a little ... unruly, and, uh... so for their own safety, the officers had no choice but to use force. At which point ...
Beth Darian: I've heard enough.
Sheriff Rory Atwater: Ms. Darian, it's very important that you understand the situation here.
Beth Darian: I do. Walter was k*lled in police custody.
(He sighs. This doesn't look good. He turns and sees GRISSOM in the doorway walking toward them.)
Sheriff Rory Atwater: Uh, let me introduce Gil Grissom from the crime lab. This is Beth Darian, the ...
Grissom: I was in the room with your brother.
Beth Darian: Was that how he touched your life?
Grissom: The autopsy concluded that your brother's death was not the result of the officers' use of force.
Beth Darian: I don't care how he died. I'm just relieved that it's over.
(GRISSOM and the SHERIFF share a surprised look.)
Beth Darian: Walter hurt a lot of people. If you had something he wanted, he just took it. And if you got in his way ... I always kept my distance.
Grissom: Ms. Darian, your brother's body temperature was ...
Beth Darian: ... hot to the touch? He was always that way, ever since we were kids.
Sheriff Rory Atwater: I'll have someone from the department contact you, all right, Ms. Darian?
Beth Darian: Always knew that Walter would end up in jail or d*ad. (She looks up and notices the reddish-burn/bruise on GRISSOM'S neck.) I'm sorry.
(Suddenly conscious of it, GRISSOM tugs his shirt collar up to cover it somewhat.)
CUT TO:
[EXT. DESERT (STOCK) - DAY]
[EXT. NO VACANCY MOTEL - DAY]
(WARRICK and GRISSOM step out of the car. WARRICK walks around the car toward GRISSOM.)
Warrick: Gris, what are you hoping to find here?
Grissom: Walter Darian lived here. He owned the place.
Warrick: Well, Greg ran the DNA. The blood on Walter's clothes is a match to Tony. The hair in Tony's hands is a match to Walter's. This case is closed, isn't it?
(They head toward the building.)
Grissom: That case is closed.
Warrick: We can't prosecute a d*ad man.
(They pause in front of the door.)
Grissom: "The evil men do lives after them. The good is oft interred with their bones."
Warrick: Shakespeare?
Grissom: Julius Caesar.
(GRISSOM opens the door and walks inside.)
[INT. NO VACANCY MOTEL - DAY - CONTINUOUS]
(Inside, they find the place just as cluttered as his car.)
Warrick: Whew. This guy never threw anything away. You think he had a major case of OCD?
Grissom: Well ... if Walter viewed his world as a thr*at place, according to the shrinks, the hoarding of useless objects may have made him feel safe and secure.
Warrick: Yeah, well, in the real world, Walter's the thr*at. Guess he didn't like what he saw.
(They look around the place. GRISSOM looks outside and sees a long piece of plastic bl*wing in the wind.)
[EXT. NO VACANCY MOTEL - BACKYARD - DAY - CONTINUOUS]
(GRISSOM pushes aside the plastic and sees the wheelbarrow with various supplies. He pushes aside the nearly empty bag of cement and picks up the tool used to smooth out cement. He looks at it, then looks around. Meanwhile, WARRICK is walking around the backyard looking around. He kneels down next to a large block of cement.)
Warrick: Hey, Grissom.
(GRISSOM turns around. WARRICK steps onto the cement block.)
Warrick: This doesn't look like a patio.
(They share a look; they share a thought.)
[EXT. DESERT HIGHWAY (STOCK) - DAY]
[INT. ROADSIDE DINER - DAY]
(The WAITRESS pours the customer a cup of coffee as she thinks.)
Waitress: Libby ... Libby ... oh, yeah, dish girl.
(She turns to look at SARA and NICK who are there following up on the waitress' blouse found in the back of DARIAN'S car.)
Sara: She have a last name?
Waitress: Sure, she does, but I don't know it.
Nick: When's the last time you saw her?
Waitress: Eight years ago. The kid had no chops.
(Quick flashback to: [INT. ROADSIDE DINER - KITCHEN] LIBBY'S at the stove and burns herself.)
Libby: Ouch!
Waitress: (V.O.) b*rned herself real good.
(End of flashback. Resume to present.)
Waitress: That was her first and last day.
Sara: We need an ID. Is there any chance you still have a W2 lying around or a copy of her driver's license?
Waitress: Girl wasn't here long enough to refill the coffee pot, let alone sign anything. I don't know where she came from, don't know where she went.
Nick: What about this guy? You ever see him with Libby?
(NICK holds out the photo of WALTER DARIAN. The WAITRESS looks at it and shakes her head.)
Waitress: I ain't gettin' nothin'.
(The order bell dings.)
Waitress: Sorry. Order's up.
(She turns and leaves to get the order.)
CUT TO:
[EXT. NO VACANCY MOTEL - BACKYARD - DAY]
(WARRICK uses the jackhammer on the cement block.)
(GRISSOM pushes the wheelbarrow. There are other people from FORENSICS helping out to clean up the backyard.)
(Various FADE INS from day to night they chip away at the cement block.)
(WARRICK uses the shovel to dig out more dirt and hits something. GRISSOM immediately stops and turns around. WARRICK freezes.)
Warrick: Only one thing makes that sound.
(GRISSOM gets out the small digging tool and brush. He hands them to WARRICK. WARRICK uses the brush and reveals the skull underneath.)
Grissom: Well ... I guess there was no more room at the inn.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. NO VACANCY MOTEL -- NIGHT]
(OFFICER cars swarm around the front of the NO VACANCY MOTEL. BRASS heads over to the grave site. The OFFICER holds the tape down so he can walk over it. He heads over to the pit where GRISSOM and WARRICK are working.)
(Inside, he sees the pile of bones. WARRICK dusts while GRISSOM takes pictures. WARRICK brushes aside some dirt to reveal a wedding ring.)
Warrick: It's a wedding band.
Brass: You think this is the waitress Nick and Sara are looking for?
Grissom: Well, there's no clothing left. The wedding band could be either/or. There's nothing gender-specific yet.
Warrick: Next to no tissue. No hairs at all. To get the bones, what do you think, Grissom? Been down here at least three years?
(GRISSOM leans forward a sniffs deeply. Go figure.)
Grissom: No, it's probably more than three years.
(BRASS doesn't believe it.)
Brass: You're kidding me, right?
Grissom: Well, the rule of thumb is if the skull smells bad, it's usually under three years. This one smells like dirt.
Warrick: There's something under the pelvic bone.
(WARRICK brushes the dirt aside to reveal a Kn*fe. GRISSOM snaps a bunch of photos.)
Grissom: Possible m*rder w*apon.
(WARRICK picks it up.)
Warrick: You think we could still get any DNA off of it?
Grissom: Any blood's been exposed to the elements longer than the inside of these bones.
Warrick: There's no skin, clothing or tissue to protect it.
Brass: Doesn't fit. Walter was a fighter. Used his fists, not knives, you know?
Grissom: Well, we haven't known him that long.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(ROBBINS goes over the bones with WARRICK.)
Robbins: Forehead's upright, smooth. Mandible's small. Lower face narrow.
Warrick: Female traits.
Robbins: Yeah. Pelvis confirms it. It's wide for the birth canal. No pits in the pubic bone -- she never gave birth.
Warrick: What about her race?
Robbins: Zygomatic bones retreat, slant back. Nasal opening's long and narrow.
Warrick: Caucasian.
Robbins: Mm. Around 5'4". I estimated her height from the length of the femur.
Warrick: How old are we talking?
Robbins: Well ... third molars haven't erupted. No wisdom teeth.
Warrick: So that would put her in her late teens, early 20s.
Robbins: Eh, it's a safe estimate.
Warrick: Cause of death?
Robbins: Strangulation. Fracture to the hyoid bone.
Warrick: What about these right here?
Robbins: Fractures to the zygomatic bone and maxilla ... also the left ulna ... but no tool marks on any of the bones.
Warrick: So maybe she was punched in the face and tried to shield herself?
Robbins: Yeah. Walter Darian strangled a female Caucasian, 5'4", around 20 years old.
Warrick: Yeah, but is it our missing waitress?
Robbins: Well, I, uh, did dental charts, x-rays. David's off and running with 'em now. I also excised a portion of the femur, scraped a tissue sample from inside the pelvis, and yanked a molar. If there's any usable DNA left, that's where it'll be.
Warrick: Okay.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
(GRISSOM'S sitting at his desk reading a book. CATHERINE walks in.)
Catherine: How'd you know there was another body at that motel?
Grissom: I didn't.
(GRISSOM picks up the test results.)
Grissom: Tox and histology results came back on Walter Darian. Negative across the board. No drugs, no diseases. I don't get it. The guy was 38 years old, and this was his first arrest.
Catherine: And you're wondering what he'd been doing all his life.
(CATHERINE'S phone rings. She answers it.)
Catherine: Willows.
(She pauses, then turns her back to GRISSOM and laughs quietly into the phone.)
Catherine: (softly) Why don't you hold that thought until later?
(GRISSOM waits for her. CATHERINE hangs up, then turns around to look at GRISSOM. She clears her throat.)
Catherine: Sorry. A new friend.
Grissom: Congratulations.
(GREG walks up to the office and lingers in the doorway.)
Greg: Got time for something a little weird?
(CATHERINE turns around and looks at GREG.)
CUT TO:
[INT. CSI - HALLWAY / DNA LAB - NIGHT]
(GREG leads CATHERINE and GRISSOM into the lab.)
Greg: I recovered DNA from your Jane Doe skeleton. Clean samples from the molar and femur ... but no hits in CODIS.
Catherine: So Jane Doe was never reported missing.
Greg: Apparently not. I also pulled DNA from the pelvic sample. A mixture: Foreign DNA from a male.
Grissom: Walter Darian.
Greg: No. That's where it gets weird.
(He opens a file folder.)
Greg: The foreign DNA was h*m*. h*t all 13 loci. One peep per marker.
Catherine: Shared alleles, so it was either a father or a son.
Grissom: According to the autopsy, she never gave birth.
Catherine: So it was a father.
Greg: Okay, so how'd it get there? The tissue was from inside the pelvis, so even if daddy's blood or semen got on her clothes or skin, it never would've survived being in the ground all that time.
Grissom: So there has to be an additional biological source, 'cause there was no one else in that grave.
CUT TO:
[INT. CSI - A/V LAB - NIGHT]
(NICK watches as ARCHIE works on a computer composite of the skull.)
Nick: That's all I got. No name, no tissue, no hair.
Archie: I like a challenge.
Nick: Pull up the standard tissue thickness scale for female American caucasoids. Use the normal figures.
(ARCHIE starts to reconstruct the skull on the computer according to NICK'S instructions.)
Nick: Apply the midline measurements. Good. Now the bilateral.
Archie: That's the blueprint.
Nick: Mm-hmm.
CUT TO:
[EXT. WALTER DARIAN'S RESIDENCE - NIGHT]
(The OFFICERS continue to move out packages of evidence into the back of the truck.)
[INT. WALTER DARIAN'S RESIDENCE - NIGHT]
(WARRICK snaps photos of the various things in the living room. He turns and snaps photos of the typewriter on the desk. He closes the typewriter cover.)
Warrick: Okay, you can take this.
(He turns and takes photos of the printer.)
(CATHERINE snaps photos of the things in the kitchen. She turns and sees the large fist-sized hole in the wall. She takes her hand, makes a fist and measures it to the hole in the wall.)
[INT. CSI - A/V LAB - NIGHT]
(ARCHIE continues working on the computer composite. The skull has a layer of muscles on it. He adds eyes to the image.)
(NICK stands in front of the monitor watching.)
[INT. WALTER DARIAN'S RESIDENCE - NIGHT]
(WARRICK opens a box and sees a leopard-patterned scarf out. He pulls out a pink scarf and snaps a photo of it. He also finds a red baseball cap He looks on the inside and sees some strands of hair with tags on them. He places a strand in a bindle.)
[INT. CSI - A/V LAB - NIGHT]
(ARCHIE continues to work on the composite. He adds a nose to the image. A pair of lips is added. He hits a key and the image is covered with skin.)
Nick: Long skull. Prominent nose and chin.
Archie: Maybe nordic descent. That means ... light complexion, hair ... and ... blue-green eyes.
(ARCHIE finishes up the picture. NICK nods approvingly.)
[INT. WALTER DARIAN'S RESIDENCE - NIGHT]
(CATHERINE looks around and sees a suitcase. She takes the suitcase out and opens it. Inside she finds maternity clothes and a torn photo of a very pregnant young blonde woman. She also finds the other half of the photo of a young dark-haired man.
Catherine: Warrick.
(She shows them to him and goes through the clothes.)
Catherine: These have got to be maternity clothes.
(WARRICK flips the photo over and reads the writing on the back: AND BABY MAKES THREE! / LOVE, SEAN.
Warrick: "And baby makes three."
(CATHERINE finds a wallet and looks at the Nevada driver's license inside. For
MARISSA CLEARY
1153 STONE CREEK
LAS VEGAS, NV 89154
Catherine: Her name's not Libby.
[INT. CSI - LAB - NIGHT]
(CATHERINE fills GRISSOM in on the identity of the bones.)
Catherine: Dental records confirm our Jane Doe was Marissa Cleary.
Grissom: Which leaves our missing waitress Libby still unaccounted for.
Catherine: The foreign DNA in her pelvis wasn't from her father. It was from her son.
Grissom: There was no evidence of a fetus or a baby in that grave. She never gave birth.
Catherine: Not through her birth canal. There's other ways to deliver a baby.
Grissom: Well, that might explain the hunting Kn*fe we found.
(Quick flashback to: [INT. DARIAN'S RESIDENCE - NIGHT] WALTER DARIAN chokes MARISSA CLEARY. She's lying on the floor gagging. WALTER takes the Kn*fe and plunges it down into her ... )
(End of flashback. Resume to present.)
Catherine: The umbilical cord contains fetal DNA.
(Quick CGI POV of the umbilical cord drying up. End of CGI POV. Resume to present.)
Grissom: Walter Darian never threw anything out ... So where'd the baby go?
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - WAITING ROOM -- NIGHT]
(BRASS and CATHERINE interview SEAN CLEARY.)
Sean Cleary: Eight years. I never thought she was d*ad. I wondered where she was, at she was doing with her life. What my kid was like.
Catherine: Mr. Cleary, we haven't found any evidence to suggest that your son ...
Sean Cleary: (interrupts) My son? You mean it was a boy?
Catherine: Yes.
Sean Cleary: Well, can I see him? Is he d*ad, too?
Brass: We don't know.
Sean Cleary: Marissa and I had only been seeing each other for a few months, and everything was great. And then she got pregnant, so we got married. And all of a sudden, she hates me, I hate her. All we did was fight. Then she calls me one night at work.
(Quick flashback to: [NIGHT] SEAN CLEARY is talking on the phone.)
Marissa Cleary: (from phone) (sobbing) You don't want me in your life, fine. I'm gone!
Sean Cleary: (to phone) Good! It's the best news I've heard all year.
(He hangs up and throws the cell phone into the open car window.)
(End of flashback. Resume to present.)
Sean Cleary: That was the last time we spoke.
Brass: And you never reported her missing?
Sean Cleary: I didn't think she was. I was 19. Barely out of high school.
Catherine: Last thing you needed was a family.
Sean Cleary: She was in her ninth month when she split. I thought she'd cool off in a couple of days, come back, we would work things out. But then I got this.
(He takes out a note and shows it to CATHERINE. She reads the note.)
Sean Cleary: (recites from memory) "You're not who I thought you were. You don't want me. You don't want this baby. We don't want you. Marissa."
CUT TO:
[INT. CSI - DNA LAB]
(GREG removes the hair sample from the bindle. He processes the tag.)
CUT TO:
[INT. CSI - QUESTIONED DOCTUMENTS LAB]
(RONNIE LITRE uses the signature on the driver's license and compares it to the signature on the note. He explains his findings to CATHERINE.)
Ronnie Litre: All right, you see the long legs she gives to her "M," and how it stands alone?
Catherine: Mm-hmm.
Ronnie Litre: Now look at the Dear John letter. This is not Marissa's signature ... just a quick and dirty forgery.
Catherine: My money's on Walter.
Ronnie Litre: Well, I can't tell you anything without an exemplar.
Catherine: Yeah, well, Warrick's going through his stuff now.
Ronnie Litre: From what I hear, that's going to take a while.
Catherine: So, what about this text?
Ronnie Litre: Uh, not typed - printed uh, off an inkjet, and so far, all of Walter's accumulated printers are dot matrix. No match.
CUT TO:
[INT. CSI - LAB]
(WARRICK hang sup a shirt on the rack. Surrounding him are the stacks of envelopes and evidence packages of the things gathered from WALTER DARIAN'S place. WARRICK picks up a package, opens it and removes a LAS VEGAS shirt out from it with blood stains on it. The back of the shirt reads: ... NEVER SLEEPS.)
[INT. CSI - ANOTHER LAB]
(SARA examines the envelope MARISSA'S note came in. It's addressed to:
SEAN CLEARY
8824 SANDY CREEK RD.
LAS VEGAS, NV 89123
(She examines the cancelled stamp mark on the envelope.)
CUT TO:
[INT. CSI - DNA LAB]
(GREG reports his findings to GRISSOM and CATHERINE.)
Greg: Warrick found a baseball cap in Walter's motel. Yielded a blond hair. DNA was still good, which means the hair was no more than a few years old. It was Marissa's son.
Catherine: So, he'd be eight now. Assuming he's still alive.
(SARA calls out from the doorway.)
Sara: Hey, guys, I've been working on that John Doe envelope. The postmark was Henderson.
Catherine: The Bates Motel is in Sloan. Why would Walter go that far out of his way to mail a letter?
Grissom: He wouldn't.
CUT TO:
[INT. BETH DARIAN'S RESIDENCE - DAY]
(CATHERINE interviews BETH DARIAN as GRISSOM stands quietly against the desk near the window.)
Beth Darian: Well, I moved to Henderson to get away from Walter. I stayed out of his life, hoping he'd stay out of mine. Didn't matter that I was his sister. He treated me like he did everybody else.
Catherine: Do you recognize this woman?
(CATHEIRNE shows her a taped and photocopied picture of MARISSA and SEAN CLEARY.)
Beth Darian: No. Who is she?
Catherine: Her name is Marissa Cleary. We believe she was a guest in your brother's motel eight years ago.
Beth Darian: He k*lled her, didn't he?
Grissom: We think so.
Beth Darian: Oh, I wonder what she did to set him off.
Catherine: I don't know. I'm sure it wasn't much.
(Quick flashback to: [MOTEL - NIGHT] MARISSA CLEARY is on the phone with SEAN. She's crying.)
Marissa Cleary: (to phone) (crying) You don't want me in your life. Fine. I'm gone!
(Through the thin walls from the next room, WALTER can hear her on the phone.)
Sean Cleary: (from phone) Good! It's the best news I've heard all year.
(She throws the phone at the wall. WALTER stands up and starts pounding on the wall. MARISSA is crying. She picks up the photo from her luggage and tears it in two.)
(WALTER continues to pound on the wall hard enough to punch holes in the drywall. MARISSA hits the wall and shouts.)
Marissa Cleary: Shut up! Shut up. Damn it!
(WALTER bursts through the door, grabs MARISSA and hits her. He pushes her back on the bed and chokes her.)
(End of flashback. Resume to present.)
Beth Darian: He could always find an excuse for anything that he did.
(She glances at her watch and notes the time: 3:40.)
Catherine: Are we keeping you from something?
Beth Darian: No. It makes me really uncomfortable talking about Walter.
(BETH removes her sweater showing the burn marks on her right arm.)
Catherine: Did Walter give you those burns?
Beth Darian: No, that was, uh ... an accident on the job many, many years ago.
Grissom: When you used to be a waitress, Libby?
Beth Darian: Nobody's called me that in years. How did you know?
Grissom: We found your old waitress uniform in Walter's car.
Beth Darian: I, I had that job for one day. I was a lousy waitress. Why would he keep that?
(Outside, the bus stops in front of the house, the door opens and kids exit the bus. A cute blonde-haired kid runs out of the bus and into the house.)
Martin Darian: Hi, mom.
Beth Darian: Hey, baby.
(MARTIN DARIAN gives his mom a hug; she kisses him on the cheek.)
Beth Darian: Why don't you take your stuff and put it in your room? I'll make you a snack.
(He turns and looks at the CSIs.)
Grissom: How old is that little guy?
Beth Darian: He's going to be nine next month.
CUT TO:
[INT. CSI]
(CATHERINE takes a swab sample from MARTIN.)
[HALLWAY]
(GRISSOM takes a swab sample from SEAN CLEARY. GRISSOM caps the sample and steps aside. SEAN CLEARY looks into the room at MARTIN who turns and looks at him.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(CATHERINE puts the test results on the table as she and GRISSOM re-interview BETH DARIAN.)
Catherine: You're not his mother.
Beth Darian: I'm the only mother he's ever known. I raised him; I had to.
(Quick flashback to: [BETH'S HOUSE] She's sitting in the living room reading a book when WALTER pounds on the door. She can hear a baby crying.)
(She opens the door and WALTER walks in carrying the baby. He gives the baby to her, then walks out.)
(End of flashback. Resume to present.)
Catherine: Middle of the night, your brother shows up and hands you a baby. You don't ask any questions. You don't report it.
Beth Darian: Walter said that the mother was a runaway, and that she didn't want the baby. I took him in. I love him.
Grissom: How did Martin get the scar on his forehead?
Beth Darian: I don't know.
Grissom: Or you didn't want to know.
(Quick flashback to: [MOTEL ROOM] MARISSA'S on the bed, her eyes wide-open. WALTER holds the Kn*fe up high.)
(End of flashback. Resume to present.)
(CATHERINE shows BETH the note.)
Catherine: Marissa Cleary didn't sign that note.
Grissom: And we don't think Walter wrote it, either.
Beth Darian: I'm not like Walter. When I opened the suitcase, and I saw the photograph ... I didn't want the father to suffer.
(Quick flashback to: [BETH'S PLACE] BETH is sitting at her desk typing out a note on the computer. She looks down at both halves of the photo on the desk along with MARISSA'S driver's license..)
(End of flashback. Resume to present.)
Catherine: The suitcase was in Walter's closet.
Beth Darian: I took it back. I didn't want it around me. I knew that he would never notice.
(CATHERINE gives GRISSOM a "I can't believe this" look.)
Beth Darian: Giving me Martin ... was the only good thing that Walter ever did. I don't know why he did it. But it wasn't out of the goodness of his heart.
CUT TO:
[INT. CSI - HALLWAY/ LAB]
(GRISSOM rounds the corner. He's reading a file folder on his way to the lab. He walks into the lab now cluttered with boxed and packaged evidence from WALTER DARIAN'S MOTEL.)
(GRISSOM puts the file folder down on the table. He picks up a pair of latex gloves and puts them on. He opens the first package and removes a white bloody shirt and starts examining it.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x18 - Bad to the Bone"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. ABERNATHY RESIDENCE - DRIVEWAY -- NIGHT]
(The lamp post light over the driveway flickers out then goes back on again.)
[INT. ABERNATHY RESIDENCE - MASTER BEDROOM -- NIGHT]
(Open on a framed photo on the bedside table of a man and a woman smiling. Camera moves over and across the bed to the closed bedroom door. Under the door through the crack we see swirling smoke seeping into the bedroom.)
[MARTHA JAMES' BEDROOM]
(MARTHA JAMES sleeps quietly in her bed.)
[SAM ABERNATHY'S BEDROOM]
(Camera sweeps low across the floor - along the thrown puzzle pieces littering the carpet and over to the bunk bed ladder. It rises up and finds SAM ABERNATHY sleeping in bed.)
FADE TO:
[SABRINA'S BEDROOM]
(The focus is on the neatly made bed and the stuffed animal on it. Smoke rises up from the floor to cover the bed like a cloud completely obscuring it from our vision.)
CUT TO:
[EXT. ABERNATHY RESIDENCE - FRONT YARD - NIGHT - LATER]
(The bedroom windows explode and a stream of f*re bursts out of the house. A fireman walking across the lawn ducks instinctively.)
Fireman: Go pull a line towards the garage.
(The house is on f*re and f*re fighters are attempting to put it out.)
(Two firemen assist MARTHA JAMES and JESSICA ABERNATHY out of the house.
Jessica Abernathy: Sam?
Fireman: (o.s.) Knock it down.
Jessica Abernathy: (hysterical) Sam? Where is Sam?
Fireman: You're going to be all right.
(The firemen lead MARTHA JAMES and JESSICA ABERNATHY across the lawn and away from the house f*re.)
Jessica Abernathy: What about Sam?! Sam!
Fireman: I'm going to need you to stay right here, ma'am.
Jessica Abernathy: Sam. Where is he? Where is...?
(A FIREMAN pushes the door open and exits the house. He's carrying SAM ABERNATHY in his arms.)
Fireman: Hey, I got one more!
(The FIREMAN carries SAM over to his mom and the medic.)
Fireman: Here you go, pal. You stay right here with your mom.
(The MEDIC takes SAM'S hand.)
Fireman: Ma'am, is there anybody else in there?
Jessica Abernathy: No.
(The FIREMEN open another hose and aim it at the house. The house is on f*re.)
CUT TO:
(CATHERINE and NICK carry their kits and walk toward WARRICK who is standing on the side on the driveway next to the Arson Investigator, JACK. They're both watching the f*re.)
Catherine: Hey.
(WARRICK and JACK turn around.)
Nick: What's with the 911 page? f*re's not even out yet.
Warrick: Jack's an arson investigator. We were here on this same street ten days ago.
Jack: Garage f*re a few houses down. Deemed intentional.
Catherine: So you think it's a serial?
Warrick: I don't know, but I'm keeping my eyes peeled. Maybe they came back to take a look.
Fireman: (o.s.) We got another one.
(A FIREMAN comes out of the burning house carrying a body.)
Fireman: Got another one.
(He makes his way toward the medics. JESSICA ABERNATHY is completely confused, but she recognizes her own daughter.)
Jessica Abernathy: Sabrina?
Fireman: We need a paramedic right now. She's not breathing.
(JESSICA kneels down next to her daughter.)
Jessica Abernathy: Sabrina, what are you doing here? You weren't supposed to be here. Sabrina?
(The MEDICS work on SABRINA, but she's already gone.)
Jessica Abernathy: (sobbing) Please help me. Please.
Catherine: I think our arsonist just turned into a m*rder.
(Camera rises up above the scene of the PARAMEDIC working on SABRINA as sounds of her mother sobbing are heard.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN
[EXT. ABERNATHY RESIDENCE -- NIGHT]
(The CORONERS zip up the body bag with SABRINA ABERNATHY inside and put the gurney in the back of the CORONERS' van. CATHERINE and JESSICA ABERNATHY stand off to the side watching.)
Jessica Abernathy: She wasn't even b*rned.
Catherine: Smoke inhalation happens really fast. I'm so sorry. I heard you say she wasn't supposed to be home tonight. Was she with her dad?
Jessica Abernathy: My husband died five years ago in a car accident. She ... was at her friend Molly's house for a sleep-over. At least she was when I went to bed.
Catherine: What time was that?
Jessica Abernathy: I don't know, 11:00, 11:30.
Catherine: Mrs. Abernathy, do you have any idea what may have caused the f*re?
Jessica Abernathy: I go to bed, I make sure the lights are off, lock the doors.
Catherine: Do you know anyone who might want to set f*re to your home?
Jessica Abernathy: I go to work. I take care of my kids and my mother, and that's my life.
CUT TO:
[FRONT YARD - NIGHT - CONTINUOUS]
(NICK faces the crowd and takes photos of the curious onlookers.)
Nick: Thanks a lot.
(He snaps more photos, then puts the camera down.)
Nick: Okay, folks, any information you feel like you may have...
(MARTHA JAMES taps NICK on his shoulder.)
Martha James: How am I going to get my fosamax?
Nick: Oh, well, I'll make sure you have your medications by breakfast, okay? You're going to be all right. Everything's okay.
(A FIREMAN appears and pulls MARTHA JAMES off to the side.)
Nick: This man will take care of you, okay?
[FIRETRUCK (PARKED) - FRONT SEAT - NIGHT -- CONTINUOUS]
(SAM ABERNATHY points to something up above expecting the FIREMAN sitting next to him to explain it to him. WARRICK stands just outside the open passenger seat door and listens.)
Sam Abernathy: What does that one do?
Fireman: That one? That turns on the siren, so we can get to places really fast.
Sam Abernathy: To help people burning inside?
Fireman: That's right.
Sam Abernathy: But not my sister.
Fireman: Yeah. (He puts a hand on the little boy's shoulder.) I'm sorry, buddy.
Sam Abernathy: It's okay.
(SAM looks at the FIREMAN who looks past SAM at WARRICK.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CASINO - BATHROOM -- NIGHT]
(In the middle of the bathroom floor is a very large d*ad man wearing a red shirt with "735" in white on the front.)
Brass: So the morning cleaning crew found him. No ID, but this was in his pocket.
(BRASS explains what he knows to SARA and GRISSOM. He shows the paper to SARA.)
Sara: Looks like some kind of code.
(She looks at the wordlist.)
Grissom: "735"?
Brass: His goal weight? (BRASS shrugs. He gives up while he's ahead.) I'm going to talk to housekeeping.
(He turns and leaves the rest room. SARA and GRISSOM step forward to get to work. GRISSOM puts his kit down on the floor next to the body.)
(He opens his kit and removes a camera. He takes a photo of the head wound.)
Grissom: That's a nasty head wound.
Sara: It's always reassuring to see an empty soap dispenser in a public bathroom.
(SARA hands the bagged note to GRISSOM. She leans in close over the bathroom counter and looks at the cracked mirror with blood running down the front.)
Sara: So I'm thinking this is how the vic got his head smashed in.
(Through the reflection in the mirror, we see GRISSOM stand up behind SARA to look at the mirror.)
(Quick flashback to: [BATHROOM - EARLIER] ADAM BRENNER hits his forehead against the mirror. The mirror cracks and ADAM falls back to the floor. Someone standing behind him steps aside.)
(End of flashback. Resume to present.)
(GRISSOM holds out a swab. SARA takes it from him.)
Sara: Thank you.
(She takes a sample of the blood on the mirror.)
(GRISSOM puts on his latex gloves while staring at the blood stain on the floor. He sees something on the blood.)
Grissom: It's common to find something in blood. Uncommon to find something on blood.
(SARA watches him as he picks up the black thing. He looks down at the body and checks the eyes.)
Grissom: Petechial hemorrhaging. Asphyxia.
Sara: Head bashed in and asphyxiated. No soap was the least of his problems.
(GRISSOM glances up at SARA.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
Jack (arson Investigator): (V.O.) The smoke detectors' batteries are all d*ad.
[INT. ABERNATHY RESIDENCE - SABRINA'S BEDROOM -- DAY]
(JACK, the arson investigator, shows CATHERINE, WARRICK and NICK through the house.)
Jack (arson Investigator): Sabrina's was the only bedroom that sustained any f*re damage at all.
Catherine: Her mother thought that she wasn't home.
(WARRICK takes a photo.)
Catherine: But she wasn't asleep.
Jack (arson Investigator): Not in her bed.
(CATHERINE walks over to the small space and finds SABRINA'S hide-away - books and other junk - evidence that a teenager had been there.)
(Quick flashback to: SABRINA sits in the small space reading the book while music blares in the background.)
(End of flashback. Resume to present.)
Warrick: That would explain why the firemen didn't find her right away.
(WARRICK takes a photo.)
Jack (arson Investigator): But it doesn't explain what she was doing down there.
Catherine: If you can explain the behavior of teenagers, more power to you.
[KITCHEN]
(JACK kicks at the b*rned linoleum on the floor.)
Jack (arson Investigator): Adhesive they use to put this stuff down is highly flammable. Crack in the linoleum, the f*re will just seek it out and go for it.
(CATHERINE looks up at the fluorescent lights on the ceiling. WARRICK takes a photo of the things on the floor.)
(CATHERINE looks at the b*rned stove. WARRICK tries the back door. He opens it and closes it.)
Warrick: (to JACK) This door's unlocked.
Jack (arson Investigator): The firemen said they only used one point of entry and exit: The front door.
Catherine: Mrs. Abernathy said that she locked all the doors before bed.
Warrick: Well, this could be how Sabrina got in. Comes home late, forgets to lock the door behind her. It's an opportunity waiting to happen.
Jack (arson Investigator): Let's check out the living room.
(He turns and leads them into the next room.)
[LIVING ROOM]
Jack (arson Investigator): A few cheap, wood panel walls. Polyester curtains, couple of fake plants. All highly flammable.
(CATHERINE picks up an unburned bottle of alcohol.)
Catherine: Plus ... a bar full of liquid f*re with a low flash point.
(She throws the bottle aside. JACK sees the broken table on the floor.)
Jack (arson Investigator): Coffee table.
(They both approach the remains of the sofa.)
Catherine: Couch?
Jack (arson Investigator): At some point, I think this was a couch.
Catherine: This looks like a liquid pour pattern. High-intensity burn. You think this could be the point of origin?
(Quick CGI flash to: The couch is on f*re and burning. End of flash. Resume to present.)
Jack (arson Investigator): I think this is the area of heaviest damage. The f*re spread up and out towards the kitchen.
(JACK takes out a tape measure. His voice fades into the background.)
[DOOR]
(WARRICK kneels in front of the back door and fingerprints the door knob.)
[DRIVEWAY]
(Meanwhile out in the car port, NICK looks around and finds a stack of newspapers only slightly b*rned. He moves the papers and looks at the concrete burns under it.)
[LIVING ROOM]
(CATHERINE works on the sofa when WARRICK approaches her. He puts his kit down.)
Catherine: How'd you do?
(NICK walks into the room carrying the stack of newspapers.)
Warrick: Uh, couple of weak partials. What you got, partner?
Nick: Newspapers. I found them in the carport.
Catherine: That's on the other side of the house.
Nick: Yeah, it's kind of weird. Completely out of the path of the f*re and the firemen said they didn't put them there.
Warrick: You know the f*re down the street was in the garage.
Nick: Well, maybe he started in the carport, Sabrina came home, provided access to the inside of the house.
Catherine: Did they find an accelerant at the first scene?
Warrick: Lighter fluid from the garage.
Catherine: So maybe part of the M.O. is that he uses accelerants that are present.
Nick: Let's hope he stuck around long enough to witness the damage.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(NICK and WARRICK go through the video of the observers in the crowd.)
Warrick: This is home video from the first f*re.
Nick: It looks like everybody's neighbor.
Warrick: Well, they say arsonists often commit crimes where they feel most familiar. The last f*re was set during the day in the garage when the family was out of town.
Nick: A neighbor would know when people were out of town.
Warrick: Or when the door was left unlocked.
Nick: If this is a serial situation, to go from an empty garage to a whole house full of people, we're talking about a major escalation here.
Warrick: Well, a match was found at the first f*re. If we could find a match in the debris of the second f*re, then we may know for sure.
(On the monitor, a woman stands near the f*re truck.)
Nick: Oh, she looks familiar. Hang on. I may have something.
(He goes to the next video.)
Nick: She was at both fires. I got her name off the canvas.
Warrick: Let's run her.
Nick: Yeah.
(NICK does a name check and finds something. She is:
Name: VIVA CHARLES
Address: 22 SUTTER STREET
LAS VEGAS, NV
Sex: FEMALE
Criminal Records: ATTEMPTED ARSON
MARCH 03, 2000
Nick: She has a record.
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(NICK interviews VIVA CHARLES.)
Nick: You were arrested for attempted arson?
Viva Charles: I was exonerated.
Nick: I have you on film at both fires on cell crook road.
Viva Charles: I am not an arsonist.
Nick: That's not what your file says.
Viva Charles: The law doesn't make much of a distinction between arsonists and pyromaniacs.
Nick: What is the distinction?
Viva Charles: I don't set fires for money or with the intent to cause damage.
Nick: But you do set fires?
Viva Charles: Mmm. You go home at night, and you feel a little lonely, you put in a racy video.
Nick: No, no, no. We're not talking about me.
Viva Charles: I go home, I rip open my junk mail, and I put it in the fireplace. It's an impulse control disorder ... but it's private. I don't burn down houses and k*ll children.
Nick: Maybe not on purpose, but accidents do happen.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- MORNING]
[INT. CSI - LAB - MORNING]
(GREG walks into the lab. NICK is already there with a pack on the table in front of him.)
Greg: You rang?
Nick: Yeah. Greg, how'd you like to be listed as an assist on an arson case?
Greg: Is that a rhetorical question?
Nick: Cool. I collected these matchbooks from the pyromaniac's house, who was ... kind of hot, actually.
Greg: Really? You dig chicks who dig f*re?
(NICK smiles and doesn't answer the comment.)
Nick: Yeah. This, uh ... this match was used to start a garage f*re a couple of weeks ago. See if you can find a match to ... (NICK empties the pack onto the table. Dozens of matchbooks spill out.) ... one of those. Thanks, pal.
(He pats GREG on the shoulder and leaves the lab.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(The two CORONERS work on ADAM BRENNER.)
Robbins: All right, David. The three most common ways to asphyxiate: Strangulation, suffocation and...
David Phillips: Choking.
Robbins: Good.
David Phillips: With this guy, my money's on choking.
(ROBBINS and DAVID PHILLIPS work on the body.)
Robbins: Scissors.
(DAVID PHILLIPS hands ROBBINS the scissors. He removes a portion of the body's trachea to check for blockage.)
Robbins: Hold this please. Thank you, David.
(He cuts the trachea open and finds a LOGOS piece: "S". ROBBINS looks at DAVID PHILLIPS.)
Robbins: Hmm.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(ROBBINS reports his findings to GRISSOM. GRISSOM holds up the LOGOS piece.)
Grissom: An "S"?
Robbins: Cause of death.
(Quick flashback to: [BATHROOM] ADAM BRENNER chokes on the piece.)
Robbins: (V.O.) I found it in the trachea.
(End of flashback. Resume to present.)
Grissom: So, he swallows a tile and tries to give himself a Heimlich?
(Quick flashback to: [BATHROOM] ADAM BRENNER is choking on the puzzle piece. He looks around for something to help jar it out of him. He slams himself against the counter. He tries again and hits his forehead against the mirror, cracking it. He falls to the floor.)
(End of flashback. Resume to present.)
Robbins: Or not. I found these in his stomach.
(ROBBINS shows the other letters to GRISSOM.)
Robbins: You don't swallow six of them by accident.
CUT TO:
[INT. CSI - LAB -- DAY]
(GREG works on the assignment NICK gave him. He goes through each matchbook one by one, comparing the match found at the first arson scene with every matchbook.)
CUT TO:
[INT. CSI - GARAGE -- DAY
(NICK and WARRICK go through the things brought into the lab from the crime scene. GREG walks into the room.)
Greg: Your hottie's matchbook collection came up d*ad.
Nick: Hmm. Doesn't mean she didn't do it.
Greg: True.
Nick: You know, arson's usually a property crime. Did you ever find out the Abernathys' financial situation, Warrick?
Warrick: According to Catherine, Jessica Abernathy had major credit card debt but minimal insurance-not even enough to cover what she had. Besides, people tend to remove mementos when they know what's coming.
(WARRICK picks up the b*rned photo of JESSICA and her husband. The same photo that used to be on the bedside table.)
Greg: So, if the pyro didn't do it for love, and Mrs. A didn't do it for money, who's left?
(NICK looks at the headline from the stack of newspapers found in the car port.)
Nick: Maybe the high school baseball team.
(He reads the headline out loud.)
Nick: McKinley High School Gazette.
Nick: This is tomorrow's edition with the lead story by editor-in-chief Sabrina Abernathy, entitled "Varsity Hazing Ritual." Now listen to this ... "The question is not whether the so-called student athletes should be expelled, but whether or not they should be arrested."
(The article continues:
"This latest case of Varsity hazing is having serious repercussions not only with the school, but across the entire state. The students concerned may face serious charges including involvement with prostitution. "Every four years we get a new set of students that ready to 'one-up' the previous groups ... ")
(The two paragraphs repeat.)
Warrick: Why, what'd they do?
Nick: Apparently, something with several hookers and a lot of testosterone.
Greg: Whatever happened to toilet paper and trees?
CUT TO:
[INT. CSI -- LAB]
(GRISSOM places two of the six tiles collected from the body on the table in front of him. An X and a V.)
(SARA walks into the lab.)
Sara: Hey. DNA came back. Blood from the bathroom floor's a match to the vic. Blood from the bathroom mirror is not.
Grissom: That's interesting.
Sara: Hmm. (She looks over at the pen, paper and tiles in front of him.) What are you doing?
Grissom: Anagrams.
Sara: You think the letters might be a message from the k*ller?
(GRISSOM continues to write down possibles on his list:
VEXINS
VENIXS
VEXISN
NEIS ... )
Sara: (thinking out loud) Six letters. What is that? That's 720 possible combinations, not all of them words, of course.
(She moves the tiles.)
Sara: Hmm. You, uh, missed one.
(V-I-X-E-N)
(GRISSOM glances at SARA who smiles back at him. BRASS walks into the room.)
Brass: Hey. We got an ID. Off your DB's prints. His name is Adam Brenner.
Sara: That guy has a record?
Brass: Well, sort of. He's a civil servant. He's a postal worker from Orlando.
Grissom: Do we know why he came to Vegas?
Brass: (smiles) Oh, you're going to love this.
CUT TO:
[INT. HOTEL - MAIN COMPETITION ROOM -- DAY]
(Rows of tables are set up where dozens of pairs play LOGOS at the 2004 WESTERN REGIONAL LOGOS TOURNAMENT.)
(BRASS, GRISSOM and SARA interview one of the TOURNAMENT ORGANIZERS.)
Organizer: Adam Brenner was one of our top division one players. Ranked in the high 1,800s.
Grissom: Is that like the elo system in chess?
Organizer: Logos has all the skill of chess combined with the cruel whimsy of fate. Adam once set a tournament record by scoring 735 points in a single game.
Sara: It was on his t-shirt.
Organizer: Justifiably. It's an incredible achievement.
Brass: So, how did the other players feel about that kind of smack-down?
Organizer: You actually suggesting that somebody here k*lled Adam?
(GRISSOM looks at the tournament in play in the room behind them.)
Brass: Cruel whimsy of fate. Guy's from out of town, takes a cab from ..., checks into the hotel. The only thing on his hotel bill is four meals a day. No phone calls. So everybody he talked to is in this room. We're going to need a list of his opponents.
CUT TO:
[EXT. MCKINLEY HIGH SCHOOL BASEBALL FIELD -- DAY]
(NICK interviews the Baseball team coach, RICK CHILSON, while his son, CODY CHILSON, is out on the field practicing his hitting. An OFFICER stands behind the two men.)
Rick Chilson: What's with the cop?
Nick: We're just talking.
Rick Chilson: Ah, about what?
Nick: (loudly) Sabrina Abernathy died in her home in a f*re on Saturday night.
(CODY CHILSON hears the comment and misses the ball.)
Rick Chilson: Hey! What'd I tell you -- you don't waste a good pitch!
Nick: Cody, where were you around 1:00 A.M. on Saturday?
Cody Chilson: In bed.
Rick Chilson: Cody's in bed every night at 10:00. He gets up at 5:00 to go running.
Nick: Except for the nights he's with the team pulling a train on a hooker.
(CODY lets another ball pass by as he stares at NICK.)
Rick Chilson: Cody, keep hitting.
(RICK CHILSON turns back to NICK.)
Rick Chilson: This is Vegas. Who hasn't been with a hooker?
Nick: Well, most high school seniors who are being scouted by division one schools. I don't think an expulsion and an arrest would look too good on a scholarship application.
Rick Chilson: It's a tradition. Happens every year with every team, and why that little bitch had to scapegoat Cody, I'll never know.
Nick: How 'bout you, Cody? Do you know?
(CODY misses the h*t and shakes his head at NICK.)
Rick Chilson: Look, I'm sorry the girl's d*ad.
Nick: Yeah, but you're not real sorry the whole mess died with her, are you?
Rick Chilson: Yeah, but burning the kid's house down? Come on. Give my son a little credit.
Nick: Thanks for your help.
CUT TO:
[INT. HOTEL - TOURNAMENT ROOM-- DAY]
(GRISSOM walks around the room.)
Wilson Janek: (o.s.) Hey, hey, hey, no flash drawing.
(At one of the gaming tables, WILSON JANEK calls for a word check.)
Wilson Janek: Challenge. Challenge over here.
(The WOMAN walks over to the table and checks the word, "GABBONS".)
Woman: Illegal word-- that's a minute penalty.
Wilson Janek: Time's up. Game over, baby. (scoffing) Gabbons?
Challenger: Whatever.
(He stands up and leaves.)
Wilson Janek: Like I'm really not going to challenge that.
(GRISSOM walks over to the man at the table.)
Grissom: Wilson Janek?
Wilson Janek: Yeah. Want to try your luck? Step up, baby.
(GRISSOM sits down.)
Wilson Janek: And you are?
Grissom: Gil Grissom. Nice to meet you.
Wilson Janek: Nice to meet you, Gil Grissom.
Grissom: So ...
(GRISSOM places his word on the table: ABULIA.)
Grissom: What do you hear about Adam Brenner?
(He stops his clock.)
Wilson Janek: Mr. 735? Heard he's d*ad.
Grissom: Well, he was alive last night when he b*at you.
Wilson Janek: (laughs) Gil ... you think that trash talk's going to break my focus?
(He puts his word down, BAHT, and stops his clock.)
Wilson Janek: You must be new.
Grissom: Actually ... I'm from the Las Vegas crime lab. I'm just here to collect your DNA.
(Using the H in BAHT, GRISSOM builds HADRON. He stops his clock.)
Wilson Janek: You're a quick study. But if you think I k*lled Adam, why don't you go ask Uncle Sam for my DNA? I served my country. Gulf w*r senior. Memorized word lists for a sanity check. Some guys did ping pong; I did this. I saw enough k*lling over there. I'm a "make words, not w*r" kind of guy now.
[ANOTHER PART OF THE TOURNAMENT]
(SARA takes a swab from CRAIG who is wearing a t-shirt with black lettering: ECSTACY IS A SEVEN LETTER WORD.)
Sara: Word on the floor is Adam Brenner really had your number, Craig.
Craig: The universe ebbs and flows.
Sara: More ebb than flow in your case. I guess you lost to Adam your last three tournaments in a row?
Craig's Challenger: 14 points ... times two is 28 plus 10 bonus points for full logos. 38 points.
(CRAIG smiles.)
Sara: At least you're a good sport.
Craig: (smiles) Loss for one is a win for another.
[YET ANOTHER PART OF THE TOURNAMENT]
(BRASS interviews another LOGOS PLAYER.)
Logos Player: So what if I was the last person to play Adam?
Brass: You were the last player who saw him alive.
Logos Player: What are you thinking, that with Adam out of the tournament, I could abscond with the big cash prize?
(BRASS chuckles.)
Brass: You tell me.
Logos Player: Oh, first prize here is $2,000.
(BRASS notices that the LOGOS PLAYER has his right hand tucked into his pant's pocket.)
Logos Player: Even if I win, the remuneration barely covers my airfare, accommodation and food. No, no, I don't play for the money.
Brass: You play for the glory.
Logos Player: You ever attempt a New York Times crossword, Captain? Nah, you probably wouldn't make it past Tuesday. I do Sunday ... in pen.
(BRASS puts several pieces on the holder.)
Brass: I can still spell this.
(He turns it around to show the LOGOS PLAYER the letters: DNA.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(DAVID HODGES fills CATHERINE in on the results of his analysis.)
David Hodges: GC/mass spec found no trace of accelerant on the couch residue.
Catherine: Well, how can that be? It was an obvious liquid pour pattern.
David Hodges: Well, my dear, this is why you should never pick up the couch left for curbside pickup.
(He shows CATHERINE the test results.)
David Hodges: Polyurethane foam. Outlawed in 1988 due to its highly incendiary nature. You light that crap on f*re, it heats up, creates a burning pool of liquid, and acts as its own accelerant.
(Quick flash to: The Couch is on f*re. Inside the couch, the foam melts and fuels the f*re. End of flash. Resume to present.)
David Hodges: Disaster waiting to happen.
Catherine: All it needed was a spark.
(HODGES nods.)
CUT TO:
[INT. CSI - GARAGE -- DAY]
(CATHERINE, NICK and WARRICK go through buckets of the things removed from the house.)
Catherine: We've got no accelerant. We've got no match. We have no idea what started this f*re.
(NICK finds a cigarette butt embedded in the mess. He picks it up and smells it.)
Nick: Maybe this will help. It kind of smells like a menthol.
(He hands it to WARRICK. CATHERINE picks it up.)
Catherine: Hmm, looks like a one hundred. Longer the cigarette, longer the filter.
Nick: Cigarettes are a terrible way to commit arson. Unreliable. They take too long. Possible DNA trace, but ... it just doesn't make any sense.
Warrick: It makes sense if the f*re was unintentional.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(Outside in the hallway, an OFFICER offers SAM ABERNATHY a canned drink. SAM shakes his head, no.)
(Inside the waiting room, JESSICA and her mother are interviewed by CATHERINE and WARRICK. JESSICA motions to SAM out in the hallway.)
Jessica Abernathy: I'm sorry about this. Typically, I leave with Sab ... with Sabrina, but ...
Catherine: It's fine.
Martha James: Well, why are we here, exactly?
Warrick: Well, we think we might have figured out what caused the f*re. Ms. Abernathy, does anyone in your house smoke?
Jessica Abernathy: I don't.
Martha James: Well, don't look at me. I quit twenty years ago.
Warrick: Sabrina maybe?
Jessica Abernathy: I don't think so.
Catherine: Well, we found a cigarette filter in the remains of your couch. And we need a urine sample from each of you so that we can rule you out for nicotine.
Jessica Abernathy: My house b*rned down, and my daughter is d*ad. And you're asking me to pee into a cup?
(CATHERINE looks away uncomfortable.)
Jessica Abernathy: Sure. Why not?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - DNA LAB -- DAY]
(GREG tests the urine samples. Apparently four samples in four containers. The first sample is from ABERNATHY, then from JESSICA, SAM and MARTHA JAMES. He finishes filling the tubes with the sample and takes all four and shakes them before putting them into the centrifuge.)
(He continues to process the samples.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(GREG hands CATHERINE the test results as they walk down the hallway.)
Greg: Everyone except for the little guy was getting high and getting by. The girl's on uppers, mom's on downers, and grandma sucks on the cancer stick.
Catherine: Ritalin, valium, and grandma's a liar.
Greg: Pants on f*re.
(GREG leaves.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(SCOPE VIEW of the black substance GRISSOM lifted from the blood on the bathroom floor.)
(DAVID HODGES fills GRISSOM in on the test analysis.)
David Hodges: That's the black trace you found in the blood pool. It's a mix of PVC resin and liquid plasticizer. When heated together, they form a solid elastomer film called plastisol.
Grissom: What's it used for?
David Hodges: Mostly Greg Sanders wear. Uh, names, hair band logos, inane sayings, anything that can be put on a t-shirt.
Grissom: Well, that narrows it down to just about everybody in the tournament.
(SARA appears in the doorway carrying slip of paper.)
Sara: Hey, we got a match on the blood from the bathroom mirror.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(SARA and BRASS interview the LOGOS PLAYER.)
Logos Player: Look, just 'cause I was there doesn't mean I k*lled Adam Brenner.
Brass: Put your hands on the table.
(The LOGOS PLAYER puts his hands on the table to show the bruises on his knuckles.)
Sara: You know, that's seven years bad luck.
Brass: More like seven to ten.
Logos Player: Yeah, I'm not very proud of that.
Brass: Of what?
Logos Player: I'm ebullient, you know. I-I feel the wins and the losses. The other night, I lost to a division two blue-hair. But it's not my fault. She was... she was coffee-housing the whole time.
Sara: I'm sorry? Coffee-housing?
Logos Player: You know, yap, yap, p-p-yapping.
(Quick flashback to: [TOURNAMENT] The WOMAN playing against the LOGOS PLAYER is constantly talking.)
Blue-hair Woman: So when I was at the Southern Regionals in Dallas last year, I went to the book depository. Have you ever been there?
Logos Player: Zip it, lady. I'm trying to make a play here.
(End of flashback. Resume to present.)
Logos Player: I never should have lost that one.
(Quick flashback to: [BATHROOM] The LOGOS PLAYER talks to himself in the mirror.)
Logos Player: What, are you an idiot? What, are you stupid? You're so stupid!
(He throws a punch at the mirror, smashing it.)
(End of flashback. Resume to present.)
Brass: What about Adam Brenner?
Logos Player: No, he wasn't there.
Sara: But you lost to him, too.
Brass: Maybe you took that loss even harder.
Logos Player: Adam? No way. He's ranked, what, 1,890? It's like getting art lessons from Picasso. I was honored to even be sitting at the same table with him.
(Surprised by this remark, SARA and BRASS look at each other.)
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(NICK works on putting a composite of the living room together, rebuilding the set-up from the photos of the b*rned room.)
(He puts the couch down into the room. He sets the Ignition Point and Starts the Simulation by putting the couch on f*re. He monitors the room temperature.)
(He shakes his head. The heat in the kitchen is at 650+ degrees while the Living Room is at 841+ degrees.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM #605 -- DAY]
(WARRICK interviews MARTHA JAMES.)
Warrick: Ma'am, earlier you provided us with a urine sample. We found traces of nicotine in yours.
Martha James: That's odd because I don't smoke.
Warrick: Really? Would you mind opening your purse for me?
(She opens her purse and finds the open pack of cigarettes inside. She looks at WARRICK.)
Martha James: You know what? I do too smoke cigarettes.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(CATHERINE interviews JESSICA ABERNATHY.)
Catherine: Mrs. Abernathy, did your daughter have attention deficit disorder?
Jessica Abernathy: Sabrina? No. That girl had the focus like you can't believe.
Catherine: Well, we found Ritalin in her system, and as I'm sure you're aware, ritalin is used to treat kids with ADD, but acts as a stimulant in older kids and adults. Teens use it as an upper.
Jessica Abernathy: So, Sabrina was taking drugs?
Catherine: As were you. Valium.
Jessica Abernathy: Fair enough. You know, Sabrina used to scream at me, "I can't wait till I'm old enough to move out of here." And I would scream back, "yeah, me either." What kind of mother says that to her kid?
Catherine: One with a teenage daughter.
Jessica Abernathy: You know what I pictured for this part of my life? S ... Saturday night, leave the kids with grandma, date night with my husband. Instead, I'm stuck home alone with two kids and a 70-year-old infant.
Catherine: Mrs. Abernathy ... are you covering for your mother?
Jessica Abernathy: Part of me wants to say yes, please just take her away. Let her be the state's problem. You know, she leaves the stove on, and she leaves the water running. I come home, and I find little burn marks in things. But I was with her the whole night. I never saw her smoke.
Catherine: Maybe after you went to bed, she came out into the living room.
(Quick flash to: MARTHA JAMES sleeping on the couch with a lit cigarette in her fingers. The cigarette burns down to the filter, she drops the cigarette into the couch and forgets about it. She gets up.)
(End of flash. Resume to present.)
Jessica Abernathy: I doubt it.
Catherine: But it's a possibility?
Jessica Abernathy: No. It isn't. Miss Willows, you can go ahead and judge me, but after my mother falls asleep at night, I lock her in her room.
CUT TO:
[INT. CSI - LAB -- DAY]
(NICK is in the lab opening an evidence bag. CATHERINE walks into the room.)
Catherine: Any luck?
Nick: Yeah, the bad kind. My burn scenarios don't match up with your data.
Catherine: Did you try different variables?
Nick: Ahah. Open windows, uh, drafts from vents, all of it. Here's the problem.
(NICK holds out the melted refrigerator magnet. He puts it on a metal sheet along with other melted magnets. He puts a heavy magnet on the sheet and tilts it. The melted magnets fall off onto the counter.)
Nick: Demagnetized.
Catherine: I'm not following.
Nick: Okay, the Curie point is the temperature at which all materials lose their magnetic properties, yeah?
Catherine: Mm-hmm.
Nick: Okay. For the iron in these, the temperature would had to have been 932 degrees in that kitchen.
(Quick flash to: [KITCHEN] The kitchen is on f*re and the refrigerator magnets fall off the door. End of flash. Resume to present.)
Nick: With the f*re starting in the living room, no matter how hard I tried, I couldn't get it that hot in there. It just doesn't make sense.
Catherine: Unless the f*re didn't start on the living room couch.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. ABERNATHY RESIDENCE -- DAY]
(NICK removes the ceiling light cover to show the single light melted light bulb inside.)
Catherine: An incandescent light bulb will soften at around 900 degrees, and distend in the direction of the original heat source.
(They turn and look back at the kitchen. They look back at the light bulb.)
Catherine: How did we miss that?
Nick: (shrugs) Living room was crammed with combustible materials. It received the most damage. It seems like the point of origin.
Catherine: Let's dig in.
(CATHERINE puts the flashlight down and hands NICK a shovel.)
Nick: Yeah.
(She takes her own shovel and they both get to work on digging through the rubble on the floor.)
(As they clear through the dirt, ash, soot and broken glass, they find a word b*rned into the kitchen floor: BITCH.)
(NICK and CATHERINE look at each other.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - TRACE LAB]
(The entire portion of the linoleum kitchen floor with the word, BITCH, on it is in the trace lab. DAVID HODGES removes a black b*rned substance from the word and tests it.)
CUT TO:
[INT. CSI - BREAK ROOM]
(WARRICK and NICK are in the break room working on paperwork.)
Catherine: (o.s.) Do you fondue?
(CATHERINE hands the trace test results test to WARRICK.)
Catherine: The accelerant was ethanol, methanol and petroleum jelly. Chafing dish fuel, like sterno.
(Quick flash to: [KITCHEN] Someone paints the letters on the floor. The word is on f*re. The entire kitchen burns. End of flash. Resume to present.)
(CATHERINE opens the fridge and looks inside.)
Catherine: So it has gone from intentional to accidental to personal. Who have we got?
(She takes out a water and heads back to take a seat at the table.)
(WARRICK whips out the photo of VIVA CHARLES.)
Warrick: Nick's girlfriend.
(NICK laughs.)
Catherine: She's got no personal connection to the family.
Nick: Well, Rick Chilson did call Sabrina a bitch when we were talking.
Catherine: Charming.
Nick: Yeah, he's an ass, but his alibi checks out. Surveillance at the Mirage has him playing poker the night of the f*re.
Catherine: What about Cody?
Nick: He was right there with him. But I don't think that kid takes a breath without daddy's nod of approval.
Catherine: What about suspects within the house?
Warrick: Well, who's there? Grandma? I mean aside from being on lockdown, she's arthritic. I don't see her writing on the floor. What about Jessica?
Catherine: She seems more frustrated than desperate. Frustration shows you still care.
Nick: And the son, Sam?
Catherine: I don't think so. "Bitch." It's such a teenage girl word.
Warrick: That brings us back to Sabrina.
Nick: Well, she did think the baseball team had it in for her. Her family life was no picnic.
Warrick: What are you saying, she's on a kamikaze mission? Trying to take the whole family down with her?
Catherine: I might be willing to buy that, but how do we prove it?
CUT TO:
[INT. CSI -- LAB]
(SARA has a box of the LOGOS game out on the table. She uses ADAM BRENNER'S notes to reconstruct the game. On the table next to her is a list of the 2004
PLAYER MATCHING.)
14-APR-04
ALAN DERSHON VS. RAY ADAMS
REGGIE LENSEN VS. LOUIE RAYCOMB
GEORGE HANSEN VS. RICK WESTEL
ROBERT TRIGGS VS. PAUL BYERS
HENRY CROSSER VS. BOB GOOD
KURT HESTEGARD VS. LANCE BOTHEL
LESTER RINEHART VS. RON HENRY
VAN HOSKINS VS. BILL JONES
PETER HINES VS. JOSEPH HICKS
DOUG HESTE VS. BURT KLEIN
ADAM BURROWS VS. WILSON JANEK
WILLIAM LEWIS VS. ADAM WESTEL
TOM CESTER VS. DANNY RIGGS
DARREL WALTERS VS. PACO WESCOTT
LES MOONVES VS. CHRIS CARDAMO-
SCOTT WENDOVER VS. PETER BOSCO
AVERY PIERCE VS. JOE DICAPRIO
TED BUNDY VS. FRANK LEWIS
DAN O'MALLY VS. LOUIS -
etc.
(SARA reconstructs the game. She studies ADAM BRENNER'S word list notes.)
CUT TO:
[INT. CSI - A/V LAB]
(SARA shares her findings with GRISSOM. On the overhead projector, she has ADAM BRENNER'S word list up on the wall.)
Sara: Adam Brenner was a meticulous note-taker. He documented every turn of every game he ever played.
Grissom: How many words used the letters we found in Adam's body?
Sara: None, actually, at least none with that exact combination. But here's the weird part. One the games didn't add up.
(SARA puts the word list and a photo of CRAIG up on the overhead.)
Sara: When Adam played Craig, he had 60 points written down that I couldn't account for. And on that same page of his notebook, I noticed that something had been erased.
(She points to the word: RESIFT (3).)
Sara: So I ran it through ESDA. Adam played "exvin." Everything but the "S,"
60 points.
Grissom: What's an "exvin"?
Sara: You know, I was kind of hoping you'd know. It's not in the OED.
Grissom: Well, according to the rules, if you play a bluff and your opponent challenges, you have to take the tiles back, you lose a turn and a minute off your game clock. No points.
Sara: Right, and later in that same game, Craig played an "X." Loxodrome. Now there's only one "X" per game. How did he get it?
CUT TO:
[INT. CRAIG'S HOTEL ROOM]
(SARA goes through CRAIG'S LOGOS set.)
Craig: What are you looking for?
Sara: A six-letter word.
(GRISSOM goes through CRAIG'S things and finds a g*n. He picks it up and holds it up.)
Grissom: P-I-S-T-O-L? It's not the word we were looking for, but it's interesting.
(Near the tip of the g*n, GRISSOM sees some dried blood.)
Grissom: It's got blood on it.
Craig: It's a replica. I belong to a communist club. We collect replicas from the fall of the soviet union. And I found that tokarev downtown at a pawn shop.
Grissom: Hmm. A fake g*n for a fake word?
(Quick flashback to: [TOURNAMENT] ADAM BRENNER plays a word: EXVIN. He stops the clock.)
Craig: Exvin?
Adam Brenner: A wine afficionado who no longer drinks. Exvin.
(CRAIG adds an S to the word. He smiles.)
Craig: Exvin-S.
(ADAM BRENNER immediately raises his hand.)
Adam Brenner: Challenge!
(Realizing that he's been set-up, CRAIG glares at ADAM.)
(End of flashback. Resume to present.)
Sara: There are six letters missing from your game box. E-X-V I-N-S. You made Adam eat his word.
(Quick flashback to: [BATHROOM] ADAM flushes the toilet and turns around. CRAIG walks up to him and hits him in the mouth.)
Craig: Yeah, huh? You think you're so clever? I'll let you have some Exvins for dinner.
(He shoves the g*n into his stomach and forces the letter pieces down his throat.)
Craig: Here. Huh!
(He continues to shove the letters down his throat. Then ADAM chokes.)
(End of flashback. Resume to present.)
Craig: I just wanted to make it as hard for him to swallow as it was for me. Karmic retribution.
Sara: Did you do anything to help him after he started choking?
Craig: No. I thought it was another fake-out.
Grissom: How about after he fell down on the floor and stopped breathing?
(CRAIG says nothing.) Out of words?
CUT TO:
[INT. ABERNATHY RESIDENCE - KITCHEN -- DAY]
(CATHERINE and WARRICK are back at the house. They each have an ALS and are looking through the house.)
Catherine: This is old school hydrocarbon detection.
Warrick: Oh, yeah.
Catherine: Chafing dish fuel is alcohol-based, but water would have washed away any trace.
Warrick: Let's just hope that whomever wrote it touched something else.
Catherine: Well, it's the only sh*t we've got, I guess.
(They find something on the bedroom door knob.)
Catherine: Hmm. Take a look at this.
Warrick: Well, that's good sh**ting.
(CATHERINE opens the bedroom door and walks into SAM'S room.)
(They use the ALS inside the bedroom and find something in the trash.)
Catherine: Oh. (She looks at WARRICK.) h*t the jackpot.
Warrick: I've got some smudges over here, too.
(He shines the light on the bed. Hidden under the mattress, they find dozens of matchbooks and a plastic lizard.)
Catherine: Mom was locking the wrong door.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(JESSICA talks with her son.)
Jessica Abernathy: They're going to ask you some questions about the f*re at our house. And you'd better start talking, mister.
(CATHERINE opens the door and calls JESSICA out of the room.)
Catherine: Mrs. Abernathy, would you come with me, please?
(JESSICA ABERNATHY stands up and leaves SAM. The door closes behind her.)
(The door opens and WARRICK enters the room carrying a file folder and a mug. He sits at the table opposite SAM.)
Warrick: Hey, Sam.
(WARRICK puts the mug down on the table in front of SAM. He opens the file folder.)
Warrick: You okay?
(SAM stares at WARRICK.)
(WARRICK reaches into his jacket pocket and takes out a box of matches.)
Warrick: So tell me, what kind of things you like to do on the weekends?
(WARRICK empties the box of matches onto the table in front of SAM.)
Sam Abernathy: Watch tv, hang out, play.
(WARRICK lights a match and holds it up in front of SAM.)
Warrick: Like to play with matches?
Sam Abernathy: Sometimes.
Warrick: Why is that?
Sam Abernathy: f*re is cool.
Warrick: Yeah.
(WARRICK throws the match into the mug of water, extinguishing it.)
(SAM looks expectantly at WARRICK. WARRICK nods. SAM picks up the box of matches. He picks up a match and lights it. He puts it out in the mug of water.)
Warrick: You ever have trouble sleeping at night?
Sam Abernathy: Only when I got woken up.
(SAM picks up and lights another match.)
Warrick: Is that what happened Saturday?
(SAM nods.)
(Quick flashback to: [BEDROOM] SABRINA knocks on the back door. SAM looks outside.)
Sabrina Abernathy: I lost my key. Let me in.
(SAM opens the back door for SABRINA.)
Sabrina Abernathy: Thanks, dude.
(She walks into the room. SAM shuts the door behind her.)
(End of flashback. Resume to present.)
(SAM strikes another match and puts it out in the mug.)
Warrick: Couldn't go back to bed?
Sam Abernathy: I got a little bit hungry.
(Quick flashback: [KITCHEN] SAM looks through the cupboards and takes out a box of something. In the back of the same shelf is the CHAFING DISH FUEL in a small container.)
(End of flashback. Resume to present.)
Warrick: What'd you find?
Sam Abernathy: Purple jelly.
Warrick: Purple jelly?
(SAM strikes another match and puts it out in the mug.)
Warrick: Did you eat it?
Sam Abernathy: No. Mom uses it for the chocolate pot on our birthdays.
Warrick: That sounds like fun.
Sam Abernathy: Yeah ... except stupid grandma isn't allowed to have chocolate, so we couldn't do it this year.
Warrick: Oh ... that must've made you mad.
Sam Abernathy: Ever since grandma moved in, we can't do anything fun.
Warrick: So, what happened next?
Sam Abernathy: I played for a while.
(Quick flashback to: [KITCHEN] SAM takes a handful of the fuel and writes on the kitchen floor: BITCH.)
(He lights a match and sets the word on f*re. SAM gets up and leaves.)
(End of flashback. Resume to present.)
Warrick: Then what?
Sam Abernathy: I went to bed ... (SAM perks up) ... and then the firemen came and rescued us.
Warrick: You like when the firemen come?
Sam Abernathy: (excited) Yeah. They're so nice. They talked to me and showed me all their cool stuff. This one named George -- he said maybe someday I can meet his dog.
Warrick: You know, Sam ... that word that you wrote on the floor ...
[OBSERVATION ROOM]
(JESSICA listens and cries.)
Warrick: you know, that's a really bad word.
Sam Abernathy: I hear it all the time. My grandma says it.
(In the interview room, SAM strikes a match and puts it out in the mug.)
Sam Abernathy: My mom says it.
(SAM strikes another match and puts it out in the mug.)
Sam Abernathy: And my sister says it.
(He strikes another match.)
Sam Abernathy: Well... she used to say it.
(He blows the match out and watches the smoke rise up from the b*rned match. He drops it into the mug.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x19 - Bad Words"} | foreverdreaming |
FADE IN:
[EXT. DESERT -- NIGHT]
(Open on a dark screen.)
CUE MUSIC
(Off in the distance, we make out the horizon. Just beyond that is the faint impression of lights approaching in the distance.)
(The lights arrive. They bounce up and down in the night. More lights appear showing us a group of people far off in the distance carrying flashlights and running.)
(From up above, a search light from a flying helicopter appears to be shining down on the approaching group of people. As the people get closer, we see added red and blue lights in the background from police officer cars slowly following them.)
(Leading the way are two police officers on motor bikes. Following the motorbikes is the group of runners.)
(They get closer to the camera, we see that they are Desert runners out on a competitive run. The first wave of runners pass the camera. The middle of the group approaches. Taking up the rear are eight police cars. The last plane car carries a sign on its roof: THE LAW ENFORCEMENT DESERT RELAY.)
(It's a healthy group of people running a relay. The approaching group heads toward the second group, in the runners grips are their batons.)
(In this current group, SARA holds the baton as she runs.)
(One by one, runners hand off their baton to the next runner up on deck.)
(SARA hands off to NICK, #88. He grabs the baton and takes off. SARA finishes her leg of the race and catches GREG in a hug as she comes to a stop.)
(NICK takes off. Several dissolves shows him running, grabbing a water bottle off the water stand for hydration and continuing his run.)
(Dissolve to: WARRICK runs the next leg.)
(Dissolve to: An overhead sh*t of the race as it continues.)
(The opening music fades and the sounds of the helicopter flying overhead takes over.)
(Dissolve to: CATHERINE runs the next leg of the race to sounds of Vangeliss'
"Chariots of f*re". She glances over at GRISSOM driving the car next to her.)
Catherine: (irritated) What the hell kind of music is that?
Grissom: Inspiration.
Catherine: Sedative.
Grissom: Okay.
(He changes the radio station and a country song plays.)
Lyric: Sitting single / drinking double ...
Grissom: How's this?
Catherine: How about something that doesn't twang?
(He changes the station once more.)
Lyric: I said are you gonna be my girl?
Catherine: Better.
(Rock music plays and CATHERINE continues to run. Off in the distance, a flashing red light catches GRISSOM'S attention.)
Lyric: one, two, three, take my hand and come with me / because you look so fine / that I really wanna make you mine / I say you look so fine...
(CATHERINE continues to run straight ahead as GRISSOM turns the car and makes his way toward the flashing red light. CATHERINE stops)
Catherine: (shouts) Hey, Grissom!
(GRISSOM takes off.)
Catherine: Grissom!
(CATHERINE stops running and watches as GRISSOM speeds off and away, a cloud of dust in his wake.)
(CATHERINE sighs and takes off after him.)
Catherine: Grissom!
(Cut to: GRISSOM stands just outside his parked car. He shines his flashlight down on the ground in front of his feet looking at something.)
Catherine: (panting) Gris-s-som!
(She falls against the park car, pissed more than ever at him.)
Catherine: God! What, are you taking a leak?
(She limps over to him, still not seeing what he's looking at.)
Catherine: (angry) The follow car is supposed to stay with the runner. We've been training for months, man. Twenty CSIs. A hundred twenty miles.
Grissom: Don't blame me. Blame him.
(He points to the d*ad body in front of him.)
Grissom: I saw his flasher from the road.
(CATHERINE immediately goes into work mode.)
Catherine: Good call.
Grissom: Fresh cut on his forehead. But the corneas usually take days to gloss over.
Catherine: Weird. The race just started.
(They both kneel next to the body. CATHERINE reads the badge patch on the d*ad runner's jacket.)
Catherine: L.A. County PD. Special Enforcement Squad. Badass. Hardcore badass. Give me some more light here.
(GRISSOM shines the flashlight on the d*ad body's knuckles.)
Catherine: That looks like a recent injury. There's no scab. Fight?
Grissom: Maybe.
Catherine: Would you give me your phone?
(GRISSOM hands CATHERINE his cell phone. She makes a call.)
Catherine: (to phone) Uh ... Uh, this is CSI Willows.
(GRISSOM notes the d*ad body's runner's number plate, 3.)
Catherine: (to phone) I'm at highway 160, halfway through leg 16 of the Desert Relay. We got a 419, officer down. Notify Captain Brass.
(GRISSOM sees a fiber just barely latched onto the d*ad body's outfit and flapping in the wind. GRISSOM grabs it and looks at it in his flashlight. She hangs up.)
Catherine: Barehanded, huh?
Grissom: Well, collect it or lose it. Ten years ago nobody would've known the difference.
Catherine: Ten years ago we wouldn't have been able to get DNA off that fiber.
Grissom: I'll find something in the car to bindle it.
Catherine: Time of discovery: 4:32. I'll put it in the report.
(CATHERINE exhales.)
Catherine: So much for the race.
Grissom: Well, at least we didn't come in last.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. DESERT -- DAY]
(The wind blows the sand away from a shoe print as CATHERINE tries to take a picture of it. DAVID PHILLIPS is with the body logging in the necessary information.)
(Down below on the main road, runners continue to pass by.)
(GREG stands nearby as he draws the crime scene noting the "power tower", the
"clearing" and the distance from the road (69'-3").)
(On the side, BRASS talks with DET. VARTAN.)
(CATHERINE tries to snap the photo of the shoe print. She lifts the camera, looks at the print, puts the camera down and sighs. GRISSOM is looking at something on the ground nearby.)
Catherine: So much for that shoe print.
(GRISSOM notes the red stain on the underside of a rock.)
Grissom: This could be blood on this rock.
(GRISSOM reaches for a bag.)
Catherine: How many cops are in town this weekend?
Grissom: Twenty thousand. And the road is closed to civilians.
Catherine: Spring break with a badge. (GRISSOM bags the rock.) Well, this ought to be fun. Every suspect's in law enforcement.
(Meanwhile, DAVID PHILLIPS finds a receipt in the d*ad body's pants pocket. He tucks it in a plastic bag. GREG continues drawing the scene. Next to them is LT. MENDEZ. He stands over them watching them processes the crime scene.)
David Phillips: So, how was your run?
Greg: I'm still alive.
David Phillips: That's everything.
(DAVID PHILLIPS hands the bag of contents to GREG. GREG takes the bag and looks at the receipt for a $300.00 ATM withdrawal on 04/27/04 from:
FIRST MONUMENT BANK
Greg: ATM receipt. No card, no cash?
David Phillips: Well, he was in a race.
Greg: Maybe someone took his wallet.
(BRASS talks with LT. MENDEZ.)
Brass: So, Lieutenant Mendez, tell me about your teammate.
Mendez: Tim Coleman. Newest boot. Two months in. Came right out of patrol. Best cop at Carson Station.
Brass: Well, I mean, he's got to be in shape. I heard your training's as tough as SWAT.
Mendez: SWAT's LAPD. We're S-E-S. We're better. Better conditioned, better prepared. (He points to GRISSOM & his team working the crime scene.) Those the best you got?
Brass: Yeah. Yeah. You got lucky.
Mendez: (helpfully offers) Well, if they're not, I'll fly mine in.
(BRASS chuckles.)
Brass: Let me put it to you this way, I'd want them investigating my m*rder.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(DR. ROBBINS goes over his preliminary findings with GRISSOM as they both stand around the body on the table.)
Robbins: Other than the fact that he's deceased, this guy is in excellent physical condition.
Grissom: (points) Except for that head wound.
Robbins: Eh, superficial. Could be from a fall. Your bloody rock may be incidental.
Grissom: (points) What about the bloody knuckles?
Robbins: Injury on the back of his hand. Maybe an altercation of some sort.
Grissom: So cause of death?
Robbins: No cerebral issues. No primary indicators.
Grissom: We go to the fallback position.
Robbins: Cardiac arrest.
Grissom: This guy was 25 years old.
Robbins: Didn't say I was finished. Clouded corneas tipped me off. Look at the liver. (He hands the metal dish with the organ inside to GRISSOM. Camera zooms in for a close up.) His serosal surfaces are unusually dry. His urine was minimal and dark brown.
Grissom: Dehydration.
Robbins: Well, the race isn't the only reason these guys come to town. It's a good party.
Grissom: Too much running, too much partying?
Robbins: L.A. S-E-S. They go all out.
Grissom: Work hard, play hard, die young, leave a good-looking corpse.
(Camera holds on the body on the table.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(GRISSOM enters the hallway looking through a file folder.)
Catherine: Grissom.
(CATHERINE joins him and they continue walking down the hall.)
Catherine: Tox came in. Tim Coleman had 75 mics per mil of furosemide in his system.
Grissom: Blood pressure medication? There's no history of that in his medical records.
Catherine: And it was a high dose, but not a lethal one.
(They walk into GRISSOM'S office.)
[INT. CSI - GRISSOM'S OFFICE - DAY - CONTINUOUS]
(GRISSOM leans back against his desk.)
Grissom: But it is a diuretic. Could explain the dehydration.
Catherine: And the drug can also cause muscle cramps, ...
(Quick flash to: [EXT. DESERT - NIGHT] A lone runner is confused and running in the desert.)
Catherine: (V.O.) ... dizziness, confusion, blurred vision, restlessness.
(End of flashback. Resume to present.)
Catherine: That could explain how Tim Coleman ended up where he did.
Grissom: How'd the furosemide get in his system in the first place?
(CATHERINE shrugs.)
CUT TO:
[EXT. - DAY]
Announcer: (over P.A.) Listen up, people. ... Are one hour out and the party's raging here at the finish line.
(WILL WARSHALL walks up to MENDEZ.)
Will Warshall: Too bad you guys bet on the wrong horse.
(MENDEZ throws his drink to the side, offended.)
Mendez: Maybe you forgot. One of our own died out there in the dirt.
Will Warshall: Yeah, I'll drink to his memory. You want to make the toast?
Catherine: Am I interrupting something?
Mendez: No.
Will Warshall: Later, Pogue.
(WILL WARSHALL walks away. CATHERINE nods toward the bags.)
Catherine: Um, are those bags brought in from the race?
Mendez: Yeah.
Catherine: I'm going to need Tim Coleman's.
Mendez: Sure. On the job, we come across a scene like this, we call them a bunch of degenerates. We'd be rounding half these guys up. I am not going to miss this.
(He takes a drink out of his beer bottle.)
Catherine: You're not going to miss the competition?
Mendez: I just made lieutenant. I got nothing to prove anymore.
Catherine: A man with nothing to prove. Now that would be a first.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(NICK is walking through the hallway when GREG catches up with him.)
Greg: Got a second?
Nick: Sure, what's up?
Greg: On a hunch, I ran a bank trace on Tim Coleman. I got a h*t. A three hundred dollar withdrawal on his ATM card, 4:06 A.M. today.
Nick: That's about nine hours after he died. Good hunch, Greg-o.
(GREG stops walking; NICK continues down the hallway.)
Greg: Thanks. (b*at) I also got surveillance video from the bank.
(NICK stops in his tracks.)
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB - LATER]
(GREG shows NICK the video of ATM #94286 from Holyfield/Maryland Pkwy at 4:06 a.m.)
Greg: This ATM's on the corner of Holyfield and Maryland parkway. Since that's definitely not Tim Coleman, maybe it's our k*ller.
Nick: Or at least, a thief.
Greg: Well, all we got to do now is match a name with the face. Write up a description, send it off to dispatch for broadcast.
(GREG starts to write out the forms. NICK looks at the video and sees something in the background.)
Nick: There might be an easier way.
Greg: Huh?
(NICK points to the sign at the establishment across the street.)
Greg: Fast 'n Fresh Burgers.
(NICK then points to the MAN'S shirt with the matching logo.)
CUT TO:
[INT. CSI - TRACE LAB - DAY]
(GRISSOM looks through the scope.)
(Scope view. Camera pushes in through the scope at the fiber magnified.)
David Hodges: (V.O.) This is the thread you pulled off the runner's body.
Grissom: Natural fiber?
David Hodges: Mercerized cotton. Extremely strong.
(Quick CGI POV to: A close up of the fiber in a red background liquid solution which is drawn into the fiber.)
David Hodges: (V.O.) Fibers are placed in a caustic solution, splitting the fibers apart and providing an increased surface area to absorb the dye. Once it dries, it's exponentially stronger.
(End of CGI POV. Resume to present.)
David Hodges: This kind of thread is used in machine quilting and embroidery.
Grissom: Like on a sports uniforms.
CUT TO:
[EXT. PARKING LOT - DAY]
(The crowd cheers as the runners slowly reach the finish line.)
Announcer: (over P.A.) Here they come, folks! It's still SWAT and SES fighting for the lead.
(GRISSOM makes his way through the crowd. He watches as two runners, numbers 3 and 2, race to be the first over the finish line.)
Announcer: (over P.A.) It's down to SWAT and SES!
(The crowd cheers as runner #3 makes it over the finish line first. The time clock reads: 13:24:00.52.)
Announcer: (over P.A.) LAPD SWAT wins the first time in eight years. Coming in at 13 hours, 24 minutes.
(GRISSOM watches as runner #3 celebrates with his team mates and other people from the division. He looks carefully at the runner's jacket and notes the red embroidery.)
(He smiles.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. PARKING LOT -- DAY]
(GRISSOM interviews RUNNER #3.)
Runner #3: For the last six years, I ran the toughest leg of the relay ... against the same guy from SES.
Brass: But this year, there was a new guy.
Runner #3: Yeah, this cocky kid shows up.
(Quick flashback to: [NIGHT] As RUNNER #3 warms up, TIM COLEMAN walks up to him to psych him out.)
Tim Coleman: You're my competition? I thought this was supposed to be the hardest leg.
(End of flashback. Resume to present.)
Runner #3: Typical SES, all mouth.
Brass: What'd you do?
Runner #3: Ignored him.
(GRISSOM notes RUNNER #3's head wound.)
Grissom: Looks like you got in a fight?
Runner #3: Hey, I was here to race. He cold-cocked me. I never threw a punch.
Grissom: We found red fibers on him that may match your jacket.
Runner #3: I'm SWAT. I subdued him.
(Quick flashback to: [EXT. NIGHT] RUNNER #3 and TIM COLEMAN are fist fighting. End of flashback. Resume to present.)
Grissom: Mind if we take your jacket to confirm?
(He removes his jacket and gives it to GRISSOM.)
Runner #3: Knock yourself out. Not going to find any blood on it.
(GRISSOM notes the frayed embroidery on the jacket.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(NICK interviews CLYDE GRIMES, the ATM user.)
Nick: Had a real good talk with your manager, Clyde. How's Fast 'n Fresh treating you?
Clyde Grimes: I'm up to $8.75 an hour.
Nick: I guess this kind of beats saving up, huh?
(NICK puts down the photo of CLYDE in a wide-mouthed yawn in front of the ATM camera.)
Clyde Grimes: Look ... is my wife here? (He points to the mirror.) Is she behind the glass or something?
Nick: I'll be talking to her soon enough.
Clyde Grimes: Oh, come on, now. Is that really necessary? I mean, I'm just a regular guy ...
Nick: Hey, regular guys don't steal $300 with a d*ad cop's ATM card, man!
Clyde Grimes: d*ad cop?! What are you talking about? Those three bills -- that's-that's my money. All right, technically, it's my wife's, but ...(whispers) ... I-I sell this tight little Asian chick a three dollar tasty meal. She says for $300, I can get a very tasty meal. (normal voice) I was about to go on my break anyway. My wife's not behind that glass, right?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HOTEL - HALLWAY - DAY]
(DET. VARTANN fills in WARRICK and SARA as they head to the hotel room through the hallway.)
Det. Vartann: Hotel security came up on a noise complaint. Found two DBs. Room's registered to a uniform officer, Manny Senteno.
Sara: One of ours?
Det. Vartann: Laughlin PD, but he carries tin, so that makes him family.
(They open the hotel room door and step inside.)
[INT. HOTEL - ROOM - DAY - CONTINUOUS]
(They immediately see the first body on the floor near the bed.)
Det. Vartann: Female vic's Patricia Fielding. Also PD. Bakersfield.
(SARA puts her kit down by the female victim. WARRICK snaps a photo of the second body on the other side of the bed.)
Warrick: He check in alone?
Det. Vartann: Yeah, day before yesterday. Issued one key, but his itemized bill shows lots of room service for two.
Sara: A wife or girlfriend would probably be on the register.
(WARRICK snaps more photos. He looks at the things on the dresser counter, the luggage and the other counter.)
Warrick: Looks like it's all his stuff. I don't see a purse around here. Guy's away from home, unwinds with some opportunity sex ... (He sees the condoms on the dresser.) Looks like he came before he went.
(SARA picks up the g*n from PATRICIA FIELDING'S hand.)
Sara: Glock 19, standard police issue.
(WARRICK snaps another photo.)
Sara: There's something on the slide.
(She takes out something from the g*n, looks at it and puts it in a bindle. She checks the cartridge.)
Sara: Fourteen rounds left. Fifteen-round magazine.
Warrick: Any good cop keeps one racked in the chamber. Two b*ll*ts, two bodies.
(Quick flash to: [POSSIBLE SCENARIO - HOTEL ROOM - DAY] PATRICIA FIELDING points the g*n at MANNY SENTENO.
Manny Senteno: Put it down!
Patricia Fielding: You dare me?! Put it down!
(She fires. He falls. She sh**t herself. She falls to the floor.)
(End of scenario. Resume to present.)
Warrick: I'm thinking straight-up m*rder/su1c1de.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - LAB - DAY]
(CATHERINE and GRISSOM look through the contents of TIM COLEMAN'S gym bag.)
Catherine: Tim Coleman's gear bag. Gym clothes, towel, vitamins, pocket Kn*fe.
Grissom: Protein bar wrapper, empty water bottle, banana peel. Why the trash?
Catherine: Well, you know, there's a five-minute penalty if you litter the race course.
Grissom: Oh. What's the best way to get chemicals into your system?
Catherine: Injection.
Grissom: But there was no evidence of that. Second best?
Catherine: Ingestion.
(GRISSOM picks up the water bottle labeled, "COLEMAN".)
(Cut to: GRISSOM tests the water in the water bottle.)
(Cut to: CATHERINE tests the vitamins.)
(Several cuts of both GRISSOM and CATHERINE testing their stuff.)
(GRISSOM gets the Trace Lab Print out.)
Grissom: Trace amounts of furosemide in his water bottle.
Catherine: Someone spiked his drink.
CUT TO:
[EXT. HOTEL - PARKING LOT / LOBBY - NIGHT]
(There's a party at the hotel/motel. CATHERINE makes her way through the pool-side party toward BRASS who is talking with the WILL WARSHALL, the man in the yellow shirt.)
Catherine: Jim.
Brass: Will Warshall, this is Catherine Willows from the crime lab.
Will Warshall: Hi. There is something very wrong in the world if a woman like you is only handling test tubes.
Catherine: Well, if you think that's all I handle, you're not as smart as you think. So, you're the L.A. County team medic, right? That means you're responsible for making sure that all your team mates are well hydrated.
Will Warshall: Yeah.
Catherine: Including Tim Coleman.
Will Warshall: Yeah. Hell of a thing, that.
Brass: You're currently #1 on the SES's transfer list. Same spot you were two months ago when they bypassed you to transfer in Tim Coleman, right?
Will Warshall: Six months I'm on the top of the list. January 31 comes, and they reach over me and take Coleman.
Brass: That's the cutoff date to run in the race. Coleman was a ringer.
Will Warshall: Ding-ding. SES transferred him in for speed, not skill. Might not be another opening for years. I'm not getting any younger. And after all of that, Coleman doesn't even run.
Catherine: He had a good excuse. Did you give it to him?
Will Warshall: If I'm going to k*ll a guy, I'm not going to do it with twenty thousand cops around.
Catherine: Well ... sounds like you've been giving it some serious thought.
Will Warshall: Well, every cop does. My way? A sn*per sh*t ... two hundred meters out. Coleman'd never even hear the "am" in "blam."
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY - DAY]
(The door opens. SARA and DET. VARTANN walk in with MRS. SENTENO. They stop in front of a cloth-covered body on one of the morgue tables.)
(DET. VARTANN walks over to the head of the table. He looks at MRS. SENTENO to see if she's ready to identify the body.)
Det. Vartann: Okay?
(She braces herself and nods. DET. VARTANN pulls the sheet away.)
Det. Vartann: Mrs. Senteno, is this your husband?
Mrs. Senteno: He doesn't wear his hair like that.
(SARA watches her with concern. DET. VARTANN glances back at SARA, then addresses MRS. SENTENO.)
Det. Vartann: There's some forms for you to sign, then we can talk in the lounge.
(DET. VARTANN moves to put the sheet back, but MRS. SENTENO stops him.)
Mrs. Senteno: What happened?
Sara: Mrs. Senteno, we haven't finished our investigation yet, but your husband died from a g*n wound.
Mrs. Senteno: Who sh*t him?
Sara: We don't know.
Mrs. Senteno: Where was he found?
Sara: In his hotel room.
(She notices the second body on the table in the room, a toe tag hanging from a well-pedicured painted toe.)
Mrs. Senteno: He wasn't alone, was he?
Sara: No.
Mrs. Senteno: I married a cop. With that comes alcohol and women to take the edge off. First time ... he said it meant nothing. He promised never to do it again. By the third time ... I told him to stop confessing. I wasn't going anywhere.
Sara: Don't ask, don't tell.
Mrs. Senteno: I wasn't willing to trade my family for the flavor of the month. That doesn't make me pathetic.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(WARRICK steps out of the room and catches SARA in the hallway.)
Warrick: What happened? Break the bad news to the wife?
Sara: Oh, I didn't have to.
Warrick: Women always know, huh?
Sara: Not always.
Warrick: I think so. Women always know when the man is straying.
Sara: What are you, the voice of experience?
Warrick: (laughs) No. I'm a really nice guy.
Sara: Oh, I believe you.
(They head for the labs. WARRICK shows SARA the file folder he's carrying.)
Warrick: Well, you need to believe this. There was one b*llet in each of the bodies. They both came from the glock. And the prints on the glock are from a female, so it's still looking like a m*rder/su1c1de.
(She takes the file folder from him and turns to walk into the trace lab.)
Sara: All right.
[INT. CSI - TRACE LAB - DAY - CONTINUOUS]
(SARA walks up to DAVID HODGES.)
Sara: Hey. You anywhere on my fibers?
(She puts the file folder on the counter.)
David Hodges: I'm dealing with a lot of things today. My phone has been ringing off the hook. CSI is taking a ton of crap because we didn't finish the race.
Sara: There was a d*ad cop in the desert.
David Hodges: That's what I kept telling them, and they tell me, "good excuse."
(He shows the test results to SARA.) The white fibers found on the g*n slide is tissue: The common nose-picking variety with g*n oil residue.
Sara: Are you saying that the g*n was wiped down and the prints were planted?
(Quick flashback to: Someone wipes down the g*n before putting it in the d*ad woman's grip. End of flashback. Resume to present.)
David Hodges: No, you're saying that. I don't get to say that. But somebody else could've pulled the trigger.
(Camera holds on SARA'S surprised look.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - PRINT LAB -- DAY]
(JACQUI FRANCO shares her findings with SARA.)
Jacqui Franco: Manny Senteno's prints are all over the room, including the champagne bottle and one of the glasses.
Sara: What about Patricia Fielding's?
Jacqui Franco: Hotel room door, inside knob. And the m*rder w*apon.
Sara: That's it? (JACQUI nods.) Are you sure?
(She turns and looks at SARA, surprised to even be asked that question.)
Sara: I-I'm sorry. It just doesn't make any sense. The sex kits came back negative, and now this. I mean, that room reeked of musk.
Jacqui Franco: Well, maybe he swapped fluids with someone else. There was a third set of prints. I ran it through AFIS. Got a h*t on a cop. Another one.
Sara: Lydia Lopez, Bakersfield PD. That's the same division as Patricia Fielding's.
CUT TO:
[INT. CSI - LAB - DAY]
(CATHERINE fills GRISSOM in.)
Catherine: Well, according to histology, Tim Coleman's muscle cells were hyper-hydrated, yet his body was dehydrated.
Grissom: Well, that condition's normally associated with drug abuse.
Catherine: Right. But apart from the furosemide, his tox was negative. So, I took another look at the guy.
(CATHERINE puts the autopsy photos on the table in front of GRISSOM.)
Catherine: Buff, cut, aggressive. Made me think steroids.
Grissom: Kind of risky for a cop, considering they're subject to random drug tests.
Catherine: Well, steroids are controlled, but creatine isn't. It's a legal way to bulk up.
(She shows GRISSOM the test results.)
Drugs Level
Analyses Found
-------- ------
Steroids Negative
Creatine Positive
Catherine: Tim Coleman was using it. Creatine pulls the potassium from the blood and moves it into the muscles.
(Quick CGI POV to: The muscles thicken. Cut to: The runner sets up and prepares to run. End of quick CGI POV. Resume to present.)
Grissom: Dehydrating the body in the process.
Catherine: Exactly. And you add furosemide to it, and you get a severe electrolyte imbalance.
Grissom: Leading to arrhythmia, and consequently cardiac arrest.
(Quick flashback to: TIM COLEMAN runs his leg. His heart is beating too fast. He trips and falls. Quick CGI POV to: Close-up a beating heart. He struggles to get to his feet. Resume to present.)
Grissom: So, what's our problem?
Catherine: The dose. (GRISSOM grabs the test results.) There wasn't enough furosemide in the water to make that happen.
CUT TO:
[INT. HOTEL/MOTEL ROOM #217 - HALLWAY -- DAY]
(WARRICK and SARA head back to the hotel room.)
Warrick: Lydia Lopez -- the girl next door.
(SARA knocks on the door. There's no answer. She calls out.)
Sara: CSI. Hello. (She knocks again.) Her division captain wants every professional courtesy extended to her.
(SARA opens the door. The place is a mess.)
Sara: Interesting.
(He sees a high heeled shoe in a champagne glass. SARA puts her kit down.)
Warrick: Yeah. Her clothes are still here. But I guess if you offed two people, you're not going to stick around to pack.
(SARA opens the adjoining door and looks into the next room.)
Sara: Adjoining door's open. Maybe they wanted it that way.
Warrick: So, Manny and Lydia were boning. How does Patricia Fielding fit in?
Sara: I don't know. Isn't the prevailing male fantasy two on one?
Warrick: (scoffs) So, let's say three of them were going at it. How did two out of three end up d*ad?
Sara: Well, if Lydia said no, and Manny went for it anyway ...
(SARA snaps a photo. WARRICK picks up pieces of red lingerie on the bed.)
Warrick: Well, someone was pissed. This is, like, a two- $300 la Perla Nightie, ripped to shreds.
Sara: Oh, looks comfortable.
Warrick: It's not designed to stay on that long.
(SARA finds a ring on the bed sheet. She picks it up.)
Sara: This is a man's wedding ring.
(WARRICK holds out a bindle; she puts the ring inside.)
Warrick: Yeah.
(SARA'S phone rings. She checks her messages.)
Warrick: Manny was wearing a ring. Was Lydia Lopez married?
Sara: I'll ask her. She walked into LVPD ten minutes ago.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(LYDIA LOPEZ is interviewed by DET. VARTANN and SARA.)
Lydia Lopez: My C.O. calls and tells me that Patty Fielding's been m*rder, and you're about to broadcast a citywide for my twenty. What the hell's going on in this town?
Det. Vartann: That's what we'd like to know. I hope you've got your story straight.
Lydia Lopez: Didn't know I needed one.
(SARA sits down.)
Sara: Patricia Fielding was k*lled in the room adjoining yours.
Lydia Lopez: Manny's room? Where's Manny?
Sara: Manny's on a slab next to Patricia.
(LYDIA'S shocked by this news. SARA glances over at DET. VARTAN; he nods to her to go ahead and ask her questions.)
Sara: Look, we know that you and Manny were together.
Lydia Lopez: Once a year for seven years running. Desert relay is our time together. Then we go back to our lives.
Det. Vartann: That's sweet. What was Sergeant Fielding doing in your lover's room?
Lydia Lopez: I don't know.
Det. Vartann: You don't know. You know, I heard that Manny Senteno was a real player. Maybe he moved on, and you didn't like that.
Lydia Lopez: Who told you that? Manny doesn't mess around.
Sara: Except with you.
Lydia Lopez: Yes.
Sara: How could you know that if the only part you know is his body?
Lydia Lopez: Pedestal's a little high, don't you think?
Sara: Your best friend, your lover are d*ad. What do you expect me to think?
Lydia Lopez: I don't know what happened. I do know that Manny loves his wife just like I love my husband. It's just an itch we scratched every twelve months. It doesn't mean anything.
Sara: It meant enough to someone to trash your room.
Lydia Lopez: Archie.
Det. Vartann: Archie -- your husband.
Lydia Lopez: Mm-hmm.
Det. Vartann: Did he catch the two of you together?
Lydia Lopez: No. He wasn't even supposed to be in Vegas. This is my time. And I heard he was looking for me. He must've got a key from the front desk. Probably took one look at the room and went ballistic. Did you see what he did to my teddy? That was Archie's gift to me.
Det. Vartann: Hey, most husbands who buy lingerie expect that they're the ones who're going to be enjoying it.
Lydia Lopez: I look good in it. Archie didn't do this. He couldn't.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(NICK and GREG are in the lab going back through the ATM video. The time on the video is 4:06. NICK goes through the statements.)
Nick: The manager says Clyde Grimes took a break around three. That's consistent with bank records. Three hundred dollar withdraw to Clyde's account registered at 3:06.
Greg: But the video shows him using Tim Coleman's card at 4:06.
Nick: Yeah, one hour later.
Greg: Well, maybe I'm not the only one who gets screwed up by daylight savings time. What if the ATM and the camera were out of synch?
Nick: How? The camera's part of the ATM.
Greg: Video is controlled by the branch office. ATM connects to the national network. Separate systems. If the clocks weren't synchronized ...
Nick: Then the guy who used Tim Coleman's card should be on video one hour later.
(NICK fast forwards through the video and finds another man in front of the ATM pulling out money. The time clock reads: 5:06.)
(He continues to fast forward.)
Nick: He's, uh, emptying the ATM.
CUT TO:
[STATEMENT]
(Camera pans down the list of names of the cash withdrawal statement.)
First Monument Bank
32 Point View
Las Vegas, NV 89102
ATM Transaction Record
Location: Holyfield / Maryland
(The list reads:
List Customer Name Withdrawal
04:06 am / TIMOTHY COLEMAN / 300.00
04:07 am / RAHJEEM ROBINSON / 300.00
04:09 am / TYSON GREEN / 300.00
04:10 am / PAULINE DEARDEN / 300.00
04:11 am / KATHERINE DAZARON / 300.00
04:13 am / JESSICA DEAN / 300.00
04:14 am / NINA ELAM / 300.00
04:16 am / CHARLOTT MERIDIAN / 300.00
04:18 am / ETHAN KELSO / 300.00
04:19 am / CONNOR CRAWFORD / 300.00
04:21 am / PATRICIA LANG / 300.00
04:23 am / ALLISON SHERMAN / 300.00
04:25 am / LAWRENCE DEAN / 300.00
04:26 am / JULIA SWANSON / 300.00
04:27 am / DIANA SAPIEN / 300.00
04:29 am / KELLY ...
(NICK studies the list.)
(He picks up a second statement for the SUMMARY OF ATM USAGE.)
CUSTOMER
04-15-04 - 04-27-04
TIMOTHY COLEMAN
900 ALHAMBRA
LOS ANGELES, CA 9002
(He notes:
04-26 / DEBIT LOCATION # 79461 SILVERLINE BRANCH NV 9:32 am (40.00)
04-27 / DEBIT LOCATION # 94286 HOLYFIELD / MARYLAND PKWY BRANCH NV 4:06 am
(300.00)
(He puts that statement down and picks up a second SUMMARY OF ATM USAGE statement for:
CUSTOMER
RAHJEEM ROBINSON
311 SEPHILL RD
TALLAHASSEE, FL 3230--
DEBIT LOCATION # 62230 MOUNTAIN VISTA BRANCH 3:11 pm (40.00)
DEBIT LOCATION # 79461 SILVERLINE BRANCH NV 8:12 am (80.00)
DEBIT LOCATION # 94286 HOLYFIELD / MARYLAND PKWY BRANCH NV 4:07 am (300.00)
(He picks up the highlighter pen and starts marking the statements looking for a pattern. He highlights "SILVERLINE" on several statements.)
CUT TO:
[EXT. STREET - DAY]
(Open on an ATM machine:
FIRST MONUMENT BANK OF NEVADA
SILVERLINE BRANCH
HOW CAN I HELP YOU?
PLEASE SELECT
ENGLISH
SPANISH
(NICK approaches the machine and waits as a WOMAN stands in front of it using it. He puts his kit down on the sidewalk. He watches as the woman presses in the code.)
(She takes her money. NICK puts on his latex gloves. He watches as she takes her receipt and walks away.)
(NICK steps up to the ATM machine. He checks out the panel and notices the fake card slot. He uses a Kn*fe and removes it. On the fake card slot, there is an electronic card reader behind it.)
(On the pamphlet holder, NICK finds a transmitter. He removes the transmitter. In the background, we hear a car engine starting and g*n. Tires screech as a red car takes off. NICK turns around to look.)
(As the car speeds off, it smashes into the back end of an SUV. NICK runs over to help.)
Nick: Hey, is everybody all right?
(The DRIVER of the SUV gets out of his car. NICK runs over to stop any fight from happening.)
Driver: Hey, you stupid jackass!
Nick: I'm with the Vegas crime lab. (He peers into the open window.) Yo, yo, where's the f*re, my man?
(The driver of the red car has a bleeding cut on his forehead. NICK looks into the car and sees the fake credit car gear.)
(He also sees the video receiver in the car. NICK holds up the video transmitter and smiles.)
(The DRIVER groans.)
Nick: Ha! No wonder you were in a hurry.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. HOSPITAL - HALLWAY -- DAY]
(NICK interviews MR. DRAKE. His forehead cut is stitched up and tended to. An OFFICER stands nearby.)
Nick: Well, Mr. Drake. I suppose this is one way to make eight years in an injection molding factory pay off. You're certainly good with plastics.
(Quick flashback to: [ATM -- NIGHT] MR. DRAKE installs the fake card slot on the ATM machine. End of flashback. Resume to present.)
(MR. DRAKE doesn't say anything.)
(Quick flashback to: [ATM-NIGHT] Someone inserts an ATM card in the slot.
Nick: (V.O.) It was a good scam. Your reader transmits the card number to you, and the camera records the sucker's pin number.
(Camera shows a reflection of the lens in the transmitter of the user punching in their PIN number.)
(End of flashback. Resume to present.)
Mr. Drake: I should have used better transmitters. I wouldn't have had to stick so close.
Nick: You raked in over $13,000 off 62 skimmed accounts.
Mr. Drake: That was just the first two days.
Nick: And I checked the bank records. All of the cards you stole belonged to cops.
Mr. Drake: I know. You know, I'm facing multiple felony counts here. Comprehensive theft, card fraud. I'm going away for years. But when I got booked, they wrote me up for two moving violations. I hate cops.
(NICK scoffs.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY]
(DET. VARTANN walks the hallway with WARRICK and fills him in along the way.)
Det. Vartann: I picked up Lydia Lopez's husband at Cheetah's. He was groping the strippers. Classic drunk-and-disorderly. When I got there, the bouncer was just about to tune him up.
Warrick: For what?
Det. Vartann: Yakking on his suit.
CUT TO:
[INT. POLICE DEPARTMENT - HOLDING CELL - DAY]
(DET. VARTANN and WARRICK interview ARCHIE LOPEZ.)
Det. Vartann: Archie Lopez.
Archie Lopez: So what?
Warrick: Your prints were found in your wife's hotel room, including the doorknob to the adjoining room.
Archie Lopez: Yeah.
Det. Vartann: Patricia Fielding was k*lled in that room. So was Manny Senteno.
Archie Lopez: Hmm. My heart bleeds.
Warrick: Are you still drunk?
(He laughs.)
Archie Lopez: Yeah, I'm probably still drunk, yeah. Must have been the tequila. I don't drink that much.
Warrick: Well, it takes a lot of drinking to forget a m*rder. I didn't k*ll anyone.
(Quick flashback to: [HOTEL ROOM] ARCHIE LOPEZ opens the hotel room and sees the lingerie on the bed. He opens the adjoining room door and looks inside.)
Archie Lopez: (V.O.) I wanted to surprise Lydia. Manager gave me a key.
(He checks the baggage tag. He picks up her red lingerie and smells it. He tosses the flowers aisde and goes into a rage, tearing the lingerie.)
(End of flashback. Resume to present.)
Archie Lopez: And then I left.
Det. Vartann: Where did you go?
Archie Lopez: I went to the hotel bar.
(Quick flashback to: [HOTEL BAR] ARCHIE LOPEZ turns and sees PATRICIA FEILDING.)
Archie Lopez: (V.O.) That's where I saw Patty.
(End of flashback. Resume to present.)
Archie Lopez: That woman's been to my house. She's eaten my food. She smiled in my face, all the time ... all the time knowing that Lydia was banging someone else.
Warrick: So, where did you go then?
Archie Lopez: I went somewhere else. I drank some more. I drank ... a lot, I guess. I don't ... I don't remember anything.
Warrick: We're going to need your clothes.
CUT TO:
[INT. CSI - LAB - DAY]
(CATHERINE walks into the lab as GRISSOM looks through the scope.)
Grissom: Tim Coleman drank from this bottle. What does this look like to you?
(Scope view of food bits.)
(Quick flash of: TIM COLEMAN drinks out of his waterbottle. Camera pushes in on the container to show the floaty bits of food. End of flashback. Resume to present.)
Catherine: Backwash.
CUT TO:
[INT. CSI -- LAB]
(Open on some autopsy photos. CATHERINE picks up the discarded protein bar wrapper. She sees the Kn*fe hole in the wrapper.)
(Quick flashback to: Someone uses a Kn*fe and cuts a hole in the wrapper, picks up a huge-ole white pill and sticks it in the Kn*fe hole. He uses the Kn*fe and pushes the white pill into the candy bar then craftily pushes the foil back over the hole - to cover it, of course. End of flashback. Resume to present.)
(CATHERINE fumes the protein bar wrapper. She finds a print.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE - DAY]
(BRASS and CATHERINE interview LT. MENDEZ.)
Mendez: You know, I don't appreciate being kept in the dark this long.
Brass: We don't release details of our investigation until we're sure of our facts. Now we're sure.
Catherine: Tim Coleman died of a drug-induced cardiac arrest.
Mendez: If I'd known he was on drugs, he'd never have gotten into SES.
Catherine: Actually, he was only on one drug. Creatine. You made it plural. You gave him a protein bar that was laced with furosemide.
(Quick flashback to: [RACE NIGHT] LT MENDEZ walks up to TIM COLEMAN and gives him the candy bar.)
Mendez: Hey, you got to keep up your strength. Don't make us look bad.
(MENDEZ walks away. TIM COLEMAN opens the candy bar and starts eating it. End of flashback. Resume to present.)
Catherine: The combination of the two drugs is what k*lled him.
Mendez: I want my union rep.
Brass: That's your right.
Catherine: We're going to need to see your pocketknife.
Brass: On the table, please.
(MENDEZ hands the pocket Kn*fe over. CATHERINE puts one a pair of gloves and looks at the tip of the Kn*fe which still has some visible residue from the protein bar on it. She looks at MENDEZ.)
Mendez: I said I want my union rep. We're done here.
CUT TO:
[INT. CSI - LAB]
(Close up of the label on an evidence pouch:
Case #42-9624 Pouch 1 of 3
PERSONAL PROPERTY INVENTORY
LOPEZ, ARCHIE
City: Bakersfield
Date of Birth: 02/14/67
1. Cell Phone
2. Key Chain
3. 3 keys
4. Leather Wallet
5. $35 cash
6. 2 show tickets- "Celine"
7. Luggage Tag "torn"
M. LINDSAY
T. MORGAN
Date: 04/26/04 Time 21:25
Agency: LVPD
Owner's Signature: {Archie Lopez}
(WARRICK opens the bag and takes out the leather wallet, the tickets, the cell phone and luggage tag.)
Name: MANNY SENTENO
Address: 4246 G Drive
Laughlin NV
Telephone: 908-555-2641
(SARA pulls up various photos on the computer.)
(WARRICK tests the items for GSR.
Sara: Archie Lopez's clothes are negative for GSR and blood.
Warrick: Ditto on his personal effects. But I know Archie was in Manny's room because he has Manny's luggage tag. Guy wants to find out who was sticking it to his wife.
Sara: Is there an address and phone number on that?
Warrick: Yeah.
Sara: What do guys do when they're drunk, and they have a number burning a hole in their pocket?
(WARRICK picks up the cell phone and dials. He counts the number of times it's been dialed on the phone.)
Warrick: He called this number six times.
CALL LENGTH
CALLED NUMBER: 708 555 2641
DURATION: 12 minutes 35 sec.
Warrick: The last call was twelve minutes.
Sara: Maybe Archie found someone who can share his pain.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(SARA and DET. VARTANN interview MRS. SENTENO.)
Sara: It must be very hard to hear that your husband's been cheating on you.
(MRS. SENTENO glances from SARA to DET. VARTAN.)
Mrs. Senteno: We've been through this. I didn't care about Manny's indiscretions.
Sara: Even when you hear about it from the other woman's husband? Archie Lopez called you.
Mrs. Senteno: So I talked to him on the phone. He was drunk. He was raving. I didn't understand half of what he said.
Sara: I think you heard him loud and clear. You got in your car, and you tore ass to Vegas.
Mrs. Senteno: I was in Laughlin with my son.
Det. Vartann: Highway patrol caught you speeding on interstate 15. Southbound. Most cops won't issue tickets to fellow cops families. Professional courtesy.
Sara: But your tag still gets logged. You were leaving Las Vegas before you even found out that your husband was d*ad.
Mrs. Senteno: I don't understand what you're talking about.
Sara: Yeah, you do.
(Quick flashback to: [HOTEL ROOM] PATRICIA FIELDING is standing near the door when MRS. SENTENO rushes into the room. She sees her husband standing bare-chested near the bed.
Mrs. Senteno: Oh, you bastard!
Manny Senteno: It's not what you think.
(MRS. SENTENO grabs the g*n off the dresser and sh**t PATRICIA FIELDING.)
Manny Senteno: Wait. Wait.
(She turns and sh**t her husband.)
(End of flashback. Resume to present.)
Mrs. Senteno: You can't prove that.
Sara: Well, that's why we got a warrant to search your house.
(She puts the DNA test results on the table to show that the test was a POSITIVE MATCH.)
Sara: And we found Patricia Fielding's blood in the lining of your purse. From the tissue that you used to wipe the g*n.
(Quick flashback to: [HOTEL ROOM] MRS. SENTENO uses a tissue and wipes the g*n down. She puts the g*n in PATRICIA FEILDING'S hand.)
(She tucks the used tissue into her purse.)
(End of flashback. Resume to present.)
Mrs. Senteno: She was nothing. He jeopardized our family for that?
Det. Vartann: Not for her.
Sara: Patricia wasn't the one having the affair with your husband.
Mrs. Senteno: Oh. (sniffs) I caught her with him. She answered the door like she belonged there.
Sara: Mrs. Senteno, you k*lled the wrong woman.
(Quick flashback to: [HOTEL ROOM] )
Manny Senteno: (o.s.) Wendy, it's not what you think.
(She fires at PATRICIA FIELDING. End of flashback. Resume to present.)
(Camera holds on MRS. SENTENO'S shocked face.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - HOLDING CELL - NIGHT]
(GRISSOM walks up to MENDEZ' cell.)
Mendez: Where's your kit?
Grissom: Actually, we have all the evidence we need.
Mendez: Then what the hell are you doing here?
Grissom: I have a question. Off the record.
Mendez: I wasn't trying to k*ll him.
Grissom: Then why did you do this?
Mendez: Leg 16 was mine. I ran it eight years in a row. I won every time. Then the bosses transfer in that kid, kick me upstairs, and give him my race. No way I was going to let him do better than me.
Grissom: Sooner or later, everybody gets replaced.
Mendez: Talk to me when it happens to you.
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x20 - d*ad Ringer"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[EXT. LAS VEGAS CITY (STOCK) - EARLY EVENING]
[EXT. SPHINX AMUSEMENT PARK - PARKING LOT / ENTRACE - DAY]
[EXT. VARIOUS RIDES - DAY]
[EXT. SPHINX AMUSEMENT PARK -- PHARAOH'S FEVER RIDE (MOVING) - DAY]
(The chains pull the roller coaster up the large ramp. The MOTHER and DAUGHTER sit in their seat just behind JOEY.)
Daughter: (groans) I don't wanna go! Ooh! Oh, mommy.
(JOEY unbuckles his seat belt and turns around to look back at them.)
Joey: We're all going to die.
Daughter: Cut it out!
Mother: Joey, put your seat belt on. Now!
(The cars reach the top and they can feel it as it starts its journey down the rails.)
Voice: Here we go! VOICE: Oh, my goodness! VOICE: Whoa!
(A close up of the coaster wheels shows it wobbling.)
(Various cuts of the roller coaster ride with some emphasis on the wheels.)
(The roller coaster comes to a stop at the platform.)
Mother: Okay, guys, come on.
(The family gets off of the ride.)
Daughter: That was so fun.
(The next set of passengers board the coaster ride.)
Zack Lawrence: All right, ladies and gentlemen, welcome to Pharaoh's Fever. Buckle up. Get ready to scream.
(The passengers are locked in and the ride starts.)
(The young family steps out onto the walkway and heads over to the nearby food vendor. The kids are still excited about the ride.)
Joey: That was so awesome.
Daughter: When can we ride again?
Mother: Um, we'll ride it in a minute.
(The MOTHER turns to place in the order.)
Mother: Um, Four King Tut burgers, uh, two Nile River ice teas and two milks.
Daughter: Milk is nasty.
Mother: (absently) Yeah.
(At the sounds of the excessive screams, the family looks up in time to see the roller coaster cars fly off of the tracks
(The roller coaster cars crash head first into the red car parked in the parking lot.)
CUT TO:
[EXT. SPHINX AMUSEMENT PARK -- PARKING LOT -- NIGHT]
(BRASS stands in front of the wrecked car. The bodies of the riders are still on the pavement. GRISSOM ducks under the crime scene tape and walks over to BRASS.)
Brass: So, Dr. Thrillseeker, you ever been on this roller coaster?
(GRISSOM looks up at the ride.)
Grissom: Pharaoh's Fever, yeah ... but my ride ended at the platform. What do you know?
Brass: Six d*ad. Park full of eyewitnesses saw the train fly off the tracks. Four-oh-one-B.
Grissom: Accident with injury.
Brass: Uh-huh.
Grissom: It's also a Four-Eighteen-B.
Brass: A runaway?
Grissom: (nods) A runaway train.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. SPHINX AMUSEMENT PARK - PARKING LOT -- NIGHT]
(The amusement park parking lot is filled with personnel, curious on-lookers and the media. An OFFICER holds up the tape for NICK, SARA and GREG. GREG is carrying SARA'S kit for her in addition to his own. They make their way over to GRISSOM.)
Nick: Hey. Sorry we're late. There was a news van blocking the entrance.
Grissom: This is the first time a roller coaster has derailed in Clark County. Huge criminal and civil liabilities issues, so keep it quiet. Photograph the scene. Bag and tag all the detritus. Forklift anything bigger than Greg. We're going to put up a tent on the other side of the parking lot for accident reconstruction. Questions?
Greg: Yeah. What's that guy doing so far away from the others?
(They look over at the lone body on the ground away from the wreckage.)
Grissom: Curious, isn't it?
(GRISSOM turns and leaves. GREG looks at SARA.)
Greg: So, when he asks if anybody has any questions, he's not really asking?
Sara: Well, I don't know much about roller coaster accidents, but in auto collisions, the victims found furthest away from the car usually weren't wearing a seat belt. That'd be my bet.
(Quick flashback to: [DAY] The roller coaster car flies off the track. The lone body flies out of the car. End of flashback. Resume to present.)
Nick: Okay, let's go to work.
Greg: What should I do?
Nick: Uh, photo-evidence log -- just record everything we collect, okay?
CUT TO:
[EXT. MOUNTAIN BRIDGE -- NIGHT]
(The OFFICER shows WARRICK and CATHERINE to the body. DAVID PHILLIPS is already there logging his findings.)
Officer: Couple of mountain bikers called in the body. Coroner just arrived.
Catherine: Hi, David.
David Phillips: Hey. Tessa Press. School I.D. was in her pocket. She's 13.
(CATHERINE and WARRICK kneels down next to the body to get a better look.)
Warrick: I hate these cases.
Catherine: Now ... the body position is inconsistent with her lividity.
David Phillips: After she died, blood settled to her anterior and lividity fixed.
Catherine: So she had been facedown.
David Phillips: Yeah.
Warrick: And someone dumped her face up.
(DAVID PHILLIPS nods.)
Catherine: How long has she been here?
David Phillips: I'll defer that question to the insects.
(DAVID rolls the body and shows them to CATHERINE.)
Catherine: Instar maggots.
David Phillips: Given the ambient temperature and last night's rain, I'd estimate she's been out here twenty-four hours.
Catherine: Takes that long for blowfly eggs to hatch.
Warrick: I guess the rain would've washed away any trace evidence: Tire prints, shoe impressions.
Catherine: Let's just hope there's some evidence on her body.
David Phillips: If you're going to drive all the way out here to dump a body, why not take another ten minutes and bury her?
Warrick: Guess it wasn't worth the k*ller's time.
CUT TO:
[VARIOUS FLASHES OF BLACK & WHITE PHOTOS OF THE BODIES AT THE PARKING LOT]
[EXT. SPHINX AMUSEMENT PARK - PARKING LOT -- NIGHT]
(SARA continues to snap photos of the evidence and evidence markers on the asphalt. NICK bags the evidence while GREG logs them down. They work methodotically.)
(In the background, we see the CORONERS remove the bodies.)
(A large crane arrives to move the larger pieces -- smashed red car and roller coaster car.)
CUT TO:
[EXT. SPHINX AMUSEMENT PARK - NEAR THE PHARAOH'S FEVER -- NIGHT]
(BRASS questions ZACK LAWRENCE.)
Brass: So, how long you been operating the roller coaster?
Zack Lawrence: Couple of months. I got a promotion. I used to work the merry-go-round.
Brass: That's a promotion, huh?
Zack Lawrence: Yeah. Only little kids go on the merry-go-round.
Brass: Oh, I see. So you get to meet girls your own age on Pharaoh's Fever.
Zack Lawrence: Yeah, something like that.
Brass: What kind of training do you get to be an operator?
Zack Lawrence: (scoffs) Training? I release the brake. I press a button. It's green and marked "start".
Brass: I get the picture. All right, look, there are six victims. It'd be helpful to know where each of them was sitting.
Zack Lawrence: Um ... front bench was a girl. She was blond.
Brass: Yeah?
Zack Lawrence: Cute.
(Quick flashback to: ZACK presses the green button. The ride starts.)
Zack Lawrence: (V.O.) Uh, followed by a punk, old folks and some other dude.
(End of flashback. Resume to present.)
Brass: That's only five.
Zack Lawrence: That's all I remember.
(BRASS looks over at the photo vendor stand. There's a big sign on it: SEE YOURSELF SCREAM!)
Brass: "See yourself scream"? What's this about?
Zack Lawrence: We got a digital camera. It's mounted right over there.
Brass: How does that work?
Zack Lawrence: Camera's on a trigger. Train passes by, automatically snaps a picture and stores it in the computer's hard drive. The train was airborne. Never even got close to the camera.
Brass: I'm still going to want to take that computer.
CUT TO:
[EXT. SPHINX AMUSEMENT PARK - NEAR THE FERRIS WHEEL-- NIGHT]
(GRISSOM interviews WOODY.)
Woody: I'm the park's chief engineer. Been working on coasters since before I was tall enough to ride 'em.
Grissom: You responsible for maintaining this roller coaster?
Woody: I keep all the rides up to code.
Grissom: You have any idea what would cause this train to go off the track?
Woody: Well, in theory, I didn't think it was possible. There's never been an accident like this anywhere.
Grissom: So, you're an expert?
Woody: On roller coasters? Hell yeah. Ten years of service on Six Flags'
American Eagle before moving to Vegas.
(GRISSOM looks down and sees the nut. He uses his pen and picks it up.)
Grissom: Do you know what that is?
Woody: That's a nut. It, uh ... secures the wheel to the screw.
Grissom: Well, one loose screw ... couldn't cause a train to derail, could it?
Woody: No, no, there's, uh ... eight wheels per train. They-they'd all have to be loose, and, uh ... that just doesn't happen.
(Camera holds on a close up of the nut.)
CUT TO:
[EXT. SPHINX AMUSEMENT PARK - PARKING LOT -- NIGHT]
[EXT. SPHINX AMUSEMENT PARK - TENT -- PARKING LOT -- NIGHT]
(They've set up a large tent in the parking lot. Inside, GRISSOM walks in. A long table has been set up with the various pieces of evidence gathered on it. NICK, SARA and GREG are going through everything.)
Grissom: "There are three things in human life that are important. The first is to be kind; the second one is to be kind; and the third one is to be kind."
Sara: Henry James.
Grissom: Very good. Author of one of the greatest horror stories ever written: Turn of the Screw. And I'm looking for one.
(He holds up the baggie with the nut.)
Sara: A screw?
Grissom: Yes.
Nick: Oh, well ... technically, these are eccentric shafts, not screws.
Grissom: Well, as long as you can screw a nut on it, it's a screw.
Sara: "Turn of the Screw" isn't really a horror story. It's more of a mystery. Did the governess k*ll the little boy, or did the ghost do it?
Grissom: Well, it's only a mystery if you believe in ghosts.
(GRISSOM picks up a screw and looks at the threads.)
Grissom: End threads are stripped.
Nick: Means the nuts were loose. Excessive play on the screws would've worn down the threads.
Grissom: And the nuts would've popped off.
(Quick flashback to: [ROLLER COASTER WHEELS] The nut is loose and pops off. End of flashback. Resume to present.)
Greg: Nuts don't just pop off by themselves.
Grissom: We got tool marks.
Grissom: Vertical striations, evenly spaced.
Nick: Could've been a pipe wrench.
Sara: Maybe whoever maintains the roll coaster uses a pipe wrench to tighten the nuts.
Nick: Or whoever loosened the nuts screwed up.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- NIGHT]
(WARRICK hands the morgue photo to RAINA to look at.)
Raina Press: It's Tessa. I don't understand. How could this ... ? My baby.
Catherine: I'm very sorry.
Raina Press: She's beautiful, isn't she?
Warrick: Ma'am, the coroner believes that Tessa died over twenty-four hours ago. Had you reported her missing?
Raina Press: Couple nights a week, she'd sleep at her friend Carrie's. There's just the two of us. I'm a waitress. Work nights. That way I can ... make her breakfast and be there when she gets home from school.
Warrick: When was the last time that you saw her?
Raina Press: Yesterday morning. I got home around 6:00. We made pancakes. I packed her lunch and kissed her good-bye. When she didn't come home from school, I just figured she was at Carrie's. I should have called, but I didn't want to be a nag. I want to see her.
Catherine: Officer, could you please escort Ms. Press ... to the morgue.
(RAINA PRESS stands up and leaves. CATHERINE also stands up. WARRICK and CATHERINE watch her go.)
Warrick: When's the last time you went twenty-four hours without talking to Lindsey?
Catherine: A single mother, working nights.
Warrick: I'm just saying, she didn't check on her own kid, you know?
Catherine: Ah, you do the best you can.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS goes over the bodies with GRISSOM.)
Robbins: Introductions. Shelly Hoffman, 25. Cause of death -- lacerated ventricle. Noah Nuland, 15. C.O.D.-- Head contusion. The swelling of the brain k*lled him within minutes. Now, Gary Clodfelter died of shock. His wife, May, exsanguinated. And their son, Cameron - another head contusion.
Grissom: What about this guy?
Robbins: Jim Nevins, 20. Park employee. Died from a temporal herniation. Impact to the head caused the brain to swell, which, in turn, put pressure on the brain stem.
Grissom: According the ride operator, there were only five passengers on the roller coaster, and no employees.
Robbins: Right.
Grissom: So ... maybe Nevins was just an unfortunate bystander. h*t in the head by a falling roller coaster.
Robbins: The chicken little theory? But here's the hitch. The others died roughly ten hours ago. Mr. Nevins' rigor mortis is fixed. Body temp puts the time of his death approximately sixteen hours before the others -- right around
1:00 a.m.
(GRISSOM sighs.)
Grissom: (sighs) Albert... d*ad men don't ride roller coasters.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. VARIOUS AMUSEMENT PARK (STOCK) - DAY]
[EXT. AMUSEMENT PARK - WALKWAY -- DAY]
(GRISSOM and SARA walk with WOODY.)
Grissom: We're going to need to see the underside of the loading platform.
Woody: Oh, follow me. Rumor has it the park's going to shut down Pharaoh's Fever for good. You know anything about that?
Grissom: No.
Woody: Newspaper called it "A Death Trap." An "Accident waiting to happen".
Sara: You disagree with that?
(They reach the platform. WOODY opens the gate.)
Woody: Well, she's old and wrinkled, but I took good care of her.
(SARA and GRISSOM crawl under the platform. WOODY starts to follow them, but GRISSOM stops him.)
Grissom: Uh, Woody? We'd like to be alone.
Woody: Holler if you need anything.
(He shuts the gate behind them, turns and leaves.)
[UNDER THE PLATFORM - DAY -- CONTINUOUS]
(GRISSOM and SARA both look at the coaster railings from under the platform. They envision the train cars rolling in, pausing, and rolling out. The cars vanish.)
Grissom: Well, easy access. Wheels are in reach.
Sara: Anyone could have loosened the nuts from down here.
(SARA sees something.)
Sara: Check this out. Is that lubricant, maybe?
Grissom: It's a funny place for lubricant. It's not even on the track.
Sara: I'll swab it.
(SARA takes a sample. GRISSOM looks up when he hears the sound of metal upon metal in the wind.)
Grissom: Hey, look at that.
Sara: That's worse than just a wrinkle.
Woody: (o.s.) It's got a support beam under it.
(At the sound of his voice, they both turn and see WOODY peering at them through the grate.)
Woody: It's just a cosmetic problem.
Sara: Sir, you need to step away.
(SARA opens the gate door and steps out from under the platform. GRISSOM follows her.)
Sara: We need some time. This is an active investigation.
[WALKWAY - CONTINUOUS]
Grissom: Were you aware that that support beam was detached?
Woody: Well, hell, yeah. Fixed it a half dozen times this year. It's in my maintenance log. But like I said, that cross bar is supported by the metal beam. (He points and GRISSOM looks up.) But since my hours were cut back last November, I've had to prioritize my "fix-ums." Yeah, it's really too back, but, uh, you know--
(GRISSOM notices the wrench in WODDY'S tool belt. He glances at SARA, then back at WOODY.)
Grissom: Woody, we'd like to requisition your pipe wrench.
Woody: It's, uh, not technically mine.
Sara: Are you the only one that uses it?
Woody: Yeah, but it's the property of the park.
Grissom: Well, I promise we'll get it back to you.
(SARA takes out an evidence bag and WOODY puts his pipe wrench in it.)
Sara: Thank you.
(GRISSOM'S phone rings, he answers it.)
Grissom: (to phone) Yeah?
INTERCUT WITH:
[INT. CSI - LAB - DAY]
(NICK holds up a tweezer with the red fiber.)
Nick: (to phone) I'm processing the d*ad park employee's clothing. The shirt and the pants are covered in red fibers.
(He looks through the scope at the fiber.)
Grissom: (from phone) Anything distinctive?
Nick: (to phone) Well, they're trilobal.
Grissom: (to phone) Very good. Thanks, Nick. (He hangs up.) Well, we need to find a car with a red interior.
CUT TO:
[INT. PARKING LOT - TENT - DAY -CONTINUOUS]
(GREG works on logging in the various car parts.)
Sara: Hi.
(He looks up and sees SARA walk in with GRISSOM. He gets to his feet.)
Greg: The roller coaster broke into one hundred and six parts. I just logged the final piece.
Sara: Good work.
Greg: I found something a little unusual, for a roller coaster.
(GREG motions for them to follow him. He shows them the roller coaster car.)
Greg: Not a sailor, but a ...
Sara: (surprised) Semen? Sex on the roller coaster?
Greg: Or some kid shaking hands with shorty.
(He grabs the ALS and shows it to them.)
Grissom: The release of epinephrine and adrenaline while riding a roller coaster can produce a stimulatory effect. It enhances ejaculation.
Greg: Right. But is it probative to our investigation?
Sara: Well, um, why don't you swab a sample, and you can tell us.
Grissom: Greg, do we know who the R.O. of this t-bird is?
(GREG grabs the registration papers and reads off the name.)
Greg: Uh ... Jim Nevins.
Grissom: The d*ad employee.
Greg: I didn't realize the cars were relevant to our investigation.
Grissom: Everything's relevant Greg, until it's not.
(GRISSOM and SARA both look into the car. SARA sees something in the trunk.)
Sara: Grissom.
(She takes out a glove and uses it to pick up the wrench.)
Sara: Take a look at this.
(She shows it to him.)
Grissom: A pipe wrench.
(She turns it around and sees something else.)
Sara: Blood.
Grissom: Greg, may I?
(He holds out his hand and GREG hands him the ALS. GRISSOM checks the back of the trunk and envisions the d*ad body over it.)
Grissom: Blood pool.
(End of vision. GRISSOM turns to look at SARA and GREG.)
Grissom: Camouflaged by the red carpet. That explains the autopsy findings. Nevins may have never been in the roller coaster. Possibly k*lled by that wrench and stuffed in his own trunk.
Sara: And, uh, then what? (She shakes her head as she continues his line of thinking.) A renegade roller coaster comes along sixteen hours later, and propels Nevin's body from the trunk to the blacktop?
Grissom: I'm just following the evidence.
Sara: I'll call Brass, see if he can find an eyewitness that can place the car in the parking lot at the time of Nevin's death.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. POLICE DEPARTMENT - BRASS' OFFICE - EVENING]
(BRASS re-interviews ZACK LAWRENCE.)
Zack Lawrence: Uh, so, Woody said that I might be able to help you with your investigation.
Brass: Zack, you close up shop at the Sphinx at night.
Zack Lawrence: Yeah, Monday to Friday. Uh, class till 3:00. Tutor kids in math till 5:00, and then I head over to the park. We close at 10:00.
Brass: Did you notice any cars in the parking lot after closing on Thursday night?
Zack Lawrence: Jimmy Nevins. His red t-bird was out there.
Brass: Oh, you know Jimmy?
Zack Lawrence: Yeah, sure; pretty cool guy. Worked the bumper cars. I still can't believe what happened, you know? I mean, I must have rode that coaster, like, phew, a hundred times, maybe more. Anyway, sometimes Jimmy stayed after closing.
Brass: Why?
Zack Lawrence: Look, I'm not trying to get anybody in trouble, but occasionally, Jimmy would take his ... dates for rides on The Fever, you know? Everybody knew about it. It was really no big deal.
Brass: Do you happen to know the name of his date on Thursday night?
Zack Lawrence: No, sorry.
Brass: How did Jimmy get access to the park? I mean, all the power is shut down at night.
Zack Lawrence: The same key that opens up the men's room door opens up all the power boxes at the park.
Brass: (shakes his head) No kidding.
Zack Lawrence: It's just hanging outside Woody's office.
Brass: What about security?
Zack Lawrence: Nope. Night guy got laid off. Budget cuts last winter. It's not like anybody's going break into an amusement park and steal a coaster, you know?
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(DAVID goes over the findings with WARRICK. He shows WARRICK the x-ray.)
David Phillips: X-rayed Tessa's neck. Blade appears to have perforated her fifth cervical intervertebral disc, lacerating the spinal cord.
(Quick CGI POV of: Close up of the back of TESSA'S neck. The blade swipes across and -- her vertebrae snaps in two. End of CGI POV. Resume to present.)
David Phillips: Type of trauma suggests we're looking at asphyxia due to diaphragmatic paralysis.
(WARRICK leans in close.)
Warrick: It looks like there's soil inside of her wound.
David Phillips: Well, we did find her outside.
Warrick: Right. Should be soil around the wound. And on the wound, but not inside of it.
(WARRICK takes a swab sample of the wound.)
CUT TO:
[CLOSE UP: TWO PIPE WRENCHES ON THE LAB TABLE]
[INT. CSI - LAB - NIGHT]
(NICK works on taking mold samples of the wrench grips. He sets up a screw, takes a sample of the wrench grip on the screw and makes molds of the markings.)
(He puts the samples under the scope and compares the two.)
Nick: (mutters) Oh, I am the man.
(GRISSOM walks into the lab and hears him.)
Grissom: Are you?
Nick: I microsilled the pipe wrenches you and Sara turned into evidence. I excluded Woody's wrench. Take a look at the tool marks from the wrench found in the t-bird. On the left, the sabotaged nut. On the right, the test marks.
(GRISSOM looks through the scope and lines up the two samples.)
Grissom: Perfect match.
Nick: I have a theory maybe Jim Nevins sabotaged the roller coaster.
(Quick flashback to: JIM NEVINS loosens the screw on the coaster. End of flashback. Resume to present.)
Nick: When he left the park, someone att*cked him, grabbed his wrench and h*t him over the head with it.
(Quick flashback to: SOMEONE drags JIM NEVINS body over to the car and dumps it into the trunk. He tosses the pipe wrench in the trunk with the body. End of flashback. Resume to present.
Grissom: Did you any prints off the wrench?
Nick: I got a partial. And I had a tech print the T-bird. Found two sets of prints on the trunk's lid.
(GREG walks into the lab.)
Nick: One belonged to the vic, the other unknown, but it did match the partial.
(Quick flashback to: SOMEONE closes the trunk, their hand lingering on the trunk hood. End of flashback. Resume to present.)
Greg: That semen from the coaster's cab was just processed in my lab. All I can say is, Nevins was a cad.
Nick: Semen match the d*ad guy's?
Greg: Yup. And Sara spoke to Brass, who says Nevins was known for taking girls on private rides. Pharaoh's fever was his Spanish fly.
Nick: Well, there goes my theory. No one tampers with their sex machine.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]
(SARA goes through the security camera pictures. NICK sits next to her at the table.)
Sara: Multitrack digital camera snaps photos of all the passengers. The park finally sent over their computer, so I'm scanning through the day of the accident.
Nick: Can you go back in time, to the night before?
Sara: Yeah. Why?
Nick: Jim Nevins may have been on that coaster. I want to see if anyone was with him.
(SARA scrolls back and finds the photo of JIM NEVINS with a woman on the coaster.)
Nick: Oh. So much for safe sex.
Sara: Who's the girl?
Nick: Reverse one more pic.
(SARA goes back a couple of pictures and sees JIM NEVINS and his date side by side in the coaster, both their arms raised as they enjoy the ride.)
Nick: Now, that picture's worth five bucks.
Sara: Last time stamp of the night was 12:45 A.M. Coroner placed Nevins' T.O.D at 1:00 A.M.
Nick: We need to find that girl.
CUT TO:
[VARIOUS CLOSE-UP FLASHES OF THE WOMAN IN THE PHOTO]
[EXT. MINI-MART - PARKING LOT - DAY]
(CATHERINE gets out of the car. WARRICK is already there.)
Catherine: Hey.
Warrick: Hey.
Catherine: Got your page. What's up?
Warrick: Tessa Press took the bus to and from school, not far from here.
Catherine: Mm-hmm.
Warrick: I showed her picture to the mini-mart manager. She remembers seeing her the day that she was k*lled.
(CATHERINE looks around and sees a lot of kids there hanging out after school.)
Catherine: Wow. This place is crawling with kids. She remembers her?
Warrick: She says she came in every afternoon and bought a little Debbie and a soda.
Catherine: Have we tracked down her friend, Carrie?
Warrick: Officer Ray did speak with Carrie and her parents, and they confirmed that Tessa sleeps at least two nights a week over their place.
Catherine: And was she supposed to sleep over the day that she was k*lled?
Warrick: I don't think they had any kind of a schedule. She would just show up, and when she didn't, they'd assumed that she was at home.
(CATHERINE sees the security camera. She points to it.)
Catherine: Warrick.
Warrick: I've already secured the footage.
CUT TO:
[EXT. AMUSEMENT PARK - WALKWAY -- DAY]
(GRISSOM and SARA walk through the park. SARA looks through the folder with the photos of the young woman on the ride while GRISSOM munches on a box of popcorn. She looks up and sees WOODY headed toward them.)
Sara: Oh, roller coaster wacko at 12:00.
Woody: I heard you were looking for someone.
Sara: Sir, do you recognize this young woman?
(She shows him the photo.)
Woody: Oh, sure, it's Cleopatra. She works in food services. Second pyramid on the left.
Grissom: Thank you, Woody.
(GRISSOM and SARA head in that direction.)
[VENDOR STAND]
(GRISSOM and SARA reach the food stand.)
Marc Anthony: Hey, can I help you?
Sara: Actually, we're looking for Cleopatra.
Marc Anthony: (points) She's on break. But can I get you anything?
(They turn to look at the WOMAN sitting at the bench.)
Sara: No, thanks.
(They both leave the stand and walk over to the woman who is going through her text book. GRISSOM looks over her shoulder as SARA sits down.)
Grissom: Quadratic equations? That's not easy.
Lisa Hunt: Glad you think so. I have a "D" average. If I fail the final, my family's going to Hawaii without me.
Sara: We're with the Crime Lab. We have some questions.
(SARA shows her the photos.)
Lisa Hunt: I had no idea those cameras worked at night.
Grissom: Is your name really Cleopatra?
Lisa Hunt: Lisa. Lisa Hunt.
Sara: Lisa, you know your friend in this photograph is d*ad, right?
Lisa Hunt: Right.
Sara: You don't seem too upset about that.
Lisa Hunt: D.L. on Jimmy Nevins: Four years ago, when I was a frosh and he was a senior, he was my Jordan Catalano. Know what I mean? But he didn't know my name. So four years later, when I started working here, he's still working here-- total loser, but still really hot -- so when he asked me out, there was only one answer: "When and where?"
Sara: After hours at the roller coaster.
Lisa Hunt: I know, I thought the same thing -- cheez whiz. But, I mean, what the hell? I'd never done it on a roller coaster.
Sara: It was your first date.
Lisa Hunt: (rolls her eyes) You sound like my mother. Oh, god, you're not going to tell her, are you? I just turned eighteen. There is nothing statutory about it, I swear.
Grissom: Lisa, we need to know what the two of you did when you got off the ride.
Lisa Hunt: We talked. I mean, not that he had much to say. He offered to drive me home, but I only live a few blocks from here, so I told him I'd huff it. Mm, we kissed - way too much slobber. And that was it.
Sara: Was there anyone else around?
Lisa Hunt: (shakes her head) I-I didn't see anybody, but I wasn't really looking.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB]
(WARRICK looks through the security camera footage from the mini-mart. CATHERINE walks into the room and joins him.)
Warrick: I found Tessa.
(On the screen, they watch as a young boy grabs TESSA by the hand and pull her toward the car.)
Catherine: Yeah, you're not the only one.
Warrick: Yeah.
(On the monitor, they both walk off screen.)
Catherine: Can you enlarge it?
(WARRICK blocks and enlarges the photo of HENRY with TESSA.)
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(CATHERINE shows the photo to HENRY. She interviews HENRY while his mother sits and listens.)
Henry: Yeah, that's me.
Catherine: And who's that with you?
Henry: Tessa Press.
Catherine: You two were friends?
Henry: (shrugs) We sat next to each other on the bus.
Catherine: She was thirteen. How old are you?
(HENRY'S eyes widen at the implication.)
Henry's Mother: (interrupts) What's that supposed to mean?
Henry: No, mom, it's okay. I-I'm 15. I felt sorry for her. The girls picked on her. Made fun of her frizzy hair, her old clothes. Stuff like that. She'd sit next to me, and they'd leave her alone.
Catherine: In the photo, you're grabbing her arm.
Henry: It wasn't like that. I just got my learner's permit. My mom was waiting in the car. We were just going to get slushies. I saw Tessa in the parking lot.
(Quick flashback to: [MINI-MART-DAY] HENRY walks over to the mini-mart and sees TESSA standing outside.)
Henry: Hey, Tessa. Hey.
Tessa Press: Henry.
Henry: You want a ride, just door to door?
Tessa Press: No, that's okay.
Henry: Oh, come on. You're not scared to drive with me, are you?
(He grabs her arm playfully and pulls her toward the car.)
Tessa Press: No, it's okay. I got it.
(She pulls away and backs up.)
(End of flashback. Resume to present.)
Henry: She said she was getting a ride from someone else.
Catherine: Did she say who?
Henry: No. But when we pulled away, I saw her getting into a truck. I didn't see the driver.
CUT TO:
[INT. CSI - HALLWAY/TRACE LAB -- DAY]
(SARA walks through the hallway when DAVID HODGES steps out, grabs her arm and tugs her into the trace lab.)
David Hodges: (excited) I've got a question for you. What substance contains the following ingredients: Sorbitol, cetyl alcohol, isopropyl myristate, glyceryl, stearate, peg-100 stearate, petrolatum, benzylalcohol, titanium dioxide and purified water?
Sara: Okay, I assume that you've identified the substance we found on the roller coaster track?
David Hodges: Correct. It's doxepin ointment.
(He chuckles.)
David Hodges: Sounds Klingon, huh? Anyway, uh, it's prescribed by doctors to treat dermatological inflammations caused by contact with certain types of plants.
Sara: Maybe whoever messed with the tracks transferred the ointment when they loosened the wheels.
(Quick flashback to: A hand holding the pipe wrench reaches out under the platform. Camera focuses on the person's arm. End of flashback. Resume to present.)
David Hodges: Your k*ller has a rash.
Sara: And we need to catch it.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY]
(CATHERINE turns the hallway corner and sees WARRICK talking with someone. He sees her and waves her over. The WOMAN takes the folder and leaves.)
Warrick: I've been looking for you.
Catherine: What's up?
Warrick: Hodges analyzed the trace from inside Tessa's wound. (He hands her the test results.) It seems it was zoodoo.
Catherine: Come again.
Warrick: Hoof stock. It's a combination of feces from rhinos, zebras, and bison.
Catherine: You're kidding?
Warrick: They say that the smell of wild animal crap keeps the deer away.
Catherine: Who knew? Uh, so can we track the source of ... ?
Warrick: There is a zoo in Auckland that exports it. And there's only one landscaping company in Clark County that imports it -- ADL. I contacted ADL, and guess what they told me? Couple of months back, they were hired by the victim's mother.
CUT TO:
[EXT. PRESS RESIDENCE -- DAY]
(CATHERINE and an OFFICER exit their cars. CATHERINE is carrying a camera. She notices the sign on the truck: ADL LANDSCAPE.)
Brown: Hmm. ADL landscaping. Must've been a big job -- she hired them months ago.
(In the back of the truck is a partially opened bag of ZOODOO COMPOST.)
Catherine: Zoodoo.
(CATHERINE takes a picture of the bag.)
[FRONT PORCH - CONTINUOUS]
(CATHERINE knocks on the front door. RAINA PRESS opens the door, JUSTIN MACK is behind her. He's wearing a gray t-shirt with ADL LANDSCAPE on the front.)
Catherine: Hello.
Raina Press: Hi. I just left you a message. Any news? Honey, these guys are from the crime lab. (CATHERINE notices him. RAINA PRESS makes the introductions.) Justin Mack, my boyfriend.
Justin Mack: How you doing?
Warrick: Hey. Could I have a word with you outside for a moment?
Justin Mack: Why?
Warrick: Why not?
(JUSTIN steps out of the house and follows WARRICK. RAINA PRESS watches him go with alarm, but she doesn't say anything. CATHERINE looks at her.)
Catherine: May I?
CUT TO:
[INT. PRESS RESIDENCE - LIVING ROOM - DAY]
(CATHERINE follows RAINA PRESS into the living room.)
Raina Press: How can you be sure it was Justin's truck?
Catherine: At this point, we're just following a lead. How long have you known Justin?
Raina Press: Uh ... few months. Hired him to lay sod. Now we're in the midst of an outdoor overhaul.
Catherine: And where's Tessa's father?
Raina Press: L.A., maybe. I don't know. I haven't heard from him since the divorce. He'll find a way to blame me for this.
[OUTSIDE - CONTINUOUS]
(WARRICK questions JUSTIN MACK.)
Justin Mack: You see, Raina said it was important for Tessa to take the bus to school. Said it helps build independence. But sometimes I'd pick her up at the bus stop, buy her an ice-cream cone, and drop her off here.
Warrick: Did you pick her up that afternoon?
Justin Mack: Look, I know there are a lot of whack-jobs in the world, and you're just doing your job, but watch it.
Warrick: You mind if I take a look in the back of your truck?
Justin Mack: Don't you need a warrant?
Warrick: Only if you deny me access.
(JUSTIN steps aside.)
Justin Mack: Go ahead.
Warrick: Thanks.
[INSIDE THE HOUSE -- CONTINUOUS]
Catherine: Have you ever left Tessa alone with Justin?
Raina Press: Sure. He's over here all the time. He's a good man. He wouldn't hurt anybody, especially not Tessa. (She starts crying.) Damn, I keep expecting her to walk through that door.
[OUTSIDE - CONTINUOUS]
(WARRICK covers the back of the truck. He sprays the tools with luminol. The tip of the shovel glows with the presence of blood.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(WARRICK reads through a file.)
Warrick: In 1988, your client was arrested for a drunk and disorderly. Your fingerprints were then entered into our database. They match the fingerprints that we found on this shovel.
(He points to the shovel in the plastic bag on the table behind him.)
(RAINA PRESS doesn't say anything.)
Catherine: The blood on the blade matches your daughter's DNA.
Lawyer (woman): My client is landscaping her backyard with her boyfriend. Explains her prints on his shovel.
Warrick: They were the only prints on the shovel.
Raina Press: Justin wears work gloves.
Lawyer (woman): Which explains the absence of his prints.
Warrick: That's possible. But your client's fingerprints provided a sufficient basis for a warrant to search her vehicle.
(Quick flashback to: [BACK OF CAR] WARRICK sprays luminol on the back seat. It starts to glow.)
(End of flashback. Resume to present.)
Warrick: The choice of w*apon and the manner of disposal suggest that this was not a premeditated m*rder.
(He puts the shovel on the table.)
Catherine: You can help yourself here. You can avoid m*rder one by telling us what set you off.
Raina Press: You wouldn't understand.
Catherine: Try me.
Raina Press: I bought Tessa a bus pass, and that little slut still gets my guy to pick her up after school.
Lawyer (woman): Raina ...
Raina Press: Shut up! We all know why.
Catherine: Why don't you tell us?
Raina Press: She was trying to steal him from me.
(Quick flashback to: [THAT AFTERNOON] RAINA watches grimly as JUSTIN'S truck turns into her driveway. TESSA gets out of the truck.)
Tessa: Bye! Thanks, Justin!
(She closes the truck door, adjusts her backpack and heads for the house.)
Raina Press: What the hell were you doing with him?
Tessa Press: Mom, he just gave me a ride home.
Raina Press: You think you got him wrapped around your little finger?
Tessa Press: He's just being nice, okay?
Raina Press: Were you nice back?
Tessa Press: Don't do this again, please!
Raina Press: You don't talk to me like that, you little bitch.
Tessa Press: Mom, you're being ridiculous.
(TESSA turns and heads for the house.)
Raina Press: Where the hell do you think you're going? (RAINA picks up the shovel.) I've given you everything.
(She swings and hits TESSA on the back of her head. She falls.)
(End of flashback. Resume to present.)
Raina Press: Justin was the best thing in my life.
Catherine: No. Your daughter was the best thing in your life.
(CATHERINE stands up.)
Raina Press: You didn't know her.
Catherine: (scoffs) I know she was thirteen years old. A child.
(CATHERINE leaves.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(GRISSOM and SARA walk through the hallway. SARA fills GRISSOM in.)
Sidle: I just got the court order from the pharmaceutical database. Fortunately, dioxipin isn't widely prescribed. FDA only approved it two years ago, and most dermatologists don't even know what it is.
Grissom: How many names on the list?
Sara: Well, in Clark County, twelve prescriptions were filled. I cross-referenced them with the employees from the park, and I got a h*t. You want a clue? Her death ended the Ptolemy dynasty's reign in ancient Egypt, hence making her the last pharaoh.
Grissom: Ah, the lovely Cleopatra.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(GRISSOM and SARA interview LISA HUNT. Her lawyer sits next to her.)
Lisa Hunt: I had a rash. So what? That's not a crime.
Lawyer (man): I read the court order. Uh, you found trace amounts of some ointment on the roller coaster tracks? Is that the only reason for this conversation?
Grissom: Your client had a prescription for doxepin. May we see your arms, please?
Lisa Hunt: Rash was on my legs. Went away days ago. You want to see?
Sara: Uh, that's okay.
Lawyer (man): Unless you want to argue that my client stood on her head and held a wrench in her toes, we're done here.
Grissom: Do you know how you contracted the rash, Lisa?
Lisa Hunt: Best guess, I was getting some help with my homework. We were studying outside on the grass. Took a break, went for a walk. I think I brushed up against something.
Sara: Who's "we"?
Lisa Hunt: My math tutor.
Sara: And what's his name?
Lisa Hunt: Zack Lawrence.
Grissom: Do you know if he contracted the rash, as well?
Lisa Hunt: Yeah. Actually, I gave him some of my ointment.
CUT TO:
[EXT. AMUSEMENT PARK - CAROUSEL -- NIGHT]
(BRASS and SARA walk up to ZACK LAWRENCE standing on the carousel.)
Brass: Hey, Zack.
Zack Lawrence: Oh, hey, guys.
Brass: We spoke with Lisa. She said she gave you some ointment for some nasty rash you have.
Zack Lawrence: Yeah, yeah.
Sara: You know, it's illegal to use someone else's prescription medications.
Zack Lawrence: Is that why you guys are here?
Brass: Not exactly.
Zack Lawrence: Um, you guys mind if we talk about this somewhere else?
Brass: Hey, good idea. Why don't we go downtown? We can talk there.
(ZACK LAWRENCE leaves his broom and steps off the carousel.)
Brass: Come on. Come on.
ZACK LAWRENCE. All right.
(SARA stands there thinking a moment. BRASS turns to look at her.)
Brass: You coming?
Sara: You know, I'm going to catch up.
Brass: Okay.
(SARA steps up onto the carousel, puts her kit down, takes out a pair of gloves and dusts the broom handle for fingerprints.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(SARA and GRISSOM interview ZACK LAWRENCE as his lawyer sits next to him. He shows them his arm.)
Zack Lawrence: Yeah, it's, uh, just a little bit of a rash. It's really no big deal.
Grissom: Zack, what do you have against roller coasters?
Zack Lawrence: What do ... ? I-I don't understand.
Sara: This a fingerprint analysis. (She shows him the report.) Zack, I lifted some fingerprints off your broom back at the park. Turns out, they're a match to prints that we lifted off of Jim Nevins' T-Bird and the wrench that was used to k*ll him.
Lawyer (man): Circumstantial evidence at best.
Sara: I also talked to your school principal. You're a straight "A" student, mathalete. Science team. You had a full ride to Stanford next year. You don't sound like the kind of kid that would mess with a roller coaster just for kicks.
Grissom: You're a smart guy, Zack. So, uh ... let's talk this out, logically. According to your previous statement, when you locked up on Thursday night, Jim Nevins' car was the only one in the parking lot, right?
Zack Lawrence: Yes, sir, that's correct.
Grissom: And you knew he was staying in the park to ride the roller coaster.
Zack Lawrence: I don't care about Jim Nevins.
Sara: What about Lisa Hunt? You tutor her, right? Did Lisa tell you that she had a date with Jim?
Zack Lawrence: No, she didn't say anything. It was all over the park. Jim was going to take Lisa on one of his coaster dates. I asked her about it. She said it was a rumor.
Sara: It seems to matter to you that she had a date with Jim.
Zack Lawrence: Lady, I make $20 an hour tutoring. Why do you think I'd take minimum wage at the Sphinx?
Sara: I'm thinking, you want Lisa to see you away from the textbooks.
Zack Lawrence: We started hanging out at breaks. Having dinner. And then last week, after tutoring, we went for a walk. And she grabbed my hand.
Grissom: Did you think that meant something?
Zack Lawrence: Of course.
Grissom: But ... you didn't trust her.
Zack Lawrence: No. I wanted to.
(Quick flashback to: [ROLLER COASTER] ZACK stands on the ground and watches LISA on the roller coaster with JIMMY. End of flashback. Resume to present.)
Sara: You tampered with the screws. If she wasn't lying, she wouldn't be on the roller coaster. No harm, no foul.
Zack Lawrence: Oh, but you see, she was lying.
Grissom: Uh-huh. But you didn't loosen the wheels enough, did you?
Lawyer (man): Don't answer that.
Grissom: So when the roller coaster didn't derail, you took things into your own hands.
(Quick flashback to: [NIGHT] ZACK LAWRENCE waits outside as JIMMY and LISA kiss and make their way off of the ride. End of flashback. Resume to present.)
Sara: Lisa walked home. Jim walked over to his car.
(Quick flashback to: ZACK att*cks JIM and knocks him over the back of the head with the wrench. End of flashback. Resume to present.)
Grissom: What I don't understand is why you didn't go back and fix the roller coaster.
Zack Lawrence: Guess I just didn't think about it.
Sara: You'll be thinking about it now. And for the rest of your life.
CUT TO:
[EXT. SPHINX AMUSEMENT PARK -- DAY]
(The OFFICERS remove the crime scene tape and open the ride.)
Worker: All right, ladies and gentlemen. Welcome to Pharaoh's Fever. Buckle up. Get ready to scream.
[VENDOR - CONTINUOUS]
(GRISSOM and WOODY sit at the vendor's booth sipping from their drinks.)
Woody: I should have caught those loose screws. Used to check 'em every morning, but since management cut back on my hours ...
Grissom: You're not to blame for this, Woody.
Woody: Oh, I just hope they don't blame the coaster. It may not be the Manhattan Express at New York, New York or the Desperado in Primm, but it-it ... it still makes grown men scream.
Grissom: My first week in Vegas, I road the Desperado.
Woody: My first coaster marathon. I rode that monster for a week straight.
Grissom: Hmm. The steel phantom, Kennywood Park, Pennsylvania -- I actually hold the marathon record there.
Woody: Uh, uh. My-my favorite's still the, um, King's Island. The Beast.
Grissom: Mm. I presented a paper at an entomology convention in Cincinnati just so I could ride Son of Beast. Head over heels on a wooden track.
Woody: Ah. So, you prefer wood over steel?
Grissom: No. Not really. For me, it's not about the track. (smiles) It's about the thrill.
(The riders on the roller coaster scream as it swoops down the track.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x21 - Turn of the Screws"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
(Sirens wail in the distance.)
[INT. UNKNOWN PLACE - NIGHT]
(ERNIE MENLO sits in the chair in the center of the darkened room. In front of him stands two men - one holding a bright light on him, the other interrogates him.)
Interrogator: I'm going to make this really simple. Who are you working with?
Ernie Menlo: I'm, uh, unemployed at the moment.
Interrogator: You got any idea what we did to chumps like you back in the day?
Ernie Menlo: (swallows and tugs at his collar) Uh, no. Look, could you put the A.C. on in here or somethin'? That, or just, uh, let me go. I mean, you can't keep me in here. It's against the law.
Interrogator: There's no law in this room.
(He looks at both his interrogators.)
Ernie Menlo: (scared) You can't touch me.
CUT TO:
[EXT. NEON GRAVEYARD -- NIGHT]
(Camera swoops down to show ERNIE MENLO'S d*ad body at the base of the "W" in the WHISKEYTOWN letter sign.)
[EXT. NEON GRAVEYARD - NIGHT - LATER]
(BRASS, GRISSOM and CATHERINE stand around the body.)
Brass: Two sh*ts to the back of the head. Double tap.
(GRISSOM shines his flashlight on the wound at the back of the victim's neck.)
Grissom: He's wearing a wig and a fat suit. It's not Halloween, is it?
Catherine: In this town, it's always Halloween.
(BRASS picks up the NEVADA DRIVER'S LICENSE. It reads:
MENLO, ERNIE
2974 WESTFALL AVE
LAS VEGAS, NV
LIC# 64836483749
EXPIRES: 06-29-2009
Brass: "Ernie Menlo." (BRASS waves a bill in the air.) Well, he wasn't carrying a very "fat" wad.
Catherine: Rolex is still on his wrist. Probably rules out robbery. (She looks at GRISSOM.) What do you think?
Grissom: I don't know.
(GRISSOM turns around and looks at the various signs abandoned and thrown away littering the area.)
Grissom: I'm looking for a sign.
CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. NEON GRAVEYARD -- DAY]
(CATHERINE is on the phone. A distance away behind her, GRISSOM is with DAVID PHILLIPS near the victim's body at the base of the "W".)
Catherine: (to phone) He's not in the system? (pause) Yeah ... gotta be.
(pause) Okay. Thanks.
(CATHERINE hangs up the phone and turns to GRISSOM.)
Catherine: So, uh ... Brass ran the ID. There's no "Ernie Menlo" in the system. Fake.
Grissom: GSR in the wound track. No stellate tearing. g*n appear to be close range, but non-contact.
(GRISSOM bags the wig.)
David Phillips: No exit wounds.
(CATHERINE looks around the area.)
Catherine: Well, I don't see any shell casings either. So maybe the k*ller picked them up.
Grissom: (shrugs) Professional h*t?
(CATHERINE nods, then steps away a bit and looks at the ground.)
(DAVID picks up the victim's hand to show the lacerations on his knuckles.)
David Phillips: Major fractures and lacerations on his hands.
Grissom: Lividity's consistent with body position. I don't think it was a body dump.
Catherine: So either he walked in or he got a ride. Either way, this gravel and glass makes good evidence.
(She indicates the fragments on the ground.)
Grissom: I'll go ahead and bag a sample.
(CATHERINE takes the camera and walks away to look around the area.)
(GRISSOM opens an evidence bag.)
(CATHERINE walks a distance further and lifts the camera to snap more photos of the tire tracks in the dirt.)
(She stands near the HORSESHOE sign and looks out at the tire tracks of a vehicle that turned around by backing up.)
(As she stands there, she envisions the vehicle backing up, shifting gears, then driving off. The vision ends.)
(CATHERINE takes out a tape measure and measures the tire marks. GRISSOM checks the victim's shirt pocket and finds a receipt folded inside. He opens it and reads it:
# 3232
RAMPART CASINO
221 NORTH RAMPART BLVD.
LAS VEGAS, NV 89145
Federal Identification Number: 88-0513636
WINNER'S Name: ERNIE MENLO
2974 WESTFALL AVE
LAS VEGAS, NV 89156
Grissom: "Rampart Casino." Well, his day started out good. He won $436,278.
David Phillips: Rampart's always been lucky for me.
Grissom: So where is this money?
(GRISSOM turns and walks away from DAVID PHILLIPS.)
(CATHERINE finishes measuring the tread markings on the ground. She closes the tape measure. GRISSOM walks up to her.)
Catherine: I found some tire treads. I think the vehicle was making a three-point turn.
Grissom: And it seems that robbery may be a motive after all.
(CATHERINE takes off her sunglasses as she looks at the receipt in GRISSOM'S hand.)
1 Gross Winnings: $436,278.00
3 Type of wager: Roulette
5 Transaction: 79362
Catherine: Wow!
(She notes the other information:
PAYER'S name, Street address, City, state
RAMPART CASINO
221 NORTH RAMPART BLVD
LAS VEGAS, NV 89145
Federal identification number: 88-0513636
Catherine: "Rampart." Guess I'll go check that out.
Grissom: You can't. We found the body under the WHISKEY TOWN sign and the guy just cleaned out the Rampart Casino.
Catherine: Coincidence.
Grissom: Even if it is, they're still Sam Braun's casinos.
Catherine: Why is that a problem?
Grissom: He's your father. You can't be on this case.
Catherine: Gil ...
Grissom: Catherine, you have to go home.
(CATHERINE hands GRISSOM the tape measure and the camera. She turns and leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(SARA, WARRICK and DAVID PHILLIP work on the victim's body.)
(Camera view down on ERNIE MENLO'S body on the autopsy table. He's still in the fat suit.)
(SARA picks up something off of his forehead and puts it in a clean envelope.)
(DAVID PHILLIPS puts the victim's clothes in a package. WARRICK works on the victim's lacerated hand. SARA removes the rolex watch. She looks at it. It's
9:41 am.)
Sara: No ticks. It's authentic.
(She flips the watch over and looks at the back.)
Sara: Logo sticker isn't worn down. Watch could be new.
Warrick: Guy hits the jackpot, has to celebrate. Goes and buys some bling-bling to impress the strippers with.
(DAVID lifts up the body's foot and sees the holes in the sock's heels.)
Warrick: What have you got?
(WARRICK and SARA both look at the feet.)
Warrick: Air conditioned socks.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Lyric: ... I can hear the sound of violins
[INT. RAMPART CASINO - MAIN FLOOR - NIGHT]
(The floor is crowded as people play at the tables.)
Croupier: Insurance?
Lyric: Long before it begins ... dealer wins.
Croupier: Craps.
(The players sitting around the table groan.)
Croupier: Seven!
(The players groan.)
(The roulette wheel turns
Croupier: Twenty-four is even.
(The game ends and the players stand for the next people.)
(GRISSOM stands in the middle of the main floor and looks around the room. He notes the cameras high up in the ceiling. BRASS walks up to him.)
Brass: So, I talked to the pit boss who signed the vic's W-2. He was pulling surveillance. He remembers the big winner.
(GRISSOM doesn't say anything. SAM BRAUN makes his way through the crowd toward GRISSOM and BRASS.)
Brass: Sam Braun! What a surprise!
Sam Braun: The fat kid ... he was cheating.
Brass: What do you do about it?
Sam Braun: Well, we had a little chat. I didn't k*ll him.
Grissom: Did you take him to the box?
Sam Braun: Gentlemen, these days, we call it "The Holding Room".
CUT TO:
[INT. RAMPART CASINO - HOLDING ROOM - NIGHT - CONTINUOUS]
(The door to the holding room opens. SAM BRAUN flicks the lights on and GRISSOM walks in. He looks around.)
Grissom: Smells like the cleaning crew just left.
(GRISSOM sets his kit down on the floor.)
Sam Braun: Security brought the kid down here around 2:00 A.M. I came in. We talked. He walked out around three.
[SECURITY CAMERA VIEW]
(SAM BRAUN walks over to the camera as GRISSOM stands up. The camera reads:
05-13-04 1:32 pm. SAM BRAUN points to the camera.)
Sam Braun: It's all in there.
Grissom: Well, good. We'll look at the tapes a little later.
[RESUME VIEW: HOLDING ROOM]
(GRISSOM points to the light switch.)
Grissom: Would you turn off the lights, please?
(SAM BRAUN turns around and flicks the lights off.)
Sam Braun: It's well within my rights to have a discussion with anyone in my place.
(GRISSOM uses the ALS on the walls.)
Sam Braun: The kid was cheating. I wanted to know how.
(Quick flashback to: [HOLDING ROOM] SAM BRAUN talks with ERNIE MENLO.)
Sam Braun: Nobody wins 400k at roulette. What's your system?
Ernie Menlo: Clean living... good karma. But either you call the cops and book me now, or I'm out of here.
Sam Braun: You're no longer welcome at the Rampart.
Ernie Menlo: Awesome. Okay, I'll take my money and go.
(ERNIE stands up to leave.)
(End of flashback. Resume to present.)
(GRISSOM continues to ALS the room.)
Sam Braun: Do you have any idea the house advantage in roulette?
Grissom: Five point two six percent. Albert Einstein had a theory about roulette. He said the only way to win at roulette is to steal the money from the table when the croupier isn't looking.
Sam Braun: There's always someone looking.
(GRISSOM kneels down to look under the table.)
Grissom: Well, maybe it was an inside job, Sam. Maybe somebody bought off one of your guys.
(SAM smiles as he reads GRISSOM.)
Sam Braun: I'm curious. What bothers you more? The fact that you couldn't pin a m*rder on me or that Catherine cashed my check?
(GRISSOM stops what he's doing and slowly stands up to look at SAM BRAUN.)
Sam Braun: There were no strings on that money.
(GRISSOM takes off his glasses.)
Grissom: Just because you can't see something doesn't mean it's not there.
Sam Braun: (shrugs) Believe whatever you like. That kid walked out of here with my money. If you figure out how he ripped me off, would you let me know?
(SAM turns and leaves the room; GRISSOM watches him leave.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS examines ERNIE MENLO'S feet as WARRICK watches.)
Robbins: For what it's worth, these bruises correspond to the holes in his sock.
(ROBBINS walks around the body toward the head-side of the table.)
Warrick: Well, he's been worked over pretty good. He's got a nice fat lip.
Robbins: Yeah. (ROBBINS reaches out and pulls the lower lip out to look inside.) There was a good clot in the wound, and the tissues were contused. I'd say it occurred at least an hour or two before death. I teased out a couple of small-caliber projectiles from his brain.
(He holds out the b*ll*ts. He gives them to WARRICK.)
Robbins: One was embedded in the right frontal cortex. The other lodged in the first cervical vertebra.
Warrick: It's copper-washed lead. Must be a .22.
Robbins: You know, historically, .22s were the h*t man's b*llet of choice.
(Quick CGI POV: The g*n sh*t sounds and the b*llet hits the brain and swishes around inside.)
Robbins: (V.O.) They have the energy to enter into the cranial vault, but not enough to exit, so they just ricochet around inside, shredding the gray matter until they stop.
(End of CGI POV. Resume to present.)
Warrick: Nice.
Robbins: There's also extensive crush injury to both hands, with fractures of the metacarpals and the phalanges.
(ROBBINS picks up the body's wrist to show WARRICK the knuckles.)
Robbins: Bruises appear perimortem.
Warrick: Any idea what might have caused that kind of damage?
(ROBBINS indicates the x-rays up on the view box behind WARRICK who turns around to look at them.)
Robbins: Given the fracture pattern, I'd guess it was some sort of blunt object.
Warrick: Maybe a ball peen hammer.
Robbins: What gets you to that?
Warrick: They used to tell me back in the days, the first time you got caught cheating, they'd give you a couple whacks on the hand with a ball peen hammer.
Robbins: Ow.
Warrick: The second time, you'd lose a limb.
Robbins: Third time?
Warrick: A long walk in the desert with a shovel.
CUT TO:
[INT. CSI -- LAB]
(WARRICK takes out the victim's shoes from the package to look at them. On the underside of the shoe, he finds pieces of color glass shards embedded in the rubber.)
(He looks inside the shoe and finds an elaborate series of buttons and electronic switches. Camera zooms in to give us a nice view of the electronics. It ends on the Energizer battery inside the shoe.)
(WARRICK pulls the slip in out of the shoe.)
CUT TO:
[INT. CSI -- STAIRS]
(GRISSOM walks down the stairs as WARRICK fills him in.)
Grissom: A computer in his shoe.
Warrick: As far as I could tell, it's a wireless receiver. It picks up a signal, solenoids drive the points up against the guy's foot, tells him what number to bet.
Grissom: Based on what?
Warrick: I don't know. Archie's working on it right now.
Grissom: Well, if our vic was the receiver, there has to be a transmitter.
(SARA steps out of the lounge and joins them.)
Sara: Hey, I got an ID on our vic. (She looks down at the papers in her hands.) A Teddy Keller. Everyone who buys a rolex gets registered at the point of purchase. So I ran the serial number. He bought the watch at the forum shops two days ago. And I got his home address.
Grissom: Well, his driver's license was fake, so, this could be fake, too.
Sara: A fake ID is for scamming a casino. A baller puts his real name on a roley.
(GRISSOM turns and gives SARA a look, surprised by what he just heard. She shrugs it off and waves the papers in her hand toward WARRICK.)
Sara: What? He rubs off.
CUT TO:
[EXT. KELLER'S APARTMENTS - POOLSIDE -- NIGHT]
(MR. GREEN, the landlord, shows BRASS and WARRICK to the apartment.)
Joseph Greene (landlord): Teddy Deller. That's apartment 27. Is he in some kind of trouble? Hey, John.
(He greets the MAN walking by off screen.)
John: (o.s.) Hey, Mr. Green.
(They continue walking.)
Brass: When was the last time you saw him?
Joseph Greene (landlord): I don't know. He's got a roommate -- Davis Mullins. Oh, yeah, they eat a tremendous amount of pizza. (They start up the stairs.)
Tremendous amount of pizza and calzone. I feel like bopping that delivery guy every time he buzzes the gate.
(They reach the apartment door at the top of the stairs.)
Joseph Greene (landlord): Here we are.
(He knocks on the door.)
Joseph Greene (landlord): Anybody home?
(There's no answer. He knocks again.)
Joseph Greene (landlord): Hello?
Brass: I guess the roommate's out, huh?
(MR. GREEN uses the key and unlocks the door. He opens the door and they walk inside.)
[INT. KELLER'S APARTMENT #27 - NIGHT - CONTINUOUS]
(WARRICK and BRASS walk into the apartment and look around. The LANDLORD steps out of the apartment.)
Warrick: It's freezing in here.
(In the center of the living room, a huge roulette wheel and table has been set up.)
Warrick: Get a load of this wheel. It's regulation. These things run about 1,500 bucks.
Brass: Well, they cleared almost half a mil. It's a good investment.
Warrick: Yeah.
(BRASS turns to look at the rest of the apartment. WARRICK notes the various colored and numbered charts hanging on the wall.)
Warrick: These guys definitely had a system.
(BRASS opens the bedroom door and looks inside.)
Brass: Hey, Rick, you might want to check this out.
(WARRICK turns and heads for the bedroom. On the floor at the foot of the bed, they find a d*ad body.)
Warrick: Looks like the roommate's home after all.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. KELLER'S APARTMENT #27 - NIGHT - CONTINUOUS]
(DAVID PHILLIPS moves the head to check the fatal wounds. WARRICK snaps a photo.)
Warrick: Two taps to the head. Deja vu.
(DAVID PHILLIPS continues to attend to the body. In the back of the room, BRASS opens the closet door and checks the clothes on the hangers inside. On the closet shelf, he finds wigs, hats and various make-up applications.)
Brass: These guys liked to play dress-up.
Warrick: You find any shoes back there?
(BRASS looks in the closet floor and not finding any, turns and checks out the room.)
Brass: I'm looking.
(BRASS walks over to the table with the make-up and prosthetics on the tabletop.)
(WARRICK continues to look at the evidence near the body.)
Warrick: Blood smear here.
David Phillips: Maybe the k*ller tried to clean up.
(WARRICK snaps a photo.)
Warrick: That's ridiculous. Why bother?
David Phillips: Okay.
Warrick: Have a distinctive white mark on his right shoulder.
(WARRICK raises his camera and snaps another photo.)
Warrick: What do you make of that?
David Phillips: You already sh*t me down once.
Warrick: Look, uh, it could be right.
David Phillips: Thanks.
Warrick: Can you make sure that gets to trace?
David Phillips: Yeah. Sure.
(WARRICK stands up and walks over to BRASS who has just picked up an electronic shoe slip-in.)
Warrick: Hey, what're you doing, touching that? You got gloves?
Brass: Relax. I got it covered. Hey, Rick, remember the time you said you could get a print off of air?
Warrick: Yeah.
Brass: Check this out.
(He turns the shoe slip-in and the camera goes in for a close-up of the fingerprint on the clear plastic covering.)
CUT TO:
[EXT. KELLER'S RESIDENCE - NIGHT]
(GRISSOM slowly walks down the stairs just outside apartment #27. He checks the steps carefully. He follows the dirt smudges down to the ground floor, past the pool and to the officer standing in front of the stairs going down to the building. He looks at the officer standing in his path and the officer steps aside.)
(GRISSOM continues following the dirt smudges down the steps to the basement. When he reaches the bottom, he finds it: The blue and red glass. He kneels down to look at it and smiles.)
CUT TO:
[EXT. CITY SIDEWALK -- NIGHT]
(CATHERINE and CHRIS BEZICH walk along the busy sidewalk arm in arm, window shopping along the way.)
Chris Bezich: So you just got the day off? Just ... just like that?
Catherine: Are you complaining?
Chris Bezich: No. You just seem a little pissed off about it. (He glances at her a little embarrassed by his next confession.) I like it.
(CATHERINE smiles.)
Catherine: Hmm.
(She points to the artwork in the window.)
Catherine: You like that?
Chris Bezich: Depends on what you're gonna do with it.
(CATHERINE laughs and looks at him.)
Chris Bezich: Pretty expensive taste for a public servant.
(Behind them, SAM BRAUN walks up to them.)
Sam Braun: She can afford it.
(They both turn, surprised to see him. Each for different reasons. CATHERINE stares at him. CHRIS BEZICH smiles.)
Sam Braun: (to CATHERINE) You going to introduce him?
(He shakes his hand.)
Chris Bezich: Mr. Braun. Chris Bezich. It's a pleasure to meet you. Your hosts, they-they send a lot of your whales to my club, Acid Drop.
(SAM'S attention is on CATHERINE.)
Sam Braun: (not really paying attention) That's great.
Catherine: (to CHRIS) Uh-uh. Just give us a minute.
Chris Bezich: Okay.
(CATHERINE and SAM BRAUN step aside.)
Catherine: What do you want?
Sam Braun: Mugs, I heard you had some time off because of me.
Catherine: I could get fired for even having this conversation.
Sam Braun: Relax. Vegas is a small town. I'm always running into people I know.
(CATHERINE sighs heavily.)
Catherine: Just cut to the chase, Sam.
Sam Braun: Some people in this town think I'm a m*rder.
Catherine: Some people in this town know you're a m*rder.
(SAM puts a hand on CATHERINE'S shoulder. CHRIS sees this and walks toward them, his face serious.)
Sam Braun: (insistent) I did not k*ll those kids. I did not!
Catherine: (interrupts) Kids? How do you know there's more than one?
Chris Bezich: (concerned) Cath ...
(CATHERINE stops and turns away.)
Catherine: I'm fine.
(SAM'S hand is still on CATHERINE'S shoulder.)
Sam Braun: (over his shoulder to CHRIS) You're not impressing her. I'll be in touch.
(SAM steps away toward his limo. CATHERINE and CHRIS watch as he gets in. The door slams shut behind him. The limo moves away.)
(CATHERINE takes note of the tires as it reverses to turn around.)
(The limo drives away.)
Chris Bezich: (o.s.) So. You and Sam Braun ...
Catherine: He slept with my mother.
CUT TO:
[INT. CSI - TRACE LAB -- NIGHT]
[SCOPE VIEW: COLORED GLASS]
(DAVID HODGES explains the composition of the glass as GRISSOM looks through the scope at the shards.)
David Hodges: The glass fragments you found at the apartment building are primarily lead-based. Different curvatures and textures with traces of florescent powder, phosphorous and mercury.
Grissom: Neon glass.
David Hodges: I checked out that graveyard once. Pretty interesting.
Grissom: The comparison?
David Hodges: Your sample's consistent with the glass collected from the first crime scene.
Grissom: See? That connects the two m*rder. We've got a timeline.
CUT TO:
[INT. CSI - LOCKER ROOM - NIGHT]
(SARA turns the corner and walks into the locker room. She finds NICK sitting on the bench reading a letter.)
Sara: Hey.
(NICK looks up at her.)
Nick: Hey.
(SARA opens her locker as NICK goes back to looking at his letter. He puts the letter down, thinking about it. SARA notices that he's troubled about something.)
Sara: Everything okay?
(NICK raises the letter.)
Nick: This is about the key CSI position. Grissom recommended me.
(The look on her face freezes. It takes a b*at, then she smiles.)
Sara: Congratulations.
(NICK tucks the letter back into its envelope and stands up to get ready for his shift.)
Nick: It's not necessary. Position was cut. Budget had room for the new promotion or a new qiagen, bio robot ez-1. Greg will be thrilled.
(As he talks, SARA'S lost in her thoughts. NICK checks his w*apon and tucks it in his side.)
Sara: (less than enthusiastic) Yeah.
(NICK shuts his locker door, turns and glances at SARA before heading for the door.)
Nick: Oh, well, it's just an honor to be nominated, right?
(NICK leaves the room. SARA'S left standing in the locker room alone.)
CUT TO:
[INT. CSI - LAB - NIGHT]
(WARRICK talks as GRISSOM examines the electronic shoe device.)
Warrick: Grissom, I have been in Vegas my whole life. I've known guys who counted cards, hedged bets, crushed a poker table with a lowball pair. I've seen guys b*at the house with their hands ... but never with their toes.
(GRISSOM presses the buttons on the transmitter and watches as the three hammers in the shoe pad pop up and down.)
Grissom: Transmitter and receiver.
Warrick: I was reading about these silicon valley types in the '80s called the ... eudaemonic enterprises. Have you heard of them?
Grissom: The Eudaemon. Aristotle's presiding spirit of rationality.
Warrick: They say they figured out a way to b*at the roulette wheel. Not through a betting system, but through physics.
Grissom: It's simple in principle.
(GRISSOM gives the roulette wheel a spin and goes into lecture mode.)
Grissom: A fixed mass in a known orbit.
(He tosses the ball onto the wheel and the familiar sound of the ball hitting the wood is heard.)
(Quick flashback to: [TOP VIEW DOWN] of a spinning roulette wheel in the casino.)
Grissom: (V.O.) As long as you can account for all the forces-- air resistance, friction, gravity -- you can land a probe on mars.
(Camera swings around the roulette table and finds the person with the transmitter watching the wheel spin.)
(Camera zooms in on the side of the spinning roulette wheel.)
Warrick: (V.O.) Well, they say that every roulette wheel is a little different. Tilt, wobble, bounce ...
(There are various cuts between the player with the transmitter and the spinning roulette wheel. It's obvious that he's watching the wheel very carefully.)
Warrick: (V.O.) So, the guy with the transmitter does the calibration, clocks the position of the ball, ...
(The roulette wheel slowly comes to a stop. The ball on the wheel very slowly stops in front of the player with the transmitter.)
Warrick: (V.O.) ... hits the switch ...
(Camera zooms down the player with the transmitter down to his toes. The players toes h*t the switch.)
Warrick: (V.O.) ... and the computer does the rest.
(The camera continues to travel through the electronics in the shoe device. The lights go on and off.)
Warrick: (V.O.) Plays out the spin in milliseconds, ...
(White flash to: The transmitter sends the signal and the camera travels across the floor past the other players feet.)
Warrick: (V.O.) ... predicts the result, ...
(The signal goes into the receiver in the player's shoe.)
Warrick: (V.O.) ... and then transmits a code to the receiver about where that ball will land.
(The camera travels up and lands on TEDDY KELLER in his wig and fat suit at the other end of the roulette wheel table.)
Player: All right, big money, big money!
(As he stares at the board, the right betting number pads glow. TEDDY reaches forward and starts to place his bets.)
Teddy Keller: $1,000 on four, 22, five and 17.
(Camera close up of the roulette ball on the wheel. The ball stops.)
Croupier: It's number 22.
(The camera moves from TEDDY KELLER to DAVIS MULLINS in the baseball cap with the transmitter. The crowd cheers.)
(End of flashback. Resume to present.)
Warrick: This setup gives you a 44-percent advantage over the house. For every hundred these guys bet, they're pulling in $2,200 an hour.
Grissom: Nice return. But it's a complicated system.
(NICK walks into the room.)
Nick: Complicated, huh? Maybe for a couple of pizza majors. But not for an electrical engineering grad student. AFIS got a h*t on the print off the transmitter in the shoe.
(NICK hands GRISSOM the sheet. It reads:
PUPOSES
ATTN* 182672KUSC-971316502-HOM V
** LVMP RECORD
** LAS VEGAS
** III NEVADA ONLY RECORD
CII/A05309354
DOB/ 07/14/82 SEX/M RAC/CAUCASIAN
HGT/510 WGT/155 EYE/BRO HAI/BRO
NAM/01 LANDERS, SETH
OCCUPATION: STUDENT
CHARGES: FRAUD CHARGES-
NRS205.463
OBTAINING AND USING PERSO--
OF ANOTHER PERSON TO HAR--
Nick: Seth Landers. WLVU. Got busted a few years ago for making fake IDs.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. SIDEWALK -- DAY]
(BRASS runs out of the apartment building and heads for NICK.)
Brass: Seth Landers doesn't have a roommate. No answer at his door. Guy's in the wind.
(He joins NICK and the two of them walk down the sidewalk.)
Nick: Well, If someone h*t my boys all mob-style I'd disappear, too, you know?
Brass: Yeah, I guess we're gonna have to do this the hard way. I'll put out a broadcast.
(They stop at the side of the building. BRASS sees something.)
Brass: Wait a minute.
(On the side of the building near the parked cars, BRASS sees a kid fiddling with the lock on his bike. He shouts over to the kid.)
Brass: Hey, kid ... you know Seth Landers?
(The kid turns and looks at BRASS and NICK. He panics and takes off running in the other direction.)
Nick: Uh-oh.
(NICK takes off after him. They run past the building.)
Nick: Stop!
(NICK slowly catches up to the kid. BRASS runs after them. SETH LANDERS turns and glances behind him and finds NICK closer than before. He runs to the fence and grabs it intending to get over it somehow.)
(NICK grabs SETH LANDERS and pulls him down from the fence. SETH LANDERS starts screaming.)
Seth Landers: (desperately) Don't k*ll me! Don't k*ll me! Please! I'll do whatever Mr. Braun wants!
(NICK gets SETH LANDERS' arms behind him. BRASS reaches them.)
Seth Landers: (pleading) Please don't k*ll me! Please!
(BRASS takes over in cuffing SETH LANDERS while NICK takes a breather.)
Brass: Las Vegas police. You Seth Landers?
Seth Landers: Yeah.
Brass: Seth Landers?
Seth Landers: (shouts) Yes!
Brass: Let's go.
(BRASS pulls SETH LANDERS back to the building as NICK watches. NICK takes a breath and follows them.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and WARRICK interview SETH LANDERS. BRASS paces the floor as WARRICK stands next to the table.)
Brass: Jacking Sam Braun's casino at roulette -- that was gutsy... and smart. And since you weren't the one placing the bet, I guess that makes you the smart one.
Warrick: Your boys right here -- Teddy and Davis, the candid camera.
(WARRICK puts the photos on the table. The first photo is of TEDDY KELLER in the fat suit and wig. The photo is labeled on the bottom: RAMPART HOTEL
01.05.42 05/20/04 CAMERA 247 CASINO SECURITY.)
(The second photo is of DAVIS MULLINS sitting at the roulette table. The bottom of the photo is labeled: RAMPART HOTEL 01:07:56 05/20/04 CAMERA
247 CASINO SECURITY.)
Seth Landers: They came to me. It was their idea.
(WARRICK sits down.)
Warrick: Judging from what we found in your apartment, looks like you made their idea work.
(WARRICK puts another photo of the cluttered workstation on the table in front of )
Seth Landers: I built the computers to put in the shoes. That's all.
Brass: Your partners cleared half a mil on your skills. Dollar signs get involved, things get ugly, huh?
Seth Landers: Scam was 20 to 30k a night, max. We h*t Pike's. Next day, Tangiers. Everything was great. We made fifty grand, and then Teddy and Davis got greedy. You can't crush a roulette table like that, and not expect someone to notice.
Warrick: The Tangiers, Pike's, Rampart ... these are all Sam Braun's places. You got something against him?
Seth Landers: No. His casinos are old school. They're low tech. (WARRICK nods in understanding.) There's less interference for my gear.
Warrick: Your gear ... (He looks at the photo of the workstation.) What was your cut?
Seth Landers: I didn't get one. I just got paid for my supplies and my time. That's all.
Warrick: (scoffs) Yeah, picture that!
Seth Landers: It was a challenge. I just wanted to see if I could make it work.
Brass: Any idea where the money is?
Seth Landers: Why don't you ask Sam Braun?
(Quick flashback to: [RAMPART CASINO - NIGHT] SETH LANDERS is at the slot machines when TEDDY KELLER walks into the casino. He walks by.)
(TEDDY KELLER is stopped by a couple of security guards.)
Seth Landers: (V.O.) When they took teddy to the "box," I was sure we were busted.
(DAVID MULLINS stands up and leaves the roulette table. The guards with TEDDY KELLER pass by SETH still at the slot machines.)
Seth Landers: (V.O.) Davis freaked. He split.
(Later, TEDDY KELLER walks out past SETH with the bag of money.)
Seth Landers: (V.O.) And then when he came out with the money, everything was great.
(TEDDY walks by SETH. SETH moves away from his slot machine and follows TEDDY.)
Seth Landers: (V.O.) For about two seconds.
(After a couple of steps, SETH watches as two security guards grab TEDDY KELLER just as he clears the doorway.)
Security Guard: Come on, pal. Let's take a walk.
Seth Landers: (V.O.) They grabbed him and took him outside.
(End of flashback. Resume to present.)
Seth Landers: That was the last time I saw either one of them.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(GRISSOM stands in his office, his phone on the floor. He uses his toes and tries to dial. CATHERINE knocks loudly on the door frame as she walks into the office. GRISSOM glances up and continues to dial the phone with his toes.)
Catherine: What are you doing?
Grissom: I'm testing my podiatric dexterity. What are you doing?
Catherine: Uh, you know those tracks that we found at the neon graveyard?
(GRISSOM stops dialing and looks at CATHERINE.)
Grissom: The ones from the case you're not working on?
Catherine: Yeah, those. Sam ... used to be a caddy man. He would drive a new one every year. These days, he's being driven.
Grissom: And you know this because ... ?
Catherine: I saw him. (GRISSOM moves over to the seat behind his desk.) He came to me.
Grissom: And you walked away, I hope.
Catherine: I made him walk away from me. Right into a stretch limo with a big turning radius.
Grissom: That doesn't prove anything. Besides, any evidence that comes from you is tainted.
Catherine: Then have it come from you. Warrant shouldn't be hard to get. Especially if the call comes from someone whose character is above reproach.
(GRISSOM stops and looks at CATHERINE. She makes sure he meets her eyes and her meaning. She turns and leaves the office.)
CUT TO:
[INT. CSI - GARAGE - NIGHT]
(GRISSOM and SARA are going over SAM BRAUN'S limo, Nevada license # 225-THG.)
(Camera moves around the limo and we see GRISSOM walking along the length of the limo, pulling the tape measure that SARA'S holding down at the other end. He holds a clipboard in his hand.)
(As he measures the distance between the tires, SARA looks up at the side of the limo.)
Sara: Nick said the budget for the promotion was cut.
Grissom: 240 inches-- 20 feet.
Sara: He also said you recommended him.
(SARA lets go of the tape measure. It slides along the length of the limo and snaps back in front of GRISSOM. He looks at her.)
Grissom: I did.
(She turns to look at the tires. GRISSOM clicks his pen open and writes on the clipboard.)
(SARA finds blue glass bits embedded in the tire treads.)
Sara: Possible neon glass fragment.
(She reaches to her kit to get an instrument to take a sample of the glass. GRISSOM walks over to her. She picks off the glass and looks at it. GRISSOM kneels in front of her, his eyes on the fragment in her hand.)
(He looks at SARA. She looks at him.)
(Cut to: [INSIDE THE LIMO])
(The limo door opens on both sides. GRISSOM looks in from the left as SARA crawls into the back of the limo from the right.)
(They both sit on the side seat. SARA sprays the back of the limo as GRISSOM sprays the front.)
Sara: You said you didn't have a problem with me.
Grissom: I don't.
(They continue to spray the seats.)
Grissom: I thought that Nick was the best candidate for the position.
Sara: Why?
Grissom: Because he didn't care whether he got the job or not.
(SARA stops spraying.)
Sara: That's a stupid reason.
(They resume spraying. GRISSOM finds something on the back seat.)
Grissom: We've got blood.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. RAMPART CASINO - MAIN FLOOR -- NIGHT]
(BRASS and WARRICK walk through the casino accompanied by other OFFICERS.)
Warrick: Handle your scandal.
(SAM BRAUN turns around and sees them walking toward him.)
Brass: Sam Braun? You're under arrest for the m*rder of Teddy Keller.
(SAM BRAUN laughs.)
Sam Braun: Is this some kind of joke?
Brass: I'm not laughing.
(SAM turns to the security guard standing next to him.)
Sam Braun: Call my lawyer. This won't take long.
(The SECURITY GUARD turns to make the call. SAM turns to follow the SECURITY GUARD. BRASS stops him.)
Brass: Sam? I'm parked out front.
(SAM laughs as an OFFICER puts his hands behind his back and cuffs him.)
[SLOW MOTION CAMERA]
(BRASS and an OFFICER accompany SAM BRAUN through the main casino floor.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS and GRISSOM interview SAM BRAUN with his LAWYER next to him.)
Lawyer: As much as my client appreciates your flair for the dramatic, the show's over, gentlemen. What do you have?
Grissom: The tire patterns at the scene of Teddy Keller's m*rder are consistent with the wheel base and turning radius of your client's limousine.
Lawyer: As well as every other limo in Vegas.
Grissom: We also found neon glass embedded in all four tires.
Lawyer: The whole town's a construction site. It's a tenuous link, at best.
Grissom: Well, then ... how did his blood end up in the back of your client's limousine?
(THE LAWYER doesn't say anything.)
Brass: You waited until Teddy cleared the security cameras ...
(Quick flashback to: [BACKSEAT OF LIMO] The door opens and SAM pulls TEDDY KELLER into the back seat with him. The door shuts behind him. SAM back hands TEDDY KELLER in the face causing his nose to bleed. A large splotch of blood falls to the seat.)
Sam Braun: We're not through talking, kid.
(End of flashback. Resume to present.)
Brass: And then you took him for a ride ... Vegas style. Just like the old days, huh.
(Quick flashback to: [NEON GRAVEYARD - NIGHT]
(They pull TEDDY KELLER out of the limo's backseat.)
Teddy Keller: Please. Please. Let me go.
(The limo door shuts and they lead TEDDY along the neon graveyard.)
Teddy Keller: Please. Please.
(TEDDY'S shirt is opened and the fat suit he's wearing is revealed.)
Sam Braun: Let me show you what I do to cheaters.
Teddy Keller: (screams) No, no!
(They pull TEDDY over to the sign and he sh**t him twice in the back of the head.)
(End of flashback. Resume to present.)
(SAM leans over and whispers something to his LAWYER. When done, the LAWYER turns, looks, and smiles at BRASS and GRISSOM.)
Lawyer: My client offered the young man a ride home. They stopped briefly at the neon graveyard, where they held a private conversation regarding the ethics of defrauding a casino.
(BRASS chuckles.)
Brass: That must have been some chat. We know he left the casino with the money.
Lawyer: The young man returned the money as a sign of respect for my client and his position in the community.
Brass: I'm sure he did.
(GRISSOM and SAM stare at each other.)
Brass: So, what next? You gonna tell me you're being set up? It happens to you a lot, huh, Sam?
CUT TO:
[INT. RAMPART CASINO - MAIN FLOOR - NIGHT]
(WARRICK uses an ELENCO F-2800 miniature frequency counter and walks through the floor monitoring for frequencies being used.)
(He walks up the stairs to a higher point, turns and looks out at he busy gaming floor.)
(He envisions seeing the frequency sound waves travel across the room.)
(Camera holds on WARRICK.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(WARRICK walks through the hallway. DAVID HODGES grabs his test results and exits the trace lab. He heads toward WARRICK.)
David Hodges: Your smudge from that second kid's shirt -- I got a spectral library match to Sherwin-Williams Everclean Interior paint, navajo white.
(WARRICK looks at the results.)
(Quick flashback to: [INT. MULLER'S APT] WARRICK notices the paint on DAVIS MULLEN'S shirt. End of flashback. Resume to present.)
Warrick: Anything distinctive?
David Hodges: I would have mentioned it. Sometimes a paint sample's just a paint sample.
Warrick: Yeah.
(WARRICK enters the lab. GRISSOM'S inside.)
Warrick: You still liking Braun for these m*rder?
Grissom: Yeah, why? Something change?
Warrick: I'm thinking Seth Landers and his pals had a woody for him. I went back to the Rampart, and I took some electronic noise measurements. The place is a mess of interference. Electronics in old casinos aren't shielded.
Grissom: So, you're saying that the shoe computers would've worked better in one of the new casinos on the strip?
Warrick: Definitely. A kid as smart as Seth wouldn't make a mistake like that.
Grissom: Then it was intentional.
(WARRICK nods.)
Grissom: Maybe personal.
CUT TO:
[INT. CSI - LAB]
(WARRICK searches for SETH LANDERS on the computer. The computer beeps and SETH LANDERS' Nevada Driver License appears on screen.)
LANDERS, SETH
247 DUNPHY RD.
LAS VEGAS, NV
LIC # 21256453349
(WARRICK thinks about it and remembers something. He picks up SETH LANDERS' rap sheet. It reads:
DOB: 07-14-82
SEX: M
HGT / 5'10" WGT / 155 EYE/BRN
NAM/01 LANDERS, SETH
CURRENT ADDRESS:
WLVU MESA HALL 6622 NELS-
PREVIOUS ADDRESS:
247 DUNPHY ROAD APT 3
COURT: 02/25/98
NAM: 01
CAMC LAS VEGAS
CNT: 01 #M73118
-ATTEMPTED ...
(Up on screen is the following Nevada Drivers' License Information:
MULLINS, DAVIS
247 DUNPHY RD #27
LAS VEGAS NV 89109
(WARRICK thinks about it and types in another search for: JOSEPH GREENE. He finds the matching address:
GREENE, JOSEPH
247 DUNPHY RD #03
LAS VEGAS, NV 89109
(Camera rises and focuses on JOSEPH GREENE'S DMV photo.)
CUT TO:
[INT. SMALL STORE / CASINO -- DAY]
(Through the window, we see WARRICK and BRASS walking along the sidewalk toward the small store/casino. We hear the sounds of a small slot machine along with the mutterings of the person playing the machine off screen.)
Joseph Greene: (muttering) (o.s.) Come on, give me something. Somehting, something ... anything ...
(WARRICK and BRASS turn and walk into the small store/casino where they find JOSEPH GREENE playing the slots.)
Brass: So, this is your casino of choice? That's what your tenants said.
Warrick: Sir, could you tell us about Seth Landers?
Joseph Greene: That's my son. Is he okay?
Brass: Let's stop playing dumb, Mr. Greene, huh?
Joseph Greene: Would you mind stepping away from the machine? You're st-staring over my shoulder, you're looking at me. You're jinxing me, and I'm gonna have to ...
(BRASS reaches out and stops JOSEPH GREENE from pulling the slot machine handle.)
Brass: How's that? Is that better?
(They see JOSEPH GREENE'S injury.)
Brass: What happened to your hand?
Joseph Greene: I had an accident a long time ago.
Warrick: Sam Braun do that with a hammer?
Joseph Greene: I'm sorry, I don't know who that person is. (He looks at WARRICK.) Who is that? (He shrugs.) I don't like to talk about my hand, okay?
Brass: Well, that's too bad. 'Cause you know what? Today ... this is your life.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY / WAITING ROOM - DAY]
(The OFFICER escorts SAM BRAUN through the hallway and into the waiting room. They walk past JOSEPH GREENE sitting in the waiting room chair. JOSEPH GREENE turns his head to look at SAM BRAUN. They seat SAM BRAUN a few chairs away from JOSEPH GREENE.)
(They cuff SAM BRAUN to the chair. JOSEPH GREENE can't keep his eyes off of SAM BRAUN. SAM turns and looks at JOSEPH GREENE. Then he turns and looks at BRASS and GRISSOM sitting in the next room staring at them.)
[INT. POLICE DEPARTMENT - BRASS' OFFICE - DAY - CONTINUOUS]
(BRASS and GRISSOM watch the two men in the other room.)
Brass: Joe Greene -- aka Joe Landers. They're old friends.
(BRASS steps out of the office and heads for the waiting room.)
Brass: Sorry to break up the reunion, fellas. Mr. Greene ... Mr. Landers ... which is it?
(SAM notices JOSEPH GREENE'S smashed fingers. JOSEPH GREENE moves his hand trying to hide it.)
Joseph Greene: It's Greene.
Brass: Come with me.
(JOSEPH GREENE stands and slowly walks over to the door with BRASS. SAM BRAUN stops him.)
Sam Braun: (calls out) Do your hands hurt when it rains, Joe?
(JOSEPH GREENE stops and turns to look at SAM BRAUN. JOSEPH GREENE turns and looks casually at SAM.)
Joseph Greene: Do I know you?
(JOSEPH GREENE turns his back to SAM BRAUN and continues walking out of the waiting room.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY - CONTINUOUS]
(BRASS interviews JOSEPH GREENE.)
Brass: The exclusion/exemption clause means you don't get to gamble. Period. Not even the quarter slots at the gas-and-go.
Joseph Greene: Don't you have something better to do? Like find out who m*rder those two kids in number 27.
Brass: You got any theories? It was your apartment building. Your son Seth fingered the guy you were sitting next to. A guy you don't know. The guy who put you in the black book.
Joseph Greene: No. The gaming commission put me in the black book.
Brass: Yeah, for cheating, Joe.
Joseph Greene: (chuckles and takes off his glasses) I did not cheat. I did not cheat. I didn't have to cheat. I b*at the casinos. I b*at 'em, and they ganged up on me, and, uh ... that was it, they didn't want me there anymore.
Brass: No, you b*at Sam Braun's casino and he ended your gambling career. You're barred from the casinos for life. That sounds like motive to me.
Joseph Greene: Motive for what, playing the quarter slots?
Brass: Come on.
Joseph Greene: Come on.
(BRASS sits down at the table.)
Brass: Okay, look, here's a quiz. Teddy Keller, Davis Mullins and your son Seth were caught fleecing the Rampart. Now two of 'em are d*ad.
Joseph Greene: I had no idea what those two boys were doing. But I will tell you this -- I will tell you that my son is a good kid, he's a good boy.
Brass: Then why'd you put him in the middle of your action? Why'd you use him to settle an old score? (sighs) Maybe Sam Braun's innocent. Maybe Seth whacked his partners because he got caught.
Joseph Greene: Stop looking at my son. Stop looking at me, and start looking at Sam.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. SETH LANDERS' DORM - DAY]
(NICK kneels next to the trash on the ground and snaps photos of the g*n.)
Officer Metcalf: Garbage detail called it in. Says they didn't touch it.
Nick: Well, this is Seth Landers' dorm.
(NICK picks up the g*n and the shirt it's on. He stands up.)
Nick: There's a lot of garbage build up. When was the last pick-up?
Officer Metcalf: Day before yesterday. End of finals party last night.
Nick: Looks like blood. Let's hope the k*ller left his DNA behind. .22 revolver, two live rounds, four expended. Should be able to pull some prints off it.
Officer Metcalf: g*n's a relic.
Nick: Doesn't matter if it still works.
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(The g*n is fired. Two b*ll*ts slowly sink to the bottom of the water t*nk.)
(NICK retrieves the b*ll*ts from the bottom of the t*nk. He looks at them while WARRICK sits at the table in front of the scope.)
(NICK hands the b*llet to WARRICK.)
Nick: There you go.
(WARRICK puts the b*llet under the scope and finds a match.)
Warrick: The test f*re matches the b*llet found in Teddy Keller's body.
Nick: So we've got our m*rder w*apon.
Warrick: Yeah, we found our m*rder w*apon. I don't know the kid thinks up this elaborate scheme to cheat the casinos. Then he kills his partners. But he dumps his g*n at his dorm?
Nick: An rg .22. That's not a very bad ass' first w*apon of choice.
Warrick: No, it's a small caliber w*apon for an up-close-and-personal h*t. I don't really see the kid pulling a Gotti.
Nick: Okay, two victims, two taps to the head. But the loads are different.
Warrick: Well, maybe he ran out of a*mo. Went back and bought another brand.
Nick: And reloaded, yeah.
Warrick: The b*ll*ts that were found in Teddy Keller's skull, were copper washed cci .22s.
Nick: And the two rounds found in Davis Mullins were Remington Brass washed. So, based on the position of the cylinder Remingtons were fired first?
(Quick flashback to: [APARTMENT #27] Close up of the g*n cylinder as the chamber moves, advancing to the new b*ll*ts. Two g*n sh*ts f*re. DAVIS MULLINS falls to the ground.)
(Cut to: [NEON GRAVEYARD] Close up of the g*n cylinder as the chamber advances to the old b*ll*ts. Two g*n sh*ts f*re. TEDDY KELLER falls to the ground.)
Warrick: But that would mean that Davis Mullins was k*lled in the apartment before Teddy Keller was k*lled in the graveyard. The timeline's off.
CUT TO:
[INT. CSI - DNA LAB]
(GREG shows GRISSOM his findings.)
Greg: Blood on the shirt is a match to Davis Mullins. Epithelials from inside the shirt belong to Seth Landers.
(GREG watches GRISSOM carefully. GRISSOM looks up from the test results and looks at GREG.)
Grissom: What?
Greg: That means Sam Braun's innocent. This time. Are you disappointed?
Grissom: It's the evidence.
(GRISSOM gets up and heads out of the lab.)
CUT TO:
[INT. POLICE DEPATMENT - HOLDING CELL - DAY]
(Inside the holding cell, SETH LANDERS sits on the bench. He scrambles to his feet and rushes over to the bars when he sees WARRICK walking toward him.)
Seth Landers: Hey, what's up, man? Am I going to get out of here?
Warrick: No. Where did you go after Teddy Keller was taken?
Seth Landers: You know what, you keep on asking me all these questions, but my lawyer says I'm not even supposed to talk to you.
Warrick: Okay, you don't have to talk to me. But you got to know you're looking at two counts of m*rder.
Seth Landers: What? I didn't k*ll anybody. This is crazy.
Warrick: Then talk to me. Tell me what happened. Where did you go? For real.
Seth Landers: I waited outside the casino for an hour. Teddy didn't show up so I went to his place.
(Quick flashback to: [APARTMENT #27] SETH LANDERS walks into the apartment. He's panicking.)
Seth Landers: Davis, where are you, man? Braun got Teddy.
(He rushes through the living room and heads for the bedroom. He sees DAVIS MULLINS on the floor at the foot of the bed.)
Seth Landers: Davis, wake up, man!
(He gets a good look at DAVIS and sees that he's d*ad. He looks at the blood on his hands and absently wipes them on the front of his shirt. He scrambles to his feet and runs out of the apartment closing the bedroom door on his way out.)
(End of flashback. Resume to present.)
Warrick: We found the m*rder w*apon that was used to k*ll your two partners. It was wrapped in your bloody t-shirt. Can you tell me about that?
Seth Landers: I have never used a g*n in my life.
Warrick: It was found outside of your campus apartment.
Seth Landers: (shakes his head) That can't be. (WARRICK nods.) Can't be.
Warrick: Unless you clear it up.
Seth Landers: Um ... the rule was that if something went wrong, we were supposed to just go home.
(SETH LANDERS turns and walks back to the bench against the far cell wall. He sits down.)
Seth Landers: Uh... so I found the body, got blood all over my shirt, so... I gave it to my dad. I gave my dad the shirt. He's the one who had the shirt.
(Quick flashback to: [JOE GREENE'S APARTMENT] The door opens and SETH LANDERS runs inside.)
Seth Landers: Dad! Dad!
(He grabs his dad to get his attention. JOE turns around.)
Seth Landers: Davis ... Davis is d*ad.
(White flash.)
Seth Landers: I think they got Teddy, too. Braun's on to us. What am I going to do?
Joseph Greene: Give me your shirt. Go back to school and lay low.
(SETH LANDERS takes his shirt off and gives it to JOE GREENE. SETH turns and leaves.)
(End of flashback. Resume to present.)
Warrick: Are you trying to tell me that your own father set you up?
Seth Landers: The truth is, I just wanted him to like me. But I'm not him. You know, I'm never going to be him. Counting cards and the poker face. They say it's a skill, but it's a gift. Till Sam Braun took it away.
Warrick: So you went after Sam Braun to prove something to your old man.
(SETH gets to his feet and walks back to the bars.)
Seth Landers: Yeah. I mean, I went after the whale, but I skinned it. I did what my dad could never do.
(SETH grabs the bars nervously. WARRICK glances down at SETH'S knuckles and sees it clean: no bruises. He looks at SETH.)
Warrick: Does your father own a .22?
(SETH LANDERS stares at WARRICK.)
CUT TO:
[INT. JOSEPH GREENE'S APARTMENT - DAY]
(Outside the apartment, JOE GREENE stands with OFFICER METCALF. Inside the apartment, WARRICK and GRISSOM search for evidence.)
(WARRICK uses the ALS on the couch and floor.)
Warrick: I got nothing.
(GRISSOM walks over to the washer and checks inside.)
Grissom: Maybe he was expecting us.
Warrick: You think he cleaned up?
(GRISSOM turns around and sees something. He walks over to the wall key hanger and finds some white paint on the leather key ring handle.)
Grissom: Well, if he did ... he missed a spot.
CUT TO:
[INT. APARTMENT - DAY]
(Open on the taped up door handle. It twists slowly as the door is opened. GRISSOM and WARRICK walk inside to find the place completely re-painted over, plastic sheeting still hangs from the ceiling.)
(The entire apartment is newly painted white.)
(GRISSOM puts his kit down on the floor.)
Warrick: Nice and new in here.
(In the center of the room, they see the open can of paint.)
Warrick: Sherwin Williams, latex flat. Navajo white. What do you know. (He snaps a photo.) Same as the paint on the shirt.
(While WARRICK takes photos, GRISSOM walks over to the closet and opens it. On the top shelf, he finds a black backpack. He pulls it down from the shelf. WARRICK turns around to see what GRISSOM found.)
Warrick: What's in the bag, "dad"?
(GRISSOM opens the bag and pulls out the stack of bills.)
Grissom: Money from ... the Tangiers ... money from Pike's. Bet there's fifty grand in there.
(WARRICK snaps more photos.)
Grissom: Plus ... what could be paint and blood smears.
Warrick: That blood could match the stains we found on Davis' shirt. I don't understand why he had to k*ll his kids. They were making a lot of money off of Braun. Dad was getting his revenge.
Grissom: My guess, stopped being about the money.
(Quick flashback to: [APARTMENT] JOE GREENE'S painting the kitchen when his phone rings. He answers it.)
Joe Greene: Yeah.
Teddy Keller: (from phone) Hey, Joe, it's Teddy.
Joe Greene: Oh, hi, Teddy.
Teddy Keller: (from phone) Sam's on to us. He took me to neon graveyard.
Joe Greene: Slow down, slow down.
Teddy Keller: (from phone) I had to give him the money. I thought he was going to k*ll me.
Joe Greene: Don't move. I'll be there in a minute.
(JOE hangs up and tosses the phone on the counter.)
(Cut to: [APARTMENT #27] DAVIS MULLINS opens drawers and packs quickly.)
(White flash to: JOE GREENE walks into the apartment. He closes the door behind him. DAVIS glances behind him and sees JOE.)
Davis Mullins: Mr. Greene, what's up, man?
(JOE GREENE walks toward him.)
Joe Greene: Hey ... Hey ...
(Cut to: JOE GREENE fires the g*n pointed at the back of DAVIS MULLINS' head twice. DAVIS falls forward. JOE reaches out and pulls him to the floor. He gets white paint on the backpack when he does.)
(End of flashback. Resume to present.)
Warrick: Why settle for the money, when you can frame up your worst enemy for m*rder.
(Quick flashback to: [NEON GRAVEYARD - NIGHT] TEDDY KELLER paces the roadway as he waits for his ride.)
(The car pulls up.)
Teddy Keller: Hey, what the hell took you so long?
(JOE steps out of the car.)
Teddy Keller: Joe ... Joe we got a problem. Sam ... Sam he ...
(JOE pulls out the g*n.)
Joe Greene: Turn around and walk.
(He pushes TEDDY toward the "W".)
(Two g*n are fired and TEDDY falls to the ground.)
(White flash to: JOE uses the hammer and pounds TEDDY'S knuckles. He pulls TEDDY and rests him on the "W".)
(End of flashback. Resume to present.)
(Having worked out the theory, GRISSOM and WARRICK look at each other.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. POLICE DEPARTMENT - PARKING LOT - NIGHT]
(CATHERINE steps out of her vehicle. She walks over to SAM BEAUN'S limo. The back door is open. SAM'S standing at the front of the limo. She walks past the open door and toward SAM.)
Catherine: Sam. Could I buy you some dinner?
Sam Braun: Feeling a little guilty?
Seth Landers: Hey, Sam. (SETH LANDERS stands up out of the back of the limo. CATHERINE turns around.) Where's the ice?
Sam Braun: Next to the tv, kid.
(CATHERINE turns and looks at SAM.)
Sam Braun: You want to catch a cheater -- hire one.
Catherine: Right. He gets to work off his debt.
Sam Braun: On way or another, I always get my money's worth.
(SAM walks past CATHERINE and slips into the back of the limo. The door shuts behind him and the limo drives away.)
(CATHERINE stands in the middle of the parking lot and watches the limo leave.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x22 - No More Bets"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
[INT. HOTEL/CASINO - MAIN FLOOR - NIGHT]
(The camera moves through the casino main floor finding and lingering on various blonde-haired women sitting at various slot machines or sitting at the gaming tables. The camera finds the dark-haired card dealer, then finally settles on blonde-haired, pit boss, LINLEY PARKER.)
(The camera lingers on her as she delicately pushes the hair away from her face.)
(Slow motion, close-up. She delicately pushes the hair away from her face.)
CUT TO:
[EXT. PARKING LOT - NIGHT]
(LINLEY PARKER walks out across the parking lot.)
FADE TO:
(LINLEY PARKER stands in front of her open car door and sees something on her leg.)
FADE TO:
(She starts the car and drives away.)
(The man watching her is sitting in a second car. He starts the car and follows her.)
FADE OUT.
(A woman screams.)
[EXT. WOODS - NIGHT]
(LINLEY PARKER, shirt torn open and in her underwear, desperately runs through the woods in her bare feet.)
(She turns and heads for the residential area.)
(She runs through the backyard fence and up to the house. She pounds on the glass door with her hand, breaking the glass.)
(She screams.)
Linley Parker: Help!
(The dog inside the house barks at her. She turns and runs out of the backyard.)
(LINLEY PARKER continues to run down the middle of the street.)
Linley Parker: (screams) Help me! Please somebody help me!
(She takes several more steps, then crumples to the road.)
Linley Parker: (crying) Somebody help me!
CUT TO:
[EXT. SOUTHERN HIGHLANDS RESIDENTIAL AREA -- NIGHT]
(Open on LINLEY PARKER'S mangled and bloodied feet. Camera flashes as someone snaps photos of her feet.)
Voice Of EMT: (o.s.) Victim's s*ab. We're transporting her to Desert Palms. Over.
(LINELY is lying on a gurney. The camera flashes and we see her eyes are open. More photos are taken of her hands as well.)
(GRISSOM finishes taking pictures and puts the camera down as BRASS makes his way toward him.)
Brass: Nobody knows who she is. The Andersons, they called the Security Company. (He indicates the couple talking with the officer.) They thought somebody was trying to break in their back door. Southern Highlands is a new development. There's really not much around here. Some of my guys are talking to everybody, trying to find out what's going on.
Grissom: She has severe lacerations on her feet. She was running hard from somewhere.
(GRISSOM turns and walks toward the ANDERSONS who are taking with an OFFICER. BRASS watches as the EMTs lift the gurney onto the back of the Ambulance.)
CUT TO:
(Open on the cracked glass door. GRISSOM shines his flashlight on the blood and cracked glass. He puts the flashlight down and snaps a photo of it.)
(He turns and notices the bloodied foot print on the concrete. He snaps a photo of it.)
(He turns and sees more blood on the edge of the white shirt hanging on the clothes line. He snaps a photo of it.)
(He finds a bloody hand print on the wooden back gate. He snaps photos of it, then walks through the gate and out into the woods.)
(He takes a couple of steps looking for more evidence. He finds a foot print in the dirt with some pieces of glass left behind. He looks up and continues looking for more evidence.)
(GRISSOM looks up and finds a car parked on the side of the road, the driver's door still open, car lights still on. He heads for the car.)
(The car beeps - the keys are still in the ignition; lights are on; door is open.)
(GRISSOM looks inside the front seat and finds an open wallet, driver's license and a couple of twenty dollar bills hanging out of the pocket. He notes the license for :
PARKER, LINLEY
288 TYLER -
EXPIRES 08-22-2005 )
(He looks around the rest of the car, then stands up and looks around the area.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. WOODS -- NIGHT]
(Top view sh*t of a lot of OFFICERS carrying flashlights and searching for evidence around the surrounding area. Near the car, GRISSOM snaps more photos.)
Nick: (looks around the road) No skid marks, no signs of another vehicle.
Grissom: The engine's running, no flat tires. Why'd she stop?
CUT TO:
[INT. DESERT PALMS HOSPITAL - EMERGENCY ROOM -- NIGHT]
(LINLEY PARKER is lying on the exam table. The NURSE leans in and snaps photos of LINLEY'S injuries - on her face, on her hands and on her feet. She puts a sheet of paper under her hair and combs out some particles.)
(She takes samples from under her nails.)
(The NURSE starts the exam.)
(Later. After the exam is completed, she removes her latex gloves.)
(Standing outside waiting for the exam to finish, SARA turns to CATHERINE.)
Sara: I'm going to take the SAE kit to Greg.
Catherine: You don't want to take the statement?
Sara: Do you mind?
Catherine: No.
(The NURSE steps out from behind the curtain and gives the box to SARA.)
Nurse: She's ready.
Sara: Thanks.
(SARA takes the box and leaves. CATHERINE follows the NURSE back to LINLEY who is sitting on the table.)
Catherine: Linley Parker, I'm Catherine Willows. I'm with the Las Vegas Crime Lab. I know that you've been through a horrific ordeal.
Linley Parker: 4-4-6. That's all I got. Nevada plates. Some kind of SUV. Black, I think.
Catherine: Can you start from the beginning?
Linley Parker: I was, um, driving home from work.
INTERCUT WITH:
[CRIME SCENE]
(GRISSOM and NICK crouch down to examine the back of the car.)
Linley Parker: (V.O.) There's hardly any traffic once you cross horizon ranch. He was tailgating.
(They find the marks on her rear bumper.)
Linley Parker: (V.O.) I slowed down to let him pass ...
[DESERT PALMS HOSPITAL]
Linley Parker: ... and he h*t me.
[CRIME SCENE]
(NICK and GRISSOM look around the car in the bushes.)
Linley Parker: (V.O.) I wasn't going to stop, but he did, so I ...
[DESERT PALMS HOSPITAL]
Linley Parker: ... pulled over. You're not supposed to leave the scene of an accident. He looked like a normal guy. He asked if I was okay. Apologized. He went to his car to get his insurance information. I was looking at my bumper.
[CRIME SCENE]
(GRISSOM and NICK look in the bushes.)
Linley Parker: (V.O.) He punched me in the face, threw me over his shoulder.
(GRISSOM sees LINLEY'S black pump in the bushes.)
Linley Parker: (V.O.) I lost my shoes.
(NICK finds a couple of buttons in the dirt.)
Linley Parker: (V.O.) He threw me on the ground, took off my jacket, ripped open my shirt.
[DESERT PALMS HOSPITAL]
Linley Parker: He kept trying to kiss me on the mouth, and I kept turning away. So he bit my ear.
[CRIME SCENE]
(GRISSOM finds a gold earring in the dirt.)
[DESERT PALMS HOSPITAL]
Linley Parker: He wanted me to look at him. He was going to k*ll me.
[CRIME SCENE]
(NICK finds the skirt on the ground. He snaps a photo of it.)
Linley Parker: (V.O.) He ripped off my skirt. He r*ped me.
[DESERT PALMS HOSPITAL]
Linley Parker: He didn't use a condom. He got up to zip, and I kicked him in the groin and I ran. And the rest, I guess you know.
Catherine: Thank you. That was very specific. You said that you looked at him. Could you describe him to a forensic artist?
Linley Parker: Yes.
CUT TO:
[CRIME SCENE]
(NICK snaps photos of the print on the skirt.)
[INT. CSI - OFFICE -- NIGHT]
(LINLEY PARKER sits in the room with the FORENSIC ARTIST.)
Forensic Artist (woman): What do you remember most about the face?
Linley Parker: He had bright eyes.
Forensic Artist (woman): What about the shape of the eyes?
Linley Parker: Almond. Tiny pupils.
Forensic Artist (woman): What about the rest of the face?
Linley Parker: He had a baby face. High forehead, thin lips, clean-shaven.
(The FORENSIC ARTIST starts to draw as LINLEY describes her assailant.)
(cc) Forensic Artist (woman): Like a crewcut?
(cc) LINLEY PARKER: No, like he had a regular haircut.
[HALLWAY - CONTINUOUS]
(SARA stands in the hallway watching LINLEY with the FORENSIC ARTIST. GRISSOM walks down the hallway and sees SARA. He walks over and stops next to her. Though she doesn't turn, she knows he's there.)
Sara: What?
Grissom: How many vacation days do you have on the books?
Sara: About ... (She turns to look at him.) ... ten weeks, I guess. Why?
Grissom: I think you should take a week or two.
Sara: I-I'm still on the case. I just didn't do the interview for once in my life.
(GRISSOM nods and glances inside the room. He turns back to look at SARA.)
Sara: When was the last time you took vacation? (b*at) Never, right?
Grissom: Okay.
(GRISSOM turns and leaves.)
CUT TO:
[INT. LAB]
(CATHERINE runs a plate search for the numbers 4-4-6 in the Nevada Department of Motor Vehicles Database. She finds 5018 plates.)
(She narrows it down only to the SUVs that are ALL COLORS. She finds 312 results.)
(She pulls up the DMV photos of the owners.)
CUT TO:
[INT. CSI - HALLWAY]
(GRISSOM walks down the hallway when GREG rushes up to him, test results in his hand.)
Greg: Grissom, I have some information that will be of use to you. But, before you get it, I need a decision.
Grissom: What?
Greg: I'm tired of being on the fence here. Either I'm in the lab or I'm in the field. Which is it?
Grissom: Well, as soon as you can find and train a replacement, you can be in the field. Until then, I need you in the lab. Now give.
Greg: I got a CODIS h*t off the semen from your victim. DNA matches a r*pe-m*rder case from a year ago.
Grissom: Still open?
Greg: Warrick's pulling the file.
(GRISSOM winks, turns and walks away.)
Grissom: Thanks.
Greg: No, thank you.
(Yes!)
(GREG turns and heads back to his lab.)
CUT TO:
[INT. LAB]
(WARRICK fills GRISSOM in on the old case. The file folder contents are spread out on the table.)
Warrick: Victim was a 32-year-old Caucasian female, Emma Dobbins. Sexually as*ault. (He hands GRISSOM a photo.) Cause of death, strangulation. They used her pantyhose.
Grissom: Where'd they find the body?
Warrick: Off of Blue Diamond Road, Southern Highlands.
Grissom: That's not far from where Linley Parker was as*ault.
Warrick: Other than the semen, the only evidence at the scene was a shoe print-- man's size nine. I talked to Nick. They also found a print-- size nine.
Grissom: Did she have a car?
Warrick: A Vintage Pontiac. Registered in her name, never recovered.
Grissom: So apart from geography and age, what else did they have in common?
Warrick: Emma Dobbins ran a movie memorabilia place downtown.
Grissom: My vic was a pit boss at the Palms.
Warrick: (shakes his head) Emma was married.
Grissom: Linley Parker was single. Blonde.
Warrick: She was brunette. The only thing in common: the guy who r*ped them.
CUT TO:
[INT. CSI - OFFICE]
(The FORENSIC ARTIST finishes the composite based on LINLEY'S description.)
Linley Parker: There's something wrong with the nose.
(The FORENSIC ARTIST picks up a sheet with various pictures of the noses circled for her to choose from.)
Forensic Artist (woman): Which one looks right.
(She points to D8-4.)
Linley Parker: That one.
Forensic Artist (woman): (points) This one?
Linley Parker: Yeah.
(CATHERINE walks into the room.)
Forensic Artist (woman): Now, close your eyes, and tell me everything up until the time he r*ped you.
(LINLEY closes her eyes.)
FLASH TO:
(Shadows of LINLEY with the ATTACKER standing outside the two cars.)
Voice: I'm so sorry
(Resume to LINLEY.)
(The ATTACKER pushes LINELY back to the ground.)
Attacker: (rasps) Look at me. (He grabs her face and forces her to look at him.) Look at me.
(LINLEY screams.)
Attacker: Yeah, look at me.
[INT. CSI]
(LINLEY'S eyes are closed as she remembers. The FORENSIC ARTIST holds up the composite in front of her.)
Forensic Artist (woman): Open your eyes.
(LINLEY opens her eyes, looks at the composite drawing, turns and throws up on the floor. CATHERINE watches from the side. LINLEY covers her mouth and shakes her head.)
(Camera holds on the drawing.)
FADE INTO:
[INT. TODD COOMBS' OFFICE -- DAY]
(The drawing overlays onto DR. TODD COOMBS. He's in his office listening to a patient.)
Woman (patient): (o.s.) My husband keeps dropping hints about my anniversary present. Says he hopes I like calypso music. I think it's a cruise.
Todd Coombs: You don't like cruises?
Woman (patient): I feel guilty.
Todd Coombs: Because you don't love him anymore, or because you think he can't handle knowing?
Crystal Coombs: (o.s.) Sir!
(The office door opens; BRASS walks in. CRYSTAL follows him.)
Brass: Dr. Todd Coombs.
Todd Coombs: Excuse me, I'm with a patient.
Crystal Coombs: Honey, I told him to wait ...
Todd Coombs: Crystal, what's going on here?
(BRASS holds up his badge.)
Brass: Las Vegas police. Sir, we need to talk.
[EXT. TODD COOMBS' OFFICE -- DAY]
(Through the camera shutter, CATHERINE sees that the vehicle's NEVADA plates are
446-RMV.)
(BRASS and an OFFICER escorts TODD COOMBS out of the building. CRYSTAL follows behind them.)
Todd Coombs: This is insane -- you've got the wrong guy.
Brass: Well, if that's true, you got nothing to worry about.
Crystal Coombs: I-I'm going with him.
Brass: No, you're not. This is where he'll be.
(He takes out a business card and hands it to her. The OFFICER puts TODD COOMBS in the back seat of the car.)
Todd Coombs: I'm gonna need a lawyer.
Crystal Coombs: Who do I call?
Todd Coombs: I don't know, call Roger -- he'll know what to do.
Crystal Coombs: Roger?
(BRASS stands next to CATHERINE at the back of the SUV.)
Brass: The victim said the car was black.
Catherine: Well, blue looks black at night.
(The OFFICER car drives away.)
(CATHERINE walks to the front of the car and notices the scrapes on the front fender.)
CUT TO:
[INT. POLICE DEPARTMENT - OBSERVATION ROOM -- DAY]
(The men for the line-up file into the room.)
Man: (V.O.) Single file, stop at your number on the floor. When I tell you to turn, you're gonna face the mirror. When you hear your number called, step forward.
(LINLEY PARKER stands in front of the looking glass. BRASS and CATHERINE wait in the back.)
Man: (V.O.) Number one, step forward.
(The first man steps forward.)
Man: (V.O.) Step back.
(After a b*at, he steps back.)
Man: (V.O.) Number two, step forward.
(The second man steps forward.)
Man: (V.O.) Step back.
(He steps back.)
Man: (V.O.) Number three, step forward.
(TODD COOMBS steps forward. She recognizes him immediately.)
Linley Parker: It's number three.
(TODD COOMBS swallows hard.)
Linley Parker: That's the guy who r*ped me.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - HALLWAY TO HOLDING CELL -- DAY]
(GRISSOM and the OFFICER head toward the holding cell. They peer in through the glass window in the door where they find TODD COOMBS up and pacing the floor.)
Officer: He's been like that since the lineup. You know, the guilty ones always fall asleep.
(The OFFICER opens the door. GRISSOM walks in.)
Grissom: Dr. Coombs, my name's Gil Grissom. I'm with the crime lab. I'm here to collect a DNA sample, so if you'd open your mouth?
Todd Coombs: DNA? I-I think I should talk to my lawyer.
Grissom: Well, we have a warrant, so we can compel a sample. Either way I'm gonna get it.
Todd Coombs: I haven't done anything.
Grissom: The good news: If you're innocent, this'll prove it.
(TODD COOMBS opens his mouth allowing GRISSOM to take the swab sample. He caps the swab.)
Grissom: Thank you.
(GRISSOM turns and leaves.)
CUT TO:
[INT. CSI -- LAB]
(On the table, the photos of the shoe prints are spread out along with various tagged shoes. NICK goes through them and compares the shoes to the photos of the prints. He prints to bottom of a shoe.)
[INT. CSI - DNA LAB]
(GREG tests the swab sample.)
[INT. CSI - LAB]
(NICK takes the shoe print and makes a copy of it on clear plastic.)
[INT. CSI - DNA LAB]
(GREG continues to process the DNA sample.)
[INT. CSI - LAB]
(NICK takes the clear plastic print and puts it over the photo shoe print.)
[INT. CSI - HALLWAY / DNA LAB]
(While walking through the hallway, NICK reports to CATHERINE and GRISSOM.)
Nick: I compared the eight pairs of shoes we collected at Todd Coombs' house to the shoe print at the crime scene.
Catherine: Mm-hmm.
Nick: No matches.
Catherine: Well, he could've ditched the shoes anywhere.
Nick: Yeah, true.
(They walk into the DNA LAB.)
Catherine: So, uh, what do you got, Greg?
Greg: Well, according to the DNA results, Todd Coombs is not your r*pist.
Catherine: You're kidding.
Greg: There's only seven out of thirteen, which means we're looking for a sibling.
Grissom: I believe the semen would indicate a brother.
Nick: Could explain why she picked Todd out of a lineup -- strong family resemblance.
Catherine: She was so sure.
CUT TO:
[INT. POLICE DEPARTMENT - HOLDING CELL]
(BRASS walks up to TODD and CRYSTAL COOMBS.)
Brass: Dr. Coombs. You're free to go.
Todd Coombs: So that's it?
Brass: Yeah.
Crystal Coombs: You people think you can do whatever you want -- come into our homes, turn our lives upside down. Who's gonna explain this to our neighbors, our friends?
(TODD COOMBS puts his arm around his wife's shoulders and turns her, urging her to leave.)
Todd Coombs: Come on, honey, let's get out of here.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - PALMS CASINO - LATE AFTERNOON]
[INT. PALMS CASINO - LATE AFTERNOON]
(CATHERINE explains it to LINLEY PARKER.)
Linley Parker: You're letting him go? Why?
Catherine: He's not the man that as*ault you.
Linley Parker: Yes, he is. I identified him.
Catherine: DNA ruled him out.
Linley Parker: Then you made a mistake. That man r*ped me.
Catherine: We have some additional leads, and we're working on them. I promise to keep you informed.
Linley Parker: I saw him. He wanted me to see his face.
Catherine: Linley, it was dark. You were under att*ck. Under those conditions ...
(Quick flashback to: LINLEY is lying on the ground. Camera moves in for a close up of her eyes, pupils dilated.)
Catherine: (V.O.) ... pupils dilate, it's hard to focus.
Voice: Look at me --
(End of flashback. Resume to present.)
Catherine: You can't always trust your eyes.
Linley Parker: He wanted me to see his face because he was going to k*ll me, and now you're letting him go?
Catherine: This is my cell phone number. Call me if you need anything.
Linley Parker: This isn't gonna keep him away from me. What I need is protection. I need a g*n.
Catherine: If you don't feel safe in your home, stay with a friend.
(LINLEY glances at CATHERINE, shakes her head, turns and walks away.)
CUT TO:
[INT. CSI -- LAB]
(SARA walks into the office and finds GRISSOM looking at some photos.)
Sara: I hear you're looking for Todd Coombs' brother.
Grissom: Or brothers.
Sara: I'll work out the family tree.
CUT TO:
[INT. CSI - LAB]
(SARA does her research.)
(First screen is of: TODD COOMBS.)
(Second screen shows DOB: December 18, 1967.)
(She does a search at the GENEALOGY SEARCH PAGE for TODD COOMBS and comes up with the following:
ETHEL HENDERSON
{marriage} 10/22/1965
HOLLIS COOMBS
Sons:
ROGER COOMBS = LARRY COOMBS
Age: 39 b. 12/6/65 Age: 39 b. 12/6/65
KEVIN COOMBS
Age: 37 b. 10/9/67
TODD COOMBS
Age: 35 b. 2/26/69
BAILEY COOMBS
Age: 34 b. 7/19/70
SANDRA COOMBS (THOMASON)
Age: 30 b. 2/26/74
GEORGIA COOMBS
Age: 28 b. 11/29/76
JOSS COOMBS
b. 8/4/85 d. 3/11/01 - (Deceased)
{GENEAOLOGY TREE FOR HENDERSON-COOMBS}
(SARA continues to run her search in the FIND PEOPLE-The complete ICQ People Search. Where she types in ROGER COOMBS. She finds the following:
Full Name: ROGER COOMBS
Age: 39
Birth Date: 12-06-1965
Address History:
Residential (1972 - 1989):
78566 Ambers Ave., LV, NV 89108
Residential (1990 - Current):
7543 Castle Banks Rd., LV, NV 89123
Business - COOMBS BROTHERS CARS
2672 W. 6th St., LV, NV 89109
(She types in LARRY COOMBS next. And compares the two.)
Address History:
Residential (1972 - 1990)
143 Shady Oak St., LV, NV
Residential (1992 - Current)
5311 Sephill Rd., LV, NV
e-mail: CoombsL@myvc--
Business - COOMBS BROTHERS CARS
2672 W. 6th St., LV, NV 89109
(She notices that they're working at the same place.)
CUT TO:
[EXT./ INT. COOMBS BROTHERS CARS - DAY]
(BRASS and WARRICK interview LARRY COOMBS.)
Larry Coombs: Yeah, I read all about it in the paper. I'm just sorry our parents weren't alive to see it.
Brass: Hey, your brother's being hauled in on a r*pe charge. Does that seem funny to you?
Larry Coombs: A little. Todd was due.
Warrick: Due for what?
Larry Coombs: A reality check. Most people go through life, suffer the ups and downs. Todd only got the ups till now.
(ROGER COOMBS walks over to them.)
Roger Coombs: I'm Roger Coombs. What's going on here?
Larry Coombs: They're cops -- they want our DNA. (He hands him the warrant.)
I'm gonna need the May Hustler and a cup.
Warrick: That won't be necessary.
(WARRICK holds up the swab.)
Roger Coombs: We're not giving you anything until our lawyer looks this over.
Brass: Let me tell you how this works. First things first. We do the test, and then the lawyers come in.
(WARRICK notices the missing grill plate from the car behind them. He looks to the side and sees it on the floor.)
(Quick flashback to: The grill smashes into LINLEY'S rear bumper. Cut to: Someone removes the grill. End of flashback. Resume to present.)
Brass: So you two are fraternal twins, huh?
Roger Coombs: Accident of birth.
CUT TO:
[COMPUTER SCREEN]
(Computer close up on:
BAILEY COOMBS
Age: 34 b. 7/19/70)
(The Search Results for BAILEY COOMBS screen appears.)
Full Name: BAILEY COOMBS
Age: 34
Birth Date: 07-19-1970
Address History:
Residential (1990 - 1994):
217 Wolf Court, LV. NV
Residential (1994 - Current):
17943 Desert Way, Apt #12, Henderson, NV 89108
e-mail: BaileyC(a)myvcc.net
Business - HOME SURE SECURITY
288 Tyler Rd. Henderson, NV
CUT TO:
[EXT. GATED COMMUNITY -- DAY]
(SARA and DET. VARTANN interview BAILEY COOMBS.)
Bailey Coombs: You want a sample of my DNA? What for?
Det. Vartann: It's an ongoing investigation, sir -- a r*pe. Can't discuss it any further than that.
Sara: Does your route include the southern highlands?
Bailey Coombs: No, I work this side of the 15, seven hills.
Det. Vartann: Were you working two nights ago? You talked to my supervisor --
you know I was. Look, I heard about what happened to that lady, and I know what you guys put Todd and Crystal through. You got something against my family?
Sara: You got something against cooperating?
(SARA takes a swab sample from him.)
CUT TO:
[COMPUTER SCREEN]
(Computer close up on:
KEVIN COOMBS
Age: 37 b. 10/9/67
(The Search Results for KEVIN COOMBS screen appears.)
Full Name: KEVIN COOMBS
Age: 37
Birth Date: 10/09/1967
Address History:
Residential (1987 - 1991):
217 Wolf Court, LV. NV
Residential (1991 - Current):
826 Herrick Ln, Las Vegs, NV 89109
e-mail: BaileyC(a)myvcc.net
Business - Address
Unknown
CUT TO:
[INT. CSI - HALLWAY]
(NICK steps into the hallway. SARA catches up with him.)
Sara: Hey, how'd it go with brother number four?
Nick: Nowhere. No Kevin Coombs at the address you gave me; no forwarding address. PD's following up.
CUT TO:
[INT. CSI -- LAB]
(CATHERINE sprays and wipes some instruments. Her cell phone rings; she answers it.)
Catherine: Willows.
Linley Parker: (from phone) I can't wait 72 hours for a g*n. I need it today! I need it now!
Catherine: Linley?
Linley Parker: (from phone) Hold on.
(In the background, we hear the beeps of the car alarm being turned on or off. Also, we hear loud music in the back.)
Catherine: Linley, I can barely hear you. Where are you?
Linley Parker: (from phone) Fremont Street. I-I know you can help me. Just-
just give me a name. Tell me where to go.
(Over the phone, CATHERINE hears glass breaking. LINLEY screams.)
Catherine: Linley?
Linley Parker: (from phone) Stop!
(The connection dies.)
Catherine: (shouts into phone) Linley?!
CUT TO:
[EXT. FREMONT STREET -- NIGHT]
(CATHERINE pushes her way through the crowd and heads over to the casino. OFFICERS are already there looking at the car. She looks into the empty front seat.)
Catherine: Where is she?
Officer: (o.s.) I don't know. We just rolled up.
(CATHERINE closes her eyes.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. FREMONT STREET -- NIGHT]
(CATHERINE is going over the front car seat taking photos when GRISSOM arrives. He puts his kit down on the ground.)
Grissom: Hey.
Catherine: There's no new damage except for the window.
(Camera zooms in for a close-up of the blood on the cracked window glass.)
Catherine: Blood is probably from whoever broke the glass, not the victim.
(Quick flashback to: [LINLEY'S CAR] LINLEY screams as the ATTACKER smashes the car glass in with his hand. Close-up of his hand and the cut. End of flashback. Resume to present.)
Brass: Okay, the pawn shop owner ID'd her, she was looking to buy a g*n, and she wasn't in the mood to wait.
Catherine: Anybody see what happened here?
Brass: Well, the problem is that when the light show starts, everyone's looking up. I mean, what's the chance that this crime is unrelated to the first att*ck?
Catherine: It's the same guy. He's getting rid of the witness.
Brass: Who identified the wrong man.
Grissom: Soon as the DNA comes back, we'll know which brother it is.
Catherine: And until then we wait?
Brass: Well, I got every police officer downtown looking for her.
Catherine: Yeah, you should have had eyes on the brothers.
Brass: Yeah, in a perfect world, yeah.
Grissom: Didn't you say that you were on the phone with her and you heard the window break?
Catherine: Yes.
Grissom: Did you find her phone?
Catherine: I looked everywhere.
(CATHERINE turns to look back in the front car seat.)
Catherine: So where's her phone?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. MONACO CASINO - MAIN FLOOR - NIGHT]
(ROGER COOMBS sits in front of the slot machines and takes a drink from the waitress.)
Dispatch: (V.O.) The is dispatch. We have 20's confirmed on Roger Coombs. Monaco Casino, last four hours.
[INT. COOMBS BROTHERS CARS -- NIGHT
(LARRY COOMBS is at work. Working.)
Dispatch: (V.O.) Suspect Larry Coombs at his place of employment.
[EXT. SEVEN HILLS -- STREET -- NIGHT
(BAILEY COOMBS is pulled over.)
Dispatch: (V.O.) And Bailey Coombs, on shift, seven hills.
[INT. TODD COOMBS RESIDENCE - NIGHT]
(BRASS walks into the house.)
Crystal Coombs: All right, fine, fine. Search the whole house if you want to. I'm telling you, Todd's not here.
Brass: His car was in the driveway.
Crystal Coombs: That's because he took my car to the house company. You going to arrest him for that, too?
Brass: I'm going to need your license number and a full description of your vehicle.
[EXT. FREMONT STREET - NIGHT]
(CATHERINE is on the phone with NICK.)
Nick: (from phone) How'd you guys know Linley Parker's cell was e-911 capable?
Catherine: We just took a sh*t. She's got a lot of new gadgets in her car, most new cell phones are imbedded with a GPS chip.
INTERCUT WITH:
[INT. CSI - LAB]
(NICK is on the computer searching for LINLEY'S cell phone signal.)
Nick: Her carrier accepted the Attorney General waiver. I'm accessing her site now. If her phone's on, it should show up.
Catherine: Okay.
(The computer beeps.)
Nick: Okay, got it. Nearest cross streets, uh, Warm Springs and Durango.
Catherine: That's the middle of nowhere.
Nick: Hey, Catherine. She's moving.
(CATHERINE hangs up and shouts.)
Catherine: We got a location!
[EXT. CAR (MOVING) - NIGHT]
(BRASS is on the radio.)
Brass: Put out a BOLO on a beige, 2004 Ford Taurus. Registration, Nevada, 3-9-
6-R-G-F. The driver's name is Todd Coombs. He's a white male, 38 years old. I'm on my way to the house company in Green Valley.
(On his way there, BRASS finds TODD COOMBS vacuuming out the trunk of his car.)
(BRASS turns into the GAS EXPRESS just as the dispatch is made on the radio.)
(BRASS stops the car and gets out.)
[EXT. GAS EXPRESS-- NIGHT]
(TODD COOMBS is vacuuming the trunk of his car when BRASS approaches him.)
Brass: You make a mess?
Todd Coombs: That's your job. Unless you've got a warrant, you can't even touch this car.
Brass: I'm just looking.
Todd Coombs: For what?
(BRASS peers into the back seat of the car and sees the plants.)
Brass: So how was Wal-Mart?
Todd Coombs: I was at the house company buying some plants for my wife, to cheer her up.
Brass: Oh, you think that's going to work?
Todd Coombs: A gesture goes a long way.
Brass: Never worked for me. Hey, do you mind turning that thing off?
Todd Coombs: When the quarters run out.
Brass: So when were you at the store?
Todd Coombs: Why don't you ask my brothers? I've got a cousin in Phoenix, maybe he knows.
(The vacuum stops.)
Todd Coombs: Last time I cooperated with you guys, you put me in a lineup and I spent the night in jail.
(He shuts the trunk.)
Brass: That's right, that's right. Hey, let me tell you something. Twelve hours after Linley Parker ID'd you as her r*pist, she gets dragged out of her car on Fremont Street. Now she's missing.
Todd Coombs: Then why are you wasting time talking to me?
(TODD COOMBS gets in his car and drives off.
Brass: Drive safely.
(BRASS stays at the GAS EXPRESS. He picks up the vacuum nozzle, takes out his cell phone and dials.)
Voice: Crime lab.
Brass: Yeah, this is Jim Brass. Can you send a CSI to my location for evidence recovery.
CUT TO:
[EXT. SITE -- NIGHT]
(NICK tracks LINLEY'S cell phone on the hand-held map. He along with GRISSOM, CATHERINE and OFFICERS are out looking for LINELY PARKER.)
Nick: Two hundred fifty feet. Two hundred, still moving.
Grissom: Linley!
Nick: One hundred fifty feet.
Grissom: Linley!
Nick: Eighty. NICK: Seventy, sixty, still moving! NICK: Fifty. Okay, okay, she stopped. NICK: Thirty feet, she's right here.
(GRISSOM leans forward and finds a dog wrestling with LINLEY'S jacket. As they approach the dog, the dog runs off. CATHERINE picks up the jacket and checks the pockets. She finds the cell phone.)
Officer: (o.s.) Over here!
(CATHERINE leaves the jacket, picks up her flashlight and heads over. She sees the body first. GRISSOM sighs heavily. NICK sighs also.)
(Camera pulls up slowly from LINLEY PARKER'S d*ad body Her close are torn from her indicating possibly another as*ault. The CSIs stand around her body.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Open on LINLEY'S feet. A camera flashes. CATHERINE is snapping post-mortem photos of the d*ad body. She takes pictures of the bruises on LINLEY'S knees, her bloodied knuckles, the bruises on her thighs.)
(She puts the camera down for a moment. She reaches over and removes the cloth tied around LINLEY'S throat. She picks up a ruler and places it against the gash in her throat, picks up her camera and snaps another photo.)
(She wraps a tape around a petrie dish, sticky side out, and begins collecting the dirt and other stuff from her arms ... and navel. She finds a strand of hair.)
CUT TO:
[EXT. LAS VEGAS DESERT (STOCK) - DAY]
[EXT. COOMBS PROPERTY - DAY]
(SARA and DET. VARTANN walk toward the camper-trailer.)
Sara: Checked with county records. Crime scenes on a 20-acre plot. Guess who owns the property.
Det. Vartann: One of the Coombs Brothers.
Sara: Coombs Brother's company. Guy's an artist.
Det. Vartann: You call that art?
Sara: Black SUV.
(The trailer door bursts open. KEVIN COOMBS climbs out of the trailer carrying a sh*t g*n.)
Kevin Coombs: You're on my property!
(DET. VARTANN and SARA both pull out their w*apon.)
Det. Vartann: Put the w*apon down.
Kevin Coombs: You're on my property!
Det. Vartann: Las Vegas Police, drop it or we sh**t.
(KEVIN COOMBS drops the g*n. DET. VARTANN pushes him up against the side of the trailer and cuffs his hands behind him.)
Det. Vartann: Turn around.
Sara: Are you Kevin Coombs?
Det. Vartann: I can see the family resemblance. Come on.
(DET. VARTANN pulls KEVIN COOMBS and heads for the car. SARA takes a moment and sighs.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS goes over the body with GRISSOM.)
Robbins: 'Cause of death, asphyxia due to strangulation. Victim has a hairline fracture of the right third metacarpal with some soft tissue swelling.
(He points to the wounds on the knuckles. GRISSOM takes a look.)
Grissom: Defensive wounds.
Robbins: She was a fighter. There's also fresh contusions of the right labia.
Grissom: (surprised) She was r*ped again?
Robbins: I did a wet mount of the vaginal secretion with a Christmas Tree stain. Slide's under the scope.
(GRISSOM looks at the scope.)
[SCOPE VIEW]
(He sees sperm with tails. Regular view.)
Grissom: Sperm.
Robbins: If he was trying to silence a witness, why not just k*ll her, why r*pe her again?
Grissom: Maybe r*pe was just foreplay for this guy. Maybe what he really gets off on is k*lling.
CUT TO:
[EXT. KEVIN COOMBS' RESIDENCE -- DAY]
(With KEVIN COOMBS tucked in the back seat of the car, the car drives off. DET. VARTANN turns back to join SARA who is snapping photos of a car.)
Det. Vartann: What do you got?
Sara: Maybe a missing Pontiac Tempest.
(She snaps a photo of the VIN number.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(DET. VARTANN interviews KEVIN COOMBS.)
Det. Vartann: So, you were home last night?
(KEVIN remains silent.)
Det. Vartann: Okay, well, doesn't really matter. Your DNA will do the talking.
Kevin Coombs: You know what happens when the government gets your DNA?
Det. Vartann: Enlighten me.
Kevin Coombs: (neurotic) They put it in the database. Then they look at your driver's license picture and then all those cameras -- traffic lights, parking lots, grocery stores ... they can find you. Whenever they want.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(GRISSOM steps out and finds TODD COOMBS sitting the hallway. He stops to talk with him.)
Grissom: Dr. Coombs.
Todd Coombs: Mr. Grissom. I suppose you're compelling a DNA sample from my brother now.
Grissom: We are. Why are you here?
Todd Coombs: Are you an only child?
Grissom: I am. Why?
Todd Coombs: You've got my brother in that room, he's family. I didn't want him to be alone.
Grissom: Well, what about your other brothers?
Todd Coombs: Bailey only looks out for number one. Roger and Larry, they do their best to avoid Kevin. They don't understand him.
Grissom: And you do?
Todd Coombs: He's harmless. He chooses to live alone. He lives off the grid. He spends all his time turning junk into art.
Grissom: Where does he get his "junk"?
Todd Coombs: Mostly from my brother's garage. Every once in a while, Roger lets Kevin take his pick of the wrecks. Beats inviting him over for Thanksgiving, you know?
Grissom: Dr. Coombs, we found a 1968 Pontiac outside your brother's house. The VIN matched a car belonging to a victim who was r*ped and m*rder by the same person who r*ped Linley Parker. And we found Linley Parker's d*ad body on your Brother's property.
Todd Coombs: (scoffs) You guys have been wrong before.
CUT TO:
[INT. CSI -- LAB]
(Maskless NICK goes through the contents of the vacuum bin. He separates them by HAIRS, METAL, ORGANICS, and PAPER.)
(Abandoning that for a moment, NICK looks around and sees the tubing. He pulls off the nozzle and looks into the long tube. He sees something stuck. He reaches in and pulls it out.)
(WARRICK walks into the lab.)
Warrick: Whew, man. Guys like Brass have it easy. All they got to do is call it in.
Nick: Hey, check this out. I just found it in the hose. It's from a potted plant purchased at the house company. Confirms Todd Coombs' alibi.
(WARRICK nods, turns and immediately pulls out a pin from the METAL tray.)
Warrick: You saw this? A pin from the Palms. Linley Parker worked at the Palms.
(Quick flashback to: [TRUNK] LINLEY'S body is put into the trunk; her pin falls off. End of flashback. Resume to present.)
Nick: A lot of people work at the Palms. And it doesn't nail Todd Coombs.
CUT TO:
[INT. CSI -- LAB]
(CATHERINE stares a the wall covered with LINLEY PARKER'S crime scene photos. GRISSOM stands next to her and reads her the DNA report.)
Grissom: According to the DNA, the blood from Linley Parker's smashed window matches the semen from all the rapes.
Catherine: Which means it doesn't match Todd Coombs.
Grissom: Or Kevin Coombs. Or any of the rest of the brothers Grimm.
(They turn to the BOARD with the photos of all the suspects on it.)
Catherine: Linley was absolutely certain that Todd Coombs r*ped her.
Grissom: That's not what the evidence says.
Catherine: Well, maybe the evidence is wrong.
Grissom: You can be wrong, I can be wrong, the evidence is just the evidence.
Catherine: Deep down, tell me you don't think this guy is good for this.
(GREG opens the sliding door and gives his report.)
Greg: I got the DNA on the hair you lifted off Linley Parker's body. Get this. It's Todd Coombs.
Catherine: Puts him with the body.
Grissom: It doesn't prove r*pe.
Catherine: I'll have Brass bring him in.
(CATHERINE leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(TODD COOMBS is standing in the waiting room when GRISSOM walks in. He puts his kit down on the table along with the other things he's carrying.)
Grissom: Would you strip down to your shorts, please, doctor?
Todd Coombs: Why?
Grissom: I'm going to examine your clothing for any trace evidence, and we're going to document your body for any injuries that may have been sustained during a recent struggle.
Todd Coombs: I don't have any injuries.
Grissom: If you'd like, this officer will assist you.
(He turns and removes his shirt.)
Todd Coombs: I did not r*pe that woman. I did not k*ll her. You guys proved that and you let me go.
(GRISSOM opens a package to take the shirt. He puts the shirt in the package. TODD COOMBS removes his pants and hands that to GRISSOM also. GRISSOM puts it in a second bag.)
(GRISSOM sees the bruises on TODD'S wrists. He takes a photo of the bruises.)
Todd Coombs: That's from moving boxes.
Grissom: Thank you. Turn around, please.
(GRISSOM finds a scar at the base of his spine.)
Todd Coombs: That's an old scar. I was a bone marrow donor. My youngest brother Joss had leukemia.
Grissom: Hold still please.
(GRISSOM takes a photo of the scar. The flash from the photo reveals a pattern on TODD'S back. GRISSOM looks up, unsure that he even saw what he thought he saw. He raises the camera and snaps another photo. Sure enough, the branching pattern is there.)
(Thinking about it, GRISSOM goes to his kit to get the ALS.)
Grissom: Turn off the lights, would you, please, officer?
(The OFFICER shuts the lights off. GRISSOM puts on the goggles and turns the ALS on. On his back there is V-pattern markings.)
Todd Coombs: What are you looking at?
(Stunned, GRISSOM removes his goggles.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM does some research into TODD COOMBS' condition. He turns the page and finds a photo of the pattern nearly like those on TODD'S back.)
(It reads:
Mosaicism causes Blaschko's lines ...
Patterns are caused by Chimericism ...
(He continues to read:
Fraternal twins (two separately fertilized eggs) collapsing ...
(There's a photo of the collapsed egg.)
Tissues from two different embryos can fuse into one.
(He reads something else)
Chimera
Human Genetics: Dual Identities
(Camera lingers on a picture of the mythical Chimera.)
(GRISSOM thinks about it for a moment, then pulls out the case file. He goes through the photos and finds a photo of a Chimera on TODD COOMBS' desk.)
(Grissom takes off his glasses and pulls out a magnifying glass just to be absolutely certain that it is a Chimera.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(GRISSOM ties a tube around TODD COOMBS' arm to draw blood. TODD'S wearing the orange clothes that GRISSOM left for him.)
Todd Coombs: This is harassment. I've already given you guys a DNA sample.
Grissom: You know that bone marrow donation you gave your brother? (GRISSOM draws the blood.) I checked your medical records. His body rejected it and he died. My guess is that's when you first found out about your unique condition.
(Busted, TODD COOMBS gives it up. He turns and glares, almost smirks at GRISSOM.)
Todd Coombs: The doctors explained it. I'm a creature of myth.
Grissom: A chimera. Head of a lion, body of a goat, tail of a dragon. You're a genetic anomaly. One person, two completely different sets of DNA.
(GRISSOM takes the blood-filled tube and holds it up.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(BRASS interviews TODD COOMBS. A camera records the session.)
Brass: State your name for the record.
Todd Coombs: My name is Todd Coombs. I r*ped and m*rder Emma Dobbins and Linley Parker. There are more, but we'll talk about those later.
Brass: How'd you pick your victims?
Todd Coombs: They picked me.
(CATHERINE watches the interview from the observation room. GRISSOM explains.)
Grissom: Sometimes fraternal twins, two separately fertilized eggs, develop into only one person.
(Quick Scope View of one embryo incorporates into the other.)
Grissom: (V.O.) In effect, one twin dies in embryo, but its DNA survives in the other.
(End of Scope view. Resume to present.)
Grissom: That's why the DNA from his buccal swab matched his hair but not his semen.
Catherine: So he had two strains of DNA in his body.
Grissom: Yeah, and the DNA in his semen, was evidently from his d*ad twin brother.
Brass: You never met Emma Dobbins or Linley Parker.
Todd Coombs: I didn't have to meet 'em. You go to a bar, you see an attractive woman, make your move, she sh**t you down. You go home, you masturbate. You get on with it. But when I see a woman who arouses me ... the whole world disappears ... except for her. She can't say no.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
Warrick: (V.O.) What a night. You guys hungry? Want to get something to eat?
[EXT. LAS VEGAS STRIP - SIDEWALK - NIGHT]
(WARRICK, NICK and SARA walk along the sidewalk.)
Sara: No, I think I'm going to call it a night.
Nick: Yeah, me, too.
Warrick: I feel ya. Get some rest.
(WARRICK leaves.)
Nick: All right, I'll see you.
(SARA grabs NICK'S arm as they continue walking down the sidewalk.)
Sara: Hey, hey, Nick, congratulations on your almost promotion. Seriously, you deserve it.
Nick: (teasing) Wow. That's really hard for you, isn't it?
(She pushes him away and smiles.)
Sara: Yeah, it is.
(NICK smiles. SARA continues walking.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(GRISSOM is at his desk when the phone rings. He answers it.)
Grissom: (to phone) Grissom. (pause) Yes. (pause)
(He takes off his glasses as he listens.)
Grissom: Is she all right?
[FLASHBACK]
(SARA is driving on the road. The police officer turns the corner and sounds his siren.)
Officer: (V.O.) she was lucky she wasn't on the strip. That's highway patrol's jurisdiction.
(Cut to: SARA takes a breathalyzer test.)
Officer: (V.O.) She blew .09.
(SARA looks around.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY / WAITING ROOM -- NIGHT]
(The OFFICER escorts GRISSOM through the hallway.)
Officer: Technically, she's over, but they just lowered the limit, so we cut her a break and didn't book her. But we did have to call the supervisor.
(They turn into the WAITING ROOM. The OFFICER points to SARA.)
Grissom: Well, thank you. I appreciate the courtesy.
Officer: No problem.
(The OFFICER leaves. GRISSOM walks over to SARA and sits down next to her. She stares out straight in front of her.)
(He looks at her and sighs. He reaches over and takes her hand.)
Grissom: Come on. I'll take you home.
(SARA lowers her head.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "04x23 - Bloodlines"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
VARIOUS INTERCUT FLASHES OF
[INT. DANCE CLUB - DANCE FLOOR - NIGHT]
[INT. DANCE CLUB - DANCE FLOOR -- NIGHT]
(The club is filled with people at the bar, on the dance floor.)
[INT. PALERMO -- HOTEL ROOM - BEDROOM - NIGHT]
(The woman walks out of the bathroom in her underwear. The man sits on the bed in his shirts and shorts. The woman walks purposefully toward the man. She smiles at him.)
(She pushes him back on the bed and kisses him.)
[INT. DANCE CLUB - DANCE FLOOR -- NIGHT]
(The club is rocking. At the front door, a man walks through and the metal detector beeps. The Security Guard stops him.)
Security Guard: Whoa-whoa-whoa. What the hell is that?
(The Security Guard searches the Man and finds a switchblade Kn*fe on him. He opens it to show him. He confiscates the Kn*fe and lets the man through.)
(The Security Guard motions to the next man in line.)
Security Guard: Come on.
(The Next Man in Line walks through the metal detector. The Security Guard motions to the next person in line.)
Security Guard: All right. Keep coming.
FLASH TO:
[EXT. DESERT - NIGHT]
(Two people on motor bikes stop. They take off their helmets. One Man takes out a g*n and fires three sh*ts at the nearest sign. The sign reads:
WARNING
RESTRICTED AREA
It is unlawful to enter this area without permission of the installation commander. While on this installation, all persons and the property under their control are subject to search.
MILITARY INSTALLATION
Sec 27. Internal Security Act of 1957: U.S.C. 797 )
(The second man takes out his g*n to f*re. He aims and takes a couple steps forward and bumps into a body on the ground.)
Man: What the -- ?
(They both look down and see the body on the ground.)
FLASH TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. HOTEL ROOM - BEDROOM -- NIGHT]
(A man sits down on the bed. He's crying.)
(In the bathroom, the faucet is on filling the tub up with water.)
(The man continues to cry.)
FLASH TO:
[INT. DANCE CLUB - DANCE FLOOR -- NIGHT]
(A person lights a match and sets a Polaroid photo on f*re. He holds it up and lets the photo burn.)
(A man in a cap walks up to the doorway and greets the Man in a Suit familiarly.)
Manny Brazil: Yo, Space!
Space: My brother!
Manny Brazil (club Owner): Yo, yo, Man!
(Sirens start to blare.)
Space: Yo, man. When's the blitz?
(Sirens in the club blare and get louder. The Man in the Suit turns around and smiles.)
Manny Brazil (club Owner): Right on time.
(The stage lights turn on and the club is filled with music. The crowd starts to dance where they stand.)
(As the music plays, the g*n holding the burning photo takes out a g*n, points it at a man nearby and sh**t.)
(The Man falls down to the club floor.)
(The g*n raises the g*n and fires at the disco ball up above. He puts a hole in it. It bursts and sparks. The women in the club start screaming.)
[b*llet IN FLESH]
(Quick CGI POV of: The b*llet embedded in flesh. The camera moves slowly backward out from the b*llet and pulls back out through the flesh and out through the d*ad MAN'S forehead.)
(Camera holds on the d*ad man on the floor with a single b*llet g*n hole in the center of his forehead.)
[RESUME VIEW]
(Brass looks down at the body and reports to Grissom also standing nearby looking down at the body.)
Brass: So witnesses heard multiple g*n. (He looks at Grissom.) They think. Because if it was during the Blitz. You know, the lights were out, sirens were going off, search lights, the whole world w*r ii experience.
Grissom: When exactly did w*r become a party?
(Brass shrugs.)
(Someone's pager beeps. Both Brass and Grissom check their pagers. Grissom's pager beeps. He checks it and sees:
N419PC
5311 SEPHILL RD.
LAS VEGAS, NV
BODY FOUND
(Grissom and Brass kneel down next to the body. Grissom points to the burn mark near the skin.)
Grissom: g*n residue, close range.
(Brass picks up the discarded shell off the floor.)
Brass: .32 auto. Belly got it.
(The metal detector beeps. Grissom looks back and sees an Officer stepping through the door.)
Grissom: How'd they get it through the metal detector?
Brass: Well, uh ...
(Brass's phone rings.)
Brass: Oh, geez.
(He checks his phone.)
Brass: I'll tell you, it's a busy night.
(Grissom finds the b*rned photo under the d*ad body. He smells the photo.)
Grissom: This was b*rned.
(He looks at the photo and sees that it's the photo of a d*ad body - with the head part b*rned off. Grissom shows the photo to Brass.)
Brass: Another body?
(Grissom looks at the photo and notes the blood on the floor in the room near the body's feet.)
Grissom: Another m*rder.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- NIGHT]
(Greg walks through the hallway with Chandra Moore, the new DNA Technician - his replacement.)
Greg: So, there's good news and there's bad news. The bad news is this is the busiest lab in the country.
Chandra Moore: That's why I'm here.
Greg: Oh, I've waited for you forever. I love you!
Nick: (o.s.) Man, if I ever have to search another torched car ...
(Nick walks into the hallway. He's wearing coveralls and irritated as heck.)
Greg: Nick!
(Nick stops and looks back. Greg makes the introductions.)
Greg: This is Chandra.
Chandra Moore: Chandra Moore.
Nick: Oh, yeah. Yeah, the new DNA girl. Right?
(He holds out his hand. She holds out hers. He bumps fists with her. A strange, new ritual for her.)
Chandra Moore: B.S. in bio-chem. M.S. in molecular biology. Five years of service in DNA at the CCL.
(She smiles. Nick doesn't appear all that impressed.)
Nick: O-kay, well, I'm going to go use the no-pressure, no-AC, stinks-of-feet shower. So ... welcome.
(Nick turns and leaves.)
CUT TO:
[INT. CSI - LOCKER ROOM -- NIGHT]
[CLOSE-UP: SARA]
(Sara sighs.)
Sara: So I had some time to think while I was away. Enough time to figure out why I made such a stupid mistake. I-I do not have a drinking problem. I have a, uh, me problem.
(Different angle. We see Sara talking to her reflection in the locker mirror - "rehearsing".)
Sara: My P.E.A.P. Counselor suggested that it would be a good idea for me to talk to my supervisor and that's you, Grissom, so ... I never told you about my family. I never told anyone about my family, why would I ...
Greg: (interrupts) Sara?
(Sara turns around and finds Greg and Chandra standing outside the locker room looking in from the hallway. Sara stands up.)
Greg: I want you to meet my replacement. This is Chandra.
Sara: Nice to meet you, Chandra.
Chandra Moore: Likewise.
(But not really. After a b*at, Greg smiles at Sara. Chandra starts looking around the area waiting for Greg to move on.)
Greg: (to Sara) So, how was it?
Sara: How was what?
Greg: Well, you took some vacation time, right?
Sara: Yeah, right. It was great.
(Chandra looks completely bored and not interested in Sara.)
Greg: Yeah? Okay.
(Greg motions for Chandra to follow him. Chandra nods at Sara - then follows.)
(Sara smiles back somewhat.)
CUT TO:
[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]
(Greg walks up to someone.)
Greg: Hey, how was it?
(Warrick walks up to them. He's wearing a suit, the tie loosened as if he's just come back from court.)
Warrick: It sucked. I hate lawyers, I hate court. They all need to dry up and die. (He looks at Chandra.) Hi.
(Chandra perks up.)
Chandra Moore: Warrick, right?
Warrick: Yeah.
Chandra Moore: I saw your presentation on longitudinal striations of the toenail in Dallas, A.A.F.S.? Really good work.
Warrick: Thank you. Thank you so much. And you are?
Chandra Moore: Oh, I'm Chandra. Chandra Moore. (Warrick glances at Greg.)
I'm the new DNA person.
Greg: Well, that's the plan anyway. Would you like to see the boss's office?
(Greg leads Chandra away. She lingers wanting to talk more with Warrick, completely impressed by him.)
Warrick: Good luck.
Chandra Moore: Thank you.
Warrick: Nice to meet you.
(Warrick walks away.)
Chandra Moore: Same.
(Greg heads over to Grissom's office.)
[INT. CSI - GRISSOM'S OFFICE - NIGHT - CONTINUOUS]
Greg: Grissom ... I'd like to introduce you to Chandra Moore.
(Grissom turns around. He's wearing a hard hat-type of gizmo with a eye-glass piece attachment on the left side so he can look through it.)
Chandra Moore: Pleased to meet you, sir. I'm a fan.
(Grissom looks up and down at Chandra through the eye piece.)
(Quick POV of: Grissom is looking at Chandra's heat print. Resume back to Grissom.)
Grissom: You're hot.
Chandra Moore: (startled) I-I'm sorry?
Grissom: You're emanating heat. (Grissom takes the hat off.) This is a new infrared camera. It's good for looking at evidence in the dark. (to Greg) Did you get her blood yet?
Chandra Moore: My... (startled) ... why?
Grissom: So many reasons.
Catherine: (o.s.) Grissom! (Catherine walks into the office, walks past Greg and Chandra and straight up to Grissom.) (exasperated) You can't possibly call that thing my office. It's a cupboard.
Grissom: Catherine, have you met Chandra Moore? She'll be doing DNA while Greg's in the field.
(Catherine hardly glances back at Chandra.)
Catherine: Hello, I'm Catherine. (to Grissom) We need to talk.
(Grissom puts his glasses on and picks up a stack of assignment sheets.)
Grissom: Well, not now-- too much work. You have a suspicious death at the Palermo.
(He hands the assignment sheet to Catherine. She glares at him, grabs the sheet, turns and walks out of the office. Warrick walks into the office.)
Grissom: Warrick, trash call at a weekly at Fremont and 12th.
(Nick and Sara wait in the doorway for their assignments.)
Grissom: Nick, Sara, body in a shallow grave, dry lake bed, in Ely, off Groom Lake Road.
(Grissom hands the assignment sheet to Nick. He takes it and looks at it.)
Nick: All right. (to Sara) I'll meet you there.
Grissom: Greg, you're going to be with me, your final proficiency.
(Grissom holds out the assignment sheet to Greg.)
Greg: Great. (to Chandra) Let me show you to your new digs.
(Greg leads Chandra out of the office. As he passes by, Warrick wishes him luck.)
Warrick: (to Greg) Good luck.
Grissom: (to Greg) We leave in five minutes!
Greg: (o.s.) Okay.
(Sara lingers just outside the doorway.)
Sara: Can I talk to you real quick?
Grissom: Certainly. Have you been seeing your P.E.A.P. Counselor?
Sara: (nods) Yeah.
Grissom: How's it going?
Sara: Well, it's been interesting.
(There's a loud crash from the DNA lab. Glass breaks. Sara and Grissom look back at the lab and Greg looks sheepishly back at them through the glass wall. He points back at the mess.)
Sara: (to Grissom) It's going to be a busy night, huh?
Grissom: Mmm.
Sara: We'll talk later.
(Sara starts to leave. Oh, look, the white assignment board is back.)
Grissom: Are you sure?
Sara: (nods) Yeah, yeah.
(Sara leaves.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[INT. PALERMO - HOTEL ROOM - NIGHT]
(Catherine pushes the hotel room door open and walks in. The suspect is covered in blood and yelling at Det. Vartann and an officer as Forensics tries to take a picture of the blood-soaked clothes.)
Carl Johnson: I don't remember, okay? Why don't you believe me? CARL JOHNSON: I swear to god! I did nothing to that woman. I have never seen her before.
Det. Vartann: Relax, relax.
(Catherine looks into the bedroom and sees the d*ad woman on the bed. There's blood everywhere.)
Det. Vartann: Let's just go over this again.
Carl Johnson: All right, let's go over it again.
Det. Vartann: Tell me what you remember.
Carl Johnson: Nothing. That's what I remember -- nothing.
Det. Vartann: That's it?
Carl Johnson: (to Forensics) Stop taking my picture!
Det. Vartann: Sir, wait here.
(Det. Vartann leaves the suspect and walks over to Catherine.)
Det. Vartann: Hey.
Catherine: Hey.
Det. Vartann: Housecleaning found Mr. Johnson passed out on the bed next to the victim. They alerted security and apparently he just came to.
Catherine: With the worst hangover a guy could ever have.
Det. Vartann: Yeah. He's a golf ball salesman from Ohio.
(Catherine steps closer to the bed.)
Catherine: Massive hemorrhaging.
(She puts her kit down on the floor.)
Catherine: Is this from a single wound? Cracked skull. Did you I.D. her?
Det. Vartann: No I.D. on her.
Catherine: Well, she's got some breast implants. That's for sure.
(Catherine picks up the clear, see-through hand bag on the bed-side table.)
Catherine: I'm going to guess stripper. She's got a locker room key.
(The key number is #323.)
Catherine: We'll trace it back to the club.
(Det. Vartann looks around the room and notes the open refrigerator and alcohol.)
Det. Vartann: Quite a party last night.
Catherine: You can say that again.
(Catherine walks into the bathroom and sees more blood on the wall. She also finds the bathrod with some hair stuck to the bloodied tip.)
(Quick flash to: [EARLIER] Carl Johnson and The Stripper fight. Carl Johnson swings and hits the Stripper across the head. She staggers out of the bathroom, her head bloodied.)
(End of flashback. Resume to present.)
(Catherine looks around the room and back to the body on the bed.)
Catherine: Looks like she went back into the bedroom to call for help.
(Det. Vartann checks his notes.)
Det. Vartann: Well, no calls were made from the room.
(Catherine looks around and takes a closer look at the toilet. She finds the urine on the floor in front of the bowl.)
Catherine: Why is it you guys can never h*t the bowl?
Det. Vartann: You know, if this guy took viagra, you're lucky he h*t the floor and not the ceiling.
(Det. Vartann looks up at the ceiling.)
Catherine: Right.
(Catherine picks up the bracelet found in the urine puddle. She holds it up.)
Det. Vartann: Sign of a struggle?
Catherine: How does a guy fall asleep after k*lling a woman?
CUT TO:
[EXT. DANCE CLUB -- NIGHT]
(Brass questions the Club Manager as the Coroners put the body on the gurney.)
Brass: How does somebody get into your club with a g*n?
Manny Brazil (club Owner): Don't ask me; ask the metal detector. It's supposed to work.
(He takes a sip of his drink.)
Brass: Ever see the d*ad guy before?
Manny Brazil (club Owner): No, not me. (He turns around and looks at the girl talking with the two officers.) Hey, Crystal! Hey, baby, you talk to the guy that got capped in your section tonight?
Crystal: No.
(Brass's pager goes off. Grissom and Greg walk into the club.)
Brass: Hey, Gil. Wait. You've got something stuck to your shoe. (b*at) Oh, no, it's just Sanders.
(Greg glances back at Brass. David Phillips stops in front of Grissom to report.)
David Phillips: Hey, I went through his pockets. No wallet, no I.D. Uh ... just some cash and these car keys.
(David hands the plastic bag to Grissom.)
David Phillips: It's a rental.
Grissom: Thanks, David.
(Greg looks around the club as Grissom checks the car keys out. The tag reads:
THRIFT-RIGHT
CAR RENTAL )
Greg: I never seen this place with the lights on before. It's kind of like seeing a one-night stand in the morning for the first time.
(Grissom glances back at Greg.)
Greg: (clarifies) Beer goggles.
Grissom: This is your proficiency test, Greg. You might want to work the scene. What do you see?
Greg: Chaos.
Grissom: Look a little closer.
(Grissom shines the flashlight down on the floor. Greg quickly turns on his flashlight too and looks down at the floor.)
Greg: Cartridge casings.
(He walks and looks around the area.)
(Cut to: Greg looks up at the ceiling.)
Greg: b*llet impact.
Grissom: We haven't recovered the g*n yet, so ... ?
(Greg sighs.)
Greg: Victim was sh*t at close range ... in a crowd. Witnesses say there was a stampede. It's a good time to ditch a g*n. Maybe it's still here.
Grissom: Good.
(Grissom turns and heads for the door. Greg appears surprised.)
Greg: Where are you going?
Grissom: Don't worry about me; worry about you. It's going to be a long night.
(Grissom turns and leaves Greg standing in the center of the crime scene.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Warrick's SUV turns into the parking lot.)
[INT. TOD MOTOR MOTEL - HALLWAY TO ROOM - NIGHT]
(Warrick holds his flashlight up to light his way through the darkened hallway.)
(Det. Cavaliere and the Super both walk up to him.)
Det. Cavaliere: Hey, power went out about an hour ago.
Super: I checked the circuit box. Blown fuse, room 39. That's when I found him.
(The Super turns and heads back to Room 39. Warrick starts to follow the Super.)
Warrick: All right.
(One of the motel room doors open.)
Female Tenant: Hey! We need some AC. I got kids in here.
Det. Cavaliere: We're working on it, ma'am. We'll have someone up very soon, okay?
(The Detective follows them.)
[INT. TOD MOTOR MOTEL - ROOM 39 - NIGHT - CONTINUOUS]
(The Super walks into the bathroom door and points to the bathtub.)
(Warrick walks in and sees the man in the bathtub, the water up to his neck, the hot plate down at his feet.)
Warrick: Well, there's what blew your fuse.
Det. Cavaliere: Hot plate? Electrocution. That's a quick way to go.
Warrick: Not always.
(Warrick snaps a couple of photos of the body.)
Super: That's hardly our first su1c1de.
Warrick: You think it's a su1c1de?
Super: Oh, come on, this loser? He's been here four weeks. He only paid for two. Wore the same clothes every day. No family, no friends.
Det. Cavaliere: You got a name?
Super: Lance "I'll have it for you tomorrow" Frazer. I was going to throw him out in the morning.
(The overhead lights go back on.)
Super: Oh, thank god.
(Warrick checks the d*ad body's wrists and finds scars.)
Warrick: Yeah, he's got some old school su1c1de scars.
(Warrick snaps a photo.)
Super: Told you. Loser.
Det. Cavaliere: Looks like he was getting ready to skip town on you.
(Det. Cavaliere looks around the bedroom.)
(The Super sees the open suitcase.)
(Quick flash to: [NIGHT] Lance Frazer sits on his bed and cries.)
(He sees the hot plate on the television set.)
(Cut to: He sits down in the bathtub and holds the hot plate over the water.)
(He drops the hot plate in the water.)
(He groans.)
(Quick CGI POV to: The camera follows the electrical current through the wiring in the hot plate. It sizzles as it follows the lines.)
(The current hits the water and we hear gurgling. The water bubbles and sizzles.)
(The camera travels out from the hot plate through the water and up to Lance Fraser who spazzes as he's being electrocuted.)
(End of flash. Resume to present.)
(Det. Cavaliere looks through the suitcase and finds a bible. He puts the bible down and opens it. Warrick steps out of the bathroom and watches him.)
Warrick: For inspiration or for last rites?
(Det. Cavaliere looks at Warrick.)
(Warrick picks up Lance Fraser's trousers and shakes it. We hear the jingling of coins in his pants pockets.)
(Warrick pulls out the wallet from the pocket. He hands it to Det. Cavaliere. The Det. checks the wallet.)
Det. Cavaliere: Wallet's empty.
(The Super stands nearby and watches.)
(Warrick empties the pockets.)
Warrick: Pack of cigarettes, sweetener, and a hot dog wrapper.
Det. Cavaliere: Doesn't add up to much.
(Warrick turns and looks around the room. He sees the fake flower lei on the bedside table. Something he recognizes, perhaps.)
Warrick: I wouldn't be so sure.
(Warrick raises the camera and takes a photo of the lei.)
CUT TO:
[EXT. NEVADA DESERT (STOCK) - DAY]
[EXT. DRY LAKE BED, ELY OFF GROOM LAKE ROAD -- DAY]
(Sara ducks under the tape Nick holds up for her.)
Sara: You are so late. What happened to you?
Nick: I'm late?
(Det. Travis walks up to them.)
Det. Travis: Sara Sidle and Nick Stokes.
Nick: Yeah.
(He introduces himself.)
Det. Travis: Detective Travis. I'm ex-LAPD homicide.
Sara: Nice to meet you.
Det. Travis: Nice to meet you.
(Just outside the crime scene tape are a group of people holding up signs.)
Sara: Who are these people?
Det. Travis: Uh, concerned citizens. Come on, right this way, please.
(Det. Travis leads them to the site. Sara turns back and looks at the people protesting. A couple of them are dressed in silver space suits complete with helmets.)
Det. Travis: The weather's been pretty bad out here. I don't know if you're going to find much. A couple of teenagers were out here last night sh**ting off their dads' g*n. One of them ... tripped over this thing.
(They reach the grave site.)
Nick: These kids thought they'd found a real space alien.
Det. Travis: Yeah, we were the second call they made. The first one was to Dan Rather ... who I don't think is coming.
Sara: Who called in the space people?
Det. Travis: From what I understand, they're always out here. See this guy in the silver lamé? He put it on the "watch the skies" web site. It's been a freaking free-for-all ever since then. You know where you are, right?
(He points to his right, a vast expanse of dry land.)
Sara: Area 51.
Det. Travis: It's the most secretive piece of real estate in the world. This is about as close to the base as we can get and still be on public land.
(Nick sees something. He walks over to the side and snaps a photo.)
Det. Travis: I guess the k*ller should've dug a deeper hole.
Nick: Not with a short-handled shovel.
(He picks up the shovel and shows it to them.)
Sara: Not to mention Nevada Desert is compact dirt, not sand. People usually give up before they h*t three feet.
Nick: Got some paint ... maybe. Something for Hodges. One thing's for sure: It's going to take a lot longer getting him out than it did getting him in.
Det. Travis: Can't you guys just beam him back to the morgue?
(Sara turns and looks at Nick. Nick smiles and shakes his head.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. PALERMO -- NIGHT]
(Catherine dusts for fingerprints as Det. Vartann continues to question Carl Johnson.)
Carl Johnson: I-I-I don't know how many times you want to ask me. I woke up this morning like this. Well, the handcuffs are new.
Det. Vartann: Anything you want to add?
(Catherine finds a print.)
Carl Johnson: No, I don't want to add anything!
Det. Vartann: You don't remember anything?
Carl Johnson: No, you know what? For the last time, I don't remember, okay?
Det. Vartann: Okay.
Carl Johnson: She ... she must have slipped me something.
(Catherine steps out of the bathroom. She takes her gloves off.)
Catherine: You sure it wasn't the booze?
Carl Johnson: I don't touch mini bars. That bitch drugged me.
Catherine: Well, if she drugged you, sir, it'll still be in your system. A blood test would be in your best interest.
[EXT. ROOFTOP PARKING LOT - DAY]
(Grissom walks up to the car and uses the car rental key to turn the car off.)
(He opens the door and looks inside. He photographs the answering machine inside. He sees there are nine messages.)
(He opens the back door and finds some cord on the car floor. He snaps a photo of it.)
CUT TO:
[INT. NIGHT CLUB - DAY]
(Various dissolves of Greg looking around the bar. He works from the back and makes his way forward.)
(Greg stands on the outside of the railing. He sees something inside the light container. He reaches inside and pulls out the g*n.)
(He opens the cartridge.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Catherine walks into the room.)
Robbins: Her mother's coming from Reno to claim her.
Catherine: I know. Vartann called. Nicole Richards, 25. Her stage name is Raven. We traced the locker room key to the Embassy Strip Club. Your turn.
Robbins: Sharp-force laceration to the frontal scalp with underlying fracture to the frontal calvarium. Cause of death, contusion to the brain and subdural hemorrhaging. Tox screen pegged her alcohol content at .30.
Catherine: That's almost four times the legal limit.
Robbins: Chronic drinking tends to cause a reduction in platelets. It thins out the blood and ret*rd clotting.
Catherine: That would explain why there was so much blood at the scene.
Robbins: The only other thing I found ... was a swollen ankle.
(Robbins lifts up the sheet to show Catherine the black and blue ankles.)
Catherine: Well, you ever try shaking your ass in four-inch heels? (b*at)
Don't answer that.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - ROOM 2 - DAY]
(David Phillips washes his hands at the sink in the eerily quiet autopsy room. Static and electronic crackling is heard. David stops and turns to look at the
"alien" body on the examining table in the next room. Not hearing it, he continues to wash his hands.)
(Again, he hears crackling and static sounds that are definitely coming from the body in the next room.)
(David turns the faucet off and wipes his hand with a tissue. He slowly walks over to the check on the body. He walks up to the glass and stares at the body on the table.)
(He doesn't hear anything. He chuckles softly to himself, turns and takes a step away from the body.)
(The crackling, static-y noises resume.)
(David turns around. It's definitely coming from the body on the table in the next room.)
(David walks over to check it out.)
(He walks up to the body and leans in very, very close.)
(The feedback resumes.)
Sara: (o.s.) We think it's a hearing aid.
(Sara's standing right behind him. David stands up, startled, but tries to be cool about it.)
David Phillips: Good. Yeah.
Sara: Yeah. It's out of juice.
David Phillips: Yeah.
Nick: Hearing aids have unique serial numbers, Super Dave.
(Nick leans in close and blows at the body's ear. He removes the hearing aid. The number reads: CN Resound 710.)
(Nick drops the hearing aid in a metal tray. David puts it aside.)
Nick: If you get this to Detective Travis, he should be able to run it down for us.
(That done, they go over the body.)
David Phillips: Arachnodactyly. Abnormally long fingers.
Sara: Hmm.
(Sara removes the watch from the d*ad body's wrist. She looks at it. It's a Seiko watch.)
Sara: David, I know where he's from.
Nick: Hmm?
Sara: Planet Seiko. (She flips the watch over to show the inscription on the back.) E.T.
Nick: You've got to be kidding me.
(Nick finds a slip of paper tucked in the d*ad body's clothing.)
Nick: Oh, you're going to love this. (reading) "Like a blinding supernova, your love is blasted throughout the universe. Two spirits become one by the power of the sun, the moon, and all the planets of the universe."
(Sara finds the edge of the d*ad body's mask. She lifts it up and reads the imprint on the underside of the mask: PROPERTY OF BIG CITY COSTUMES.)
Sara: Big City Costumes.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Grissom is working on the Polaroid, digitized and in the computer. He grids the photo on the monitor. Greg walks into the lab.)
Greg: Hey, Grissom. Is that the burnt Polaroid from the nightclub?
Grissom: Yeah. I just scanned it in.
Greg: Bobby Dawson confirms that this .32 auto from the club is indeed the m*rder w*apon. He's running it through NCIC and pawn shops.
(Greg hands the g*n in the plastic bag to Grissom. Grissom sees something on the g*n.)
Grissom: What's this blue stuff on the slide and the grip?
(Greg leans in to look at the blue stuff. He doesn't answer Grissom.)
Grissom: It's okay to say you don't know, Greg. That's why we have a trace lab.
(Grissom hands the g*n back to Greg. Greg takes the g*n and leaves the lab. Grissom returns to working on the Polaroid. He grids the photo and enhances an object on the floor. It's a prescription pill bottle. Grissom works to enhance the label.)
CUT TO:
[INT. GOLDEN NUGGET CASINO -- MAIN FLOOR -- DAY]
(The alarms wail and the people cheer as confetti falls to the floor. The woman raises her arms high in the air in celebration as she screams at her large win.)
Woman: Whoo!
(Warrick stands off to the side and watches.)
(The manager arrives. He places a plastic lei around the woman's neck. The same kind of lei found in Lance Frazer's motel room.)
Casino Manager: There you go! Congratulations.
(He kisses her cheek.)
Announcer: All right. On behalf of the Golden Nugget, let me congratulate you.
(The manager leaves the woman and walks up to Warrick.)
Warrick: You know how long I've played here and I've never gotten laid?
Casino Manager: Hey, Warrick, how you doing?
Warrick: Good.
Casino Manager: Listen, we've got your favorite 21 table ready for you over there, okay?
Warrick: Tricks are for kids, man. I don't play games anymore.
Casino Manager: Then what are you doing here?
Warrick: I'm working on a case. Did anyone h*t a big jackpot here yesterday?
Casino Manager: Yeah, guy won 50 g on that big machine over there.
Warrick: 50 g?
Casino Manager: Uh-huh.
Warrick: Did he look like this?
(Warrick shows the Manager a enlarged copy of the driver's license:
ARIZONA DRIVER LICENSE
LICENSE 236508522
EXPIRES: 11/08/2006
CLASS D SEX M
EYES BL HEIGHT 5-11
HAIR BLN WEIGHT 185
BIRTHDATE 11/08/1965
LANCE FRAZER
2525 N. SALTON SEA
PHOENIX, AZ 85203
Casino Manager: Yep, that's him.
Warrick: Do you remember about what time that was?
Casino Manager: Midnight. That was the end of my shift. Looks like he needed it, too.
Warrick: Really?
Casino Manager: Yeah, dirty clothes, serious B.O.
Warrick: Funkier than James Brown, huh?
Casino Manager: Big time. Don't be a stranger.
Warrick: Good to see you, man.
(The Casino Manager leaves. Warrick heads on his way.)
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Catherine walks into the DNA lab with her samples.)
Catherine: Blood standard, unknown urine, tell me it's the same guy. Now, Greg mentioned to you that my stuff gets done first, right?
Chandra Moore: Yeah, well, in my lab, I decide what gets run and when. Unless Mr. Grissom tells me otherwise.
Catherine: It's uh, quiet in here. Greg played music.
Chandra Moore: Well, I find it distracting.
(Jacqui Franco walks into the lab with her print results.)
Jacqui Franco: h*t on your fingerprint from the Palermo.
Catherine: Carl Johnson?
(She hands the results to Catherine.)
Jacqui Franco: Nope, George Craven. Ex-con. Record for domestic v*olence.
(The sheet reads: on the left is a {photo} on the right is the information CRAVEN, GEORGE)
Catherine: Runs security at the Embassy Strip Club.
CUT TO:
[EXT. LAS VEGAS COMMUNITY- DAY]
(Brass, Grissom and an Officer exit the parked car. They walk up the front walk to the house.)
[INT. WILLARD RESIDENCE - FOYER - DAY]
(Brass kicks the door in. The officer stands next to him, both their g*n are up and out. Grissom is behind them.)
Brass: Mr. Willard! Las Vegas, police. We have a warrant. (to Bobby) Go around the back, Bobby.
(Bobby turns and leaves to go around the back. Brass and Grissom step into the house.)
Brass: You get this address off a pill bottle?
Grissom: Herpes.
Brass: Huh?
Grissom: There was a prescription for valacyclovin. I cross-referenced the pharmacy logo.
(There's a loud clatter coming from the front door. Grissom and Brass turn. Greg sheepishly stands upright after tripping in the doorway.)
Greg: Sorry. I'm late.
(Brass and Grissom continue on through the house. Greg follows from behind.)
(Brass walks into the next room and finds the body on the floor.)
Brass: Polaroid doesn't do him justice.
(Quick flash of: The Polaroid picture of the body burns. End of flash. Resume to present.)
(Brass steps further into the room. Grissom walks over to the body. He notices that cord tied around the d*ad body's neck.)
Grissom: Same kind of wire I found in the first victim's car.
(Brass finds a photo BANKMASTER credit card on the desk.
UNION INTERSTATE BANK
5000 4382 9021 4302
08/01-08/05
KEN WILLARD )
Brass: Ken Willard.
Greg: Yeah, I recognize that guy in the picture. (He points to the framed photo on the shelf.) From blitzkrieg? Manny, the club owner. So our first victim ...
(Quick flash to: [INT. WILLARD RESIDENCE - DAY] The k*ller chokes Ken Willard.)
Greg: (V.O.) ... strangled this guy with wire, ...
(Flash to: The k*ller photographs the body.)
Greg: (V.O.) ... photographs it ...
(Flash to: [CLUB] The k*ller holds the photo.)
Greg: (V.O.) ... takes it to the club, burns it for some reason, and then takes one between the eyes himself?
(Someone kills the k*ller.)
(End of flash. Resume to present.)
Grissom: Bring me the head of John the Baptist.
[Note: Matthew 14:8 & Mark 6:24-25]
(Brass shrugs.)
Grissom: Salome -- wanted proof that he was d*ad. They didn't have Polaroids back then.
Brass: So you're saying our first victim was a hired k*ller. Hired by whom?
Greg: Whoever sh*t him?
(Brass considers it. Grissom turns to look at Greg and Brass.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CHURCH -- DAY]
(Brian is dressed in an alien costume complete with head extension and jewel in the center of his forehead. He stands on stage and talks with a crowd.)
Brian (as alien minister): (lisping) And like a blinding supernova, your love is blasting throughout the universe. Two spirits have become one. Earthling to earthling.
(Nick and Sara walk into the room and take seats at the back.)
Brian (as alien minister): (lisping) ... So ... by the power of the sun and the moon and all the planets in the universe, and the great State of Nevada, I now pronounce you husband and wife. You may kiss that bride.
(The couple kiss as the guests applaud.)
Brian (as alien minister): (lisping) There you go.
Sara: Don't get all misty on me, now.
SHORT TIME CUT TO:
(Sara and Nick talk with Brian as he removes his head extension.)
Brian: So the deceased's costume was similar to mine, you say?
Nick: Yeah, identical. Manufactured by Big City Costumes.
(Brian removes his head extension.)
Nick: Specifically designed for this chapel.
Brian: Yeah, that's who makes them. I guess I shouldn't be so surprised -- things get stolen from he all the time. Them sci-fi nuts, you know, they're big collectors.
Nick: Do the initials E.T. mean anything to you?
Brian: No, just the ...
Alien Minister's Wife: Honey, we have a 3:00.
Brian: Oh, yeah, yeah, yeah, yeah, yeah.
Nick: So business is good?
Brian: Oh, yes, never better. You know, I mean, people, they come to Vegas to get rich or to get hitched. I mean, you know, that's not why we do it, though. Is it, honey?
(The Alien Minister's Wife shakes her head.)
Brian: We believe in love, you know, in just whatever form it might take. Are you two married?
Sara: No.
Brian: No? All right, well, we're open 24 hours. There's a toll-free number right there on the back, all right? (He hands the brochure to Sara.) Don't let this moment pass you by. (to Nick) She's gonna getcha.
(Brian and his wife stand and leave.)
(Nick chuckles.)
CUT TO:
[EXT. WEDDING WONDERLAND - SIDEWALK - DAY]
(Nick and Sara step out of the Wedding Wonderland Chapel and out onto the sidewalk. A man dressed as Al Capone approaches them.)
Al Capone: Hey! You kids don't want to get married by Spock or whatever his name is in there. What would your mother say? Here.
(He hands them a flyer.)
(They look around and see the other chapel gimmicks standing out on the sidewalk trying to drum up business. They see the pink Cadillac in the garage.)
Elvis: (over p.a.) Come on, all you hound dogs, get married by the king at the Burnin' Love Wedding Chapel.
Nick: Viva Las Vegas, man.
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(Catherine and Det. Vartann interview George Craven. Catherine puts a morgue photo of Raven on the table.)
Det. Vartann: How do you explain your fingerprint on the m*rder w*apon?
George Craven: I don't need to explain anything. I didn't k*ll her.
Catherine: Thumbprint on the towel bar?
George Craven: In the bathroom at the Palermo?
Catherine: Yeah.
George Craven: Yeah, I was in there. I took a leak. Come on, Raven's my girl, all right? She always had me check out her money.
Catherine: You let your girlfriend turn tricks?
George Craven: Two grand to do some mid-western chump? She wouldn't turn it down, and I wasn't gonna stop her.
(Quick flashback to: [NIGHT] Raven dances on Carl Johnson.)
George Craven: (V.O.) Dude stumbled in from the Acid Drop ready to go.
(Raven glances back at George who leans against the wall at the back of the room.)
(Carl Johnson pays George.)
George Craven: (V.O.) He seemed harmless. I used the facility before I left.
(He misses the toilet. He grabs the towel bar.)
(End of flashback. Resume to present.)
George Craven: Then I bounced. I was cool with her way of life. But I didn't want to stay and watch.
(Catherine notes the wounds on George Craven's hand.)
Catherine: Fresh wounds. You get those kicking guys out of the embassy, or ... kicking your girlfriend's ass? I don't think that you were cool with her ways. A big, strong guy like you, you're not gonna share her. She didn't tell you where she was going. You followed her, and you k*lled her.
(Quick flashback to: [NIGHT] GEORGE CRAVEN bursts into the hotel room to find Raven in bed with Carl Johnson.)
George Craven: You little slut!
(Raven scrambles off the bed. George Craven runs into the bathroom and grabs the bath bar.)
Raven: No! Please
(He swings and hits her on the head. She scrambles to her feet and runs out of the bathroom.)
(End of flashback. Resume to present.)
George Craven: I need a lawyer.
Catherine: I need your clothes.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - DNA LAB -- DAY]
(Chandra Moore is in the DNA lab working. Grissom and Greg are both watching her. Grissom turns to Greg.)
Grissom: So, you like her?
Greg: I like not being her anymore.
(Hodges joins them.)
David Hodges: The sticky substance in the slide of your g*n is tape adhesive. What about the blue coloring? Chloromide M.E.A., Sodium lauryl sulfate, pine oil. Components of your basic bathroom disinfectant.
Grissom: So, Greg, how do you explain adhesive and toilet bowl cleanser on the g*n?
Greg: I don't know. I can tell you the toilets in the club had blue water.
Grissom: You inspected the toilet bowls for evidence?
Greg: Well, when you got to go, you got to go.
David Hodges: Whew.
Grissom: At a crime scene, Greg?
David Hodges: Everybody knows you hold it.
Grissom: You go across the street or next-door, somewhere other than the scene, until you've cleared the restroom. Did you clear the restroom?
Greg: No.
Grissom: Well, you could've flushed away evidence, wiped away fingerprints from the handle. Make sure you include this in your field notes.
(Grissom walks away. Hodges turns and looks at Greg.)
David Hodges: I like Chandra. She's cute.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(Brass interviews Manny Brazil, the Club Owner. Manny paces the floor in front of Brass' desk.)
Brass: The .32 a*t*matic we found at your club, the serial numbers were filed off. I mean, you know better than anyone, that's a felony. Lucky for us, the crime lab recovered the numbers.
Manny Brazil: Hey, look, that g*n was stolen out of my desk last week.
Brass: So what's this, "The dog ate my homework"?
(Manny sits down across Brass' desk.)
Manny Brazil: Come on, man, think about it. Why would I k*ll somebody in my own club? I still got yellow tape across the front door.
Brass: What do you care? You only own ten percent of the club. Ken Willard owns the rest.
Manny Brazil: Yeah, but the guy's not around. Besides ... things change.
Brass: You're damn right they do. He's d*ad.
Manny Brazil: What? Wait-wait-wait, you don't think that I had any ... no.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. THE ACID DROP - BAR - DAY]
(Catherine walks in and heads for the bartender.)
Catherine: Hi. Chris here?
Bartender: You are ... ?
Catherine: I'm Catherine.
Bartender: Oh, right, you must be his cop friend.
(Chris walks out from the back room. He closes the door behind him and heads toward Catherine.)
Chris Bezich: Hey.
Catherine: Hi.
Chris Bezich: You should've told me you were coming down. (They kiss.) What's going on?
Catherine: I'm checking out an alibi. Was this guy in here last night?
(Catherine shows Chris a copy of the Ohio Driver License for Carl Johnson. It reads:
OHIO DRIVER LICENSE
BOB TAFT, GOVERNOR
FRANKLIN R. CALTRIDER, REGISTRAR BMV
CARL JOHNSON
2640 HIPSHOT DRIVE
COLUMBUS, OH 43208
LICENSE NO. RT2477091
SS NUMBER NON-E-
BIRTHDATE 04/23/64
ISSUE DATE 04/23/02
EXPIRES ON BIRTHDAY 06
NONRENEWABLE DOCUMENTATION REQUIRED
SEX M HT 5-10 WT 170 HAIR BRN
Chris Bezich: Yeah, he was, uh, belligerent, drunk -- he was groping every waitress in the place. We sent him over to the strip joint next-door. It was more his speed.
(Catherine's phone rings. She checks the message.)
Chris Bezich: You're busy. Am I gonna see you tonight?
(She closes the phone.)
Catherine: I'm working late.
Chris Bezich: Me, too.
(Catherine smiles and nods at him. She turns and leaves.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Various cuts of Warrick working in the lab. He examines the hot plate and finds some b*rned substance on it. He removes the substance.)
(Cut to: He's scanned the substance into the computer and works on the computer.)
CUT TO:
[INT. NIGHT CLUB - BATHROOM - STALL -- DAY]
(Grissom and Greg are in the bathroom stall. Greg closes the toilet cover and removes the toilet lid. They find duct tape.)
Greg: Duct tape.
(Greg grabs his kit and opens it.)
Greg: So the sh**t stuck the g*n in the toilet earlier to avoid the metal detector.
(Quick flashback to: [STALL] Someone tapes the g*n to the inside of the toilet. End of flashback. Resume to present.)
Grissom: Echoes of Michael Corleone.
(Greg removes the duct tape from the toilet.)
Greg: So if Manny is the sh**t, why would he need to hide his own g*n?
Grissom: He wouldn't. So what are you gonna do now?
Greg: Check for prints.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Nick and Sara walk into the lab. Sara picks up the file folder and looks through it.)
Chandra Moore: Please don't do that.
Sara: Oh, sorry. Uh, I was just looking for our alien DNA analysis.
(Nick looks through the scope.)
Chandra Moore: Not yet.
(He looks at Chandra.)
Nick: Come on, where's your intellectual curiosity?
Chandra Moore: I hardly considered it a priority.
Sara: It's very neat in here. You're very neat, Chandra.
(The printer prints out the results. Chandra turns to get it.)
Chandra Moore: Thank you.
(David Hodges steps into the lab to report to Nick and Sara.)
David Hodges: Your shovel from the desert?
(He looks over at Chandra and sees her struggling to pull the print sheets out of the printer.)
David Hodges: Dug into the paint history of somebody's car.
(Quick flash of: The side of a car. End of quick flash.)
David Hodges: Black enamel undercoats, general motors, '60s vintage. Three layers of primer plus a acrylic top, pink.
Sara: A pink cadillac?
(Quick flash of: The pink Cadillac in the garage. End of quick flash.)
(Det. Travis steps into the DNA lab to report to Nick and Sara. It's getting to be a party in the DNA lab.)
Det. Travis: Hey. E.T. phoned home. I got an I.D. off the hearing aid. (David Hodges looks over at Chandra Moore.) Our alien is Reverend Edward Thomas of 49
Stuart Street.
Sara: Oh, the Chapel of Intergalactic Love.
Nick: We've already been there.
Det. Travis: Well, if the reverend is d*ad, who's running the place?
(Irritated by all the interruptions, Chandra has had enough.)
Chandra Moore: Could you please take this somewhere else?
Nick: We know where there's a pink cadillac. (Elvis imitation) Thank ya. Thank ya very much.
(Nick and Sara turn and leave the lab. Chandra sighs.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - A/V LAB -- DAY]
(Archie Johnson goes over the security camera video footage with Catherine. On the monitor is George Craven walking through the hotel hallway.)
Archie Johnson: I got the stripper's boyfriend on camera.
(He pauses the video.)
Archie Johnson: If he just k*lled somebody, he's being really cool about it.
Catherine: Yeah, and he didn't change his clothes from last night. I screened them for blood -- negative. And the tox report on Mr. Johnson confirms traces of triazelam in his blood.
Archie Johnson: So golf ball salesman was too doped up to k*ll her. The boyfriend couldn't have bludgeoned her without getting blood on his clothes.
Catherine: No.
CUT TO:
[INT. CSI -LAB - DAY]
(Det. Cavaliere walks into the lab to report to Warrick.)
Det. Cavaliere: Hey. If Lance Frazer won fifty grand, I can't find it. It's not in his room, no bank account, no car.
Warrick: What time did the super say the electricity went out?
Det. Cavaliere: 12:30.
Warrick: 12:30? How does a broke-ass guy like lance lose fifty grand in thirty minutes?
Det. Cavaliere: Had to take him ten minutes just to walk back home.
Warrick: Well, they say gamblers are creatures of habit. I bet you lance did the same thing every day. Win or lose. I'm going to need to take a walk in this guy's shoes.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS STRIP - NIGHT]
(Warrick stops on the sidewalk and looks at the casinos' flashing lights. He walks down the sidewalk and sees a Cigar Vendor.)
Warrick: Hey, captain.
Cigar Vendor: Yo.
Warrick: Do you sell Clark cigarettes?
Cigar Vendor: Yeah, I do. (He reaches for a pack.) You know, you've got to be the only other guy in Vegas that smokes these sticks?
Warrick: Really?
Cigar Vendor: Yeah.
Warrick: Is this the other guy?
(He shows the vendor the photo of Lance Frazer.)
Cigar Vendor: That's him. He's here every night. Big spender. Pays me in quarters.
(Warrick nods.)
INTERCUT WITH:
[INT. CSI - LAB - NIGHT]
(Greg works on the duct tape in the lab. He looks for a print. He finds a print.)
[EXT. LAS VEGAS STRIP - SIDEWALK - NIGHT]
(Warrick walks along and finds a sidewalk table with Omnicose Sweetener packets, the same packets found in Lance Frazer's room.)
[INT. - NIGHT]
(Close-up of parts of the pink Cadillac. Nick looks at the side of the car and sees something.)
Nick: Sara.
(Sara joins him and looks at the car side.)
Nick: Let's go talk to the king.
[EXT. LAS VEGAS STRIP - SIDEWALK - NIGHT]
(Warrick walks up to the hot dog vendor.)
Warrick: Hey, pop. Like the buddha said to the monk, make me one with everything.
Hot Dog Vendor: Sure thing, boss. Coming right up.
Warrick: Were you working last night?
Hot Dog Vendor: Nope. I don't usually work this stand.
Warrick: Who does?
Hot Dog Vendor: Some punk kid. Just up and quit last night. Left the stand sitting right here.
Warrick: Really? Would you happen to know where this punk kid lives?
CUT TO:
[EXT. HALBURT RESIDENCE -- APARTMENTS - NIGHT]
(Officers with their w*apon out converge on the apartment #130.)
(Det. Cavaliere pounds on the door.)
Det. Cavaliere: Daniel Halburt! We've got a warrant to search the premises! Open up!
(The door opens. A young kid with gold chains around his neck looks out.)
Daniel Halburt: Yeah, what up, man?
(Det. Cavaliere grabs him and pulls him out of the apartment.)
Det. Cavaliere: Get out!
Daniel Halburt: (surprised) Hey, man!
(Det. Cavaliere steps into the apartment and checks it out.)
Det. Cavaliere: Clear!
Warrick: Clear!
(The officer outside handcuffs Daniel Halburt.)
Warrick: Whoo! Would you look at the size of this flat screen? My lord, that's a whole month of my pay right there. A new playstation? A brand-new stereo?
(Warrick sees the hot dog vendor uniform on the side. He picks it up.)
Warrick: You must have sold a lot of hot dogs last night, huh?
(He sees the burn on the uniform.)
Warrick: Did you get that from Lance? You know, your old friend. Did you sell a lot of hot dogs him?
(Quick flashback to: [NIGHT] Lance Frazer sees the hot dog vendor.)
Lance Frazer: I finally h*t. Fifty large, cash.
(He shows Daniel Halburt the cash.)
Lance Frazer: Kick back in the tub, pay off that shifty super, and I'm checking into the Bellagio.
(He takes his hot dog and leaves.)
(End of flash.)
Daniel Halburt: I gambled every day of my life. I never won a damn thing.
(Quick flashback to: [FRAZER'S MOTEL ROOM - NIGHT] The door opens. Daniel Halburt walks in. He picks up the hot plate and goes into the bathroom. He burns his hot dog vendor uniform.)
Daniel Halburt: Tell me where the money is.
(Lance Frazer looks up scared and shakes his head. Daniel Halburt drops the hot plate into the tub. Lance Frazer is electrocuted.)
(End of flash. Resume to present.)
Daniel Halburt: He should have just showed me where the money was. It was in the bible.
Warrick: Take this guy out of here.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Brian, who is now dressed as Elvis, presides over another marriage. Sara and Nick walk into the chapel and watch from the back.)
Brian (as Elvis): So as the one and only king of rock and roll, I now pronounce you, husband and wife. You get over there and kiss that bride! All right! There we go!
Sara: Does Elvis look familiar to you?
(Brian lifts his Elvis glasses off and sees them standing in the back. Sara waves to him. Nick nods.)
Guest: (b.g.) That's the stuff!
Guest: (b.g.) Do karate if you do, right? Guest: (b.g.) Viva Las Vegas Viva Las Vegas
Brian (as Elvis): That's right, that's right.
CUT TO:
[INT. CSI - INTERVIEW ROOM - NIGHT]
(Nick and Sara interview Brian.)
Nick: You want to tell us about the scratch on your cadillac?
Brian: (lisping) I mean, come on. That's more than just a scratch. I mean, it's nothing compared to the vandalism or the stress. I mean, come on. It's a w*r out there, you know? Marriage is money in this town and every chapel owner wants more. I mean, last month, middle of the "I Do's," a rock comes flying through my stained glass.
Sara: Were you in a w*r with Ed Thomas?
Nick: We found the shovel near the body. The paint transfer matches your car.
Brian: Well, I guess Ed was at w*r with me.
(Quick flashback to: [NIGHT] Ed takes the shovel and scratches the side of the Cadillac with it. End of flash. Resume to present.)
Brian: I mean, I was looking for a truce.
(Quick flashback to: [ED'S RESIDENCE] Brian walks into the small apartment. Ed's sitting in front of the television set.)
Brian: (V.O.) At first I thought that he was ignoring me, and then I remembered about his hearing problem.
Brian: Ed, I want to talk to you.
(Brian takes off his glasses and steps into the apartment.)
Brian: (louder) Ed, I want to talk to you.
(Brian checks Ed, but he's d*ad.)
(End of flashback. Resume to present.)
Brian: He was d*ad when I got there, I swear it. It must have been a heart att*ck or something. And so I took him out to Area 51 and then I buried him.
Sara: Why would you possibly take him all the way out there?
Brian: Because it's what he would have wanted.
Nick: And so then you just took over his business?
Brian: Yeah, well, I mean, it seemed like a good idea at the time, you know? Keep spreading the love.
Sara: The coroner determined that Ed suffered from Marfan syndrome, similar to Abe Lincoln.
Nick: Abnormally long fingers, arms, legs, scoliosis.
Brian: So, what does that got to do with me?
Sara: The syndrome weakened Ed's abdominal aorta. When you found him, he wasn't d*ad, he was unconscious. He was bleeding internally.
Nick: Yeah, the coroner found dirt in his stomach and his upper airways, underneath his fingernails.
(Quick flash to: Camera zooms out to Area 51 and down into the dirt. We see Ed Thomas open his eyes, looks around, and open his mouth to scream.)
(Quick CGI POV of: Camera zooms into Ed Thomas' mouth, down his throat, turns around and we see that it fill quickly with dry dirt.)
(End of flashes. Resume to present.)
Nick: He died from asphyxia, all right, but it was post-burial.
(Brian's eyes widen in horror and he starts to cry.)
Brian: I think I'm going to be sick. I'm sorry.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. THE PALERMO - HOTEL ROOM - NIGHT]
(Catherine returns to the bathroom with an ALS. She puts her kit down.)
Catherine: h*t the lights.
(Det. Vartann turns the lights off. She looks down at the smudge of blood on the floor.)
Catherine: The victim had a swollen ankle. What if this bracelet is an anklet?
(Quick flashback to: [NIGHT] In her bare feet, Raven slips on the urine on the floor and hits her head on the bath bar.)
(Raven staggers out of the bathroom. She realizes her head's bleeding.)
Catherine: (V.O.) By then Johnson had passed out from the triazelam.
(End of flashback. Resume to present.)
Catherine: The more docile the john, the easier the job, except when you need him to save your life.
(Quick flashback to: [NIGHT] Carl Johnson is sleeping heavily on the bed. Raven tries to wake him up. She's bleeding everywhere.)
Raven: Please, wake up, wake up.
(she picks up the phone and passes out.)
(End of flashback. Resume to present.)
Det. Vartann: Well, if Johnson was innocent, why'd he lie to us?
Catherine: Try explaining this to your family back in Ohio.
CUT TO:
[INT. NIGHT CLUB -- NIGHT]
(Grissom, Brass and Greg question Crystal. Manny Brazil stands nearby.)
Grissom: Are you aware that your fingerprints are in the Federal system?
Brass: You're awaiting trial on drug tr*ffick, Manny posted your bail.
Manny Brazil: I was just helping her out.
Crystal: It wasn't my "E."
Brass: Oh, yeah? Who's "E" was it?
Crystal: Ken Willard asked me to bring a bag back from L.A. For him. I didn't know what was in it.
Brass: So you and Ken had a relationship?
Crystal: We dated.
(Manny looks at Crystal, surprised by this news.)
Grissom: You both took valacyclovin as well. We found your prints on some duct tape in the women's restroom.
(Quick flashback to: [RESTROOM] Crystal hides the g*n in the toilet.)
Grissom: (V.O.) The duct tape was used to hide Manny's g*n.
(End of flashback. Resume to present.)
Brass: The g*n used to k*ll your h*t man.
Manny Brazil: h*t man? What the hell are you talking about?
Well, with Ken Willard gone, your 10% of the club becomes 100%.
Manny Brazil: I didn't k*ll him and she doesn't deserve to go to jail. Look, the guy was a snake. Picking up girls, using them as mules, throwing them away.
Brass: So what does a contract k*ller cost these days, Manny?
Crystal: Manny didn't do anything. He's only tried to help me. The guy said he could solve my problem for ten grand. When the job was done, he said the price had doubled. I couldn't afford that ... and I didn't want to get Manny involved. So I stole the g*n from his office.
(Quick flashback to: [RESTROOM] Crystal puts the g*n in the toilet.)
Crystal: (V.O.) I kept it in the bathroom overnight ...
(The next night, Cyrstal is working.)
Crystal: (V.O.) ... waited till that son of a bitch showed up, picked my moment.
(She points the g*n at the h*t man and fires.)
(End of flashback. Resume to present.)
Crystal: Second I get arrested, Ken dumps me. He says he'll k*ll me if I roll over on him. The way I saw it, I had two choices: Either k*ll him or go to jail.
Grissom: Congratulations. You got both.
CUT TO:
[EXT. LAS VEGAS CITY NIGHT (STOCK) - NIGHT]
[INT. THE ACID DROP - CLUB -- NIGHT]
(Catherine walks into the club. She walks over to the bar and waves to the bartender. The bartender points to the back.)
[INT. THE ACID DROP - CHRIS' OFFICE - NIGHT]
(Catherine opens the door. We hear a woman's laugh coming from inside.)
(She finds Chris with one of the club waitresses. They stare at each other for a moment.)
Chris: What do you expect? I run a nightclub.
(Catherine turns and leaves. The door slams shut behind her.)
Club Waitress: Who was that?
[INT. THE ACID DROP - CLUB - NIGHT]
(Catherine walks out of the club.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Grissom reviews Greg's file.)
Grissom: You committed a fatal error, Greg. You compromised evidence at a crime scene. A judgment like that can cost us a conviction. In order to solo in the field, you have to successfully complete three proficiencies.
(He gives the file back to Greg.)
Greg: I failed this one.
Grissom: Yeah.
(Greg stands up, sighs and heads for the door.
(Grissom takes his glasses off.)
Grissom: But ...
(Greg stops and turns around.)
Grissom: Since you found a suitable replacement in the lab, I'm going to give you one more chance.
Greg: Thank you. Thank you.
(Greg leaves. Grissom watches him go.)
[INT. CSI - HALLWAY - DAY - CONTINJUOUS]
(Greg walks through the hallway. He hears some glass smash and Chandra's frustrated growl.)
Chandra Moore: Oh, I can't go through with this!
(He looks up and sees Chandra step out of the lab.)
Greg: Hey, Chandra, how was your first day?
Chandra Moore: I can't do this. It's too much for one person.
(She takes her coat off. Nick and Warrick peer out of the lab and watch. Chandra gives Greg her lab coat.)
Chandra Moore: They all want ... they all want you, and I can't be you.
(Chandra turns and leaves.)
Chandra Moore: (o.s.) I'm going back to Connecticut.
(From the lab doorway, Warrick holds out a bill. Nick takes it.)
(Greg glances over at the two of them. Warrick shrugs at him.)
(Greg nods knowingly and looks down. What a day.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x01 - Viva Las Vegas"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY SCENES (STOCK) - NIGHT]
(It's raining. A lot.)
[EXT. LAS VEGAS COMMUNITY (STOCK) -- NIGHT]
(Lightning flashes, thunder rumbles. It's still raining. A lot.)
CUT TO:
[EXT. STORM DRAIN - ENTRANCE -- NIGHT]
(Camera lingers on the entrance to the storm drain.)
(A closer look at the drains. We hear the squealing of rats coming from inside. The squealing gets louder as the rats get closer.)
(Camera holds low to the ground on the entrance to the storm drain. The rats run out of the storm drain.)
(A b*at later and we see the legs of homeless people running out of cover from the storm drain and into the rain.)
(As the last homeless person runs out of the storm drain, we hear the roar of water. It catches up to the last homeless person knocking him off his feet.)
(The homeless person scrambles to his feet to get out of the way.)
(The water continues to rush out of the storm drain. As it sweeps by, it rises above the camera level. Under water, we see a d*ad body get caught in the wire mesh partially blocking the storm drain entrance.)
CUT TO:
[EXT. STORM DRAIN - ENTRANCE - NIGHT]
[CAMERA POV]
(Camera shutter clicks as photos are taken of the d*ad body. The outer layer of skin is red and partially damaged.)
(It's still raining.)
RESUME VIEW
(Grissom puts the camera down. He and Catherine are standing over the body inside the storm drain. Outside, we see an officer walk by. The water level is up to his upper thighs.)
Catherine: Who found him?
Grissom: The police were sweeping the area looking for vagrants, trying to keep
'em above water.
(He points to the body.)
Grissom: Take a look at his nose. Same thing with his chin ... his elbows ... and his knees. He lost all his points.
Catherine: Like a rock in a tumbler.
(David Phillips makes his way into the storm drain.)
David Phillips: I'm sorry I'm late. Stopped to get my waders.
(He checks the body, starting from the lower legs and working his way up.)
David Phillips: No wallet. (He finds something else.) Oh, wait a sec.
(He digs into the pants pockets and finds a small container of white powder. He gives it to Catherine.)
David Phillips: What do you think?
(Catherine looks at it.)
Catherine: I'll get it to narco.
Grissom: Take a look.
(Grissom finds a sharp piece of wood impaled through the body's neck.)
David Phillips: Cause of death?
Grissom: Water pressure could have done it.
Catherine: Or a person.
(Grissom takes a photo of it.)
(David goes back to the body. Warrick makes his way into the storm drain and joins them.)
Warrick: Hey. Whoo! It's a mess. I've talked to every resident in the area. No one knows this guy. No unaccounted-for vehicles. I don't know what to tell you.
Grissom: Well, at least we know where he came from.
(Grissom shines his flashlight into the darkness of the storm drain. Warrick turns and looks. Catherine grimaces.)
Catherine: Aren't we at least gonna draw straws?
Grissom: No.
SHORT TIME CUT TO:
[INT. STORM DRAIN - NIGHT - CONTINUOUS]
(Catherine and Warrick make their way through the storm drain looking for evidence. The water in the drain is up to their knees.)
(They come to a level change. Catherine steps down. The water is now up to her hips. They look up at the grate above them.)
Warrick: We must be under the freeway by now.
(We hear the sounds of cars speeding by.)
Catherine: Hey. Did I ever tell you that the city paid me a dollar a square foot to rip out my lawn and replace it with rocks because we're in a drought?
Warrick: Are you kidding me?
Catherine: No.
Warrick: This city was not made for rain.
(They continue to walk through the storm drain.)
(They step out of the tunnel they're in and into a juncture. The walls are painted with graffiti. They search around the area and find a body sprawled out on the floor, clothes drenched from the rain.)
Warrick: Catherine.
(They walk up to the body. Catherine takes out her radio.)
Catherine: (to radio) Grissom. We got another body.
(The body awakens. Catherine and Warrick are both startled.)
Homeless Man: I was taking a nap.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. STORM DRAIN - TUNNELS -- NIGHT]
(Warrick questions the Homeless man.)
Homeless Man: I'm real tired, okay? I just want to get some sleep.
Warrick: I understand, I understand. Listen, I need to ask you a question. Have you ever seen this guy right here?
(Warrick shows him the Polaroid photo in a plastic bag. He looks at it.)
Homeless Man: No.
Warrick: You don't know him?
Homeless Man: No, someone comes down here that don't belong, I mean, bad stuff can happen, okay? I-I-I just want to go home, okay? A-a-and you can't make me leave my house.
Warrick: Nobody's making you do anything, okay? Now, you like coffee?
Homeless Man: Well, yeah, as long as it's a decaf, one sugar, two cream, no skim, and hot -- your lawsuit hot.
Warrick: Okay, you go with that officer over there. He'll get you a nice cup of coffee, all right?
CUT TO:
[INT. STORM DRAIN - NIGHT -- CONTINUOUS]
(Catherine is looking around the area.)
(She hears water movement from around the corner behind her. She looks and doesn't see anything.)
Catherine: Is that you, Warrick?
(After a very tense moment, Warrick appears from around the corner.)
Warrick: There you are.
Catherine: (sighs) Phew.
(She finds something caught in the tree branches.)
Warrick: Is that a sneaker?
(She picks it up.)
Catherine: Looks like an aquasock.
Warrick: Yeah.
(She finds the other side.)
Catherine: Here's its mate. (They look at it.) Kind of upscale for a tunnel rat. So the vic was barefoot. The tunnel's full of m*rder w*apon. Bum kills him, or finds the body and takes the socks? What was the guy doing here in the first place?
Warrick: Well, maybe the vic was some punk, uh ... with an attitude. Decided to take it out on some homeless guy. You never know.
Catherine: The way the body was ground down means that the water took him for a pretty long ride.
Warrick: Well, we're already wet, so ...
(Catherine sighs. They continue down through the tunnels.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. INDUSTRIAL - STREET (TOP SIDE) - DAY]
(A man sits on the bus bench reading the morning paper.)
Catherine: (o.s.) Excuse me!
(The man looks around.)
Catherine: (o.s.) Down here!
(He looks down through the drain grate and sees Catherine looking up at him from below.)
Man At Bus Stop: Oh. What's your problem, Sweetie?
Catherine: Uh, no problem, sir. I'm just wanting to know what street I'm on. Under.
Man At Bus Stop: Oh, it's, uh, Industrial. You're just South of Tropicana.
Catherine: Thank you.
Man At Bus Stop: And I'm not holding the bus.
[INT. STORM DRAIN - TUNNELS - DAY - CONTINUOUS]
Catherine: (to the man above) Don't bother.
(Catherine looks at Warrick.)
Catherine: All right, so we're about a mile south of where we started.
Warrick: Well, there's 300 miles of storm drains in Clark County, so we only have 299 left.
Catherine: What, do we, uh, eenie-meenie-minie-mo it? Split up? What do we do?
(Warrick looks down the tunnel to the right.)
Warrick: No, that's a d*ad end.
(At the juncture he finds something floating in the water caught on some tree branches.)
Warrick: Sunscreen on a lanyard.
Catherine: Fits with the aquasocks.
(Warrick looks at the tunnel to the left.)
Warrick: I say we keep going upstream.
Catherine: I knew you were gonna say that. (Catherine starts through the tunnel. She ducks when the low concrete ceiling dips.) Watch your head.
(Warrick follows her.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Grissom watches as Robbins starts on the body. He begins with the Y-incision down the torso. Standing a distance away from the table is Greg who is also in the room for his first autopsy.)
(He looks away as the first cut is made.)
(Grissom notes Greg's reaction.)
(Robbins finishes the cut and pulls the skin open. Greg's eyes widen at the sight. Robbins turns to Grissom.)
Robbins: I'm gonna need the drain pan.
(Grissom hands the drain pan to Robbins who puts it on the tray next to him. Water starts to drip from the roof into the drain pan.)
Robbins: This town isn't built for rain, hmm?
(Robbins takes the hand saw and turns it on. He glances up at Greg. Greg puts his fingers in his ears as Robbins cuts into the rib cage. Blood spurts on Robbins' mask.)
(Finished, Robbins turns the hand saw off and sets it aside. Grissom watches Greg. Greg looks at Grissom.)
(Robbins grabs the rib cage piece and pulls it out of the body. He sets it aside. Robbins motions for Greg to move in closer.)
Robbins: Come on, don't be shy. Take a good look. In the end ... it's all we really are.
(Robbins cuts the aorta leading into the heart. Greg watches, his eyes wide. He looks at the victim's partially damaged face and back down to the victim's feet. He appears thoughtful.)
Grissom: If you're gonna be sick, Greg, do it in the sink.
Robbins: (chimes in) Not in the drain pan.
Greg: I don't feel sick.
(Robbins makes a vertical cut in the neck. Grissom knows what's going to be there.)
Grissom: Take a look at the trachea. What do you see?
(Greg leans in for a look. Robbins peels the skin back.)
Greg: Foam. Like the head of a beer. (Greg looks self-consciously at Grissom.) Sorry.
Grissom: No. It's a good analogy.
Robbins: Pulmonary edema, fluids in the air passages.
Greg: So he drowned?
Grissom: Well, doesn't prove it. Same thing happens with, uh, heart failure or drug overdose.
Robbins: But the fact that the heart of the victim was a normal size, ...
(Greg's eyes move to the heart that Robbins is holding.)
Robbins: ... and assuming tox doesn't show drug overdose, C.O.D. is most likely drowning, but I'm not gonna rule out blunt-force trauma.
(Robbins starts the hand saw up again. Greg takes a couple of cautious steps away from the body.)
CUT TO:
[INT. STORM DRAIN -- DAY]
(Catherine and Warrick approach the storm drain entrance.)
Warrick: Daylight. Finally.
Catherine: We gotta be into some golden time by now, right?
Warrick: Oh, yeah.
(The water has completely drained from this area. In the entrance are some shrubs and leaves from trees.)
(A car passes nearby.)
(b.g.) ka-ching, ka-ching.
(Warrick and Catherine look around at the things left in the entrance.)
Catherine: What do we have here? (She picks up a helmet.) Brain bucket. (She looks inside.) There's something in the lid.
(Warrick looks at the wall and sees something caught inside.)
(She takes out the slip of paper and hands the helmet to Warrick.)
Catherine: Hang on to that.
(Warrick takes the helmet. She looks at the Employee ID lanyard for
TANGIERS CASINO
CALVIN BERKOWITZ
ID NUMBER 1654984
LIFEGUARD )
Catherine: Hey, it's our d*ad guy.
Warrick: No way.
Catherine: Calvin Berkowitz. Worked at the Tangiers. Lifeguard. So what's Calvin doing down here?
(Warrick looks back at the wall and takes out the large thick rubber tube.)
Warrick: It's an inner tube.
Catherine: Yeah?
Warrick: Guy gets the day off and decides to go surfing ... Vegas style.
(Quick flash to: [RAINING - NIGHT] Calvin Berkowitz gives a loud whoop and jumps into the channel with his tube. End of flashback. Resume to present.)
Catherine: (nods) Oh, I heard about that. He grabs an inner tube, a helmet, jumps into the channel.
Warrick: Hits his head on something, drowns.
Catherine: Current takes him down.
Warrick: That would account for all that body trauma.
Catherine: This isn't about drugs or beating up homeless dudes. It's just plain stupidity.
(Warrick snorts.)
(Case closed. They head out of the storm drain and into the light.)
Warrick: Well, that's what happens when you don't have a decent beach in Vegas.
[EXT. STORM DRAIN - DAY - CONTINUOUS]
(Catherine looks around the area.)
Catherine: Hey, you know something? This is, uh, right around where I found Lindsay.
Warrick: Really?
Catherine: Yeah, when Eddie's car went off the road.
(Not liking the memories it's bringing back, Catherine sighs and shakes her head.)
Catherine: Ugh ... let's just get out of here. Can you take that?
(She hands the helmet to Warrick and starts the steep climb out of the channel.)
Warrick: Watch your step.
(Catherine starts the climb, slips and falls backward - into Warrick's arms.)
Catherine: Hey. Oh.
(She laughs heartily.)
Warrick: You all right?
Catherine: Yeah, I think.
Warrick: Whoa.
(For a moment, the laughter dies and they stare at each other.)
S&S Worker: (o.s.) Hey!
(Catherine and Warrick look up to find a Sewage Worker standing at the edge of the channel looking down at them.)
S&S Worker: You guys CSI?
(Warrick lets Catherine go.)
Warrick: Yeah.
SHORT TIME CUT TO:
[INT. INDUSTRIAL - DAY -- CONTINUOUS]
(Catherine and Warrick walk with the S&S Worker as he leads them to the manhole.)
S&S Worker: Well, the city's been rehabbing manholes with fiberglass liners. All the hydrogen sulfide down there really eats up the concrete. Anyways, we, uh, pulled these out of the main.
(He hands Catherine the bone fragments. She looks at them.)
S&S Worker: We find a lot of small animal bones down there, squirrels, cats, rats, you know. But that's really tiny stuff.
(Catherine gives the bones to Warrick.)
S&S Worker: This looks more like people. Fingers or toes, or fingers and toes.
Catherine: Well, animal bones can fool you. Pig's feet or sheep ribs are not much different from yours or mine.
(Warrick looks at the bone pieces.)
Warrick: Flaky texture. Probably a couple years old.
(Catherine looks down the hole.)
Catherine: (sighs) Yep. We're gonna have to flush the line.
SHORT TIME CUT TO:
(The S&S Workers are positioning the Vactor down into the manhole. Warrick looks at the worker.)
Warrick: You guys get a lot of jokes about this thing?
S&S Worker: (scoffs) What do you think?
(He smiles.)
(Camera zooms down the street to another open manhole.)
(Top view down inside the manhole shows Catherine placing the filter over the opening. She climbs up the ladder.)
(Warrick's phone rings. He answers it.)
Warrick: Vactor's in place. Ready when you are.
(Catherine takes out her radio and responds.)
Catherine: Rip it.
(Warrick motions to the S&S worker.)
Warrick: Let's go.
(Quick CGI POV through the Vactor. The water flushes out of the vactor and down into the manhole. It travels through the sewage pipes, twisting and turning along the way flushing out all the guck that could possibly cause the clog.)
(It reaches the filter.)
(End of CGI POV. Resume to present.)
(Catherine removes the wire filter cap. Inside, she fines more bone fragments. Catherine sits down and takes out her radio.)
Catherine: (to radio) Warrick.
Warrick: (from radio) Yo.
Catherine: (to radio) I got some bones here.
Warrick: (from radio) Anything distinctive?
Catherine: Yeah. I got part of a rib. Uh-huh. I can see the costal groove. And it's too deep to be an animal's. These bones are human.
CUT TO:
[INT. CSI - LAB - DAY]
(Catherine unrolls the sewage map of the area onto the table. Warrick and Brass are there in the room.)
Catherine: This is the sewage vault.
(Catherine circles the juncture on the map.)
Brass: How do we know the bones just didn't wash off the street?
Warrick: Well waste water sewage is a closed system. It's completely separate from the storm drains. Someone must have flushed it down a toilet, a sink, a tub, or tossed them directly into a manhole.
Catherine: And the bones look pretty old, so it could just be from a grave robber getting rid of his leftovers.
Brass: Or a serial k*ller with a lot of patience.
Warrick: Two hundred thousand service connections, serving half a million residences. Sixteen hundred miles of pipe, gravity fed.
Catherine: If we're gonna find where the bones came from, we gotta work our way up.
CUE MUSIC
(Camera zooms in to the map on the table.)
(Quick CGI. The Map starts at the circled sewage vault. The white map line thickens and moves leading away from the vault toward the community on the map.)
[SEWAGE PIPE]
(Camera continues the movement down into the sewage pipe as the Vactor is lowered into the sewage vault. There's a white light coming from one end of the pipe.)
[WARRICK]
(Warrick is working the controls of the Vactor.)
[SEWAGE PIPE]
(Water flushes through the sewage pipe.)
[CGI-ENHANCED MAP]
(The thick white line continues into the community traveling to the next sewage vault.)
[SEWAGE VAULT]
(The water flushes through a metal filter cap.)
[INT. CSI - LAB - DAY]
(Robbins removes the bones from the evidence bags and starts setting them out on the table.)
[SEWAGE VAULT]
(The Vactor is lowered into the next sewage vault.)
[WARRICK]
(Warrick works the controls.)
[CGI-ENHANCED MAP]
(The thick, bright white line continues to move down the map. It turns the corner and heads into the next road.)
[SEWAGE PIPE]
(Water continues to flush through the sewer pipes.)
[CGI-ENHANCED MAP]
(The thick bright white line twists its way through the community following the path that Catherine and Warrick are taking to find the body. It passes from sewage vault to sewage vault to sewage vault.)
[SEWAGE VAULT]
(The metal filter cap is removed.)
[SEWAGE VAULT]
(The vactor is lowered into the next juncture.)
[CATHERINE]
(Catherine examines the items caught in the metal filter cap.)
[ROBBINS]
(Robbins sets the bones out on the table in their proper place.)
[CGI-ENHANCED MAP]
(The thick, bright white light stops at the intersection at Tyler Street.)
(Resume to present.)
[EXT. TYLER STREET - DAY]
(Warrick walks up to Catherine who stands top side of the manhole they're working on.)
Warrick: Catherine. Recovered more bones.
Catherine: Oh.
Warrick: Pelvis fragment and two humerus.
Catherine: Well, large bones wouldn't travel down the line as far as the small ones, so at least we're getting closer to the source.
(She turns around and they both see two plumber vans parked on the side of the street.)
Warrick: These plumbers must be working overtime.
Catherine: Lots of backed up toilets.
Warrick: I don't think the bones could have come from any one of these houses. Residential sewer lines are only four-inch pipes.
Catherine: Okay.
Warrick: And they make a 90-degree turn before they connect to the main. Look at the size of these bones.
Catherine: Yeah.
Warrick: They're too big to make a turn like that.
Catherine: Right. So the blockage has gotta be from the main line. One more vault down the street.
[NEXT SEWAGE VAULT DOWN THE STREET]
(The Worker opens the man hole for them. Catherine and Warrick both look down into the vault. They see the large bones.)
Catherine: Jackpot.
(Catherine covers her mouth from the smell. She puts her flashlight aside and picks up the camera.)
Catherine: Oh, man.
(She starts snapping photos.)
Warrick: I'll go check it out.
(Catherine gasps from the smell.)
(Warrick climbs down into the sewage vault. Halfway down, he stops and looks down at the bones. He looks at the walls and notices the stain.)
Warrick: It's like a waterline stain. Hand me my florazene and my glasses, please.
(Warrick climbs down and looks around.)
(Catherine drops him his spray bottle and his glasses.)
Catherine: Uh. Florazene reacts to feces as well as blood, so I know that you're not looking for blood.
(Warrick sprays the walls.)
Warrick: No. These vaults are built big for access. They're not reservoirs. Water's supposed to stay down in the pipes.
Catherine: And the only way the water would rise is if there's something blocking the pipe.
Warrick: (nods) Mm-hmm.
Catherine: And loose bones wouldn't do that.
Warrick: But a whole body would.
(Quick CGI of: A body is thrown into the vaults and blocks the pipe. The water rises.)
Warrick: (V.O.) Water rises, submerges the body.
(Camera plunges down into the water and we see the body decomposing.)
Catherine: (V.O.) Tissue decomposes until there's not enough body left to withstand the pressure.
(The tissue dissolves and the bones break allowing the water to pass through the pipes.)
(End of CGI. Resume to present.)
(Warrick climbs up to the vault.)
Warrick: (sighs) I don't think we're looking for a grave robber.
(He puts his spray bottle down on the road.)
Warrick: We're looking for a m*rder.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB -- DAY]
(The bones that they've found is spread out on the table. He goes over the findings with Grissom and Catherine.)
Robbins: Femur measurements make your victim around five foot six. Pubic arch, mm, sharply angled, less than 90-degrees, indicates male. I'll send it to Greg. He might be able to pull DNA.
(Robbins picks up a bone.)
Robbins: Look at this. Incise defect on the left fifth rib. Incise defect on the left third rib.
Grissom: Well, the tool marks appear consistent with each other.
Catherine: Probably made before decomposition, and not from hitting any obstruction in the sewer line. s*ab wounds.
(Quick CGI POV of: The Kn*fe pierces through the flesh and scrapes the rib.
Robbins: (V.O.) Two separate strikes back to front would have punctured the lung.
(End of CGI POV. Resume to present.)
Grissom: What about age?
Robbins: I'll let you know.
CUT TO:
[EXT. TYLER STREET - DAY]
(The Detective looks down into the manhole.)
(Brass issues instructions to the officers.)
Brass: Okay, let's start with the houses within eyeshot of the manhole, and then we'll work our way out from there. Hmm? Okay.
(One of the neighbors offers the officer some coffee and donuts.)
Marty Kessler: You really, really ought to have the one with chocolate icing.
Officer: No, you really need to get back behind the line.
Marty Kessler: (loudly to Brass) Hello, Officer.
(Brass turns around and heads for Marty Kessler.)
Brass: Oh, dear.
(Marty Kessler is carrying a box of donuts, a thermos and some cups.)
Brass: Detective.
Marty Kessler: Detective. Sorry, I ... uh, just a little something for you and your boys, uh, a token of appreciation for local law enforcement.
Brass: You mind standing behind the tape? It's for your own safety.
(Brass holds up the tape. Marty gets back behind the line.)
Brass: There you go.
Marty Kessler: Go ahead. Coffee's fresh. Didn't even spit in it.
(He laughs at his own joke. Brass doesn't crack a smile.)
Marty Kessler: Not that I ever would. I, I love cops.
Brass: What's your name?
(Brass takes out his notebook.)
Marty Kessler: Marty, uh, Martin Kessler. I live here ... there, right over there, number 2305.
(He points to the house.)
Marty Kessler: So, uh, does this have anything to do with the missing cats?
(Brass doesn't say anything.)
Marty Kessler: People have lost a lot of pets in this neighborhood. Too many, if you get my drift.
Brass: Well, you know, Marty, I'm really not at liberty to say. But did you see anybody throw any stuff down that sewer?
Marty Kessler: Not personally, but, uh, I know kids around here throw fireworks ... (He nods to the house across the street. Brass turns to look.) ... illegal, down there. Kaboom! Kaboom! Four o'clock in the morning. Kids have no respect for the law.
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg takes a sample off the bone, puts it between a folded piece of paper and smashes it. He pours it into a dish. Sara walks in and takes a seat at the table.)
Sara: I heard you finally lost your virginity.
(Greg glances at Sara. She smiles at him.)
Sara: (clarifies) First autopsy. How was it?
Greg: It was fine. How was your first time? How did you react?
Sara: I puked.
Greg: I didn't puke.
Sara: Way to go, tough guy.
Greg: It was weird, seeing a body laying on a table like that. Doc Robbins just pulling out his insides until it was all empty.
Sara: Were you expecting a ball of light?
Greg: Doc Robbins said, "That's all we really are."
Sara: It's what you do with it that counts.
(Greg looks at Sara. Sara gets up and leaves.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins holds up the dental x-rays for Grissom to see.)
Robbins: Victim had incomplete formation of the second molar root tips, and his wisdom teeth hadn't erupted.
Grissom: Teenager.
Robbins: Yeah, approximately 13 to 15.
(Grissom holds up the skull x-ray.)
Robbins: Eye orbits rounded, almost oval. Nasal aperture narrow and tall, jawline flat. Likely caucasian. Uh, dental records are out to NCIC. That's all I've got. How'd Greg do?
Grissom: Bones are too degraded. No viable DNA, not even in the teeth.
Robbins: Well, it's a bit of a long sh*t. Sewer's a chemical stew. Maybe Catherine will get lucky with missing persons.
CUT TO:
[INT. CSI - LAB -- DAY]
(Nick is going through the Missing Persons database. He reports to Catherine.)
Nick: Okay, I opened the age range to give us a better margin for error. Currently 47 male Caucasians between the age of 12 and 16 missing from the greater Las Vegas Metro District.
Catherine: Okay. Geography first?
Nick: Mm-hmm. Body was found here.
(Nick puts a map of the community area on the monitor. Blinking red dots indicating residences pop up on screen.)
Nick: These are the last-known residences of the missing persons.
Catherine: There's no one particularly close.
Nick: I'll narrow it down. (He looks through a specific area.) Two-mile radius.
(Three photos pop up on screen.)
MISSING 6 WEEKS
ENDANGERED MISSING: TRAVIS GILES
MISSING 11 WEEKS
ENDANGERED RUNAWAY: PHIL GRIFFEN
MISSING 11 MONTHS
ENDANGERED RUNAWAY: BARRY NEWSOME
Catherine: Missing six weeks, eleven weeks, eleven months. That's not long enough. The condition of the bones suggested the body's been decomposing for at least two years.
Nick: Okay, I'll go wider. Five miles.
CUT TO:
[INT. CSI - LAB -- DAY]
(Grissom is putting together an experiment. He has two containers set up. One is the control, and in the other, he's mixing various household items together.)
(Greg walks into the lab.)
Greg: What are you doing?
Grissom: Good. You're here. Fill this up for me, will ya?
(Grissom tosses him a specimen cup.)
Greg: With what?
Grissom: It's a urine specimen cup, Greg. What do you think?
(Greg looks at it, scoffs and shrugs.)
Greg: Okay.
(He turns and leaves Grissom.)
(Grissom takes out a d*ad fetus and weighs it: 2.862 pounds. He notes it on the log and places it aside. He takes out a second d*ad fetus and weighs that also. He places it in the control container.)
(Greg returns. He puts the filled specimen container on the counter.)
Grissom: That took a long time. You may need a prostate exam.
Greg: My prostate is just fine. I'm not a soda fountain.
Grissom: Hopefully you are, 'cause I need a number two as quickly as possible.
(Grissom takes out a larger plastic container and hands it to Greg.)
Greg: (skeptically) What is this all about?
Grissom: The victim's body was found in a sewer. Ambient temperature 80 degrees. The corrosive chemicals caused the body to decompose faster than normal. I want to find out how much faster. (He plops the d*ad pig fetus in the container with the mixture.) Today.
(He pours Greg's sample into the mixture as well.)
(Greg turns away - with the container in his hand.)
Greg: This is some kind of CSI hazing. Make me appreciate blood and semen more.
CUT TO:
[EXT. TYLER STREET - DURBIN RESIDENCE -- DAY]
(Brass instructs Warrick and Sara.)
Brass: I mean, since we don't have a solid time frame, it's kind of tough to jog memories. But nobody saw anybody throw anything like a body down that manhole. But several people suggested we talk to his high school kid, Owen Durbin. (They head for the house.) Now, he's a neighborhood bully. He likes to throw cherry b*mb in there and hear 'em go boom.
Sara: Uh, guys, how are we supposed to get through the door? There's no evidence linking this kid to the bones.
(Brass takes out the warrant from his pocket.)
Brass: We're not looking for bones.
CUT TO:
[EXT. DURBIN RESIDENCE - FRONT PORCH -- DAY -CONTINUOUS]
(Roger Durbin reads the warrant out loud.)
Roger Durbin: Illegal use of fireworks? This is crap.
Brass: We've had several complaints from your neighbors, sir.
Roger Durbin: No one's complained to me.
Brass: Well, (Brass chuckles.) This is gonna happen, so please step outside. Ask your family to come with you. Thank you.
Roger Durbin: Come on, guys. Let's go.
(Owen Durbin and his mom, Terry Durbin step out of the house.)
Roger Durbin: (to Brass) Anything happens in here, it's your fault.
(Roger Durbin leaves. Brass sighs.)
Brass: Okay.
(Brass, Warrick and Sara step into the house.)
(Warrick closes the door behind him.)
CUT TO:
[INT. DURBIN RESIDENCE - LIVING ROOM -- DAY -CONTINUOUS]
(Brass, Warrick and Sara look around the place. Brass pushes the curtain aside and finds a stash of amm*nit*on.)
Brass: Whoa. Lot of a*mo here, all different caliber. Means multiple w*apon are present ... somewhere.
Warrick: (o.s.) I got a g*n under the couch.
(Warrick picks up the sh*t g*n.)
Warrick: Oh, yeah. (He checks it.) Loaded.
(Sara notes the various stuffed animal carcasses hanging on the wall. Dogs bark in the background.)
Warrick: Sounds like we got some nasty dogs out back.
(They continue to look through the house.)
(Sara checks the stairs. She finds some blood drops on the wood.)
Sara: I think I got blood.
(Brass and Warrick stop and walk over to Sara and waits as she checks it. Her swab turns pink.)
Sara: Confirmed.
Brass: Okay. I'm gonna get the warrant amended for blood evidence collection. Until then ...
Sara: We stop searching.
Brass: Won't take long, so hang loose. (He turns and heads out the door.) And I'll get the animal control to get these mutts out of here.
(Brass leaves.)
(The door closes behind him. Sara stands up.)
Sara: So, uh, no searching.
Warrick: (scoffs) Yeah, right.
[INT. DURBIN RESIDENCE - STAIRS / SECOND FLOOR -- DAY -CONTINUOUS]
(Various dissolves as: Sara and Warrick continue up to the second floor. They check the stairs as they go.)
(They reach the second floor. Sara checks the carpet and stops in front of the closet.)
(She reaches up and opens the closet door. She continues to check the floor. Warrick checks the floor behind her near the stair railing.)
(He glances at Sara and does a double take at the closet contents.)
Warrick: That closet's well stocked, huh?
(Sara continues to check the floor. She slowly makes her way into the closet.)
(Warrick checks out the closet contents. He sees a sh*t g*n - and higher up, he sees a completed pipe b*mb resting precariously on a fishing kit. He leans in close. He can't believe what he's seeing.)
Warrick: Sara?
(Sara's still checking out the floor.)
Sara: I'm not touching anything.
(Warrick's eyes are glued to the b*mb.)
Warrick: (deliberately) No. Put your stuff down and step away from the closet.
Sara: What?
(Sara glances back at Warrick, confused by his instructions.)
Warrick: (insistent) Put down your stuff and step away from the closet.
(Warrick reaches down, grabs Sara by the back of her vest and pulls her back. Sara looks back at Warrick. She follows his gaze into the closet and sees the pipe b*mb. Worse, there are four more stashed higher up on the shelf.)
(Sara slowly backs away from the closet. She stands up.)
Sara: Those are pipe b*mb.
Warrick: Yeah.
(Warrick reaches for his radio. As he talks, Sara makes a decision. She quickly kneels down and opens her kit looking for something.)
Warrick: (to radio) Dispatch ... this is CSI Brown. We're at the Durbin residence. We have expl*sives on the scene. Roll out b*mb squad immediately. Roll out b*mb squad.
(Sara takes out a tool and kneels inside the closet.)
Warrick: What are you doing?
Sara: There's blood evidence on the door. If the b*mb squad detonates the place, it's gone.
Warrick: (warning) Sara.
Sara: It'll only take a second.
(Sara uses the wrench to take the bolt off the door hinge. The first one comes loose and falls to the floor with a solid thud. Sara glances nervously up at the pipe b*mb on the tool kit in the closet. It rocks in place.)
(Sara stands up to get the bolt off the top of the door. Warrick hands her an electric screwdriver from his own kit.)
Warrick: Here, try this.
(Sara uses the electric screwdriver and gets the first screw off the door's hinge plate. It falls to the floor. She turns and looks at the b*mb. It doesn't move.)
Sara: Nice.
(Sara removes the remaining screws off the hinge plate. Warrick tries to get the door off. It won't budge. He and Sara both rattle the door lightly to try to take it off.)
Warrick: It's stuck.
Sara: I think we're gonna need a little push.
(Warrick takes a deep breath.)
Warrick: All right. On three. (They glance at each other. They glance at the b*mb.) One ... two ... three.
(They pull the door off the closet.)
(The pipe b*mb doesn't move.)
Warrick: Can we get the hell out of Dodge now?
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. DURBIN RESIDENCE -- DAY]
(The b*mb Squad is out in the front, the crime scene line has been pushed back. Warrick reports his findings to Lt. Rick Dysart.)
Rick Dysart: Let's go over again what you found on the scene.
Warrick: Six pipe b*mb.
Rick Dysart: Anything else?
Warrick: Not that we know of.
(He shouts out to his team.)
Rick Dysart: Give me another fifty yards, okay! (to Warrick) That includes you.
Warrick: You got it.
(The officers push the line and the small crowd of observers back even further.)
INTERCUT WITH:
[INT POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(BRASS interviews Roger Durbin.)
Brass: So tell me something ... what's a guy who sells life insurance doing with a half a dozen pipe b*mb?
Roger Durbin: Huh?
Brass: I mean, you got a grudge against the government? Is this a Timothy McVeigh thing?
[INT. DURBIN RESIDENCE - SECOND FLOOR -- DAY -CONTINUOUS]
(The b*mb Squad removes the first pipe b*mb out of the closet.)
Brass: (V.O.) Or... you just have a weird fascination with watching things go boom?
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY - CONTINUOUS]
Roger Durbin: I've never been arrested for anything. I've never hurt anybody.
Brass: You got a wife and a kid. Aren't you afraid they might get hurt?
Roger Durbin: Well, I don't know about you, but in my house, there's rules. Terry and Owen know what to do and what not to do.
[INT. DURBIN RESIDENCE - SECOND FLOOR -- DAY -CONTINUOUS]
(The first pipe b*mb is placed in a large container.)
Brass: (V.O.) Well, clearly you don't.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY - CONTINUOUS]
Brass: The b*mb are a class-B felony. The penalty is one to six years in prison for each device. (Roger Durbin turns away not caring to listen to it.)
And m*rder is 25 to life.
(He turns back and looks at Brass.)
Roger Durbin: Somebody gets blown up, ...
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY - CONTINUOUS]
(The b*mb Squad picks up the large container.)
Roger Durbin: (V.O.) ... it's nothing to do with me. I told you not to go in my house.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY - CONTINUOUS]
Brass: We found blood in your house.
Roger Durbin: Then you must have put it there.
Brass: Oh, yeah? How about this? We found a body in the sewer in front of your house. Did we put that there?
(Roger Durbin shakes his head.)
Roger Durbin: I don't know anything about it.
CUT TO:
[INT. CSI - LAB -- DAY]
(Sara is back at the lab examining the door. Grissom stands nearby looking at Sara and the door.)
Grissom: So what were you trying to prove with this door?
Sara: I was just collecting evidence.
Grissom: Well, Greg couldn't pull any DNA from the bones, so there's nothing to connect the victim to this anyway.
Sara: Not yet.
(She takes a swab of the blood on the door.)
Sara: I don't have a death wish, and I'm not a drunk, in case you were worried.
Grissom: I'm not worried. (b*at) I'm concerned.
(Grissom turns and walks away. A small smile plays around Sara's lips. He heads back to check on his experiment.)
Sara: Isn't that kind of the same thing?
(Grissom pauses, but doesn't answer. Instead, he opens the cover off the experiment container. Immediately, the smell is noticeable.)
Sara: Oh ...
(Grissom takes out the d*ad pig fetus from the container.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Grissom catches up with Nick in the hallway.)
Grissom: How are you doing with victim ID?
Nick: So far we've followed up on eleven missing persons who fit the profile, ruled out every one by case history.
Grissom: What's the most recent case?
Nick: Well, we're only looking at people who've been missing more than a year. The condition of the bones ...
Grissom: (interrupts) ... was misleading. Tissue in a sewer decomposes twenty times faster than normal. The victim could be missing as little as five weeks.
(Grissom walks away. Nick stops at that thought.)
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Nick is back at the computer going through missing persons. He goes back to the radius from the house on Tyler Street and comes up with a name: TRAVIS GILES. He's been missing for 6 weeks.)
CUT BACK TO:
[EXT. TYLER STREET - DAY]
(The b*mb Squad places a single pipe b*mb in the secure container set up out in the middle of the road.)
Sara: Are we clear to get back in there?
Rick Dysart: (shakes his head) We're not through. We swept the house for booby traps. It was clean, but we still haven't done a full search yet.
Catherine: Well, why don't you clear an area and we'll process behind you.
Rick Dysart: Scene will still be under my authority.
Catherine: I don't have a problem with authority.
Officer: f*re in the hole!
(The b*mb explodes.)
CUT TO:
[INT. CSI - WAITING ROOM -- DAY]
(Nick interviews Travis' Grandmother, Mrs. Giles. She holds a photo of Travis.)
Mrs. Giles: This is Travis's ninth grade picture. His father, my son, was a punk. He, uh, skipped out just after Travis was born. His mother's in Salt Lake. (She puts the photo down and slides it over to Nick.) She's a junkie. The only time she ever called Travis was to use him to get money out of me. I mean, she can barely take care of herself, let alone a kid. You know how many times I told him that.
Nick: Well, most of the time kids believe what they want to believe, you know. Did he run off to see his mom?
Mrs. Giles: (nods) Mm. Yeah, it wasn't the first time. He's, uh ... about six weeks ago, I come home to a note. So I called his mom, and ... he just never, he never showed up.
Nick: Ms. Giles, do you, uh, do you recognize this boy?
(Nick shows her a copy of a WILLIAM McKINLEY HIGH SCHOOL Student Body ID Card and photo for Owen Durbin.)
Mrs. Giles: No.
Nick: No?
Mrs. Giles: (shakes her head) Mm-mm.
Nick: Do you have anything of Travis's he might have used on his body? Like a toothbrush, hairbrush, anything like that?
Mrs. Giles: No, he took all that kind of thing with him when he left.
Nick: Mmm.
Mrs. Giles: Why?
Nick: Well, it would help if I could get a sample of Travis's DNA. Look ...
(He sighs.) Ma'am, I don't really know how to say this ...
Mrs. Giles: Don't bother. I know he's d*ad.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass puts Travis Giles' photo on the table as he interviews Owen Durbin. Terry Durbin is also there.)
Brass: Is this a classmate of yours, Owen?
Owen Durbin: No.
Brass: Okay, let's try that again. You two went to the same middle school, right?
Owen Durbin: Maybe. I guess.
Brass: You guess. Were you friends?
Terry Durbin: I know my son's friends. That's not one of them.
Brass: Mrs. Durbin, may I speak with you for a minute in private? Excuse us, Owen.
(Brass pulls Mrs. Durbin aside.)
Brass: You know, sometimes kids get self-conscious around their parents. Maybe it would be better if I spoke to Owen by myself. He'll have an advocate present to make sure his rights are respected. Okay?
Terry Durbin: I'm not leaving my son alone with you. My husband wouldn't like that.
(Terry Durbin returns to her seat next to Owen.)
CUT TO:
[INT. DURBIN RESIDENCE - STAIRS / SECOND FLOOR -- DAY]
(Camera slowly travels up the stairs. Along the wall at various points in clusters, there are white stickers to note the blood spatter on the wall. At the top, Sara and Catherine are examining blood spatter on the wall.)
Sara: Medium-velocity spatter.
Catherine: This looks like the point of origin.
(Quick flash of: Someone s*ab someone else at the top of the stairs.)
(Quick CGI POV of: The Kn*fe cuts through flesh. End of CGI POV. Resume quick flash.)
(The victim turns and hits the wall. White stickers appear where the blood spatters. He hits the wall again, putting his hand out. More white stickers appear where the blood spatters. He falls against the railing - white sticker appear. He falls down the stairs.)
(End of quick flash. Resume to present.)
(Catherine looks down the stairs. She takes out her phone and makes a call.)
Catherine: Yeah, this is Catherine Willows for Captain Brass.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass returns to the room where he's questioning Owen and Terry Durbin.)
Brass: Tell me about the blood in your house.
Terry Durbin: Blood? Where?
Brass: Well, the top of the stairs for starters.
Terry Durbin: I don't know what you're talking about.
(Brass sits down and looks at Owen.)
Brass: You do.
Owen Durbin: I don't. Maybe it's the dogs'. When they go upstairs sometimes, sometimes they fight.
Terry Durbin: They fight a lot.
CUT TO:
[INT. DURBIN RESIDENCE - SECOND FLOOR -- DAY -CONTINUOUS]
[SCOPE VIEW OF THE BLOOD ON THE WALL]
(Catherine looks at the blood spatter measuring it.)
Sara: Animal control said the Durbins' pit bulls showed no signs of recent injury. Dogs heal fast. I guess I'll go back to the lab and get a hematrace.
Catherine: Don't bother.
(She sighs.)
Catherine: The lowest point of spatter is 46 inches above the ground with a downward angle. Even if those dogs could walk upright, they couldn't have done this. Kid's a liar.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. DURBIN RESIDENCE -DAY]
(Warrick walks around the side of the building with his camera looking for evidence. He stops when he sees a pick leaning against the brick wall. He takes a photo of it.)
[INT. DURBIN RESIDENCE -HALLWAY -- DAY]
(Sara makes her way through the hallway into Owen's bedroom. On the wall on the outside of his bedroom door he has a lot of cut outs from magazines.)
[INT. DURBIN RESIDENCE - GARAGE -- DAY]
(Grissom steps into the garage. He finds Lt. Rick Dysart going through some of the gadgets and things on the worktable.)
Rick Dysart: We're not done yet.
Grissom: Take your time.
Rick Dysart: Got some det cord here.
(He tosses it back on the work table.)
Grissom: Isn't that high expl*sive?
Rick Dysart: Stuff designed to be humped around by grunts. You gotta want it go off. Only one thing you need to worry about. (He looks at Grissom.) Ever see me running, make sure you keep up.
Grissom: Got it.
CUT TO:
[INT. DURBIN RESIDENCE - OWEN'S BEDROOM -- DAY]
(Sara opens the door to Owen's Bedroom and steps inside. She looks around. Inside on the wall, he has more cut outs from magazines taped and pinned to the wall.)
(Above his bed, he has a poster of pinhead.)
[EXT. DURBIN RESIDENCE - DAY]
(Warrick continues to walk around the house. He moves the trash bag away and takes a photo of something flat and furry.)
[INT. DURBIN RESIDENCE -OWEN'S BEDROOM -- DAY]
(Sara continues to look through Owen's Bedroom.)
(She looks at Owen's fish t*nk and notes the d*ad fish floating at the top near the surface.)
(She looks around the room.)
(Under the bed, she pulls out a box of unlabeled video tapes.)
[EXT. DURBIN RESIDENCE - DAY]
(Warrick finds a metal barrel filled with ashes. It's the kind of barrel used to burn things in. He sifts through the ashes and finds a pair of shoes. He also finds some clothing.)
(He sets the folded clothes next to the shoes. He snaps photos of them both.)
[INT. DURBIN RESIDENCE -GARAGE -- DAY]
(Grissom sees the blood spatter on the garage floor.)
Grissom: Hey, Rick, watch your step. This could be blood evidence on the floor.
(Grissom snaps photos of the floor. Rick Dysart is working his way through the work table.)
(Warrick opens the garage door and walks in.)
Warrick: Okay, Grissom, I located some burnt clothes in a barrel out in the back. I'm thinking he was k*lled in the house, dragged out back and then dumped.
(Grissom notes the blood on the floor.)
Grissom: He might have been dragged in here. Make sure you bag that stuff.
Warrick: Yeah, I'm all over it.
(Warrick turns and leaves the garage.)
(Grissom follows the blood drops to the back of the refrigerator. He looks behind the refrigerator and sees a Kn*fe hidden in a box. The Kn*fe handle is exposed.)
(Rick Dysart opens the refrigerator to check it out. What he sees makes his blood run cold. There are several bottles on both racks filled with various different color liquids.)
(Grissom uses his latex glove and reaches for the Kn*fe behind the refrigerator.)
Rick Dysart: (stiffly) Don't touch a thing. Get out now.
Grissom: Uh, I think I have some evidence back here.
Rick Dysart: (firmly) Clear out now.
CUT TO:
[INT. DURBIN RESIDENCE - STAIRS/SECOND FLOOR -- DAY]
(Grissom runs up the stairs.)
Grissom: (shouts) Hey! The garage is packed with liquid expl*sives. They're gonna detonate in place. (Catherine can't believe it.) So grab what's important and get out now! That means you, too, Sara! Right now!
[INT. DURBIN RESIDENCE -OWEN'S BEDROOM -- DAY]
(Sara starts dumping things in to the open evidence bag on the floor. She grabs it and starts grabbing the other packages.)
[INT. DURBIN RESIDENCE -SECOND FLOOR -- DAY]
(Catherine quickly grabs her evidence bags off the floor.)
[INT. DURBIN RESIDENCE -OWEN'S BEDROOM -- DAY]
(Her arms filled with evidence packages, Sara runs out of the bedroom.)
[INT. DURBIN RESIDENCE -SECOND FLOOR -- DAY]
(Catherine clears out with her bags of evidence.)
[EXT. DURBIN RESIDENCE - DAY]
(Warrick gathers his bags and packages. He grabs what he can and goes.)
[INT. DURBIN RESIDENCE -GARAGE -- DAY]
(The b*mb Squad in protective gear puts some plastique in the center of the refrigerator.
[EXT. DURBIN RESIDENCE - DAY]
(They run a line out from the garage.)
(They attach the line to the detonator.)
Man: (shouts) f*re in the hole! MAN: (shouts) f*re in the hole!
(He presses the detonator button.)
[REFRIGERATOR]
(The plastique explodes.)
[EXT. DURBIN RESIDENCE - DAY]
(The garage explodes.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Roger Durbin explodes. Officers lead Roger Durbin down the hallway. He's in handcuffs and cursing all the way.)
Roger Durbin: Sons of bitches! I'm gonna sue your ass into the ground. I hope you know that. Yeah. I'm gonna own you. I'm gonna own this whole place. In fact, maybe that's where I'll live. I'm just gonna move in here.
(Brass and Catherine stand in the doorway and watch him walk by.)
Catherine: Let me guess. He lawyered up.
Brass: Yeah, he stopped talking after I told him we blew up his house.
Catherine: Hmm. And what about the wife and son?
Brass: They're still in play. How much longer is anybody's guess. But, uh, we need something more to go back at them with.
CUT TO:
[INT. CSI - LOUNGE - DAY]
(Grissom and his team review the case and what evidence they have.)
Grissom: Well, I think at this point we can agree that the m*rder w*apon was a Kn*fe. These are pictures of a box of knives that I was unable to recover from the Durbin Garage.
(He hands out the photos of the box of knives.)
Grissom: So how about the tool marks?
Catherine: I cast the s*ab marks in the victim's ribs. Bone deterioration removed all the individual characteristics. The best we can do is rule out the serrated blade.
(Catherine turns to look at Sara.)
Catherine: Hey, what about the kid's videos?
Sara: Uh, no tape of the m*rder or body he dumped so far. I'm not holding my breath. Videos cover several years. Kid running around the house. Backyard barbecue kind of stuff. You know, home movies.
Catherine: A teenage boy with a shoe box full of home movies under his bed?
Sara: It's weird, I know. I'm still looking.
Nick: Well, we know Owen went to school with Travis Giles, right?
Warrick: Well, that was a few years back, and we still can't place Travis at the house.
(Warrick passes around the photos of the clothes and shoes.)
Warrick: With all the f*re damage, the clothes are the right size, but I couldn't get any blood evidence off of it.
Sara: Even if we had that, we still don't have a blood standard for Travis. I mean, we can't even positively ID the victim.
CUT TO:
[INT. CSI - RECEPTION -- DAY]
(Mrs. Giles waits at the reception desk. Nick walks out to meet her.)
Nick: Ms. Giles? Hi. What can I do for you?
Mrs. Giles: I wasn't able to find a hairbrush or a toothbrush, but the only thing I have left of Travis's is ... this.
(From a black pouch, she takes out some baby teeth. Nick looks at the tooth.)
Mrs. Giles: When he was little, I used to be his tooth fairy.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Brass and Catherine interview Owen Durbin and Terry Durbin.)
Catherine: DNA from Travis Giles' tooth matched the blood that we found in your house.
Brass: And now you're gonna tell us how it got there.
Terry Durbin: (shakes her head) I don't know. Kids get hurt all the time. They fall down, cut themselves ... get nosebleeds.
Brass: Wait a minute. Wait a minute. Wait a minute. What are you telling me, that a kid that you've never seen, a kid who's not even friends with your son, got a nosebleed in your house? Huh? You're lying. You know, we can make this quick, 'cause I got enough to arrest you right now.
Owen Durbin: Look, it was an accident. All right, Travis came over one night, said he wanted to buy a Kn*fe.
(Quick flashback to: [NIGHT] Owen Durbin meets with Travis Durbin.)
Owen Durbin: (V.O.) So I gave him a Kn*fe. He said he couldn't pay. He tried to run.
(Travis grabs the Kn*fe and bumps into the wall and into the Kn*fe, s*ab himself. He falls down the stairs.)
(End of flashback. Resume to present.)
Owen Durbin: Wasn't moving, he was just lying there, Kn*fe stuck in him.
Catherine: Now you're lying.
Terry Durbin: Don't you call my son a liar.
Catherine: Travis was s*ab twice. That's not possible if he just fell on the Kn*fe.
Brass: So what happened? He piss you off? Get in a fight? Maybe called you a mama's boy? Or did you just want to see what it felt like to s*ab somebody?
Owen Durbin: Like I told you, it was an accident.
Catherine: Then why did you dump the body down a sewer in the middle of the night?
Terry Durbin: He didn't.
Catherine: He didn't do it alone. We found the victim's charred clothing folded. Kids don't fold anything, mothers do. You helped him clean up the mess.
Brass: Yeah, that's kind of funny, because, um, you're not much of a housekeeper.
Owen Durbin: If you talk to my mother like that again, I'll k*ll you.
Terry Durbin: Don't you say another word, baby.
Owen Durbin: I'll k*ll both of you.
Terry Durbin: I want a lawyer.
Catherine: Well, we really don't need a confession.
CUT TO:
[INT. POLICE DEPARTMENT - GRISSOM'S OFFICE - NIGHT]
(Brass holds a drink in his hand as he talks with Grissom.)
Brass: Well, the kid gets m*rder, mom's an accessory, and dad gets felony expl*sives. It's a family-value pack.
Grissom: Well, it's appropriate. One way or another, they each had a hand in it.
INTERCUT WITH:
[INT. CSI - A/V LAB - NIGHT]
(Sara is watching the video tapes from Owen's bedroom.)
Terry Durbin: (o.s.) Come on, Roger. Do we have to?
Roger Durbin: (from monitor) Just keep the camera on it, will ya? Watch.
(Roger ties some expl*sives to the head of a large frog.)
(He goes and stands next to Young Owen. The frog croaks. Off screen, the expl*sives detonate. Roger laughs.)
[INT. POLICE DEPARTMENT - GRISSOM'S OFFICE - NIGHT]
Grissom: Violent environment, oblivious mother, disturbed child.
[INT. CSI - A/V LAB - NIGHT]
(On the monitor, Roger leads Young Owen to a large pot filled halfway with unidentifiable liquid.)
Roger Durbin: (from video) Here, stir this.
Young Owen Durbin: (from video) What's it for?
Roger Durbin: (from video) bl*wing stuff up.
(Roger laughs.)
[INT. POLICE DEPARTMENT - GRISSOM'S OFFICE - NIGHT]
Brass: But you know, no matter how bad your kid turns out, it never changes how you feel about him.
Grissom: Unconditional love between parents and offspring is biological, perpetuates the species.
[INT. CSI - A/V LAB - NIGHT]
(On the video, Young Owen Durbin stirs the pot.)
Roger Durbin: (from video) Go ahead. That's good.
(Sara watches the video.)
Roger Durbin: (from video) That's good. Get it good.
(Roger Durbin laughs.)
(The video monitor zooms in on Young Owen Durbin stirring the pot.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x02 - Down the Drain"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]
[EXT. ST. ANDREW'S SCHOOL - DAY]
(Open on the statue of St. Andrew. The school bell rings marking the end of the day.)
[FRONT DOOR]
(Slow motion. The double doors to the school open and children run out of the school, whooping and cheering that school is over.)
(Resume motion. School boys and school girls walk along the front of the school.)
(A car horn honks.)
(Sister Teresa, talking with another Nun, looks up at the source of the blaring car horn.)
Sister Teresa: Could you excuse me?
(Sister Teresa walks over to the parked car on the side of the road. Inside the car, Sybil Perez waits impatiently for her daughter.)
(Sister Teresa knocks on the passenger-side window. Sybil rolls the window down.)
Sister Teresa: Everything all right, Sybil?
Sybil Perez: I'm fine. What's taking Alicia so long? We have a doctor's appointment in forty minutes.
Sister Teresa: She's not here.
Sybil Perez: Well, she has to be. I saw her leave for school this morning.
Sister Teresa: Alicia hasn't been in any of her classes.
(Sybil's phone rings. She answers it.)
Sybil Perez: (to phone) April, get off the phone. I can't talk right now.
April Perez: (from phone) Somebody took Alicia.
CUT TO:
[EXT. CONVENIENCE STORE - PARKING LOT - DAY]
(Sybil Perez parks in the parking lot. She gets out of the car and rushes over to her daughter.)
Sybil Perez: What did you do?! (yells) What the hell did you do?!
(April turns from the Officer toward her mom.)
April Perez: Mom, I don't know ...
(Sybil slaps April hard across the face.)
Sybil Perez: Where is she?!
April Perez: I'm not sure.
(Two officers keep the two women apart.)
Sybil Perez: (screams) Where is she?!
(Sybil Perez fights the officer, pounding on his chest with her fists and screaming.)
Sybil Perez: Get off of me! SYBIL PEREZ: Go find my daughter! Go find my daughter!
FLASH TO:
[EXT. CONVENIENCE STORE - PARKING LOT - DAY -- LATER]
(Brass interviews April Perez.)
April Perez: I really didn't see Alicia all that much. Um, I don't get to. Her life sucks, so sometimes she would just, you know, play hooky and spend the day with me.
Brass: After girls' day out, you, uh, stopped here for a snack.
(Off screen, we hear Sybil crying. Brass turns around at the sounds of sobbing. As he watches, Carlos Perez walks up and hugs Sybil.)
Brass: Is that your father?
April Perez: Yeah. Um ... I was just went in, and ... you know, to get something while she changed back into her uniform.
Brass: In the car?
April Perez: It's not that big of a deal. It's like, you know, the skirt over the jeans, and back to school before mom knows anything.
Brass: So what did he look like? What kind of car did he drive?
(Quick flash to: [EARLIER] April runs out of the convenience store.)
April Perez: Alicia!
(She sees Alicia in the passenger seat of a black car. The car is driving out of the parking lot.)
(End of flashback. Resume to present.)
April Perez: A black guy, uh ... He had a beard and he had a crappy black Buick. But, um ... I don't know, maybe it was blue.
(Quick flash to: [EARLIER] April is in the car looking out the window and screaming. The car drives away.)
(End of flashback. Resume to present.)
April Perez: I don't really ...
Brass: No, that's ... that's good.
April Perez: Okay.
Brass: You did good. That's good. Thank you.
April Perez: Okay.
(Cut to: A police siren blurbs off and on. Grissom leans forward looking into April's red car through the window. He snaps a photo.)
(Carols and Sybil Perez walk up to Grissom.)
Carlos Perez: The cops won't tell us. What are the chances of finding our daughter?
Grissom: Well, we're doing everything we can.
Carlos Perez: That's what everyone keeps saying. No one will tell us anything.
(Grissom sees something.)
Grissom: Did you injure yourself, Mrs. Perez?
(On the edge of her blouse is a large blood stain.)
Sybil Perez: Oh, a nosebleed.
Grissom: That's a lot of blood. I'm going to need to take your shirt.
Carlos Perez: Why?
Grissom: If you like, I can have someone follow you home so that you can change.
Sybil Perez: (getting angry) You think we had something to do with it? Our daughter is missing. She's out there somewhere alone and scared. What are you doing about that?!
Grissom: I'm just collecting evidence.
Sybil Perez: Fine. Here!
(She removes her shirt and throws it at Grissom.)
Sybil Perez: Take it! Go find her!
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. VARIOUS LAS VEGAS SCENES (STOCK) - DAY]
[EXT. CONVENIENCE STORE - PARKING LOT -- DAY]
(Brass is calling in the alert.)
Brass: This is Captain Jim Brass. I want to issue a Missing Persons Emergency Alert Amber. Notify all radio and casino signatories. The description is as follows ...
[DISPATCH]
(Dispatch types in the Alert.)
[TELEVISION SET]
(Programs are interrupted as BREAKING NEWS is reported.)
News Anchorman: We have breaking news from the channel 8 newsroom right now. An Amber Alert has been issued for missing 13-year-old Alicia Perez.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]
[EXT. LAS VEGAS HIGHWAYS (STOCK) - DAY]
News Anchorman: (V.O.) The suspect in Alicia's abduction is described as an African American man, 35 to 45 years old, about six feet tall.
[EXT. LAS VEGAS HIGHWAYS (STOCK) - DAY]
(The highway sign on the side of the road flashes:
AMBER ALERT
BLACK BUICK
NEV LIC. -----CA
[EXT. CONVENIENCE STORE - PARKING LOT - DAY]
(Warrick and Nick are going through April's red car.)
Warrick: How'd you sh**t, man?
Nick: Rusty. They say I have a flinch.
Warrick: You and I need to go practice some, huh?
Nick: Yeah, when do we have time to do that?
(Nick dusts the door for prints.)
Nick: If we're not processing a scene or working evidence, we're in court.
Warrick: Well, when they take your piece, you'll make time.
Nick: This girl seemed a little old to be lured by a lost puppy. So how'd this guy pull this off in a lot this public?
Warrick: Easy. With a map and a smile.
(Over by the front of the convenience store, Warrick watches as Catherine measures the distance.)
Warrick: Rolls up -- "Hey, little girl, I'm lost. You from around here?"
(Nick nods.) She gets close enough he pulls her out of her sister's car, into his car ... Bam, she's done.
Nick: I bet he had a w*apon. thr*at her, so he could drive.
(Catherine continues to measure the distance into the parking lot toward the car.)
Catherine: Probably used his fists. Bastard had to have h*t her.
(Quick flash to: [EARLIER] Alicia screams. The blurred figure pulls her into the car and hits her as she kicks and screams.)
(The car door slams shut.)
(End of flash. Resume to present.)
[INT. CONVENIENCE STORE - DAY]
(Brass interviews the Convenience Store Clerk as he carries a box of drinks.)
Clerk: Look, dude, I didn't see it.
(The Clerk puts the box down on the side.)
Clerk: Chica had a nice, round ass and that's what I was scoping.
Brass: What time was that?
Clerk: About three. She comes in, grabs some candy, looks outside, waves at somebody. The next thing I know, she flips her wig. She's screaming about her sister. I didn't see the girl or a car. Besides, there's a lot of traffic out there.
Brass: Was it busy?
Clerk: Kind of.
Brass: How many surveillance cameras do you have in here?
Clerk: Inside we got five. They're all state-of-the-art. Place gets h*t a lot. Outside they're all dummies.
Brass: Well, I'm glad to see you're so concerned about your customers after they leave the store.
[EXT. CONVENIENCE STORE - PARKING LOT - DAY - CONTINUOUS]
(Catherine's phone rings. She answers it and her side of the conversation fades into the background.)
Catherine: (to phone) Hello.
(Camera follows Grissom as he walks out of the convenience store.)
Catherine: (to phone) (o.s.) Who's calling? Yes. Uh, yes. Speaking.
(Grissom heads toward Nick.)
Grissom: Nick, you failed firearms qualification. You can't be here.
Nick: Oh, yeah. Well, I'm taking it again day after tomorrow, so I figured I could work.
Grissom: Not in the field.
Nick: You're serious?
Grissom: You're in violation just carrying the w*apon.
Catherine: (to phone) (o.s.) She's what? Uh - uhm ...
(Nick turns and looks at Warrick. Warrick looks away.)
Nick: Copy that. I'll be in the lab.
Catherine: Uh, Nick, let me catch a lift with you. (to Grissom) There's something going on with Lindsay.
(Catherine follows Nick back to his car.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(Catherine walks up to the Officer watching Lindsay.)
Catherine: I'm Catherine Willows. What's the trouble?
Officer: With the Amber Alert, we've been keeping an eye out. Found your daughter up on Boulder Highway trying to hitch a ride downtown. (Catherine glares at Lindsay who rolls her eyes at her mom.) Now, kids this age, they need a firm hand at home, and ...
Catherine: (interrupts) Thank you, Officer. I appreciate everything you've done. Let's go.
(Catherine leads Lindsay away.)
[INT. POLICE DEPARTMENT - CONFERENCE ROOM - DAY - CONTINUOUS]
(Catherine and Lindsay go into an empty room. They both sit down.)
Catherine: Okay, what or who is on Fremont Street that you would risk your life to get to? Mouthing off to teachers, slipping grades and now hitchhiking. I mean, what is next, Lindsay?
Lindsay Willows: (mutters) Stripping.
Catherine: What did you just say? (exasperated chuckle) Okay, no phone, no friends, no nothing.
Lindsay Willows: For how long?
Catherine: A month.
Lindsay Willows: (rolls her eyes) Whatever.
(Lindsay gets up.)
Catherine: Hey, you want to make it two?
Lindsay Willows: Dad always said you were a drama queen.
Catherine: Well, what do you expect, Lindsay, since he was always high.
Lindsay Willows: I'd take dad high over you any day! Nana's coming to pick me up. I'll be out front.
(Lindsay grabs her backpack and leaves the room.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg and Mia Dickerson, the new DNA Technician, walk into the lab. Warrick is sitting at the table with an array of items on it.)
Greg: You paged.
(He doesn't look up.)
Warrick: Yeah. (Points to the items on the table.) What's missing?
(Greg takes a moment and looks at the various school books and bags on the table.)
Greg: I give up.
Warrick: Her sister said the victim changed back into her school uniform in the car.
Mia Dickerson: So? Where are the clothes she changed out of?
(At the sound of a new voce, Warrick looks up.)
Warrick: Hello.
(Greg makes the introductions.)
Greg: Mia Dickerson, Warrick Brown.
Warrick: Welcome.
Mia Dickerson: Look, I already know you have a running bet with another CSI over how long the new hire lasts, so let's skip it. You got something for DNA?
(Warrick grabs the evidence bag and tosses it toward her.)
Warrick: The mother's bloody t-shirt.
Mia Dickerson: Exemplar?
Warrick: It's on its way.
Mia Dickerson: Thank you.
(Mia leaves the room. Warrick watches her. He looks sufficiently impressed. Greg turns and looks at Warrick.)
Greg: (smiles) Just hedging my bets.
Warrick: How so?
Greg: Well, I need field experience, but before I get that, I need to find a replacement. So far, I'm oh-for-one. Plus, she's hot and thinks you're a tool, so I'm way ahead.
(Greg turns and leaves Warrick chuckling.)
CUT TO:
[INT. PEREZ RESIDENCE - LIVING ROOM -- DAY]
(Camera slowly pans across the counter of framed photos. Every photo is of a little boy in various stages of growth. There is one photo with April in it standing next to the little boy, but none of Alicia that we can see.)
(In the living room, Brass interviews Carlos and Sybil Perez.)
Carlos Perez: A gardener and a pool man come in once a week.
Brass: How long have they worked for you?
Carlos Perez: Years.
Brass: How about a housekeeper or a maid?
Sybil Perez: I do it.
Brass: Let's talk about your daughter's routines. Her routes to and from school, any extra-curricular activities, a list of friends.
Sybil Perez: There wasn't any after school stuff. Alicia isn't a joiner. She walks to school, I pick her up. That's it.
Brass: How often did April get her sister to skip school?
(They look at each other.)
Carlos Perez: We don't know. We ... we just found out ourselves.
Brass: I'm curious because April said she hardly ever gets to see Alicia. Why didn't she just come here?
Sybil Perez: Because she wasn't welcome. We kicked her out.
Carlos Perez: April's a troubled girl. Problems with drugs, the police. You might as well know, she also did some time. Juvenile lockup.
Brass: For what?
Carlos Perez: Heroin possession. Intent to distribute.
CUT TO:
[INT. PEREZ RESIDENCE - ALICIA'S BEDROOM - DAY -- CONTINUOUS]
(Sara sits at Alicia's desk looking at the contents on her computer. Grissom examines the rest of the room for evidence.)
Sara: There's nothing suspicious on the server. Only hits are music downloads. Wait a minute. An organ transplant site. For kidneys, heart, lungs and liver.
Grissom: What is that? Homework research?
Sara: Maybe. These are pretty detailed biochem and immunosuppressant citations. It's a little over a seventh grader's head, don't you think?
Grissom: I don't know. I bet you were a pretty smart seventh grader.
(Sara can't help but smile. Grissom picks up a purple and blue plastic backpack and looks at it.)
(Sara opens Alicia's notebook where she finds doodling of "Mrs. Jimmy Jones", "Mrs. Alicia Jones", "Love Jimmy", red hearts and flowers.)
Sara: She has a serious crush on a boy named Jimmy Jones.
(Grissom looks around and finds "I Hate Mom & Dad" written on the edge of the linens.)
Grissom: Sara.
(Sara turns.)
Grissom: (reads) "I hate mom & dad."
(Daniel Perez appears in the doorway.)
Daniel Perez: Who doesn't once in a while?
(Grissom and Sara look up. He introduces himself.)
Daniel Perez: Daniel Perez. And you are ... ?
Grissom: Gil Grissom, Sara Sidle, Las Vegas Crime Lab.
Daniel Perez: I guess that's why you're pawing through my sister's private stuff.
Sara: It's going to help us find her. Do you know a Jimmy Jones?
Daniel Perez: Yeah, a boy from school. She liked him.
Grissom: What's your sister like? Personable, friendly, outgoing, trusting, maybe?
Daniel Perez: She's a giver - from the day she was born.
(Daniel's nose starts to bleed.)
Grissom: Uh, Daniel... you're bleeding.
(Grissom points to his own nose.)
Daniel Perez: I'm sorry.
(Daniel uses his blood-stained tissue to wipe his nose.)
Daniel Perez: You want to know my sister, you should check her diary under the mattress.
(Daniel turns and leaves. Sara steps forward and checks under the mattress. Sure enough, there's Alicia's diary.)
(Sara opens the book. Grissom leans sideways to look.)
Sara: (reading) "Last night I didn't sleep very good. I kept thinking about the surgery." I guess we know why she was doing transplant research.
[INT. PEREZ RESIDENCE - LIVING ROOM - DAY - CONTINUOUS]
(Brass continues to interview Carlos and Sybil Perez.)
Sybil Perez: Serious illness takes a toll on a family. (Sybil turns and looks at Carlos.) Alicia never complained. (She looks at Brass.) She's used to the doctors. She has friends there -- people who understand -- go through the same hell.
Brass: You know, if a victim has a serious illness, you really should disclose it right away.
Carlos Perez: Our daughter isn't sick. Our son's kidneys are failing. Alicia is his matching donor. Without her, he'd die.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - BRASS' OFFICE -- DAY]
(Brass and Catherine interview Jimmy Jones. His mother is there.)
Jimmy Jones: Well, Alicia was a great half-back -- strong right leg, aggressive. You don't see that too much in girls.
Catherine: She played soccer?
Jimmy Jones: Yeah, for awhile. She quit before she got cut. She missed a lot of practice 'cause she was always going to the doctor, and you can't really play with one kidney anyway, so ...
Catherine: She told you about her brother?
Jimmy Jones: Yeah, on the way to school. Hell, I thought that it was cool that she was saving his life, but she seemed pretty pissed.
Mrs. Jones: Jimmy ... language.
Jimmy Jones: Sorry. Anyway, uh, she didn't seem too happy. Said she had no life and never would.
Brass: So, Jimmy, on your way to and from school, did anyone ever bother you or approach you in any way?
Jimmy Jones: Um ... there was this one guy, with a track suit, he's supposed to be running. He gave me the creeps.
Brass: What gave you the creeps?
Jimmy Jones: Well, start with his gear. I mean, nobody runs in velour. And he never had any water and he was always on the phone.
Brass: What'd he look like?
Jimmy Jones: Black guy. He was not a runner, but he was in shape. Bald, mustache, beard.
Catherine: How old would you say he is, Jimmy?
Jimmy Jones: Qld ... like 30. (He glances unsure at Catherine.) ... I just ... never liked the way he looked at Alicia.
Brass: Thanks. You've been a great help, Jimmy. Thank you. Uh, if it's okay with your mom, I'm going to have you hang around, look at some photos. All right?
Jimmy Jones: Sure.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Nick is on the computer mapping out and showing Warrick and Grissom the community and surrounding area where Alicia Perez disappeared. As he narrates, the lights appear up on the monitor.)
Nick: Here's the Perez house, Alicia's walk route to school, and the convenience store where she was taken. All the locations are within a half-mile, plus or minus three-tenths.
(He works on the keyboard.)
Nick: This is a map of all registered sex offenders in the state, the county, and the neighborhood.
(The neighborhood area is covered with red squares.)
Warrick: Phew! That's a lot of perverts.
Nick: Get out of jail, come to Vegas. They're listed in tiers of projected recidivism, zero through three. Three being the most dangerous.
Grissom: They're the ones most likely to plan an abduction and find the privacy for sexual as*ault and m*rder.
Nick: If I remove the zeroes and ones, since they have a low or moderate risk designation, this is what we're left with.
(Nick makes more adjustments and all the O's and 1's disappear leaving a slew of
2's and 3's on the screen.)
Warrick: That's still a lot of perverts.
Nick: Mm, maybe not.
(He makes more adjustments to the monitor.)
Nick: Here, I'll isolate the Perez neighborhood.
(A name card appears on screen for:
MARLON WAYLORD
- Tier Two Sex Offender
Race: African American
Occupation: Handyman
Status: Lives Alone
Hgt: 6 feet Wgt: 205 lbs
Address: 23278 Koval Ln., Apt #12
Summerlin, NV 89129
Nick: (reads) Marlon Waylord, tier two, 38, black, lives alone, sometimes handyman and fits Jimmy Jones' description.
(Grissom sits back and smiles.)
CUT TO:
[EXT. WAYLORD RESIDENCE - APT 12 -- DAY]
(Brass knocks on the front door. A couple of officers, Grissom and Sara wait outside.)
(The door opens.)
Marlon Waylord: Officer.
(Brass notices a smudge of blood on Marlon's chin.)
Brass: Did you, uh, cut yourself shaving, Mr. Waylord. (Marlon Waylord doesn't say anything.) Marlon must be shy.
Marlon Waylord: Marlon didn't do nothing.
Brass: And I believe you, too. Come on, step over here, please.
(Marlon Waylord steps out of the apartment, his arms held out away from his sides.)
Marlon Waylord: You all know that sex offenders under a felony conviction have absolutely no unconditional release and are under lifetime supervision, automatically assigned by the Nevada Criminal State justice system.
(Marlon Waylord is handcuffed. Grissom and Sara head into the apartment.)
Marlon Waylord: Mandated, of course, by state and federal Megan's Law in effect
5/17/96 and therefore I am required to register and update my information ... whenever I move from my current, uh, domicile.
Brass: Well, that's a big word. Well, you got all your facts right, Marlon. Help us with this one. We know you own a Buick. Where is it?
Marlon Waylord: Tangiers' parking lot. It wouldn't start.
Brass: I hate that. I'll have it towed to the lab.
Marlon Waylord: You do that.
CUT TO:
[INT. WAYLORD RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]
(Grissom and Sara look around the sparse living room.)
INTERCUT WITH:
[BEDROOM]
(Sara walks into the bedroom.)
(In the living room, Grissom looks at the jacket hanging on the doorless closet and finds a strand of hair)
(Sara uses the ALS on the bed and finds body fluids.)
Sara: Presence of semen.
(Grissom picks up the cell phone.)
(Sara pushes the bedsheets and blankets aside. She finds some children's underwear. That also has semen on it.)
(Sara walks back into the living room.)
Sara: There's children's underwear in the bedroom.
(Grissom scrolls through the photos on the phone of Alicia and Jimmy.)
Grissom: Photos of children on his phone, including Alicia.
(He hands the phone to Sara.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass and Grissom interview Marlon Waylord.)
Brass: So here's the deal: When you go up, I won't yell short eyes first. How's that sound?
Marlon Waylord: Sounds like a really good deal ... You know, if I was, um, guilty.
Brass: The inmates didn't treat you too gentle the last time. Did they?
(Marlon turns and glares at Brass.)
Marlon Waylord: You know they didn't.
Brass: So tell me what you did with Alicia.
Marlon Waylord: Who?
(Brass puts a photo on the table.)
Grissom: She's been all over the news, non-stop. It's that why you shaved?
(Marlon licks his finger and touches the photo, alongside Alicia's face.)
Brass: Oh, come on. Don't make me smack you.
(Marlon looks at Grissom.)
Grissom: Her friend tells us that you were always looking at her. You went out in the morning and watched them go to school.
(Grissom shows the phone photos to Marlon.)
Marlon Waylord: She's sweet, very sweet, but, fellas ... I wasn't looking at her. You all should check my file.
Brass: No, I did. I know that your recent preference is for little boys, but, uh, your first time was with a female cousin. Let me read what you said. "I couldn't help myself 'cause she was acting so hot. It was her fault; she was really hot."
(Brass tosses the file on the table in front of Marlon.)
Grissom: How does a six-year-old act hot?
(Brass' phone beeps. Brass checks it.)
Marlon Waylon: Listen ... I'm, uh... I'm sick. You know, I got this-this this illness, which ... look. I don't want to go back to prison. That's why I'm being so compliant. Now, yo, I don't work near no little kids. I stay a hundred yards from the school grounds. Man, I don't even go to the park.
Grissom: It's not a disease. It's a compulsion.
Marlon Waylord: I stay away from youth organizations, after-school programs, churches ...
Grissom: We found a pair of boy's underwear in your bedroom. Explain that.
Marlon Waylord: I look at the photos. I look at the photos and I have the briefs for, um ... release.
Grissom: So you fantasize, and eventually, the fantasy's not enough and you relapse.
Marlon Waylord: Hey, they're mine. I bought the underwear!
Grissom: Well, if that's true, then you were in a store where little children were shopping with their mothers.
Marlon Waylord: And what would you have me do, huh, man? What?! I mean, I even thought about chemical castration.
Grissom: Medroxyprogesterone is inconclusive. It renders the subject incapable of erection, but it doesn't remove the drive. You would still be capable of sexual as*ault using other objects.
Marlon Waylord: Listen ... um, I haven't done anything, uh, illegal, so you can't hold me in here forever. Oh, is that k*lling look in your eyes a compulsion, Mr. Grissom?
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Warrick walks into the lab. Mia reports to him.)
Warrick: What's up?
Mia Dickerson: The seminal fluid on the boy's underwear matches your pedophile.
Warrick: Epithelials?
(Mia starts to answer, but Greg interrupts.)
Greg: His. And only his.
Warrick: That confirms his story that the briefs were never worn. Hair?
(Again, Greg interrupts.)
Greg: Synthetic. Probably from a wig.
Warrick: Great. That means we have to let the bastard go. It's only a matter of time before he snatches up another kid.
(Warrick turns to leave, Mia stops him.)
Mia Dickerson: You got any friends in uniform?
Warrick: Yeah, but they can't watch him indefinitely.
Mia Dickerson: Okay, look. Megan's law has holes. Police aren't required to notify a community about a predator. So flood his block with flyers detailing his crimes. Trust me, the neighbors won't let him out of their sight.
Warrick: Or they'll k*ll him.
(Warrick's pager beeps. He checks it.)
Warrick: They found Alicia Perez.
CUT TO:
[EXT. WOODS -- DAY]
(Alicia Perez is on the ground. There are blood stains on the blanket wrapped around her body. Her face is covered.)
(Brass stands over the body. Grissom, Catherine and Warrick walk toward the scene.)
Brass: A tour helicopter spotted her around 4:00 P.M.
(They put their kits down.)
Grissom: How many people have walked through the crime scene?
Brass: Just the responding officers, lug soles, sizes 10 and 11.
Grissom: We're going to need some time here, Jim.
Brass: (sighs heavily) Yeah, well, there's no rush now.
(Warrick kneels down next to the body.)
Warrick: She's wrapped up pretty tight.
Grissom: Protecting her against insects and carrion, maybe.
(Catherine opens the blanket up and away from Alicia's face.)
Grissom: Somebody, uh, wanted her intact.
Catherine: Well, her face is covered, that means remorse, guilt ... somebody cared.
(Catherine notices the mis-aligned buttons on Alicia's blouse.)
Catherine: She's been re-dressed.
(She also checks under Alicia's skirt.)
Catherine: Her panties are missing.
Grissom: All right. 360-degree grid search. Sometimes rapists like to relive the event. He may have wanted to watch her. So keep the body in view. We're looking for shoe prints, sperm clusters ... anything else you can find.
(David Phillips walks up to the crime scene.)
(Cut to and various dissolves of: Catherine and Warrick look around the area.)
(Warrick finds a shoe print in the dirt. He puts a ruler down and snaps photos of the print.)
(Grissom takes his glasses off.)
(David Phillips inserts the meat thermometer to take the body's temperature. After a moment, he checks it.)
David Phillips: 90 degrees? Given the timeline, it should be higher. That-that can't be right.
Grissom: Well, today's temp, last night's weather ... may have had something to do with it.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(David Phillips and Grissom check the body.)
David Phillips: No signs of sexual as*ault.
(Grissom checks Alicia's hands.)
Grissom: No defensive wounds. No wounds of any kind.
David Phillips: Were you expecting some?
(The shutter clicks as Grissom takes a photo.)
Grissom: Well, she was wrapped in a bloody blanket. Since there's no trauma, maybe the blood belongs to her k*ller.
(David rolls her body over.)
Grissom: Roll her.
(On Alicia's back there are two long parallel bruising marks.)
Grissom: (voice softens in surprise) Look at those marks. There was nothing underneath her at the crime scene that, uh, would've made those.
David Phillips: Well, maybe she was moved. Trunk of car? Tire iron?
(Grissom takes another picture.)
Grissom: Yeah, but there's, uh, two impressions, and they're too long to be a lug wrench.
(Grissom raises the camera to take another picture. He looks down at the body through the camera lens. After a long moment, he puts the camera down without taking the photo. He stares at the body of the d*ad child. Something about it just affects him.)
(David turns around and stares at Grissom.)
(Grissom stares at Alicia. He shakes his head.)
(Camera holds on Alicia.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(Grissom sits in the hallway, his forehead resting on the hand holding his glasses. A door opens and closes.)
(Catherine walks up to him.)
Catherine: Have you been to bed?
(Grissom looks up.)
Grissom: Yes.
(Catherine sits down next to him.)
Catherine: Did you sleep?
(He doesn't answer her.)
Catherine: Me neither. She was the same age as Lindsay. She was trying to hitchhike.
Grissom: Where was she going?
Catherine: Fremont Street.
Grissom: Was she buying drugs?
Catherine: (appalled) No! She's twelve. (She sighs.) She's ... just so angry. She doesn't talk to me.
Grissom: Well, if enough people knew what was out there hunting them, they'd never leave their house. I think you need to sit her down.
Catherine: Well, I don't want to scare her. I don't want my daughter to be this ... frightened, paranoid kid who's always looking over her shoulder.
Grissom: Catherine, there's a big difference between scaring her and preparing her. And all the reasons why you should are in that room.
(Catherine thinks about it.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Dr. Robbins shows Grissom Alicia's x-rays. Grissom points to the white spots on the x-ray.)
Grissom: What is all this bone scarring?
Dr. Robbins: I thought you should be interested. Twelve holes exactly made by a large bore needle.
Grissom: Marrow harvest?
Robbins: Young Alicia donated bone marrow at least twice. Pretty selfless thing to do once, considering how painful the procedure is.
Grissom: Let me ask you: What most likely causes shortness of breath, obvious bruising, sudden nosebleeds, petechiae?
(Quick flashback to: [DANIEL PEREZ] As Grissom remembers, Daniel Perez stands in the doorway. Quick pulses of the bruises on his arms and of Daniel lifting the tissue to his bleeding nose.)
(End of flashback. Resume to present.)
Robbins: Sounds like acute leukemia, but without immunophenotyping, I couldn't tell you what kind.
Grissom: Alicia's cause of death?
Robbins: Cardiopulmonary arrest.
Grissom: Time of death?
Robbins: That's a little trickier. No solids in the stomach contents, just a milky liquid. Liver mortis was fixed and deep purple with a vitreous humor potassium level of 20 millimoles per liter with faint putrefaction. So, I'd say she's been d*ad about... 44 hours between midnight and 8:00 A.M., the day of her kidnapping.
Grissom: Which means April Perez was lying about the abduction.
Robbins: Yep. Story's got more holes than her sister's bones.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass interviews April Perez.)
Brass: I bought it the hell we all bought it. But your sister was already d*ad when you raised that alarm. Her body told us that. There was no sexual as*ault. The evidence told us that, too. So you didn't think this through, sweetheart. So what are we left with? A false police report and a m*rder little girl. So it's one to four for the Amber Alert. And for your sister, life imprisonment if it's an accident, and the needle if it's not.
April Perez: I didn't k*ll Alicia.
Brass: But you know, I get it. I get the picture. I mean, your brother's the center of attention. He's sick, he's dying. Your cells don't match. Your parents have Alicia. She's his savior. So, where do you fit in? What are you to this family?
April Perez: I'm invisible.
Brass: But not anymore you're not. She's d*ad, and your brother's sick. When he goes ...
April Perez: That's crazy, okay. I told you, I didn't k*ll my sister.
Brass: I want to believe that. Come on. Help me to believe that. It just means you were in on it because you put on one hell of a show. You still using?
April Perez: No.
Brass: Maybe we should run your blood just to be sure, huh?
April Perez: I use now and then to take the edge off.
Brass: So how do you pay for this habit? Are you pimping your sister for drugs, April?
April Perez: Why don't you make up your mind? No signs of r*pe. If I was selling my sister, there would be, wouldn't there?
Brass: Depends on who you sold it to. You're not gonna talk your way out of this one. You need to get clean.
April Perez: What I need is a lawyer, which means this conversation is over.
CUT TO:
[INT. CSI - LAB -- DAY]
(Catherine and Grissom are in the lab going over the medical records.)
Catherine: Daniel Perez was diagnosed with relapsing acute promyelocytic leukemia or APL when he was ten. It's rare, it's nasty, and it usually hits Hispanics.
(The whiteboard timeline chart in front of them shows the following:
DANIEL ALICIA
1-DIAGNOSED APL (red)
2-STEM CELLS FROM ALICIA (red) - BORN CORD BLOOD DONOR (blue)
Catherine: His sister, Alicia was conceived in vitro to be a genetic match.
Grissom: Well, it's not unheard of. Have a baby, get the undeveloped stem cells from cord blood. New parents are even storing it now.
Catherine: But when she was four, they took her blood for a transfusion.
(Quick flashback to: [HOSPITAL] Alicia complains as they insert the needle for the transfusion.)
Alicia Perez: (crying) No ... no!
Sybil Perez: It's all right, it's okay, sweetheart.
Alicia Perez: No... !!
(End of flashback. Resume to present.)
Catherine: At seven, they took her blood to remove stem cells.
(Quick flashback to: [HOSPITAL] Alicia turns and looks at the large machine next to her whirring.)
(Various flashes of Alicia in the chair.)
(End of flashback. Resume to present.)
Grissom: Well, Daniel must have relapsed because they took bone marrow twice.
(He indicates the notations on the whiteboard.
-- Bone Marrow Recipient (red) - Bone Marrow Donor (blue)
-- Bone Marrow Recipient (red) - Bone Marrow Donor (blue)
(Quick flashback to: [HOSPITAL] Alicia is having Bone Marrow removed. She's on her stomach on the table. The large bore needle is inserted.)
(Quick CGI POV: The large bore needle pierces through the flesh down to the bone. Close-up of the bone shows the needle digging into the bone for a sample.)
(Cut to: The physician takes a large syringe sample.)
(Quick CGI POV of: Camera shows the liquid in the syringe. Close-up of the reddish colored liquid shows the bone fragments.)
(End of CGI POV. The physician continues with the sampling.)
(End of flashback. Resume to present.)
Catherine: It takes one to one-and-a-half liters of marrow for a successful harvest.
Grissom: A living DNA factory.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Mia puts a sample into the blender container and grinds it up. Greg sits at the table watching her. She smiles at him as he watches her, prompting her along, helping her by holding out the next instrument she's going to be using.)
Mia Dickerson: I don't need help.
Greg: I know. I'm just trying to make the transition seamless. Forget I'm here.
(He sits back in his chair as she continues to work.)
Greg: So would you like to grab a bite later? I know a diner down the street that serves a mean liver and onions.
Mia Dickerson: I don't eat out.
Greg: Never ever?
Mia Dickerson: I don't like expectorant.
Greg: Really?
Mia Dickerson: Kitchen staff talk while they prepare your food and then the wait staff repeats your order over the plate, and by the time you get your meal, there are several DNA samples coating it.
Greg: Wow.
Mia Dickerson: Yeah. No, thank you.
(She puts the sample in the machine.)
Mia Dickerson: I don't eat birthday cake either.
Greg: Oh, bl*wing out the candles.
Mia Dickerson: Ugh. Don't get me started.
(She turns the machine on.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. POLICE DEPARTMENT - WAITING ROOM / HALLWAY -- EVENING]
(Sybil Perez sits in the waiting room. She looks up and sees Catherine walking in the hallway. She gets up and exits the waiting room to catch up with Catherine.)
Sybil Perez: Excuse me.
(Catherine turns around.)
Sybil Perez: Um ... what happens to April now?
Catherine: She is being charged and processed and the court will probably grant her bill.
Sybil Perez: Do you know how much...?
Catherine: Why?
Sybil Perez: She's my daughter.
Catherine: She's refusing to talk about what happened to your youngest child, Mrs. Perez.
Sybil Perez: I can't leave her in jail.
Catherine: I think it might be the best place for her.
Sybil Perez: (sighs) This is my fault. I ... I was never there for her. I ...
Catherine: Why don't we step in here, please?
(They both step back into the waiting room.)
Sybil Perez: I spent all my energy getting Daniel to the next ... thing -- the next pill, the next treatment, the next remission, hoping that this time ...
(They both sit down.)
Catherine: And, uh ... where did Alicia fit in, except for what she could give to your son?
Sybil Perez: You have no idea what it's like.
Catherine: I saw her medical records. I looked at her x-rays. I know what that little girl suffered, what you put her through.
Sybil Perez: So you would let your child die and do nothing. Never. No, you'd talk to doctors and research. And then you'd find out that the national bone marrow registry can't help you 'cause your son is mixed race. And even if he wasn't, there aren't enough donors. Out of four million, only 205,000 are Latino. I did what I had to do.
Catherine: You put one child over another.
Sybil Perez: (scoffs) I don't expect you to understand. You don't have kids.
(Sybil stands up.)
Catherine: Uh, I have a daughter.
Sybil Perez: (chuckles wryly) So, what kind of mother are you? When do you see her? You work nights. You probably don't even know where she half the time. Alicia's life may not have been simple, but at least I knew her. Can you say the same?
CUT TO:
[INT. CSI - DNA LAB]
(Mia's working the lab when Grissom appears in the doorway.)
Grissom: Where's Greg?
Mia Dickerson: Helping, uh ... Sara.
Grissom: I need the tox results for Alicia Perez.
Mia Dickerson: The report is still pending, but the blood on the mother's t-shirt matches the blood on the blanket. (She hands the results to him.) Belongs to the victim.
Grissom: Menstrual?
Mia Dickerson: Negative.
Grissom: Well, the volume of blood that was found on the blanket suggests injury or some kind of trauma.
Mia Dickerson: (nods, considers) Nevertheless ...
(Grissom looks at her doubtfully.)
Mia Dickerson: I was very thorough.
Grissom: Run it again, please.
(He hands the file folder back to her and leaves.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(Sara and Greg stand at opposite ends of the trace table. On it are two boxes filled with bags of evidence.)
Sara: Greg, you said you wanted to help out.
Greg: Well, yeah, with searching April's apartment, maybe finding the bad guy.
Sara: This counts as field work, you know?
Greg: Oh, I'm smiling on the inside.
Sara: Dirty laundry or garbage. (Greg starts to answer, but Sara makes the choice.) You know what? You take the garbage.
Greg: Thanks.
(They each grab their box. They place it in front of themselves and open the bags inside.)
(Sara goes through the clothes' pockets. Greg picks through the garbage.)
(Greg pulls out a scrunched up piece of paper. It's of a map.)
Greg: April own a computer?
Sara: No. Why?
Greg: Well, she MapQuest the directions to the convenience store from the pedophile's address.
(Greg hands the paper to Sara.)
CUT TO:
[INT. CSI - MORGUE -- DAY]
(The doors to the morgue open. Catherine leads Lindsay into the morgue where the bodies are kept.)
Lindsay Willows: I already told you, mom, I heard you. Can we go now?
(Catherine leads Lindsay to the storage area.)
Catherine: No. You need to see for yourself why you can't ever hitchhike or go downtown or be careless with your safety. Are you ready?
Lindsay Willows: Just do it. I'm not scared.
(Catherine opens the container door and pulls out the body of the d*ad woman. It's not a pretty sight.)
Catherine: (softly) She was waiting for a bus downtown when she was att*cked. She's was 23. She was taller and stronger than you, Lindsay. She fought back and didn't win. Someone's gonna have to tell her family. Her parents are gonna have to see her like this. Do you get it now?
(Lindsay looks at Catherine, then runs out of the morgue. Robbins walks into the morgue.)
Robbins: Kids don't belong in the coroner's office unless they're in a drawer. You should've found a different way to deal with your daughter's rebellion.
(He walks up to Catherine as she puts the drawer back.)
Catherine: Well, with due respect, Doc, this doesn't concern you.
(Catherine turns to follow her daughter.)
Robbins: Ever notice how childhood keeps getting shorter and shorter? Whose fault is that?
Catherine: (whirls around) I honestly don't know!
(Catherine leaves. Dr. Robbins watches her go.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - A/V LAB -- DAY]
(Archie goes over the MapQuest computer information with Sara. He's online at MapQuest.)
Archie Johnson: We subpoenaed MapQuest -- they store each page on a different server. All queries are saved for 72 hours, then they dump the core.
Sara: The suspect doesn't have a computer, but she could've gone to the library or used a service.
Archie Johnson: No, physical location doesn't matter. What we do is a reversal process.
(Archie runs a reverse internet search.)
> Refining Search Parameters:
SEARCH DATE: 10-5-07
TIME: 5PM TO 6 AM]
Archie Johnson: Using the internet protocol number, we can get to the server.
Sara: Which will ultimately lead to the internet account holder.
Archie Johnson: Right. We hunt for child p*rn the same way.
RESULTS 1 OF 7
IP ADDRESS: 492864.298476.22876.22
NAME: GEORGA CLEIN
ADDRESS: 311 SEPHILL RD., LV, NV
ACCOUNT#: 47462-286-11937-26
RESULTS 2 OF 7
IP ADDRESS: 55736.2271.3383.11940
NAME: JULIA STEELE
ADDRESS: 2672 W. 6TH ST., LV, NV
ACCOUN#: 10197-4993-52-006
RESULTS 3 OF 7
IP ADDRESS: 474908.8080-28263.10487
NAME: NINA ELAM
ADDRESS: 141 N. MEADOWS LN. LV,--
ACCOUNT#: 47264-20104-6768-F298
RESULTS 4 OF 7
IP ADDRESS: 848736.4469.101048.181
NAME: LEONARD DEAN
ADDRESS: 517 BOURBON WAY, LV, NV
ACCOUNT#: HD039-2846-11039-YU393
Sara: Who does the account belong to?
(The final results appear on screen.)
RESULTS 5 OF 7 10/06--
IP ADDRESS: 21057.38610.3884.1816
NAME: MABEL HINTON
ADDRESS: 826 HERRICK LN., LV, NV--
ACCOUNT#: 389AH-3947-S42762-MH3091
RESULTS 6 OF 7
IP ADDRESS: 58563.289464.1010.4846
NAME: PETER CROFT
ADDRESS: 25135 KOVAL LN., LV, NV
ACCOUNT#: PC3947-22946-0049827-AD9367
RESULTS 7 OF 7
IP ADDRESS: 48763.20947.4829.1-09
NAME: SYBIL PEREZ
ADDRESS: 493 PYRAMID WAY
SUMMERLIN, NV 89129
ACCOUNT#: SP3947-54059-AK039-1044
Archie Johnson: Sybil Perez.
CUT TO:
[INT. PEREZ RESIDENCE - FRONT PORCH -- DAY]
(Brass knocks on the front door. The door opens.)
Brass: Mr. and Mrs. Perez...
(Brass holds up the warrant.)
Carlos Perez: What's going on?
Brass: I'll tell you on the way to the police station - where's your son?
Sybil Perez: He's at church. Why?
Brass: Let's go.
(Sybil and Carlos Perez step out of the house past Warrick, Sara and Grisosm who head inside.)
VARIOUS CUTS OF:
[INT. PEREZ RESIDENCE - LIVING ROOM -- DAY]
(Sara stands in front of the open laptop on the dining room table holding the camera in her hands.)
(She snaps a photo of the laptop.)
(Sara opens the cabinet and finds dozens of prescription containers. She snaps a couple of photos of the shelf. She turns and snaps a photo of the whiteboard calendar logging the medication schedule.)
(She looks at a prescription bottle label.)
SKADDEN'S PHARMACY
493 BRIARWAY --
DANIEL PEREZ
09/22/01
PHONE NO: 555-0187
-- FOR PAIN AS NEEDED
OXYCODONE
EXPIRES: 12/04/03
REFILLS: 3
USE BY: 12/31/0--
(She looks at a second bottle's label.)
SKADDEN'S PHARMACY
493 BRIARWAY --
ALICIA PEREZ
--/19/03 4789--
PHONE NO: 555-0187 L.P--
-- TAKE ONE AT BED TIME
DIAZEPAM
EXPIRES: --/02/05
REFILLS: --
USE BY: 12/31/05
(Cut to: Warrick looks at the sole of the father's workboots. He sees a shoe print that's familiar.)
(Quick flash to: [CRIME SCENE] Close-up of the shoe print Warrick found in the sand.)
(Cut to: Warrick places the ruler down on the ground next to the shoe print.)
(End of flash. Resume to present.)
(Warrick reaches down for his kit.)
[EXT. PEREZ RESIDENCE - FRONT DRIVE - DAY]
(Nick is out by the Perez' car. He's looking at the back trunk and looks at the various items.)
[INT. PEREZ RESIDENCE - BED ROOM -- DAY]
(Warrick walks into the bedroom and looks around. He finds the bloody handkerchief on the night stand. He picks it up and puts his kit down. As he kneels next to the bed, he finds some blue fibers on the bedsheet.)
(He picks it up and looks at it.)
(Quick flashes of: [WOODS] Various flashes of Alicia Perez's body and the blanket wrapped around her.)
(End of flash. Resume to present.)
(Sara walks into the bedroom.)
Sara: Daniel Perez is taking oxycodone for pain, and Alicia was on diazepam.
(Sara looks a the prescription bottles.)
Warrick: Diazepam? That's a pretty hard-core antidepressant for a kid that small.
Sara: I guess they didn't want her complaining while they were mining her body for healthy cells.
Warrick: You think they didn't care about her?
Sara: I don't know.
Warrick: Well, it must've been hard, trying to keep their son alive, keep the family together. Couldn't have been easy.
Sara: It wasn't for Alicia.
(Warrick looks at Sara.)
Sara: Did you find anything?
Warrick: (sighs) Yeah. Blue fibers.
[EXT. PEREZ RESIDENCE - FRONT DRIVE - DAY]
(Sara and Warrick step out of the house and see Nick on the Front Drive. Nick has a tripod set up just outside the car.)
Warrick: I take it you qualified at the range.
Nick: You take it right.
Warrick: What'd you sh**t?
Nick: 260 out of 300. 225's passing, which, I believe, was your high score.
(Warrick chuckles.)
Warrick: Where are you doing?
Nick: Well, this is dad's car. You ever see those guys out in the street, with the scope, measuring distances? Always thought they were nuts for standing out in traffic, but ...
(Nick closes the tripod and shows them the leg rods together.)
Nick: Look familiar?
(Quick flashback to: [FORENSIC AUTOPSY] The long double parallel marks down Alicia's back. End of flashback. Resume to present.)
Sara: Looks like the lividity marks on Alicia's body.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass interviews Carlos Perez.)
Brass: I don't get you, man. I mean, even if you could explain it, I would never understand how you could stuff your daughter in the trunk of your car and dump her body in the woods!
Carlos Perez: I had to protect my family.
Brass: Wasn't Alicia part of your family? You're her father, you dumb bastard! You're supposed to protect her. What kind of man are you?
Carlos Perez: Guilty.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM B - DAY]
(Brass interviews Sybil Perez.)
Brass: You know, we got enough evidence to charge you with premeditated m*rder.
Sybil Perez: You don't have any proof I k*lled my daughter.
Brass: You helped your husband move the body. You know, I really don't see him taking her underpants off, so that job was left to you. Then you or your daughter, April, checked the sex offenders' registry, and you tried to frame an innocent man.
Sybil Perez: (scoffs) Innocent? You trying to make me believe you really give a damn about a pedophile? Please.
Brass: Forget about that; this is about you. You're the tough one. You run the house. You run the family. People do what you say in a crisis.
Sybil Perez: So?
Brass: So this time Alicia said no. She wanted to keep her kidney, and that pissed you off. So you k*lled her.
Sybil Perez: That's ridiculous.
Brass: She was angry -- she wanted to play on the soccer team, she wanted a life.
Sybil Perez: Alicia got angry, sometimes. Just sick of it. We all did. But she'd have been devastated if Daniel had died and she did nothing to prevent it. She loved her brother.
Brass: And you're just the type of woman that would never let her forget it. Come on, Alicia wanted out of this game, and you couldn't let that happen. Not to Daniel, not to your only son, your favorite child.
(Quick flashback to: [INT. PEREZ RESIDENCE - KITCHEN] Sybil takes some Oxycodone and grinds it in a mortar.)
Brass: (V.O.) You slipped Alicia some of Daniel's oxycodone.
(She puts the ground-up pills in a glass and pours some milk in it.)
Sybil Perez: Alicia? Time for your pills.
(She gives Alicia her pills with the milk. Alicia drinks the milk.)
(End of flash. Resume to present.)
Brass: So now you got a problem -- you had a d*ad body in the house and no plausible explanation. What are you gonna do? So you call your daughter April. You make up a story, you play your roles, and put on a show.
(Quick flashback to: [NIGHT] April and Carlos carry Alicia wrapped in a blanket out from the house and into the back of Carlos' car.)
Sybil Perez: Wait. We have to do this right.
(Sybil removes Alicia's panties.)
(End of flash. Resume to present.)
Brass: Oh, you know, I-I thought the, uh, the slap was a nice touch.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Warrick finds Grissom in the hallway. He hands him the results.)
Warrick: I have a confirmation. Those blue fibers are consistent with the blanket that the girl was wrapped in. And the shoe prints that I found at the scene, they're a match to the father's work boots.
(Greg walks up to Grissom and Warrick.)
Greg: I re-tested the t-shirt and the blanket. The blood still matches Alicia Perez. The evidence supports this ... unless you'd like to second-guess that also.
(Warrick's eyes widen. He quietly steps away from the two.)
Grissom: I just expect things to be done correctly, Greg.
Greg: (carefully) We all have to learn how to accept change. Mia's doing a great job. It would be nice if someone other than me said so.
Grissom: You're right. What about the handkerchief?
Greg: I compared that to the other blood evidence. It's also match to the victim.
(Grissom realizes what it means.)
CUT TO:
[INT. CHURCH -- DAY]
(Grissom walks down the aisle toward the front of the church where Daniel Perez sits. Grissom sits in the pew behind Daniel.)
Daniel Perez: I didn't realize until ... today ... how lucky I am. I know pretty much ... how and when I'm gonna die. Most people don't. It's what they're afraid of.
Grissom: Was your sister afraid?
(Daniel turns to look at Grissom.)
Daniel Perez: Never.
(He looks back at the front of the church.)
Daniel Perez: I'm 11 years older than her, and she took care of me. She was my best friend, and I miss her.
(Quick flashback to: [HOSPITAL] Daniel is on the bed hooked up to the machine. Next to him, Alicia holds his hand.)
(End of flash. Resume to present.)
Daniel Perez: As much pain as ... I caused her ... and she wouldn't give up, and she ... she wouldn't let me, either. That's why ... during the last relapse, I made my parents swear that it was the very last time.
Grissom: But then your kidneys failed, and they broke their word, huh?
Daniel Perez: They told me they ... swore not to fight the cancer, so this didn't count. I wasn't gonna lose this fight.
(Quick flashback to: [DANIEL] He pours the ground up Oxycodone into Alicia's milk. He gives the milk to Alicia.)
Daniel Perez: (o.s.) Here you go. Makes it better.
(Alicia drinks it.)
(Cut to: Alicia drops the empty milk glass.)
Sybil Perez: (V.O.) Oh my god! Please...
(Sybil and Carlos finds Alicia d*ad.)
Carlos Perez: We have to call the police.
Sybil Perez: They'll put him in prison.
(End of flash. Resume to present.)
Daniel Perez: I couldn't watch her suffer anymore.
Grissom: This wasn't a mercy k*lling, Daniel. This was an execution. Bone marrow, transfusions ... that's her blood in your veins.
(Quick flashback to: [HOSPITAL] Daniel's on the bed receiving a transfusion.)
(End of flash. Resume to present.)
Grissom: It dripped out of your nose onto the blanket while you were k*lling her. If you cared so much for Alicia, why didn't you take your own life instead of hers?
Daniel Perez: su1c1de isn't an option. It's an unforgivable sin in the eyes of God.
Grissom: But you believe your God forgives m*rder? If that's your defense, it won't keep you out of jail.
(Daniel turns around to look at Grissom. His cheeks are stained with tears.)
Daniel Perez: (crying) But my death will. See, I've got about six more months. I'll be d*ad before there's even a trial.
(Daniel stands up.)
Daniel Perez: I-I do want to thank you, though.
Grissom: For what?
Daniel Perez: For speaking for Alicia. You're probably the first person in her life to think only of her. You know, you may not believe in God, sir, but you do his work.
(Daniel nods and leaves. He walks up to the officer who handcuffs him.)
(Grissom remains behind in the pew. He looks up at the statue of Jesus on the wall with his arms outstretched.)
(Camera holds on Grissom.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x03 - Harvest"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY SCENES (STOCK) -- NIGHT]
(Sirens wail in the distance.)
[DR. ROBBINS]
(Dr. Robbins is wearing a biohazard suit and breathing heavily through a respirator. He's sealed up tightly.)
[INT. HOTEL - HALLWAY -- NIGHT]
(He makes his way through the hallway and slowly approaches the hotel room.)
Det. Vartann: (to phone) (o.s.) I've already been exposed. It's too late. Get a list of all the countries she's visited in the past thirty days.
(Dr. Robbins turns into the hotel room. Det. Vartann is standing in the doorway and is on the phone.)
Det. Vartann: (to phone) Yeah, her passport.
(Dr. Robbins walks in through the hotel room and finds the distraught housekeeper talking with an Officer.)
Det. Vartann: (to phone) Try the State Department.
Housekeeper: (crying) My husband, please. Yeah. I have to tell my husband! Oh, please. Call my husband!
(Dr. Robbins walks into the bedroom where he meets up with David Phillips. He appears very nervous. He stands next to the bed holding his usual clipboard.)
(Dr. Robbins leans forward and examines the red, spotted lesions on the d*ad woman's arms.)
FLASH TO:
[INT. HOTEL LOBBY -- NIGHT]
(Catherine shows her ID to the officer at the outer hotel door. He opens the lobby door for her and she walks in, again flashing her ID to the next officer standing on the inside.)
(The building lobby is very crowded. It's as if everyone was evacuated out of their room and down to the lobby.)
Officer: (o.s.) No, absolutely not, sir. You need to step aside.
(Catherine walks up to the officer standing guard over the crime scene tape.)
Officer: Ma'am, I'm sorry, but you can't go up.
(She shows him her ID.)
Catherine: Catherine Willows, Crime Lab.
Officer: I know who you are, but hotel rooms are under quarantine. No one goes up, no one goes down.
Catherine: Quarantine?
[INT. HOTEL - ROOM - NIGHT]
(Dr. Robbins examines the body. He holds out his hand.)
Robbins: Come on. Nasal Spec.
(David Phillips digs into his bag for the instrument. He finds it and hands it to Dr. Robbins.)
(Dr. Robbins examines the woman's nose and finds it clean and clear. David looks at Dr. Robbins anxiously. Dr. Robbins checks the d*ad woman's eyes. They too are clear.)
Robbins: It's okay, David.
(David helps Dr. Robbins take off his biohazard mask. Dr. Robbins removes his respirator.)
Robbins: (louder) False alarm. We're clear.
FLASH TO:
[INT. HOTEL - HALLWAY - NIGHT]
(Catherine makes her way to the hotel room. As she gets closer, the distraught, crying housekeeper is escorted out of the room by an officer.)
(Catherine walks into the room.)
[INT. HOTEL - ROOM - NIGHT - CONTINUOUS]
(She looks around. She turns the corner toward the bedroom and sees Det. Vartann.)
Det. Vartann: Hey.
Catherine: Hi.
Det. Vartann: (motions) Go on in.
(On the bed, she sees the d*ad woman's body. Robbins and David are both near the bed. Det. Vartann steps into the room behind Catherine.)
Catherine: Someone want to fill me in here?
Robbins: David assessed a potentially infectious agent, and per protocol, he remained at the site and called it in.
David Phillips: Her-her red blotches are consistent with CDC photos of ebola.
Robbins: You did the right thing.
Catherine: (nods) So what are we looking at?
Det. Vartann: Um, 419, suspicious circs. Uh, honestly, I have no idea.
[BEDSIDE MIRROR]
(Through the mirror's reflection, we see Catherine turn and look around.)
Catherine: Okay, it's my turn now. Clear the scene.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins uses his glasses and looks at the burns on the Julie Stern's arm.)
(Catherine walks in.)
Catherine: Sorry I'm late. I was processing the scene. Nothing probative.
Robbins: There are forty-two distinct laser burns on Julie Stern's body.
Catherine: Lasers?
Robbins: Lasers cauterize the skin as they destroy tissue. Lack of blood and scabbing confirms their use, so best guess would be she recently underwent a cosmetic procedure.
(Quick flashback to: Julie Stern sits under the light and gets laser treatments.)
(End of flashback. Resume to present.)
Catherine: That's consistent with the hotel manager's statement. Said the vic had booked into the Safari Suite.
Robbins: Please tell me that has nothing to do with hunting wild game.
Catherine: Women who ... don't want their friends to know that they're freshening up will check into the suite while they heal.
Robbins: Well, five-star hotel's got to be cheaper than a hospital stay.
Catherine: So, could complications from this procedure have resulted in her death?
Robbins: No. Histamine levels are normal. There's no post-op infection. But look at her fingernails.
(He picks up her hand and shows the lines on the nails.
Catherine: Mees lines; indicative of heavy metal poisoning.
Robbins: I sent blood and hair samples to tox.
Catherine: Anything else?
Robbins: I'm not sure if it's probative, but I found ten cc's of urine in her stomach. Digestive system's intact. There are no bruises or abrasions in her mouth, so there's only one way it could have gotten there.
Catherine: Chugalug.
Robbins: Mm-hmm.
CUT TO:
[EXT. BECKMAN RESIDENCE - FRONT DRIVE -- DAY]
(Officers and other personnel gather outside the tented house. Grissom parks the SUV out on the street front. He, Greg and Sara exit the car.)
(They meet up with Brass who fills them in.)
Brass: (consulting his notebook) Okay. So two days ago the residence was tented for termites. This morning, the bug guys came to clear the house. They found the homeowner exterminated.
(They make their way under the crime scene tape toward the front house entrance.)
Brass: He's ID'd as Elliot Beckman, 42, lived alone. Body's in the family room.
Grissom: Who's been inside?
Brass: Just the exterminators and the paramedics who pronounced. They entered and exited through the front door. Good luck.
(Brass turns and leaves as Grissom, Greg and Sara walk into the tented house.)
[INT. BECKMAN RESIDENCE - LIVING ROOM - DAY]
(Grissom opens the front door. He turns on his flashlight and sees the d*ad insects on the floor.)
Grissom: Exterminators use sulfuryl flouride. It kills the bugs and then evaporates. Agro scientists call it the "safety" fumigant.
Sara: You know, I'm sure he would disagree.
(They approach the d*ad body, face down on the floor.)
(Sara and Grissom are nearest the body. Greg steps on a d*ad insect. The crunching sound is loud in the house. He kneels in front of something.)
Greg: Eyeglasses on the floor.
(Near the eyeglasses he finds a pool of throw-up.)
Greg: Got vomit?
(Quick flash to: [INT. BECKMAN RESIDENCE] The house fills with gas. Elliot Beckman is on his hands and knees crawling, gasping and coughing. He throws-up on the floor.)
(End of flashback. Resume to present.)
(Greg stands up and continues to look around the house. Sara opens her kit.)
[INT. NEXT ROOM - DAY - CONTINUOUS]
(Greg looks around in the other room and finds a blue feather on the desk and a cluster of blue feathers on the floor. He heads back into the living room.)
[INT. LIVING ROOM - DAY - CONTINUOUS]
Greg: What flies when they're on and floats when they're off?
Grissom: Feathers.
Greg: Long and blue. I'll bag 'em.
(Sara takes photos of the body.)
Sara: His cheek is bruised.
Grissom: What was he doing in here?
CUT TO:
[EXT. BECKMAN RESIDENCE - FRONT DRIVE - DAY]
(Brass interviews Ted Martin and Nate Allen.)
Ted Martin: Per the R&R's, we conducted a thorough walk-through before releasing the gas. No plants, people or animals were left behind.
Brass: All right, so you released the gas, then what?
Ted Martin: I took off.
Nate Allen: Can't stick around baby-sitting houses, you know?
Brass: Once you left the house, could Beckman have snuck back in in any way?
Ted Martin: Yeah, if he had a death wish. The house is toxic for the first twelve hours.
Nate Allen: Mm-hmm. Not to mention it gets wrapped up tighter than a Christmas present.
Brass: You know tented houses -- they're prime targets for burglars.
Ted Martin: But, we, uh, secure these on the outside of every doorknob. Clamshell locks. Nobody gets inside.
Brass: Yeah, says you.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - INTERVIEW ROOM -- DAY]
(Nick and Catherine interviews Dr. Tony Malaga, the plastic surgeon. He returns the morgue photo back to them.)
Dr. Tony Malaga: Yes, Ms. Stern was in my care.
Catherine: And when was the last time you saw her, Dr. Malaga?
(He reviews his file.)
Dr. Tony Malaga: Uh, I ablated her liver spots three days ago. Checked on her yesterday at the Mediterranean. I applied post-op ointment to prevent scabbing and infection.
(Quick flashback to: [HOTEL ROOM] Dr. Malaga uses a swab and treats Julie Stern.)
Dr. Tony Malaga: (V.O.) She seemed, uh ... in good spirits.
(End of flashback. Resume to present.)
(He smiles at Catherine.)
Nick: From the marks, it looks like you lasered over forty spots. In one session?
Dr. Tony Malaga: (to Catherine) Well, post op, the patient's skin is very red and raw. It's really quite ugly, to be blunt. Most patients prefer to minimize the amount of time they spend in recovery.
Catherine: So you supersized the procedure. You did it all in one sitting?
Dr. Tony Malaga: It's perfectly safe.
Nick: We'll need a copy of her medical records.
(Nick stares at Dr. Malaga. He turns to glance at Nick, but answers the question to Catherine.)
Dr. Tony Malaga: Oh, I'm sorry, but her file contains medical history of the family. I would be breaching doctor-patient confidentiality if I let you have that.
(Again, he smiles at Catherine. Catherine carefully brushes the hair away from her face and tentatively smiles back.)
Nick: Hey, uh, do you have a problem with me, doctor?
Dr. Tony Malaga: Excuse me?
Nick: Well, there are two of us here and you're only addressing my colleague, so...
Dr. Tony Malaga: Well, she's a very beautiful woman. You have Venus de Milo aesthetics.
Catherine: We'll be getting a court order for Ms. Stern's records.
Dr. Tony Malaga: I'd appreciate that.
CUT TO:
[EXT. BECKMAN RESIDENCE -- DAY]
(Sara examines the outside of the tented house. She snaps photos of the tent and of the clips holding the tent sides together.)
(She steps around the house and we see Greg also photographing the side of the house.)
Greg: Sara.
(Sara takes a photo and walks over to Greg.)
Greg: Looks like someone tampered with the tent.
(He pushes the tent aside to reveal a partially opened window.)
Greg: Window's open.
Sara: Well, exterminators leave some windows open to help circulate the gas. This could have been the victim's way in.
(Quick flashback to: Beckman pushes the window open. End of flash. Resume to present.)
Sara: Once inside, he was overcome by the fumes.
(Quick flashback to: The gas pump starts. Camera quick zooms following the hose from the pump truck, across the front lawn and to the inside of the house.)
(Beckman is inside the house as it begins to fill with gas. He coughs and crawls toward the door. He collapses.)
(End of flashback. Resume to present.)
Greg: He must be an idiot to go inside a tented house.
Sara: Maybe he forgot something. Figured the gas had dissipated.
Greg: Well, assuming you're right, and he went in and never left, shouldn't the window be open wider?
(Sara looks at the window and tries to open it. It doesn't catch and slides back down.)
Sara: It's old. The rope has snapped.
Greg: Okay. Now, Mr. Beckman never came out of the house. Why is there a trail of sand leading away from it and straight to the neighbor's house?
(Greg holds up the crime scene tape for Sara and they both head for the neighbor's house.)
Sara: That's a good question.
(Sara and Greg walk over and knock on the neighbor's back door.)
[INT. KENDELL RESIDENCE - BACK DOOR - DAY - CONTINUOUS]
(The neighbor is coughing as he answers the back door.)
Rory Kendell: Can I help you?
Sara: Yeah, we're with the crime lab. We're investigating the death of your neighbor next door.
Rory Kendell: Elliot? What happened?
Sara: That's what we're trying to figure out.
(He coughs.)
Greg: Have you been in his house recently?
Rory Kendell: Look, man, I've been laid up for the past two days puking my guts out. I haven't left my place.
Sara: Do you live alone, Mr ... ?
Rory Kendell: Rory Kendell. My wife bailed a few months ago.
Greg: Rory, have you felt dizzy or disoriented?
Rory Kendell: How would you know?
Sara: We're going to need a urine sample.
Rory Kendell: Why?
Greg: You may be suffering from sulfuryl fluoride gas poisoning. Urination's the only way for the poison to get out.
Rory Kendell: I got the flu.
Sara: If that's true, then your urine will be sulfuryl-flouride free.
Greg: But if you're lying, "you're in" big trouble.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB -- DAY]
(Nick is in the lab when Catherine walks in.)
Nick: What do Ozzy Osbourne, Iron Maiden and our victim all have in common?
(He hands her the file. Catherine looks through it.)
Catherine: Heavy metal.
Nick: Arsenic in her system, poisoning was chronic.
Catherine: Looks like it began approximately three months ago.
Nick: Techs collected the ingestibles found at her home. None were contaminated.
Catherine: Can tox confirm that arsenic poisoning was the cause of death?
Nick: Not yet. Until the quants come back, we won't know if the concentration was lethal.
Catherine: In poisoning cases, the k*ller's usually a relative.
Nick: Right. Someone with access to the victim.
Catherine: (reading through file) Next-of-kin is an only child, a son. Who has a vineyard in Pahrump.
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(Catherine and Nick interview Kevin Stern, Julie Stern's son.)
Kevin Stern: You sent a cop all the way to Pahrump to bring me in. What couldn't we discuss on the phone?
Nick: When's the last time you saw your mother?
Kevin Stern: It was about three months ago. She came to my vineyard for a visit.
Nick: How'd that go?
Kevin Stern: She left early. Said she felt sick.
Catherine: But you didn't think so.
Kevin Stern: Mom was uncomfortable around my four-year-old.
Nick: Why's that?
Kevin Stern: He made her feel old.
(Nick looks away and nods.)
Catherine: "Grandma" was a dirty word.
Kevin Stern: She could hardly look at him. It's nice, huh?
Nick: Mr. Stern, I also did a background check and you recently maxed out three credit cards.
Kevin Stern: My vines contracted black rot last spring. It's an expensive problem. Why are you checking my credit?
Nick: You're weren't worried about paying off your debt, were you?
Kevin Stern: What the hell are you implying?
Catherine: You're about to come into some money.
Kevin Stern: When my dad died, he left my mother boatloads of cash. On her last visit, I asked her for a loan.
Catherine: Let me guess -- she turned you down.
Kevin Stern: She'd spend thousands on designer clothes, jewelry, plastic surgery ... but wouldn't lend me a dime.
Nick: Do you use pesticides on your grapevines?
Kevin Stern: Yeah. Organic's a fad.
Nick: We're going to need a sample of that.
Kevin Stern: Whatever. (He stands up ready to leave.) We done?
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins goes over the autopsy findings with Sara.)
Robbins: This one's easy -- he drowned.
Sara: What?
(Camera zooms down toward the victim's mouth.)
(Quick CGI POV to: Inside the victim's mouth, the camera follows the path of the gas down through the victim's trachea and into the lungs.)
Robbins: (V.O.) The termite fumigant entered his bronchioles causing his lungs to fill with fluid.
(The lungs fill with fluid.)
(End of CGI POV. Resume to present.)
Robbins: COD is pulmonary edema and respiratory arrest.
Sara: Just like a drowning victim. Doc, tell me about the bruise on his cheek.
(Camera zooms in for a close-up of the bruise on the victim's cheek.)
ROBBINS; Zygoma's fractured. (He points.) Check the x-ray. Given the force needed to cause this type of damage, the injury's more consistent with inflicted blunt force trauma than a simple fall, if that's what you're asking.
CUT TO:
[INT. CSI - LAB - DAY]
(Catherine goes over the lab results with the technician Travis Watson.)
Catherine: (reading) Arsenic is the active ingredient in the vineyard pesticide, but you're ruling it out as the source of the poisoning?
Travis Watson: The pesticide is a copper-arsenate mix. It's chemically different than the arsenic ingested by Ms. Stern. And, FYI, that pesticide was outlawed by the EPA years ago. This guy is poisoning the soil.
Catherine: So he's not a k*ller, he's a polluter.
Travis Watson: He should still be arrested, if you ask me. People are saying that you found urine in the vic's stomach.
Catherine: Not sure if it's hinky or kinky.
Travis Watson: (laughs) When I used to play ball for the Stars, we would pee on our palms during spring training to toughen them up, you know.
Catherine: Remind me never to shake your hand.
(Catherine turns to leave.)
Travis Watson: I'll put on a glove first.
Catherine: (smiles) That's always a good idea.
(Travis chuckles.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Sara is at the computer running a search through the database when Greg walks in.)
Greg: Just came from tox. Rory Kendell's urine analysis is still pending. I know we're not supposed to get ahead of the evidence here, but if he's not guilty ...
(Sara picks up the print lifts and interrupts Greg.)
Sara: I lifted several prints off the clamps you found by the open window. I AFIS-matched them to a neighbor. The guy's on file for a D&D in '82.
Greg: It's Rory, right.
Sara: No. Zach Alfano.
Greg: Who?
(Greg turns around to look at the computer screen.)
Sara: He's the neighbor on the other side. I called his house. His daughter said he was picked up in an ambulance two days ago. Apparently, he was vomiting, he couldn't breathe, he passed out. Brass is taking a statement.
(She puts Zach Alfano's photo up on the screen.)
Sara: He's still in the hospital.
CUT TO:
[INT. HOSPITAL - ZACH ALFANO'S ROOM -- DAY]
(Brass interviews Zach Alfano.)
Brass: So why didn't you contact the police?
Zach Alfano: (hoarsely) I had... (He clears his throat.) I had a tube down my throat till a half hour ago.
Brass: All right, let me get this straight -- so you came in from a run and then what happened?
Zach Alfano: I heard screaming from inside the house.
(Quick flashback to: Zach Alfano runs past the house on his way to his house. He hears a voice calling out from inside the tented house.)
Elliot Beckman: (o.s.) Someone help me!
(Zach crawls into the house through the window.)
Zach Alfano: (V.O.) ... by the time I got to Beckman, he'd already passed out.
(Zach tries to drag the body across the room.)
Zach Alfano: (V.O.) ... I started to choke on the gas, so I got out of there.
(Zach gets out of the house without Mr. Beckman.)
Zach Alfano: (V.O.) ... Ran to my neighbor's house, Rory Kendell's, for help.
(He runs over to the Kendell's house and rings the doorbell. Next to the side of the house, he throws up into the bushes.)
(End of flashback. Resume to present.)
Zach Alfano: I remember my daughter calling 911. Next thing I know ... I'm here.
(He coughs.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. KENDELL RESIDENCE - FRONT PORCH - DAY]
(Greg fingerprints the front door. He tape lifts a print off the doorbell.)
CUT TO:
[INT. BECKMAN RESIDENCE - LIVING ROOM - DAY]
(Sara stands in the center of the living room looking at the rug on the floor.)
(Greg walks in and reports.)
Greg: The print on the doorbell is a match to Zach, and I found vomit in the bushes. Both support his account. Sara?
Sara: We missed something.
Greg: What?
Sara: The directionality of the floor rug. The center of the rug is pointing towards the side window.
(She looks back at the window.)
(Quick flashback to: As Zach pulls Beckman, the rug is scrunched up.)
Sara: (V.O.) Also confirms Zach Alfano's story.
(End of flashback. Resume to present.)
Sara: We're back to Rory Kendell. If he didn't leave the house for two days, how come he didn't answer the door when Zach Alfano rang the bell?
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(Sara and Brass interview Rory Kendell.)
Rory Kendell: I was sick. I figured it was some girl scout selling cookies.
Sara: We got back the results of your urine analysis. There was sulfuryl fluoride in your system. You were at Elliot's house.
Rory Kendell: No.
(Sara sits down.)
Sara: Here's a thought -- after the exterminators left, you met up with Elliot. You had a fight, you knocked him out, and you dragged him into the house through the side window.
Brass: You figured the fumigation would cover your tracks, that we'd chalk it up to an accident.
Rory Kendell: Why would I want to k*ll Elliot?
Brass: You've had five noise complaints against him last year.
Rory Kendell: That's hardly reason to k*ll somebody.
Brass: Or is it a reason to commit as*ault? He filed charges against you last May.
Rory Kendell: I knocked on his door, and I asked him to turn down that classical crap. He refused. I overreacted. I apologized. Charges were dropped. (He looks at them.) I swear.
Brass: Save the swearing for trial. You're under arrest.
(He starts coughing.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Renita Loakes' body is on the morgue table.)
Dr. Robbins: (V.O.) Renita Loakes, 38, from Seven Hills. New case.
(Robbins picks up the Kn*fe.)
Dr. Robbins: (V.O.) Started as a routine autopsy.
(He starts to make the Y incision as we get an extremely good look of the Kn*fe cutting through the skin.)
Dr. Robbins: (V.O.) She was shopping at the Venetian, keeled over at Lacoste. Physically, she was in excellent condition, ...
(Dissolve to: Top view down of Robbins pulling out the cut torso piece. He touches the squishy organs with the tip of his finger.)
Dr. Robbins: (V.O.) ... so I figured spontaneous aortic dissection or maybe pulmonary embolism.
(End of voice over. Resume to present.)
Dr. Robbins: Then I noticed mees lines.
(Catherine leans forward and looks at the victim's hands. Close-up of her fingernails.)
Catherine: Ah ... just like Julie Stern.
(Flashback to Voice over of the autopsy exam: Robbins continues his autopsy. Close-up of a "Toluidine Blue" bottle.)
(Robbins picks up the bottle and starts to paint the victim's face Toluidine Blue. Several dissolves and Robbins finishes.)
Dr. Robbins: (V.O.) I spotted the tiny pinpricks on her face, so I painted her with toluidine blue to highlight the marks.
(End of voice over. Resume to present.)
(Robbins hands a drawing of the marks on the face to Catherine for her and Nick to look over.)
Robbins: Have a look at this.
(He hands Catherine a magnifying glass.)
Robbins: Now check out Renita's face.
(Camera zooms in for a close-up of the marks on the face. She compares it to the drawing.)
Catherine: An exact match.
Robbins: It's an acupuncture facial designed to reduce the signs of aging.
(Flashback to Voice over of the autopsy exam: Robbins digs out the victim's stomach to get its contents.)
Dr. Robbins: (V.O.) For only the second time in my career, in the space of two days, I found urine in the decedent's stomach.
(End of voice over. Resume to present.)
Nick: (nods) That's more than a coincidence.
Catherine: Two women, both fighting the toll of time, die prematurely. Why?
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. LOAKES' APARTMENT -- DAY]
(The front door opens.)
Officer: This is Renita's apartment.
Nick: Thanks.
Officer: You bet.
(The Officer closes the door behind them. Nick and Catherine walk into the apartment. Nick flicks the light on.)
Nick: Dr. Robbins did say Renita was in good shape.
(He notices the gym equipment and calls Catherine's attention to it.)
(Catherine notes the bottles on the table. She puts her kit down to look at the them.)
(Nick takes photos of the books on the table: STOP AGING NOW!, THE SOUTH BEACH DIET, TAI CHI and THE HAMPTON'S DIET.)
(Catherine finds Renita's diary on the table.)
Catherine: "Supplement diary." (reads) "Daily youth regimen: Coenzyme q-10--
50 mg; bee pollen-- 500 mg; ...
(Nick puts the book down and walks over to Catherine.)
Catherine: ... grape seed-- 200 mg; deer antler drops; chinese mountain ant extract; tincture of wild reishi." And that's just for breakfast.
Nick: How'd she have room for pancakes?
(Nick picks up a bottle.)
Nick: Do you think these supplements really do any good?
Catherine: Why are you asking me?
Nick: I'm just asking a question, Catherine.
(Catherine closes the journal and puts it aside.)
Catherine: Scientifically, there's not a whole lot of evidence.
(She walks over to the vanity table and looks at its contents. In the background, Nick snaps photos.)
(Catherine picks up the tube of StriViactin-SD lotion. Under the price tag reads $135. She puts it down and picks up the small container of facial crème. The price tag reads $145.)
(Nick walks up to her.)
Nick: More lotions and potions.
Catherine: You gonna ask me if this stuff works, too?
Nick: No. I'm gonna process the bathroom.
(Nick heads for the bathroom. Catherine continues to survey the vanity table. In front of the photo of Renita Loakes, she picks up a small bottle and looks at it.)
[INT. LOAKES' APARTMENT - BATHROOM - DAY - CONTINUOUS]
(Nick walks into the bathroom and sees a wine glass on the sink counter next to the toilet. On the bowl, there is a stainless steel pan. Nick snaps photos of the toilet.)
Nick: Hey, Catherine.
Catherine: (o.s.) Yeah?
(He snaps a photo of the wine glass.)
Nick: You might want to come take a look at this.
(Nick picks up the wine glass and sniffs at it.)
(Catherine walks into the bathroom. She sees the bedpan on the toilet.)
Nick: Urine in the bedpan and in the glass.
(Quick flashback to: [BATHROOM] Renita Loakes empties the urine from the bedpan into the wine glass. She drinks it down. End of flashback. Resume to present.)
(Nick looks at the wine glass.)
Nick: She liked it fresh.
(Catherine looks horrified.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg goes through the database looking for a match to the blue feather. Sara walks in.)
Sara: How's it going?
Greg: Ornithological database just ID'd the feathers I collected at the crime scene. (He hands the evidence bag with the feathers to Sara.) Hyacinth macaw. So how come you and Brass didn't involve me in the interrogation?
Sara: Greg, you still have the solo to complete, and, technically, you're still a trainee, but you're doing a great job.
Greg: Thanks.
(Sara turns and leaves. Greg goes back to the computer.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - DAY]
(Grissom is mixing up a concoction when Sara walks in.)
Sara: What are you doing with potassium nitrate?
Grissom: I'm making a b*mb. Two b*mb actually.
(He takes a scoop of sugar out of the sugar bag.)
Sara: And sugar. You're making sweet b*mb?
Grissom: I'm making smoke b*mb.
[INT. BECKMAN'S RESIDENCE - LIVING ROOM -- DAY]
Grissom: Ready?
(Grissom and Sara pull down their face masks. They kneel down in front of two canisters.)
Grissom: One, two, three.
(They each uncover the canisters and the room starts to fill with a white smoke.)
(Various dissolves of the white smoke filling up the room as they wait. Sara and Grissom walk around the room.)
CUT TO:
[EXT. BECKMAN'S FRONT YARD TO KENDELL'S BACK YARD - DAY -- CONTINUOUS]
(Greg stands in the bedroom at the back of the house looking around for something. He passes the hallway and sees white smoke leaking out from under the closet door.)
(The f*re alarm rings. Greg opens the closet and finds white smoke leaking into the house from an opening at the bottom of the closet.)
Greg: (to phone) Grissom. We got smoke. Coming from an uncapped electrical conduit.
(Camera zooms into the uncapped electrical conduit and follows the wires into Beckman's house.)
[INT. BECKMAN'S RESIDENCE - LIVING ROOM -- DAY]
Sara: Hey, I found it!
(Sara finds the opposite opening in the wall. She turns around to report to Grissom as he walks into the living room.)
Sara: It's right behind the speaker. Music traveled through the conduit directly into Rory's house. No wonder he was so pissed off.
Grissom: At one time, both houses must've been connected to the same electrical meter.
Sara: A single property. How did you figure that?
Grissom: We found fumigant in Rory Kendell's urine. But he claimed he was never in the victim's house.
Sara: So you devised the experiment to prove he was lying?
Grissom: Exactly. But, he was telling the truth.
Sara: So now what?
CUT TO:
[EXT. -- DAY
(Brass and Grissom interview Nate Allen and Ted Martin.)
Brass: So you're the last one to see Elliot Beckman alive. So did he drive away from his house?
Ted Martin: Oh, we saw him walk away. His, uh, his car was in the shop or something. He was staying down at some motel down the street.
Brass: And that's the last time you saw him?
Ted Martin: Yeah.
Nate Allen: No. Ted is our, our gas-man, so he stayed behind to release the fumigants. I headed on over to the next job. Saw the dude on the side of the road, so I-I gave him a lift to the motel. (chuckles) That bird crapped in my truck.
Grissom: Can you describe the bird?
Nate Allen: It was blue.
Grissom: What motel?
Nate Allen: Uh, four aces, down there on boulder highway and water street.
Grissom: Does it ever bother you that you make your living k*lling insects?
(The two fumigators stare at Grissom.)
Ted Martin: What kind of question is that?
CUT TO:
[INT. CSI - LAB -- DAY]
(Catherine looks up the website.)
URINE THERAPY
Nature's Elixir for Good Health
JESUS' FOUNTAIN OF YOUTH
Catherine: (reads) "If you believe in me, you will never thirst. Rivers of Living water shall flow from your bellies. John 7:38."
Nick: (nods) You getting religious on me?
Catherine: Apparently, some fringe health professionals have used the biblical passage as justification for urine therapy.
Nick: Drinking your own pee?
Catherine: I ran an Amazon search, I found fifteen books touting urine's supposed health benefits, including its magical powers to reduce the signs of aging. Listen to this.
Nick: It is a perversion of medicine, not to mention the bible. I don't get it. These women-- the time, the pain, the effort. For what? Smoother skin? Please.
Catherine: Make a muscle, Nicky.
Nick: What?
Catherine: Roll up your sleeve, make a muscle.
(Nick rolls up his sleeve and makes a muscle. Catherine feels the muscle.)
Catherine: (impressed) Oh. Now, how much time and effort went into this? I'm gonna guess five days a week a the gym, low carb, low fat, slow burn, and for what, Nicky? For what?
Nick: That's a good point, but it's not the same thing.
Catherine: No. It's nice, though.
Nick: (chuckles) Well, thanks, I'm not even flexing it yet either.
Catherine: Really? But it's rock hard.
(David Phillips walks up to the door and clears his throat.)
David Phillips: Sorry, I didn't mean to interrupt ... barge in. I ... normally would've knocked, but the door isn't ...
Nick: No, no, it's all right, Super Dave. Nice purse.
David Phillips: Oh, uh ... paramedics just delivered it.
(He hands the black bag to Nick.)
David Phillips: Got separated from Ms. Loakes when she was loaded into the ambulance.
Nick: Anything else?
David Phillips: Oh, no, no.
Catherine: Thanks, David.
David Phillips: Sure.
(David Phillips leaves. Nick opens the bag and dumps its contents on the table. Catherine finds a spray bottle. The instructions read:
DIRECTIONS
One Spray twice a day under the tongue
TO REORDER
Contact Dr. Tony Malaga (702) 555-0195
Catherine: "Dorian Spray." "One spray twice a day under the tongue."
(She shows the label to Nick.)
Catherine: Hey, check out that second ingredient.
The label reads:
INGREDIENTS: VITAMIN B6, ARSENICUM, VITAMIN E, ZINC, SELENIUM, GLYCINE, LYSINE, ORNITINE, DEIONIZED WATER, GLYCERINE AND GINSENG.
Nick: (reads) "Arsenicum." Holistic for arsenic. An oral spray? "For refills, contact Dr. Malaga."
CUT TO:
[INT. SAGEBRUSH SPA - MAIN LOBBY -- DAY]
(Catherine and Nick walk into the lobby and head for the reception desk.)
Nick: This is a doctor's office?
Catherine: According to Vartann, Dr. Malaga bought the spa two years ago and incorporated his practice.
Receptionist: Hi, and welcome to the sagebrush spa.
Nick: Thanks. I'm Nick Stokes. This is Catherine Willows. We're with the crime lab. We're here to see Dr. Malaga.
Receptionist: Is he expecting you?
Catherine: Just tell him we're here.
Receptionist: (to phone) Dr. Malaga.
(Nick picks up a brochure and looks at it. It reads:
"JOURNEY TO ---
relaxation is enhanced by a combination ...
therapy. Experience the ultimate facial that ...
and soothe. Includes hand and foot treatment ...
and shoulder massage. 110 minutes $160 +
BOTOX INJECTIONS- The result ...
Administered treatment is a temporary res -
Wrinkles between the eyes. Restores skin ...
Appearance. $500.
RESTAYLANE INJECTIONS- These ...
Moderate to severe wrinkles around the no ...
Volume and fullness to skin. $500
Nick: Botox injections-- 500 bucks. Restaylane injections-- 500. Micropeel--
300.
Catherine: (shakes her head) That's my car payment.
Nick: You don't actually think you need this stuff, do you?
Catherine: It's Vegas, Nicky. Everybody needs it.
Nick: You don't.
(She smiles at him. The title of the book displayed catches her eye: UNRINE THERAPY: Nature's Elixir for Good Health.)
Catherine: (reads) "Urine therapy. Nature's elixir ... "
(Dr. Tony Malaga appears.)
Dr. Tony Malaga: My clients swear by it. Let's go to my office.
(He turns and leads them to his office. They follow.)
Catherine: You sold Dorian spray to both Renita Loakes and Julie Stern.
Dr. Tony Malaga: Yeah. It's my own formulation, and I can assure you that it's perfectly safe.
Nick: Doctor, you are aware that arsenic is a poison, right?
Dr. Tony Malaga: So is botox. But 2.2 million people had injections last year. And foxglove is a deadly plant that also doubles as a cardiac medication.
Catherine: I'm familiar with digitalis.
Dr. Tony Malaga: Well, arsenic, in extremely small doses, fights premature aging by improving skin elasticity.
[INT. SAGEBRUSH SPA - DR. MALAGA'S OFFICE - DAY -- CONTINUOUS]
(The door opens and they walk inside.)
Dr. Tony Malaga: Look, even if Ms. Loakes and Ms. Stern drank a whole case of that spray, the arsenic content wouldn't be lethal.
(Nick notes the Degree from Western Las Vegas University hanging on the wall.)
Nick: Well, they teach you about arsenic in medical school?
Dr. Tony Malaga: I did a course in holistic medicine a couple of years ago.
Catherine: Did you also take a course in spa management?
(Dr. Malaga turns on the computer laptop on his desk. He photographs Catherine as she sits across from him.)
Dr. Tony Malaga: Medical School left me with a lot of debts and with HMOs cutting their fees, my practice was barely breaking even.
(As he talks, he maps out various improvements on her facial features.)
Dr. Tony Malaga: You know, th-the whole profession is changing.
(He grids the digital image of Catherine and starts to make adjustments to the image – lifts, nip here, tuck there.)
Dr. Tony Malaga: Doctors have to seek out their patients. The HMOs don't recognize aging as a disease, so I'm free to charge whatever the market will bear.
Catherine: Hang on. You consider aging a disease?
(Nick sits down on the couch behind Catherine. Dr. Malaga turns the laptop monitor off.)
Dr. Tony Malaga: With a 100% mortality rate. Aging wreaks havoc with every one of our systems: Respiratory, cardiovascular, nervous, musculo-skeletal and immune.
Catherine: But you're not treating the body. You're battling crow's feet.
Dr. Tony Malaga: (chuckles) Righteous indignation. That's one step before acceptance.
Catherine: Acceptance of what?
Dr. Tony Malaga: What I do. The, uh ... procedures and products. You've seen the ads in all the beauty magazines. You've studied all the before and after photos. It's okay, Ms. Willows. We'll all get older, and nobody wants to look their age. I give you what you need. I give you what you want.
(What he says affects Catherine. She doesn't reply.)
Nick: So, what Ponce de Leon couldn't find, you did, huh? The Fountain of Youth. Snake oil in a fancy bottle.
Dr. Tony Malaga: Medicine is about hope. And like any good doctor, that's what I sell.
Nick: Medicine is about healing. Hope is about prayer. That should be free.
Catherine: We need Ms. Sterns' and Ms. Loakes' medical records. And, uh, this time, we've got a court order.
(Catherine hands the warrant to Dr. Malaga.)
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(Brass walks into the break room where Sara and Greg sit at the table.)
Brass: Sherlock Holmes and Dr. Watson, I presume?
Sara: What do you need, Brass?
Brass: Well, it may be elementary, but I have a conundrum. I just got back from the Four Aces. The hotel manager said Elliot tried to check in with his bird. The guy turned him down because he didn't have a cage, so supposedly Elliot went home to retrieve it, but neither he nor the bird ever returned.
Greg: Looks like we need to find that bird.
CUT TO:
[INT. BECKMAN RESIDENCE - LIVING ROOM -- DAY]
(The door opens. Greg and Sara walk inside. They immediately split up and look around the area. Greg heads for the hallway to check out the bedrooms; Sara heads for the kitchen.)
[INT. BECKMAN RESIDENCE - KITCHEN -- DAY]
(From an open storage cabinet, flies buzz.)
Sara: Greg.
(Greg walks up next to Sara and sees the flies. Lots and lots of flies.)
Greg: Oh. There were no flies in here when we processed the house.
(Sara and Greg head for the c
Sara: Fumigation kills all household insects, and it takes time for new flies to find a portal of entry.
Greg: Well, bird could've flown up somewhere and died.
(The flies are coming from the top shelf in the pantry. Sara gets a step ladder to check it out. She finds a d*ad rat.)
Sara: Carcass with a fresh colony of maggots. The bird's not here; it's a d*ad rat.
Greg: Which means the macaw was either bird-napped or he flew the coop.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. BUY BUY BIRDIE -- DAY]
(Grissom walks into the bird shop and finds the Bird Shop Manager trying to teach the Cockatoo to speak.)
Bird Shop Manager: I love you. Bird Shop Manager: I love you. Bird Shop Manager: I love you.
Grissom: Teaching him to speak?
Bird Shop Manager: Although the cockatoo is intelligent, birds don't speak. To speak requires a cognitive ability to understand, which they don't. They just imitate. And Edweena is a she. How can I help you?
Grissom: I'm looking for a macaw.
Bird Shop Manager: Well, you came to the right place. "Buy Buy Birdie"'s the only exotic bird store in Clark County.
Grissom: Has anyone tried to sell you a macaw in the last few days?
Bird Shop Manager: No. Why?
Grissom: Well, I'm trying to locate a missing blue hyacinth.
Bird Shop Manager: Very rare. In my whole career, I've only sold one.
Grissom: Do you remember the buyer's name?
Bird Shop Manager: Sure. Mr. Beckman. He's in here all the time. Bob likes to eat cashews out of my pocket. Mr. Beckman doesn't go anywhere without Bob.
Grissom: Mr. Beckman, um, died three days ago. We found these ... feathers in his house.
(He shows the Bird Shop Manager the photo of three feathers taken at the scene.)
Bird Shop Manager: Tail feathers. That's not good.
Grissom: Why is that?
Bird Shop Manager: (worriedly) Macaws only molt one tail feather at a time. Get a pile like this, someone yanked. Real hard.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - LAB -- DAY]
(Nick looks at the file results.)
Nick: So, Dr. Malaga was telling the truth -- both women were poisoned. But that's not what k*lled them.
Travis Watson: Yeah, so we can rule out arsenic as a cause of death.
(Catherine is sitting at the counter looking at the tube of blood.)
Catherine: Hey, Travis? These are the vials from our decedents, right?
(He and Nick walk up to her.)
Travis Watson: Yeah, I just finished with them yesterday. Why?
Catherine: Well, the red blood cells haven't separated from the serum.
Travis Watson: Is that relevant?
Catherine: Maybe. I mean, normally, we'd see a yellow band of serum on top of the crimson blood. These vials are solid crimson.
Nick: Which means the red blood cells have lysed.
(Quick CGI POV of: Close-up of the red blood cells in the blood pop.)
Nick: (V.O.) Something caused the red blood cells to lyse, or pop. The hemoglobin from inside those cells infiltrated the serum.
(End of CGI POV. Resume to present.)
Nick: If a sufficient number of red blood cells lyse, a person dies.
Travis Watson: So, what caused the lysis?
Nick: We answer that question, we solve this case.
(Catherine puts the tube back on the rack.)
CUT TO:
[INT. CSI - HALLWAY - DAY - CONTINUOUS]
(Catherine and Nick walk through the hallway.)
Catherine: So, the women were thirty years apart in age. They lived on different sides of town. They probably didn't know each other. But they both drank their own urine and were patients of Dr. Malaga's.
Nick: Well, were either one of their procedures sufficiently invasive as to compromise their blood?
Catherine: (looks through the file) Well, last monday, two days before liver spot removal, Ms. Stern had a body wrap and ... hydrogen peroxide therapy.
Nick: (looks through Loakes' file) Ms. Loakes also underwent hydrogen peroxide therapy... on the same day? Here's the menu of services provided by the spa.
(He looks at the brochure.) Let's see ... "hydrogen peroxide therapy -- a three percent solution is injected directly into a client's vein, bathing the red blood cells in nourishing oxygen, boosting the immune system and reversing the signs of aging."
Catherine: Question is, is it deadly?
Nick: Well, let's find out. I'll get the hydrogen peroxide.
Catherine: I'll get the blood.
Nick: Okay.
CUT TO:
[INT. CSI - LAB -- DAY]
(Grissom dusts one of the blue bird feathers. He finds a print. He takes a picture of the print on the feather, then tape lifts the print off the feather.)
Cue Sound: (PRELAP) KNOCKING ON DOOR
[INT. MARTIN RESIDENCE -- DAY]
(Ted Martin answers the door. He finds Brass, Sara and Grissom outside.)
Brass: Mr. Martin, we have a warrant to search your apartment. Please, stay with me. Stay ahead of me.
(They walk into the house.)
Ted Martin: Look, if you guys tell me what you're looking for, maybe I can help you out, um ...
Brass: Look, shut up and stay still.
(Sara opens a drawer in the kitchen. She opens a d cabinet and continues to look around. She opens the counter drawer and finds it filled with watches.)
Sara: Brass? How many watches do you own?
Brass: Couple of sport, couple of dress. Why?
Sara: Mr. Martin has about twenty here.
Brass: Twenty?
Ted Martin: I'm a collector.
(She picks up a woman's watch.)
Sara: This is a little small for your wrist, don't you think?
(She opens another drawer.)
Sara: Several rings, a necklace, cufflinks and a gold pen. You know, these things all have one thing in common -- you can kind of slip them into your pocket. This is engraved -- "Joan Arryington." I wonder what the odds are that Mrs. Arryington is a client of Oden Pest Control.
[INT. MARTIN'S APARTMENT - BEDROOM - DAY]
(Grissom looks through the night stand drawers. He hears a bird squawk come from the bathroom.)
[INT. MARTIN'S APARTMENT - BATHROOM - DAY -- CONTINUOUS]
(Grissom walks into the bathroom and opens the shower. He finds Bob in his cage.)
Grissom: (smiles) Hello, Bob.
(Bob squawks.)
[INT. MARTIN RESIDENCE - LIVING ROOM -- DAY]
(Grissom walks out with the cage.)
Grissom: Look what I found.
(Bob squawks.)
Sara: I think we all know what happened here. After your buddies left, you were poking around Mr. Beckman's house. But he surprised you.
(Quick flashback to: Elliot Beckman walks back to his house with Bob on his arm.
Elliot Beckman: (mutters) A cage! I can't believe that manager.
(Mr. Beckman walks into the house.)
(In the study, Ted Martin goes through the desk when Elliott Beckman walks in.)
Elliot Beckman: What the hell are you doing?
Ted Martin: Just getting ready for the fume.
Elliot Beckman: You were rifling through my stuff ...
Ted Martin: Oh, no, no, no, no, man. I was just making sure that everything, uh, was, is secure.
Elliot Beckman: I'm going to call the police.
(Mr. Beckman walks into the living room and picks up the phone.)
Elliot Beckman: (mutters) He can't do that. No, he can't.
(Ted hits Elliot Beckman in the face. Bob flutters around. Ted Martin grabs Bob.)
(End of flashback. Resume to present.)
Sara: Somehow, you managed to get the bird in the cage, seal the tent and release the gas.
(Quick flashback to: Ted Martin turns the gas pump on. The gas starts to fill the house. Elliot Beckman comes to and starts suffocating on the gas. He tries to crawl along the floor. He drops his glasses and continues to crawl on the floor.)
Elliot Beckman: Someone help me!
(Elliot Beckman continues to cough.)
(End of flashback. Resume to present.)
Brass: Despite his neighbor's best efforts, he was a goner.
Ted Martin: I'm not admitting to anything.
Grissom: You don't have to, Ted. We know why the caged bird sings.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - LAB -- NIGHT]
(Nick and Catherine sit side-by-side at the table.)
Catherine: So, hand me the syringe with the three percent concentration.
(Nick hands Catherine the first syringe.)
Nick: Here you go.
(She injects it into the tube of blood.)
Catherine: No effect.
(Nick fills the second syringe.)
Nick: Upping the concentration of hydrogen peroxide to ... seven percent.
(He hands her the syringe. She injects the tube of blood. She sets it aside.)
Nick: Okay.
(Nick fills the next syringe.)
(Dissolve to: Catherine holds the tube of blood.)
Nick: Fifteen percent ...
(She puts that tube back in the holder. Catherine picks up the next test tube.)
(Camera moves slowly across the row of Hydrogen Peroxide concentrates and stops at the final bottle: 30%.)
(Nick picks it up and fills the syringe. He hands it to Catherine.)
Nick: Concentration level 30%.
(Catherine injects the syringe into the test tube.)
(Quick CGI POV of: The red blood cells pop and burst. End of CGI POV. Resume to present.)
Catherine: Lysis.
Nick: Concentration at 30%. That's ten times the three percent specified on the menu.
Catherine: The death was in the decimal.
CUT TO:
[INT. SAGEBRUSH SPA - DR. MALAGA'S OFFICE - NIGHT]
(Catherine meets with Dr. Tony Malaga and his lawyer, Adam Matthews.)
Adam Matthews: Dr. Malaga has not committed a crime.
Catherine: He injected a lethal batch of hydrogen peroxide into two of his patients.
Adam Matthews: Even if that were true, you may have uncovered a very tragic accident, a very horrible mistake -- but certainly nothing criminal, or we'd be downtown right now. No A.D.A.'S going to prosecute. The procedures were elective. Catherine, you don't need me to tell you how many people die every day as a result of physician error.
Catherine: Well, I am not talking about other people. I'm talking about Julie Stern and Renita Loakes.
Dr. Tony Malaga: Yeah, both of whom looked in the mirror ... and wanted to turn back time.
Catherine: They put their trust in you because you're an M.D. Your professional degree made them feel safe.
Dr. Tony Malaga: All procedures carry a risk.
Catherine: Is that what you tell yourself? And when you screw up again, what happens?
Adam Matthews: His malpractice premiums go up.
Catherine: Oh. I'll be notifying the victims' families. You can count on a civil suit.
(Catherine leaves.)
[INT. SAGEBRUSH SPA - HALLWAY - NIGHT]
(Catherine walks out of the office and heads down the hallway. She passes a Spa Worker on her way out.)
Worker: Good night.
Catherine: Good night.
(Catherine walks up to the mirror and stares at her reflection.)
(Camera holds on Catherine.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x04 - Crow's Feet"} | foreverdreaming |
DUE TO ADULT CONTENT, VIEWER DISCRETION IS ADVISED
COLD OPEN.
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
INTERCUT WITH:
[INT. BEDROOM -- NIGHT]
(Various flashes of a Man and a Woman nearly-naked and kissing passionately.)
[EXT. DRIVEWAY - NIGHT]
(A man quickly walks out from his driveway, his wife struggles to keep up with him.)
Wife: Honey, slow down.
(He pauses for a moment as she catches up with him. They keep going. She's trying to put her heels on as they cross the street to the neighbor's house.)
Wife: Hold on a second. Hold on.
Husband: (hurrying) Leave it alone. We're already late.
Wife: Well, if you hadn't told the sitter the wrong time ...
(They're nearly there.)
Wife: How do I look?
(He doesn't look.)
Husband: You look great.
(They continue on to the neighbor's house.)
[INT. DOOR - NIGHT -- CONTINUOUS]
(The doorbell rings. Erin Brady, the Hostess of the party, opens the door. She's wearing a see-through black teddy as she greets her guests. There are others at the party also semi-dressed.)
Erin Brady: Well, hey.
Husband: Sorry we're late.
Erin Brady: No, I'm so glad you guys could make it.
(She reaches out and grabs the bottle of champagne the Husband is holding. She turns and motions them inside the house.)
(The party is well under way. The guests are half-naked and making-out on the couches and wherever there's space.)
(As the hostess heads into the house, a woman party guest is leaving.)
Party Guest: Hey, sweetie, I gotta run. Thanks for everything.
Erin Brady: Gotta be safe.
Party Guest: (to the husband and wife) Bye-bye.
(The party guest leaves as the hostess heads further into the house.)
Erin Brady: You guys want a drink?
Wife: Mm ... I'll have champagne.
Erin Brady: Coming up.
(The Husband reclines on the couch next to a woman in her black, lacy underwear. The woman smiles and meets the wife as the wife heads off in a different direction leaving her husband with the woman.)
(On the dining room table, a man and a woman, party guests, are necking.)
(The Wife continues walking through the house. She stops in the kitchen and greets another couple. In the middle of the kitchen, she removes her dress.)
[EXT. HOUSE - POOLSIDE - NIGHT]
(A woman jumps into the pool.)
(At poolside, a Man is kissing a Woman on his right. He turns and kisses the woman on his left.)
(The party continues.)
CUT TO:
[EXT. SIDEWALK - NIGHT - CONTINUOUS]
(A dog barks.)
[INT. HOUSE - NIGHT - CONTINUOUS]
(Inside, the party continues.)
(A woman screams.)
(Everyone stops and looks in the same direction.)
WOMAN Guest: Did you hear that?
CUT TO:
[EXT. FOUNTAIN - NIGHT]
(There's a d*ad woman's body in the water fountain in the center of the road. David Phillips leans over the edge of the fountain as he waits for the water to be turned off.)
(Brass walks up to him.)
Brass: What's the matter? Can't do your work? (yells) Hey, fellas, what's the holdup? Come on. I told you half an hour ago turn the damn fountain off! Give me a break.
(Together, Grissom and Sara duck under the crime scene tape on the way to the fountain. Just outside the tape are the party-goers. Grissom puts his kit down.)
Brass: (to Grissom) You can't find good help.
Grissom: As Lord Byron once said, "In the desert, a fountain is springing."
Brass: Well, this one sprung a d*ad woman ... Vanessa Keaton. She lived over there. (He indicates the house nearby. Grissom turns to look.) A neighbor walking her dog found her.
(Grissom takes note of the crowd around the tape.)
Grissom: This is a pretty well-dressed crowd for this time of night.
Brass: Well, you know, it's a shindig. 43 Niagara Circle. The vic was there with her husband. Who left the party early. That's Dan Keaton, and that's his daughter Amy.
Grissom: You know, you might want to sneak some photos of this crowd.
Sara: A gated community, middle of nowhere -- if this wasn't an accident, they're all suspects, aren't they?
(Sara turns around and snaps photos of the people in the crowd.)
(The water in the fountain is still running. David does the best he can as he looks at the body.)
David Phillips: Foam in her nose and mouth. It's consistent with drowning. Abrasion on her forehead is fresh. And ... (He reaches for her wrist.) ... lividity is unfixed.
Grissom: Well, since water motion has no effect ...
David Phillips: She's been d*ad less than two hours.
(The fountain water shuts off.)
Brass: Thank you. Finally!
Grissom: Still waters run deep.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. KEATON RESIDENCE -- DAY]
(Brass interviews Dan Keaton who is moaning and rubbing his head.)
Dan Keaton: I can't do this right now.
Brass: What, a little hung over? Too much to drink, maybe? We'll have a police officer get you some water.
(Brass turns to the officer standing behind him.)
Brass: Danny, help him out.
(Danny leaves to get the water.)
Brass: So, the last time you saw your wife was at the party?
Dan Keaton: Erin and Paul Brady's.
Brass: But you left early without your wife, right?
Dan Keaton: Yeah, I wasn't in the mood. She was.
Brass: For what?
Dan Keaton: Partying.
Brass: What time did you leave?
(Amy Keaton walks down the stairs.)
Dan Keaton: Around 11:00, I think.
Brass: Anyone see you come home? Maybe your daughter? This is Amy, right?
Amy Keaton: I went out with friends. (She sits next to her dad on the bottom stairs.) My curfew's 1:00. I was a little late.
Brass: So, Amy, did you see your parents when you came in?
Amy Keaton: My mom was in Detroit. Vanessa's my stepmom. The tv was on in their room. I snuck into my room and went to bed. The sirens woke me up.
Brass: (nods) The sirens, huh?
CUT TO:
[EXT. STREET -- DAY]
(The Coroners remove the body on the gurney. Sara and Greg watch. Greg is holding the camera.)
Sara: You know, they never go home until they see the body taken away?
Greg: Necrophilic voyeurism.
(The crowd starts to disburse. Sara kneels down next to the fountain and looks inside. She picks up a black shoe.)
Greg: Hot shoes.
Sara: You think these are sexy, huh?
(Greg shrugs.)
Sara: Did you know that shoes like these put degenerative stress on the hip joints, throw off the curve of the spine, and the tilt to the pelvis, over time, women get headaches, sore backs, shortened calf muscles and bunions, of course.
(Sara stands up.)
Greg: I take it back.
Sara: First thoughts?
Greg: Vanessa Keaton was walking home. She had a few. Her feet hurt. She takes off her shoes. Dolce vida.
(Quick flash to: [NIGHT] Vanessa Keaton is barefoot and playing on the fountain. She walks on the concrete side, laughing. She slips and falls into the fountain, hitting her head on the concrete center. End of flash. Resume to present.)
Sara: There's no sign of blood or hair. Nothing to suggest contact.
Greg: The fountain was on. Maybe the action of the water washed away evidence.
Sara: How do we know it was an accident? Maybe she wasn't alone.
(Greg things about it.)
Greg: We don't know that.
Sara: We're going to need a water sample and a bag for the shoe, of course.
Greg: Okay.
(Greg walks over to his kit to get the things.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. VIDEO ARCADE -- DAY]
(Nick and Warrick duck under the crime scene tape.)
Nick: You okay to drive?
Warrick: No. After a triple and three back-to-back scenes, I'm tired. I'm going to take a ten in the car before we head back.
Nick: That's better than bouncing off the curb, I guess.
Warrick: Yeah. Okay, you ready to run it?
Nick: (sighs) Sure.
Nick: Landlord's working late, trying to fix up the place for the new tenant, kicking up dust, paint fumes. Door's open for ventilation. k*ller strolls in. Next thing you know, landlord's deli meat.
(Quick flash to: The Landlord is leaning over the saw as he works. The saw is running; his back is to the door. Someone walks up to him and pushes him down into the saw. He screams. Blood spatters on the wall. End of flash. Resume to present.)
Warrick: Well, we have this eviction notice. So, that means no business. No business, no cash, so that could rule out robbery as a motive.
Nick: I'm having Detective Cavalier run down the evicted tenants. It's a Melissa Poolie and a Charlie Pinscher.
(A man dressed in a white worker outfit walks into the door. The officer tries to stop him.)
Officer At Door: Sorry, can't let you in.
(He points to his hat.)
Marty Gleason: Take a look.
(He heads into the place carrying his kit.)
Marty Gleason: Hey, you guys call yourselves investigators? You've been here four hours. You haven't figured this out yet?
Nick: Crime scene cleanup.
Warrick: Blood bucket brigade.
Marty Gleason: Hey, I prefer bio-recovery services.
Nick: You know, it's funny. I don't see an American bio-recovery badge.
Marty Gleason: See, all you really need is a strong stomach, a thorough knowledge of solvents, a little sensitivity, a little tact. (He sees the bloody wall.) Whoa. Man! (He walks over to the wall.) There must be three quarts of blood in there. Hey, you're using anhydron. I charge extra for that. Cha-ching, cha-ching. You got photos, swabs. (He turns back toward Nick.) Did you finish the sketch?
Nick: Yeah.
Marty Gleason: Great. Hey, you guys have done everything but leave.
Warrick: What's the rush, Marty?
Marty Gleason: Ah, the wife of the deceased, she would like this mess cleaned up as soon as possible. New tenant moves in on the first.
Nick: Okay, Marty. I'll have the Detective release the scene.
Marty Gleason: All right. (Marty puts his kit down on the ground.) Well, I'll get my gear.
(Marty heads out.)
(Nick yawns.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins finishes stitching up the Y-incision. Grissom stands next to the table watching.)
Robbins: One of the most attractive women I've had on my table. But beauty's skin deep and inside, we all look pretty much the same.
[Note:
Grissom: (points) What about this abrasion?
Robbins: Have you no poet in you?
Grissom: Beauty is truth, truth, beauty. That is all you know on earth and all you need to know -- except cause of death.
[Note:
Robbins: Pulmonary edema due to drowning. I sent samples of the water in her lungs to trace. The abrasion's serious enough to cause loss of consciousness. You may want to look at this though. You want to come over here? Let's turn her over.
(Grissom walks around the table. They turn over the body where Robbins points out four holes in her back.)
Grissom: Puncture wounds?
Robbins: Four, uniform diameter, perimortem, non-lethal. No corresponding holes in her dress.
Grissom: So she wasn't wearing it when she was s*ab.
Robbins: Collected lubricant from the labia. Which means, uh ... I don't know if she had a date with her husband or herself. I sent an SAE kit to DNA. Personal observation - (Robbins picks up the black lacy underwear and shows it to Grissom.) -- you don't wear la perla to a tupperware party.
Grissom: La perla?
Robbins: Very expensive. I gave some to my wife once. She accused me of having an affair. You know, sex on the steel.
Grissom: Lubricant and lingerie. I don't think the evening turned out the way she planned, do you?
Robbins: Nope.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Det. Cavaliere interviews Charlie Pinscher.)
Det. Cavaliere: So your business goes bust and Mr. Basengi evicts you.
Charles Pinscher: Pac-man, Pong, loved these games. Thought it was a sure thing.
(Nick walks into the room.)
Det. Cavaliere: Well, today, it's all 3-d interactive. You know, I got kids.
Charles Pinscher: You want some advice?
Det. Cavaliere: No.
Charles Pinscher: Never go into business with somebody you're sleeping with.
Nick: Melissa Poolie?
Charles Pinscher: Bitch.
Det. Cavaliere: We haven't been able to find her. You know where she is?
Charles Pinscher: We broke up. At least I think we broke up. She skipped town without telling me, stuck me with the rent.
(Det. Cavaliere walks around the table and sits down.)
Det. Cavaliere: So you were angry at her, you were angry at him.
Charles Pinscher: I didn't k*ll him.
Nick: He was holding your inventory hostage. How much you got tied up in Centipede and Space inv*de?
Charles Pinscher: Every penny I got. About 20k.
Det. Cavaliere: You must have wanted it back. Hey, did you stop by the store last night?
(Charlie hesitates.)
Charles Pinscher: (carefully) No, but I called him. Asked if we could maybe work something out. Told me to go screw myself, he'd see me in court.
Nick: Mr. Pinscher, I'm going to need to go ahead and get your fingerprints.
(Charlie Pinscher groans.)
Charles Pinscher: You're going to find my prints all over that place. It was my store, mine and Melissa's.
Nick: I expect to find your prints in certain places, sir. We're just doing this to rule you out.
Charles Pinscher: Oh.
CUT TO:
[INT. CSI - DNA LAB - NIGHT]
(Mia Dickerson is in the lab putting her latex gloves on. David Hodges walks by in the hallway and notices something. He opens the lab door and walks inside.)
David Hodges: You alternate hands when you double glove?
Mia Dickerson: Yes. And I don't like being watched.
David Hodges: If you alternate, there's more contact between the exposed latex of the first glove and atmospheric microbes.
(She stares at him for a b*at, then starts removing her latex gloves.)
David Hodges: What?
Mia Dickerson: (annoyed) You know, it would have been better if you didn't say anything, but you did making it impossible for me to concentrate, and now I have to sanitize and start over.
(The opposite door opens.)
Greg: Hey, Hodges, you got the results of our drowning victim?
(Hodges turns to look back at Greg.)
David Hodges: Yeah, in five. I'm in the middle of the rest of my life.
Greg: (insistent) Well, I kind of need them now.
(Hodges turns and smiles at Greg.
David Hodges: (to Mia) I'll be back.
(Mia rolls her eyes at Hodges and Greg leave the lab.)
[INT. CSI - TRACE LAB - NIGHT - CONTINUOUS]
(Hodges and Greg walk back into the Trace Lab.)
David Hodges: Good thing you didn't have to take a spelling test to work the field.
(David picks up the jar and shows the label to Greg.)
David Hodges: "Funtain" water?
(The label reads:
Article: QORPAK Exhibit No. 47-104B
Date Found, Located or Developed: 3/21 BRADY HOUSE
Where This Article was Found: FUNTAIN
Investigation Officer: G. SANDERS
Cat. No.: 47-10-43 1037ZKIX )
Greg: My people are Norwegian. That's how we spell it. So, is the "funtain" water in her lungs?
David Hodges: All bodies of water contain unicellular algae.
(Hodges sets up the scope.)
Greg: Called diatoms. They're unique, like fingerprints. Diatoms from one body of water don't match those from any other.
David Hodges: Well, you're roughly right. Here, take a look.
(He moves aside and lets Greg look through the scope.)
[SCOPE VIEW]
(There are two sets of diatoms.)
David Hodges: The diatoms on the left are from the water found in your victim's lungs and the diatoms on the right are from the fountain. Not a match.
Greg: Not even close. Which means she didn't drown there.
David Hodges: I'll throw you a bone.
(Hodges turns around to get something from the counter.)
Greg: She blew you off, didn't she?
(Hodges turns back with a test tube.)
David Hodges: The water from the fountain is heavily chlorinated. No, she didn't blow me off. I didn't ask her out. But this sample, found in your vic's lungs, contains polymethylhexalene biguanide ... and anyway, I heard she blew you off first. It's a chlorine alternative. It's less irritating.
Greg: Vanessa Keaton died in a pool.
David Hodges: Or a spa ... and by the way, that's spelled S-P-A in any language.
CUT TO:
[INT. CSI - LAB]
(Nick and Warrick are going through the crime scene photos they spread out on the table in front of them.)
Nick: Only new items brought into the arcade post-eviction were the tools, tarps and paint cans. No prints from Charlie Pincher on any of them. Just the landlord and some unknowns on the saw.
Warrick: No hits off of AFIS.
(Nick shakes his head.)
Warrick: According to Cavaliere, the table saw was a rental. So, there could have been any number of prints on that one.
Nick: Yeah, but you don't just lie down when somebody's trying to k*ll you, man. There had to have been a struggle.
Warrick: Yeah, from that spinning blade, there was blood everywhere. Some of it had to transfer to the k*ller's clothes and shoes.
Nick: I still like Charlie for this. I know we don't have enough for a warrant ...
(There's a knock on the door.)
Secretary: (o.s.) Excuse me, guys. There's a Mr. Gleason to see you. I told him you were busy. He won't leave.
(Warrick and Nick look at each other.)
CUT TO:
[INT. CSI - HALLWAY - CONTINUOUS]
(Nick and Warrick head out through the hallway.)
Warrick: What's the problem, Marty?
Marty Gleason: You and you. You treat me like a janitor, like a garbage man. I'm a professional, same as you ... an unsung hero that's worthy of respect.
Nick: Okay, Marty ...
Marty Gleason: You know exactly what I'm talking about. The smell back at the store. I know decomp as well as you, maybe better, okay? So what was it? Your lunch? Rotten shrimp? Clams, maybe? Whatever you hid there, I am going to find.
Warrick: We didn't even bring lunch there, Marty. And this wasn't a decomp scene.
Marty Gleason: You're jealous. You're stuck in a d*ad-end civil service job while I'm grossing six figures.
Nick: Oh, six figures.
Warrick: Yeah. Picture that.
Marty Gleason: We're colleagues. My job starts where your job ends. You should not be messing with me!
Warrick: (shakes his head) Nobody's messing with you, Marty.
(Nick shakes his head. Warrick and Nick look at each other.)
CUT TO:
[INT. VIDEO ARCADE -- DAY]
(Warrick and Nick return to the Video Arcade with Marty Gleason. They step into the arcade and smell it immediately.)
Warrick: Phew ... ooh ...
Nick: It's decomp. Subtle, but it's in here.
Marty Gleason: The nose knows.
Warrick: How'd we miss that?
Nick: We were tired.
(They take out their flashlights and start looking around the place for the source of the smell.)
Warrick: Did you steam clean?
Marty Gleason: Yeah.
Warrick: The heating process must have brought the smell out.
Marty Gleason: You know, I don't get paid until this place smells like Eternity for Men.
(Nick and Warrick continue to look around the arcade.)
Nick: Could be a d*ad rat.
Warrick: Lot of possibilities.
Nick: I don't know, Rick. Your guess is as good as mine.
Warrick: I know how to find it.
(Warrick motions for Nick to follow him. He turns the thermostat all the way up.)
Warrick: (to Marty) Okay, rich guy. Shut down your gear, you're taking us to lunch.
(Marty nods.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. KEATON RESIDENCE - BACKYARD -- DAY]
(Sara interviews Dan Keaton as they stand outside the empty pool in his back yard. Amy Keaton sits on the pool's edge a short distance away from them.)
Dan Keaton: Crack runs right through the deep end. Had to drain it. Half the neighbors have cracked slabs, leaky roofs. This was perfect when Vanessa and I moved in. Place isn't built to last.
Sara: Mr. Keaton, I know this must be hard for you and your daughter.
Dan Keaton: Why are you here?
Sara: Your wife didn't die in a fountain. We're taking water samples of every pool and spa in this community. Was there swimming at the Brady's party?
Dan Keaton: Why?
Sara: Routine question.
Dan Keaton: Some, I guess. It was that kind of party.
Sara: Was your wife in the pool?
Dan Keaton: She could have been. After I left. What does this have to do with her accident?
Sara: Did anyone behave inappropriately towards her?
Dan Keaton: We were with our friends. Our best friends. I wouldn't have left her there if I didn't think she was safe.
(Dan looks over at Amy who looks away.)
CUT TO:
[EXT. BRADY RESIDENCE - BACK YARD -- DAY]
(Greg takes a sample of the pool water. He takes the sample as Grissom logs it on the clipboard. Brass is interviewing Erin Brady, the party hostess.)
Erin Brady: No one's allowed to treat their pools with chlorine. It's in the homeowners' regulations.
(Paul Brady walks outside and joins them.)
Paul Brady: What the hell is going on?
Erin Brady: They have a warrant.
Paul Brady: A warrant for what?
Grissom: When was the last time you had your pool cleaned?
Paul Brady: Guy was here this morning. Why?
Brass: We're asking the questions, Mr. Brady.
Erin Brady: Look, look ... we're all in shock. Vanessa was one of those people who was so alive, so much fun.
Brass: So, tell me about last night. Was it a special occasion?
Erin Brady: We just had the neighbors in for cocktails.
Paul Brady: We do it once a month. We, uh ... we all take turns.
Grissom: Was Mrs. Keaton wearing this dress last night?
(Grissom shows them a picture of the dress. Erin Brady looks at it and nods.)
Erin Brady: Yes. I noticed -- I have the same one in pink.
Brass: You notice anything else, anything out of the ordinary? Like an argument or a fight?
Paul Brady: No, no, no. We are a friendly group.
Grissom: Did she leave alone?
Erin Brady: Yes. Her husband left about an hour earlier.
Brass: He seem upset when he left?
Erin Brady: Not that I noticed. Vanessa's death was an accident, right?
(Greg finishes putting the label on the sample jar. He stands up.)
Greg: Got it.
Grissom: May we take a look inside your house?
(She steps aside.)
Erin Brady: Look wherever you want.
(Grissom walks by her between her and her husband. He glances at Brass who smiles at him. Grissom heads into the house.)
[INT. BRADY RESIDENCE - DAY - CONTINUOUS]
(Grissom puts on his latex gloves and looks around the clean living room.)
Grissom: (loudly) Well, by the way you've cleaned up, Mrs. Brady, I wouldn't even know you had a party in here last night.
(Erin and Paul stand inside the living room.)
Erin Brady: Thank you.
Grissom: What kind of party was it?
Erin Brady: A mixer.
(Grissom and Greg look at each other. Grissom heads into the kitchen while Greg lingers in the living room.)
[INT. BRADY RESIDENCE - KITCHEN - DAY - CONTINUOUS]
(Grissom looks around the kitchen. He opens the case on the counter and finds two of the four skewers in the case. He takes one out.)
Grissom: (calls out) Mrs. Brady, would you join me in here, please?
(Erin Brady walks into the kitchen.)
Grissom: Where are your other skewers?
Erin Brady: I don't know.
(The dishwasher finishes. Grissom walks over to it and opens it. He pulls out the top rack in the dishwasher and picks up a light-colored dildo.)
Grissom: Well, cleanliness is next to godliness.
(Erin shrugs. Paul looks back at Greg who can't help but chuckle.)
FADE OUT.
(COMMERCIAL BREAK)
DUE TO ADULT CONTENT, VIEWER DISCRETION IS ADVISED
FADE IN.
[EXT. VIDEO ARCADE -- DAY]
(Marty Gleason carries out two red plastic bags from the arcade as Nick and Warrick sit on the sidewalk curb eating their lunches..)
Marty Gleason: After overhead and costs, fifty cents a pound for waste disposal, I clear about three to five bills a job.
(Marty puts the two bags in the back of his van.)
Warrick: How many cases do you get a week?
Marty Gleason: How many cases do you do a week?
Warrick: Rate gets us ten to twenty.
Marty Gleason: Ditto.
Nick: You trying to tell me you make between three and ten grand a week?
Marty Gleason: You've got to be authorized to clean up biologicals. If some high school wage sl*ve mops up a nose bleed at Mickey D's, they're breaking the law. I've got three employees making thirty bucks an hour. If you guys are interested in earning a little extra on the side?
Warrick: Working for you, no thanks.
Marty Gleason: Crime rate is on the rise, my friends. You'd be wise to get in on the ground floor. I am thinking about starting a franchise in Arizona. Retirees die messy. Like, bodies been on the floor for a while. Sometimes you got to replace the entire floor. Oh, look, I install floors, and drywall.
(He hands each of them his card.)
(A car horn beeps.)
Marty Gleason: Ceilings, too, and homeowner's insurance picks up the tab.
(A black SUV pulls up. Marty walks over to Mrs. Basengi.)
Mrs. Basengi: What's going on, Marty? You're still here? You promised the place would be clean. I found a contractor to finish the work.
Marty Gleason: (southern accent ) It's out of my hands, ma'am. The lab boys, they haven't quite released the scene yet.
(He indicates Warrick and Nick behind him. Warrick and Nick look at each other and shake their heads.)
Marty Gleason: They're moving at the speed of government. How are you doing with the funeral arrangements?
Mrs. Basengi: Your cousin is taking very good care of me, thank you.
Marty Gleason: We are here for you. Now, I tell you what, I'm going to call you as soon as I'm done, okay?
Mrs. Basengi: Okay.
Marty Gleason: Thank you, ma'am.
(Mrs. Basengi drives away.)
Nick: You should be ashamed of yourself, Marty.
Marty Gleason: Oh, no. The bereaved often find a southern accent very comforting.
(Marty heads back into the arcade.)
CUT TO:
[INT. VIDEO ARCADE - DAY - CONTINUOUS]
(Marty Gleason, Nick and Warrick walk back into the arcade.)
Marty Gleason: Comfort is what I give these people, living victims. The kind you guys never deal with. I see people on the worst day of their lives. In a small way, I make their world normal again.
(Marty heads into the back of the arcade to pick up the large tub. Warrick and Nick notice the smell immediately. They look around and find that it's coming from one of the plastic-covered machines.)
(Nick pulls the plastic off of the video machine and the smell immediately hits them.)
Warrick/Nick: Oh!
Warrick: Well, it smells like Eternity for Somebody in here.
(Nick puts on his gloves.)
Nick: The plastic must have covered the smell.
(Warrick opens the coin slot and the smell is more pronounced.)
Warrick: Oh!
(Nick gasps and starts breathing out of his mouth.)
(Cut to: Nick and Warrick remove the screws holding the video machine's back panel in place. Marty Gleason looks over their shoulders as Warrick removes the panel. Inside the machine on the bottom is a d*ad woman's body wrapped in plastic.)
Marty Gleason: Holy mackerel. Bitch in a box.
Nick: Hey, hey, hey.
Marty Gleason: I'm sorry. I'm sorry. I get paid by the body.
(Warrick coughs from the smell.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - DNA LAB - DAY]
(Mia Dickerson goes through the things Greg brought back from the house.)
Mia Dickerson: Nine vibrators, five plugs, four strands of beads.
Greg: (smiles) And a partridge in a pear tree. (Mia throws Greg a look.)
Some kids are happy playing in the sand box, others want every toy in the store. And apparently these are dishwasher safe.
Mia Dickerson: I'll swab the nooks and crannies for semen, vaginal secretions and epithelials, but don't get your hopes up.
Greg: (cheerfully) Oh, my money's on bag number two.
Mia Dickerson: (oh great) Twenty-six used condoms.
Greg: Just like being back in college, right?
Mia Dickerson: Sara said you didn't lose your virginity until you were 22.
(The smile freezes on Greg's face. He changes the subject.)
Greg: Grissom and I figured that they practiced safe sex, so we processed their trash. Check them inside and out, please.
Mia Dickerson: I've analyzed condoms before, Greg. Just not in bulk.
(Mia reaches into the third package and takes out another plastic bag.)
Mia Dickerson: Skewers?
Greg: Yeah, screen them for blood. Possible w*apon.
(Greg leaves the lab.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(David Phillips cuts through the plastic wrapped around the body. He's assisted by Nick, Warrick and a Coroner.)
(Nick snaps a photo of the body as they work.)
(Cut to: Warrick hands the boots to David.)
(Nick takes more pictures.)
(Cut to: David continues to cut through the plastic. Nick snaps more photos as they peel away the plastic from the d*ad woman's body.)
(Cut to: Robbins takes a swab from the woman's ear. He takes a swab from the woman's mouth and another from the woman's nose.)
CUT TO:
[INT. CSI - LAB]
(Nick puts a photo of the d*ad woman on the table.)
Nick: Dental records ID'd the body found in the arcade machine.
(Nick and Det. Cavaliere are interviewing Charles Pinscher.)
Nick: Your ex-girlfriend Melissa Poolie.
(Nick puts more pictures down on the table.)
Det. Cavaliere: She didn't leave town after all. You want to revise your story?
(Nick throws another photo on the table.)
Nick: We also found semen in her vaginal cavity. It matches your d*ad landlord.
Det. Cavaliere: Your girlfriend was paying rent on her back and you didn't like it.
(Quick flashback to: Charles Pinscher is yelling at Melissa Poolie.)
Charles Pinscher: You had sex with our landlord?
Melissa Poolie: At least I got off my ass and did something about it.
(He pushes her and she falls to the floor. He turns and grabs the plastic covering off of a nearby arcade machine.)
(End of flashback. Resume to present.)
Charles Pinscher: That didn't happen. She told me she convinced Basengi to give us more time on the rent. I-I didn't know she was banging the guy.
Det. Cavaliere: We don't care why you k*lled her.
Charles Pinscher: I didn't k*ll her!
Det. Cavaliere: Basengi evicts you, keeps your stuff and now you've got a big problem.
Nick: Yeah, the d*ad body someone crammed into Ms. Pac-man.
(Quick flashback to: Basengi is using the saw.)
Charles Pinscher: You can keep the rest of it! All I want is Ms. Pac-man!
Mr. Basengi: Get the hell out of here.
(Basengi continues using the saw. Charles Pinscher grabs Basengi and slams him down on the saw.)
(Basengi screams. Blood spatters on the wall.)
(End of flashback. Resume to present.)
(Charles Pinscher looks at Nick. Nick takes the seat next to Charles Pinscher.)
Nick: Mr. Pincher, when someone is k*lled with a table saw, blood gets everywhere -- your hair and your clothes. You would have had to take a long, hot shower, wash your clothes, clip your nails, toss your shoes. Are you sure you got it all, Charlie? Hmm?
(Nick looks down at Charlie's watch. Suddenly, Charlie appears increasingly nervous.)
Nick: That's a nice watch.
Charles Pinscher: It was my dad's.
Nick: I was admiring the band. Lots of open spaces and nonporous surfaces. That's a perfect place for blood to hide, don't you think, Chris?
Det. Cavaliere: Yeah.
Nick: There's a chemical I use called phenylthaline. It can detect a speck of blood the size of a pinprick.
(Camera zooms in and focuses on the watch band where it stops on some blood caught in the band.)
Nick: I bet if I take that watch it's going to tell me more than time, isn't it?
Det. Cavaliere: You mind baby-sitting him while I get a warrant?
(Det. Cavaliere stands up.)
Charles Pinscher: I just went to the arcade to scare him. Things got out of hand.
Nick: Did you k*ll him?
Charles Pinscher: It was an accident. You guys have got to believe me, I did not k*ll Melissa. I didn't even know she was d*ad.
(He starts crying.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(Catherine follows Grissom into his office. He's holding an open book in his hand, reading through it as he heads for his desk.)
Catherine: I know that you got the memo, I'm not sure that you read it. Eckley is being promoted to Assistant Director. They are taking applications for his supervisor spot on days. I want it.
(Grissom sits down and doesn't say anything.)
Catherine: What? You want the day spot for yourself? You're worried about giving me a good A.P. score and breaking up the team? Or maybe you just think that I'm incapable of the position? Not worthy of the promotion? Is that it?
(She rolls her eyes and scoffs.)
Catherine: I'm just always, always, always defending myself to you.
(Catherine sits down. Grissom still hasn't said anything.)
Catherine: I'm unbelievable. I have a daughter who is so starved for my attention, she is thumbing rides to Fremont Street to see her grandfather. The last person I want her around. I mean, not that it's much better with my mother, who sees Lindsay much more often than I do. (It starts to get too much for Catherine.) I am missing out on my daughter's life. I have no life of my own. Would you just stop me and say something here?
(Grissom takes off his glasses and looks at Catherine.)
Grissom: You want the job because you're worried about Lindsay?
Catherine: That's part of it, but ...
Grissom: The position calls for leadership, Catherine. You have to inspire others, solve problems, which means you have to leave your own problems at home.
Catherine: I want the job because I can do it. I'm qualified, I'm motivated and I'm ready, Gil. You know that I am.
Grissom: I do. Which is why I already sent in your A.P. I gave you 100%. I even put in a good word with the Director. The rest is up to you. And ... I hope you get it.
(Grissom puts his glasses back on. Catherine's touched.)
Catherine: Thank you.
(Catherine stands up and walks out of the office.)
(Grissom sighs as he watches her go.)
CUT TO:
[INT. CSI - DNA LAB]
(Mia Dickerson has the condoms each in their own dish. She's taking swabs from both the inside and outside of the condoms.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Mia reports her results to Greg and Grissom.)
Mia Dickerson: I couldn't get anything from the items in the dishwasher, including the skewers. No results. However, the condoms produced. I extracted DNA from the semen. Results indicate ten males.
(Mia stands in front of the whiteboard that has her results listed on it.)
Mia Dickerson: The lubricant, which seemed to be popular, was good at retaining both epithelials and vaginal secretions.
11 females, no CODIS hits.
Grissom: Is our victim represented?
Mia Dickerson: Yes. F-7. We can match her with the semen from four different males.
Greg: M-4, M-5, M-1, M-8. (Greg turns and looks at Grissom.) She was the belle of the ball.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(Brass and Grissom interview Erin Brady.)
Erin Brady: My husband and I have a very strong marriage. But yes, we enjoy the lifestyle.
Brass: The lifestyle?
Erin Brady: We play.
Brass: No kidding.
(She turns and looks at Grissom.)
Erin Brady: Swing.
Grissom: Wife swapping.
Erin Brady: Paul and I had a rough patch a few years ago. We almost called it quits. Swinging saved our marriage. It was being with other people that made me realize just how much I love my husband.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Sara interviews Paul Brady.)
Paul Brady: Erin is the greatest wife in the world.
Sara: But you still had sex with Vanessa Keaton?
Paul Brady: Yeah. Yeah. It's fun.
(Quick flashback to: [PARTY] Paul Brady meets with Vanessa Keaton at the party and they both run up the stairs hand-in-hand to the bedrooms.)
(End of flashback.)
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
Brass: How do you feel about Vanessa Keaton?
Erin Brady: Very attractive woman. She was the reason we invited the Keatons to the parties. She was into it. Dan really wasn't.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
Sara: How did your wife feel about you and Vanessa Keaton?
Paul Brady: Well, it's not like we were having an affair. That'd be breaking the rules.
(Sara perks up.)
Sara: The Rules?
(Sara starts taking notes.)
Paul Brady: No, means no. Arrive as a couple, leave as a couple. Drugs, never. Condoms, condoms always.
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
Erin Brady: No affairs. Sex with someone other than your spouse is only allowed at the parties. No photos, no video. And the kids must never know.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
Paul Brady: I came home one night. I parked the car in the driveway and went to the fridge to grab a beer. It was the wrong beer. I was in the wrong house. Anyway, it just got all the neighbors talking. Variety is a good thing. And if you get the right group of people together, a couple of drinks, you'd be surprised what can happen.
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
Erin Brady: Everybody fantasizes about other people. (She glances at Grissom.)
Even you, Mr. Grissom. A neighbor, a friend ... girl at the office.
[INT. POLICE DEPARTMENT - HALLWAY]
(The door opens. Paul Brady walks out of the hallway. Erin Brady walks out into the hallway. Sara is sitting in the hallway chair watching them. She watches as they meet and kiss.)
(Grissom walks up to Sara and takes the seat next to her. He's holding two cups. He hands her a cup of tea.)
Sara: Thank you. I know I'm supposed to be objective ... but I think I have a problem with the lifestyle.
Grissom: Well, they're consenting adults, it's not illegal. At most, they only hurt themselves.
Sara: Tell that to Vanessa Keaton. Everyone has a jealousy gene.
Grissom: You think it was a crime of passion?
Sara: (nods) Yeah. When you have to go outside a marriage for passion, you're in trouble. And you're asking for trouble.
(He looks over at the Brady's.)
Grissom: Well, they say they're happily married.
Sara: You think they're happy?
(Grissom doesn't answer as he considers the question. He doesn't get to answer as his phone rings. He answers the phone.)
Grissom: (to phone) Grissom. (pause) Very good, thanks.
(Grissom hangs up.)
Grissom: (to Sara) Hodges matched the water in Vanessa Keaton's lungs. He knows where she drowned.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. CUNNINGHAM RESIDENCE - POOLSIDE - DAY]
(Brass and Grissom interview Tom and Meg Cunningham.)
Brass: So Mr. and Mrs. Cunningham, was Vanessa Keaton here the night she died?
Tom Cunningham: No.
Grissom: Well, we matched the water in her lungs to your spa. And I see what appears to be a blood smear on the stone.
Meg Cunningham: Well, sometimes we forget to lock the gate.
Brass: So your neighbors come in and use the spa?
Meg Cunningham: It's possible.
Brass: Yeah, I guess so, I mean, you share everything else. Why not?
Brass: So what time did you leave the party?
Tom Cunningham: Around 11:30.
Meg Cunningham: But we didn't come right home.
Brass: Where'd you go?
Meg Cunningham: We went to the Bellagio. A nice, romantic night out, just the two of us.
Tom Cunningham: Sometimes being with others gives you the urge to be alone.
(Tom puts a hand casually on Meg's shoulder. She instinctively stiffens and glances at the hand before relaxing. Grissom notes the movement.)
Brass: I see.
Grissom: Well, we're going to compel a DNA sample, so we'll know if you were intimate with Vanessa Keaton.
Tom Cunningham: I admit I had sex with her and ... Karen Brady, and Mallory Stone.
Brass: Three strikes you're out.
(Tom Cunningham smiles at Brass.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins is in the autopsy room with the Melissa Poolie's body when Warrick walks in putting on a pair of gloves.)
Robbins: Heard your suspect's looking pretty good.
Warrick: You heard right. Charlie confessed to k*lling the landlord. And the blood on his watch is a match to Bassngi's DNA.
Robbins: What about her?
Warrick: Swears he has nothing to do with it. You got a C.O.D.?
Robbins: Blunt-force trauma to the occipital region. No trace in the wound track.
Warrick: Do you have any idea what h*t her?
Robbins: Yeah. The impact's deep. w*apon was probably heavy. (He picks up the ruler and places it against the body's forehead to measure the wound.)
Radius of curvature, roughly three centimeters. Could be a pipe.
Warrick: Could be anything.
CUT TO:
[INT. POLICE DEPARTMENT -- BRASS' OFFICE]
(Brass interview's Meg Cunningham.)
Brass: Mrs. Cunningham, you told us that you spent last night at the Bellagio with your husband.
Meg Cunningham: That's correct.
Brass: Are you sure about that?
Meg Cunningham: D-do I need a lawyer?
Brass: I mean, that's your call, that's your right, but let me point out that if you're covering for your husband, that's conspiracy after the fact. Now, are you prepared to go to jail over this?
(She chuckles.)
Meg Cunningham: Look, I-I answered your question.
Brass: Okay, what if I told you the hotel maid told us that you weren't with Tom, what would you say?
Meg Cunningham: I'd say she was lying.
Brass: You know, I'm trying to help you out here, and I want to help you out, okay? But you got to cut the crap. Okay? Come on, tell me what happened. I mean, security confirmed that you were with a female. Late 20s, blonde, I mean, she even paid for breakfast with her credit card. So ... I'll tell you what, why don't we start over, okay? And you tell me what happened.
Meg Cunningham: Look, Tom asked me to think about our son. He begged me to say we were together. I swear, I don't know ... anything that went on between him and Vanessa. I don't know.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. CUNNINGHAM RESIDENCE - LIVING ROOM - DAY]
(Grissom and Sara walk into the house. In one of the rooms, a boy is playing video games in front of the television set. Grissom and Sara continue through the house. Sara heads upstairs as Grissom heads into one of the rooms.)
[INT. CUNNINGHAM RESIDENCE - STUDY - DAY - CONTINUOUS]
(Sara walks into the home office and looks around. She looks at the shelf contents, then opens the desk drawer. She finds under the "Vegas Life", she finds "Big Bodacious Babes".)
(Grissom walks into the study.)
Sara: Found some p*rn.
(She stands and hands them over to Grissom who leafs through them.)
Grissom: Well, nothing new about this stuff. The Frescos at Pompeii were more explicit. The Kama Sutra and Decameron.
Sara: Yeah, but that's art; this ... is not art.
(Sara holds up the issue of "Bondage".)
Grissom: Hmm.
(Grissom again opens the magazine and finds something recognizable.)
Grissom: Here we go. Webcam photo. And she's wearing La Perla.
(Grissom shows Sara the photo of the "headless" woman wearing black underwear.)
Sara: Vanessa Keaton.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. VIDEO ARCADE -- DAY]
(Warrick and Nick walk into the Video Arcade.)
Warrick: The first victim was k*lled with a w*apon of opportunity, the table saw. The second victim gets a crack on the head.
Nick: So you're thinking the w*apon is still in here?
Warrick: Yeah.
Nick: Why would the k*ller leave it in here?
Warrick: Well, the k*ller left the body here.
Nick: That's true. Mr. Pinscher had a cash-only business.
Warrick: Yeah. And he didn't have a g*n license.
(Warrick heads around the cash register counter. Camera moves down to show the bat under the counter.)
(Nick looks around the area. Warrick finds the bat.)
Nick: You got something?
Warrick: Yes.
(Warrick takes a digital photo of the bat.)
(Camera zooms down the bat through the grooves in the wood. Resume regular view.)
(Warrick removes the bag from his holding place under the counter. He shows it to Nick.)
Warrick: A little store security.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(The Police officer leads a handcuffed Mrs. Basengi through the hallway.)
Mrs. Basengi: Liars, liars, all men are liars!
(Marty Gleason steps out of the room and sees her being led away. He turns and sees Warrick and Nick.)
Marty Gleason: Hey, did you -- ?
Warrick: (nods) It seems that the Missus caught her husband collecting rent from the late Melissa Poolie. She just waited till he left the building.
(Quick flashback to: [VIDEO ARCADE] Mrs. Basengi and Melissa Poolie argue.)
Mrs. Basengi: You slut! I don't care what he told you, you still have to pay rent.
Melissa Poolie: Go to hell!
(Melissa Poolie turns to leave. Mrs. Basengi grabs the bag and hits her on the back of the head. Melissa Poolie falls to the floor.)
(Mrs. Basengi drops the bat and grabs the plastic sheeting.)
(End of flashback. Resume to present.)
Warrick: Luckily, she left her prints behind. We had them on file from an as*ault case in '98.
Nick: Yeah, she went a little further this time.
Marty Gleason: Yeah, from what I hear, she did a lousy job cleaning that bat. Amateur. You know, you guys, you could have waited till after she paid me to arrest her. What did I ever do to you? Oh, except crack your case wide open.
Nick: Don't worry, man, Grissom talked to the Sheriff, said he's gonna pick up your tab.
Marty Gleason: Really?
Nick: Mm-hmm.
(Marty chuckles.)
Marty Gleason: Thanks. Hey, you think this could mean a nice, fat city contract for me?
(Not wanting to touch that one, Warrick and Nick both leave.)
Warrick: Good to see you, Marty.
Nick: See you around, Marty.
Marty Gleason: Call me.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Grissom opens the morgue cabinet with Vanessa Keaton's body inside. He pulls out the table so he and Sara can compare the body with the photos.)
(Grissom lifts the sheet to look at her belly button. It doesn't match with the photo.)
Grissom: (points to photo) Innie. Outie. (He points to the body.)
(Sara changes the photo to one with moles.)
Grissom: ... and Vanessa doesn't have any moles on her torso.
Sara: The woman in the photo is not Vanessa.
David Phillips: Oh, you got my message.
Sara: What message?
David Phillips: To meet me here. I was preparing a body for a mortuary pickup, and I noticed something.
(David lifts the body to show them the bruising on the back around the puncture wounds.)
David Phillips: Postmortem bruising.
Grissom: Well, it can take a day or two after autopsy for the bruises to percolate through the soft tissue and become visible.
Sara: Vanessa wasn't s*ab four times with a skewer. She was s*ab twice with a two-pronged instrument.
(Quick CGI POV: Someone screams. A two-pronged instrument is s*ab into her back. End of CGI POV.)
(Grissom looks at Sara.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - EARLY EVENING]
[EXT. CUNNINGHAM RESIDENCE - BACKYARD -- NIGHT]
(Greg is back in the Cunningham's backyard. He looks around and finds the hanging bar-b-cue utensils. He puts his kit down and takes a picture of the fork. He tests it and finds blood.)
CUT TO:
[INT. CSI - LAB - NIGHT]
(Grissom walks into the lab where Sara is working on the laptop.)
Sara: I just started combing through Tom Cunningham's computer. I haven't I.D.'d our mystery woman, but there's just lots of back and forth between Cunningham's e-mail account and Keaton's.
Grissom: Any attachments?
Sara: Yeah. Got one for the Keatons' account. "U axd 4 my pic so here. Sweetkeat."
(She clicks on the picture and finds the photo. It's the same photo. Grissom shakes his head. Sara glances at him.)
Grissom: Any reply?
Sara: Yes. From ... cunning1. (She clicks it open.) "Can you handle it? Midnight. Behind the skate park."
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
[MONITOR]
(On the monitor is security tape footage from behind the skate park. It shows Tom Cunningham meeting with Amy Keaton. He opens the back of his SUV and climbs in. She removes her top as she prepares to climb inside also.)
Tom Cunningham: You can stop the tape.
(Brass turns the tape off.)
Tom Cunningham: Amy came on to me.
Brass: She's fifteen.
Tom Cunningham: Does she look fifteen to you?
Adam Matthew (lawyer): Tom, be very quiet.
Tom Cunningham: They got me on tape. I'm trying to explain.
Brass: She's a minor, you're an adult. What's to explain?
Adam Matthew (lawyer): We have information pertaining to Vanessa Keaton's death. Get me the D.A. We want a deal.
(Brass stares at them for a long moment.)
Brass: Too late.
CUT TO:
[INT. CSI - INTERVIEW ROOM -- NIGHT]
(Sara compares the photo with Amy Keaton. Sara and Grissom interview Amy Keaton with Dan Keaton in the room.)
Sara: You are an inny. Amy, you e-mailed this photo of yourself to Tom Cunningham.
Dan Keaton: What's she talking about?
Amy Keaton: I have no idea.
Sara: You were having an affair with Tom Cunningham. He's just been booked on statutory r*pe.
Dan Keaton: What?!
Amy Keaton: It wasn't r*pe.
(Dan gets to his feet.)
Dan Keaton: I'm gonna to k*ll that son of a bitch!
Amy Keaton: Like you care who I have sex with? I know about your parties, all the kids know, so don't get all righteous on me. (Amy turns to Sara.) I want to see Tom.
(Dan grabs Amy's hand.)
Dan Keaton: Let's go.
Grissom: Mr. Keaton, sit down, please. We're not done yet.
(Dan, Amy and Sara sit down. Grissom takes out the bar-be-cue fork in a plastic bag. He puts it on the table.)
Grissom: We retrieved this from the Cunningham's backyard. Your stepmother's blood is on the tines, and your fingerprints are on the handle. (He looks at Amy Keaton.)
(Quick flashback to: [NIGHT] Tom Cunning and Vanessa Keaton are in the pool kissing when Amy Keaton walks into the back yard. She sees them together and grabs the fork. She s*ab Vanessa in the back twice.)
Tom Cunningham: Easy, easy.
(End of flashback. Resume to present.)
Sara: The s*ab wounds weren't fatal, but your stepmother was knocked unconscious. It took two or three minutes for her to drown.
Grissom: That's a long time to stand around and watch someone die.
Amy Keaton: It wasn't like that.
(Quick flashback to: [NIGHT] After s*ab her, Amy shouts at Tom as he holds her wrists trying to calm her down.)
Amy Keaton: (shouts) How could you!
Tom Cunningham: Calm down!
(They both turn to look at Vanessa in the pool.)
Tom Cunningham: You need to go home, right now.
Amy Keaton: Oh, my god. Oh, my god.
(Amy turns and leaves. End of flashback. Resume to present.)
Amy Keaton: (to Grissom: He was trying to protect me. (to Sara) So we put her in the fountain.
(Grissom looks from Dan to Amy.)
Amy Keaton: He loves me. Can I see him?
CUT TO:
[INT. CSI - HALLWAY - CONTINUOUS]
(Sara and Grissom step out of the interview room. Together, they walk down the hallway side-by-side. For a moment, they're silent.)
Sara: Arrive as a couple, leave as a couple.
Grissom: No photos, no video.
Sara: No affairs.
Grissom: And the kids must never know.
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x05 - Swap Meet"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[EXTREME CLOSE-UP]
(Camera view of the tight weave of material. Camera pulls out and we see a tie. Camera pulls out even more and we see ...
[GRISSOM]
(Grissom stands in front of the mirror trying to put on his bow tie. We watch him struggle with it for a moment.)
[INT. BALLROOM LOBBY - NIGHT]
(Through the mirror's reflection, we see Catherine walk over to him.)
Catherine: What are you doing?
(Grissom picks up the step-by-step illustrated instruction sheet for how to tie his tie.)
Grissom: (frustrated) I'm going insane. I don't understand this diagram.
Catherine: (sighs and shakes her head) You don't need a diagram.
(Grissom starts fiddling with his tie again.)
Catherine: You need a woman.
(From behind, Catherine takes over and ties Grissom's tie for him.
Catherine: I'm looking forward to your speech.
Sheriff Rory Atwater: (o.s.) ... it wasn't greatly appreciated at the time.
(The audience chuckles and applauds.)
[INT. HOTEL - MAIN BALLROOM - NIGHT - CONTINUOUS]
(Sheriff Rory Atwater is at the podium concluding his speech. He toasts Robert Covallo who is sitting at the table. We also note that Sofia Curtis is sitting next to him.)
Sheriff Rory Atwater: But what I think A.D. Covallo will enjoy the most is no longer having to lie about how much work he has to do. Enjoy your retirement, Bob.
(He looks down and we note that Grissom is busy writing something on a dinner napkin.)
Sheriff Rory Atwater: But seriously, folks ... appointing the new Assistant Director for the Crime Lab is not a task I take lightly. I believe in promoting from within. I believe in rewarding years of dedication and devotion to this department. I believe in Conrad Ecklie.
(The audience applauds. Conrad Ecklie sits at the same table near Grissom.)
(Conrad Ecklie nods and smiles at the audience. Grissom's pager beeps.)
Sheriff Rory Atwater: For a proper introduction, I'd like to turn to his good friend and colleague of many years ...
(Grissom checks his pager.)
Sheriff Rory Atwater: ... Supervisor Gil Grissom.
(The audience applauds. Catherine glances at Grissom who is reading his pager.)
Catherine: Gil ...
Grissom: I got a 419.
Catherine: Don't even think about it.
Grissom: Swing's tapped out. I'm the back-up. (Catherine grits her teeth at Grissom. Ecklie watches them. Grissom hands the dinner napkin to Catherine.)
Here ... you give my speech.
(Catherine's eyes widen. Grissom turns to Ecklie and gives him a thumb's up as he gets up to leave the table.)
Grissom: Good luck, Conrad.
(Ecklie watches Grissom leave the table. Grissom turns to Sheriff Rory Atwater on the stage. He points to his pager.)
Grissom: (mouths silently) Homicide
Sheriff Rory Atwater: Gil ...
(Grissom walks quickly out of the ballroom.)
Sheriff Rory Atwater: (to Catherine) What's going on?
(Catherine looks down at the dinner napkin and opens it where she reads: "WHAT CAN I SAY ABOUT CONRAD ECKLIE?")
(Catherine sighs. Rory Atwater motions to her.)
Sheriff Rory Atwater: You want to help me out up here?
(Catherine takes a deep breath and stands up.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. OLYMPIA HOTEL/CASINO - LOBBY -- NIGHT]
(Grissom walks into the casino carrying his kit.)
Officer: Hey, Griss ... what's with the monkey suit?
Grissom: I was at a funeral across the street.
Officer: At a casino? My condolences. Scene's in the east penthouse. Gotta use the VIP elevator.
(He hands Grissom the card key.)
Grissom: Thanks.
(The officer leaves. The elevator bell dings and the doors open.
[INT. OLYMPIA HOTEL/CASINO - ELEVATOR - NIGHT -- CONTINUOUS]
(Grissom steps into the elevator. The slides the card key into the security lock. The doors close.)
(The elevator bell dings and the doors open again. Sofia Curtis walks in. She greets Grissom with familiarity.)
Sofia Curtis: Hey.
Grissom: Hello.
(The elevator doors close.)
Grissom: What floor did you want?
Sofia Curtis: Where do you think I'm going?
Grissom: I wouldn't know.
Sofia Curtis: You don't recognize me.
Grissom: Apparently not.
Sofia Curtis: In the lab, I usually wear my hair up.
(He glances at her, then recognizes her.)
Grissom: Oh, yeah ... You're pulling in when I'm pulling out.
Sofia Curtis: Sofia Curtis.
Grissom: CSI-three, day shift. You work for Ecklie.
Sofia Curtis: As of tonight, so do you.
(The elevator bell dings and the door opens.)
[INT. OLYMPIA HOTEL - EAST PENTHOUSE - NIGHT -- CONTINUOUS]
(They both step out into the penthouse where party guests and officers are. Brass walks up to them. He leads them to the room at the end of the hall.)
Brass: Hey, Gil ... hey, Sofie. Sorry to drag you away from the chicken cordon bleu. It's the McKinley High homecoming. The dance is downstairs, but the cool kids' party is in here.
(He opens the doors and leads them into the rooms.)
[INT. OLYMPIA HOTEL - EAST PENTHOUSE - LIVING ROOM -- NIGHT -- CONTINUOUS]
(They look around.)
Sofia Curtis: This place makes the rain man suite at Caesar's look like my condo.
Grissom: These rooms are just for whales and royalty. What's up?
Brass: We're running down the VIP host -- see who's got it tonight.
(He leads them to another room inside where the body is.)
Brass: Okay, paramedics pronounced, left the scene undisturbed. Name is Nicole Jensen, 17. Coroner's en route. I'm gonna talk to the MTV generation.
(Brass leaves. Sofia Curtis starts to walk into the room.)
Grissom: Where's your kit?
Sofia Curtis: I sent a uniform to bring it up.
(She walks around the body and sees the vomit on the floor near her mouth.)
Sofia Curtis: Teenager abuses drugs and/or booze ... (she kneels down and looks at Grissom who is also kneeling on the other side of the body.) There's a news flash.
(She notes the bruises on the body's neck.)
Sofia Curtis: Contusions on her neck.
Grissom: And the position suggests she was grabbed from behind.
(Sofia glances at the red wrist band: A NIGHT TO REMEMBER.)
Sofia Curtis: (reads) "A night to remember."
Grissom: A night to forget.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. OLYMPIA HOTEL - EAST PENTHOUSE - LIVING ROOM -- NIGHT]
(David kneels next to the body and writes his notes on a clipboard.
[EXT. OLYMPIA HOTEL - EAST PENTHOUSE - BALCONY -- NIGHT -- CONTINUOUS]
Brass exits the room and steps out into the balcony where Grissom and Sofia are. Above them, are sounds of a helicopter leaving.)
(Sofia is changing out of her evening gown and into a pair of overalls. Grissom is removing his tie.)
Brass: Okay ... so I talked to the VIP host. The room was checked out to Charlie Macklin.
Grissom: It's his casino.
Brass: Yeah, it's for his daughter, Janelle. She's having an after party with her and her friends.
Grissom: Oh, off the streets and out of trouble.
Brass: Best laid plans.
Grissom: So what's the daughter's story?
Brass: You know, I don't know. We haven't seen her yet. We're still looking.
(Grissom and Brass turn and find Sofia in overalls. Brass turns and leaves the balcony. She looks at Grissom, turns and pulls out her evening gown from her overalls.)
Sofia Curtis: I can barely move in this dress and we haven't cleared the bathroom yet, so there it is. Don't worry, I'm wearing underwear. As far as you know.
[INT. OLYMPIA HOTEL - EAST PENTHOUSE - LIVING ROOM -- NIGHT -- CONTINUOUS]
(Camera shutter snaps several times as Grissom takes photos of the body.)
David Phillips: Liver temp is 97.2. She's been d*ad less than two hours.
(In the next room, Sofia finds something.)
Sofia Curtis: Banana peel ... g-string ... (she lifts it up) ... scared of that.
(Grissom turns back to the body.)
David Phillips: Ligature marks on both of her wrists. Some kind of adhesive residue, too.
(Quick flashback to: The kidnappers/attackers wrap thick tape around her wrists. End of flashback. Resume to present.)
Grissom: So, she was bound?
(David turns the body over and notes the bruise on the face.)
David Phillips: Marked impression on her left cheek.
(Grissom snaps a photo.)
Grissom: Maybe some sort of circular device pressed against her face?
(In the next room, Sofia snaps photos of the items on the foot table.)
Sofia Curtis: No beer or liquor. Just water, yogurt, and OJ.
(Grissom looks up as Sofia continues to mutter to herself.)
Sofia Curtis: Mixers, not for drinks ... maybe for drugs. Right ph in the stomach speeds the buzz. (She looks around the room.) I think there's narco around here somewhere.
Grissom: (loudly) A-a-are you talking to me?
(Sofia snaps more photos of the food table.)
Sofia Curtis: No.
Grissom: Do you always process like this?
Sofia Curtis: Like what?
(She snaps another photo.)
Grissom: With your mouth.
(She looks at Grissom.)
Sofia Curtis: Whenever I meet someone new, I always say their name out loud a few times. Keeps a picture in my head.
Grissom: Hm ... I thought that's why we had cameras.
FLASH TO:
[FLASHBACK]
(Nicole Jensen staggers into the room. She doubles over and vomits on the floor.)
Miranda: (V.O.) So, Nikki comes running in and starts laughing at the carpet.
(End of flashback. Resume to present.)
(Brass is interviewing Miranda, one of the party-goers.)
Miranda: You know, hurling, bl*wing chunks, vomiting.
Brass: I got it, Miranda. I get the picture. I know what it means.
Miranda: The others came in, and, uh ... someone tried CPR, I guess. Didn't work. We called 911.
Brass: So, uh, you tight with Nikki?
Miranda: (scoffs) God, no. Her dad was a freelance limo driver. I mean, you have to have a felony to get that job.
Brass: (chuckles) How would you know that?
Miranda: Everybody knows that. The guy was an ex-kneebreaker for the old mob. You ever see Casino? The movie?
Brass: Yeah, sure, yeah.
Miranda: Whatever. The guy Joe Pesci played.
Brass: Tony "The Ant" Spilotro.
Miranda: Well, he and Nikki's dad were friends.
Brass: Oh, yeah?
Miranda: In real life. Real lowlifes. That girl was kryptonite to me. I'd be lying if I said any different.
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - MAIN FLOOR - NIGHT]
(Catherine and Nick walk across the casino floor.)
Nick: Kids have been going in and out of the suite all night, but the front desk only issued card keys to seven. Brass has five of them upstairs ... (He looks at his notes.) Uh, Janelle Macklin and Sean Paland are unaccounted for, so I'll check the casino.
Catherine: I thought you were going to process the scene with Grissom.
Nick: I was. He said he had it covered. Sofia Curtis is up there with him.
Catherine: Right ... Ecklie's right hand.
Nick: Hmm?
Catherine: Ever do a case with her?
Nick: Uh-uh. Hey, I heard Grissom stuck you with his speech.
Catherine: A napkin is not a speech.
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - SECURITY ROOM - NIGHT]
(Catherine talks with the security officer monitoring the cameras.)
Catherine: I'm going to need to see everybody who went in or out of the east penthouse since check-in, and that includes stairwells and service entrances.
Kenny: You know, that's Janelle Macklin's suite.
Catherine: Yeah, I know. Her father owns the casino.
Kenny: Okay ...
(Kenny works the keyboard to bring up the video.)
Catherine: Dance is still going strong.
Kenny: That's the beauty of high school in Las Vegas. Homecoming in a casino, dance can go all night.
(Close up of: The dance floor.)
Security Camera legend:
BALLROOM M-4
CAMERA 1
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - BALLROOM M-4 - NIGHT]
(Nick walks in with Sean Paland through the ballroom.)
Sean Paland: I've been down here dancing for hours. Ask anybody.
Nick: Why don't you come over here and talk to me for a second?
Sean Paland: Come on, man!
Nick: What, you need to tell your date?
Sean Paland: I came stag.
Nick: Come here.
Sean Paland: If I want a date, I'll get one in there. You know how many couples break up at homecoming? I looked it up. It's like ten percent. It's staggering.
Nick: Hm ... you hang out with Nikki a lot?
Sean Paland: Please -- the girl's a scarf. Always hanging on the neck of anyone with loot.
Nick: Is that what was she doing up in the P. Diddy suite with your buddies?
Sean Paland: Guess everybody wanted in on that party. And Nikki wasn't on the list.
(Quick flashback to: Janelle Mackie and a group of kids are in the elevator doors. Nicole Jensen runs up to her as they start to close.)
Nicole Jensen: Hey, wait, Janelle ... Janelle, wait!
(Janelle turns around.)
Janelle Mackie: Look, Nikki, it's no big deal. You're not missing anything.
Nicole Jensen: That's easy for you to say. C'mon, Janelle, we're seniors. This is my last homecoming -- please!
(End of flashback. Resume to present.)
Sean Paland: Janelle's always taking in strays.
Nick: Yeah, Janelle ... do you know where Janelle is now?
Sean Paland: I have no idea. You know, when I busted outta there, she was still up there chillin' with the rest of them.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins is going over the body as he audio tapes his report.)
Robbins: Standard SAE kit was collected. Physical finding of sexual activity. Unable to determine if consensual or r*pe. Collected heart blood sample. Preliminary tox indicates psilocybin, MDMA, and THC in the system.
(Flash to: Robbins collects from threads from her nose.)
Robbins: (V.O.) Green-colored fiber was collected from the nasal passages ...
(End of flash. Resume to present.)
Robbins: ... to be forwarded to trace evidence for analysis. Vomitus mass was found in the throat and lungs and there was petecchial hemorrhaging of the lower eyelids. Preliminary C.O.D. appears to be mechanical asphyxia from aspiration of gastric content as a result of acute drug intoxication. Albert Robbins, M.E., Employee number 228369.
(Robbins removes the recorder from his ear.)
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE -- BATHROOM - DAY]
(Sofia Curtis lifts the lid from the toilet bowl. She reaches into the bowl and pulls out a bag of drugs.)
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE - LIVING ROOM - DAY -- CONTINUOUS]
(Grissom is in the living room looking at the floor where the body used to be.)
Sofia Curtis: Collected seven used condoms from two bedrooms -- not a record in my book.
(Sofia walks into the room and puts her kit down.)
Sofia Curtis: Fact that the victim wrists were bound suggests possible sex games. Also pulled a plastic baggie from a toilet containing what looks like ground-up mushrooms, probably not the kind you put on pizza. Could be the source of the psilocybin. (She looks at Grissom.) One of those kids is still holding. (She closes her kit and stands up.) I'm gonna let Brass know.
(She looks at Grissom who is not paying attention to her.)
Sofia Curtis: That time I was talking to you.
Grissom: What? (Grissom turns.) Sorry. I was, uh, treating it like white noise.
(Grissom looks down at the vomit spatter.)
Sofia Curtis: What are you seeing?
Grissom: Chicken cordon bleu.
Sofia Curtis: Okay, there's no evidence of that meal anywhere here, and Ecklie always said you had an odd sense of humor, so that would make this a joke.
(Grissom stands up.)
Grissom: Not really. If you're on your feet when you're throwing up, the vomit goes everywhere.
(Quick flash of: A woman vomiting.)
Grissom: (V.O.) The higher you are, the wider the splash, right?
(The vomit spatters on the floor.)
(End of flash. Resume to present.)
Grissom: But ... (Grissom kneels down.) this vomit is confined to one specific area. (Sofia kneels down also.) So she was probably lying down when she was throwing up.
Sofia Curtis: Maybe unconscious.
Grissom: Or already d*ad.
Sofia Curtis: Vomit could've been forced out by CPR compressions.
Grissom: But that doesn't explain the bruise on her cheek.
Sofia Curtis: Or the green fibers in her nose.
(They look around the room for the source of the green fibers and sees the pillow on the couch. They both walk over to the touch. Grissom picks up the pillow and finds the vomit stain on the pillow.)
Grissom: Well ... may have started here.
(Quick flash to: Nicole Jansen struggles on the couch.)
Nikki Jensen: Let go of me!
Man's Voice: Shut up!
Nikki Jensen: Stop it! Stop it!
Man's Voice: Shut your mouth. Man's Voice: There you go! WOMan's Voice: Quiet!
(Close-up of: The pillow is removed and there's a button impression on Nicole's cheek.)
(End of flash. Resume to present.)
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE - HALLWAY - DAY -- CONTINUOUS]
(Brass steps out into the hallway where the party attendees are waiting. He walks up to a young man and grabs him by the arm.)
Brass: (to the young man) Come on. (to the rest) You're all done - (to the young man) Let's go.
Young Man: What do you mean?
Brass: We know you're dealing drugs. Nikki Jensen's d*ad because of you.
Young Man: No, okay, wait, okay, I don't even do ... I don't even drink, okay? You don't ... you don't want me, you... you want Rex.
(The Young Man turns and looks over at someone in the hallway. Brass turns and looks at the sleek-looking young man.)
Brass: Hey, Rex.
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE - STUDY - DAY -- CONTINUOUS]
(Brass interviews Gavin.)
Gavin (Rex): Look, my name is Gavin. You got my license, check it.
Brass: No, no, it's "Rex," you know, as in Rx. I guess it's a lot more subtle than "drugstore," right?
Gavin (Rex): I got nothing to do with drugs, my man. You already searched me. Is there anywhere else you care to look?
(Gain leans forward on the desk and taps his behind.)
Brass: Hey, you better save that position for later, brother. You're gonna need it, where you're going.
(From the other room, the officer opens the door for Grissom. Grissom walks into the room where Brass and Gavin are.)
Grissom: Is this our dealer?
(Grissom puts his kit on the table.)
Brass: Oh, yeah.
Gavin (Rex): Get this straight, okay? I'm not a drug dealer. My dad owns seven restaurants, including one at the Bellagio and the gourmet room downstairs. I don't need drug money.
Grissom: Well, maybe you just like getting your friends high.
(Grissom turns and looks at Brass. Brass turns and looks at Gavin.)
Brass: There's a song about that, I think.
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE - HALLWAY - DAY -- CONTINUOUS]
(Out in the hallway, Sofia walks through the hallway as she looks at the students. She passes the small group of young men and over to the small group of young women. One of the young women has red, raw wrists. Sofia notices.)
Sofia Curtis: Hold out your hand.
(The girl shows Sofia her wrist.)
Sofia Curtis: Duct tape residue. What do you know?
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE - STUDY - DAY -- CONTINUOUS]
(Grissom takes out the bag with the mushrooms inside.)
Grissom: You know, if the water is relatively still, submerged prints can remain for weeks, months, sometimes even years.
(Grissom sets up on the desk. Brass hands him a circular trash bin.)
Brass: Here you go.
(Grissom puts it on the desk.)
Grissom: Thank you. (Grissom picks up the spray bottle.) When we match your prints on this bag, you'll be charged with m*rder.
(Grissom sprays the plastic bag.)
(As the liquid hits the bag, the camera zooms in for a close-up - directly on a print.)
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE - HALLWAY - DAY -- CONTINUOUS]
(Out in the hallway, Sofia has all the kids show her their wrists. One by one, each of them has duct tape residue.)
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE - HALLWAY - DAY -- CONTINUOUS]
Gavin (Rex): I didn't give Nikki anything. The 'shrooms were for the room. She was diving in there with both hands, and ...
Brass: Did you have sex with her?
Gavin (Rex): So what if I did? She was ... giving it away.
Grissom: You tied her up and forced her down on the couch.
Gavin (Rex): That wasn't me.
(Grissom's phone rings. He answers it.)
Grissom: Grissom.
Catherine: (from phone) I just found Janelle Macklin.
INTERCUT WITH:
[INT. CSI - AUDIO/VISUAL LAB - DAY]
(Catherine is on the phone while looking at the monitors.)
Grissom: (from phone) Good. We need to talk to her right away.
Catherine: That's going to be tough.
TOWER EAST-VIP ELEVATOR
CAMERA 1
{TIME} 10:01:40:--
(From the security camera: Two men in masks push Janelle Macklin into an elevator. They hold their g*n up and look at the camera.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE - NIGHT -- FLASHBACK]
(The party in the penthouse is going on. Suddenly, the doors burst open and two men in masks carrying g*n start shouting instructions to the kids.)
(The girls start screaming.)
g*n: Everybody h*t the floor! Now! Now! g*n: Now! Now! g*n: Move! h*t the floor!
(End of flashback. Resume to present.)
[INT. OLYMPIA HOTEL/CASINO - EAST PENTHOUSE - NIGHT -- PRESENT]
(Brass interviews three of the kids who attended the party.)
Young Man 1: They had duct tape. They tied everyone up, and they dragged Janelle out.
Brass: So how did Nikki end up d*ad?
Young Man 2: Um ... eventually, we all ... got ourselves free. Everybody was scared, but Nikki was possessed.
Miranda: She was wasted. Freaking out.
(Quick flashback to: [PARTY] Nikki screams and heads for the door. One of the women stops her.)
Nikki Jensen: (screams) No! I'm leaving!
Miranda: Shut up! Shut up!
(The Young Woman pulls her back into the room and throws her on the couch.)
Young Man: Shut her up!
Miranda: Friggin' 'shrooms!
(Nikki struggles as the others hold her down trying to keep her quiet. Someone puts a pillow over her head.)
Young Woman: Chill, will ya?! YOUNG MAN: Shut up!
(End of flashback. Resume to present.)
Young Man 2: We weren't trying to hurt her.
Brass: Well, that's for the DA to decide. Why try to hide the kidnapping?
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - MAIN FLOOR -- DAY]
(Catherine and Sheriff Rory Atwater talk with Charlie Macklin, Janelle's father.)
Charlie Macklin: I told the kids not to report it. And I told 'em not to leave the room. They were smart enough to listen. Janelle's fine. It's a game.
Sheriff Rory Atwater: You know, Mr. Macklin, based on the surveillance videotape ...
Charlie Macklin: I've seen it.
Catherine: Your daughter looked terrified.
Charlie Macklin: She does school plays. Says she wants to be an actor. At least that's the story this month.
Catherine: So you think this is all an act? Daddy's little girl begging for attention.
Charlie Macklin: Right on the button. Let me tell you about Janelle: I sent her to a nice prep school back east, she flunked out on purpose. I gave her a Bentley for her sweet 16, she wraps it around a tree. I've been putting up with this crap since she was a kid. I'm done.
Sheriff Rory Atwater: When was the last time you actually talked to your daughter?
Charlie Macklin: Yesterday, when she asked me to comp the suite. You want me to call her, fine. She never goes anywhere without her cell phone.
(Charlie Macklin takes out his cell phone and dials. He puts it on speaker phone.)
Digitized Voice: (from phone) We have Janelle. Wire one million U.S. Dollars to Grand Caymans National Bank, account number 489-27-63. If the money is not deposited within twenty-four hours, she dies.
(Charlie Macklin hangs up and puts his phone back into his jacket.)
Catherine: I take it that's not her usual greeting. If this is a game, why ask for money? She obviously doesn't need it.
Charlie Macklin: I pay, she wins. You want to know why the "abductors" want the money wired to the Caymans?
Sheriff Rory Atwater: Smart move. Most kidnappers do get busted at the drop.
Charlie Macklin: That's where Janelle has her trust is set up. She knows how those banks work.
Catherine: When Steve Wynn's daughter was kidnapped, he didn't tell the police. He went to the Mirage Casino Floor, he got 1.4 million in cash, he made the drop ...
Charlie Macklin: Got his daughter back in a couple hours. Yeah, I know the story. Steve Wynn's daughter was a real victim. Janelle isn't.
Sheriff Rory Atwater: Game or not, Mr. Macklin, one girl is d*ad your daughter is missing we're compelled to investigate here.
Charlie Macklin: You do that. And when Janelle turns up, crying, saying how sorry she is, you make sure she answers for it.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins pulls out the table from the morgue to show Bobby Jensen his daughter's body.)
Robbins: Mr. Jensen, your daughter's personal effects are at the front desk.
(Bobby Jensen leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY/LOCKER ROOM -- DAY]
(Ecklie walks through the hallway. He stops in front of the locker room door, peers in and sees Grissom taking off his jacket.)
Conrad Ecklie: Least you got your money's worth out of the rental. I just wanted to let you know, no hard feelings about you leaving the banquet. You're just ... doing your job.
Grissom: Have you decided yet who's going to be the day shift supervisor?
(He looks around the hallway.)
Conrad Ecklie: Well, Sofia's a logical choice, but nothing's official yet.
Grissom: You should consider Catherine. She's earned it.
Conrad Ecklie: I'll, uh, I'll give it some thought.
(Ecklie's about to leave when he turns back.)
Conrad Ecklie: Oh, you know ... I'd love to get a copy of your speech. Just a little souvenir for my scrapbook.
Grissom: (nods) I'll get you a copy.
Conrad Ecklie: That'd be great.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(Greg is reviewing video footage from the
TOWER EAST - STAIRWELL
CAMERA 1
TOWER EAST - VIP ELEVATOR
CAMERA 1
TOWER WEST - SERVICE ELEVATOR
CAMERA 1
Catherine: (o.s.) Tell me something.
Greg: (o.s.) I think my eyes need band-aids.
(Catherine walks over to him.)
Catherine: Tough shift.
(Greg rubs his tired eyes.)
Greg: You did say "shi-fft," right? I reviewed roughly eight hours of video surveillance you so generously provided. Janelle Macklin and several friends rode the VIP elevator to the penthouse around eight p.m. The only other time Janelle set foot in the elevator ... she was a ransom note.
(Quick flashback to: [VIP ELEVATOR] Two masked men with g*n push Janelle into the elevator. They all look at the security camera. The two masked men drag Janelle out of the elevator. End of flashback. Resume to present.)
Catherine: Well, we know they didn't take the VIP elevator down ...
Greg: ... and, based on the video, they didn't use the stairs or the service elevator, either. Maybe's she's still in the suite. It's a big room.
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - ELEVATOR -- DAY]
(Nick snaps several photos of shoe prints on the floor. Catherine walks into the elevator behind Nick.)
Nick: Man, there must be over a hundred shoeprints in here.
(She looks over at the floor panel.)
Catherine: Even more fingerprints on those buttons. Good luck.
(She gives him a thumb's up sign and leaves.)
Nick: (calls out) Thanks a lot.
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - LINEN HALLWAY - DAY]
(Warrick is in the linen hallway looking through the housekeeper's cart. Catherine walks by.)
Catherine: How's it going?
Warrick: Great. Got all the towels we need here.
Catherine: Yeah ...
(Catherine snaps a photo of the linen closet.)
Catherine: I might stick a few of those in my trunk.
(Warrick finds something in the laudry bag. He takes out dark-colored overalls.)
Warrick: The same costumes as the kidnappers.
(Catherine snaps a photo of it.)
Catherine: These guys definitely knew their way around this hotel.
Warrick: Yeah.
(She walks over to the service elevator and presses the button. Warrick walks over to the next laundry cart and looks inside.)
(The elevator doors open. Catherine snaps photos of the service elevator.)
(Cut to: [VIP ELEVATOR] Nick takes photos of the elevator. Nick looks around and then looks up at the security camera.)
(Quick flashback to: [ELEVATOR] The two kidnappers push Janelle into the elevator. End of flashback. Resume to present.)
(Nick looks around and finds some fibers stuck on the elevator door.)
(Quick flashback to: One of the kidnappers brushes up against the door as he gets inside. End of flashback. Resume to present.)
(Nick picks up the fiber.)
(Cut back to: Warrick looks inside the laundry cart and finds the discarded masks.)
Warrick: Hey, Catherine ... (He holds up the masks.) ... got everything we need for Halloween except the candy.
(Catherine takes a photo of the masks.)
Warrick: The abductors exposed their faces to Janelle Macklin. That's one of two things -- either she knew them, or they were going to whack her.
(Catherine turns around and walks into the service elevator. She looks around at the buttons. She takes a photo of the unmarked wall inside the service elevator.)
CUT TO:
[SECURITY VIDEO]
(Close-up of the marked wall in the TOWER WEST -SERVICE ELEVATOR / CAMERA 1.)
[INT. OLYMPIA HOTEL/CASINO - SURVEILLANCE ROOM - DAY]
(Catherine looks at the two video cameras for the VIP Elevator and for the Service Elevator. She sees something.)
Kenny Bristol: Look, I don't know why you had to drag me down here on my day off.
(Catherine turns and looks at Kenny. She looks at the wire hook-up behind the computers. She finds something. She takes out the box.)
Catherine: What's this, Kenny?
Kenny Bristol: (shakes his head) I don't know.
Catherine: Sure you do.
Kenny Bristol: A digital video time-delay.
Catherine: TIVO-ing the casino. Now that's ballsy. You time-shifted the signal from the west penthouse service elevator and you fed it to the east monitor.
(Catherine looks at Kenny.)
Catherine: You were in on it.
Kenny Bristol: Janelle asked me to do her a favor. I really like her. You know, I practically watched her grow up, I mean, through the ... cameras.
(He starts crying.)
Kenny Bristol: I'm so fired. I screwed with Charlie Macklin. I'm probably d*ad.
Catherine: Where is she?
Kenny Bristol: I don't know. She said she wanted to sneak some guys up to her suite that Mr. Macklin wouldn't like. What was I supposed to do? I mean, she's the boss' daughter.
Catherine: She's also a person of interest in the death of Nicole Jensen. If you know anything ...
Kenny Bristol: I'm telling you, I don't know where she is.
CUT TO:
[INT. CSI - LAB -- DAY]
(Various views of the fiber being processed.)
(Grissom processes the fiber Nick found in the elevator.)
Grissom: (to himself) Definitely not synthetic. Medulla is 14 microns in diameter. Continuous cortex. Imbricate scales.
(Catherine passes by in the hallway and stops. She watches Grissom talk and answer himself.)
Grissom: (to himself) I'm thinking sheep. (types it in) Merino. Fine wool for fine fabrics.
(He finds a match.)
Catherine: Why are you talking to yourself?
Grissom: I'm trying a new technique.
Catherine: Is it working?
Grissom: I have no idea.
(Grissom picks up the printer results.)
Grissom: Aniline dye. Most likely BASF or Dupont. Probably used by every high-end garment maker in the world.
Catherine: And black wool is definitely not used for party dresses. So it's got to be from those tuxedo boys in the suite.
Grissom: You'll have to take their clothes.
(Catherine smiles at Grissom.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Dean Tate sits with his Lawyer as they go over photographs of the fiber evidence found.)
(Brass walks into the room.)
Brass: Thread's from your tux, kid. Nothing's going to change that. So the DA's offered you immunity in Nicole Jensen's death for your full cooperation in the kidnapping of Janelle Macklin. Let's hear it.
(Brass sits down.)
Brass: Go ahead.
Dean Tate: All right, straight up. Janelle hired an eye-in-the-sky geek to knock out the cameras in the service area.
(Quick flashback to: [SERVICE ELEVATOR] The two guys in masks cock their g*n in the elevator.)
g*n: Let's rock 'n roll.
(End of flashback. Resume to present.)
Dean Tate: We swooped in, scooped her out, and bam, I mean, we were over it.
Brass: So she paid you to kidnap her?
Dean Tate: No. I wouldn't take a penny from Janelle. We've been friends since grade school.
Brass: Oh, so you did it out of the goodness of your own heart.
Dean Tate: Look, my parents have dealt cards for twenty years, all right? I didn't grow up with squat. Janelle, she didn't care about that. She still kicked it with me. So when she asked for my help, I helped.
Brass: Even if it involved several felonies?
Dean Tate: I wasn't even thinking about that. You don't even get it. You don't understand what it's like to be born and raised here. I mean, Vegas was a dirt lot until the '60s. I mean, it's lucky that I'm not a drug dealer, and Mr. Mack should be happy Janelle's not a junkie stripper. I mean, he was never there for her like my parents were there for me. They instilled good values in my head.
Brass: Like kidnapping?
(Dean Tate sits back in his chair.)
Brass: Who's your partner? Look, counselor, you better educate your client on the meaning of full cooperation.
Dean Tate: Uh-uh, nah. Vegas has got too many rats, and I'm not gonna be one of them. You want to know where Janelle is, I'll tell you. But you're not going to believe me.
Brass: Try me.
CUT TO:
[INT. HOTEL -- HALLWAY - DAY]
(Officers and the Manager rush down the hallway and surround the door to Room
1503.)
(The Officer knocks on the door.)
Officer: Las Vegas Police!
Officer: All right. Open it.
(The Manager unlocks the door with the card key.)
(They open the door and enter the room.)
[INT. HOTEL - ROOM 1503 - DAY]
(They quickly rush into the room. The bed is a mess, the lamp is overturned. The television set is on loudly.)
(The room is empty.)
Television: Don't, don't ... do it! Do it! No, son! No!
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - OFFICE -- DAY]
(Dean Tate is being Polygraphed.)
Polygraphist: Why did you volunteer to take a polygraph test?
Dean Tate: I want to clear my name.
Polygraphist: What crime have you been accused of?
Dean Tate: Kidnapping Janelle Macklin.
INTERCUT WITH:
[INT. HOTEL - ROOM 1530 - DAY]
(Nick and Warrick are looking through the room. Nick is using an ASL on the bed while Warrick snaps photos. He notes the torn camisole on the floor.)
(Nick moves the bed covers aside and finds some body fluid on the bed sheets. He looks at Warrick who is holding up the torn camisole.)
(Quick flash of: [HOTEL] Janelle is crying. One man holds her down on the bed while the other removes his pants.)
g*n: Shut up! You know you want it!
(End of flash. Resume to present.)
CUT BACK TO:
[INT. CSI - OFFICE -- DAY]
Polygraphist: Did you physically as*ault Janelle Macklin?
Dean Tate: No way.
Polygraphist: Did your partner as*ault Janelle Macklin?
Dean Tate: No. I don't know.
[INT. HOTEL - ROOM 1530 - DAY]
(On the breakfast tray is a half-eaten plate of food. Warrick dusts the food tray cover. He finds a print.)
[INT. CSI - OFFICE -- DAY]
Polygraphist: Did you k*ll Janelle Macklin?
Dean Tate: No.
Polygraphist: Do you know where she is now?
Dean Tate: No. It was just a prank.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Catherine reports the polygraph results to Nick.)
Catherine: "Not deceptive."
Nick: So, Dean Tate was telling the truth.
Catherine: Well, according to the polygraph, yeah.
(Warrick leans against the door frame.)
Warrick: Hey, guys, I got a work card h*t off of that maple syrup print.
Catherine: Let me guess. Mrs. Butterworth?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Nick and Brass interview Sean Paland.)
Sean Paland: What are you accusing me of, eating french toast? What, eating carbs is against the law now?
Brass: No, but kidnapping is.
Sean Paland: I don't know anything about that. My prints are in that room because it was Deano's room. He got it so we'd have a place to bring the ladies after the dance.
(Nick puts the photos of the masks out on the table in front of the suspect.)
Nick: So you're telling me when I take a sample of your DNA and compare it to the kabuki masks here ... that's not going to be you?
(Quick CGI POV: Close-up of the Kabuki mask. Camera zooms in on the mouth piece. Sounds of breathing as breath and warm air exhale from the mask's mouthpiece.)
(End of CGI POV. Resume to present.)
Sean Paland: Deano rat me?
Nick: No. No, the evidence did that.
Sean Paland: Look, we were playing around. I bus tables every day after school, all right? A grand's a lot of dough for me. You know, this was a joke.
Nick: You see us laughing?
Brass: Where's Janelle?
Sean Paland: I don't know.
Brass: When's the last time you saw her?
Sean Paland: After the kidnapping. Janelle planted one on my lips. You know, to thank me. I felt it was more than that. You know, I felt a vibe. I gave her an hour to chill, then I called her. Asked her if I could bring her anything. She said she was kind of hungry, so I told her I'd bring her something sweet to eat, other than me.
(Quick flashback to: [ROOM 1503] Sean Paland lifts the lid off the food tray. Janelle sits on the bed and giggles. The phone rings.)
Sean Paland: (V.O.) For a couple seconds, I thought I was in.
(Janelle answers her phone.)
Sean Paland: (V.O.) Then she got a voice mail ... checked it and flipped out.
(She tosses the food tray in frustration and leaves the room.)
(Sean Paland takes a bite of the toast and tosses it back on the tray.)
(End of flashback. Resume to present.)
Sean Paland: I figured that was my cue to bolt, so I rolled back down to the dance to continue with the honeys I was already working. I haven't seen Janelle since. I swear to god.
CUT TO:
[INT. CSI - A/V LAB - DAY]
(Greg watches as Catherine checks the security video and finds Sean Paland walking back into the elevator.)
Catherine: Well, there he is, stepping onto the main elevator from the 15th floor. Alone.
(She chuckles as she watches g*n two working his mirror reflection.)
Catherine: You crack this kid's head open, all that would come out would be T and A.
Greg: I think you said that about me once.
Catherine: Actually, more than once.
Greg: What's the time code?
Catherine: 2:04 A.M.
(Greg checks the cell phone log.)
Greg: That's right after Janelle Macklin's last call to her voice mail. Just like he said. Let me access the message.
Catherine: So when are you going to be doing your final proficiency?
Greg: Every time I ask Grissom, he says, "next time out." And then I end up here.
(Catherine smiles.)
Greg: Okay, here it is.
Charlie Macklin: (from recording) I'm really disappointed with you, Janelle. All these years you spent around me at the casino and you think you can put something like this over on me? The only thing I'm giving you tonight are four little words: Get ... your ... ass ... home.
CUT TO:
[INT. CSI - LOUNGE - DAY]
(Catherine, Grissom and Sofia Curtis sit around the table reviewing the information.)
Catherine: And since the surveillance feed was still being time-shifted at that point, my guess is that Janelle took the service elevator out.
Sofia Curtis: So ... where does that leave us?
(Grissom takes his glasses off.)
Grissom: I think we're done.
Catherine: No actual crime was committed. The kidnapping wasn't real.
Sofia Curtis: Nicole Jensen's death was plenty real. Janelle Macklin's ultimately responsible for putting into motion the events that led to Nicole's death.
Grissom: Well, the broadcast's out on Janelle and her car. When she turns up, she'll have to answer for it.
Sofia Curtis: Well, that's ... (She glances behind her.) ...highly unsatisfying.
(Sofia stands up. She puts Grissom's tie on the table.)
Sofia Curtis: You forgot this at the suite. I fixed it for you. You never know when you might need to get dressed up again.
(Sofia leaves the room; Grissom watches her go. Catherine picks up the tie.)
Catherine: (amused) She glued it.
(Catherine's phone rings.)
Catherine: Just keep in mind, Gil, that she is on Ecklie's team.
(She checks her message: 419 McCARRAN AIRPORT.)
CUT TO:
[EXT. MCCARRAN AIRPORT - NIGHT]
(Warrick and Catherine exit the car. They meet up with Brass who is looking in the back of an open trunk.)
(Brass shakes his head.)
Brass: State trooper reported the car.
(In the trunk, Janelle Macklin is d*ad, a piece of cloth shoved down her mouth.)
Brass: Who wants to tell Mr. Macklin?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Catherine snaps photos of Janelle Macklin's body on the table. Janelle's wrists are tied behind her back.)
(Quick flashback to: [TRUNK] Someone ties Janelle's wrists behind her back as she screams. End of flashback. Resume to present.)
(Catherine snaps more photos. Warrick puts on his gloves and joins her. He notes the scarf shoved in Janelle's mouth.)
(Quick flashback to: [TRUNK] Someone shoves a scarf into Janelle's mouth, then closes the trunk door. End of flashback. Resume to present.)
(Warrick removes the scarf.)
(Quick CGI POV. Camera zooms down the scarf - down Janelle's mouth - down her throat. The scarf is removed. Camera zooms back out of Janelle's mouth along with the scarf. End of Quick CGI POV. Resume to present.)
(Warrick checks the scarf.)
(Catherine puts two strips of tape on the material used to tie Janelle's wrists together. Between the two strips of tape, Catherine cuts the material. She puts the scissors aside and removes the material.)
(Catherine looks at the material.)
Charlie Macklin: (V.O.) Janelle left a message a couple hours ago. She ...
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]
(Charlie Macklin meets with Brass.)
Charlie Macklin: (shocked) She was all worked up, she was crying, saying how someone threw her in the trunk of her car. And then the call cuts off. I thought it was just more drama. This time didn't seem any different from all the others. (He sits back in his chair.) I mean, what kind of kidnapper ... lets you keep your cell phone?
Brass: You should let us answer that question.
Charlie Macklin: Where did you find her, Captain?
Brass: Sunset Road. Near McCarran.
Charlie Macklin: Janelle loved airplanes when she was a kid. She was always ... begging me to go ... see them take off and land. I took her down there. A couple of times, I think. Her mother is in Paris. That's, uh ... what ... nine hours ahead. Kind of late to call right now.
(A young woman walks into the office.)
Mrs. Macklin: Oh, my god, Charlie. They told me about Janelle. I'm so sorry, honey.
(They kiss. Charlie Macklin makes the introductions.)
Charlie Macklin: Captain Brass, my wife.
Brass: How do you do?
Charlie Macklin: I want you to find whoever did this.
Brass: That's what we're trying to do.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. ROAD - NIGHT]
(An officer exits the car and walks around the limo to look through the open driver's window at Bobby Jensen.)
Bobby Jensen: Now what?
Officer: Mr. Jensen, we need to ask you a couple of questions regarding Janelle Macklin.
Bobby Jensen: Hmm. And I thought you were gonna tell me you were gonna charge somebody with my daughter's death. Drink?
Officer: Step out of the car, sir.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Brass interviews Bobby Jensen.)
Bobby Jensen: Not a peep about my daughter, but page one on Macklin's rich bitch. Oh, you boys sure move quicker when there's cash behind it.
Brass: Can you account for your whereabouts in the last six hours?
Bobby Jensen: Why don't you kiss my ass.
Brass: Look, we have a witness who saw Janelle Macklin get into a town car near the Hard Rock earlier this evening.
(Quick flashback to: [EARLIER] Nick is going through the front seat of the car.)
Brass: (V.O.) That's why we impounded your vehicle.
(End of flashback. Resume to present.)
(Brass takes out a photo of a bracelet.)
Brass: Found Janelle's bracelet in your car. (He shows the photo to Bobby Jensen.) What do you think something like this is worth? Hundred G's at least. Huh? Enough maybe to help ease the pain?
Bobby Jensen: For you, maybe. I got a call for a pickup. I went. Trying to keep my head in the work, 'cause what else do I have left?
(Quick flashback to: [INT. CAR - NIGHT] Janelle is trying to apologize to Mr. Jensen.)
Janelle Macklin: Mr. Jensen, you've got to believe me, I never meant for anything to happen to Nikki.
Bobby Jensen: You get out of this car.
(She takes her bracelet off and holds it out to him.)
Janelle Macklin: I-I can pay ... whatever you need until the day I die.
(He knocks it out of her hands and grabs her chin.)
Bobby Jensen: (shouts) You wanna pay!? You wanna pay!?
(End of flashback. Resume to present.)
Bobby Jensen: I told her I was gonna put two b*ll*ts in her head and dump her on her daddy's front step.
Brass: But then what, you decided maybe it'd be more fun to tie her up, let her choke to death in the trunk of her own car?
Bobby Jensen: No. I told her what I felt like doing so her father would know the way I feel. And she got out, and she ran, and it's a good thing she ran, because I might've changed my mind.
Brass: Maybe you did.
Bobby Jensen: (sighs) I'm not that guy anymore.
Brass: You sure about that?
Bobby Jensen: It really doesn't make any difference what you do to me.
(He sighs.)
Bobby Jensen: My baby's d*ad.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(The autopsy photos are spread out on the table. Robbins goes over them with Catherine.)
Robbins: C.O.D. was asphyxia. Scarf lodged all the way down the esophagus, obstructing the epiglottis. Completely cut off her air.
Catherine: And the tox came back positive for benzodiazepines.
Robbins: Yeah, that makes sense. They suppress the gag reflex.
Catherine: And knock you out at the same time. Girl probably didn't even realize she was suffocating.
Robbins: Would've been something like falling asleep.
Catherine: All right, so ... based on the time that she called her father and the time we found the car, she was in the trunk at least three hours. That's a slow way to go.
(Warrick walks into the lab.)
Warrick: I just got off the phone with Brass.
Catherine: Let me guess: Jensen lawyered up?
Warrick: No. He says he didn't do it. And based off the DNA report, I believe him.
(Warrick hands the report to Robbins and Catherine.)
Warrick: Mia found saliva and epithelials on the gag and ligature. We ran them against all known suspects.
Catherine: Everything matches Janelle Macklin.
CUT TO:
[EXT. CSI - PARKING LOT - EARLY MORNING]
(Grissom is leaving and heading to his car. Sofia Curtis pulls up in the parking stall. Grissom has his keys out and is about to unlock the car door when he turns around and sees Sofia. Her hair is down.)
(He turns back to his car and opens the door.)
(Sofia gets out of her car and notices Grissom.)
(She shuts her car door and heads to the building. Off screen, Grissom closes his car door.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Sofia walks through the building. She walks by an open door and glances in as she passes by.)
(Inside the room, Catherine is still going over the autopsy photos.)
(Catherine notices the way the scarf is tied around Janelle's wrists - with the knot on the inside, not the outside.)
(She puts her own wrists up and crossed - then turns them inward toward her.)
(Quick flashback to: [McCARRAN AIRPORT - NIGHT] Janelle stands outside the car. She's on the cell phone.)
Janelle Macklin: (to phone) Daddy, I'm ... I'm in really big trouble. Um, some guys threw me in the trunk of my car.
(Cut to: Janelle sits in the trunk of her car and closes the hood down on herself. Her hands are tied. She use her teeth and tightens the knot on the scarf.)
Catherine: (V.O.) The position of the knot was the key.
(Janelle shifts her hands from the front to the back. She swallows some of the scarf which is stuffed in her mouth.)
Catherine: (V.O.) Between her wrists and her back, The only way that it could've ended up in that position was if she had tied it herself. And her saliva on the ends of the scarf confirmed it.
(End of flashback. Resume to present.)
Brass: You saying she committed su1c1de?
(Brass takes a drink from his glass. Catherine sighs as she nurses her drink.)
Catherine: I guess I am. Although I don't think that was her intention.
CUT TO:
[INT. OLYMPIA HOTEL/CASINO - LOBBY - DAY]
Catherine: (V.O.) I think that she was ... hoping that her father would save her in time.
(Charlie Macklin walks down the center of the hotel lobby. He dials and puts the phone to his ear.)
Janelle Macklin: (over phone) Daddy, I'm in real big trouble. Um, some guys threw me in the trunk of my car. Oh, dad. You've got to believe me. I-I can hear airplanes. Um, I-I must be near the airport. I know you'll find me.
FADE TO BLACK
Janelle Macklin: (from phone) Please hurry.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x07 - Formalities"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. HIGHWAY - NIGHT]
(A Thunderbird speeds down the highway. The woman driving the car picks up speed. She zooms past a parked police car. The police car pulls out from the side and chases after her.)
FLASH TO:
[EXT. HIGHWAY - NIGHT]
(The Woman in the car fixes her hair and removes her scarf as she checks herself in the rearview mirror. The lights from the police car parked behind her flash.)
(Officer Mann shuts the door. He walks over to check on the driver.)
Wendy Garner: Officer ... thank God you're here.
Officer Mann: You know why I stopped you?
Wendy Garner: Yeah, I ... I ... I was speeding, uh ... of course, but you have to understand, you see, someone is chasing me.
(He nods.)
Wendy Garner: You see, I have videos.
Officer Mann: I bet you do. Let's start with license and registration.
Wendy Garner: Officer, if I could ... if I could just show you.
(He looks at her.)
FLASH TO:
[EXT. HIGHWAY -- NIGHT]
(Wendy Garner is d*ad, her eyes wide open. Her throat is slashed and gouged as she sits tilted sideways behind the driver's wheel.)
(Grissom snaps photos of the body in the car.)
(Behind him, Catherine puts down evidence marker #4 next to an open video camera. She snaps photos of it and picks it up.)
Catherine: Found a camcorder. No tape inside.
(Grissom continues to take pictures of the body. Catherine looks around the area. She sees some tire marks in the dirt.)
Catherine: Not much traffic. Makes it a lot easier to run someone off the road ... (quietly) ... and slash their throat.
(Catherine walks over to Grissom.)
Grissom: She was slashed south of the border, as well.
(Top View down of the body in the car shows her blood-soaked lap.)
Catherine: Women in convertibles are low-hanging fruit.
Grissom: -- And it was a top-down night.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(David Phillips is washing the body as he prepares the body for autopsy. He turns the water off. Catherine stands next to the table.)
(David Phillips notices the large engagement ring on her finger.)
David Phillips: That's a nice ring. It's at least four carats.
(Off Catherine's look, he explains.)
David Phillips: We've been shopping. (Catherine smiles.) Lots of surgical procedures here: Artificial breasts, cheek implants ... collagen lips ... you'd be surprised how many women I get on this table with fake parts.
Catherine: Plastic lasts longer.
(David Phillips manages to remove the ring. He looks at it.)
CUT TO:
[INT. CSI - GARAGE - NIGHT]
(Sara and Warrick are examining the car.)
(Warrick takes out the center arm rest and finds a woman's cosmetics bag in it. He opens it and is impressed by the quantity of its contents.)
Warrick: Wow. Mascara, tweezers ... under-eye cream ... ... neck-firming lotion. (He shakes his head and mutters.) Girls. Pads ... one, two, three, four jars of depilatory cream?
Sara: That's a lot of bikini wax. Some girls hate the nether-stubble.
Warrick: Nether-stubble?
(Under the floor carpet, Sara finds a Tangiers Employee ID badge.)
Sara: Swipe card. Entertainment Department, Tangiers.
(Warrick checks the glove compartment and finds a driver's license.)
--733 EXPIRES 04-14-2007
CLANCY, WALTER
1712 MOUNTAIN VISTA
LAS VEGAS, NV 89101
Warrick: Well ... Walter Clancy didn't mind stubble.
Sara: Who's Walter?
(Warrick looks at the registration papers:
BODY TYPE MODEL
THUNDERBIRD G
TYPE VEHICLE USE / DATE
AUTOMOBILE / 02/11/--
REGISTERED OWNER
CLANCY, WALTER
1712 MOUNTAIN VISTA
LAS VEGAS NV 89101
Warrick: The registered owner of this vehicle.
(Warrick holds up the Driver's License.)
Sara: So she either borrowed this car ... or she stole it.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Robbins goes over his report with Grissom and Catherine.)
Robbins: Genital wounds were more profound than I expected.
Grissom: Profound how?
Robbins: Well, I was looking for ovaries and I found a prostate.
(Grissom looks surprised.)
Catherine: "She" was a "He"?
Robbins: "She" had genital reassignment surgery.
Catherine: And what does that mean exactly?
Robbins: Exactly? Her testicles were removed and her penis was inverted, creating a vagina.
Grissom: And, evidently, the k*ller kept subtracting.
Catherine: Subtracting what?
Grissom: Well, they don't call it an Adam's apple for nothing. A man with issues might become upset if he found one on his woman. Cause?
Robbins: Severed carotid and jugular complex. Uh, incised wounds are almost surgical in nature. Used an extremely sharp w*apon. Vicious att*ck. Probably from someone emotionally involved.
Grissom: Time?
Robbins: Best estimate, between 8:00 and midnight. I collected a standard SAE kit.
Catherine: Good. Because top or bottom, this looks like a sexual as*ault that turned into a hate crime.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE - NIGHT]
(Brass interviews Officer Mann.)
Officer Mann: Clocked the Thunderbird doing ninety. I nail it. The skirt driving tells me she's being chased. And then she asks if she can show me some videos.
Brass: How were they?
Officer Mann: I didn't bite. She was working it.
Brass: Rough duty.
Officer Mann: Look, she gave me this lame story about the car being her brother's, and that she had lost her license, but she has his license, and yakety-yak. I just let her off with a warning.
Brass: So you had speeding, driving without a license, possible stolen vehicle, and you let her off with a warning.
Officer Mann: What are you implying?
Brass: She got off pretty easy. How about you?
(Brass takes a sip from his cup.)
Officer Mann: I resent that.
Brass: Well, I'm sure that she resented being sexually harassed and slaughtered two miles from the place you pulled her over!
Officer Mann: I didn't know about that until you called me in here.
Brass: You know, you have a sexual harassment flag in your file.
Officer Mann: Oh, so that makes me a sex m*rder?
(Quick flash to: [NIGHT] Officer Mann talks with Wendy Garner.)
Officer Mann: I know a place about two miles up. It's a little more private.
(End of flash. Resume to present.)
Brass: I mean, you know, if ... if I found out that the gal who was stripping my gears was a guy, I mean, I'd be mad, too.
(Quick flash to: [NIGHT] Officer Mann is kissing Wendy Garner. He reaches down her body ...
Officer Mann: What are you?!
(He pushes her against the car.)
(End of flash. Resume to present.)
Brass: Or maybe you prefer a stick.
(Brass takes a sip from his cup. Officer Mann leans forward in his chair.)
Officer Mann: I told you, nothing happened.
Brass: You're on administrative duty until we confirm that. You mind submitting your DNA?
Officer Mann: Just tell me where to spit.
CUT TO:
[INT. CSI - A/V LAB - NIGHT]
(Catherine and Warrick work with Archie Johnson on the two photos - one of Wendy Garner and the other of Walter Clancy.)
Catherine: Ran her prints through AFIS and I got two hits. A Wendy Garner was a dancer at the Tangiers, and Walter Clancy, a blackjack dealer at the Riviera in the mid-'90s.
(Archie has both photos on the monitors.)
Archie Johnson: Okay, let's give this a sh*t.
Catherine: The coroner noted that she had collagened lips.
(Archie thins out the lips from the Wendy photo.)
Catherine: Okay, so 86 those cheek implants.
(Archie makes the adjustments.)
Catherine: Now, estrogen would've rounded out the face, so square that jaw.
Archie Johnson: Got that. I'm gonna give her a haircut. Add some whiskers ...
(As soon as the hair is shortened, the resemblance takes shape.)
Warrick: Wow. Take away the, uh ... eye makeup ... fix the eyebrows.
Catherine: Well, one thing's for certain: Walter didn't k*ll Wendy.
Warrick: No, it's more like Wendy k*lled Walter.
CUT TO:
[INT. CSI - LAB - NIGHT]
(Mia walks into the lab where Sara is working.)
Mia Dickerson: Okay, Wendy's mouth had two foreign DNA donors: One seminal, one saliva. Neither was a match for Officer Mann.
Sara: Huh.
(Mia sees the ring that Sara's looking at under the scope.)
Mia Dickerson: Wow. That is some rock. Platinum setting. Princess cut. Somebody really loved her-- oh-- him.
Sara: I think "She's" a "Her".
Mia Dickerson: Right. Well ... a diamond that big, you hope she had it lojacked.
Sara: That is what I'm counting on.
[SCOPE VIEW]
(The serial number is NW-583.)
Sara: There's a serial number micro-etched into the band around the diamond --
I'm hoping it gets me a groom.
(Mia nods. Then a thought occurs to her and she chuckles quietly to herself.)
Mia Dickerson: You know, I once heard this story about this man who became a woman because he was obsessed with a lesbian ... who was really a man.
(Sara looks at Mia. There's a brief, awkward pause.)
Mia Dickerson: Overshare.
(Mia turns and leaves the lab.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. LANER RESIDENCE - LIVING ROOM - DAY]
(Brass interviews Wendy Garner's fiancee, Aaron Laner, while Sara and Grissom look around the house.)
Aaron Laner: Wendy just bought her wedding gown. She, uh, she would've been a beautiful bride.
(Grissom looks at the framed photos on the mantle of the happy couple.)
Aaron Laner: We just wrote our wedding vows last week. I just figured that she was at a friend's house -- a girlfriend's house -- for the night.
Grissom: Mr. Laner, how long had Wendy been a dancer?
(Grissom points to a framed photo on the mantle of Wendy in her Las Vegas Showgirl's costume.)
Aaron Laner: About two or three years in the line. I mean, never topless. But, uh, in her costume, she was a vision.
Brass: How long had you known each other?
Aaron Laner: About a year. We met in a grief support group. I'd lost my wife.
Grissom: Sorry for your loss.
Aaron Laner: Thank you.
Grissom: Who was Wendy grieving for?
Aaron Laner: Uh, she'd ... lost her twin brother.
(Grissom and Brass share a silent, knowing look.)
Brass: Would that be Walter?
Aaron Laner: Yeah, Walter. Did you know him?
Brass: Sort of.
INTERCUT WITH:
[INT. LANER RESIDENCE - BEDROOM/BATHROOM - DAY]
(Sara walks into the bedroom and notes the two separate, single beds. She looks at the photo of the happy couple on the beach.)
(Sara heads into the master bathroom. On Sara's right, there's a bare sink and counter with only a hair dryer. She turns to her left and sees the woman's sink. Sara puts her kit down and looks at the false eyelashes.)
(She opens the medicine cabinet and finds over a half-dozen prescription bottles on the shelf. On the inside of the cabinet door are a couple of yellow post-it notes. The upper post-it reads:
4X W/MEALS
Yellow - morning on empty stomach
Blue - 2 before bed
Green - 1 before dinner
White - Morning w/food
Pink - 1 before bed
White (oral) 1 before breakfast
Yellow (oral) 2 before bed
(Quick flash of: [BATHROOM] Wendy is in front of her sink, the medicine cabinet is open and she grabs and drinks down her pills one by one. She checks her post-it note and takes more pills. End of flash. Resume to present.)
(Sara removes the post-it note and puts it in a bag. The second post-it note reads:
G-105
SECTION E
21 - 33 - 14
(Sara removes that note also.)
(Sara walks over to the trash bin between the toilet and shower. She peers inside and picks up a blood-stained pad still bent into three.)
[INT. LANER RESIDENCE -- LIVING ROOM - DAY -- CONTINUOUS]
(Sara joins the group in the living room.)
Sara: Mr. Laner, I need to ask you a personal question, if you don't mind -- it may help us. Did you and your fiancée sleep in separate beds?
(Aaron Laner stands up.)
Aaron Laner: Uh ... we were an old-fashioned couple. Neither of us believed in premarital sexual relations. I mean, that's why I fell in love with her, because of her traditional values.
(Grissom looks over at Sara. She glances at him.)
CUT TO:
[EXT. LANER RESIDENCE - FRONT WALK - DAY -- CONTINUOUS]
(Grissom, Sara and Brass and walking back to their car. Grissom is holding the plastic bag with the pad in it.)
Grissom: This is confusing.
Brass: She had her period?
Grissom: Impossible. No uterus, no period.
Brass: So a guy desperate to change his sex hooks up with a guy desperate not to have any.
Grissom: A match made in heaven.
Sara: I think we need to tell Mr. Laner the truth.
Grissom: Are we sure he doesn't know?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. TANGIERS - SHOWSTAGE]
(The dancers walk out on stage in full costume. They perform their routine and take a bow as the audience applauds.)
[INT. TANGIERS - BACKSTAGE -- CONTINUOUS]
(The Stage Manager motions for Grissom and Catherine to follow him backstage.)
Stage Manager: All right, this way.
(He turns and heads backstage as he talks into a walkie-talkie. Grissom follows Catherine.)
Grissom: Aborigines say they dance naked to make the gods happy.
Catherine: The gods would be happy in Vegas.
(They turn and follow the Stage Manager down the stairs to the dressing rooms.)
[INT. TANGIERS - STAIRS - CONTINUOUS]
Grissom: Did you ever see any transsexuals when you danced?
Catherine: Gil, only civilians confuse strippers and showgirls. You can't cheat the full monty.
CUT TO:
[INT. TANGIERS - BACKSTAGE DRESSING ROOM - CONTINUOUS]
(Grissom and Catherine step into the crowded dressing room.)
Stage Manager: That's Wendy's station over there.
Catherine: Thank you.
(The Stage Manager leaves.)
Catherine: Hello, ladies.
Showgirl: Hi, honey.
Catherine: I'm Catherine Willows. This is Gil Grissom. We're with the crime lab. Do any of you know if Wendy Garner worked last night?
Pink: No, she had the day off. But she should be working tonight. And she is late. That's not like her.
Purple: Why, did something happen to Wendy?
Catherine: Unfortunately, she was found d*ad last night.
Pink: It was all those hormones she was taking, wasn't it?
Purple: Shut up. What do you know?
Grissom: Do you know that Wendy was a, uh ... ?
Purple: Trannie? All the best showgirls are.
Pink: Yeah, and it don't matter if they're packin' a lop job or a gaff.
Grissom: Okay, lop job I get. What's a gaff?
Mimosa: It's like a jockstrap, only it hides what it's supposed to strap.
Purple: We all get work done. Who cares if it's up north or down south? Pretty's pretty.
Catherine: So do you know where she got her work done?
Purple: You want the best, you go to Dr. Mercer.
CUT TO:
[EXT. HOSPITAL (STOCK) - DAY]
[INT. DR. MERCER'S OFFICE - DAY]
(Bev is leading a Women's Group.)
Bev: Okay, so on tonight's agenda, we're going to be talking about hair removal, gait, and we'll do our pride walk, hormones, and voice pitch ...
(Warrick and Catherine walk into the group session, causing a distraction among the women in the group.)
Bev: Ladies, come on. Over here. Now, regarding hair removal ...
Warrick: (to Dr. Mercer) Are they all women?
Dr. Mercer: The ratio of MTFs to FTMs is four to one.
Catherine: Males to females rather than females to males?
Dr. Mercer: Bev is one of my patients.
Bev: Right. Now, who hasn't done their pride walk?
Woman In Group: I haven't.
CUT TO:
[INT. DR. MERCER'S OFFICE - DAY - CONTINUOUS]
(Catherine and Warrick talk with Dr. Mercer in his office.)
Dr. Mercer: The law requires re-gender candidates to spend one year on hormones and one living as the sex of preference. Wendy wanted to fast-track the process and I wouldn't do that.
Catherine: I guess she found somebody who would.
Dr. Mercer: Every field has its bottom feeders. Surgery is the easy part. Life afterwards is the challenge. Some candidates get depressed. They're unhappy about their lives and they think surgery is going to chase away all their emotional problems.
Warrick: Dr. Mercer, Wendy didn't commit su1c1de. She was k*lled.
Dr. Mercer: (sadly) Oh, God. I am so sorry. As ready as my patients are for the world, I guess the world isn't always ready for them.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Sara catches up with Mia Dickerson in the hallway.)
Sara: Hey.
Mia Dickerson: Hey.
Sara: Anything on those pads I collected?
Mia Dickerson: Uh, yeah, traces of EDTA.
Sara: Isn't that an anticoagulant?
Mia Dickerson: (nods) Yeah. Used in blood-collection vials.
Sara: So it wasn't the victim's blood?
Mia Dickerson: No, it was hers. His?
Sara: Hers.
Mia Dickerson: But no epithelials or fibrinogen, so clearly it wasn't menstrual.
Sara: So Wendy was having blood drawn and putting it on pads?
Mia Dickerson: She ... was faking her period.
(Quick flash to: [BATHROOM] Wendy opens a pad and pours some blood in the center of the pad. She throws the pad away. End of flash. Resume to present.)
(Mia and Sara walk into the lab.)
Mia Dickerson: What I don't get is why she would do that.
Sara: Well, she was living as a woman, and that's part of it. I-I don't know.
Mia Dickerson: Yeah, but you don't draw your own blood. I mean, she had to have help.
Sara: Maybe the same doctor that was keeping her medicine cabinet filled.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(Greg gives his report to Grissom. He holds out the file folder.)
Greg: Hey, these are the pills Eric collected from Wendy Garner's bathroom. For the record, I really like having a penis.
(Grissom glances at Greg, then goes back to the report.)
Greg: Okay, the reds and blues are bootleg estrogen conjugates out of Mexico.
(Grissom looks at a photo of a blue pill with the number 44 on it.) Apparently, HMO's don't consider being differently sexed a life-thr*at condition.
Grissom: So patients resort to Mexican pharmacies.
Greg: Premarin's green, a heavy-duty hormonal supplement. Name's short for "Pregnant Mare Urine." Talk about your PETA nightmare.
Grissom: What about these other pills?
Greg: Mexican-grade painkillers, tranquilizers, and a broad-spectrum antibiotic. Sounds like a post-surgery cocktail to me.
(The phone rings; Grissom answers it.)
Grissom: (to phone) Grissom. Yes. Mimosa? (Grissom glances at Greg.) Yes. Today? The Apple Martini, one o'clock. I'll be there.
Greg: Did you just get a lunch date?
(Grissom looks at Greg. Greg smiles knowingly at Grissom, he turns and walks out of the office, the smile still on his face.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. THE APPLE MARTINI - DAY - 1 PM]
(Grissom walks into the lounge. The place is busy. He walks over to the bar and sits next to Mimosa.)
Grissom: Hello.
Mimosa: I'm glad you agreed to meet me. Can I buy you a drink?
Grissom: Thanks, but I'm still on the clock.
Mimosa: But you still let me lure you away from the lab. Is that because I'm a beautiful woman? Well, I'm a beautiful woman now.
Grissom: Beauty is a societal construction.
Mimosa: So is gender. People find out you're MTF, and they think you're psycho; Michael Caine with a bad wig and a pair of sunglasses s*ab Angie Dickinson in "Dressed to k*ll".
(She takes a sip of her drink.)
Mimosa: De Palma had some issues. You're an outsider. That's why I trusted you. (She reaches out and lightly touches his hand.) You get it. Don't worry, Mr. Grissom. This isn't about sex. It's about soul.
Grissom: What was it you that you wanted to trust me with?
Mimosa: I loved Wendy. I was there with her through her whole transition. I was going to be her maid of honor. Do you know how hard it is for people like us to find love?
Grissom: Do you know what happened?
Mimosa: She called me, hysterical. Uh, I don't know. She kept going on about avideo tape or something.
Grissom: What kind of tape, do you know? Blackmail? p*rn?
Mimosa: p*rn? (She laughs.) Oh, my God. Wendy was such a prude, she'd cover the mirror when she got out of the shower.
Grissom: People confuse your obsession with sexuality as an obsession with sex.
(He shrugs.)
Mimosa: Imagine being three years old, tormented by the sensation that you had the wrong parts. Your body's like a foreign country and you're stuck without a passport. All because in your first trimester your "X" and "Y" chromosomes split off and went different directions; girl brain, boy body.
Grissom: It's like the Guiterman poem: Amoebas at the start were not complex; But then they tore themselves apart and started sex.
[Note: Arthur Guiterman, (November 20, 1871 to January 11, 1943).]
Mimosa: Well, in the beginning, Wendy's chromosomes might have been tearing themselves apart, but in the end, she was tearing herself apart.
Grissom: Do you know why?
Mimosa: I don't know. Planning a wedding, working a rookie vagina, and about to lose her cherry to a man who doesn't know?
Grissom: So she talked to you?
Mimosa: She talked about it in group.
Grissom: May I ask the name of your therapist?
Mimosa: Dr. Lavalle.
CUT TO:
[INT. CSI - LAB]
(Warrick takes photos of the clothes Wendy Garner was wearing when she died. He carefully rolls up the dress when Mia Dickerson walks in.)
Mia Dickerson: Hey, I've been looking for you.
Warrick: You found me.
Mia Dickerson: I analyzed the blood on the shoes you gave me. I expected it to be Wendy's blood. It's not hers and it's not Officer Mann's.
Warrick: So it might be the k*ller's.
(She nods.)
Warrick: Well, given the nature of this case, it might be misleading, but I'll ask anyway -- male or female?
Mia Dickerson: One donor. All male.
(Mia turns and leaves.)
CUT TO:
[EXT. LEPIDRO CLINIC - FRONT WALK - DAY]
(Grissom and Brass head for the clinic.)
Brass: Lepidro. What kind of name is that?
Grissom: It's from Lepidoptera, meaning "butterfly." Walter Clancy started out a gender-dysmorphic caterpillar and turned into a bloody butterfly.
Brass: Love hurts.
CUT TO:
[INT. LEPIDRO CLINIC - LIVING ROOM - DAY]
(Amber waves to Tippi.)
Amber Hamshaw: Bye-bye, scrumptious pumpkin.
Tippi: Bye, Amber.
(Amber leaves as Grissom and Brass walk into the clinic.)
Brass: Dr. Lavalle?
Francis: No, I'm Francis. My wife is the doc.
Tippi: Grownups always do that.
Francis: It's gender-stereotyping, honey.
Brass: Okay, Francis. I'm Jim Brass, Las Vegas Police. This is Gil Grissom from the crime lab.
(Francis stands up.)
Francis: Well, if I'm being intrusive, please tell me, but, I mean, why are you here?
Brass: Wendy Garner.
Tippi: I know Wendy.
Francis: She's a patient.
Brass: She was a patient.
Francis: My wife is in group.
(He turns and leaves. Brass and Grissom follow.)
[EXT. LEPIDRO CLINIC -- BACK YARD - DAY - CONTINUOUS]
(Francis leads Brass and Grissom out to the back yard where Mona Lavalle is in the middle of group with other couples.)
Ed: This is really frustrating. They don't get it. She is a beautiful woman now and I love her.
Dina: Our pastor doesn't know.
Mona Lavalle: You need to tell him. The truth goes a long way.
Francis: Mona? These folks need to speak to you.
Mona Lavalle: Eddie, would you take over?
Ed: Sure.
CUT TO:
[INT. LEPIDRO CLINIC - LIVING ROOM - DAY]
(Grissom looks at some of the framed photos she has on her shelves.)
Mona Lavalle: In the sanctuary alliance I saw an eritrean girl who had her labia sewn shut. I looked into her eyes and I found a cause. Six thousand women a day suffer genital mutilation.
Grissom: So you travel around the world treating the victims of sexual treachery?
Mona Lavalle: You don't have to travel to find the genitally disenfranchised.
Brass: Like Wendy Garner?
Mona Lavalle: Wendy came to me. She was denied surgery. That's devastating. I tried to help her work through that.
Grissom: By finding a doctor who would operate on her?
Mona Lavalle: By working with her on what made her an unacceptable candidate.
Grissom: Which was?
Mona Lavalle: Patience.
Brass: When was the last time you saw her?
(She looks at her appointment book.)
Mona Lavalle: Last night. 7:00 to 8:00 for her individual consultation.
Brass: How did she seem?
Mona Lavalle: She was agitated. She was worried about whether her fiancée would receive her well on their wedding night.
Brass: So he didn't know?
Mona Lavalle: I don't recommend what we call "passing." I suggested that Aaron come at a group. Wendy was adamant that he never know the truth.
Grissom: Doctor, do you videotape your sessions?
Mona Lavalle: No, never. That would violate the doctor-patient privilege.
(Grissom nods.)
CUT TO:
[INT. CSI - A/V LAB - DAY]
(Nick is working on the computer in the lab. He has a large map on the monitor. Warrick is in the lab with him.)
(Note that the monitor reads:
WENDY JONES - HOUSE
118 SUNSHINE LANE
GREEN VALLEY, NV
Nick: Wendy lived here at 118 Sunshine Road in Green Valley.
(He presses a button and a dotted line appears from Wendy's house to Therapy.)
Nick: She left her weekly session with Dr. Lavalle at 8:00 P.M. here. Now, Officer Mann pulled her over on Industrial Road 24 minutes later.
(A third dotted line appears on the monitor.)
Warrick: Well, she was found d*ad two miles south of there, supposedly on her way to her friend Mimosa's house here.
Nick: Takes ten minutes to drive from the clinic to Industrial Road.
Warrick: Yeah.
Nick: Yeah. I had Greg run it.
(They both chuckle.)
Warrick: Classic. Fourteen minutes of Wendy's time unaccounted for.
Nick: That's what I'm saying. She must've stopped somewhere between the clinic and where Officer Mann clocked her doing ninety.
Nick: Somewhere in this highlighted area.
Warrick: Yeah, but there's nothing out there.
Nick: Not so fast. Sara found this in the medicine cabinet. It's a post-it.
(Nick shows Warrick the note.)
Warrick: (reads) "G-105, Section E." What does that have to do with her medicine cabinet?
Nick: Doesn't have anything to do with the medicine cabinet. I thought it was map coordinates or something like that, but it's not. You know what they have a lot of up in this area?
(Nick walks up to the large wall monitor and points to the area he's talking about.)
Nick: Storage facilities.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. E-Z ACCESS STORAGE -- HALLWAY TO UNIT - NIGHT]
(Catherine, Nick and Warrick head for the storage unit, G-105.)
Warrick: What's the number again?
Nick: G-105. Should be right down here.
(As they approach, Warrick sees the bloody shoeprints on the floor.)
Warrick: Hey, hey, watch your step. Watch your step. I got footprints.
Catherine: Those look like bloody footprints.
Warrick: Yeah.
(They stop in front of the door. Nick kneels down in front of the padlock and tries the combination found on the yellow post-it.)
(The padlock opens. Warrick takes out his g*n. Nick opens the door.)
[INT. E-Z ACCESS STORAGE -- UNIT G-105 - NIGHT - CONTINUOUS]
(Warrick steps into the unit. He sees the blood on the floor. The further he goes in, the worse it looks. There's a body still on the table. We can hear flies buzzing in the background.)
Warrick: Nick, h*t the lights.
(Nick turns the lights on and they find the blonde woman's body still on the operating table, her eyes wide-open, legs spread wide and blood all over the place. It appears that she may have died mid-operation. A grotesque sight for even the experienced.)
Warrick: Oh, God.
(Warrick, Catherine and Nick can't believe their eyes.)
FADE OUT.
(COMMERCIAL BREAK)
DUE TO ADULT CONTENT, VIEWER DISCRETION IS ADVISED
FADE IN.
[INT. E-Z ACCESS STORAGE -- HALLWAY TO UNIT - NIGHT]
(Warrick works on getting the shoe prints on the hallway floor while Nick works on printing the door frame to the warehouse unit.)
(Nick dusts the door frame; Warrick snaps a photo of the shoe print.)
[INT. E-Z ACCESS STORAGE -- UNIT G-105 - NIGHT - CONTINUOUS]
(Catherine works inside the warehouse. She snaps photos of the body on the make-shift operating table.
Nick: Catherine.
Catherine: Yeah?
Nick: What do you think went on here?
Catherine: Someone outsourced their health care to the wrong provider.
(Catherine snaps a photo of the table with the bloody tools on it. On the floor, she finds a bloody used latex glove. She picks it up.)
Catherine: At least ... something was sterile.
Nick: Maybe why I'm not getting any prints.
(Brass walks into the unit. He greets Nick on his way to report to Catherine.)
Brass: Hey.
Nick: Hi, Jim.
Brass: (to Catherine) So I, uh ... I talked to the manager. All he said was, the renter paid cash, he was a guy, he seemed normal.
Catherine: Normal people don't t*rture people in storage bins.
(Catherine turns around and takes more photos of the body on the table.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Robbins x-rays the body. On the monitor, they find piano wires in the body's lower abdomen.)
Robbins: Piano wires. They're used to mobilize the lower part of the abdominal skin and anchor the neo-vagina, so it can heal in place.
Catherine: I can only imagine those cramps.
Robbins: The surgeon stuffs the portal with a cylinder wrapped in gauze to hold its shape while it heals, and sutures it.
Catherine: And how long does milady have to wear a wire?
Robbins: Well, after five days, the vagina is un-sutured, and the wires are removed. Scarring indicates multiple surgeries.
(Catherine and Robbins walk around the monitor and toward the body.)
Robbins: She appears to have gone in for repair due to infection.
Catherine: I take it that wasn't supposed to happen.
Robbins: Maybe someone wasn't taking their hormones.
Catherine: Or they were taking some bad Mexican bootlegs. Now, that is more than a five o'clock shadow.
Robbins: It's a myth that hair grows after death. What happens is, the skin contracts, revealing whiskers.
(Quick CGI POV of: Extreme close-up of the chin and hair getting longer as the skin contracts.)
Robbins: (V.O.) Contraction of the erector pilae muscles, combined with fixed lividity, indicates time of death was at least two days ago.
(End of CGI POV. Resume to present.)
Catherine: So she died before Wendy.
Robbins: Yeah, sad as this is, it presents as accidental. Loss of blood due to hemorrhaging. Pelvic artery was severed. My theory: Surgery one, they botched. Round two, they repaired her to death.
CUT TO:
[INT. CSI - LAB - NIGHT]
(Catherine takes out the various items taken from the operating table in the storage unit - the latex gloves, gauze and other items - all bloodied.)
(She finds an item rolled up in some gauze. She unrolls it and finds a tartar control toothpaste tube inside a rubber glove.)
(Using a magnifying glass, she finds a bloodied finger print on the toothpaste tube.)
CUT TO:
(In the DNA Lab, Mia inverts the latex glove. She looks inside.)
(Quick camera zoom into the glove: Inside the glove are drops of sweat. Resume to present.)
(Mia takes a swab of the drops from inside the glove. She puts it in the test tube.)
CUT TO:
(Nick is working on the computer. He puts a digital scan of the woman found on the operating table under "JOHN DOE", CASE NO: 041118-28765S. He digitizes the fingerprints from the body and runs it through AFIS. He finds one match to:
VERN SALDUSKY
LAST KNOWN ADDRESS:
THE COCKPIT LOUNGE
87225 BUDLONG AVE. LV
ALIAS: TAWNY, PEACHES, VAVA --
(Nick nods.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. THE COCKPIT LOUNGE - NIGHT]
(Nick and Grissom walk into the Cockpit Lounge. They walk up to the bartender.)
Nick: Hi. Do you know a Vern Saldusky, aka Tawny, Peaches, Vava?
Bartender: One second, Honey.
(Grissom smiles. Nick appears out of his league. He looks around the bar.)
Nick: Okay.
(The Bartender returns.)
Bartender: You want to talk to Mercedes. She's in the back.
Grissom: Thank you.
Bartender: You're welcome.
Nick: Thanks.
(Grissom turns and heads for the back. Nick follows him.)
[INT. THE COCKPIT LOUNGE - BACK ROOM - NIGHT -- CONTINUOUS]
(On their way to the backroom, they see a lot of sights - various people sitting and talking as well as standing around watching them.)
(In the backroom, they find a woman sitting in front of a vanity mirror injecting herself in the face. Another pair of women are injecting each other in the face.)
Nick: I've never seen junkies sh**t up in the face before.
Woman: It's not smack, it's silicone. Gives you good cheek bones.
Mercedes: The ones who can't buy silicone ... sh**t motor oil.
Nick: Do they?
Mercedes: Calm down, pretty boy. We're not the monsters. The real freaks are the suit-and-ties want to take a walk on the wild side -- before sneaking back to the wife and kids. Want to go?
Nick: (shakes his head) Mm-mm.
Grissom: (interrupts) Mercedes, I presume? We're with the Las Vegas Crime Lab, and we're looking for somebody.
Mercedes: Isn't this where you say my P.O. would be interested to know that I'm hustling, and you ask for a freebie?
Grissom: I'm actually not interested in your ass, but the person we're looking for is a human butcher who might be.
Mercedes: I'm listening.
Grissom: The game is helping transgenders who have been turned down for surgery.
(Mecedes motions to them to step aside with her.)
Mercedes: You want Benway. Benway did my transition, but something went wrong. And now I can't be a man or a woman. Want to see?
Nick: No. No, that's all right.
Mercedes: No, it's not all right. He keeps canceling my corrective surgery.
Grissom: That may be why you're still alive.
Mercedes: A friend of mine had to go back four times. Finally, he fitted her with a colostomy bag. Benway felt so bad, he hooked it up for free.
Nick: Where can we find this humanitarian?
Mercedes: Bulgaria, Romania, Bosnia -- one of the "ias", I don't know. He flies in and flies out. No one's ever seen him. He shows up as you go under, and splits before you come to.
Nick: Do you know Vern Saldusky?
Mercedes: You mean Tawny? Yeah, Benway just did her.
CUT TO:
[INT. CSI - BREAK ROOM - NIGHT]
(Catherine walks into the Break Room to report to Sara and Warrick. She looks down at the open file folder in her hands.)
Catherine: Jacqui got an AFIS h*t off the bloody fingerprint from the toothpaste tube found in Vern's vagina.
Sara: Wow.
Catherine: Came back a Dr. Karl Benway, military service.
Warrick: Well, we found out that this creepy looking thing is an abdominal retractor, used to keep the cavity open during surgery.
Sara: It's only sold in surgical supply stores. And other than hospitals, the only individual who's purchased one in the last year and a half in Las Vegas, Nevada, is Dr. Karl Benway.
(Nick and Grissom step into the Break Room.)
Nick: We know the name of the butcher.
Catherine / Warrick / Sara: (together) Benway.
(Grissom looks at all of them.)
Grissom: Okay. What do you know about him, and do we have an address?
Sara: Total d*ad end-- he's not registered with the AMA; he's not in the DMV database; he has no passport issued in the State of Nevada.
(Greg walks to the hallway headed straight for the Break Room.)
Catherine: So we've got a non-doctor who served in the military who doesn't drive and never leaves the country.
Greg: Sara, you asked for some ... research. Microfiche. Medical Journals. The stacks. There's not a lot on this guy, but this is what I've been able to find.
(Greg tosses the stack of photos on the table. Catherine looks through them.)
Greg: Vietnam vet -- served as medic. Then it looks like he did a short stint with the sanctuary alliance in Ghana.
(As she finishes them, she hands them to Grissom.)
Greg: He goes from Ghana to Mexico, where he's arrested and deported for performing illegal abortions.
(Grissom finds the mug sh*t of a man holding a board that reads:
SALTILLO
COAMULA DE GARAGOZA
173120-
NOMBRE: KARL BENWAY
PECHA: 02/05/79\
TYPO DE ***: ABORTE ILEGAL
(There's something about the photo that has Grissom looking at it a little more closely.)
Sara: Was his medical license revoked?
Greg: No. Benway never went to medical school.
(Grissom sees the next photo and recognizes Benway immediately.)
Greg: In 1983, he was arrested for protesting outside the Supreme Court.
(Grissom looks at the photo from the Anti-Nuclear Rally. This Benway is instantly recognizable.)
Greg: 1987, San Francisco Chronicle article. He was interviewed at an anti-nuke rally.
Grissom: -- and photographed. You know what? I believe Dr. Lavalle ... is Dr. Benway.
FADE OUT.
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Brass and Grissom interview Mona Lavalle - a.k.a. Karl Benway.)
Brass: Boy, you must get pretty jet-lagged flying back and forth to Bulgaria. Or is it Romania ... Karl?
Mona Lavalle (Karl Benway): I haven't been Karl Benway for a very long time.
Brass: Yeah, like three days ago, when you k*lled Vern Saldusky at the E-Z Access Storage Unit? That's a hell of a place for an operating room. I mean, why not go all the way and use the men's room at the bus station?
Grissom: We found your fingerprint there.
Mona Lavalle (Karl Benway): I never said I wasn't there. I attended Vern's surgery. He was ... terrified. I tried to calm him.
Brass: Can't get any calmer than d*ad.
Mona Lavalle (Karl Benway): I'm a counselor.
Brass: (sighs) Is that how your fingerprint ended up on a three-day-old vagina? Counseling?
(Quick flashback to: [E-Z ACCESS STORAGE UNIT] During surgery, Mona Lavalle works with the tubing, her hands bloodied. End of flashback. Resume to present.)
Mona Lavalle (Karl Benway): I've devoted my life to helping those who are cast out by gender prejudice. Where would these souls be without me? Who will stand in judgment? As to who's a candidate and who's not. Dr. Mercer? I was the only one willing to help them. I was nineteen in the rice paddies of Vietnam ... sewing legs back on grunts. (She stands up.) I performed abortions in Mexico ... on r*pe victims when the church turned its back on them. I have been doing gender reassignment surgery for ten years.
Grissom: You've been performing surgeries without a medical degree ... doctor.
Brass: How many Vern's have there been?
Grissom: How many Wendy's?
(She sits back down.)
Mona Lavalle (Karl Benway): Vern was an unfortunate tragedy. I have no idea what happened to Wendy.
Brass: She saw you with Vern. So you k*lled her, so she wouldn't expose you.
Mona Lavalle (Karl Benway): That's impossible. After I saw Wendy at the clinic, I went straight to my daughter's soccer game. I have nothing more to say.
Grissom: We need you to say "ahh."
(He holds out a swab.)
CUT TO:
[INT. CSI - HALLWAY - NIGHT]
(Catherine and Mia walk through the hallway.)
Mia Dickerson: So, I heard Brass arrested Dr. Lavalle, who is really Dr. Benway?
Catherine: Mm-hmm.
Mia Dickerson: Which means her DNA is male.
Catherine: Right.
Mia Dickerson: In one of the latex gloves at the storage facility, I found female DNA.
Catherine: Well, Vern was a male, and Dr. Lavalle was a male.
Mia Dickerson: So the doctor had help.
(They walk out of camera frame.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. LEPIDRO CLINIC - LIVING ROOM - NIGHT]
(Nick and Warrick are in the living room looking around. Francis is heard off screen struggling with a couple of officers.)
Francis: (o.s.) This is absurd! This is ridiculous! What you have done to my wife is disgraceful! You're not gonna find anything here!
Warrick: Officer, could you escort this man outside.
Francis: This is discrimination. We are normal people, trying to live a normal life.
(The officers take Francis outside. Nick notices something.)
Nick: I think we have a spitter, my friend.
(Off screen, the door closes.)
Warrick: Really?
Nick: Oh, yeah.
(Nick takes out his flashlight and definitely finds a spot of spit on the table.)
Warrick: I'll check the back.
Nick: All right.
(Nick takes a swab sample of it.)
(Cut to: Warrick goes into the Utility Room and looks into the cabinets. He finds vials of a clear liquid. He also finds a camcorder video cartridge, its film pulled out.)
(Quick flashback to: [NIGHT] Someone struggles to remove the video film cartridge from the camcorder. End of flashback. Resume to present.)
[EXT. LEPIDRO CLINIC - FRONT DRIVEWAY - DAY]
(While Nick watches, Amber and Tippy get out of the car to find the police in their driveway.)
Francis: (shouts) Take her home! Would you ... just get her out of here!
(Francis struggles against the Officer's hold on him.)
Francis: (scathing) (to Officer) Can I take care of my daughter, please?
(Francis walks up to Tippy.)
Amber Hamshaw: Francis, what is going on?
Tippy: Daddy, what's going on?
Francis: It's okay, honey. Amber's gonna take you home.
Tippy: I want to go with you.
Francis: I know.
Tippy: Where's Mommy?
Francis: Mommy's gonna be right back.
Amber Hamshaw: I can't take her. I have the night shift at the hospital. Fr ...
Francis: She shouldn't be seeing this. She's your kid, too. Take some responsibility.
Amber Hamshaw: Okay, fine.
Francis: Good.
(Francis turns away; Amber drops the cigarette she's smoking onto the driveway and puts it out with the toe of her shoe. Nick notes the move.)
(Amber goes back to help Tippy into the car.)
Amber Hamshaw: (o.s.) Put your belt on. Come on, can you pull it?
(Nick walks up to the cigarette on the driveway.)
Amber Hamshaw: (o.s.) Get out of the way.
(Camera zooms in on the lipstick on the tip of the still-smoking cigarette.)
CUT TO:
[INT. CSI - INTERVIEW ROOM - NIGHT]
(Nick holds out the cigarette in an evidence bag and shows it to Amber.)
Amber Hamshaw: I don't understand why I'm here.
Nick: Well, you're here because I compared your DNA from this cigarette butt to sweat recovered from the inside of a latex glove at the crime scene.
(Amber closes her eyes.)
(Quick flashback to: [E-Z ACCESS STORAGE UNIT] Amber is inside the storage unit assisting with the surgery on the woman on the table. The heart monitor gives a steady tone.)
Amber Hamshaw: Look! She's bleeding out! Busted artery!
(Sweat forms on Amber's forehead, drops and falls into her latex glove.)
Nick: Ms. Hamshaw ... Dr. Lavalle was performing illegal surgeries, and you were assisting. Now, why would you be involved with something like that?
Amber Hamshaw: Mona and Francis helped me clean up. They gave me money to be a surrogate mom for Tippi and got me my RN degree. They're family.
Nick: So Tippi has two dads and one mom?
Amber Hamshaw: Actually, it's two moms and a dad.
Nick: Okay, tell me about Wendy Garner.
Amber Hamshaw: Her procedure was completely successful.
Nick: Well, right up till her death.
Amber Hamshaw: I had nothing to do with that. I was at Tippi's soccer game with Mona.
CUT TO:
[INT. CSI - LAB - NIGHT]
(Greg dusts the video film and lifts off a fingerprint. He scans the print into the computer.)
(Cut to: Archie fixes the video cartridge and pops it into the machine. He reviews the film with Warrick.)
[FROM VIDEO]
(The video footage is fuzzy, but it shows Wendy Garner's bridal shower.)
Woman 1: (from video) Okay, now what's next? Woman 2: (from video) I don't know. WOMAN 3: (from video) We've got Belle. WENDY GARNER: (from video) Okay. Belle. Belle. That's so sweet...
(The video footage changes and shows the storage unit. The woman on the table is already d*ad and everyone's gone.)
Wendy Garner: (crying) (o.s. from video) Oh, my God, what is this? How could you do this? I just wanted you to keep my secret from Aaron, not this. I trusted you. How could you just leave her like this?
(The video footage shows the body on the table, the bloody instruments and abandoned surgical trash.)
Wendy Garner: (o.s. from video) (moans) So much blood.
(The video footage cuts back to the bridal shower.)
Wendy Garner: (from video) I mean, this day means so much to me. And to have girlfriends like you, it's just amazing.
(Archie pauses the video.)
Archie Johnson: Thirty seconds of mutilation recorded over a bridal shower.
Warrick: She told her best friend and Officer Mann that she had some videos to show. I think she must have been trying to expose Lavalle.
(Warrick's phone rings. He answers it.)
Warrick: Brown. Really? Thanks. (He hangs up.) That was Brass. Ten soccer moms confirm they saw Dr. Lavalle and Amber Hamshaw at the soccer game the night Wendy was k*lled. Another d*ad end.
(Greg walks into the lab.)
Greg: Those fingerprints on the video tape you recovered? We got a match.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Catherine interviews Francis.)
Catherine: Wendy's video tape ... your fingerprint.
Brass: Doctor, help me understand something. Wendy videotaped the storage area, thr*at to expose your wife's "good work" because your wife was thr*at to tell Wendy's fiancee that she's not what she appears to be.
(Brass sits down.)
Brass: But the three of you were still getting it on.
Francis: I beg your pardon?
Catherine: Based on the DNA that we found in Wendy's cheek, you were swapping spit with her, and your wife was swapping something else with her.
Brass: Now we know that post-ops can't ej*cul*te. So the only way I can explain the semen in Wendy's mouth is your wife is still packing.
Francis: Yes, and I performed fellatio on my wife ... after lunch. Is that a crime? I have no idea how anything got into Wendy's mouth. My wife and I did not cheat. (He looks at them.) You don't get it, do you? Because we're different. We still love. We still honor.
Brass: Is that why you hacked out Wendy's Adam's apple? Love and honor? You went back to the storage area to get rid of Vern's body. You saw Wendy leaving.
(Quick flashback to: [EXT. STORAGE UNIT - NIGHT] Wendy runs out of the storage unit with the camcorder in her hand. She looks around. She gets into her car and starts her car engine.)
(In the car nearby, Francis watches her as she pulls out.)
(Cut to: Officer Mann drives away. Again, Francis watches from his parked car. He follows Wendy.)
Wendy Garner: (o.s. to phone) Mimosa, look, it's me. I need your help, okay? I have these videos and I have to show you them. You're never going to believe what's on them. These people ... they have to be stopped.
(While Wendy is on the phone, Francis pulls up alongside her and runs her off the road. He gets out of the car and runs up to Wendy, who is standing outside her car. He att*cks her.)
Francis: (angry) How dare you?!
(Francis pushes Wendy back into the car.)
Francis: (angry) You don't appreciate anything she does for you!
(He takes out a Kn*fe and slits her throat. He picks up the camcorder and rips out the video tape, throwing the recorder off to the side.)
(End of flashback. Resume to present.)
Francis: I tried to protect my wife's work. Not just for us. For all the people like us.
CUT TO:
[INT. CSI - HALLWAY - NIGHT]
(Catherine and Sara walk through the hallway.)
Catherine: So the man admits to m*rder but not infidelity.
Sara: Well, maybe he wasn't unfaithful. You know, I read a paper in the JFS documenting a case where a woman kissed a man, who had smoked a cigarette. When they tested the cigarette butt, they found both their DNA on it.
Catherine: So you're saying it was transfer?
Sara: Well, if Francis gave his wife fellatio shortly before he k*lled Wendy, it's possible that some of the semen was still in his mouth, and it got transferred onto her through his spit.
(Quick flashback to: [STRUGGLE] Francis struggles with Wendy. Spit flies out of his mouth.)
(Camera zooms in close-up to the spit.)
(End of flashback. Resume to present.)
Catherine: Right.
Sara: Don't you think?
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Grissom meets with Mimosa.)
Grissom: I thought you'd want to know what happened to Wendy.
Mimosa: I appreciate your telling me. k*lled by someone in our own community. As if we don't have enough enemies. Her parents never understood her, but still I think they should know. What do I say?
Grissom: Show them an oyster.
Mimosa: I'm sorry?
Grissom: There are two types of male oysters, and one of them can change genders at will. And before man crawled out of the muck, maybe he had the same option. Maybe originally we were supposed to be able to switch genders, and being born with just one sex ... is a mutation.
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x08 - Ch-Ch-Changes"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- DAY]
[EXT. LAS VEGAS CITY COURTHOUSE (STOCK) - DAY]
Jeffrey Sinclair: (V.O.) I need you to answer the same questions I asked you at the first trial.
[INT. LAS VEGAS COUNTY COURTHOUSE - JUDGE WITHERSPOON'S COURTROOM - DAY]
(Trial is in session. The attorney is cross-examining Grissom who is currently on the stand. The jury box is full.)
Jeffrey Sinclair: And I need you to answer them honestly, just as you did back then. On December 20, 1999, you responded to a call at 2028 Boulder Highway. Is that correct?
Grissom: Yes.
Jeffrey Sinclair: Can you describe the crime scene?
Grissom: It was a hardware store. I entered through the back door.
(Quick flashback to: [HARDWARE STORE] Camera's from Grissom's POV as he enters the hardware store and sees the body on the floor.)
Grissom: (V.O.) The victim had been severely beaten.
(End of flashback. Resume to present.)
Grissom: And our forensics determined that the m*rder w*apon was a wrench.
(Jeffrey Sinclair picks up the evidence bag.)
Jeffrey Sinclair: Exhibit A. Do you recognize this object?
(He shows the evidence bag to Grissom.)
Grissom: Yes. I bagged and processed this wrench. My initials are on the seal.
Jeffrey Sinclair: Where did you find it?
Grissom: It was in a toolbox under the kitchen sink at Garbett's Gourmet, which is a restaurant next to the crime scene.
Jeffrey Sinclair: Now, are you certain that this wrench was used to k*ll the victim?
Grissom: Yes. We found trace blood in the metal grooves. And the DNA matched the victim's.
Jeffrey Sinclair: What, if anything, did you find on the handle?
Grissom: We found the defendant, Mr. Garbett's, fingerprints. We also found his prints at the hardware store.
(Quick flash of: [HARDWARE STORE] Max Larson is in the store when Jason Garbett walks in and att*cks him. End of flashback. Resume to present.)
Jeffrey Sinclair: What else did you find at the store?
(Quick flashback to: [HARDWARE STORE] Jason Garbett tries to set a f*re with some old crumpled newspaper. A book of matches is nearby.)
Grissom: (V.O.) Well, it appeared that the k*ller tried to cover his tracks by setting a f*re, ...
(End of flashback. Resume to present.)
Grissom: (V.O.) ... a lack of sufficient combustibles may have thwarted his effort.
Jeffrey Sinclair: Dr. Grissom. Exhibit B. Do you recognize this?
(The attorney gives Grissom the second bagged evidence. Grissom looks at it.)
Grissom: Yes. It's a matchbook.
(While looking at the matchbook, Grissom sees something he hadn't seen there before.)
Jeffrey Sinclair: Did you find this matchbook at the scene?
(Grissom doesn't answer the question.)
(The evidence label on the bag reads:
MATCHBOOK 002
12-20-99
2028 BOULDER HWY LV, NV
GIL GRISSOM G.G.
(On the inside of the matchbook cover is a red thumbprint.)
Jeffrey Sinclair: Dr. Grissom, just so we can be clear, this is the matchbook that you found at the crime scene. Is that correct?
Grissom: Your honor, may I take a short break?
Jeffrey Sinclair: Um ... prosecution requests a ten-minute recess.
Defense Attorney: The defense asks that Dr. Grissom answer the question now.
Judge Witherspoon: Answer the question, then we'll break.
Grissom: Yes, this is the matchbook I collected at the crime scene.
Judge Witherspoon: All right, we'll take a ten-minute recess.
CUT TO:
[INT. COURTHOUSE - CONFERENCE ROOM - RECESS - DAY]
(Grissom is in a conference room looking through the reports.)
Jeffrey Sinclair: So, you wanna tell me what this is all about? Grissom, the defendant was found guilty at his first trial. The only reason we're back in court is because his new lawyer convinced some appellate judge the original jury instructions were faulty. This has nothing to do with the evidence.
(Grissom picks up the matchbook and sighs as he looks at it.)
Grissom: There's a fingerprint on this matchbook.
Jeffrey Sinclair: So?
Grissom: I don't remember it. It's not in my notes.
Jeffrey Sinclair: The evidence seal isn't broken. If the print's there now, it was there before.
(Grissom compares the print on the matchbook with the defendant's print card.)
Grissom: The defendant's fingerprints are all loop patterns. This is an arch. It's not a match. This is not the defendant's print.
Jeffrey Sinclair: Are you sure?
(Grissom takes his glasses off and puts the matchbook down on the table.)
Jeffrey Sinclair: You know, when the defense hears about this, they are going to call every other piece of evidence into question. I don't need to tell you what that means.
Grissom: I've given them reasonable doubt.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(Grissom is returning back to work when Conrad Ecklie catches up with him.)
Conrad Ecklie: Heard we have a problem.
Grissom: The Middle East has a problem.
Conrad Ecklie: You missed a fingerprint on a key piece of evidence.
Grissom: I'm trying to keep an open mind.
Conrad Ecklie: Then how do you explain it?
Grissom: At the moment, I can't.
Conrad Ecklie: Could someone have substituted a different matchbook?
Grissom: Well, the evidence seal wasn't broken. The matchbook's appearance is consistent with the crime scene photos.
Conrad Ecklie: Since your original testimony differs from the actual physical evidence, I thought I'd inform you I've opened a supervisory inquiry.
Grissom: Well, that's good, Conrad. You know, I can't recall a lab director as expeditious as you.
(Suddenly, a g*n sounds along with glass shattering.)
Voice: (b.g.) Man! What happened! VOICE: (b.g.) Who's that?
[INT. CSI - BALLISTICS LAB - DAY - CONTINUOUS]
(Bobby removes his earphones. He stares at the broken glass when Grissom and Ecklie rush into the lab.)
Grissom: You okay, Bobby?
Bobby Dawson: Been better.
Conrad Ecklie: What the hell happened?
Bobby Dawson: I was about to test-f*re the mac-10 when it accidentally discharged. Don't know how it happened. Should've been more careful.
Conrad Ecklie: Whose, uh, whose case you working?
Bobby Dawson: Uh ... (He glances nervously at Grissom.) Sara Sidle and Greg Sanders. g*n was found next to a d*ad body at an off-strip parking lot.
Conrad Ecklie: All right. Make sure you file a report.
Bobby Dawson: Yes, sir.
Conrad Ecklie: (to everyone) Everybody back to work. (to Grissom) Just keep me posted.
(Ecklie turns and leaves.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Grissom meets with Catherine, Warrick and Nick to discuss the Max Lawson case.)
Catherine: I remember this case. The Garbetts owned a restaurant that was next door to the victim's hardware store. Max Larson owned the private alleyway that was behind both places.
(Quick flashback to: [ALLEYWAY] Jason Garbett walks out and pulls the garbage bin off to the side.)
Grissom: (V.O.) That's right. He blocked the alleyway with a dumpster.
Jason Garbett: (under his breath) Jerk.
(End of flashback. Resume to present.)
Nick: Yeah, the guy was a jerk.
Catherine: Well, he claimed the restaurant's delivery trucks were clogging the alley.
Warrick: Didn't the Garbetts sue to have the dumpster removed?
Grissom: They lost. There was no easement in their title.
Catherine: And without access for deliveries, the restaurant business just dried up.
Grissom: All the physical evidence pointed to Garbett. And according to the victim's business partner, Garbett had an argument with the victim the day before the m*rder.
Warrick: Garbett's appeal didn't call the forensics into question. Why are we here?
Grissom: I'm calling the forensics into question. (He holds up the matchbook.)
I printed this matchbook. There was no print. Take a look at it now.
(He hands the matchbook to Catherine.)
Catherine: Well, the fingerprint's pink -- so you used ninhydrin?
Grissom: Mm-hmm.
(Quick flashback to: [PAST] Grissom sprays the matchbook. End of flashback. Resume to present.)
Catherine: Well, I know that on some surfaces, ninhydrin can take time to develop a print. It was in, uh, last May's "Journal of Forensic Sciences".
Grissom: I remember the article. But I can't remember whether the variables in the test case are consistent with ours.
Nick: Well, if the print matches the suspect, who cares?
Grissom: It doesn't match. So, you and Warrick take over the file -- make sure all of the other evidence is beyond reproach. Catherine, you supervise. To avoid any appearance of impropriety, I'm going to be hands off.
(Grissom leaves the office.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Grissom is in his office going through old magazines. There's a soft knock at his door.)
Grissom: Sofia.
(Sofia walks into the office. She sees the "Journal of Forensic Science" magazines scattered on Grissom's desk.)
Sofia Curtis: You do know that the "Journal's" back issues are available on-line. The lab has a password.
Grissom: When you read from a computer screen, you have to lean in. I like to lean back. Therefore, I prefer a hard copy.
(She glances down on the desk and picks up a "Journal".)
Sofia Curtis: Is this what you're looking for?
(She hands it to Grissom. He looks at it.
VOLUME 48
NUMBER 3
MAY 2003
Grissom: May. Yes. Thank you. News travels so fast around here.
Sofia Curtis: Ecklie travels fast.
Grissom: Hmm.
Sofia Curtis: Look, in case you're not up-to-date on your QA/QC memos, I've been the lab's Quality Control Officer for the past year.
Grissom: Congratulations. That job requires a detail-oriented person.
Sofia Curtis: Grissom, I've been assigned to your inquiry. I just wanted to give you the heads-up. I'll be impartial.
Grissom: I'd expect nothing less.
(Sofia turns and heads for the door.)
Grissom: "Margaritaville"?
(She stops and looks at Grissom.)
Grissom: That is still the lab's password, right?
(She smiles and leaves.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Catherine, Warrick and Nick go over the case files.)
Catherine: Warrick, in your field report, you documented the collection of several hairs near the body, but DNA never analyzed them.
Warrick: Well, the DA had sufficient evidence and filed charges before I could give the hair to Greg, so I moved on to another case.
Catherine: Process the hairs now.
Warrick: Yeah.
Nick: Catherine, do you remember why you were late to this crime scene? Eddie had a gig and you couldn't find a baby-sitter.
Catherine: Actually, I kind of made that up. Eddie did have a gig. It ended early and he and I ... well, let's just say that not all my memories of him are bad ones. (to Warrick) Which reminds me you, at the time, were going out with that Assistant Manager of the Flamingo--
Warrick: Oh, Susan.
Catherine: Boy, did she have it bad for you. She kept calling while we were working the scene. You had to shut your phone off.
Warrick: Yeah, well, now she's VP of Food Services, so I get free steak and eggs every Sunday morning.
Nick: Free steak and eggs means she didn't know about the flight attendant.
Warrick: Does everyone know my business around here?
Catherine: Okay, Nicky, since you have such a good memory, why don't you explain the unidentified prints that you lifted from the m*rder w*apon.
Nick: I lifted six prints off the wrench. I ran them through I-AFIS. Five were a match to the suspect. One was unidentified. Now, at the time, we all agreed that that print was irrelevant, because the wrench was found in the common area.
Catherine: Okay, well, we're going to have to compare that unidentified print with this matchbook print.
Nick: Will do. Hey, Catherine ... we didn't do anything wrong here.
Catherine: I agree. But the prosecution may not see it that way.
CUT TO:
[INT. CSI - FORENSIC PATHOLOGY - DAY]
(Sara and Greg are walking into the room.)
Sara: (o.s.) Well, the doc should be able to clear this up.
Robbins: Hey, how's Bobby doing?
Sara: Shaken, but working hard. Trying to figure out why the g*n discharged.
Robbins: Well, fortunately, Bobby dodged his b*llet -- unlike our victim.
(Sara glances down at the victim's arm and notices the "RITA" tattoo. Robbins and David go over the body with Sara and Greg.)
Robbins: C.O.D's a single g*n wound to the leg.
(Robbins points to the b*llet hole.)
David Phillips: And it severed the femoral artery.
Greg: We processed the guy's jeans. Tight GSR pattern around the entrance hole.
Sara: So, he was either sh*t by someone at close range who left the g*n behind, or it was self-inflicted.
David Phillips: Why would the sh**t leave the g*n behind?
Sara: He probably wouldn't.
Robbins: And most suicides are through the torso or through the head.
Sara: So if it wasn't intentional ...
Greg: It was accidental.
Robbins: Greg ... insert this rod into the hole.
(Robbins hands Greg a colored rod. Greg inserts it into the b*llet hole.)
(Quick CGI POV of: The rod is inserted clear through the flesh and comes out the back of the leg. End of CGI POV. Resume to present.)
Robbins: Trajectory is up to down.
Sara: Consistent with a self-inflicted, accidental injury.
(Quick flashback to: [NIGHT] The victim sh**t himself in the leg and falls to the ground in pain. End of flashback. Resume to present.)
Sara: Have you been able to I.D. Him?
Robbins: No wallet. Prints didn't h*t. No relatives came forward. So, I'm calling him John Doe Number 124.
CUT TO:
[INT. CSI - PRINT LAB]
(Nick scans the fingerprint from the matchbook into the computer as Catherine watches.)
(He scans the fingerprint from the wrench into the computer. He compares the two.)
Nick: A perfect match.
Catherine: Someone other than the suspect touched the matches and the wrench.
Nick: The wrench was found in a toolbox in the suspect's restaurant. The m*rder happened after closing.
Catherine: Who else had access to that restaurant?
CUT TO:
[INT. CSI - WAITING ROOM -- DAY]
(Nick meets with Mrs. Katz.)
Nick: Mrs. Garbett.
Mrs. Katz: It's, uh, Mrs. Katz now. I remarried.
(They shake hands.)
Nick: Oh, okay-- Mrs. Katz. Duly noted. (She sits down.) Please, have a seat. I appreciate you coming down here and meeting with me.
Mrs. Katz: Look, my ex-husband called me from jail. I know about the new trial. But this case has nothing to do with me. Not anymore. He got a life sentence. The crime lab testified.
Nick: You think he's guilty?
(She sighs.)
Mrs. Katz: Jason was a quiet man. Bottled everything up. In twenty-five years of marriage, he raised his voice ... maybe ... a dozen times. But when he expressed himself ... the neighborhood knew.
(The door opens and Keith Garbett walks inside.)
Keith Garbett: Mom, I got your voice mail.
Mrs. Katz: Keith.
Keith Garbett: What's going on?
Mrs. Katz: Uh, Mr. Stokes is with the crime lab.
Keith Garbett: Hi. Look, we'll help in any way we can.
(Keith sits down.)
Nick: What I'd really like to do is get a list of anyone who had access to that restaurant five years ago.
Keith Garbett: Sure. May I ask why?
Nick: Recent evidence has come to light ...
Keith Garbett: What evidence?
Nick: Oh, now that I can't discuss.
Keith Garbett: My father's innocent.
Mrs. Katz: My son has never stopped believing in his father. He has sacrificed everything for Jason: Moved back to Vegas, hired a new attorney, poured all his money into the appeal.
Nick: So you weren't living in town at the time of the m*rder?
Keith Garbett: No, I was living in L.A.
Nick: Oh, okay.
Keith Garbett: Look ... whatever you need from us ... (he looks at his mother) ... mom ... ?
Mrs. Katz: Um ... I have some old records back at the house. I could send them over.
Nick: Yeah, that'd be great.
CUT TO:
[INT. CSI - LAB -- DAY]
(Close-up of the file box on the table.)
SUSPECT: GARBETT, JASON
VICTIM: LARSON, MAX
DATE AND TIME OF RECOVERY 12-20-99
RECOVERED BY GIL. GRISSOM
DESCRIPTION AND/OR LOCATION: 2028 BOULDER HIGHWAY
SEALED BY ??? DATE 12/99
(Sofia opens the box cover. She starts putting things into the box. In the hallway in the background, we see Warrick walking up to the DNA lab door. He pauses, turns and sees Sofia working in the lab.)
(He opens the door and leaves.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Warrick walks into the lab where Mia has the tape on. Avril Lavigne is singing
"Don't Tell Me".)
Warrick: You're listening to music.
(She reaches up and turns it down.)
Mia Dickerson: It was Greg's suggestion.
Warrick: No, it's good. Well, maybe not your music taste, but we'll work on that. You have my DNA profile for the hair sample I gave you?
Mia Dickerson: No.
Warrick: No? Do you need more time?
Mia Dickerson: No ... the sample you sent me wasn't human ... so I sent it over to trace. Maybe Hodges can tell you something.
Warrick: All right. Thank you. (Warrick heads for the door. He stops and turns around.) And Mia, Avril's fine, but if you really want to experience musical heartache, you should check out, uh ... Nina Simone.
(He leaves. Mia turns the music up again.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Grissom is conducting his own experiment with a group of matchbooks. He presses his print on the matchbooks and pins them up on the line. He sprays them and closes the fume hood.)
(The door opens. Attorney Jeffrey Sinclair and Conrad Ecklie walk into the lab just as Grissom is writing his notes on the clipboard.)
Jeffrey Sinclair: Grissom, Judge Witherspoon wants me in her chambers first thing in the morning.
Conrad Ecklie: She's going to demand a full update, Gil.
Grissom: I can't explain the appearance of the print on the matchbook. That's what I'm trying to figure out.
Conrad Ecklie: You're making the lab look bad.
Jeffrey Sinclair: Word has it you've reopened the entire case. An unexamined hair and an unidentified print on the m*rder w*apon? Grissom, did we make a mistake and arrest the wrong guy?
Grissom: I don't know.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. PARKING LOT -- DAY]
(Grissom closes his car door when Brass catches up with him.)
Brass: Hey. We gotta talk. Ecklie's used his hot line to the Sheriff. The whole department knows about the inquiry.
Grissom: There's nothing I can do about that.
Brass: Yeah, well, I want to give you a heads-up, 'cause here's how it's gonna break down: In order to appear objective, Ecklie's gonna follow Sofia's recommendations. The problem is, she's Acting Supervisor of days, so she needs Ecklie to sign off to keep her gig. And you think she'll say whatever Ecklie wants. Yeah. And this isn't just about the Garbett case. He's looking into your whole team. And your ability to lead them.
Grissom: Poor Conrad.
Brass: I hate to tell you, but when it comes to politics, he whips your ass. So watch your back; it's gonna get ugly.
Grissom: Thanks.
CUT TO:
[INT. CSI - TRACE LAB - DAY]
(Hodges goes over the hair findings with Warrick.)
Hodges: The hair on the right is a human hair. The hair on the left is from your five-year-old crime scene. Given the big fat medulla, I'd say canine, and given its coarseness ... I'd say it could be a poodle or a Portuguese water dog.
Warrick: What?! A Portuguese water dog.
Hodges: Mm-hmm. They were found on fishing vessels in the 1800s.
Warrick: Are you serious
(Catherine walks into the lab.)
Catherine: Warrick, I thought you were following it up with DNA.
Warrick: I am. The hairs got kicked to trace.
Hodges: Yeah, they're from a dog. Very obvious under the microscope.
Warrick: I will find out if the victim or suspect owned a dog. I'm on it.
Catherine: Thanks.
(Warrick leaves the lab.)
Hodges: Ecklie was so pissed when I told him about these hairs.
Catherine: You told Ecklie?
Hodges: Yeah. He's a friend. I sent him a card for his promotion. The guy was very touched by my thoughtfulness.
Catherine: Oh, we all are.
Hodges: (smiles) Oh.
CUT TO:
[INT. CSI - BALLISTICS LAB - DAY]
(Sara and Bobby Dawson discuss the g*n.)
Sara: Are you finished with the g*n?
Bobby Dawson: Yeah, I figured out what caused that A.D. Some garage g*n tried to turn this baby into a machine g*n.
Sara: That is a big-time felony.
Bobby Dawson: Not to mention dangerous. Here, take a look. See, the trip has been ground down, which prevents the bolt from locking back.
(Quick flash to: [NIGHT] The g*n lever is pulled back, the trip fails and the g*n fires.)
(Quick CGI POV of: The b*llet exits the barrel and enters the leg. End of CGI POV. Resume to flashback.)
(The sh**t falls backward to the ground.)
(Extreme close-up of the artery bleeding out. Sounds of a heart beating loudly are heard. White flash to present.)
Sara: Vic never even pulled the trigger. Did you get an I.D. off the serial number?
Bobby Dawson: It's also ground down. Nearly halfway through the metal.
Sara: Well, I love a challenge.
Bobby Dawson: Well, it's all yours.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Nick reports to Catherine.)
Nick: The Garbetts' restaurant employed six waiters, two cooks, and a busboy.
Catherine: All of whom would've had access to the kitchen and to the wrench.
Nick: Right: Garbett's ex-wife's, three of the waiters' and both cooks' prints were in I-AFIS because of work cards, but none was a match to the mystery print.
Catherine: And what about the other four?
Nick: I ran their socials to get their addresses. I'll grab a uniform, go bang on some doors.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. FRONT PORCH 1 - DAY]
(Nick knocks on a door. A woman answers the door.)
Nick: Hi. I'm Nick Stokes.
CUT TO:
[EXT. FRONT PORCH 2 - DAY]
(A man answers the door.)
Nick: Good day, sir. My name's Nick Stokes. I'm with the Las Vegas Crime Lab.
[EXT. FRONT PORCH 1 - DAY]
(Nick talks with the woman.)
Nick: I'm reinvestigating Max Larson's homicide.
[EXT. FRONT WALK 3 - DAY]
(Nick talks with Man 2.)
Nick: I was hoping to get your, uh, your fingerprints if I could. It would help eliminate you as a suspect.
(Nick is fingerprinting Woman 2.)
Nick: Thank you, ma'am.
CUT TO:
[INT. STORE - DAY]
(Warrick interviews Max Larson's ex-partner, Rich Reeba.)
Rich Reeba: Max didn't like dogs. We don't allow them in the store.
Warrick: How about you, Mr. Reeba. Do you down a dog?
Rich Reeba: No. Mr. Brown, what's this about?
Warrick: I'm sorry, I'm not at liberty to discuss ongoing cases.
Rich Reeba: Look, I have a right to know. Max was my business partner.
Warrick: Well, all I can tell you is that the defendant was granted a new trial.
Rich Reeba: Based on a friggin' technicality. I talked to the D.A. myself.
Warrick: The crime lab is reviewing the case file now.
Rich Reeba: Garbett k*lled Max. I was right here when he tried to shake us down.
(Quick flashback to: [HARDWARE STORE] Jason Garbett storms into the hardware store to talk with Max Larson.)
Jason Garbett: If you don't move that dumpster, I swear, I'm gonna k*ll you!
Max Larson: Judge says I'm in the right. You can go to hell.
Jason Garbett: You're gonna regret this.
Max Larson: So tell me: How many customers did you have tonight? Hey, Rick ... what's a number less than one?
Jason Garbett: This isn't over.
(End of flashback. Resume to present.)
Rich Reeba: I guess he could've handled it better. But Garbett's delivery trucks -- they were always blocking access to our parking lot. We complained -- he refused to do anything about it, so we exercised our legal rights. A judge rules in our favor. Two days later, Max is m*rder. Can you imagine k*lling over an incident like this?
Warrick: I've seen people k*ll for a lot less, sir. Mr. Reeba, you and your partner were joint owners of this property, right?
Rich Reeba: Yes.
Warrick: With right of survivorship.
Rich Reeba: Correct.
Warrick: And when he died, you got it all, isn't that right?
Rich Reeba: What are you getting at?
Warrick: Nothing. It's just a question.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - LAB -- DAY]
(Catherine is fiddling with a machine when Nick walks into the lab. She adjusts the item in the machine and checks the view on the monitor.)
Catherine: Hi.
Nick: Hi. Video spectral analysis.
Catherine: I want to see if I can bring out the image on the matchbook.
Nick: We didn't have this equipment five years ago.
Catherine: That's why I'm doing it now. How was the door-to-door?
Nick: Good exercise. Everyone volunteered their prints but ... no match.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Warrick is walking through the hallway when Conrad Ecklie catches up with him.)
Conrad Ecklie: Warrick, just the guy I wanted to see.
Warrick: Ecklie, you know I'm real busy...
Conrad Ecklie: Ah, it won't take long. My office.
(Ecklie leaves. Warrick follows.)
[INT. CSI - ECKLIE'S OFFICE - DAY - CONTINUOUS]
(Warrick steps into the office.)
Conrad Ecklie: Uh ... I'll cut to the chase. Did Supervisor Grissom instruct you to analyze the hairs you found near Max Larson's body?
Warrick: It was my job to bring the hairs to DNA.
Conrad Ecklie: Did you?
Warrick: Yes.
Conrad Ecklie: Five years ago.
Warrick: No, yesterday. Look, if there was a problem ...
Conrad Ecklie: Have a seat.
(Warrick sits down.)
Conrad Ecklie: In my capacity as Assistant Director, I'm now privy to personnel files. Um ... you've done outstanding work over the years, Warrick. Truly. I see commendations from detectives and D.A.'s ... I also see you have a gambling problem.
Warrick: I had a gambling problem. What's your point?
Conrad Ecklie: Well, it appears Supervisor Grissom counseled you appropriately.
Warrick: That's correct. So ...
Conrad Ecklie: He gave you access to departmental resources to help you deal with the problem?
Warrick: No ... he helped me, uh ... by being a friend.
Conrad Ecklie: Good. You've been a big help. Thanks.
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(Catherine walks through the lab and sees Sofia going through the old case files.)
Catherine: Hey.
(Catherine opens the refrigerator and puts her drink inside. She shuts the door and walks over to Sofia where the lightly looks at the file folders stacked on the table.)
Sofia Curtis: This is, uh, confidential. I don't have an office, so ...
Catherine: The inquiry into Grissom.
Sofia Curtis: Just reviewing all documentation. Case identifiers, analysts' initials ...
Catherine: Your responsibility is to confirm that all conclusions drawn are supported by the data. They are.
Sofia Curtis: Excuse me?
Catherine: I worked on this case. The conclusions, they are supported. I assume that's what you're finding?
Sofia Curtis: Catherine ... I appreciate your interest, but I think it's prudent to reserve my findings for the Assistant Director.
Catherine: Right.
(Catherine turns and leaves.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB -- DAY]
(Grissom walks into the lab.)
Grissom: Neil, you got a minute?
Neil Jansen: I don't think I have any work pending for you.
Grissom: I need your expertise.
Neil Jansen: Matchbook print. Everybody's talking about it.
Grissom: Well, good. Scientific discoveries arise through discourse. Now ... ninhydrin works by reacting to one end of a protein chain to form ruhemann's purple ...
Neil Jansen: Which makes fingerprints visible.
Grissom: Protein chains are made up of a series of amino acids, sometimes a hundred units long. But only one end of the chain has the h-n-H ...
Neil Jansen: The n-terminus.
(Quick flash of: the end of the protein chain. Resume to present.)
Neil Jansen: It's the only part of the protein molecule that interacts with ninhydrin.
Grissom: But fingerprints are subjected to bacterial degradation, which causes the proteins to break down into smaller amino acids.
Neil Jansen: Upping the number of n-termini.
Grissom: And making the fingerprint more visible. But because new fingerprints are sometimes composed of fully intact proteins, you could spray ninhydrin, and not see a result for months, yes?
Neil Jansen: Or in rare cases, years -- depending on the rate of degradation.
Grissom: My matchbook print was inside a plastic evidence bag. That could affect the rate.
Neil Jansen: Let's see ... plastic ... plastic traps in heat and humidity.
(Quick flash to: Extreme close-up of the protein chain and various reactions.)
Neil Jansen: (V.O.) Bacteria would continue to break down over time.
(End of flash. Resume to present.)
Grissom: So theoretically, the bag was acting as a humidifying chamber.
Neil Jansen: I'd say you were processing a print in slow motion.
Grissom: Thank you, Neil.
CUT TO:
[INT. CSI - LAB -- DAY]
(Sara and Greg are in the lab. They each have on a pair of goggles.)
Greg: I'm confused. Do we think the d*ad guy bought a defective g*n, or was he selling a g*n he'd already modified?
Sara: Maybe he modified it for his own use.
Greg: Well, if that was the case, then why would he need to file down the serial numbers?
Sara: Good point. Okay, so you take the polishing compound, and you rub it on the obliterated serial number.
(Sara rubs the compound on the serial number with a swab.)
Sara: And then you h*t the spot with the wheel until it's mirror smooth.
(She turns on a sanding machine and rubs the compound down. When she's done, she turns the machine off.)
Sara: Fry's reagent. It differentially eats away at the compressed area.
(She adds the liquid to the serial number and dabs at it with the swab.)
Greg: To expose the denser metal of the serial number.
Sara: Take a look.
Greg: And pop goes the serial number!
Sara: Run it through NCIC and local pawn shops. See if we can get an address.
Greg: All right.
(Greg turns to leave the lab. On his way out, he meets Conrad Ecklie walking in.)
Greg: Excuse me.
Conrad Ecklie: Excuse me. (Ecklie walks up to Sara.) Sara. You got a minute?
Sara: I guess.
Conrad Ecklie: Flitz's compound. I'm sure you're not polishing your jewelry in the lab. That would be unauthorized.
Sara: What can I do for you?
Conrad Ecklie: Ah. As you know, it's my job to review everyone's file. I just want to make sure you finished up with your PEAP Counselor.
Sara: That's none of your business, Ecklie.
Conrad Ecklie: Well, not only is it my business, but I plan to speak with your supervisor.
Sara: About what?
Conrad Ecklie: You have updated him, right?
Sara: Yeah, yeah, we've had an abbreviated conversation. I'm doing fine. Completed my required number of sessions months ago.
Conrad Ecklie: Huh. Grissom failed to note that conversation in your file. Um ... but I'll take care of it. All right.
(Ecklie turns and leaves.)
Sara: Thanks.
CUT TO:
[INT. CSI - LAB - DAY]
(Catherine and Nick continue to process the matchbook cover.)
Nick: Expose the matchbook to white, and that covers the spectrum.
Catherine: I'll bring out the illuminants and contrast.
Nick: Rotate it 180.
Catherine: (reads) "Club PCH."
Nick: "Los Angeles."
Catherine: Is that probative?
Nick: Maybe. Defendant's son lived in L.A.
(Catherine turns and looks at him.)
CUT TO:
[EXT. GARBETT RESIDENCE (HOUSE #10716)- FRONT DRIVE - DAY]
(Brass and Nick walk up the driveway to the front door.)
Brass: So did a background check on Keith Garbett. He has no record. Moved to California two years before the m*rder. He opened a veterinary practice in Encino.
Nick: He was a Veterinarian?
Brass: Didn't I just say that?
Nick: We found some dog hairs at the crime scene. Out of context, it didn't really mean anything.
Brass: Well, now it does.
(Brass knocks on the front door. Keith Garbett opens the door.)
Keith Garbett: Mr. Stokes.
Nick: Keith.
Keith Garbett: Well, tell me you've got some good news. Dad's lawyer says the case could get tossed.
Brass: I'm Detective Jim Brass, Las Vegas police. We'd like to ask you a couple questions.
Keith Garbett: Sure.
Brass: You ever been to Club PCH?
Keith Garbett: I did some clubbing in my twenties. What does this have to do with the investigation?
Nick: Keith, what we'd really like to go ahead and do is get a set of your fingerprints, if we could. Okay?
Keith Garbett: Why? You know, I'm sorry, but I don't exactly trust you guys. You destroyed my family. You let my dad rot in jail for five years, and now you're coming after me? No way. Forget it.
(Keith backs up and slams the door closed.)
Brass: I thought that went well.
(Brass and Nick walk back down the driveway to the two trash bins on the sidewalk.)
Nick: There's more than one way to get his prints. Trash on the curb -- public property, right?
Brass: Don't need a warrant.
(Nick opens the trash bin and lifts the garbage bag up. Brass shrugs at him.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - ECKLIE'S OFFICE - DAY]
(Ecklie meets with Catherine.)
Conrad Ecklie: This conversation is on the record. Part of the official inquiry into the Max Larson case.
Catherine: Understood.
Conrad Ecklie: Five years ago, were you part of a team that processed a homicide at 2028 Boulevard Highway?
Catherine: You know I was.
Conrad Ecklie: Specifically what tasks did Supervisor Grissom assign to you?
Catherine: Gil doesn't micro-manage. We know what needs to be done. I photo-documented the scene, I collected blood evidence, and I brought the charred newspaper to trace.
Conrad Ecklie: In the analysis phase, did Grissom review your reports with you?
Catherine: Are you asking if he performed a supervisory review?
Conrad Ecklie: It's policy.
Catherine: He must have. I'm sure he did.
(Ecklie smiles at her. He doesn't believe her.)
Catherine: Are you doing all this for the sake of the lab or to indict Grissom?
Conrad Ecklie: Catherine, there a number of talented CSIs, like yourself, who have put in to be supervisors. I just want to make sure the right people are in the right place.
Catherine: About my request -- I really would like to supervise days.
Conrad Ecklie: Right. You're a single mother. Better hours. And I bet you could use the extra cash.
Catherine: No, this promotion isn't about money.
Conrad Ecklie: Must be nice to be independently wealthy.
Catherine: We're done here, right?
(Catherine stands up and leaves.)
Conrad Ecklie: Yeah.
CUT TO:
[INT. CSI - LAB - DAY]
(Nick cuts a portion of the garbage bag off and puts it in the machine when Catherine walks in.)
Catherine: Vacuum metal deposition.
Nick: Sometimes the evidence isn't in the bag ... it's on it.
(Quick flash to: The garbage bag is being fumed and a print is found. End of flash. Resume to present.)
CUT TO:
[INT. CSI - LAB - DAY]
(Catherine sits at the computer and pulls up the unidentified print for case #
436770-99).
(Nick walks in with Keith's print off the garbage bag. Catherine flips the scanner lid up.)
Nick: Thank you.
(They scan the print into the computer and run a comparison.)
Catherine: Comparing unknown matchbook print to garbage bag print.
Nick: Game, set.
Catherine: Match.
(Quick flashback to: [HARDWARE STORE] Ketih Garbett walks into the store with the wrench in his hand.)
Max Larson: We're closed. Hey, did you hear me? I said we're closed.
(He walks around the counter and sees Keith Garbett walking swiftly up to him.)
Max Larson: Hey... help!
(Keith swings and hits Max Larson in the head. He falls to the floor and he swings again.)
(When it's over, he lights a match to a piece of crumpled newspaper.)
(End of flashback. Resume to present.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Nick and Catherine interview Keith Garbett. His lawyer is with him.)
Keith Garbett: It wasn't my restaurant. It wasn't my problem.
Nick: You lied to us. Said you were living in L.A. at the time of the m*rder.
Catherine: while your parents were in court, suing to have that dumpster removed, you were running the restaurant. In fact, you signed the vendor checks that week.
Nick: They were in a box of records your mother sent over. You saw the business was going under. Their marriage was in trouble. And while the judge ruled against them, you snapped.
Lawyer: The evidence is circumstantial at best.
Catherine: You can play it that way. It's fine with us. You and your father can both stand trial. I mean, after all he was the one who had motive. He thr*at Larson. His prints were on the wrench.
Lawyer: You think the D.A. is going to try two people for the same crime?
Nick: Oh, yes, ma'am. At minimum, they're looking at conspiracy.
Catherine: As far as we know, they could've been in it together. It's easier to overpower a guy when it's two against one.
Nick: Yeah, but I don't think it went down that way. After your father was convicted, you gave up on your veterinary practice. Moved back to Vegas -- spent every last dime you had on his defense. Now, that tells me you had a guilty conscience.
Keith Garbett: It should tell you that I love my father.
Nick: Your father spent the last five years in prison, man. If you love him so much, why don't you tell the truth? Set him free.
Keith Garbett: My father had nothing to do with it.
Lawyer: Keith ... I never thought that they would convict an innocent man. So ... I kept quiet.
Nick: To protect yourself.
[INT. POLICE DEPARTMENT -- OBSERVATION ROOM - DAY - CONTINUOUS]
(Grissom and Conrad Ecklie both watch the interview.)
Conrad Ecklie: We'll convene in my office at end of your shift.
Grissom: Regarding what? This case is over.
Conrad Ecklie: Don't be late.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. TURLOCK RESIDENCE - FRONT - EVENING/NIGHT]
(Det. Vartann is waiting out front as Sara and Greg drive up.)
Det. Vartann: Hey.
Sara: Hey.
Det. Vartann: What's going on? Dispatch said to meet you here.
(Sara gets out of the car.)
Sara: Well, three days ago we found a John Doe who was sh*t to death in an abandoned parking lot off strip. Uh, there was a mac-10 near the body. g*n is registered to a Paul Turlock, who happens to be the owner of the house.
(Greg joins them and they head for the house.)
Det. Vartann: Oh, so you want to see if Paul Turlock and John Doe are one and the same.
Sara: Yeah.
Det. Vartann: Okay.
(They reach the front door and see the newspaper on the ground.)
Det. Vartann: Odds are looking pretty good so far.
(Det. Vartann takes out his g*n and flashlight. Sara knocks on the door and it creaks open. He leans in toward the door as Sara takes out her w*apon and gets behind Vartan.)
Det. Vartann: Police! Anybody here?
(He lifts up his w*apon and pushes the door open.)
[INT. TURLOCK RESIDENCE - LIVING ROOM - EVENING - CONTINUOUS]
(Det. Vartann and Sara enter the residence with their g*n raised. After a while, it's apparent that no one's there. Sara puts her g*n down. Vartann puts his g*n away.)
(Greg walks in and they all look around the house.)
(Greg sees a box and looks inside.)
(On the coffee table on an old newspaper, Vartann finds a photo of two men drinking beer.)
Det. Vartann: Sara.
(She walks over.)
Det. Vartann: Any of these look like your guy?
Sara: Guy on the end with the "Rita" tattoo.
Det. Vartann: Think Rita's his mom or his girlfriend?
Sara: If it's not crossed out, it's definitely his mom.
(Vartann nods.)
Greg: Mac in the box. Five of them. Serials obliterated.
(They both turn and head over toward Greg.)
Sara: Files and grinding stone.
Det. Vartann: It's all the tools needed to convert a semi into an auto and then cover your tracks.
Greg: Each modified w*apon's a separate count. Each filed-off serial number's a separate count. This guy was looking at ten felonies.
Sara: Actually, he already got the death penalty.
(Vartann walks over and checks the answering machine.)
Man's Voice: (answering machine) Hey, Paulie, we, uh, liked what we saw. The deal's a go. Five large for five units. I'll call you back to arrange a time.
(The answering machine beeps.)
Man's Voice: (answering machine) Paulie. 9:00 P.M. Monday.
(The machine clicks off. Vartann turns and looks at Sara and Greg.)
Greg: That's tonight.
Det. Vartann: "We liked what we saw"? That tells me that Paulie's already met with the buyers-- probably to show them the prototype of the mac-10.
Sara: Maybe they met at the parking lot where we found the body.
(Vartann looks at his watch.)
Det. Vartann: You know, most likely they'd hook up at the same location to complete the sale.
Greg: Buyers don't know he's d*ad.
Sara: Lucky for us.
CUT TO:
[INT. CSI - HALLWAY TO LAB -- NIGHT]
(We follow behind Conrad Ecklie as he walks down the hallway. He peers in through the window and sees Nick working. He opens the door.)
Conrad Ecklie: Hell of a job on the Larson case, Nick. If it weren't for you, the son would've walked.
Nick: (shrugs) It was a team effort.
Conrad Ecklie: Team effort? Just like the Westanson case, right? Last year, that woman who b*rned to ashes in a barrel of diesel fuel.
Nick: Yeah. Yeah, I'm familiar with the case, Conrad.
Conrad Ecklie: I reviewed Grissom's report. It seems to me that you were a ... one-man CSI machine. (He chuckles.) Grissom rejected Fay Minden's testimony, but not you.
Nick: (corrects) No, Grissom allowed me to pursue a new lead, under his supervision.
Conrad Ecklie: Did he offer you any other CSIs as support staff? (Nick catches on to what Ecklie's doing.) D-don't worry about it. I respect your independence. (Nick's not impressed.) Anyway, good work.
(Ecklie leaves the lab.)
CUT TO:
[EXT. PARKING LOT -- NIGHT]
(A car drives into the parking lot and circles around. The engine stops and a man steps out of the car. He looks around and zips up his jacket.)
(Sirens wail as police cars circle and pull up into the parking lot. Vartann exits his car, his g*n pointed at the buyer.)
Det. Vartann: Keep your hands up. No sudden moves.
(Sara and Greg exit the car.)
A*F Agent: A*F. I'm an agent.
Det. Vartann: Just keep your hands where I can see 'em, and you won't get hurt.
(Another non-descript car pulls up. An A*F agent gets out of the car and holds out his badge.)
John Calder (A*F): Special Agent John Calder, A*F. He's an undercover agent.
Sara: I don't believe this.
Det. Vartann: You're involved in a buy bust for some firearms?
John Calder (A*F): You boys b*rned us bad. We were gonna make an arrest tonight.
Sara: Suspect's name is Paul Turlock?
John Calder: Yeah.
Sara: Mr. Turlock A.D.'d a mac into his femoral artery. You guys are four days too late.
CUT TO:
[INT. CSI - ECKLIE'S OFFICE -- NIGHT]
(Ecklie meets with Grissom and Sofia Curtis.)
Conrad Ecklie: If I understand you correctly, the latent fingerprint on the matchbook ... continued to process itself after you were finished.
Grissom: Theoretically, yes.
Conrad Ecklie: As I know you are aware, I've asked Sofia to review your handling of the Max Larson homicide. (to Sofia) Did Supervisor Grissom violate any procedures in mishandling the evidence?
(She looks at Grissom.)
Sofia Curtis: I don't believe he mishandled anything. He followed laboratory protocol, and when he saw that the evidence didn't correspond to his records, he notified the D.A. and recused himself from case review.
Conrad Ecklie: Are you saying that, uh, his handling of the discovery of new evidence while on the stand is within our protocols?
Sofia Curtis: (carefully) As it applies to this case, yes.
Conrad Ecklie: In the, uh ... in the process of investigating this case, your ability to supervise has come into question.
Grissom: Isn't that a little beyond the scope of this inquiry?
Sofia Curtis: Again, we have no evidence that Grissom violated any protocols or proce ...
Conrad Ecklie: (interrupts) Thank you for your input.
Grissom: (tired) Okay, Conrad, what do you got? Let's hear it.
Conrad Ecklie: Well, taken individually, there's nothing specific that warrants disciplinary action. However, my investigation has led me to question the effectiveness of your team and your ability to lead it. I'm breaking you guys up.
Grissom: Excuse me?
Conrad Ecklie: I've already spoken with the Director. Staff assignments are under my purview. Effective immediately, Catherine Willows will be promoted to Swing Shift Supervisor ...
Grissom: Wait a minute, Catherine applied for days.
Conrad Ecklie: I do what's best for the lab. I've decided to move the Swing Shift Supervisor to days ...
Sofia Curtis: I've been the Acting Supervisor of days for the past month -- I believe I've proven myself capable.
Conrad Ecklie: (ignores her) Warrick Brown and Nick Stokes will report to Catherine. Greg Sanders, pending his proficiency, Sara Sidle and Sofia will report to you.
Sofia Curtis: (stunned) You're demoting me.
Conrad Ecklie: I think you and Grissom suit each other.
(Sofia stares at Ecklie in disbelief and shakes her head.)
Grissom: (quietly) Why are you doing this?
Conrad Ecklie: There's been a chronic lack of supervision on the graveyard shift. Your people have been covering for you, Gil. For your shortcomings. Before your mismanagement jeopardizes this lab, I'm rectifying the situation.
(Grissom shakes his head and scoffs.)
Conrad Ecklie: My decision is final.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. DINER -- DAY]
(Nick and Warrick meet with Grissom.)
Nick: He kind of talked to all of us.
Warrick: It was more like he ambushed all of us. Real sorry, Grissom.
Grissom: There's no reason to be. Look, Ecklie doesn't have a scientific bone in his body. He starts with the answers he wants and then devises the questions to get them.
Warrick: This sucks. This guy has been kissing ass all his life, he's trying to tell me -- he's trying to tell us what makes a good supervisor. What makes a good team?
Grissom: Well, if a team gets used to doing things a certain way just because that's the way they've always done them, then they start to lose their effectiveness.
Nick: Oh, come on. You don't really believe that.
Grissom: No. I believe that the longer a team works together, the stronger they become. But I'm not in charge of the lab, nor would I want to be.
(The waitress puts the bill on the table. Nick picks up the bill and looks at it.)
Nick: I got this -- that's the kind of cash I'm bringing down right now.
(Nick leaves the booth.)
Warrick: I always knew there'd come a time when we weren't, uh, working together anymore. I just didn't think it'd be under these circumstances.
(Warrick's phone rings. He answers it.)
Warrick: (to phone) Brown. Okay. All right. No, I'll tell Nick. We'll see you there. Uh, congrats, by the way. (He hangs up.) (to Grissom) All right. My new supervisor.
Grissom: Catherine?
Warrick: Yeah.
Grissom: (nods) Good.
Warrick: Well, I got to get some rest. Swing shift starts at four in the afternoon. That's a big change.
Grissom: Heracleitus once said, "It is in changing that we find purpose."
Warrick: Well, thanks to you, this job, I already know my purpose. See ya.
(Warrick gets up and leaves the booth.)
(Grissom sits at the table alone.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x09 - Mea Culpa"} | foreverdreaming |
COLD OPEN:
[EXT. LAS VEGAS CITY COMMUNITY (STOCK) - NIGHT]
[EXT. EMPTY LOT - COMMUNITY -- NIGHT]
(Brass and Sofia stand around a d*ad body while Grissom crouches down to examine it closer.)
Brass: So, the g*ng unit says our D.B. is a sixteen-year-old Tyson Plummer.
Sofia Curtis: How many holes in the victim?
Grissom: I count four.
Sofia Curtis: Eleven shell casings. sh**t emptied the g*n -- so he was moving and sh**ting. Only h*t the vic four times.
Grissom: She talks to herself.
Brass: Hey, it works for me.
Sofia Curtis: b*ll*ts that missed h*t the outside building wall.
(She turns and looks back at the g*n holes in the outside building wall.)
Kid 1: (o.s.) Hey, man, what ya doing in my back alley!
(Greg is standing on the side mapping the area when the kid's shouts draw his attention. On the sidewalk, he sees two kids playing near the trash. One kid holds out his hand as if holding a g*n at the other kid.)
KIDN 1: Bang, bang, bang, bang.
Kid 2: Man, you know Andre didn't cap him like that.
(Greg ducks under the crime scene tape and makes his way toward the two kids who continue arguing.)
Kid 1: Did too.
Kid 2: Did not!
Kid 1: Did too!
Kid 2: How you gonna tell me?
Kid 1: I saw him ...
Greg: Hey, guys, can I talk to you for a sec?
Kid 2: Run!
(The two kids turn, see Greg and run. Greg continues to walk slowly toward them.)
Greg: I just want to ask you a few questions.
(The older kid turns and bumps into the trash bin. He falls, scrambles to his feet and runs. Greg doesn't chase after them.)
Kid 2: Yo man! Wait up!
(The kids disappear down the block. Greg turns and sees something disturbing. He kneels down to get a better look at a d*ad body in a trash bin.)
(The d*ad child is rail thin and shoved into the trash bin.)
(Greg dials his phone.)
Greg: (to phone) Grissom ...
Grissom: (from phone) Go ahead, Greg.
Greg: (to phone) We got a young male D.B. by the dumpster.
Grissom: (to phone) I'll be right there.
(Grissom glances at Brass. He walks over to the dumpster where Greg is standing.)
(At the crime scene tape surrounding the empty lot, a young man ducks under it. The officer guarding the tape tries to stop him.)
Officer: Hey, hey!
(He knocks the officer's hands away.)
Leo Plummer: Get your damn hands off me!
(Sofia turns around to look at the disturbance. Brass approaches the officer and Leo Plummer.)
Brass: Whoa, whoa. I can't let you touch him. What's your name?
(The young man gets a look at the d*ad body on the ground and he gasps.)
Leo Plummer: I'm Plummer. Leo. That's my brother right there. They didn't have to do him like that, Dawg.
Brass: I know you know who did this, Leo.
Leo Plummer: Ain't your problem, man. Whoever did this is gonna get got.
Brass: Oh, no, don't say stuff like that. Because only two things can happen: You in shackles or you on a slab. So, let's break the odds this time. What do you say?
Leo Plummer: You done with me, Bacon? 'Cause I got family to go bury.
(Leo turns and heads back to the crime scene tape. Brass turns and heads back to the body.)
Brass: Yeah.
(Near the tape, there's a disturbance as voices rise.)
(Camera whirls around and we see another young man running through the crowd toward Leo Plummer. He pulls out a g*n and fires at Leo Plummer's back. Leo is sh*t point blank several times in the back.)
(Grissom is examining the body and is startled by the g*n. He looks up.)
(Greg moves to take cover behind the dumpster.)
(A woman screams as the g*n end. The young man with the g*n takes off running. The crowd disburses.)
Officer: This is Lincoln three. We've got a four-fifteen-A on scene.
(Grissom watches as Sofia takes off running after the suspect alongside several other officers.)
(Grissom looks at Greg.)
Grissom: You okay?
Greg: Hell no, I'm not okay. Who the hell's sh**ting at us?
Grissom: I don't know, but I think our single just turned into a triple.
(Grissom stands up and heads for the newest body at the scene.)
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. COMMUNITY -- DAY]
(Sara walks up to David Phillips and Greg around the body of the kid in the rubber trash bin. Greg snaps photos as David checks the kid out.)
(In the background, we hear the indistinct police radio transmissions.)
(Sara slows down and puts her kit on the sidewalk as she kneels in front of the body.)
Greg: Somebody tried to just throw him out with the trash.
Sara: If the dumpster wasn't full he would've ended up at the landfill.
David Phillips: He hasn't been d*ad long. He's just coming out of rigor, so I'd say less than twenty-four hours.
Sara: He wasn't in the box long enough to mummify, but the kid looks like an ad for hunger relief. Okay, let's, um, transport him in situ.
(Sara turns and looks at Greg.)
Sara: Be very careful moving the body. You okay?
Greg: Yeah. Fine.
(Off to the side, two officers struggle with a man in handcuffs.)
Officer: Come on, let's go.
Man: (o.s.) Rodney King, yo! Rodney King. Yo! Y'all see this? That's Rodney King, Dawg! Let me go, Dawg! Let me go, man!
(The two officers lead the man in handcuffs to the car and put him in the backseat.)
(Sofia walks back toward Grissom and Brass.)
Man: Get off me, man! That's Rodney King, Dawg! Let me ... Get off! Get off me! Get off! Get off me! Bitches! We call it brutality!
(The car door slams shut.)
Brass: So, uh ... you think these concerned citizens are taping the capture of a vicious k*ller?
(Brass points back to the observers behind the crime scene tape with their camcorders out. The coroners lift up the gurney with the wrapped body on it.)
Grissom: If they're taping now, maybe they caught that second sh**ting on video. Maybe you could collect the cameras.
(Brass looks at Sofia and taps his own temple. He smiles and chuckles as he leaves. Grissom turns and looks at Sofia.)
Brass: I love this guy.
Grissom: It says "forensics" on our jacket.
Sofia Curtis: I'm aware of that.
Grissom: We had plenty of cops chasing the suspect.
Sofia Curtis: I wasn't chasing the suspect. I was chasing the evidence. I knew the idiot was likely to dump the g*n.
(She takes out the bagged g*n and hands it to Grissom.)
Sofia Curtis: All we have to do is ballistics-match the w*apon to both victims. Case closed.
(Grissom takes the g*n and looks at Sofia.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. PRISON -- DAY]
(The door buzzes and opens for Warrick and Nick.)
Warrick: Hey.
Nick: Hey, man.
Det. Vartann: (o.s.) What's up?
Nick: Thanks.
(They walk through the door and meet with Det. Vartann.)
Det. Vartann: Suspects wait in central holding to be processed and transferred to jail. They as*ault the officers with feces and then the cops went in.
Nick: Great.
Warrick: To bust some heads.
(The closer they get, the smellier it gets. On the floor are the brown feces stains.)
Nick: Hoo ... so, you've got a Samuel Mendez with a cracked skull listed as death imminent, right?
(They stop in front of the cell with the crime scene taped around it.)
Det. Vartann: Yeah. It's why they kicked it up to homicide.
Warrick: You think the cops used excessive force here?
(Nick puts his case down and walks over to the empty cell.)
Det. Vartann: Well, if they did it's mitigating circumstances.
Warrick: Yeah.
(The officer removes the tape to open the cell. Nick looks at the mess on the wall.)
Nick: Yeah, well, if they'd've thrown a bunch of feces at me, I would have cracked some skulls too.
(On the middle of the bare floor, there's a g*n.)
Nick: This is the last place I thought I'd see a g*n.
Det. Vartann: It was found under the victim.
Nick: Could be his.
Warrick: Arresting officer must have done a lousy search.
(Warrick puts a ruler down and snaps a photo of the g*n.)
(Nick stands up and looks around the small cell at the mess.)
Nick: Wow ... this is a lot of crap. What, did they squat on cue?
Warrick: Overflowing toilet. There's enough amm*nit*on right there.
Nick: So, the cops bust in to get the prisoners under control when they start throwing raw sewage?
(Quick flash of: The prison cell doors open and the guards enter. The fight between the guards and the prisoners starts.)
(End of flash. Resume to present.)
Warrick: Well, there must have been some real bad asses in here. Looks like it got pretty heated.
CUT TO:
[INT. PRISON -- HALLWAY - DAY - CONTINUOUS]
(The prisoners are lined up in a row. They're all wearing towels and carrying their clothes.)
Overhead: (p.a.) ... Security Officers for lockdown debriefing.
(An officer puts a package on the car next to the other packages.)
(The next prisoner steps up to Nick.)
Nick: You want to tell me what happened here?
(The prisoner has a large bruise around his left eye.)
Prisoner 1: Cops iced the kid. What else you want to know?
(Nick takes a photo of the prisoner.)
Prisoner 1: Could tell he was a fish from the jump, though.
Nick: A fish?
(Nick snaps another photo.)
Prisoner 1: New to the game.
WHITE FLASH TO:
(The officer takes his boots.)
Officer: (o.s.) You want to go to the hold, boy?
(The next prisoner steps up and spits in front of Nick into something off screen.)
(Nick stares up at the very tall Prisoner 2.)
Prisoner 2: What?
(The prisoner hands the guard his shoes. Nick takes a couple of photos.)
Nick: You see what happened?
(Prisoner 3 is sporting a large bruise on his left eye, which is shut from the swelling.)
Prisoner 3: The po-po gutted the fish. I saw the whole thing. Same thing they did to me. Two beatings in one day. Rodney King, yo.
(Nick snaps a photo of Prisoner 3.)
CUT TO:
[INT. PRISON HOSPITAL - DAY]
(Catherine is standing next to the victim's bed. The victim is hooked up to a lot of machines - still alive, but barely. Next to the bed, she has a camera set up on a tripod. She holds the ruler against the injuries on the victim's head and snaps a couple of photos of it.)
Dr. Franks: I'm sorry, uh, who are you?
Catherine: I'm Catherine Willows. I'm with the Crime Lab.
Dr. Franks: Oh. I'm Dr. Franks, attending. Have you located his family yet?
Catherine: No.
Dr. Franks: I need to find someone to sign a release, take him off the ventilator.
Catherine: He's brain d*ad?
Dr. Franks: Oh, yeah. I'm hoping the family will donate his organs.
Catherine: Tell me about his injuries.
Dr. Franks: He's got blunt-force trauma to the frontal and sphenoid bones.
(Quick flashback to: The victim is punched in the face. End of flashback.)
Dr. Franks: It fragmented his skull, damaged his temporal arteries and imbedded in his brain.
(Quick CGI POV: The brain cuts and blood spills out. End of CGI POV. Quick flash to: The victim falls to the ground with blood running down his face. End of flash.)
Catherine: Well, those are shoe prints on his face, which suggests that he was att*cked while he was down.
(Quick flash of: The victim is already down on the ground. Someone stomps on him with the heel of his boot. End of flash.)
Dr. Franks: Well, he came from county lock-up. Must have been a hell of a fight.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY - DAY]
(The lid is removed from the rubber bin. Sara holds the flashlight above and looks into the bin at the d*ad boy. She sees some blond-colored hair on the boy's jeans.)
(David Phillips reaches into the bin to carry the boy's body out. Sara glances at Greg. David removes the body. Greg replaces the lid on the bin and removes the bin off the table.)
(David puts the body on the table.)
(Sara takes a tape lift of the blond-colored hair from the boy's jeans. Someone coughs. She puts the tape lift on the side.)
(Greg examines the bin. Inside, he finds some yellow powder and nail scratchings. He takes a sample of the powder.)
(Back on the body, Sara finds another blond-colored hair strand. She picks it off of the jeans and puts it in a plastic baggie.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins goes over his findings with Sara. He shows her the x-rays.)
Robbins: The victim's about five years old. He was just losing his baby teeth. X-rays show metaphyseal fractures to the right humerus and acromion. They're called corner or bucket-handle fractures.
Sara: Shake the baby?
Robbins: It's more like snatch and shake. Violent shaking creates shearing forces, causing fragment fractures at the end of the growth plate. It's highly specific for abuse.
(Quick flash of: A little boy is sitting on a swing.)
Voice (man): (o.s.) I said, Get up!
(A hand grabs the boy's arms and twists. Quick CGI POV to: The bones inside the boy's arms break.)
(End of CGI POV. Resume to present.)
Sara: How old do you think these fractures are?
Robbins: Well, this kind of fracture doesn't usually heal with callus you can easily see. My guess, less than six months.
(Robbins and Sara turn back to the body. Robbins pulls back the sheet.)
Sara: He is emaciated. He looks drawn. The only thing missing is a swollen belly.
Robbins: It's called cachexia. The soft tissue is diminished and drawn around the skull. The eyes are sunken, and there's prominent tenting where the skin should retract.
(Sara touches the body's ribs.)
Sara: His ribs are poking through his skin. He starved to death, didn't he?
Robbins: C.O.D. is renal failure due to starvation. His intestinal tract was virtually empty, except for these brown flecks I found.
(He hands Sara a glass container with some powder inside. She looks at it.)
Robbins: Hepatic steatosis, the liver goes yellow and greasy. Ketoacidosis, fat stores are used for energy, and then rhabdomyolysis - the muscles broken down for fuel. Think of the body as digesting itself.
(Quick flash to: A little boy crying. The camera zooms in toward the boy's chest.)
(Quick CGI POV to: The skin on the chest dries up and stretches over his ribs.)
(Camera pulls back out past the ribs ... and the clothes ... to the d*ad little boy in the rubber trash bin.)
(End of flash. Resume to present.)
Sara: This took weeks.
Robbins: I have to admit, this seems especially cruel and unusual.
Sara: When kids are involved, it usually is.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. PRISON - OFFICE -- DAY]
(Warrick and Det. Vartann talk with Lt. Kim.)
Lt. Arthur Chen: It's 10-by-18-foot cell built for 25 people. We've got thirty-five mutts and no place to put the extras. Between the yo's, the cholos and the rednecks, it was bound to happen.
Warrick: Thirty-five guys, that's a lot of men to fit in one room.
Lt. Arthur Chen: Cops round them up, we process them. It usually doesn't take long, but today we got jammed.
Det. Vartann: What was the problem?
Lt. Arthur Chen: Computer went down, plumbing backed up. You name it, we had it.
Det. Vartann: Any rival bangers in the same cell?
Lt. Arthur Chen: No. I rechecked the roster. We don't want the yo's k*lling each other in custody. Why we bother, I'll never know.
Warrick: You ever think an overcrowded cell mixed with bad plumbing was the reason they threw the contents?
Lt. Arthur Chen: They don't need a reason. Bad monkeys at the zoo.
(Warrick and Det. Vartann both note the slur. There's an awkward pause.)
Det. Vartann: So, uh, how did the g*n get past security?
Lt. Arthur Chen: Arresting officer did a bad search.
Warrick: Don't you search them again when they get to the holding cell?
Lt. Arthur Chen: What?
Warrick: Don't you search them again when they get here?
Lt. Arthur Chen: Is there something you want to get off your chest?
Warrick: (wry chuckle) A g*n in a cell is sloppy police work, man.
(Lt. Kim takes a step forward.)
Lt. Arthur Chen: I don't like what you're implying about me or my men.
(Warrick stands up.)
Warrick: Then maybe you need to dial down your attitude. A man is brain d*ad here! I don't care what he was like when he was alive, and neither should you, don't you think?
Lt. Arthur Chen: All I know, there's one less bastard I gotta watch my back for. There's five of us, so the odds are in their favor. You're a crime scene tech. I'm law enforcement, which means you don't get to tell me what to do in my jail.
Warrick: If I find out you used excessive force on an unarmed prisoner, you won't have a jail.
Lt. Arthur Chen: I think we're done here.
(Lt. Kim heads for the door.)
Warrick: I don't think so. Not quite. I'm going to need your armor, your shields, your boots and your batons. (shouts) Right now!
(Lt. Kim stops and turns around.)
CUT TO:
[INT. CSI - BREAK ROOM - DAY]
(Sara is going through stacks of files. Sofia walks into the room.)
Sofia Curtis: I'll, uh ... ran John Doe minor's DNA against the missing persons database. I'm sorry, no hits.
Sara: Yeah, I'm not surprised. They didn't care enough to feed him, why would they report him missing?
(Sofia pours herself a cup of coffee. She turns around and sees the files on the table in front of Sara.)
Sofia Curtis: What's going on in here?
Sara: The victim had a prior abuse fracture.
Sofia Curtis: And you're hoping Child Protective Services investigated?
Sara: Well, based on the age of the victim, the age of the fracture and the break pattern, I found ten possible matches.
Sofia Curtis: Well, it's going to take you forever to go through these alone.
Sara: I'll get it done.
Sofia Curtis: It took me a long time to get where I was, Sara. Now I feel like I'm starting from scratch. I miss sleeping at night. I miss my colleagues. I miss ...
Sara: What?
Sofia Curtis: Being trusted.
(Sofia turns and leaves the room.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Warrick pushes the cart full of bagged evidence.)
Warrick: Okay.
(He stops in front of Mia.)
Mia Dickerson: What's on the menu today, Warrick?
(He holds up the baggies.)
Warrick: A g*n ... face shields, vests ... batons ... please run the batons first.
Mia Dickerson: Why? You thinking bad cop?
Warrick: Well, the batons were the only w*apon inside of the cell. Everything else was fixed ...
(Warrick's cell phone rings. He doesn't answer it.)
Warrick: ... to the floor, to the walls.
(Warrick's cell phone continues to ring.)
Mia Dickerson: You gonna get that?
(He takes it out and checks the caller ID.)
Warrick: No.
Mia Dickerson: (mutters) Player.
Warrick: Oh, now I'm a 'player'. You make up your mind pretty quick.
Mia Dickerson: I'll, uh, page you when I get the results.
Warrick: Yeah?
(Warrick holds out his phone to Mia, showing her the ID of the caller: G. Sanders.)
Warrick: He was a rough one last night, so I called to check on him. But since I'm here, I can do it in person. Anything else you want to say to me?
Mia Dickerson: (smiles) Have a nice day.
Warrick: (chuckles) Is that it?
Mia Dickerson: (smiles) That's it.
(Sofia walks into the lab.)
Sofia Curtis: Am I interrupting?
(They both turn and look at Sofia.)
Warrick: No.
Mia Dickerson: No.
(Warrick heads out of the lab.)
Warrick: (to Sofia) Good day.
(Sofia walks up to Mia.)
Sofia Curtis: He's pretty hot.
Mia Dickerson: Yeah, well, I think he knows it.
Sofia Curtis: Anything on the hairs from the plastic coffin?
Mia Dickerson: Ah, yeah, I actually did find one hair with a root tag still attached, and it's a priority run for me as soon as I get something to compare it to. Sara also collected a bunch of synthetic hairs. I'm thinking doll, wig, maybe fake fur. I sent them over to trace.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Sara and Robbins are scanning x-rays into the computer.)
Sara: I went through child abuse cases, looking for a match to the victim's age and fracture. I pulled the x rays of our most likely candidates.
Robbins: Sinus identification is as reliable as fingerprints. Sinuses are unique; they have distinct, scalloped edges.
(He pulls up the head x-ray of the victim and outlines the sinus cavity. He compares it to the other x-rays.)
(The computer beeps: NO MATCH.)
Sara: No match.
Robbins: It's harder to identify children this way because they, uh, develop so quickly.
(The computer beeps: NO MATCH.)
(The computer beeps: POSITIVE MATCH.)
Sara: This is it.
Robbins: Bingo. Yep. Frontal and ethmoid sinuses line up perfectly.
(Sara gets the file folder to get the name of the victim.)
Sara: (reads) Devon Malton, age five, last known residence was a foster home run by a Lorna Tenney.
CUT TO:
[EXT. TENNEY RESIDENCE -- DAY]
(Sara and Brass interview Lorna Tenney.)
Lorna Tenney: So, which one of my kids is in trouble?
Brass: No, you are, Mrs. Tenney.
Lorna Tenney: Oh? Which one of my kids lodged a complaint?
Sara: That happen a lot?
Lorna Tenney: Well, it goes with the territory.
Brass: We're here about, uh, Devon Malton.
Lorna Tenney: Well, he hasn't lived here in six months.
Sara: Since he fractured his arm?
Lorna Tenney: CPS investigated. They cleared me.
Sara: Records show Devon resides here.
Lorna Tenney: Well, records are wrong.
Brass: Mind if we come in and take a look around?
Lorna Tenney: I do.
Sara: If you've got nothing to hide...
Lorna Tenney: (interrupts) Oh, save it. Those mind games don't work on me. I deal with the police often enough to know better than to talk to you without my attorney or to let you poke around my things.
Brass: Look, Family Services says you have this kid.
Lorna Tenney: Mm-hmm.
Brass: They've issued aid checks. Now, who do you expect me to believe?
Lorna Tenney: The checks come, I send them back. I've got the copies to prove it.
Brass: Look, it's either here or at the station. So, you choose.
Lorna Tenney: Then let's go, because you don't set foot in my house without a warrant.
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg has the rubber trash bin suspended in a large glass container. He adds the small tray and puts a few drops into the tray. He fumes the trash bin.)
(Greg's pager beeps. He checks it and leaves.)
CUT TO:
[INT. CSI - TRACE LAB - DAY - CONTINUOUS]
(Greg walks into the trace lab. Hodges is reading through a magazine waiting for him.)
David Hodges: Heard you had a real sphincter pucker last night. So what kind of g*n are you getting?
Greg: Plenty of g*n at crime scenes. Cops have them, some criminalists ...
David Hodges: Yeah, cops make great targets. Plus, CSIs get sh*t at all the time, or didn't they tell you?
(Greg turns around, intending to leave the lab.)
Greg: If this is why you paged me then I ...
David Hodges: I got the results on the bin contents.
(Greg turns back and steps up to the lab counter.)
Greg: Well?
David Hodges: Are you sure you're okay? You don't look so good.
(Greg gives him a look and Hodges backs down. Hodges reaches for the test results and gives them to Greg.)
David Hodges: I detected mineral oil, titanium dioxide, stearic acid, isopropylpalpitate using polarized light microscopy, GCMS and FTIR.
Greg: Is that makeup?
David Hodges: Burnt sienna foundation. The cheap stuff.
Greg: What about the intestinal tract contents?
(Hodges holds up the glass container.)
David Hodges: Lead-based paint chips ... last used in 1978.
Greg: That whole neighborhood looks like it was built in the 70s. Could've come from any one of the apartment buildings or the houses.
David Hodges: Which means that sooner or later, you're going to have to be going back out to the hood. Nervous?
Greg: Hmm ...
CUT TO:
[INT. PRISON HOSPITAL -- DAY]
(The victim is still on the ventilator. Dr. Franks talks with Mr. Mendez, the father of Samuel Mendez.)
(Catherine walks up to the two men talking in the hallway.)
Mr. Mendez: I'm sorry, doctor. I can't donate his organs.
Dr. Franks: I assure you your son has no brain activity, Mr. Mendez. He's gone.
Mr. Mendez: No, no, you don't understand. I don't know who that is in there, but it's not my son.
Catherine: Mr. Mendez. I'm Catherine Willows, with the Las Vegas Crime Lab. Are you sure?
Mr. Mendez: Look, I've been waiting for this phone call a long time. My kid took a wrong turn somewhere -- maybe it's my fault, I don't know -- but somebody's boy is in that bed and he's not mine.
(Mr. Mendez leaves. Dr. Franks turns and looks at Catherine.)
Dr. Franks: Either he can't accept reality or the county made a big mistake.
Catherine: Well, there's only one way to find out. I'll have to take his prints.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(Catherine scans in a print into the computer for:
SAMUEL MENDEZ - VICTIM
IN CUSTODY Booking #275192139480
(She compares it to a second print on File for:
SAMUEL MENDEZ - SUSPECT
WHEREABOUTS UNKNOWN
(The computer beeps: NO MATCH.)
(Catherine pulls up the photo and information on SAMUEL MENDEZ. Among the information, there is an
ACTIVE ARREST WARRANT FOR m*rder
CONSIDERED ARMED AND DANGEROUS
(Catherine looks at the photos of the two men.)
CUT TO:
[INT. CSI - WAITING ROOM - DAY]
(Sara walks through the hallway. Brass meets up with her, but she lets Brass go. Sara stops and looks into the waiting room. Inside are Laura Tenney's kids.)
(A couple of kids are giggling. The older blonde-haired girl sitting across the aisle admonishes them.)
Glynnis: Guys. Do your work.
(Sara walks into the room.)
Sara: Hi.
(She looks at Glynnis.)
Sara: You like chemistry?
Glynnis: No. I'm not smart enough.
Sara: Sure you are. Glynnis, right?
(Glynnis nods. Sara looks at what Glynnis is reading. She sits down next to her.)
Sara: Quantum theory. That's compelling stuff actually.
Glynnis: Look, you can to question me, fine. You don't have to pretend to be interested in me.
Sara: I'm sorry that was lame. I guess I was just trying to put you at ease. I know what it's like.
Glynnis: What?
Sara: Living with strangers. Your fate being decided bysocial workers, advocates, judges...
Glynnis: You were in the system.
Sara: For a while.
Glynnis: I've been in foster care for ten years. I moved from one home to the next. Believe me, Mrs. Tenney is one of the good ones.
(Sara looks over into the interview room. Through the glass, we see Brass with Laura Tenney and her lawyer.)
Sara: She's not very cooperative.
Glynnis: Well, she's been b*rned a lot. Look, I know she comes off as tough, but she really cares. Enough to tell us the truth, even if it hurts.
Sara: You remember a little boy named Devon?
Glynnis: Yeah. Cute kid. About five years old.
Sara: Your foster mom said that Devon left months ago. Is that true?
Glynnis: Yeah. Why all the questions? (Sara moves her head.) Did something happen?
Sara: Yeah.
Glynnis: (whispers) Is he d*ad?
Sara: Yeah.
Glynnis: I don't understand. His mom came and picked him up. That never happens. You could just see how much she loved those boys.
Sara: Glynnis ... Did Devon have brothers at the foster home?
Glynnis: Yeah. Two older brothers, Kevin and, and Raymond. What happened to them?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(Brass and Sara interview Delia Brooks with Social Services)
Delia Brooks: The boy's mother, Candice Malton, served forty-seven of the ninety-day sentence for smashing a brick into her abusive boyfriend's face.
Sara: Sounds like self-defense to me.
Delia Brooks: Yeah. If. She would've walked after the first h*t.
Brass: So, how many times did she actually h*t him?
Delia Brooks: Five. Takes battered women a while to see the light, but once they do, there's no going back.
Brass: Okay, so the Malton boys were placed in foster care while mom served her sentence.
Delia Brooks: A single mother, she reinstated her parental rights as soon as she got out of jail. After what happened to her son, she didn't want anything to do with Child Services.
Brass: Any idea where the mother is now?
Delia Brooks: No, I've already checked Welfare, Medicaid, HUD rolls -- she's in the wind.
Brass: I'll put out a Bulletin.
Sara: No offense, but why didn't you check into the kids after the mom was released from jail?
Delia Brooks: Eight thousand child abuse/neglect investigations a year. There's only so much we could do. Look, despite her taste in men, in my opinion, Candice Malton was a good mother.
(She gets up.)
Sara: One of her sons is d*ad and the other two are missing.
(She stops and turns around.)
Sara: What's good about that?
(She turns and leaves.)
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Catherine walks into the lab.)
Catherine: Hey, Mia. Did you finish processing the batons?
Mia Dickerson: Oh, yeah. Just now. (She hands the test print out to Catherine.) I found blood, epithelials and hair on all of them. There are several DNA sources from everyone but the victim.
Catherine: Which means that a police baton never connected with Sam Mendez. He had to already be down when the cops entered the cell. Thanks.
(Catherine turns and leaves the lab.)
[INT. CSI - HALLWAY - DAY - CONTINUOUS]
(Catherine walks through the hallway. Lt. Kim walks up to her.)
Lt. Arthur Chen: Catherine Willows?
Catherine: Yeah?
Lt. Arthur Chen: Lieutenant Arthur Chen, watch commander for Central Holding.
Catherine: We are almost finished with our investigation, but I can tell you that the victim's prints don't match the Sam Mendez that's wanted for m*rder.
Lt. Arthur Chen: Are you telling me we arrested the wrong guy?
Catherine: It was a routine traffic stop. The arresting officer ran the name and got an immediate warrant h*t.
(Quick flash to: A car is pulled over. The officer runs the name and gets a result on the computer. A second officer car pulls up.)
Catherine: (V.O.) An arrest warrant for m*rder and two guys with the same name.
(Both officers hold their g*n on Sam Mendez.)
Officer: Out of the car! Out of the car!
Samuel Mendez: What'd I do?
Officer: Hands up!
(End of flashback. Resume to present.)
Lt. Arthur Chen: Arresting officer did his job; I did my job.
Catherine: No one's saying that you didn't.
Lt. Arthur Chen: Your subordinate Warrick Brown did.
Catherine: With all due respect, Lieutenant, that really doesn't sound like the Warrick Brown I know.
Lt. Arthur Chen: You're a civilian, but even you understand 'chain of command'. Now, I'm giving you an opportunity to adjust his attitude. Don't make me.
(He turns and leaves.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Sofia walks into the lab where Greg is working on the rubber trash bin.)
Sofia Curtis: Heard you found a print on the bin.
Greg: I did. Under the lip curve.
(Camera zooms in under the bin's lip to show the print.)
(Greg looks at Sofia.)
Sofia Curtis: What?
Greg: Well, I'm not sure what's the best way to process the print.
Sofia Curtis: You take digital photos?
Greg: Yeah.
(He hands her the memory card.)
Sofia Curtis: Well, hand them over. I'll load it into the computer and reconstruct the image while you finish processing.
Greg: What else is there left to do but run it through AFIS?
Sofia Curtis: You're going to need an actual print for court.
Greg: Are you saying that I'm going to have to cut it out in order to lift it?
(She nods.) Isn't that destroying the evidence?
Sofia Curtis: No. You're recovering it. As long as you document it, you're fine.
Greg: Oh.
(Various cuts of: Sofia works on the print while Greg cuts the print out of the rubber trash bin.)
(She transfers the digital camera image into the computer. Greg cuts the trash bin.)
(Sofia cut and copies the print.)
(Greg opens a tape lift. He takes the sample and removes the print.)
(Sofia scans the print into the computer and runs it against the database.)
(She clicks on FBI DATABASE 69,235 bytes email. She gets aresult.)
(Greg looks at the print on the tape lift.)
Greg: Well, I appreciate your help.
Sofia Curtis: No big deal.
Greg: I don't know if I'd be quite as accommodating after just being ...
(She turns around and looks at him. He shrugs.)
Greg: Well, you know.
Sofia Curtis: Demoted?
Greg: Yeah.
(Sofia turns around back to the computer.)
Sofia Curtis: No h*t in AFIS. I've widened the search. I've got an FBI database h*t.
(Greg stands up and walks over to her.)
Sofia Curtis: Your print belongs to an enlisted man. Private First Class Phillip Riley.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass interviews Phillip Riley while two MPs stand guard inside the room.)
Phillip Riley: I hope you can tell me what the hell is going on. MP's just dragged me off a transport to Tikrit. That makes me look bad. Not that I mind. Better here than over there. You know what I'm saying?
Brass: Oh, you're an Americanhero. And I mean that, you are. What the hell were you doing on D Street?
Phillip Riley: D Street?
Brass: Explain to me why your fingerprints ended up on a plastic bin container in an alley off DStreet?
Phillip Riley: Oh, Come on!
Brass: Oh, did I forget to mention there was a d*ad kid inside?
Phillip Riley: Well, well, I thought this was about paying for trimming inside county lines. All I did was take out the trash. That's all I did.
Brass: For who?
Phillip Riley: Some chicken head ghetto rat. I-I-I was shipping out and-and decided to party. You know, she was all I could afford.
Brass: Where'd you meet her?
Phillip Riley: Some dive. Seven sins.
Brass: What was her name?
Phillip Riley: Divine. I think. I-I don't remember if she told me her last name. Anyway, we had some fun and when I was done, she told me to take out the trash. End of story.
Brass: Not quite. Where does she live?
Phillip Riley: North Vegas somewhere. I was drunk as hell.
Brass: I want you to think real hard.
Phillip Riley: I swear to God. I don't know. I really don't.
Brass: How'd you get there?
Phillip Riley: In a taxi. And I left the same damn way.
CUT TO:
[INT. CSI - CATHERINE'S OFFICE - DAY]
(Catherine is putting some books and photos on the shelf when Warrick walks into the office.)
Warrick: Aw, it looks good on you.
Catherine: Thanks.
(She smiles and turns around, looking at the office behind her.)
Catherine: Have a seat.
(Warrick sits down.)
Warrick: So what's up?
Catherine: Lieutenant Chen dropped by.
(She crosses her arms in front of her.)
Warrick: Really. I wonder what for.
Catherine: To complain about you. Wish you told me you had a beef with him.
Warrick: There was nothing to say. We had words, it got heated, then it was over.
Catherine: Well ... (clears throat) ... I'm the supervisor of the swing shift. I'm responsible for the whole team. It's my job to make sure that we remain objective and professional.
Warrick: Yeah, I really don't see what the big deal is. I mean, I remember talking to Grissom ...
Catherine: Well, I'm not Grissom. He let a lot of things slide that I won't.
Warrick: Okay. Is there anything else?
Catherine: The evidence cleared the extraction team. You owe Lieutenant Chen an apology.
Warrick: Written or verbal?
Catherine: From now on, anything that happens at a crime scene, I'm your first phone call.
Warrick: Sure.
(Warrick stands up and leaves the office.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Mia takes out the g*n from the evidence bag. She pulls the hammer back. The camera zooms in for a close-up of the skin and hair caught on the metal.)
(Mia removes the strand of hair and takes a swab of the flesh.)
INTERCUT WITH:
[INT. CSI - EVIDENCE LAB - DAY]
(Camera pans down the table of shoes from the inmates. Warrick inks the roller and takes shoe prints.)
INTERCUT WITH:
[INT. CSI - BALLISTICS LAB - DAY]
(Nick puts b*ll*ts in the revolver. He puts the revolver together.)
Nick: (shouts) f*re in the hole! sh**ting two!
(He fires.)
(Warrick scans the shoe prints onto clear sheets. He compares the shoe prints with the shoe prints on the victim's face.)
(Nick scans the b*llet and runs it through thedatabase.)
CUT TO:
[INT. CSI - ROOM - DAY]
(Catherine meets with Warrick and Nick.)
Catherine: We now know the cops were not responsible, so that leaves us with thirty-four suspects, all with rap sheets. Is there anything to narrow the focus?
Warrick: Well, I compared all thirty-four pairs -- I came up with one sole pattern ... (Warrick puts the pair of boots on the table in front of them.) ... and one suspect -- Vincent Mendoza ... booked for meth manufacture.
Catherine: Well, the official C.O.D. was blunt force trauma to the head, not stomping.
Warrick: Well, it's not unreasonable to think the same guy that caused the blunt force trauma can also stomp him.
Catherine: Well, that all sounds good, but why go to all that trouble?
Nick: Because the g*n was hot. Ran it though IBIS. It was used in an execution-style m*rder.
Catherine: The last thing the guy wanted to do was to get caught with a g*n that had a body on it.
Warrick: Yeah, well, this victim looks like the perfect patsy to drop a g*n on.
(Nick picks up the photo of the victim with the shoe print and looks at it.)
Nick: Yeah ... little fish in a t*nk full of sharks.
FADE OUT (to sound of chomping).
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Det. Vartann and Warrick interview Vincent Mendoza with his lawyer, Margaret Finn, next to him.)
Margaret Finn: What's on the table, gentlemen?
Det. Vartann: m*rder, two counts.
Warrick: Your client k*lled a man in a holding cell and tried to frame the cops for it.
Vincent Mendoza: That's bull and you know it.
Margaret Finn: Shh. Let's hear the corroborating evidence, and it'd better be good.
Det. Vartann: Mr. Mendoza was hooked in a raid on a meth lab. Problem was, he was carrying a concealed w*apon and had no time to ditch it.
Warrick: He dropped the w*apon down his pants, planned to get rid of it in Central Holding before the cavity search.
Margaret Finn: So far, I'm not hearing anything you can actually prove.
Warrick: Well, I'm sure Vincent here knew a lot of people inside since he is a repeat offender. But only one man didn't fit, huh? Fear must've been rolling off him in waves so strong you could probably smell it.
(Quick flashback to: [CENTRAL HOLDING] Vincent Mendoza watches as the guard walks down the corridor toward them. He walks to the back of the cell and unzips his pants where he removes the revolver.)
(On the bench, Sam Mendez turns and glances nervously at him.)
Vincent Mendoza: What you looking at, huh?
Sam Mendez: Nothing. Nothing.
Vincent Mendoza: I said, what're you looking at, Mark?
Sam Mendez: Nothing. Nothing.
(Vincent Mendoza grabs Sam and slams him against the wall. He starts bashing his head against the toilet. He tosses him to the ground and drops the g*n intentionally on the ground near the body.)
(He stomps on Sam Mendez.)
Inmate: (shouts) 911! 911, man!\
(A fight breaks out in the small cell.)
(End of flashback. Resume to present.)
(Vincent Mendoza looks at Warrick and chuckles.)
Vincent Mendoza: Typical. Knew you guys would try to pin this on me. I wasn't anywhere near the fish.
Det. Vartann: You sure about that?
Vincent Mendoza: That's what I said, isn't it?
Warrick: Well, it's good to know, since your boot prints were found on the victim's head.
Det. Vartann: See, you didn't want to get caught with a g*n used in another homicide. A meth dealer, your partner, was found in the desert two weeks ago.
Margaret Finn: Any one of those guys could've carried a g*n into the holding cell.
Warrick: It's not likely, unless you can explain how Vincent here got his pubic hair and feces caught in the g*n's hammer.
Margaret Finn: Give us some time.
Warrick: How's twenty-five to life sound?
CUT TO:
[INT. SEVEN SINS -- NIGHT]
(Brass and Sara walk into the strip joint.)
Lyric: True respect and ghetto love / now raise it up / 'cause everything in life gonna come to an end / because it ...
(They walk over to a woman in the back.)
Divine: Forty buys the lips, a hundy gets you south. Goes double for around the world.
(The guy she's with nods.)
Divine: You got a car? (He nods again.) You sure about that?
Guy: Mm-hmm.
Divine: 'Cause you don't look like you got a car to me.
(Brass walks up to them and points to his badge on his jacket pocket.)
Brass: Take a hike, John. I'm her next appointment.
(The guy she's with leaves.)
Divine: I didn't do nothing but sit here, officer.
Brass: On your feet.
(She gets to her feet.)
Divine: Can't believe you're gonna ruin my day for this. You don't have enough to charge me with solicitation.
(Sara reaches out and touches Divine's blond hair. Divine pulls away.)
Divine: Hey! Watch it, bitch.
Sara: It's a wig, hair is consistent. Could you open your mouth for me, please?
Brass: Come on, you can do that in your sleep, honey. Open up or we'll have to stick you with a needle.
(Divine rolls her eyes and opens her mouth.)
CUT TO:
[INT. CSI - CATHERINE'S OFFICE -- NIGHT]
(Grissom steps up, carrying his fetus pig in a bottle. He lingers in the doorway and knocks on the door.)
(Catherine's sitting behind her desk. She looks up and sees him.)
Catherine: Taking your pet for a walk?
(Grissom walks in and sits down.)
Grissom: Know how much you like my little fetal pig, so I'm giving him to you as an office-warming gift.
Catherine: That is so thoughtful. Now tell me why you really stopped by. You checking up on me?
Grissom: No.
Catherine: What've you heard? Who talked to you?
Grissom: See? You've been on the job for a week and you're already paranoid.
Catherine: (laughs) When I was your right-hand and your left, I always knew that if it h*t the fan, that you'd be the one to get dirty.
Grissom: Hey, that's the job.
Catherine: Yeah, that's the job. (Grissom nods.) Did you ever play politics?
Grissom: I once ran for president of the science club in junior high. Mary Hardy b*at me out by one vote.
Catherine: I'm going to guess that you didn't vote for yourself.
Grissom: I'm not any good at politics. And it's cost me. It's how I lost Nick and Warrick.
Catherine: Your loss was my gain.
Grissom: Yeah. And at least they're in good hands.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Brass and Divine sit across the table from each other.)
Divine: We been sitting here a long-ass time.
Brass: What can I say? I like your company.
Divine: What'd you bring me down here for? I was only trying to make a few bucks.
Brass: Yeah.
(Sara knocks on the door and walks in carrying a file folder. She slides the folder across the table toward Divine.)
Sara: DNA's a match.
Divine: Match to what?
Sara: To one of your hairs that you left on the body of a little boy.
Divine: I don't know what you're talking about.
Brass: No? I wonder why anyone would leave one kid with you much less three.
Sara: You have seven alleles in common with the d*ad boy. Although that's not enough to say you're related, it's certainly enough to keep digging.
Brass: You know, I ran your wants and warrants. It kicked out some aliases. I mean, Devine's a street name. But you're also known as Darlene Lewis, married briefly to a grifter. And a.k.a. Darlene Malton. Hey, that's the same last name as the victim.
Sara: To starve anyone is beyond me, but to do it to a child ... a relative, is unforgivable.
(Quick flash to: Divine empties out the rubber trash bin and puts Devon inside. She shoves the cover back on the bin.)
(End of flash. Resume to present.)
Divine: Wasn't even like that. My cousin Candy left me with them bad-ass kids and no money. How am I supposed to feed them?
Sara: You don't look like you've missed any meals to me.
Divine: Know what, skinny bitch, go to hell. I just scrape by.
Brass: If you couldn't take care of them, why didn't you just turn them over to Social Services?
Divine: I promised I wouldn't. Little D got hurt last time. She would've k*lled me.
Sara: What's she going to do when she finds out her son is d*ad?
Divine: I did the best I could.
Brass: Okay, where are the boys now?
(Divine glances over at Sara.)
Divine: Uh-uh, you're not gonna blame this on me. I want a lawyer.
Brass: You can have a lawyer after you give me the address. But let me tell you something -- if those boys die, I'm going to make it my business to see you get the death penalty.
CUT TO:
[EXT. DIVINE'S RESIDENCE -- DAY]
(A couple of neighborhood kids walk by and see Greg standing out in the front yard.)
Neighborhood Kid: What's up, white boy? What you looking at?
(Brass walks out of the house.)
Brass: There's no one in the house.
Sara: Where are the kids?
Brass: I don't know, let's check around back.
CUT TO:
(Brass, Sara and Greg move around the house to the back yard.)
Brass: (V.O.) So, turns out that mom was sending money after all. I found this letter inside mailed from Seattle with three hundred bucks in it for the kids' upkeep. And that skanky bitch used it to buy a new TV.
(They look around the backyard and see the hut to the storage shed. It's bolted shut from the outside.)
(Brass and Sara pull out their g*n. Brass unlocks the door.)
(He opens the door.)
[INT. DIVINE'S RESIDENCE - STORAGE SHED - DAY -- CONTINUOUS]
(Brass, Sara and Greg walk into the cellar. The stairs lead down beneath the ground. The paint is peeling from the walls.)
Sara: Paint chips.
Greg: Smells like a toilet.
(They reach the bottom and start walking between the shelves.)
Brass: Yeah, she never let them upstairs. (calls out) Kevin, Raymond ...
(He reaches the back of the storage shed and looks in between the last shelving and the wall. He sees a pair of legs on the floor.)
Brass: Oh, no. I'm going to call an ambulance.
(He backs away to make the call. Sara steps forward to check on the little boy.)
Brass: (to radio) This is Detective Jim Brass. I need EMS.
Dispatch: (from radio) Copy that, EMS. Over.
(Sara checks for a pulse and finds one.)
Sara: (shouts) He's alive! We need water and blankets.
Greg: (o.s.) I'll get them.
Sara: Oh, my gosh.
(Behind Sara, a small hand reaches out and touches her shoulder. She turns around and sees another little boy crying.)
Sara: Hey. Are you Kevin or Raymond?
(Sara holds the little boy as he cries.)
Sara: It's all right. It's all right, you're safe now. It's okay.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(An officer escorts Divine through the hallway past Brass and Sara, who watch from the reception desk.)
Brass: So, Seattle P.D. has located Candace Malton. They're putting her on a plane tonight. They said she's pretty broken up.
Sara: She left her kids with her hooker cousin. She should've known better.
(Brass nods.)
Sara: Where are you going to take her first, the hospital or the morgue?
Brass: Guess I might as well get it over with. I mean, once she sees the kids she's not going to want to leave them. (He shrugs.) What do you think?
Sara: Go with the living, Jim. The d*ad can wait.
(Sara turns and leaves.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Sara is at the laptop computer. She turns to her right and sees Grissom in his office looking at a book. Sofia sits on the edge of his desk and he closes the book to talk with her. She reaches out and touches the book in his hand.)
(Sara turns to her left and sees Warrick, Nick and Greg in the break room relaxing.)
(Catherine walks through the hallway and stops when she sees the guys in the break room. They're sharing a bag of popcorn between them.)
(Catherine smiles wistfully and sighs. She glances at her wristwatch, turns and heads back the way she came.)
(Cut back to: Sara also turns and glances sideways back to her right. She looks at her laptop and types in at the LEXISNEXIS TOTAL RESEARCH SYSTEM, search terms for the following:
THE PEOPLE VS. LAURA SIDLE W/2
MODESTO, CALIFORNIA, 1984.
(Camera holds on Sara.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x10 - No Humans Involved"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT]
[EXT. KINGSLEY RESIDENCE - FRONT DRIVE -- NIGHT]
(The Biker parks his motorcycle.)
(Cut to: A car pulls up a second driveway and parks. Dennis Kingsley steps out of the car and shuts the door.)
(The Biker on the motorcycle removes his helmet and stands next to his bike.)
(He takes his briefcase and walks into the house.)
(Dennis Kingsley heads into his own house.)
[INT. KITCHEN - NIGHT -- CONTINUOUS]
(The door opens. Dennis Kingsley steps into the house and puts his plastic bag on the counter. He takes out a bag of English muffins, a box of Tetley British tea and a jar of something and lines it up perfectly on the counter.)
(He takes the empty bag and heads out of the room.)
[INT. HALLWAY - NIGHT - CONTINUOUS]
(Dennis Kingsley puts on his dressing gown and shuts the door. He opens the door to the far room at the end of the hall and slips inside.)
(The door closes behind him.)
[INT. BASEMENT STAIRS - NIGHT - CONTINUOUS]
(Dennis Kingsley makes his way down the basement stairs. He comes to two double doors.)
(He opens the doors and enters into what appears to be a British-decorated study.)
[INT. BASEMENT - STUDY - NIGHT - CONTINUOUS]
(Dennis Kingsley flicks on a switch on the table and violin music starts playing. He walks over to the window and pushes the curtain aside to reveal a fake scene just out of the basement window of a horse-drawn carriage pass by.)
DISSOLVE TO:
(Dennis Kingsley is playing his violin in front of the fake f*re in the fireplace.)
WHITE FLASH TO:
[INT. BASEMENT - STUDY - NIGHT]
(Dennis Kingsley is d*ad with a g*n wound to his temple. Someone snaps a photo.)
(Grissom is kneeling in front of the victim as he looks around.)
Grissom: Deerstalker cap ... violin ... meerschaum pipe ... even a Persian slipper with tobacco stuffed in the toe, I imagine.
(Greg snaps more photos of the scene.)
Grissom: All in all, a meticulous recreation of 221-B Baker Street: Residence of the world's greatest detective, Sherlock Holmes.
Brass: Also known as Dennis Kingsley, delivery guy. What do you think?
Grissom: Ask Greg. It's his case. It's his final proficiency -- emphasis on the "final".
Brass: Okay, Dr. Watson, run it.
Greg: Victim's in a relaxed position in front of a fake f*re. Alcohol. Solitude.
(He leans forward to look at the wound.)
Greg: Powder burns around the entrance wound. Close to contact sh*t.
(Greg straightens.)
Greg: It all suggests su1c1de.
Brass: Well, if he k*lled himself, where's the w*apon?
(Greg swallows. He sighs.)
Greg: Huh ... family and friends who discover a body sometimes remove the w*apon to make it look like m*rder. No su1c1de stigma and better chances of collecting any life insurance.
Brass: From the look of the place upstairs, this guy lived alone, and the neighbors heard the sh*t, so ... pretty good. I guess I'll, uh, go interview the neighbors.
(Brass turns and leaves.)
Greg: So, are you going to say, "the game's afoot"?
Grissom: I didn't know you were a Conan Doyle fan, Greg.
Greg: I'm not. I saw a Sherlock Holmes movie once by mistake.
Grissom: Well, just so you know ... those movies never ended like this.
(Grissom flashes his flashlight at the d*ad body.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. KINGSLEY RESIDENCE - FRONT DRIVE -- NIGHT]
(Brass is standing in the neighbor's driveway talking with the Biker. He finishes up and turns to leave.)
Biker: I'll see if I can hook you up. Give me a call.
Brass: All right. Yeah, okay.
(He heads back to Grissom.)
Grissom: Anything useful?
Brass: Well, I found out if I ever need a home loan, as a public servant, I'm pre-approved. You know, the guy looks like a, uh, drug dealer. Turns out he's a mortgage broker.
Grissom: Well, we all have our costumes, Jim.
Brass: Yeah.
(Brass and Grissom watch as two men and a woman in costume appear out of the fog walking down the street toward them.)
Brass: Yeah, apparently some more than others.
(The three costumed individuals stop in front of Brass and Grissom.)
Grissom: I assume you're friends of Mr. Kingsley?
Nelson Oakes (Dr. Watson): We are friends of Mr. Holmes.
Kay Marquette (Irene Adler): Invited guests, in point of fact.
Josh Frost (Prof. Moriarty): This is all so contemporary.
Grissom: Well, I'm with the Las Vegas crime lab.
Nelson Oakes (Dr. Watson): Ah, a colleague. Perhaps we can be of some assistance.
Kay Marquette (Irene Adler): (eagerly) Yes. Have you discovered any shoe impressions in the soil?
(She moves forward as if to look for herself, but Grissom stops her.)
Grissom: Not yet. This is a crime scene.
Josh Frost (Prof. Moriarty): Oh, a scenario created for our own entertainment, yes?
(Grissom turns around to show them Dennis Kingsley's d*ad body being wheeled out on the gurney. A sobering sight. They put the body in the back of the coroner's van.)
Grissom: I guess it depends on what you find entertaining.
Josh Frost (Prof. Moriarty): Oh, God.
(The coroner shuts the door on the body.)
CUT TO:
[INT. KINGSLEY RESIDENCE - BASEMENT - STUDY - NIGHT]
(Greg is going through the blood on the floor when Sara walks up to him.)
Sara: Anyone for pizza?
Greg: Very funny.
(Greg finds and picks up the b*llet amidst the puddle of blood and pieces of brain.)
Greg: Got it.
(Sara kneels down next to Greg to look at the b*llet.)
Sara: Ooh. BFB. Big freakin' b*llet.
(Greg looks at the b*llet under the magnifying glass.)
Greg: Nose is mushroomed. Looks like pure lead. Two cannelures consistent with a revolver. One, two, three, four, five, six lands and grooves. Left hand twist.
Sara: Which usually means ... ?
Greg: Colt .45?
(Sara nods.)
Greg: Are you checking up on me?
Sara: No, no, no, no. Grissom said he was just evaluating you on processing this one room, so ... I figured maybe you could use some help with the rest of the house.
Greg: Thanks.
(Sara stands up and starts looking around. Greg tucks the b*llet into a bindle.)
(Sara picks up the empty old-fashioned glass syringe and looks at it.)
(Camera zooms in to show the residue of something in the glass syringe.)
Sara: Guess everyone needs a hobby.
CUT TO:
[EXT. KINGSLEY RESIDENCE - FRONT DRIVE -- NIGHT]
(Brass and Grissom speak with the other members of the mystery club.)
Kay Marquette (Irene Adler): We would study the Holmes text in cases and important 19th century events.
Nelson Oakes (Dr. Watson): We met every Thursday night.
Josh Frost (Prof. Moriarty): You make it sound like a bowling league. This is a serious literary association.
(Quick flashback to: Open on an old photo slide of a d*ad woman. [STUDY] The group sit around the table discussing the photo slide.)
Josh Frost (Prof. Moriarty): As usual, Dr. Watson, subtlety is lost upon you. You see a s*ab wound above her breast and overlook the absence of blood on the chair as well as the fact that her skirt is raised. This body was posed, and quite beautifully, I might add.
Nelson Oakes (Dr. Watson): Moriarty, if evil for evil's sake were a pathological condition, it would be your diagnosis.
Kay Marquette (Irene Adler): Gentlemen, your disdain for one another distracts you from the truth. The wedding picture on the wall? The victims were husband and wife.
Dennis Kingsley: As usual, Miss Adler, your deduction is correct. It was indeed a crime of passion.
(End of flashback. Resume to present.)
Brass: Sounds fun. When was the last time you saw Dennis Kingsley?
Josh Frost (Prof. Moriarty): Last Thursday.
Kay Marquette (Irene Adler): He said that he was going to make this meeting really special.
(Quick flashback to: [STUDY] The group sits at the table.)
Dennis Kingsley: It seems our time here tonight has ended, and that, I fear, is the gist of the announcement I must share with you now. Next week will be the final meeting of our society, but I give you my word: It shall be an evening none of you will ever forget.
(End of flashback. Resume to present.)
Kay Marquette (Irene Adler): I didn't think that he meant this.
Brass: We're going to need names and contact information.
Grissom: It would also be helpful if you'd let us take your fingerprints.
Nelson Oakes (Dr. Watson): Why?
Grissom: Elementary. So we can rule you out. You've all obviously been in the study on numerous occasions. We need to find out if the prints we find are relevant.
Josh Frost (Prof. Moriarty): So you actually think this is something other than su1c1de?
Brass: You know, I think you ought to drop the accent.
Josh Frost (Prof. Moriarty): I can't. I'm English.
Brass: Oh.
CUT TO:
[INT. KINGSLEY RESIDENCE - BASEMENT - STUDY - NIGHT]
(Greg looks at the floor. He finds something on the floor and snaps a photo of it.)
INTERCUT WITH:
[SARA]
(Close-up of the door leading to the basement. Sara examines it focusing on the scratches on the wood near the doorknob and plate.)
(Greg finds something on the floor near the table leg. He picks it up and looks at it.)
(Sara sits down at the table in front of the laptop. He presses the spacebar and the screensaver with the meerschaum pipe on it stops. She looks at the screen for a moment.)
(She turns and picks up the framed photo of Dennis Kingsley sitting on the couch with his wife and daughter.)
CUT TO:
(Greg looks up from his camera as Sara walks into the room to share her findings.)
Sara: There's possible signs of forced entry at the back door. It could be recent. Also, I think the vic had a family at some point. Brass is on it.
(Greg snaps a photo of a red book with blood on its cover, "The Hound of the Baskervilles".)
Greg: Check this out.
(He shows her the book, evidence marker #6. Sara kneels down next to Greg.)
Sara: The Hound of the Baskervilles. I read that in tenth grade.
Greg: Oh, yeah - I was supposed to.
(Sara chuckles. He shows her the stain on the book page edges.)
Greg: There's a blood stain on the page ends.
Sara: Huh.
(Greg puts the book back on the table in the position he found it in.)
Sara: The spatter goes across and over. That stain did not come from this event.
(Quick flash of: [THE BOOK ON THE TABLE] A g*n fires, blood spatters on the book cover. End of flash. Resume to present.)
Sara: It could be the vic's, or it could be stage blood, for that matter.
Greg: Do you think an obsessive neat freak like our vic would leave something like that on one of his most prized possessions?
Sara: I think ... there's only one way to find out.
CUT TO:
[EXT. LAKE (STOCK) - DAY]
[EXT. ROADSIDE -- DAY]
(An officer's car is parked on the side of the road. Warrick walks alongside the roadway. He turns and visualizes the accident.)
(Quick visualization of: The jeep swerves on the road. It passes right through Warrick and off screen. Warrick turns and continues to visualize the jeep traveling down the road where it smashes into the tree.)
(End of visualization. Resume to present.)
(Warrick makes his way across the road.)
[EXT. ROADSIDE - CRASH SITE - DAY - CONTINUOUS]
(Nick approaches the van with the body in it. David Phillips and Det. Chris Cavaliere are there.)
Det. Chris Cavaliere: Hey, Nick.
Nick: Hey, Chris.
Det. Chris Cavaliere: Nevada power guys -- they saw the jeep, called it in. I ran the plates. R.O. is, uh, Cory Demayo, 25. Lives on Florentine. (Nick snaps a couple of photos of the body as he listens.) Spoke to the roommate. Driver fits the description.
David Phillips: Vic's got a contusion on his forehead. Probably from the impact.
Nick: Yeah, I can see that. It's just hard to believe that's what k*lled him.
(Warrick walks up to the group.)
Warrick: I didn't see any skid marks on the road up there. There's no signs he tried to brake.
David Phillips: Well, maybe he fell asleep at the wheel.
Nick: Uh, coming over that embankment? That would've woke him up. Key's still in the ignition. Car's in drive. Engine's not running.
Warrick: Did the paramedics open this door?
Det. Chris Cavaliere: Vitals were taken through the open window. Door was ajar when we arrived on the scene.
(Warrick finds a joint in the car. He picks it up and shows it to Nick.)
Warrick: Hey, Nick, check this out.
Nick: Oh.
Warrick: Guy was getting high. Think that's the reason he missed the curve up there?
Nick: You think?
(Warrick finds something else.)
Warrick: Ah. We got a wallet.
(He hands the wallet over the body to Nick who hands it to Det. Cavaliere.)
Nick: Yeah, yeah.
(Det. Cavaliere checks the Nevada Driver's License. It reads:
DEMAYO, CORY
6878 FLORENTINE RD.
LAS VEGAS
Det. Chris Cavaliere: Cory Demayo. Fits the description. No cash, no plastic.
Nick: This is a pretty remote place for an accident. But you think someone saw it, took advantage of the situation?
Warrick: Maybe he wasn't alone. Maybe the passenger survived, then emptied out his wallet, took off.
Nick: (nods) Maybe.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Greg snaps photos of the body.)
(He removes the evidence bag from around the victim's right hand. He snaps photos of the hand and takes samples from it.)
(Greg continues to process the body.)
(He snaps photos. He flips the victim's arm over and we see the needle marks on his inner arm.)
CUT TO:
[INT. CSI - LAYOUT ROOM - DAY]
(Sara and Robbins talk while looking at the photos spread out on the table in front of them.)
Robbins: This guy really dress up like Sherlock Holmes?
Sara: At least once a week, evidently, like those civil w*r re-enactors. I, uh, never understood that.
Robbins: Yeah. In any event, C.O.D. was no surprise. Perforating contact range, g*n to the right temple.
(Greg appears the doorway with the tox report.)
Greg: Got the tox. Cocaine metabolites in the vic's urine. 500 nanograms per M.O.
Robbins: You only see levels that high in chronic users.
Sara: Those are the track marks.
Greg: Yeah, but there was also morphine in his blood and in the syringe. (He hands the report to Robbins.) Seven percent solution, morphine sulfate and water. Sherlock went from crack to smack.
Sara: Morphine metabolites in his system but no heroin metabolites? He wasn't on street junk. This is pharmaceutical-grade stuff.
Greg: And at a pretty hefty dose, too. How fast for the injection to take effect?
Robbins: Given his size, he would've been incapacitated in a matter of seconds.
Greg: Not much time to undo the works, put away his antique syringe, pick up a g*n and blow his brains out.
Sara: Wait a minute. The GSR test on his hand was positive. What are you getting at?
(Quick flash to: [STUDY] Someone else pulls the trigger. End of flash. Resume to present.)
Greg: Well, maybe Sherlock had some help.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - INTERVIEW ROOM -- DAY]
(Det. Chris Cavaliere and Warrick interview Lyle Davis, Cory Demayo's roommate.)
Det. Chris Cavaliere: Hey, when was the last time you saw Cory?
Lyle Davis: Yesterday. Just kicking it, like me.
Warrick: How'd you get that bruise on your dome, man?
Lyle Davis: Oh, uh, windsurfing.
Det. Chris Cavaliere: Hey, you guys go out there together?
Lyle Davis: Yeah. Well, he's got the wheels, so ...
Warrick: So you drove back together?
Lyle Davis: No. I sort of hooked up with this chick, so I bounced.
Warrick: Nice. You know the chick's name?
Lyle Davis: Uh, Jennifer.
Det. Chris Cavaliere: Jennifer who?
Lyle Davis: Jennifer, uh ... (he smiles, clearly, he can't remember) ... nipple ring.
(Warrick and Lyle chuckle.)
Warrick: "Jennifer nipple ring". Lyle, were you guys, uh, getting high yesterday? You smoke some weed?
Lyle Davis: Nope.
Warrick: No? All right, let me tell you what I think happened. You and Cory got stoned, and you drove away. Cory lost control of the jeep ...
(Quick flashback to: [JEEP] The jeep runs off the road and Cory hits his head against the wheel.)
Warrick: (V.O.) ...at which point, you couldn't wake him up,
(Lyle goes through Cory's wallet and takes the money inside.)
Warrick: (V.O.) so you decided to take advantage of the situation, and you r*fle through his wallet and leave.
(Lyle stumbles out of the jeep and runs.)
(End of flash. Resume to present.)
Lyle Davis: Man, that is not what went down.
Det. Chris Cavaliere: You're looking at robbery, leaving the scene, failure to report an accident. That's a lot of years, man.
Lyle Davis: I didn't get back in the car with Cory, and if I had, I wouldn't have left him!
Warrick: Lyle, we're going to need a DNA sample from you.
Lyle Davis: (alarmed) What? Why?
Warrick: Just to prove that, uh, your lips weren't on that joint that we found in the jeep.
Lyle Davis: All right, man. Let me just be straight with you guys for a second here. I admit Cory and I sparked up at the lake, okay? But then he took off. Three weeks ago, I was busted for pot, okay? The judge gave me diversion. You guys file charges, I'm screwed. I will never get into dental school.
(Warrick and Det. Cavaliere both look away.)
CUT TO:
[INT. CSI - HALLWAY TO TRACE LAB -- DAY]
(Greg follows Hodges from the hallway into the Trace Lab.)
Hodges: The fragment you found at the scene? It's a mother of pearl. It could be from an ornament or a piece of jewelry.
Greg: It could be from a lot of things.
Hodges: Yeah, that it could, Mr. Proficiency.
(Greg looks through the scope. Grissom is there in the lab.)
Hodges: I also I.D.'d the ash on the floor. Perique tobacco, grown in only one spot on earth: St. James Parish, Louisiana.
Greg: The same as the umber of tobacco in the victim's slipper?
Hodges: No, completely different make. Cheap, strong, low-grade stuff.
Grissom: Shag tobacco.
Hodges: Yeah. How'd you know?
Grissom: That's what Holmes smoked.
Hodges: Bad habit, even for a fictional character.
Grissom: You do have two suspects with pipes.
Greg: Yeah ... and, uh, smoking kills.
CUT TO:
[INT. POOL HALL & BAR -- DAY]
(Brass looks around. He watches as a man tags along behind one of the waitresses.)
Bar Customer (man): We got to stop meeting like this, baby.
Kay Marquette (Irene Adler): How was your game?
Bar Customer (man): I'm swinging a hot stick tonight, babe.
(She passes Brass and puts her tray on the bar counter.)
Kay Marquette (Irene Adler): (to Brass) Can I get you something?
Brass: No, I'm just looking for someone.
Kay Marquette (Irene Adler): You're staring at me.
Brass: Oh. Uh ... I'm sorry. I didn't recognize you from last night. Is that a friend of yours?
Kay Marquette (Irene Adler): Give me a break. Did that guy look like a friend of mine? Every time he touches me, I want to kick him in the scrotum, but he's a big tipper. I've got a sick mother and rent to pay.
Brass: Well, I just have a couple of questions. At Denny Kingsley's, you were smoking a pipe.
Kay Marquette (Irene Adler): Yeah ... a meerschaum.
Brass: I'm going to need it.
Kay Marquette (Irene Adler): Why?
Brass: Let me worry about that, okay?
Kay Marquette (Irene Adler): Uh, J.J., can you hand me my purse, please?
J.J. (bartender): Okay.
(He hands her the bag. She takes the pipe out of her bag and puts it in the evidence bag Brass is holding.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. - HALLWAY -- DAY]
(Sara walks up to a security guard.)
Sara: Dr. Watson? I'm Sara Sidle with the Crime Lab.
Nelson Oakes (Dr. Watson): Hello.
Sara: Do you have a minute? I'm here to collect your meerschaum pipe as well as any other tobacco products you might have in your possession.
Nelson Oakes (Dr. Watson): I don't smoke anything illegal.
(Sara puts her kit down.)
Sara: You haven't been accused of that.
Nelson Oakes (Dr. Watson): Anyway, my pipe is at home.
Sara: No problem. Let's go.
Nelson Oakes (Dr. Watson): Look, I'm working.
Sara: We've already talked to your boss, and I have a warrant. Let me get that for you.
(Sara kneels down to open her kit to get the warrant out of her kit. She notices some blood on his shoes.)
Sara: Were you wearing those shoes at your last club meeting?
Nelson Oakes (Dr. Watson): Yeah. They're not technically right for the period, but black leather shoes are black leather shoes. I'm not the same stickler for detail that Denny was.
Sara: Apparently not.
(Sara hands him the warrant.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins goes over the body with Nick and Warrick.)
Robbins: Vic was physically fit. Scratches and abrasions are ante-mortem, unrelated to the accident.
Nick: The contusion on the forehead was, uh, superficial, right?
Robbins: You are right.
Warrick: Okay, so what's the cause of death, Doc?
Robbins: Undetermined.
Nick: But you're still working on it, right?
Robbins: Unless some other evidence comes to light, I'm done. Sometimes I can't tell you why they die.
(Nick and Warrick look at each other.)
CUT TO:
[INT. CSI - GARAGE - DAY]
(Nick is trying to close the jeep's passenger door. Warrick walks into the garage carrying a file.)
Warrick: What you got?
Nick: Passenger door latch is busted. It could've happened during the accident.
Warrick: Well, that is consistent with the roommate's story. Says he wasn't in the passenger seat during the time of the crash.
Nick: What'd you get back from tox?
Warrick: Tox came back positive for low levels of cannabis.
Nick: I know marijuana slows your reaction time, but based on the lack of skid marks at the scene, the position of the vehicle, I don't think this guy ever h*t the brakes.
Warrick: Well, maybe he did h*t the brakes. Did you check 'em?
Nick: Come on, you're a bigger boy than me.
Warrick: Yeah, you can't do anything yourself, can you?
(Nick climbs into the jeep behind the driver's seat.)
Warrick: You ready?
Nick: Yeah, yeah, put your back into it.
(Warrick pushes the jeep forward. Nick presses the brakes and they hold.)
Warrick: Brakes work. Brake lights are working, so that means the battery's okay.
Nick: Yeah, but the gauges are all off. The panel's not even working. Okay, ignition was on, but the engine wasn't running, so ... what? No gas?
(Warrick jumps on the jeep. We hear the t*nk sloshing.)
Warrick: That t*nk is full of fuel, man.
Nick: Cory was in good shape. The jeep seems to be in decent condition, so ...
(sighs) What happened out there?
CUT TO:
[INT. CSI - CATHERINE'S OFFICE -- DAY]
(Catherine meets with Conrad Ecklie.)
Conrad Ecklie: Swing shift's short a couple of bodies.
Catherine: Yes, and when is that going to change?
Conrad Ecklie: Not anytime soon -- Catherine, there are budget constraints. You'll have to prioritize.
(Nick and Warrick walk into the office.)
Warrick: Should we come back?
Conrad Ecklie: No, no, no, come on in. So, how's your, uh, your surfer dude case?
Warrick: Uh, the victim's roommate admits they got high together, but denies being in the jeep at the time of the accident. At this point, we can't place him there.
Nick: Brakes on the jeep were functioning. The driver should've been able to stop.
Catherine: Any signs of foul play?
Nick: No. Something's not right.
Conrad Ecklie: All right, nothing suspicious and no crime's committed? Put the case to bed. I'm sure your supervisor can keep you busy. Close it.
(Ecklie leaves.)
Warrick: Sounds like he's more concerned with getting it done than getting it right.
Catherine: Are you guys satisfied?
Nick: We don't have an answer.
Catherine: Then get one.
Warrick: What about Ecklie?
Catherine: (sighs) My problem, not yours.
(Nick and Warrick turn to leave.)
CUT TO:
[INT CSI - LAB -- DAY]
(Greg swabs the side of the shoe. He tests and finds blood.)
INTERCUT WITH:
[INT. CSI - TRACE LAB - DAY]
(Hodges tests the tobacco in the pipe and places the pipe in the fumer. He closes the lid.)
(Greg swabs another part of the shoe.)
(Hodges removes the pipe and empties the bottom of the pipe. He takes a sample of the tobacco. He tests it.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass sits across the table from Nelson Oakes, Dr. Watson. Nelson Oakes opens the small packet of sugar to put in his coffee and rips it open, spilling the sugar on the table.)
Brass: You nervous?
Nelson Oakes (Dr. Watson): A little.
(He stirs his coffee.)
Brass: Relax. Relax. Just two law enforcement professionals talking to one another, that's all.
Nelson Oakes (Dr. Watson): I'm a security guard. Don't patronize me.
Brass: I bet you always wanted to be a cop, am I right? So what happened? Flunk the physical? Huh? That's okay; lot of guys do. No? What was it then, psych?
Nelson Oakes (Dr. Watson): I was on medication. You can't be a cop if you're on this medication.
Brass: But you can be Sherlock Holmes.
Nelson Oakes (Dr. Watson): I was Dr. Watson ...
Brass: Right.
Nelson Oakes (Dr. Watson): ... in our club. Denny was Sherlock Holmes.
(Imitates Denny Kingsley.) "There can only be one."
Brass: So, when Denny wasn't there, you could be Sherlock.
Nelson Oakes (Dr. Watson): I suppose.
Brass: That why you k*lled him?
Nelson Oakes (Dr. Watson): I didn't k*ll him. Denny was a friend, and if I wanted to be Sherlock, all I had to do was wait. Denny was quitting. We talked about it a lot. He said he was going back to his wife.
Brass: So you went to his house, you sh*t him, and then you left, and you came back later with your pals and acted like nothing happened.
Nelson Oakes (Dr. Watson): I went straight home after work.
Brass: His blood on your shoe, tobacco ash from your pipe on the carpet next to his body -- that puts you where he was k*lled.
Nelson Oakes (Dr. Watson): No way.
Brass: Look, there are two kinds of stories: Fact and fiction.
Nelson Oakes (Dr. Watson): I know that.
Brass: Sherlock Holmes: Fiction. Dennis Kingsley's m*rder: Fact. Your story: Fiction.
Nelson Oakes (Dr. Watson): No, I swear. God help me, I'm telling the truth. I-
I wasn't there. I didn't k*ll Denny.
CUT TO:
[INT. CSI - LAB -- DAY]
(Sara walks into the room with a file folder.)
Sara: DNA confirms that the blood on Watson's shoe is a match to your vic. We got him.
(Greg doesn't look up from under the magnifying glass. He sees something.)
Sara: Feel like celebrating after shift? I'm buying.
Greg: These blood drops aren't uniform. Some of them are clotted red cells, but others are pure serum.
(Sara looks under the magnifying glass at the blood drops.)
Greg: It takes at least twenty minutes for blood to clot and separate. If Watson k*lled Sherlock, the blood drops on his shoe would all be the same.
Sara: The k*ller takes some of the victim's blood at the scene ...
(Quick flash to: Someone takes a syringe and sucks up some blood from the scene. Camera zooms in to the red blood cells.)
Sara: (V.O.) ...the red blood cells in the serum separate and get sprayed on the shoe later.
(Cut to: Blood drops on the black leather shoe. End of flash. Resume to present.)
Sara: Somebody's trying to frame Watson.
(Camera holds on Greg.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - A/V LAB -- DAY]
(Greg and Sara meet with Archie Johnson in the Audio/Visual Lab. Archie is looking at a site on the internet, epackrat.com, and is scrolling through the various items up for bid.)
Greg: Jeez, all his stuff is up for auction. This is Dennis Kingsley's entire collection. He's getting rid of everything.
Archie: Might have needed the cash?
Sara: I don't know. Maybe he was just trying to get back to reality.
Greg: Hold it.
(The scrolling stops on a mother of pearl handled Colt .45.)
Greg: m*rder w*apon was a Colt .45 revolver, current whereabouts unknown.
Archie: Huh, I thought you were looking for a book.
Sara: We are. (She shows him the photo of the book.) We ran DNA on this blood stain. It's not the victim's, and there's no hits through CODIS.
Archie: You think it's the k*ller's?
Sara: Maybe.
Greg: Come on, let's keep going.
(They see the book listed on the site.)
Greg: There it is - "The Hound of the Baskervilles".
(The photo of the book shows no blood on it.)
Sara: When he photographed it, there was no blood on the pages.
Greg: Can you pull up the bidding history?
Archie: Yes, I can.
Greg: Let's see who's interested.
(The list reads:
BIDDING HISTORY ITEM # 0578154
THE HOUND OF THE BASKERVILLES
# OF BIDS: / TIMES / BIDDER HANDLES:
1 / 10:50 pm / Nikig0017 - Los Angeles, CA
1 / 11:20 am / Reichenbach - Henderson, NV
1 / 1:22 pm / Filia_30 - New York, NY
1 / 5:25 pm / Reichenbach - Henderson, NV
1 / 6:30 pm / Reichenbach - Henderson, NV
1 / 10:05 am / Nikig0017 - Los Angeles, CA
(Archie highlights the "Reichenbach" buyer.)
Archie: Huh. Reichenbach.
Greg: What's the big deal about that?
Archie: Reichenbach Falls?
(He looks at Greg. Greg shakes his head. Archie turns and looks at Sara. She doesn't know either.)
Archie: It's where Professor Moriarty k*lled Sherlock Holmes.
CUT TO:
[INT. DINER - BACK KITCHEN -- DAY]
(The order-up bell rings.)
(In the back, Greg and Sara interview Josh Frost, Prof. Moriarty.)
Josh Frost (Prof. Moriarty): The 1902 first British Edition of the Hound? Of course I wanted it. I'm a doctoral candidate in English history. I helped Denny create that astonishing verisimilitude of Sir Arthur Conan Doyle's Britain.
Sara: Oh.
Josh Frost (Prof. Moriarty): Order!
(He puts the plate up.)
Sara: He was selling the collection off in pieces. It must have pissed you off.
Josh Frost (Prof. Moriarty): He was a self-destructive narcissist. If he had to give it up, we all had to give it up.
Sara: And you weren't willing to do that?
Josh Frost (Prof. Moriarty): As you can see, the modest stipend I get from my graduate studies doesn't go far. What I offered for the Hound is every penny I had. Order!
(He rings the bell again.)
Greg: But then he put it up for auction, and made you bid for it. When the price got too high, you confronted him.
Josh Frost (Prof. Moriarty): That is empty speculation, my friend.
Sara: Hold out your hands for me, please?
Josh Frost (Prof. Moriarty): My hands?
Sara: Yeah. Your hands.
Josh Frost (Prof. Moriarty): Fine.
(He puts his spatula aside and shows them his hands. His index finger on his right hand has a bloodied band-aid on it.)
Greg: Ooh, that looks like a paper cut to me. Are we gonna find your blood on that book?
(Quick flash to: [STUDY] Josh Frost and Dennis Kingsley are arguing. Josh Frost is holding the book.)
Dennis Kingsley: If you can't pay me what it's worth ...
Josh Frost (Prof. Moriarty): Oh, come on, you owe me as much. Come on. Come ...
(The two wrestle for the book.)
Dennis Kingsley: Give it!
(Dennis Kingsley pulls the book out from Josh's grip leaving him with a bleeding finger.)
Josh Frost (Prof. Moriarty): Ow! Bloody hell, Dennis.
(End of flashback. Resume to present.)
Josh Frost (Prof. Moriarty): Fine, fine, fine. Yes, I stopped by Dennis's house earlier that evening to make my case, but I didn't k*ll him. If I had, believe me, I would have taken that book.
(Greg and Sara share a look.)
CUT TO:
[INT. CSI - GARAGE - DAY]
(Warrick and Nick enter the garage.)
Warrick: Tow truck will be here in about an hour.
Nick: All right, we're on the clock. Let's take this thing apart.
(Nick opens the front door and climbs into the driver's seat. He sits down and reaches for the ignition keys.)
(Warrick climbs into the back of the jeep. He looks around and sees something on the bars.)
(Nick looks under the driver's wheel panel. He pulls out a piece of melted plastic.)
(Warrick lies back on a dolly and slides under the jeep. He sees something.)
(Nick pulls out the wires from under the panel and checks it. They look b*rned.)
Nick: Hey, I've got some blown fuses and some fried wiring up here.
Warrick: Yeah?
Nick: Yeah.
Warrick: I've got some burn marks on the undercarriage. And I found something similar on the roll bar, as well.
Nick: Well, that would indicate some sort of electrical shock.
Warrick: Well, if an electrical charge traveled through the jeep, and shorted out the wiring, it would have shocked Cory, as well.
Nick: Like what, lightning?
Warrick: Yeah, but it was clear yesterday. Whatever it was, it zapped the hell out of his jeep.
Nick: Let's go back out there and check it out.
CUT TO:
[EXT. CRASH SITE OF ROAD -- DAY]
(Nick and Warrick are back at the crash site.)
Nick: Cory was coming from Lake Mead, which is that way.
Warrick: Let's walk.
Nick: Yeah.
(Nick and Warrick walk up the road and look around.)
(Dissolve to: Nick is on the left side of the road while Warrick looks on the right side of the road. Nick continues up the road.)
(Dissolve to: Nick looks around and kneels down on the road. He finds something.)
Nick: Wire trimmings. They look fresh.
(He snaps a photo of it. Warrick picks it up. He looks up at the wires above them.)
Nick: Looks like a new splice on those wires.
Warrick: Well, the power company originally called that jeep in. They must have been out here fixing the lines. Maybe it was a down line. That would give us the high voltage power source right there.
Nick: Yeah, but even if a live wire struck the roll bar, the tires would have insulated the vehicle.
Warrick: Right. Without a path to ground, electricity is harmless.
(They look around and see the wire road marker bent and embedded in the ground.)
Warrick: What about that road marker?
(They walk over to it to look at it. They kneel down.)
Warrick: It's bent in the direction Cory was driving.
Nick: Black transfer. Wasn't the undercarriage of Cory's jeep black?
(Quick flash to: [ROAD] Cory's jeep runs over the marker on its way down the road. End of flash. Resume to present.)
Warrick: This marker would have grounded the jeep.
Nick: Completing the circuit, and theoretically, electrocuting the vehicle.
CUT TO:
[INT. CSI - LAB -- DAY]
(The monitor reads:
Mother of Pearl Chip
Evidence # GS-17
(Greg is back in the lab looking at the evidence. He scrapes the dust off of the chip and looks at it under the microscope.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - DAY]
(Greg walks into Grissom's office.)
Greg: I want to go back to the crime scene.
(Grissom looks up and removes his glasses.)
CUT TO:
[INT. KINGSLEY RESIDENCE - BASEMENT - STUDY - NIGHT]
(The doors to the study open. Greg and Grissom enter the room.)
Greg: The grips of Dennis Kingsley's antique Colt .45 were mother of pearl, consistent with the chip collected here. I identified trace on the edge of that chip, and it's red clay dust.
(He walks over to the fireplace and kneels down, looking inside.)
Greg: (sighs) The f*re's fake, but these red clay bricks are real.
Grissom: So, what are you looking for?
Greg: Well, the k*ller obviously left with the g*n. And if there was some kind of struggle, maybe the k*ller left behind some skin fragments or a strand of hair.
(Greg looks around the fireplace.)
(Quick flash to: [STUDY] Dennis Kingsley and the k*ller struggle for the g*n. The g*n flies out and a piece of the mother of pearl handle chips onto the floor.)
(End of flash. Resume to present.)
Grissom: Was there any evidence of a struggle in this room?
Greg: Not really.
(Greg continues to look completely into the fireplace. He flips the light switch on and finds something completely unexpected.)
Grissom: Well, so much for the obvious.
(Hanging from a rubber tube tied to the top of the chimney is the missing g*n.)
FADE OUT.
(COMMERCIAL BREAK)
WHITE FLASH IN.
[INT. KINGSLEY RESIDENCE - BASEMENT - STUDY - NIGHT -- FLASHBACK]
(Dennis Kingsley kneels in front of the fireplace and stretches the tubing tied around the g*n handle. He sits down and cocks the g*n as he places it at his temple.)
(End of flash. Resume to present.)
[INT. CSI - LAB - NIGHT]
(Greg shares his findings with Sara.)
Sara: He committed su1c1de?
Greg: The man was a credit to his genre. He runs a loop of surgical tubing through the w*apon secured inside the chimney.
(Greg shows the photo of the g*n hanging in the chimney.)
Greg: A sh*t of morphine a few minutes earlier takes the edge off.
Sara: And it provides extra insurance in case the g*n doesn't finish the job.
(Quick flash to: [STUDY] Kingsley sh**t himself. He drops the g*n and it recoils back up the chimney. End of flash. Resume to present.)
Greg: It would have been easy for him to plant Watson's brand of tobacco ash on his floor. I figure, Sherlock drew his own blood in advance and then sprayed it on Watson's shoe at their last meeting.
Sara: The world's greatest detective makes su1c1de look like m*rder?
(Greg nods.)
Sara: Why would he try and frame his best friend in the process?
Greg: Well, Watson said they were friends, but who knows what kind of relationship they really had. Maybe they hated each other. Maybe Dennis couldn't stand the thought of anyone else being Sherlock. Besides, I thought motive wasn't our business.
Sara: It's not. Write it up, give the report to Grissom. Way to go.
Greg: All right.
CUT TO:
[INT. CSI - GARAGE]
(Nick and Warrick are busy prepping the dummy for their experiment. They wrap the dummy completely in plastic wrap.)
(Through several time cuts, they proceed to make a gel mold of the dummy.)
(They take the mold off of the dummy.)
(Nick slaps the flat of his hand on the gel dummy's head.)
CUT TO:
[INT. CSI - HALLWAY TO GARAGE]
(Catherine walks into the garage. She finds Nick standing on the jeep setting the experiment up. The gel dummy is behind the driver's seat.)
Catherine: What ... what is going on?
Nick: We're finishing up the case.
Catherine: Do you know how much ballistic joe costs?
Warrick: I didn't know you did.
Catherine: I just thought you guys were gonna go over your notes, look over the case file.
Warrick: Well, hold on now. We found electrical burn marks on the roll bar and the jeep's undercarriage. And we found blown out fuses on the instrument panel and the starter. That would explain why the jeep wasn't running.
Nick: Yeah, we called Nevada Power, and they confirmed there was a downed power line the day of the accident.
Catherine: So, you're saying the victim was electrocuted?
Nick: Yeah.
Warrick: So we replaced the fuses, we connected the jeep to a power source, and we hooked up gelatin man here to a meter.
(Nick bounces on the jeep.)
Catherine: Watch it wiggle, see it jiggle, I get it. Well, you're gonna need at least six milliamps to prove your theory.
Nick: I'm on it.
CUT TO:
(They start the car engine.)
(Warrick puts his goggles on.)
(He flips the switch.)
(The latch holding the pipe releases and swings down, connecting with the jeep.)
(From their safe distance away, they see the jeep spark at the connection.)
(The milliamps meter remains at zero.)
(Catherine, Nick and Warrick watch the jeep sparks burn out.)
Catherine: Congratulations. You k*lled the jeep, but the victim's still alive. The current never even made it past zero. So, either your theory is wrong, or you've got a problem with your experiment. Are there any variables in the case that haven't been duplicated here?
Nick: Same vehicle, power's good. So, why isn't Mr. Wiggles connecting?
Warrick: He's naked.
Catherine: Well, let's dress him up.
CUT TO:
(They finish putting clothes on the gel dummy.)
(They start the car engine. Warrick, Nick and Catherine put their goggles on. Warrick flips the switch.)
(The powerline hits the jeep bar.)
(Quick CGI POV to: The surge of electricity sparks through the jeep bar and down to the side of the jeep frame. It makes contact with the victim's wrist watch, through the victim and out through the metal rivets in the victim's shorts. End of CGI POV.)
(The milliamps meter is at seven.)
WHITE FLASH TO:
(Warrick, Nick and Catherine meet at the jeep.)
Warrick: So, the current came into the vehicle from the roll bar, and it went out through the undercarriage.
Catherine: It needed an entry point and exit point.
Nick: Entry through the, uh, the watch on his wrist and then exit through the rivets in his shorts.
Catherine: Right across his heart, stopping it cold.
(Quick flash to: [ROADSIDE-DAY] The jeep is traveling down the road. It hits the downed power line and runs over the metal mile marker just as the power line hits the jeep bar.)
(Cut to: The jeep rolls down the side of the hill and stops at the bottom in front of the tree.)
(End of flash. Resume to present.)
Catherine: So I know that I've never said this to you guys before, but ... hide the evidence.
Nick: (chuckles) Thanks for getting our back.
Catherine: We're a team, guys.
Warrick: Oh, since we're a team, you gonna help us clean up?
Nick: Yeah.
(Catherine laughs.)
Catherine: No. I'm the boss.
(She turns and leaves. Warrick and Nick chuckle.)
CUT TO:
[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]
(Catherine meets Ecklie in the hallway.)
Conrad Ecklie: I thought you told me you closed the Cory Demayo case. Catherine, nothing happens in this lab that I don't know about.
Catherine: Then I'm sure you know the case is now closed.
Conrad Ecklie: Did I make a mistake promoting you?
Catherine: Yeah, you should have given me the day shift. But I'm making it work.
(Catherine walks away.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
(Grissom reads through Greg's final report.)
(He thinks about it and flips back to the report:
MORPHINE .07
(Grissom picks up the police autopsy report. He reads through it:
ADDITIONAL TESTING PERFORMED
COCAINE Elevated
(He picks up the first report with the syringe contents: MORPHINE.)
(He again looks at the autopsy report: COCAINE.)
(Something's not adding up. Camera holds on Grissom.)
CUT TO:
[INT. CSI - LOCKER ROOM -- DAY]
(Greg is putting on his shoes while listening to rock music on his earphones.)
(Grissom appears in the doorway holding the open file folder.)
Grissom: Greg.
(Greg doesn't hear him.)
Grissom: (louder) Hey, MTV boy. (Greg removes the earphones and turns the music off.) I have a question about your report.
Greg: Okay.
Grissom: According to autopsy, the victim showed long-term effects of cocaine abuse.
Greg: That's right.
Grissom: But according to tox, the substance in the victim's syringe was a seven percent solution of morphine.
Greg: Yeah.
Grissom: The victim was an obsessive compulsive. In the stories, Holmes' preferred stimulant was a seven percent solution of cocaine, not morphine.
Greg: Evidence out of context.
Grissom: Did you ever consider the possibility that the victim didn't realize what he was injecting himself with?
Greg: No. You think someone switched his coke with morphine?
Grissom: You found the victim's fingerprints on the g*n, but you found no prints on the surgical tubing, no epithelials either. Does that make sense if it was a su1c1de?
Greg: I guess not.
Grissom: Do you have any other suspects who have access to morphine or surgical tubing?
Greg: I can find out.
Grissom: I would do that.
(Grissom turns and leaves. Greg sighs heavily as he buttons his jacket and kicks his locker door closed.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Grissom is examining the tubing under the magnifying glass. Greg walks into the lab.)
Greg: I went through the medical records for all of our suspects. As far as I can tell, none of them have ever been prescribed morphine. I think Watson's our best bet. The guy is a security guard at Desert Palms; he was certainly around morphine.
(Greg looks over Grissom's shoulder as Grissom cuts open the tubing.)
Grissom: Tobacco leaves. Run a quick comparison. This has to belong to one of our suspects.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Brass interviews Kay Marquette, Irene Adler. Greg watches from the observation room.)
Brass: Do you like your life?
Kay Marquette (Irene Adler): What kind of question is that?
Brass: Well, I mean, I've seen how happy you are at work. And then I know you come home to Mom and I guess she has terminal cancer. That's got to be tough.
Kay Marquette (Irene Adler): Yeah, well, you try giving enough attention to someone who never gave you any.
Brass: But the Sherlock Holmes Club, that's got to be one bright spot, hmm?
Kay Marquette (Irene Adler): The one place I could go every week where no one was grabbing my butt or staring at my breasts. The one place I could talk, think.
Brass: You must have been pretty devastated when Dennis Kingsley decided to break up the club, huh?
Kay Marquette (Irene Adler): (shrugs) It was a disappointment.
(Quick flashback to: [STUDY - NIGHT] Dennis Kingsley talks with his group.)
Dennis Kingsley: Next week will be the final meeting of our society. But I give you my word, it shall be an evening none of you will ever forget.
(End of flashback. Resume to present.)
Brass: I think it's a lot more than that.
Kay Marquette (Irene Adler): I don't know what you mean.
(Brass slides the report across the table toward Kay.)
Brass: Well ... the tobacco -- your blend is Cavendish.
(Quick flash to: The contents of Kay's purse are a pipe and some surgical tubing.)
(End of flashback. Resume to present.)
Brass: Okay, why don't I tell this like a story, you know, like the end of a story, all right? Because I like the part where the detectives solve the crime. So here goes. On the day of the m*rder, you broke into Denny Kingsley's house. That's easy enough, the lock's crummy. You snuck downstairs. You replaced his cocaine with morphine, because you knew he was a creature of habit. So now all you had to do is wait.
(Quick flashback to: [STUDY - NIGHT] Kay sets up the su1c1de and pulls the trigger.)
(End of flashback. Resume to present.)
Brass: So you sprinkle some of Dr. Watson's pipe tobacco in the carpet. You scoop up some of Denny's blood, to splash on Watson's shoes later. Why the elaborate frame-up of Watson? He had as much to lose as you.
Kay Marquette (Irene Adler): Because he's the one that told Denny to give it all up and go back to his family. Because he's the one that wanted to be Sherlock Holmes, because he didn't care what it was doing to me.
(She sniffles and leans forward.)
Kay Marquette (Irene Adler): You see, Detective ... (British accent) Denny would have wanted his m*rder to be the perfect puzzle. A mystery worthy of the master.
(She starts laughing.)
(Camera refocuses on Greg in the observation room.)
CUT TO:
[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]
(Greg walks dejectedly through the hallway. At the end of the hallway, Warrick and Nick are talking.)
Nick: Hey, Greg, Grissom wants to see you.
Warrick: Like now, in his office.
(Greg turns around and sighs heavily. Might as well get this over with.)
(He heads for Grissom's office.)
[INT. CSI - GRISSOM'S OFFICE - NIGHT - CONTINUOUS]
(Greg walks into the office. He sees a dark figure behind Grissom's desk in his chair.)
Greg: Grissom. You wanted to see me.
(The chair swings around and we see that it's Mr. Gel Dummy dressed up as Grissom, a large sign stuck on his chest:
YOU PASSED!
(Everyone steps out into the room - Nick, Warrick, Sara, Catherine and Grissom. Ecklie is with them. They cheer and applaud him. Sara gives Greg a hug. Catherine kisses Greg's cheek and gives him a hug.)
Catherine: Well done.
(Everyone shakes his hand. Grissom smiles proudly at Greg.)
Conrad Ecklie: Congratulations, Sanders. Good work.
Greg: Thank you.
Conrad Ecklie: Okay, g*ng, there's people to put in jail. Let's get back to it, shall we? Come on, come on, now. Party's over. Let's go.
(Everyone leaves.)
Nick: Good job.
(Greg looks at Grissom.)
Greg: I don't get it. I got the wrong guy, the wrong manner of death.
Grissom: I don't expect you to be correct in all your interpretations all the time. You collected the evidence. You thought there was something missing, you went back and found it. Hey, that's the job. Congratulations, Greg.
(They shake hands.)
Greg: Thank you.
(In the doorway, Catherine holds up a bottle of champagne while the others hold their glasses. They're waiting for Greg.)
(Greg goes to join them. He rushes over and they hand him his glass.)
Voice: Cheers. To you.
(Camera holds on Grissom as he watches them celebrate.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x11 - Who sh*t Sherlock?"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]
CUE MUSIC: SPANISH MUSIC
[EXT. STREET - DAY]
(From the POV of a car driving by, we pass two kids walking along the sidewalk.)
RESUME VIEW
(A boy sits in the back of a truck with his sandy-colored dog. The boy knocks on the glass and motions for the people in the cab to raise the volume for the music on the radio. The driver increases the volume to the kid's satisfaction. He nods his approval and goes back to petting his dog.)
(They continue passing by the town's shops and the people out for a morning walk.)
(The truck continues to move down the road. The driver slows the truck down and pulls over curbside. The kid in the back of the truck jumps out and grabs a stack of papers from the back.)
(The current paper is an issue of HOY with the headline, "Carreras Mortales".)
(The boy opens the paper dispenser and puts in the paper.)
(Various cuts of: People standing in front of a shop and a shop owner pulling in a display.)
(Cut to: The truck pulls up curbside. The boy jumps out of the back of the truck and grabs a stack of papers. He puts the papers on top of the dispenser and takes out a coin. He puts the coin in the dispenser and opens the door.)
(Inside is a severed head, bald and bloodied.)
(The kid gasps.)
CUT TO:
[EXT. CURBSIDE - STREET - DAY]
(Catherine works at unscrewing the base of the paper dispenser with an electric power tool.)
(Nick snaps photos of the other paper dispensers.)
(A crowd has gathered right outside of the crime scene tape. They line the streets watching them work.)
(Det. Sam Vega talks with the people watching.)
Catherine finishes and the dispenser is raised off the sidewalk.)
(The coroners carry the dispenser away.)
DISSOLVE TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Doc Robbins carries the severed head and places it in a pan.)
INTERCUT WITH:
[INT. CSI - LAB - DAY]
(Dissolve to: Nick puts on a pair of latex gloves. Behind them in the lab is the paper dispenser. Camera pushes in on the blood spatter on the top-most paper, right under the headline: Carreras Mortales.)
(Camera flashes of: Doc Robbins works on the head. He injects a syringe into the head.)
(Back in the lab, Nick removes the stack of papers in the dispenser.)
(Catherine holds the camera and watches Doc Robbins take a swab of the head's nose. She snaps a photo.)
(Nick removes a wrapper from the dispenser. He drops a couple of coins on the lab table next to him.)
(Catherine continues to snap photos as Dr. Robbins works. He opens the head's mouth and looks inside.)
(With his forceps, he pulls out a long, thin, d*ad snake.)
(Catherine's jaw drops at the sight.)
(Dr. Robbins turns and looks at Catherine.)
(Camera lingers on the d*ad snake.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins goes over the head with Catherine.)
Robbins: Female, early 30s, Hispanic descent, vitreous potassium was 11.74 milli-equivalents per liter, so PMI's approximately six hours.
Catherine: So time of death roughly 1:00 A.M.
(Robbins nods.)
Catherine: C.O.D.?
Robbins: From what I got here, I can't tell you much. Minimal dilation in the pupils indicates decapitation was postmortem. (He points to the scalp.) Scalp shows naked follicles without hairs, no inflammation around them indicates removal was postmortem as well.
Catherine: Ripped out in chunks.
(Quick flash of: Hair being ripped out from the scalp. End of flash. Resume to present.)
Robbins: Takes time and dedication to do something like that.
Catherine: And a lot of hatred. So her eyebrows have been shaved off and drawn back on with eyeliner. I know that's popular among Latinos in 28th Street. She could be a banger or a girlfriend of one.
Robbins: Well, either way, at least she took good care of her teeth.
(Robbins hands her the victim's bridgework. On the inside is a set of numbers:
942774274.)
Catherine: What is that, nine digits? Social Security number.
Robbins: Dentists usually put on some form of identification on removable bridgework. It's better than a license plate.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Nick is working on the top-most newspaper. He's dusting for prints. He finds a couple of prints. He uses both his hands and motions as if placing the head in the middle of the paper. The sides of his hands are touching the paper.)
(Quick flash of: The k*ller puts the head down on the paper, the sides of his hands touching the paper. End of flash. Resume to present.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Nick and Catherine walk down the hallway as Nick reports to Catherine.)
Nick: Pulled a couple of likely palm prints on the newspaper the head was on, but I don't think that's going to be our best bet.
Catherine: Okay, start with those, but make sure you run the partials off the box as well 'cause I got Ecklie looking over my shoulder, so, uh ...
Nick: Cover your ass.
(Nick heads off in another direction.)
Catherine: Yes.
Nick: My pleasure.
CUT TO:
[INT. - DAY]
(Jesse Menken examines the snake while Nick watches.)
Jesse Menken: Large, elevated vertebral scales. Definitely not your typical U.S. Crotalus.
Nick: Herpetologists always throwing the Latin around. What's wrong with just calling him "rattlesnake"?
Jesse Menken: My specialty, my jargon. Stripes at the base of the neck makes it crotalus simus, indigenous to southern coastal Mexico.
Nick: Apparent Mexican vic on a Mexican newspaper with a Mexican snake. You don't find a whole lot of these buzz-worms around Vegas anyway, do you?
Jesse Menken: Nowhere outside a zoo. These snakes like to burrow in damp soil. They like it hot and humid. We're hot and dry. For a snake, big difference.
Nick: What are the chances that thing just crawled in their on its own?
Jesse Menken: (scoffs) In a newspaper dispenser in the middle of a desert city? No way. I think it was d*ad when it was shoved down the victim's throat.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. ROOFTOP PARKING LOT -- NIGHT ]
(Warrick walks toward the crime scene.)
Brass: The only car up here. Security called it in.
Warrick: Is that a handicap van?
Brass: d*ad guy's in the driver's seat.
Warrick: Any witnesses?
Brass: Nope. And no surveillance either. We ain't on the strip, baby. Five hundred bucks and a Nevada license. Vincent Decarlo, 28.
(Warrick takes the bag with the ID information inside from Brass. He puts his kit down near the open front passenger door.)
(Inside, David Phillips takes down the body stats.)
Warrick: It's an expensive-looking Italian suit just to be a chauffeur.
(Warrick checks the back of the van.)
Warrick: It's a wheelchair. Any indication he's handicapped?
(David Phillips looks.)
David Phillips: He's not wearing prosthetics and his soles are worn.
Warrick: Somebody's missing their wheels.
David Phillips: g*n wound to the head. Looks like it came through the windshield.
(They both turn and look at the hole in the windshield. Outside, Sofia appears on the hood and examines the hole in the windshield.)
Sofia Curtis: Crater on the windshield faces out. Which means that the sh*t came from inside the van.
(She looks at the g*n hole and notices that it lines up with the wheelchair in the back of the van.)
(Sofia visualizes what happened.)
CGI VIEW
(Backward motion. The hole in the windshield slowly fixes itself.)
(A g*n fires.)
(The virtual b*llet breaks through camera frame and heads for the windshield.)
(Close-up: From the outside of thewindshield, the b*llet bursts through the glass.)
(End of CGI slow motion. Resume to present.)
(Warrick looks at Sofia, surprised to see her there.)
Sofia Curtis: Swing's tapped out. Catherine asked if I could lend a hand.
Warrick: Thanks.
(Sofia walks around to the back of the van.)
(Warrick notices a spot of blood on the victim's lapel.)
Warrick: You see that blood spot on the lapel? It's inconsistent with the head wound. To avoid cross-contamination, you think you could cut that out for me?
David Phillips: Oh, sure.
(Sofia climbs in to the back of the van and looks at the d*ad body from behind.)
Sofia Curtis: Possible GSR.
(Quick close-up to: The GSR on the back of the chair.)
Sofia Curtis: Which means the sh*t was fired from the wheelchair.
Warrick: How'd he sh**t him in the face?
Sofia Curtis: Hey, Vinnie.
(Quick flash of: Vincent Decarlo turns around to look behind. End of flash.)
(Sofia holds out her index finger as if holding a g*n pointed at the driver. She mimics sh**ting the g*n at the driver.)
(Quick flash of: Vincent Decarlo is sh*t and the b*llet exits out the front windshield.)
(End of flashes. Resume to present.)
Warrick: So we got a guy who fired a sh*t from a wheelchair and then escaped on foot.
CUT TO:
[EXT. NEW YORK CITY LIGHTS (STOCK) -- NIGHT
[INT. JUAREZ RESIDENCE - NIGHT]
(Det. Sam Vega shows Nick and Catherine into the apartment.)
Det. Sam Vega: Social came back on the dental work of Veronica Juarez. No immediate family in the states. Apartment's leased in her name.
(He picks up a framed photo off the nearby shelf.)
Catherine: Well, that's why bangers have girlfriends; sign things they can't.
Nick: This is a pretty nice place. A long way from 28th Street.
Catherine: Sure is.
(Catherine picks up a framed photo of two women. Sam Vega finds something.)
Det. Sam Vega: Catherine, Nick.
(Nick and Catherine walk over to him. He points to the degree hanging on the wall from the University of Texas El Paso to Veronica Juarez in Bachelor of Science - Communication.)
Catherine: Gangbanger girlfriend with a degree?
Nick: Sounds like a rock band.
(They continue to look around. Catherine uses the ALS on the bedspread. Nick picks up a digital camera off the desk and looks at the photos.)
Nick: Hey, Vega? Check out these pics.
(Det. Sam Vega walks over to Nick.)
Nick: Think she liked to party?
Det. Sam Vega: That barely looks like the same girl.
Nick: I know.
Det. Sam Vega: I'm going to check out the kitchen.
Nick: Okay.
(Vega walks away.)
Catherine: Well, there's no signs of sexual activity.
(Catherine opens the bedside table drawer. She finds something.)
Catherine: Oh, hang on now.
(She takes out a small plastic bag with something inside.)
Nick: That looks like pure crystal meth.
Catherine: You could be up for a week straight on that stuff and not even know it.
Nick: Perfect drug for this town.
(Sam Vega walks out of the kitchen holding a piece of paper.)
Det. Sam Vega: Hey, you think that our vic was a groupie?
(He shows the Extremo poster to them.)
Catherine: Looks like a mariachi band with a*tillery.
Det. Sam Vega: I had a big dose of them when I worked with a g*ng unit in LA.
Catherine: The band?
Det. Sam Vega: The scumbags who listen to that music. Sinaloa cowboys. Big drug producers.
Catherine: Okay. We've got a female victim with a degree, Mexican artwork, drugs and Sinaloan cowboys.
CUT TO:
[EXT. CLUB - NIGHT]
(Det. Sam Vega and Nick exit the parked car and head for the club.)
[INT. CLUB - NIGHT]
(The place is crowded. The band on stage sings.)
Lyric: no me puedes negar, lo que te hago sentir no me puedes negar lo que sientes por mi
(The song ends; the crowd applauds.)
(The club owner shouts to the already hyped-up crowd.)
Club Owner: (shouts) Que paso, que paso,que paso?! Hacienda corona! Como estan, como estan, como estan, como estan todos? Que bueno, que bueno, que bueno! Otra cancion! Otra cancion!
(The band sings another song.)
Lyric: Yo me paso las noches tomando quierendo olvidar su recuerdo buena aquella noche maldita ...
(Det. Sam Vega and Nick walk into the club and head over to the bar. Vega shows him Veronica Juarez' DMV photo.)
Det. Sam Vega: Carnal, conoces esta muchacha? Sordo, contestame!
Juanito Concha (barback): That's Carla.
Nick: Carla? Not Veronica?
Juanito Concha (barback): Nah. The girl in the picture there told me her name was Carla.
Det. Sam Vega: Yeah, well, the bouncer says that she hangs out here a lot.
Juanito Concha (barback): Yeah, I guess so. Yeah.
(Nick turns and listens to Extremo on stage.)
Lyric: ...Que por ser poderoso que mi vida jamas pasaria
(He turns back to the bartender.)
Nick: She, uh, friends with the band?
Juanito Concha (barback): I don't know about friends. I mean, her and every other girl in here jocks 'em. I mean, Extremo, bro, they're the best. Come on.
(Vega and Nick listen to Extremo.)
Lyric: Yo soy malo
y no puedo negar
que desde me acuerdo
no he sido
la vieja resulto
mentirosa...
Nick: I know my Spanish is a little rusty, but I think he just said, "She was a liar, she wasn't who she said she was."
Lyric: ... Pero en cambio le robe su vida
Det. Sam Vega: "She stole my heart, so I stole her life."
Lyric: ...Otra vibora por ser...
Nick: "I met the snake ... eat a snake."
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT CLUB -- NIGHT]
(The segment just ended. The crowd applauds and the club owner is shouting into the mike.)
Club Owner: Otra cancion! Otra cancion!
(Extremo steps off the stage.)
CUT TO:
[INT. CLUB - BACKSTAGE - NIGHT - CONTINUOUS]
(Nick and Vega wait to talk with the lead singer. As the band files out the stage and through the hallway, fan girls crowd the doorway shouting for them.)
(Vega stops the lead singer.)
Det Sam Vega: LVPD. We need to talk.
Rafael Salinas (lead singer): Leave your card, I'll send you a picture and autograph, huh?
(He slaps Nick on his arm, then turns to continue down the hallway. Nick chuckles following him.)
Nick: That's not really what I'm after, my man.
(The manager stops Nick from following Rafael Salinas, the lead singer, into the back room with the rest of the band.)
Manager: Whoa, whoa, whoa.
Nick: Excuse me.
Manager: I'm their manager. El Jefe. You want to ask my band questions, you can ask me first.
Nick: Great. What can you tell us about the song they just played?
Manager: What do you want to know?
Nick: Quite frankly, the lyrics are very similar to a homicide we're investigating.
Manager: That narco-corrido was written ten years ago. It's a classic. (to Vega) Surprised you haven't heard it.
Det. Sam Vega: I don't listen to crap about doing drugs and k*lling cops.
(Someone comes up to the manager and says something to him. The man leaves. The manager turns to Nick and Vega.)
Manager: Why don't you buy a CD on the way out. All right?
(The manager tries to leave. Nick stops him.)
Nick: Yeah, I might do that. Listen, one more thing, if you could. (Nick shows him the photo.) This girl, you know who she is?
Manager: That's Carla. She's d*ad?
Nick: Yeah.
Manager: That's too bad.
Nick: Yeah.
Manager: She was a loyal fan. She knew the words to every song we did.
Nick: Anything else?
Det. Sam Vega: Yeah. Your name and number.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
(Sara walks up to Grissom's office and knocks on the door.)
Sara: (smiles) Hi.
(She steps inside. Grissom looks up and takes his glasses off.)
Sara: You got a minute?
Grissom: Sure.
Sara: We really haven't had a chance to talk since the staff changes. (She sits down.) I, uh ... I wanted to let you know that I said some things to Ecklie that might have done the team a disservice.
Grissom: Ecklie wanted to break up the team and he did.
Sara: He asked me if you and I had had our post-P-E-A-P counseling session.
Grissom: And we didn't. Regardless, you should never have to cover for your boss. I'm sorry.
Sara: You've always been a little more than a boss to me.
(She gives him a small smile.)
Sara: Why do you think I moved to Vegas? Look, I know our relationship has been complicated. It's probably my fault. It's probably definitely my fault.
Grissom: You, uh, completed your counseling, right?
Sara: Yeah. Yes.
Grissom: And ... ?
Sara: Let's just say that ... I sometimes ... I look for validation in inappropriate places.
(They lapse into silence.)
Grissom: Look ... let's, um ...
(Again, they lapse into silence.)
Sara: It's okay. Okay. You know what, we did our session. Don't forget to document this for Ecklie.
(She smiles.)
Grissom: Right.
Sara: Thanks.
(Sara stands up and leaves.)
(Camera holds on Grissom.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins goes over his findings with Warrick and Sofia Curtis.)
Robbins: b*llet entered through the left zygomatic arch, then penetrated the brain, then fragmented up.
(He picks the b*llet out of the brain and shows it to them. He drops the b*llet into the tray.)
Sofia Curtis: The b*llet never exited?
Robbins: Not even close. The right ear injury is a separate wound unrelated to the entry in the face.
Warrick: So he was sh*t twice.
Robbins: Yeah, can you identify the w*apon off these?
(Robbins shows the b*ll*ts in the tray to them.)
Sofia Curtis: It's highly unlikely. The frags are too small. I'll go back to the scene, see if I can find the AWOL b*llet.
Warrick: All right.
(Sofia leaves.)
Robbins: So I hear you found a wheelchair.
Warrick: Yeah. No identifiable prints, only smudges.
Robbins: Did you check the serial number?
Warrick: No.
Robbins: You know, wheelchairs are registered with medical supply companies. It's not something the average person would know.
Warrick: Thanks. Good looking out.
(Warrick turns and leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. RETIREMENT HOME - POOLSIDE - DAY]
(Brass and Warrick talk with the manager of the retirement home.)
Manager: Mrs. Bakerset's grandson bought her a top-of-the-line chair about a year ago after her stroke.
Brass: We need to talk to her.
Manager: I'm sorry, she passed away last week.
Warrick: Really? That's strange. We found her wheelchair at a crime scene downtown. Any idea how it got there?
Manager: No, no, no, Bonnie hadn't left here in at least six months. Her place is right over here.
(She leads them to the room.)
[INT. RETIREMENT HOME -- BAKERSET'S ROOM - DAY - CONTINUOUS]
(The door opens. The manager, Warrick and Brass step inside.)
Manager: When the residents pass, their property remains in the room until their family picks it up. Her grandson said he'd swing by next week.
(Inside the tiny room are lots of boxes, packages and shopping items still in their boxes.)
Manager: The woman loved to shop.
Brass: Yeah.
Manager: I'll see if I can get you some info on that wheelchair.
(The manager leaves. Warrick and Brass look around.)
Warrick: Loved to shop? Looks more like a compulsion.
Brass: Fly fishing rods ... air purification systems, vitamins, yoga tapes ... cleaning products ... most of these boxes have the same return address. N.Z.A., Inc. It's local. It's in Henderson.
(Just outside the large picture windows, a small group of curious elderly folks gather.)
Brass: Scumbag telemarketers.
(The man outside knocks on the window to get their attention. Brass turns around.)
Betsy Lewis: Yoo-hoo!
(Brass walks over to the window to open it.)
Brass: Watch your fingers.
(He slides the window open.)
Stuart Manslow: Excuse me ... what's going on?
Brass: And you are?
Stuart Manslow: Stuart Manslow.
Betsy Lewis: And I'm Betsy Lewis. You shouldn't be in here.
Brass: Well, Betsy, I'm Detective Jim Brass, Las Vegas police. And this is Warrick Brown with the crime lab.
Warrick: Hi, folks. Could you all tell me what's the deal with all these boxes?
Stuart Manslow: Buying things made Bonnie happy.
Betsy Lewis: After her husband died, she was lost. Then a nice salesman kept calling. They would talk for hours. If you ask me, she liked the attention.
Warrick: Ma'am, do you know what happened to Bonnie's wheelchair?
(They look at each other.)
Stuart Manslow: It was a gift from her grandson.
Betsy Lewis: Yeah. He's not a doctor, but he does all right for himself.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. ROOFTOP PARKING LOT - DAY]
(Sofia sets up a rod from the wheelchair through the hold in the windshield.)
Sofia Curtis: Off we go into the wild, blue yonder.
(Greg walks up to the back of the open van. He clears his throat. Sofia turns around.)
Sofia Curtis: Why are you here?
Greg: Grissom said it'd be okay for me to come help. I need the experience.
Sofia Curtis: Well, if we can't find the b*ll*ts, we find the shell casings.
(Greg nods.) I'm thinking the sh**t had the driver at g*n, forced him to drive up to the roof 'cause it was deserted.
(She looks at him and gets an idea.)
Sofia Curtis: Give me your pen.
(Greg hands her his pen.)
Sofia Curtis: You don't sh**t a man with the door open.
(She flicks the switch and closes the wheelchair ramp.)
Sofia Curtis: Keep your eye on this.
(Greg gets a little closer to the ramp door.)
(Quick flash of: A g*n fires. The shell casing pops out of the g*n. End of flash.)
(Sofia drops the pen cap. The pen cap falls down in between the ramp door.)
Sofia Curtis: You got it? The sh**t had to open the door when he took off.
(Sofia opens the wheelchair ramp door. As the ramp door opens, the pen cap is pushed down further into the van's sliding door.)
Greg: Okay, stop.
(Greg takes out the pen cap, then takes out the shell casing.)
Greg: Nine-millimeter.
Sofia Curtis: Photograph it.
CUT TO:
[INT. CSI - A/V LAB - DAY]
(Nick sits on the floor in the A/V lab and listens to Extremo music on the Diskman. He writes down the lyrics as he listens.)
(Catherine walks into the room and sees him. She rubs the back of his head to get his attention.)
Catherine: Hi.
Nick: Oh, hey.
Catherine: What is this?
Nick: Oh, it's, uh, it's an old case from San Diego.
(Catherine reads the lyrics.)
Catherine: "They were found the next dawn, in a dry river bed, their intestines exposed, and many cats feasting upon them."
Nick: Yeah, now you put that to music, sing it in Spanish, and you have a narcocorrido.
Catherine: Narco what?
Nick: A corrido is a Mexican ballad. A narcocorrido ...
Catherine: A drug ballad.
Nick: Kind of more or less, except their songs include actual events, like specific dates, names ... here. Come over here, check this out.
(Nick gets up and goes over to the computer. He brings up an old headline for the TODOS DIAS paper: "La Ultima Pieza del Rompecabeza", by Hilda C. Aguiar. Under it is a photo of a woman's severed head with a rattlesnake coming out of it.)
Nick: This girl was shacked up with a local drug lord. He dumps her, she rats him out to the authorities. The rest of the body was never found. But the song was a big h*t.
Catherine: So apart from having her hair removed, Veronica Juarez's m*rder was life imitating art.
Nick: Yeah, and if that's the case, anyone who knows this song could ... could be the k*ller.
Catherine: We don't even know that much about the victim, other than she was somewhere between art lover and meth user.
(Without another word, Nick leaves the lab and heads into the evidence room. Perplexed, Catherine watches him go.)
[INT. CSI - EVIDENCE ROOM - DAY - CONTINUOUS]
(Nick takes out the evidence box and pulls out the Hoy paper found under the decapitated head. The paper is dated Enero.11.2005 and sold for 25 cents. The title of the front page article on the left is "Narco corridos: Asesinos de la cultura". In the center is a large bloodstain.)
(Catherine walks into the lab.)
Catherine: Something I said?
Nick: (distracted) Huh? Oh, no, no, no. Sorry. It was actually something I saw.
(He points to the byline: Veronica Juarez.)
CUT TO:
[INT. WAREHOUSE - DAY]
(Catherine and Nick talk with the editor of the paper.)
Editor: Veronica had been here since last summer. Maybe six months.
Catherine: We ran Ms. Juarez's social. She wasn't an employee.
Editor: She was more of a freelancer. The narco corridos piece was her first major story. Makes me sick to think she's not going to finish it.
Nick: She was working undercover?
Editor: She figured it was the only way to get these guys to open up to her. She was right.
Nick: Yeah, her article came down pretty hard on the music, huh?
Editor: Narcocorridos glamorize a criminal lifestyle.
(They turn into the main office.)
Editor: Veronica felt the songs were poisoning our young people. She used the intern's desk right there.
(He points to the desk. Nick puts on a glove and checks the computer. Catherine goes through the mail. The editor walks up to them.)
Editor: I warned her that it was a vicious subculture.
Catherine: Had she received any thr*at?
Editor: Well, there was this one incident right after part one was published.
(Quick flash of: A man carries a lit black candle through the office toward Veronica's desk.)
Man: (chanting) Nombre de jesus malverde ... nombre de jesus malverde ...
(He puts the candle down on the desk. Veronica gasps.)
Man: Silencio!
(End of flashback. Resume to present.)
Editor: We didn't call the cops, but it wasn't settling. I'm kind of superstitious.
(Nick opens the drawer door and finds a fingerprint on the candle.)
Nick: Good thing Veronica wasn't.
(He takes the black candle out of the back of the desk file drawer and shows it to Catherine.)
CUT TO:
[INT. CSI - PRINT LAB - DAY]
(Nick takes a mold of the print and scans it into the computer. He finds a match to (excerpt of contents on page):
LAS VEGAS POLICE
ELINDIO ZAPATA
DOB/09/18/51 SEX/M RAC/CAUCASIAN
HGT/508 WGT/158 EYE/BRO HAI/BRO POB/UNKNOWN
NAME/01 ZAPATA, ELINDIO
MON/MONCHIE
78566 AMBERS AVE., LV, NV8-
CUT TO:
[EXT. LAS VEGASC ITY (STOCK) - DAY]
[INT. STORE -- DAY]
(Det. Sam Vega and Nick enter the store.)
Det. Sam Vega: Hello?
(There's no answer. The door shuts behind them.)
Det. Sam Vega: LVPD.
(They look around the store.)
Det. Sam Vega: Anyone here?
(They hear mumbling coming from the back of the shop. Nick takes his g*n out.)
(Vega takes his g*n out.)
(In the back room, Elindio Zapata is kneeling on the ground in front of dozens of lit candles. Vega knocks on the door.)
Det. Sam Vega: Elindio Zapata.
(He pushes the beads over the door aside.)
Det. Sam Vega: Elindio Zapata.
Elindio Zapata: No hablo ingles.
Det. Sam Vega: Oh, De Veras? Well, that's funny, because the border patrol said you spoke perfect English.
(Elindio Zapata stands up and puts his hat on. He exits the room and looks at Vega.)
Det. Sam Vega: We're going to take a look around, coyote.
(Elindio walks past Nick.)
Elindio Zapata: You break it, you bought it.
(He heads for the front of the shop. Nick and Vega both holster their w*apon. Nick sees a lit black candle. In the tray in front of the candle he sees a bone.)
Elindio Zapata: Vayate.
(Nick turns and looks back at Elindio.)
Elindio Zapata: That belongs to Jesus Malverde.
(He continues to look around and sees the jacket hanging on the clothes rack in the back. He glances at Vega.)
(Nick takes out his glove and puts it on. He looks at Elindio.)
(Quick flash of: [PHOTO] In the photo of Veronica Juarez, she is wearing a jacket with white fringe. End of flash.)
Det. Sam Vega: What do you got?
Nick: Veronica Juarez had a jacket just like this one. Minus the tire tracks.
(Nick takes the jacket over to Elindio.)
Nick: This jacket? It's coming with me. And you're going with him.
(We hear the sounds of handcuffs. Elindio looks at Vega. Nick looks at the jacket.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Det. Sam Vega and Nick interview Elindio Zapata.)
Det. Sam Vega: We know that you went to the newspaper office and you thr*at her.
Elindio Zapata: Si, señor. I went to the oficina. Her mentals were going places they need not.
Nick: You want to tell me what this is?
(Nick shows him the photo of the bone.)
Elindio Zapata: Pollo bone. Religious. (He chuckles.) My right in America.
Nick: I don't know, it looks more like a human finger to me. It's been b*rned.
Elindio Zapata: Eyes can fool you.
Nick: That's right. That's why I do a lot of tests. And I'm also gonna match the blood found on Veronica's jacket right here.
(Nick taps the photo of Veronica's jacket.)
Elindio Zapata: I know nothing about this. Nice ... muchacho gave it to me.
Det. Sam Vega: Como se llama?
Elindio Zapata: Don't know name, only ... face. Cara. Mm, people give me things all the time.
Nick: Now, why would they do that?
Elindio Zapata: Maybe they like me. (He chuckles.) Or for proteccion. When you look at me, you see un hombre pobre, sucio. Poor, dirty man. Pero soy mas. I am much more. I am descendent ... of Jesus Malverde. God ... dios. Angel of the Poor.
Nick: The Mexican Robin Hood, a thief and a k*ller, hung May 3, 1909.
Elindio Zapata: He is the reason ... you cannot touch me. (He looks at Vega.)
No me puedes tocar.
Det. Sam Vega: You're a disgrace to our community. You're a greedy fence who will do or say anything to make a buck.
Elindio Zapata: No, señor. No, I may warn, I may protect, I may harm, I may do many things. But not for money.
Nick: Okay, hold out your hands -- we're gonna get some prints.
(Elindio holds out his hands. Nick takes out his kit.)
CUT TO:
[INT. CSI - LAB]
(Warrick examines Vincent Decarlo's clothes and possessions. He finds a piece of paper.)
(Sofia Curtis walks into the lab.)
Sofia Curtis: You got lucky with the bloodstained lapel. I didn't match the vic, but I got a h*t in CODIS.
Warrick: Great. Dax Blanchard?
Sofia Curtis: as*ault and battery against a police officer in '96. Served two years. No current address.
Warrick: Thanks.
(Sofia leaves. Warrick dials his phone.)
Brass: Detective Jim Brass.
Warrick: (announcer's voice) Congratulations, Jim Brass. You're guaranteed one of these five amazing awards. Trip to London, ...
INTERCUT WITH:
[INT. POLICE DEPARTMENT - BRASS' OFFICE - DAY]
Brass: (puzzled) Warrick?
Warrick: (announcer's voice) A brand-new caddy, tennis bracelet, plasma TV, water purification system. You finally did it, Jim. Just send NZA a check for
$300 and claim your prize.
Warrick: NZA. So, where'd you get the sales pitch, man?
Warrick: From the victim's personal effects. My guess, it's the same boob who was calling Bonnie.
Brass: (nods) The company's address was on the old lady's boxes.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. NZA TELEMARKETING OFFICE - EVENING]
(The sales center is busy. Camera pans across the various salesmen on the phones.)
Salesman 1: Mrs. Mason, I am standing, which means what? You should be sitting.
Room Manager: I really want you to push the air purifiers. Then, I want you to push this.
Salesman 1: That's right, because I've got some great news. You just won a Cadillac. Well, does your husband drive?
Salesman 2: Have you ever shopped on 5th Avenue?
Salesman 3: Come on. Look, I've been waiting my whole life to make this call.
Salesman 4: Yes. Yes. Well, as soon as we get that ...
Room Manager: Come on, people! Let's close these deals! I got a room full of pikers or closers? You're a piker!
(Voice fades in the background as Warrick and Brass enter the office.)
Warrick: My grandmother used to say if it sounds too good to be true, it is.
Room Manager: Only closers go on that board.
(Warrick and Brass walk up to Dax Blanchard.)
Room Manager: Can I help you gentlemen?
Brass: I'm Detective Jim Brass, Las Vegas Police, and this is Warrick Brown from the crime lab - We got a couple of questions.
(Warrick turns and looks at the whiteboard:
TOP 4 CLOSERS OF THE WEEK
1. VINCENT DeCARLO
2. DAX BLANCHARD
3. TERENCE --
4. BOB--
Warrick: We know Vincent Decarlo's not available -- How about Dax Blanchard?
Room Manager: Corner cubicle, g*n tie.
(He points to a man on the phone. Brass and Warrick head over to Dax Blanchard.)
Dax Blanchard: (to phone) You were? You know what I want you to do, Harry? I want you to stand up, and I want you to march over to that checkbook, soldier. (Brass clears his throat.) It does not sound like you're standing up to me, Harry. You know why we're doing this, Harry? (Brass clears his throat again.) Because we have something called trust, you and me. You trust ...
(Dax Blanchard notices Brass and Warrick standing behind him.)
Dax Blanchard: (to phone) Harry, I need you to do me a favor, though, okay? I need you to hang on for me for one second, okay? Okay. You're the greatest.
(He puts the phone down.)
Brass: Dax, at yakety-yak, you're the greatest. I got a one-time-only offer for you. Should we talk about it here or downtown?
Dax Blanchard: Come on, what is this? This is a legal room.
(He motions and Warrick sees that Dax is wearing a holster with a g*n.)
Warrick: What the hell is that?
Brass: Are you packing? (He takes the g*n.) This a legal g*n?
Dax Blanchard: Yeah it is. Registered to me.
(Brass hands the g*n to Warrick, who removes the clip.)
Brass: Okay. Downtown it is. Let's go.
(Warrick checks the b*ll*ts.)
Warrick: Nine-millimeter. Same as the casings found on the scene.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Brass interviews Dax Blanchard.)
Dax Blanchard: Nothing I'm doing is illegal. In exchange for a small fee, my customers get one of five specified prizes.
Brass: When was the last time someone won a Cadillac?
Dax Blanchard: (shrugs) While ago. Long time ago. Never, all right? Look, I'm only obligated to give one of the prizes. Nothing says it can't be the cheap one.
Brass: Apparently, you're very good at your job, but you're not the best. I saw the board -- you're number two. Right behind a d*ad guy.
Dax Blanchard: Vinny's d*ad?
Brass: When was the last time you saw him?
Dax Blanchard: (thinks about it) Yesterday morning.
Brass: We found your blood on his jacket.
Dax Blanchard: Good. 'Cause I thought maybe I missed.
(Quick flashback to: [SALES ROOM] Vincent is on the phone when Dax walks up to his cubicle.)
Vincent Decarlo: I got a room full of people congratulating you here, Dorothy.
(shouts to phone) Yeah, Dorothy! Yeah! I ...
(Dax disconnects the phone.)
Vincent Decarlo: What in the friggin' hell? I had a live one.
Dax Blanchard: You sold my grandmother, you son of a bitch. Took every last cent.
Vincent Decarlo: Everybody we sell is someone's grandmother.
(Dax grabs Vincent. Vincent punches Dax in the mouth. Dax spits on Vincent's jacket leaving a glob of blood on his lapel.)
(End of flashback. Resume to present.)
Dax Blanchard: The guy was a mook, all right? He was constantly stealing my leads, stealing my customers. Then I find out he rips off my grandmother?
Brass: Honor among thieves?
Dax Blanchard: For crap's sake, she's living in a nursing home, confined to a wheelchair.
Brass: So you k*lled Vincent Decarlo because he was better than you, because he stole your leads, because he sold your bubby Bonnie, and you wanted him out of the way.
Dax Blanchard: (scoffs) Who the hell's Bonnie?
Brass: Your grandmother. Bonnie Bakerset.
Dax Blanchard: My grandmother's name is Fran. She lives in Daytona Beach. Would you like to call her?
CUT TO:
[INT. CSI -- LAB]
(Catherine processes the jacket. She measures the tire treads on the back of the jacket, circles the pattern and searches for it on the database.)
(She finds a match: TOYO OPEN COUNTRY MT 38/15.5/18.)
(Nick walks into the room carrying a file folder.)
Nick: Hey, Catherine. The palm prints on the newspaper don't match Elindio's.
Catherine: Well, that just means he didn't place the head in the box. The vic's blood was on the jacket in his store. She was run over by a Toyo Open Country MT 38-by-15.5-by-18.
(Quick flash to: The truck engines g*n as they run over Veronica Juarez. End of flash.)
Catherine: Now, that's a big-ass truck tire.
Nick: Elindio didn't even own a car, much less a big-ass truck. What other characteristics?
Catherine: Take a look.
Nick: That's a retread.
(Quick flash of someone retreading a tire. End of flash.)
Nick: I only know of one place in Vegas that does work like this.
CUT TO:
[INT. TIRE WAREHOUSE - DAY]
(Nick and Catherine talk with the store owner.)
Store Owner: So, what is it you need?
Catherine: Invoice copies of any retreads that were done on this type of tire.
(She shows him the photo.)
Store Owner: Oh, yeah. We sell about a hundred of these a month.
Catherine: Really?
Store Owner: Yeah. Over here.
Catherine: Thank you.
(He sits down behind the desk's computer.)
(Nick looks around the area and notices a particular worker there.)
Nick: Hey.
(The worker turns around. Nick recognizes him.)
(Quick flashback to: The Extremo lead singer on stage. End of flashback.)
Nick: I'll take that autograph now.
(The worker looks at Nick. Nick motions for him to come.)
Nick: Ven aca.
SHORT TIME CUT TO:
(The lead singer talks with Catherine. Nick looks around his locker.)
Rafael Salinas (lead singer): I was seeing Carla ... until Veronica Juarez's article came out. I figured out who she was.
Catherine: And then?
Rafael Salinas (lead singer): Then I dumped her ass. What do you think? She put down my music, my band, made it look like everyone involved in narco corridos was a drug dealer or a criminal. She lied to me.
(Quick flashback to: The Extremo lead singer, Rafael Salinas, is angry with Veronica Juarez.)
Rafael Salinas (lead singer): Asi es como pagas?
(He shouts angrily at her.)
(End of flashback. Resume to present.)
Rafael Salinas (lead singer): Narcocorridos are entertainment. The drugs, they're an economic activity woven in the fabric of Sinaloan history. The music does nothing more than reflect that.
Catherine: Narcocorridos also depicts actual events.
Rafael Salinas (lead singer): So does the 6:00 news. A lot of people were pissed off when she wrote that trash.
Catherine: So you're saying that she deserved to die?
Rafael Salinas (lead singer): I'm saying she was a two-faced bitch who got off on our music at night, wrote about how disgusting we were during the day, when she was the one smoking, snorting, screwing everything she could find.
Catherine: After her tox screen, we know that Miss Juarez didn't do drugs. And ... I seriously doubt that she was having sex with you.
Rafael Salinas (lead singer): Listen ... I didn't k*ll Veronica. But she was a pocha, a traitor, and people like that aren't taken lightly in Sinaloa.
Catherine: We're not in Sinaloa.
Rafael Salinas (lead singer): When you're inside la hacienda corona, you might as well be.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB -- NIGHT]
(Sofia Curtis runs the b*ll*ts through the database. The etchings read: K DWM K 480C.)
(She finds a match to REF#9935-79.)
Sofia Curtis: (to herself) Deutschland uber alles.
CUT TO:
[INT. CSI - BREAK ROOM - NIGHT]
(Warrick is sitting at the table. Sofia walks into the room.)
Sofia Curtis: I identified the casings recovered at the scene. They don't match Dax Blanchard's 9-mil. So, did he have any other firearms?
Warrick: Nothing registered.
Sofia Curtis: Well, head stamp on the casings was a little unusual.
(She shows the photos to Warrick.)
Warrick: "DWM?"
Sofia Curtis: Deutsche waffen und munitions fabrik.
Warrick: Well, that's World w*r II-era German.
Sofia Curtis: Well, it's one thing to collect old g*n; old amm*nit*on comes from a trophy -- an enemy g*n a soldier brings back from battle.
Warrick: So, our sh**t's an old soldier.
(She gives him a look.)
Warrick: Hmm.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. RETIREMENT HOME - NIGHT]
(Stuart Manslow talks with Warrick.)
Stuart Manslow: Bonnie had Alzheimer's, you know. And that son of a monster sold her twice a day. Once in the morning, and again that night, because ... he knew she had forgot that she bought the first time. I tried to talk her out of it, but Vincent just kept on calling. And Bonnie just kept on a-buying.
Warrick: So, what did you do about it, sir?
Stuart Manslow: Huh?
Warrick: What'd you do about it?
Stuart Manslow: Vincent started calling all of us. I played along. I told him I didn't have a checking account, so the bastard offered to drive me to the bank. I wanted him to think that I was weak. So I borrowed Bonnie's wheelchair. He drove me to the bank. Pushed me right up to the teller. Oh, he was helpful. And then he drove me back to the casino.
Warrick: Why did you have him park on the roof?
Stuart Manslow: Why not? Nobody parks on the roof.
(Quick flashback to: [VAN - NIGHT]
Vincent Decarlo: Here we go. Now all we need is the money.
(Stuart sh**t and nicks Vincent in the back of the head. He starts yelling.)
Stuart Manslow: (V.O.) I would have k*lled him with one sh*t. Lousy shakes.
(Vincent turns and looks at Stuart. Hefires again, this time hitting him square.)
Stuart Manslow: (V.O.) But I got him good the second one.
(End of flashback. Resume to present.)
Stuart Manslow: Been a long time since I had to k*ll someone.
Warrick: Where's your sidearm, sir?
(Stuart Manslow reaches for the box on the table and opens it. He takes out his g*n.)
(Warrick stops walking toward him, his eyes on the g*n in Stuart's hand. Unsure of what Stuart is going to do, Warrick becomes very cautious.)
Stuart Manslow: You know, the world has changed. (Warrick swallows, his eyes on the g*n.) When I was serving my country, I knew who my enemy was.
(Stuart shakes the g*n in his hand.)
Warrick: The g*n, please, sir.
Stuart Manslow: Now the enemy is ... some punk ... calls you up on the telephone ... and wants your credit card number.
(Stuart looks at the g*n.)
Warrick: Sir? The g*n.
(Stuart sighs.)
Stuart Manslow: Hmm.
(He hands the g*n to Warrick. Warrick removes the clip. He looks at Stuart.)
(Camera holds on Warrick.)
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(Catherine is comparing the photo of the tire print from the jacket to the various tire prints from the tires taken from the warehouse.)
(Nick walks into the garage.)
Nick: Bad news. Rafael's palm prints don't match the one on the newspaper.
Catherine: Worse news, his tire treads don't match the ones on Veronica Juarez's leather jacket, either.
Nick: Great. Well, you know, there is one place the victim was where there's a whole lot of these tires.
(Catherine looks at Nick.)
CUT TO:
[EXT. CLUB - PARKING LOT - NIGHT]
(Det. Sam Vega kneels down next to a tire and compares the photo of the tire print from the jacket to the tires on the truck. There are other officers there doing the same - comparing the photo of the tire print from the jacket to the other trucks' tires.)
(Nick walks between the trucks looking at the various parked vehicles. He comes across a particular truck with a retread.)
Nick: Vega!
(Vega walks over to Nick.)
Det. Sam Vega: What do you think?
Nick: Run the plates.
CUT TO:
[INT. CLUB - NIGHT - CONTINUOUS]
(The band on stage sings.)
Lyric: ...Que sin duda yo fui el dueño de tus sueños gracias, corazón ...
(Nick and Vega walk up to the offduty barback, Juanito Concha.
Nick: Hey, Juanito. Not barbacking tonight?
Juanito Concha: No, I got the night off. I'm gonna go party today. So, you guys, uh, still looking for Carla?
Nick: No.
Juanito Concha: No?
Nick: No, we're looking for you.
(The officers behind Juanito start handcuffing him.)
Det. Sam Vega: Do you own a 2004 forf-150? Gray with panting on it?
Juanito Concha: Uh, yeah, that's the full-blown cocino mobile.
Det. Sam Vega: Oh, your pig mobile, nice name. Yeah.
(Nick notices the hair hanging from Juanito's belt.)
Nick: That's a cool belt, Juanito. What's it made out of? Human hair?
Juanito Concha: Ooh, um ... you guys want me to show you?
(Juanito head-butts Nick and runs past him trying to escape. Nick runs after him.)
Nick: No, no, no, no, no, no, no, no, no
(Nick catches and grabs Juanito. Suddenly, we notice that the music has stopped completely and that there are a lot of men crowding in on Nick, Vega and Juanito, pushing and shoving each other. Very dangerous.)
Det. Sam Vega: Muevanse, muevanse por atras!
Det. Sam Vega: Muevan ... muevanse por atras!
(The men in the crowd reach for their g*n. Nick and Vega both pull out their own g*n and hold it up to show it to them.)
Nick: Hey, hey, hey, back up!
(They manage to push the crowd back a little distance away from them. The crowd has quieted down some.)
Nick: (shouts) He k*lled an innocent girl!
Det. Sam Vega: Calmense, todos. Dejanos hacer nuestro trabajo y no les vamos a molestar.
Nick: Hey!
Det. Sam Vega: Calmense, ya!
Nick: Este muchacho mato a una señorita inocente. Inocente!
Det. Sam Vega: Calmense. Ya.
Nick: Y tiene que pagar. Y tiene que pagar! Get him out of here!
(The officers pull Juanito toward the door and they all start heading for the exit.)
Det. Sam Vega: Ya!
Nick: Go, go, go!
Det. Sam Vega: Calmense, ya. Tranquilos.
(Vega is the last to leave.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Det. Sam Vega and Nick interview Juanito Concha.)
Det. Sam Vega: I don't understand you, Juanito. You manage to stay out of the gangs, drugs. Making honest money ...
Juanito Concha: (chuckles) What? Seven dollars an hour?
Nick: Hey, it's better than the joint. I can promise you that. Besides, you didn't prove anything ... Taking the life of an innocent woman ...
Juanito Concha: It was the perfect opportunity, bro...
Nick: Yeah? To do what? Impress a bunch of fools who don't give a crap about what happens to you, anyway.
(Quick flashback to: [NIGHT] Veronica Juarez takes out her keys. Around the corner sitting in his car, Juanito waits for her.)
(She hurries across the street. Juanito g*n the engine. The truck speeds toward her. She turns and is h*t by the truck.)
(End of flashback. Resume to present.)
Juanito Concha: Immortality, bro. See, I-I'm not gonna die a barback, or a dishwasher ...
Det. Sam Vega: You're gonna get the needle, menso. You're gonna die a m*rder.
Juanito Concha: Yeah, maybe so, but they're gonna write a song about me. I'm gonna go down in history.
Nick: No, no, no, no. You see, the song's already been written. You're just a sad copy. Una copia triste.
Juanito Concha: Look, I gave it my own twist, though. Uh ... 'cause I-I'm an original.
Nick: Right.
(Juanito chuckles. Nick stands up and heads for the door.)
Juanito Concha: (sings) machuque el perro con la lengua de la culebra...
(Nick catches the words, stops and turns around to look at Juanito as he sings his confession.)
Juanito Concha: (sings) tome el premio
(Quick flashback to: [NIGHT] Juanito scalps Veronica, ripping the hair right off of her skin.)
Juanito Concha: (sings) (V.O.) de lo que hecho
(He takes as much hair as he can.)
(Cut to: Elindio Zapata stands in front of a f*re. He turns around and heads toward Juanito and Veronica.)
Juanito Concha: (sings) (V.O.) le g*n yo a malverde ...
(Elindio is carrying a long hatchet.)
Elindio Zapata: (shouts) Limpia ... esta puta!
(He cuts Veronica's head off.)
Juanito Concha: (sings) (V.O.)
Que me diere guiansa
(Cut to: The f*re's flames.)
(End of flashback. Dissolve back to present.)
Juanito Concha: (sings) para quemar mis pecados ...
(Dissolve to: Elindio Zapata takes out a single bone and holds it.)
(End of flashback.)
Juanito Concha: (chuckles) ... immortal.
(Vega doesn't say anything. Juanito chuckles at his own cleverness.)
(From the side, Nick watches grimly.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x12 - Snakes"} | foreverdreaming |
FADE IN.
[EXT. VARIOUS LAS VEGAS COMMUNITY (STOCK) - DAY]
Cue Sound: MACHINE ENGINE STARTING
[EXT. SANDSTONE COMMUNITY -- DEVELOPMENT SITE -- DAY]
(Camera pans past a large sign:
SANDSTONE
THE AMERICAN DREAM
FROM $399,000
(A large construction machine moves along the cleared land. From the command office, the foreman walks out of the trailer with a cordless phone in his hand. He's not pleased.)
(He heads over to the man driving the bulldozer.)
Foreman: Joe! Joe!
(He waves his arms high in the air trying to attract Joe's attention, but the machines are just too loud. He continues to head toward Joe.)
Foreman: Joe! Hey, Joe!
(The machines continue to drown out his voice. The foreman walks closer to the work area.)
Foreman: (shouts) Joe! Phone! Phone! I'm not your damn secretary and your wife's not my boss! (to phone) You hear that, Cheryl? This is a company phone.
(Joe continues to work.)
Cheryl: (from phone) I don't care! I want to talk to Joe!
(At the sound of her voice, the foreman pulls the phone away from his ear and looks away. Suddenly, his face turns grim as he sees something in the ground in front of him.)
(Cut to: A pair of a woman's legs half buried in the ground, her high-heeled shoes still on her feet.)
WHITE FLASH TO:
[EXT. SANDSTONE COMMUNITY -- DEVELOPMENT SITE -- DAY]
(Nick looks around the area where the body is. He's wearing a bandana over his nose and mouth to keep from breathing in the dry dirt. The dirt around the body is marked by little yellow flags.)
(In the back, Catherine walks with the foreman toward the site.)
Foreman: If this is an Indian burial ground, I'm totally screwed. I'll be in litigation for months.
Catherine: I can't make any promises, sir, but I don't think the Paiute wore heels.
(They reach the site. The officer stops the foreman. Catherine passes Nick, who is busy filling up the marker with paint, and heads over to Warrick, who is examining the body.)
Officer: Sorry, sir. You can't go in there.
Catherine: Hey! What's it look like?
(Warrick looks at the partially buried legs.)
Warrick: Well ... the body's been cased in something. It's black. It's flexible ... but it's pretty stubborn.
(He pokes at the black stuff with his finger.)
Warrick: I think it's roofing tar. It keeps the smell and the animals away.
Catherine: It makes our job a lot harder.
Nick: We've got disturbed soil in a three-by-five perimeter.
Catherine: Okay. (to the drivers) Gentlemen! Start your shovels!
(The drivers of the machines start their engines and dig around the body.)
SHORT TIME CUT TO:
(The machines dig a hole around the body encased in tar. Nick works on excavating the body.)
(As he works, Catherine and Warrick discuss the body off screen.)
Catherine: (o.s.) Do you think our Jane Doe was buried alive?
Warrick: (o.s.) I don't' know. She wasn't just covered, she was completely encased. Whoever buried her sure had access to a lot of tar. I'm thinking a construction worker.
Catherine: Nick, did you get that last soil sample?
(Nick brushes away the dirt from under the body and finds a skeletal foot.)
Nick: Yeah, but I think I got something else too.
(Nick pulls his bandana away from his mouth.)
Nick: Hey, guys. Check this out.
(Catherine and Warrick walk toward Nick.)
Nick: A third foot. (sighs) Looks like we have another body at the bottom.
(Camera zooms in through the skeletal foot through all that decay and ends up inside where the skull is focusing on the yellow teeth.)
(End of camera zoom. Resume to present.)
Catherine: I don't know if she was buried alive, but ... she wasn't buried alone.
(Catherine raises the camera, looks through the lens and snaps a photo.)
FLASH TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY]
(The large block of tar and rock containing the two bodies now rests on an examining table in the middle of the autopsy bay. David Phillips and the other coroners wheel in the large x-ray equipment.)
(Quick flash to an x-ray image of a skeletal chest is b*rned onto film.)
(David Phillips adjusts the x-ray equipment, pulling it up to the middle of the block.)
(Quick flash of an x-ray image of a skull as it's b*rned onto film.)
(David Phillips adjusts the x-ray equipment, pushing it down the block.)
CUT TO:
[INT. CSI - LAB]
(The x-ray images of the two bodies in the tar block are out on the table. Doc Robbins goes over the images with Catherine.)
Robbins: Two sets of hands. Two sets of feet. Two skulls, two bodies. Both appear to be female. Jane Doe bottom's curled up. Jane Doe top's laid out flat.
(Catherine points to the wire across the skull's teeth.)
Catherine: This looks like ... barbed wire.
Robbins: It's in her mouth. Could be a dental appliance.
Catherine: Or maybe some kind of t*rture device.
Robbins: You're thinking ritualistic?
Catherine: Oh, I don't know what I'm thinking.
(Suddenly, Grissom appears in the doorway, his face alight with eagerness.)
Grissom: (interrupts) Hey! They told me you dug up two bodies covered in tar?
CUT TO:
[INT. CSI - LAB]
(The block of tar. The camera slowly pulls away from the block of tar. We find Catherine and Grissom standing over it trying to figure out how to get to the evidence inside.)
Grissom: So. How you going to separate them?
Catherine: I'm not sure yet. Obviously I can't saw through without potentially destroying evidence, so ... if the tar were harder, I could chisel it. If it were softer, we could peel it off.
(Grissom smiles knowingly.)
Grissom: I have an idea.
Catherine: Of course you do, but last I checked, the backlog on grave was about ... mmm ... a hundred cases?
Grissom: You've been spending too much time with Ecklie. I'm off the clock. I came in early for this.
(Camera refocuses on the pair of shoes sticking out of the tar block.)
(Cut to: Catherine uses a drill and bores a hole into the tar block. Grissom places a funnel into the holes that Catherine drilled. They line up down the middle of the tar block.)
Catherine: You ever done this before?
Grissom: Nope ... but I do know that tar becomes as brittle as glass at about minus two hundred degrees.
(Cut to: They fill a canister up with liquid nitrogen. Grissom pours the liquid into the funnels. He fills up three funnels. On the fourth funnel ...
(Quick CGI POV: Camera zooms down into the funnel following the liquid into the tar block. The liquid nitrogen freezes the tar.)
(End of CGI POV. Resume to present.)
(Grissom uses a hammer and hand axe and taps the block down the middle following the line of funnels.)
Catherine: Okay, Mr. Wizard.
(Grissom hits the hammer hard and the block breaks neatly into two pieces.)
(Catherine's impressed.)
(Cut to: Both Catherine and Grissom work on one of the blocks, using hand canisters to spray liquid nitrogen, and chip away at the pieces of tar to get to the body inside.)
(Cut to: They continue working on the block, exposing more and more of the body inside.)
Catherine: Not much left of her but the clothes.
Grissom: Well, let's see what our other one looks like, shall we?
(They move over to the second tar block and start working on that. They spray and chip at the block. Grissom gets a piece of tar loose and lifts it up. He peels the tar piece off. The skull inside collapses and crumbles.)
(Grissom stares at the broken skull. He turns and looks at Catherine.)
Grissom: Huh.
(Catherine clears her throat.)
(Grissom glances down at his watch.)
Grissom: Oh, boy. I gotta get my shift started. Good luck with the case.
Catherine: No, no, no. You're not going to just destroy this skull and split.
Grissom: You can make a nice mold from the impression.
Catherine: I'm short-handed as it is.
(Grissom takes his glasses off.)
Grissom: I think Sara just wrapped a case. If you need her, she's yours.
(He turns and makes his escape, leaving Catherine exasperated.)
CUT TO:
[INT. CSI - LOCKER ROOM]
(Greg is standing in front of his mirror in a suit and tie. He's straightening his hair trying to get it to stay down.)
(Sara walks into the locker room. She sees Greg and stops.)
Sara: Wow. Look at you, Mr. Straightedge. I did not know that your hair could do that.
Greg: I look like a dork.
Sara: No, no. No, you look like a pro, which is what you are. Let me guess - a prelim for Sherlock?
Greg: Yep.
(Sara puts her bag in the locker. She takes her jacket off.)
Sara: Uh-huh. Who's your judge?
Greg: Uh ... Dudley ... Anderson?
(Sara grimaces.)
Sara: Yeah. Well, not the sharpest tool in the shed.
(She hangs up her jacket and turns to give Greg some advice.)
Sara: (clears her throat) Speak slowly. Use simple terms. You're gonna nail it.
(Catherine pokes her head in the doorway.)
Catherine: Sara. You're mine tonight.
(Catherine leaves as Sara turns around.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(David Phillips examines the remains. He touches the skull and lifts up the arm. He takes a swab of some of the bloodstains on the victim's clothing. He tests it. It turns pink.)
INTERCUT WITH:
[INT. CSI - LAB]
(Sara sprays the inside of the piece of tar covering the victim's face as she prepares to reconstruct the victim's face. She mixes the molding and pours it into the tar piece.)
(Nick examines the victim's clothing and checks the clothing label.)
(Meanwhile, David Phillips takes out the bone pieces that he's been boiling. He adds more bone pieces to put back into the pot. He removes the wire mouthpiece from the batch and sets it aside.)
(Sara removes the mold from the tar piece. She flips it over and looks at the mold of the woman's face.)
(Later back at the forensics lab, Doc Robbins is fitting the pieces of the broken skull back into place. The cleaned skull is set on a stand. He turns the skull around to examine the back.)
(Sara has the victim's mask on a stand as she paints the face in a flesh-colored tone. She continues to work.)
(Various dissolves as she finishes.)
CUT TO:
[INT. CSI - LAB]
(Sara finishes the face and places it on the table, face away from her.)
Sara: Ladies and gentlemen, Miss Jane Doe Top.
(Catherine, Warrick and Nick are standing in the doorway.)
Catherine: My God.
Warrick: Nice job.
Sara: Thanks.
(They walk in and take a seat at the table. Catherine sits next to Sara)
Catherine: Thank you, Sara.
(Catherine turns the mold of the victim's face toward her.)
Catherine: Well, Doc Robbins told me that she had severe trauma to the skull, probably what k*lled her.
Warrick: Well, that would explain the blood David found on her shirt. Mia's running DNA right now to find out if it matches the victim, or any suspects, for that matter.
Nick: Remember, now, she had a broken jaw. That was 26-gauge stainless steel. It's used to surgically wire jawbones shut.
(Sara looks at the photos of the victim's hands.)
Sara: What's with the fingers?
Catherine: Distal phalanges were cut off. Both vics, both hands. I cast tool marks, looks like some kind of opposed blade tool. Jagged on one side, smooth on the other.
Nick: Well, if it was pre-mortem, that would support t*rture.
Warrick: Yeah, but if it was post, they probably did it to conceal identity.
(David Hodges enters the room.)
Hodges: Hey, you guys still working on that mass-grave theory?
Catherine: Yeah.
Hodges: You know what I like about flesh decomposing in soil? It's predictable.
(Quick CGI POV to: The body in the tar block decomposes. In fast motion, the rotting flesh off the skull slides off, revealing the muscle under it. The muscle rots, slides off the skull and dries up.)
Hodges: (V.O.) The constituent elements diffuse into the ground over time.
(Camera swings over to the soil underneath, showing the liquid flesh dripping off the bones and seeping into the soil under the corpse.)
(End of CGI POV. Resume to present.)
Hodges: The longer they're there, the lower the concentrations. I tested the soil samples Nick took from around each body. Curly Sue was on the bottom for at least five years, and Flat Sally was on top for only two.
(Hodges turns and leaves the lab.)
Catherine: So we've got a k*ller who digs a grave, dumps a body, covers it with tar, comes back three years later, digs again and dumps another one on top of it?
(Sara looks at the photos.)
Sara: Ten to one, it's domestic abuse. b*at up, then shut up.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Nurse: (V.O.) You hitting every E.R. in town?
Sara: (V.O.) Seems like it.
[INT. DESERT PALMS HOSPITAL - FILE ROOM - NIGHT]
(The nurse carries in a file box. She walks over to Sara who is sitting behind a desk.)
Nurse: These are all the jaw fractures that came in from two to three years ago.
Sara: Thank you.
(The nurse opens the file box.)
Nurse: We don't get as many of these as we used to.
Sara: Domestic v*olence laws have forced men to get smarter about their hitting.
(The nurse leaves. Sara opens the first file folder and looks at the photo inside of a blonde-haired woman with bruises on her face.)
(She opens a second file folder and compares the battered woman's photo to the photo of the mold of the victim's face. No match. She sets the file folder aside and continues.)
(In the voice over background noises, we hear the muffled sounds of a man and a woman yelling.)
(Flash to: Sara rubs the back of her neck as she goes through the file folder. Another flash and we get a close up of Sara nervously twitching her thumb. She closes the file folder and sets it aside.)
(Various flashes of: Sara continues to go through the file folders, viewing photos of battered women and comparing it to the photo of her Jane Doe Top.)
(Finally, she finds a photo that matches her mold.)
(She looks at the Admission Record:
DESERT PALMS HOSPITAL
ADMISSION RECORD
PATIENT'S NAME: MELTON, SVETLANA
PERMANENT ADDRESS: -9 RIVERSIDE LANE, LAS VEGAS
PRIOR HOSPITALIZATION: N/A
OBSERVATIONS - PATIENT APPEARS TO -
DOMESTIC ABUSE
CONDITION OF ADMISSION
TEMPERATURE: 99
PULSE: 86
CUT TO:
[INT. POLICE DEPARTMENT - RECEPTION / INTERVIEW ROOM -- NIGHT]
(Catherine opens the door. Andrew Melton arrives with his very young wife, June.)
Andrew Melton: (to June) Why don't you, uh, you wait for me here, okay?
(June turns around and obediently sits down in the hallway chair. Andrew Melton enters the interview room.)
Catherine: Mr. Melton, take a seat.
(Catherine closes the door behind him. Andrew Melton sits at the table. Sara glares at him.)
Andrew Melton: I married, uh, June about a year after Svetlana left.
Catherine: And when was the last time that you saw Svetlana?
Andrew Melton: It was about two years ago. She didn't come home one night. Next thing I know, the cops are knocking down my door. I thought something happened to her, but they were there to arrest me. For hitting her.
Sara: Are you saying that you didn't?
Andrew Melton: We were married for three years. I never h*t her.
Sara: Why would she lie?
Andrew Melton: I don't know.
(Catherine watches Sara. She turns back to Andrew Melton.)
Catherine: And then what happened?
Andrew Melton: After that, I ... I was done. I went looking for her to sign the divorce papers, but ... it was like she fell off the face of the earth.
Sara: Or got buried a few feet under it.
(Catherine turns to Sara, surprised by what she's saying.)
Andrew Melton: Look, I took out ads in the newspaper every day for a month. She never responded.
Catherine: Yet you didn't file a missing persons report.
Andrew Melton: I'd been accused of abuse. How would that have looked?
Sara: You seem to care a lot about the way things look, Mr. Melton.
(He looks at Sara. Sara glares back.)
Catherine: Well, we're gonna need a list of Svetlana's friends and family.
Andrew Melton: She didn't have any.
Sara: She spawned from nothingness?
Andrew Melton: Her parents died in some kind of industrial accident in Odessa.
Catherine: Russia?
Andrew Melton: Yeah.
Catherine: How did the two of you meet?
Andrew Melton: Through an agency.
Sara: Svetlana was a mail-order bride?
Andrew Melton: We were introduced through an agency.
Sara: So what happened, the Russian agency denied your application for another wife, or, uh, you lost your taste for white meat? Too tough?
(Catherine's eyes widen and jaw drops. Andrew Melton gets angry. Catherine puts a hand to her forehead as the entire interview falls apart.)
Andrew Melton: You know what, lady? I am not gonna feel bad about my decision. I dated American women, like you. They don't want to be anyone's wife, or mother - (Sara turns and looks at Catherine. Catherine looks back.) -- you mention the word "domestic," they're done with you. It's nice to be needed ...
(Andrew Melton turns and looks back at June, who is sitting obediently out in the hallway. He turns and looks at Catherine.) ... not resented.
Sara: Yeah, I find isolation and dependency really sexy, too.
Andrew Melton: (sighs) You know, what, you can think whatever you want.
(Andrew Melton gets up and heads for the door. He leaves. June stands up as he steps out into the hallway. With a last glance at the interview room, he leaves.)
SHORT TIME CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - NIGHT -- CONTINUOUS]
(Catherine and Sara walk down the hallway.)
Sara: Look, all I am asking is to have a black-and-white do regular welfare checks.
Catherine: Did the wife ask for help?
Sara: Well, that's kind of hard to do when you don't speak English and you're a sex sl*ve. I'm sure she doesn't know her rights.
Catherine: (sighs) You can't arrest someone for marrying the wrong person.
Sara: You would know.
(Catherine lets that one slide.)
Catherine: If the guy's an abuser, if he k*lled his first wife, we will build a case and we will nail him.
Sara: And in the meantime, he can just keep using her as a punching bag.
Catherine: Sara, I was there -- there wasn't a mark on her.
Sara: Not that we could see, Catherine.
(They stop walking. In the back of the hallway, Conrad Ecklie steps out of the lab and sees Catherine and Sara.)
Catherine: You know ... every time we get a case with a hint of domestic v*olence or abuse, you go off the deep end. What is your problem?
Sara: Yeah, I probably do, and you let your sexuality cloud your judgment about men, and I'm gonna go over your head.
Conrad Ecklie: Sidle.
(Sara turns and looks at Ecklie.)
Conrad Ecklie: Get in my office. Now.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - ECKLIE'S OFFICE -- NIGHT]
(The office door opens. Ecklie and Sara step inside.)
Conrad Ecklie: You are a law enforcement officer and a representative of this city. That means I expect you to conduct yourself in an appropriate manner, in and away from this lab.
(Ecklie walks around the desk and sits down.)
Sara: You know what, if this is gonna be one of your "for the good of the lab" speeches, don't bother. I've heard them.
Conrad Ecklie: Just take a seat.
(Sara remains standing.)
(Ecklie opens his desk drawer and takes out a file folder.)
Conrad Ecklie: Willows is a supervisor -- that means you treat her with respect. Insulting her in front of coworkers ...
Sara: She's not my supervisor.
Conrad Ecklie: All right-- your superior. Sara, you berate witnesses, you disrespect the people you work with, you luck your way out of a DUI. Take a look -- you got a half a dozen complaints in your jacket. (He tosses the file folder on the desk in front of her.) And if Grissom really documented your performance, there'd probably be a dozen more-- that's not the kind of person I want in my lab.
Sara: The only reason this is your lab is because Grissom doesn't kiss ass. You couldn't hack it in the field, so you fail your way up, you break up our team, and now you just hang out in the hallways waiting for one of us to screw up.
Conrad Ecklie: Sidle, you're on one-week suspension without pay, ...
Sara: (mutters) Great.
Conrad Ecklie: ... and when you get back, you're apologizing to Catherine.
Sara: (shakes her head) No, I'm not.
(Sara turns and leaves the office.)
CUT TO:
[INT. CSI - LAB]
(Catherine walks into the lab where Warrick is working. He looks up as she sighs.)
Warrick: What's going on around here?
Catherine: I don't want to talk about it. Okay, so, this is the jacket that Svetlana was wearing the night that she went into the hospital?
Warrick: Yeah. I pulled it out of the vault from the original abuse charge two years ago. Most of the blood is Svetlana's, although there is a small portion that comes from an unknown male.
Catherine: So I'll see if the husband's willing to give us a comparison.
Warrick: Don't bother, he already voluntarily gave a sample the night that this happened, and it's not a match.
Catherine: So he was telling the truth?
Warrick: (shrugs) Eh ...
(Warrick picks up a "Lacey's Pocket Dictionary".)
Warrick: I did find this ... in her pocket.
(Hidden inside the pages of the dictionary is a set of camera booth photos of Svetlana and a young dark-haired man.)
Warrick: Is that the husband?
Catherine: Nyet.
Warrick: Well, they're looking pretty friendly here. And you could write some teen poetry from the words that are highlighted in this dictionary.
Catherine: Well, maybe Andrew found out that Svetlana wasn't as lonely as he thought she was.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY -- DAY]
(Catherine is walking through the hallway when Greg catches up with her.)
Greg: Catherine, I heard Ecklie suspended Sara. What can we do?
Catherine: Nothing.
Greg: No?
Catherine: Mm-mm.
Greg: Sara's always been there for anyone who needs her. She's always had my back. So what if she flew off the handle a little?
Catherine: Greg, she crossed the line with a suspect; she was inappropriate with me and with Ecklie; she needs the time off.
(Catherine walks away from Greg, leaving him stunned in the hallway.)
CUT TO:
[INT. CSI - LAB -- DAY]
(A set of clothes are set out on the table. Warrick and Nick stand near the table.)
Warrick: A lot of blood on that blouse.
Nick: Yeah, well, her wounds don't just trickle, man, they-they gush.
Warrick: Were you able to get anything off these jeans?
(Nick picks up a slip of paper from the table.)
Nick: Uh, found this paper. It was found in the pocket. Decomp trashed it, though.
Warrick: That reminds me of the time I as at the Ghost Bar, and I ran into this hottie. I mean, the girl was an absolute dime. And I didn't have my phone on me, so I wrote her number down on paper, and put it in my pants. The jeans ended up in the wash.
Nick: Ouch.
Warrick: Yeah. But ...
(Warrick checks the inside lining of the pants pocket.)
Warrick: Yeah.
(He chuckles as he finds the ink smudge inside the lining.)
Nick: Fatty acids dissolve the ink, and it leeches onto the pocket lining.
Warrick: Yeah.
Nick: Huh. That must've been a pretty hot number you had there, boss.
Warrick: Yeah, it was.
CUT TO:
[INT. CSI - Q.D. LAB - DAY]
(Ronnie Litre processes the writing on the pocket lining for Nick.)
Ronnie Litre: All right, first we mirror it, and then we remove the background texture of the cotton weave.
Nick: Sharpen the contrast, will you?
(Nick reads the writing.)
Nick: "Madame ... Matryoshka's. Tuesday ... Eight? G A.M."? Some kind of appointment. "G A.M."?
Ronnie Litre: Do you know what "matryoshka" are?
Nick: (nods) Sure.
Ronnie Litre: (laughs) Russian nesting dolls.
Nick: Oh, yeah, yeah, the dolls that look alike, that fit inside of each other, right?
Ronnie Litre: My grandma had a set. Anyway, people who've gone from writing cyrillic to English often write their nines as lowercase g's.
(Nick nods.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. MADAME MATRYOSHKA'S (BEAUTY SHOP) - LOBBY -- DAY]
(Brass and Nick walk into the beauty shop. They walk up to the reception counter. Brass clears his throat.)
Vlad: You have appointment for haircut?
Brass: Nah, I'm trying to get a rastafarian thing going. (Vlad looks at them.)
Is there an actual Madame Matryoshka?
Vlad: (in Russian) (untranslated)
Brass: We're polizia. Yeah.
(Brass and Nick walk around the counter. A tall woman walks up to them.)
Chloe Daniels: Chloe Daniels. What can I do for you?
Brass: I'm Detective Jim Brass, Las Vegas Police. This is Nick Stokes from the Crime Lab. We're here about Svetlana Melton.
Chloe Daniels: Yeah, she used to work here.
Brass: In what capacity?
Chloe Daniels: Hairdresser.
Nick: You mean wife-to-be.
Chloe Daniels: Yeah.
Nick: For money?
Chloe Daniels: Yeah.
Nick: Sounds a lot like prostitution to me.
Chloe Daniels: Yeah, well, it's not.
(Nick walks past her and starts looking around the back. Chloe turns her attention back to Brass.)
Chloe Daniels: Look, I didn't invent this. Go on line -- there are dozens of sites with thousands of women. They advertise these exciting trips to Kiev. I just bring Kiev to you. I sponsor 90-day work VISAs, teach the girls a trade. They cut hair for men.
Brass: So men shop for a wife. You screen the guys?
Chloe Daniels: You pick up a woman at a bar, does the bartender screen you? You take her home, take her to your bed. How well did you screen her?
Brass: You should be sainted.
Nick: Mm, I don't know about that. Svetlana ended up d*ad.
SHORT TIME CUT TO:
[INT. MADAME MATRYOSHKA'S (BEAUTY SHOP) - CHLOE'S OFFICE -- DAY]
(Chloe Daniels sits behind her desk. Brass and Nick sit across her. Brass shows her the camera booth photos found in Svetlana's pocket dictionary.)
Brass: You recognize this guy?
Chloe Daniels: Yeah. Ken Wellstone. Lives down the street. Actually comes in for haircuts. Isn't interested in my service. Not the marrying kind, I guess.
Nick: Yeah, I-I'm sorry, there seems to be a really fine line here between, uh ... peddling marriage and peddling flesh.
Chloe Daniels: When is marriage anything else?
Brass: Nick is, uh ... he's an old-fashioned guy.
Chloe Daniels: Really? (laughs) Well, what do you think engagement rings are? Just proof that a man can pay for his bride. Look, caveman would go steal a woman from a neighboring clan. He'd tie her hands and her feet till she wouldn't run away. Once she'd stay put, he would only tie her finger, just to remind her.
Brass: So you're a romantic.
Chloe Daniels: Marriage is not romance. It's a contract with the state. It's an investment in your future.
(Nick looks around the office at the framed photos of happy couples.)
Chloe Daniels: I'm not making it about money, it just is.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. WELLSTONE RESIDENCE - LIVING ROOM - DAY]
(Brass and Nick interview Ken Wellstone.)
Ken Wellstone: Uh, she cut my hair.
Brass: She licked your cone.
(Brass holds out the camera booth photos. Ken Wellstone looks at them.)
Ken Wellstone: Well, I-I took Svetlana out once for. For ice cream. It was ... it was a hot day.
Nick: That's it?
Ken Wellstone: Yeah, that's it. She, uh, gave me some sob story about how she was married to some abusive guy, you know, and how, uh ... she begged me to help, and ... blah, blah, blah, blah. I don't ... I don't need that kind of drama. I don't.
Brass: Mr. Wellstone, what do you do for a living?
Ken Wellstone: I'm a real estate agent.
Brass: You're not in construction or anything?
Ken Wellstone: No. Why? (Suddenly it dawns on him that they must be there for a reason.) Something happen to Svetlana?
Nick: Yeah, she was m*rder.
(Ken is stunned momentarily silent.)
Ken Wellstone: Oh.
Nick: We're gonna need to get a DNA sample from you, and I'm gonna take a look around your place. Is that cool?
Ken Wellstone: Sure. Yeah, go ahead.
CUT TO:
VARIOUS CUTS OF:
(Nick walks into the darkened room carrying an ALS. He swings the light around as she walks into the room.)
(Nick pulls away the bed cover and looks at the bed sheet under the ALS.)
(Nick looks under the dining room table. He turns the ALS off. He shines his flashlight on the carpet and sees some discoloration. He cuts a swatch of the carpet off.)
CUT TO:
[INT. SARA'S RESIDENCE -- DAY]
(Sara is sitting at her desk, a beer bottle in her hand, when someone knocks on the door. Using the remote, she turns the stereo off. The background music stops. She stands up and answers the door.)
(She opens the door and finds Grissom standing outside her front door. She sighs.)
Sara: Well, if you're here, it can't be good.
Grissom: Can I come in?
(She steps back to let Grissom in. She lifts her beer bottle at him.)
Sara: Want to ask me if I'm drunk?
Grissom: We both know that's not your problem.
(He steps into the room. Sara closes the door. Grissom turns around.)
Grissom: I spoke to Catherine.
Sara: (nods) Ecklie?
Grissom: He wants me to f*re you.
Sara: I figured.
(She sighs.)
Sara: Can I get you anything?
Grissom: Sure. An explanation.
Sara: I ... lost my temper.
(Sara walks around the room and stops in front of the chair near her desk.)
Grissom: That seems to be happening quite a bit. Do you know why?
Sara: What difference does it make? I'm still fired.
Grissom: It makes a difference to me.
(Standing a room apart, Sara takes her best sh*t at giving him an explanation.)
Sara: I have a problem with authority. I choose men who are emotionally unavailable. I'm self-destructive. All of the above.
Grissom: "Have you ever gone a week without a rationalization?"
(Sara takes a breath, but before she can say anything, Grissom explains.)
Grissom: It's from the "Big Chill". One of the characters explaining a basic fact of life -- that rationalizations are more important to us than sex even.
(Sara sits down.)
Sara: I am not rationalizing anything. I crossed the line with Catherine, and I was insubordinate to Ecklie.
Grissom: Why?
Sara: (shakes her head) Leave it alone.
Grissom: No, Sara.
Sara: What do you want from me?
Grissom: I want to know why you're so angry.
(Sara stares at Grissom.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. SARA'S APARTMENT - DAY]
(Sara and Grissom sit facing each other. The light from the setting sun filters through the darkening room.)
Sara: It's funny ... the things that you remember and the things that you don't, you know. There was a smell of iron in the air. Cast-off on the bedroom wall. There was this young cop puking his guts. I remember the woman who took me to foster care. I can't remember her name. Which is strange, you know, 'cause I couldn't let go of her hand.
Grissom: Well ... the mind has its filters.
Sara: I do remember the looks. I became the girl whose father was s*ab to death. Do you think there's a m*rder gene?
Grissom: I don't believe that genes are a predictor of violent behavior.
Sara: You wouldn't know that in my house. The fights, the yelling, the trips to the hospital. I thought it was the way that everybody lived. When my mother k*lled my father, I found out that it wasn't.
(Sara starts to cry. Grissom reaches out and holds her hand.)
CUT TO:
[INT. CSI - TRACE LAB -- NIGHT]
(Hodges works on processing the black spot found on Ken Wellstone's carpet. He also takes a bit of the tar from the tar block.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Brass interviews Ken Wellstone. Brass shows Ken Wellstone two photos.)
Brass: So the tar from your carpet matches the tar that Svetlana Melton was buried in.
Ken Wellstone: Tar ... I ... where? I mean, I have no idea what you're talking about.
Brass: We also found your blood on her parka that she wore to the hospital two years ago.
Ken Wellstone: I can explain that. That was from ...
Brass: So can we -- you b*at her, you k*lled her, you buried her.
Ken Wellstone: No, I didn't. No, stop, please. Listen. She ... she ran away.
(Brass looks blankly at Ken. He reaches into his jacket pocket, takes out his wallet, opens the wallet and takes out a folded slip of paper. He opens the paper and reads the note.)
(Brass holds out the file folder.)
Brass: Put that in here.
(Ken drops the open note on the file folder, words-side up.)
Brass: (reads) "Ken, do not look for me. I need to go away. Svetlana."
Ken Wellstone: You know, after everything that we'd been through and everything, this just seemed really, uh ... it was cold. (Brass nods.) Didn't sound like her. She usually called me ... Kenski.
Brass: So what was your relationship, Kenski?
Ken Wellstone: What was my relationship? My relationship was, uh ... we were, uh ... we were in love.
Brass: How did her husband feel about that?
Ken Wellstone: Her husband bought her, so he thought he owned her. And Svetlana was way out of his league. And what she wanted to do was fast track her divorce. So she thought maybe if she made it look like Andrew had b*at her, that that would do it, but that didn't do it because he'd actually never h*t her. So ...
Brass: How'd she break her jaw?
(Ken suddenly becomes very quiet.)
Brass: Huh?
Ken Wellstone: She begged me.
(Quick flashback to: Svetlana pleads with Ken.)
Svetlana Melton: Please, Kenski. Please. h*t me hard on face. It is only way for me to leave this horrible man. Please, Kenski. h*t me if you love me.
(He leans forward and kisses her.)
(He straightens and punches her in the face.)
(End of flashback. Resume to present.)
Ken Wellstone: I just loved her.
CUT TO:
[INT. CSI -- LAB]
(Warrick is spraying the clothes with luminol. As she blood spatter lights up, he places little arrow stickers on the material to show where the blood is located.)
CUT TO:
[INT. CSI - HALLWAY]
(Warrick reports his findings to Catherine.)
Warrick: All of the blood on Svetlana's sweatshirt was hers.
Catherine: Nothing from Ken Wellstone?
Warrick: No, but some of the drops look a lot like dried blood, but they came back "aubergine sheen number 315," professional grade hair dye.
Catherine: Well, she worked in a hair salon.
Warrick: Yeah. Some of the patterns look a lot like cast-off.
(Quick flash of: [BEAUTY SHOP] Svetlana fights with her attacker.)
Catherine: (V.O.) Hair dye was present when she was being att*cked.
(End of flashback. Resume to present.)
Warrick: Ken still could have done it.
Catherine: True, but his story is so absurd I almost buy it.
Warrick: Yeah, well, admit the punch and you go to jail for a night. Admit the k*lling and you go to jail for life.
(They both turn and walk into the A/V lab where Nick is.)
[INT. CSI - A/V LAB - CONTINUOUS]
(Nick is going through the various photos of the mail-order brides on the internet at ivanawife[dot]com.)
Warrick: Find anything you like, buddy?
(Nick chuckles.)
Catherine: So, you can't sell your kids, but you can buy their mother.
(He stops at one and reads what the woman wrote.)
Nick: (reads) "I looking for kindest, noble man." Well, I got news for you, sugar pants. Buying women ain't that noble.
Warrick: Well, life is short. Dating's complicated. This makes it much simpler, doesn't it?
Catherine: It's not supposed to be simple. Complicated is the whole point.
Warrick: It is?
Catherine: Yeah.
Nick: Hey, wait a minute. You're not telling me you're into this stuff?
Warrick: Me? No. But you know, for a guy who's over 40, lonely, tired of the bar scene, got a little cash, wants to buy himself a sweet honey, be his companion ...
Nick: He needs a translator, 'cause you're not even speaking the same language.
Warrick: That's the best part.
Catherine: (groans) Ugh ... !
(Catherine turns and leaves. Warrick chuckles.)
Nick: (clueless) Best part of what?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. BEAUTY SHOP - SIDEWALK - NIGHT]
(Brass, Chloe Daniels, Vlad and some police officers stand outside the beauty shop.)
Chloe Daniels: What's all this about?
Brass: We have reason to believe Svetlana Melton was m*rder in your salon. We have a search warrant.
(Brass hands the warrant over to Chloe.)
Chloe Daniels: (sighs) Let them in.
CUT TO:
[INT. BEAUTY SHOP - NIGHT -- CONTINUOUS]
(Catherine looks around the main area. She stops at the table with an open shears holder. Catherine takes a pair of scissors out of the holder and looks at it.)
Catherine: Jagged on one side, smooth on the other.
(Quick CGI POV of: A fingertip is cut off with the pair of scissors. End of CGI POV. Resume to present.)
(Nick looks around the area. He picks up the appointment book and looks at it. He puts the book down and snaps a photo of it.)
(Catherine walks up to a station and uses the ALS on the wall.)
Catherine: I got blood spatter next to the hair dye.
(Nick walks over.)
Nick: Svetlana was a tall girl. Spatter looks a little low. Maybe she was sitting.
(Catherine notices the different chairs.)
Catherine: These chairs don't match.
(She reaches out and removes the vinyl from the chair.)
Catherine: I think somebody's hiding something.
(Under it, the back of the chair is smudged.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - LAB - NIGHT]
(Warrick shows Catherine what he's found.)
Warrick: The stain on the chair was Aubergine Sheen hair dye. DNA from the bloodstains on the walls was too degraded, and Mia could not get a match.
Catherine: So, we know who the blood belongs to. We just can't prove it.
Warrick: I think we can, though. You know some guy was selling a grilled cheese sandwich on ebay for something like $28,000 because he claimed the burn pattern contained the face of the Virgin Mary?
(As he talks, Warrick takes the smudge pattern from the chair and digitally matches it to one of the camera booth photos of Svetlana.)
(He flips the smudge over and matches it perfectly to the photo.)
Warrick: How much you think I can get for the face of Svetlana in hair dye?
(Quick flash of: [BEAUTY SHOP] Someone throws the hair dye at Svetlana. The metal pan hits the floor. The person throws Svetlana against the chair. She hits the chair with her face leaving the smudge behind.)
(End of flash. Resume to present.)
Catherine: Hang on. There's something else.
(Catherine enhances the locket in the photo. She recognizes the locket.)
(Quick flash to: [JUNE] June is wearing a similar locket around her neck. End of flash. Resume to present.)
Catherine: A recycled love token. Now, that's tacky.
Warrick: Yeah, that is pretty tacky.
Catherine: But it's cause for a warrant.
CUT TO:
[EXT. COMMUNITY (STOCK) - DAY]
[INT. MELTON RESIDENCE - LIVING ROOM - DAY]
(Andrew Melton reads through the warrant. June Melton stands next to him. Brass and the officers wait.)
Brass: Everything in order?
Andrew Melton: I'm not giving you a damn thing until I read every last word.
Brass: Take as long as you want. We're going to be here a while.
(In the kitchen, Catherine looks at the chain and padlock around the refrigerator door.)
Catherine: Do you believe this?
(Warrick notes that all the kitchen cupboards are also padlocked.)
Warrick: What, that the guy locks up his food?
Catherine: Locks his wife out.
Warrick: You think he's trying to protect his investment? Weight goes up. Value goes down.
Catherine: Control her food, control her destiny, I don't know.
Warrick: Look at this.
(Warrick holds up the phone with the cord removed.)
Warrick: She can't even call out for pizza.
Catherine: Or help.
(Andrew Melton finishes reading the warrant. Seeing that he's done, Brass mentions what they're there to collect.)
Brass: The necklace.
(Andrew Melton steps toward June to remove the necklace himself. Brass stops him.)
Brass: No, no, no. No, no. I got it. I got it.
(Brass reaches out and undoes the necklace clasp as Andrew Melton glares jealously at Brass. He swallows hard.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB]
(Catherine scans the necklace into the computer, magnifying it and examining it at the same time. She finds some blood on the clasp.)
(She takes a sample and tests it. The paper turns pink.)
CUT TO:
[INT. CSI -- OFFICE]
(Catherine meets with Warrick and Nick.)
Catherine: Svetlana's blood was on the necklace worn by Andrew Melton's current child bride.
Warrick: Could you imagine a control freak like him having to spend the night in jail on a phony abuse charge? You know he went looking for her when he got out.
(Quick flash to: Andrew Melton kneels down over Svetlana's d*ad, bloodied body and removes the necklace.)
Warrick: (V.O.) He b*at her, k*lled her and took back the only thing he valued.
(He puts the necklace in his pocket.)
(End of flashback. Resume to present.)
Nick: It'll never stand up, Rick. You know how it is, they'll say the blood could've come from anywhere. She could've left the necklace behind.
Warrick: We need a m*rder w*apon.
Catherine: (scoffs) Yeah, well, good luck on that one. Crime's over two years old. (groans) All righty. We know that this guy did it. How do we prove it?
Warrick: Can we prove he buried her?
Nick: I'm not convinced he did. Svetlana was buried in a pre-existing grave. Right on top of another girl's body.
Catherine: And both girls' fingertips were removed by blending shears.
Warrick: Which we also found at the salon.
Catherine: And the only people with full access to the salon are Chloe and Vlad.
Nick: Yeah, and Chloe doesn't really seem like the type that gets her hands dirty.
CUT TO:
[INT. CSI - Q.D. - NIGHT]
(Ronnie puts two enlarged writing samples - one of "Ken" from the note, and the other of "Kie" from the appointment book - one on top of the other to compare the two. Nick watches.)
Ronnie Litre: All right, the relative size of the letters and the spacing between them appear to be consistent with both Vlad's appointment book and the good-bye note left by Svetlana. My opinion is it's the same writer.
Nick: Well, it looks like the Vladski tricked the Kenski.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Warrick interviews Vlad. He shows Vlad his credit card statements.)
Warrick: According to your credit card statements, you purchased several buckets of tar two and five years ago ... at a local hardware store. Tell me, what's a receptionist at a hair salon doing with that much tar?
Vlad: In Russia, I work for certain family. When they want body taken care of, I go to oil field, dump body in tar. None ever found.
Warrick: Sounds like fun. (Vlad nods.) Tell me about Svetlana.
Vlad: Girl already d*ad. Nothing I can do.
Warrick: So you're saying you did not k*ll her?
Vlad: No.
Warrick: Then why'd you cover it up?
(Quick flash to: [BEAUTY SHOP] Vlad walks into the beauty shop. Svetlana is d*ad; Andrew Melton kneels over the body retrieving the necklace.)
Vlad: Svetlana, time to lock up.
(Vlad stops when he sees Andrew and Svetlana. Andrew stares at them.)
Warrick: (V.O.) You didn't call 911?
(Cut to: Vlad mops up the blood on the floor.)
Warrick: (V.O.) You cleaned up the scene, buried her, ...
(Cut to: [WELLSTONE RESIDENCE] Vlad walks into the house and leaves the note behind.)
Warrick: (V.O.) ... and then you left a note for Ken.
(As Vlad leaves, he leaves behind a tar stain from under his shoe and onto the carpet.)
(End of flash. Resume to present.)
Vlad: America is land of opportunity. Her death should be a total loss? Andrew Melton is very good tipper.
Warrick: Was Andrew Melton a very good tipper five years ago?
Vlad: (shakes his head) No.
Warrick: Svetlana wasn't buried alone. There was another body in that grave.
Vlad: Many girls want American husband. Sometimes Chloe can't get them a visa. They come anyway ...
(Quick flash to: [AIRPORT BAGGAGE] The people unload the luggage.)
Luggage Handler: (indiscernible)
(They put the suitcase on the side.)
(Cut to: Inside the suitcase, a woman gasps.)
(The workers pile on another heavy suitcase on top of the suitcase with the woman inside.)
(Inside the suitcase, she's being squashed.)
(End of flashback. Resume to present.)
Warrick: She came here in a suitcase, but she was d*ad on arrival, so you take her out to the desert and bury her in a hole?
(Quick flash to: [DESERT] Vlad unzips the suitcase with the d*ad woman inside.)
(Cut to: The d*ad woman is curled up in the hole. Vlad pours tar on the body.)
(End of flash. Resume to present.)
Vlad: Again, girl already d*ad. Nothing I can do.
WHITE FLASH TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Andrew Melton sits in the interview room.)
FLASH TO:
(Brass sits across from Andrew Melton.)
Brass: Boy, women can really drive you crazy, huh? I mean, this perfect creature who needs you, who loves you. I mean, you think you've got it all worked out. Your Christmas card's gonna look like the Sears catalogue, right? And then what? I mean, you give her stuff. You give her clothes, money and shelter, and, uh, and then she goes and makes up some bogus story about how you att*cked her.
Andrew Melton: Which I never did.
Brass: Man ... a love like that. So pure. I mean, men have robbed banks for less, put their life on the line ... would k*ll to protect it.
Andrew Melton: Everywhere we went, men were making love to her with their eyes, defiling her with their thoughts. It got so bad it wasn't safe to let her leave the house. But then she got lonely. Like a person I didn't recognize.
Brass: You made her an American.
Andrew Melton: In all the good ways ... (b*at) ... and the bad.
(Quick flash to: [BEAUTY SHOP] Svetlana is in the shop when Andrew Melton walks in.)
Andrew Melton: Svetlana!
(Svetlana looks at him, scared.)
Andrew Melton: (angry) You told them I h*t you?! (Svetlana looks for a way to escape, but doesn't see any. She can't cry out because her mouth is wired shut.) Why would you do that? Huh?
(He rushes toward her, throwing the metal dish of Aubergine Sheen hair dye in her face. He pushes her away from him toward the chair. Svetlana hits the chair with her face, leaving behind the face-shaped smudge.)
(He rushes toward her and starts punching her in the face.)
Andrew Melton: Is that what you want? Huh? You want me to h*t you?! That you want?!
(He doesn't stop.)
(End of flashback. Resume to present.)
Andrew Melton: She never appreciated me.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - NIGHT -- CONTINUOUS]
(Officers escort a handcuffed Andrew Melton through the hallway. Chloe Daniels and June are in the waiting room. June sees them walk past. She rushes toward them.)
June Melton: Andrew, what happens? JUNE MELTON: Andrew?
(Chloe appears behind June.)
Chloe: It'll be okay, honey. It'll all work out. You'll see.
(She hugs June, who sniffs.)
(In the back of the hallway, Brass watches them.)
CUT TO:
[INT. CSI - ECKLIE'S OFFICE]
(Grissom heads for Ecklie's office. Inside the office, Catherine and Ecklie are going over some files.)
Catherine: (to Ecklie) Okay, here's what I wanted to show you. The facts just don't match up.
(Grissom walks up to the table where the two are seated.)
Grissom: You wanted to talk to me about Sara?
Conrad Ecklie: I haven't received her disciplinary action. What's the holdup?
Grissom: Well, I'm not f*ring her.
Catherine: What action are you taking?
Grissom: I've taken it.
Conrad Ecklie: I thought I was clear.
Grissom: You were. Now let me be clear. Sara's behavior is a direct result of my management.
Conrad Ecklie: So I should f*re you.
Grissom: But you won't.
Conrad Ecklie: Look, Gil ... I've been there. We're human. We get attached to people, we try to fix their problems. It doesn't work.
Grissom: She's a great criminalist, Conrad. And I need her.
Conrad Ecklie: I'm sure you do. You know what? (He stands up.) She's a loose cannon with a g*n. And she's all yours.
(Grissom watches Ecklie. He shifts his gaze from Ecklie to Catherine, who looks at Grissom.)
(Camera holds on Grissom.)
FADE TO BLACK
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x13 - Nesting Dolls"} | foreverdreaming |
FADE IN.
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
(Camera pulls back from the city.)
[EXT. BOULDER HIGHWAY -- NIGHT]
(Parked along the stretch of empty road, officer car lights flash. Brass and Grissom walk toward the abandoned car where Sofia Curtis is examining the possible crime scene.)
Brass: (to Grissom) Bolo out on the vehicle. Missing persons: Lori Kyman. Husband said she went out with some girlfriends earlier this evening, and never came home.
Sofia Curtis: F-O-S.
Grissom: What's an F-O-S?
Sofia Curtis: Friend of the sheriff. How else do you get listed as a missing person so quickly?
(Grissom tries the door handle.)
Grissom: Doors are locked. No key in the ignition. No sign of struggle or foul play.
Sofia Curtis: Flat tire. Couple of smudges. Okay, pop it.
(Sofia steps aside. The tech steps forward and pops the trunk open. It's empty.)
Sofia Curtis: So, she gets a flat. There's no gas station around. It's a Lexus, so there's no On-Star. She must have had some kind of emergency roadside service.
Brass: I ran her cell phone log. She made one call to her husband at 9:30. Said she was coming home at eleven; that's it.
Sofia Curtis: Maybe some good samaritan offered her a lift.
Grissom: Yeah, and evidently didn't take her where she wanted to go.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. KYMAN RESIDENCE - LIVING ROOM -- DAY]
(Sara and Brass interview Mark Kyman. Lori Kyman's best friend, Amy Maynard, is there carrying the baby, Joey.)
Mark Kyman: Lori hadn't gotten out much since Joey was born. She needed some time away from the baby, and from me.
Amy Maynard: Girls' night out. We've been best friends since high school.
Brass: Where'd you go?
Amy Maynard: The Top Floor.
(Brass and Sara turn to look at each other.)
Brass: That's right next to O'Shea's.
(He winks at her.)
(Sara gets it. She stands up.)
Sara: Amy, why don't you and I go into the other room?
Amy Maynard: Okay.
(They turn to leave. Mark looks at Amy.)
Mark Kyman: (to Amy) He's going to need his bottle soon.
Amy Maynard: I'll take care of it.
(Amy and Sara leave the room. Brass resumes the interview.)
Brass: So, Mark, you were home alone with the baby last night?
Mark Kyman: No. Uh, I, uh, I manage the steakhouse at the Tangiers. I got home around nine. My mother-in-law was taking care of Joey.
Brass: Your mother-in-law. I'll need to speak with her.
Mark Kyman: Yeah, she's on her way over.
MEANWHILE:
(Sara talks with Amy Maynard in the other room. Joey is playing with a teething toy and cooing.)
Amy Maynard: She's in love with her baby. She wouldn't go anywhere without him.
Sara: What about Mark?
Amy Maynard: Mark loves Lori. He would never hurt her.
Sara: When a wife disappears, it's protocol to look at the husband.
(Amy sighs.)
Amy Maynard: I promised I would never say anything. Before the baby was born, she suspected he was cheating. (Sara nods.) But then Joey came, and last night at the club, Lori said things were great.
Sara: Did anything unusual happen last night?
Amy Maynard: There was this one guy who kept moving in on Lori.
(Quick flashback to: [THE TOP FLOOR - BAR - NIGHT] Amy and Lori are sitting at the bar nursing their drinks when Brad Himmel walks up to Lori and starts talking with her.)
Brad Himmel: Hi. Could I ask you a question? It's critical.
Lori Kyman: Okay.
Brad Himmel: Am I your type?
Lori Kyman: I'm married.
Brad Himmel: Oh, yeah? Nice try. (He points to her bare ring finger on her left hand.) Ring.
(End of flashback. Resume to present.)
Amy Maynard: I think his name is Brad.
Sara: Does Lori always go out without a ring?
Amy Maynard: She had lost some weight. It was being resized.
[INT. KYMAN RESIDENCE -- LIVING ROOM - DAY - CONTINUOUS]
Brass: So, Lori calls you at 9:30 to check on the baby.
Mark Kyman: Yeah. Said she missed him. Said she was going to be home at eleven. I, uh, passed out on the couch waiting for her.
[SARA AND AMY]
Amy Maynard: We stopped drinking at ten. Left about an hour later.
Sara: What about the guy -- Brad?
Amy Maynard: He didn't get the hint.
(Quick flashback to: [EXT. TOP FLOOR - PARKING LOT - NIGHT] Lori closes her car door. Brad leans over the open window.)
Brad Himmel: Last chance.
(He steps away; Amy rolls her eyes and leaves.)
(End of flashback. Resume to present.)
Amy Maynard: He seemed harmless. Horny ... but harmless.
[BRASS AND MARK KYMAN]
Mark Kyman: I, uh, I woke up, must have been about 2:00. I called her on her cell. No answer. And then I called Amy. (He swallows.) And then I called you guys.
Brass: So, you haven't left the house since you got home last night?
Mark Kyman: We, uh, only have one car right now. My lease ran out.
(In the background, the front door opens and closes. Diane Hoyt, Lori Kyman's mother, rushes down the stairs.)
Diane Hoyt: Any news?
(Mark stands up and hugs Diane. Brass clears his throat. They pull apart and Mark explains.)
Mark Kyman: They found her car off Boulder Highway.
Diane Hoyt: Oh, my God.
(Mark makes the introduction.)
Mark Kyman: This is Diane, Lori's mom.
Diane Hoyt: Hi.
Brass: Diane, I want you to know we have every available officer out looking for your daughter.
Diane Hoyt: Thank you. (to Mark) Where's Joey?
Mark Kyman: He's with Amy.
(Diane puts her handbag down on the dining room seat intending to go check on the baby. Brass stops her for a moment.)
Diane Hoyt: Okay.
Brass: You know, I just got a quick couple of questions. Can you confirm you were here last night when Mark came home from work?
Diane Hoyt: Yes. I was baby-sitting.
(Diane removes her coat.)
Brass: What time was that?
Diane Hoyt: Uh ... I'd just put Joey down. A little after 9:00.
Brass: And when did your daughter call?
Diane Hoyt: About half an hour later. We both talked to her.
Brass: So 9:30. Thanks. That's all for now, thank you.
(Mark nods.)
Diane Hoyt: Excuse me.
(Diane leaves the room.)
Mark Kyman: What do I do?
Brass: I'd take care of your family, Mark. And if Ms. Sidle asks, volunteer your fingerprints and DNA.
CUT TO:
[EXT. LAKE (STOCK) - NIGHT]
[EXT. WOODS -- NIGHT]
(The Ranger shows Nick and Warrick to the body where David Phillips is already there gathering his data.)
Ranger: I was making my 16:45 scan when I saw the body. I confirmed he was deceased. Then I called you guys.
David Phillips: Hey. There's no I.D. on the vic. Lividity is set. Rigidity is still present. d*ad no more than twenty-four hours.
Warrick: Look at those claw marks.
David Phillips: His carotid artery is ripped to shreds.
Warrick: He's got a high-powered r*fle. He's obviously a hunter, huh?
Nick: Safe to say he was mauled by a wild animal?
Ranger: Yeah.
Nick: Your call came in as "suspicious circs." Is there something else we should know about?
(She points off to the side.)
Ranger: Yeah, that would be the other body. Um -- Follow me.
(The Ranger leads Warrick, Nick and David Phillips to the second body: A large Kodiak bear.)
Warrick: Damn.
Ranger: It's a Kodiak. It's nonnative to the continental US. sh*t twice in the head. The stomach's been cut open.
Warrick: That's a pretty deep cut. You think the hunter was just trying to defend himself?
David Phillips: Well, I didn't find a blade on the decedent.
Ranger: And there's no way a person can come this close to a live bear.
Nick: Got some broken branches over here.
(Nick is checking out the bushes nearby.)
Nick: Directionality faces away from the victim and the animal.
(He finds and picks a piece of torn material stuck on the branches.)
Nick: Looks like someone even tore their pants. Khakis. Vic's wearing jeans and a nylon vest. I bet somebody else was out here, and they were running for their life.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Catherine walks in and grabs her lab coat. She walks over to Dr. Robbins' examining table where the large Kodiak bear is.)
Catherine: I had to see with my own eyes. You're actually autopsying a bear.
Robbins: It's called a necropsy. And as the head M.E., it falls under my purview. I'm going to write an article for the journal. They love this sort of stuff.
(Catherine looks over at the other table with the d*ad hunter on it.)
Catherine: Yeah. You have a cause of death on him?
Robbins: I can confirm he was k*lled by an angry bear. As for the bear -- two b*ll*ts to the head. The first, nonfatal, was a straight-on sh*t. Bears' foreheads are sloped, so the b*llet ricocheted off the skull, leaving a copper jacket, which peeled away and embedded in the hide.
(He removes the b*llet and puts it in the pan.)
Robbins: The, uh, fatal b*llet entered through the ear, lodged in the brain. I removed it already.
(She picks up the b*llet from the tray and looks at it.)
Catherine: It's lead. No copper jacket. So, the copper jacket had to have come from his r*fle. But this is from a g*n.
Robbins: So, he sh*t one b*llet with his r*fle and another with his p*stol.
Catherine: Except he didn't have a p*stol. Or a Kn*fe, for that matter. And his stomach has been slashed open.
Robbins: Yeah, and the gallbladder removed.
(Robbins points to the cut.)
Catherine: Really?
Robbins: Postmortem. I can't tell you why.
CUT TO:
[INT. CSI - LAB - NIGHT]
(Warrick snaps photos of the victim's clothes.)
(He documents in the file whatever he finds on the clothes. He cuts a piece of something off the clothes and looks at it.)
(Nick walks into the lab.)
Nick: Hey, man. I ran the vic's prints. Didn't get a h*t.
Warrick: We found this guy twenty-five miles from civilization. Where'd he come from?
Nick: We know someone else was out there. Maybe he drove.
(Warrick picks up the watch and hands it to Nick.)
Warrick: Check out this guy's watch. It's pretty high-end.
(Nick puts it against his wrist to look at the watch face.)
Nick: Yeah. Hunting's not exactly a poor man's sport. U.S. presidents still hold up d*ad ducks for photo ops.
Warrick: But it just doesn't match with the guy's clothes. They're kind of raggedy. He's got dirt stains. I could smell the B.O. from the guy's shirt from here.
Nick: Some hunters think soap and deodorant tip off their prey. Truth is, body odor's much more pungent.
(Catherine joins them.)
Catherine: So, Robbins confirmed that our vic was k*lled by the bear.
Nick: Okay. Case closed.
Catherine: Uh, not quite. I spoke with the Ranger. There's no way that a Kodiak bear just wanders into Nevada, so whoever smuggled him in could be charged with homicide.
Warrick: How's that?
Catherine: The bear could be considered a lethal w*apon.
CUT TO:
[INT. CSI - GARAGE -- NIGHT]
(Greg is checking out the screw on the car's tire. Sofia walks into the garage.)
Greg: Screw.
Sofia Curtis: Excuse me?
Greg: Tire's valve stem was unscrewed. Two full turns.
Sofia Curtis: A slow leaker. Print around the fender.
(Greg prints around the fender and finds a print.)
(Quick flash of: The person braces himself against the fender as they unscrew the tire. End of flash. Resume to present.)
(Sofia smiles.)
CUT TO:
[INT. CSI -- PRINT LAB - NIGHT]
(Greg runs the print through the database. He finds a match to BRAD HIMMEL, previously arrested for a 462.2 "Drunk and Disorderly".)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Brass and Greg interview Brad Himmel.)
Brad Himmel: Yeah, I was at The Top Floor. I h*t on a lot of girls. You can't arrest me for that, right?
Brass: Tell us about Lori Kyman.
Brad Himmel: Yeah, I remember a Lori. Said she was married. Yeah, right. You dress up like that and go to a club ... you're looking to get some.
Greg: I found your fingerprints on her car's fender.
Brad Himmel: So? I walked her back to her car. I am a gentleman.
Greg: Is that when you messed with her tire?
Brad Himmel: Is that what this is about?
Brass: I don't get out much. Why would you do that?
Brad Himmel: I was hoping it would go flat on her way back home, and I'd come along and fix it for her.
Brass: And then she'd be appropriately grateful, and what, sleep with you?
Brad Himmel: Seemed like a good idea at the time, yeah. 'Course I was t*nk.
Greg: Okay, so Lori's tire went flat.
Brad Himmel: Well, that's the thing: It didn't. I mean, I followed her for like twenty minutes. Way off strip. And, come on, how long can you follow someone for, right?
Brass: She never made it home.
Brad Himmel: I don't know anything about that.
Greg: We're going to need a sample of your DNA. Any objections?
(Brad Himmel shakes his head, no.)
(An officer enters the room.)
Officer: Excuse me. Excuse me, Captain.
(Brass walks over to the officer.)
Officer: (loud whisper) Found a d*ad female in Sutor. Description matches Lori Kyman.
(Brass looks at Brad.)
Brass: Make yourself comfortable.
CUT TO:
[EXT. HIGHWAY (STOCK) - DAY]
[EXT. (SUTOR) HIGHWAY - DAY]
(Brass and Sofia walk over to David Phillips, who is taking down the body stats.)
Brass: Guy walking his dog found her.
David Phillips: Liver temp's 71 degrees. Given the ambient temperature, her T.O.D's roughly thirty-six to forty hours ago.
(Sofia looks up at the white birch trees near the body.)
(She kneels down next to the body and brushes the hair away from the victim's neck.)
Sofia Curtis: Bruises on the neck suggest strangulation.
(She snaps a couple of photos.)
Sofia Curtis: No attempt to hide the body.
Brass: Maybe the suspect was in a hurry. Or he just didn't give a damn.
Sofia Curtis: Are you gonna tell the family?
Brass: Yeah, how do you tell a little boy he'll never know his mother?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Grissom and Sofia are collecting evidence off of the body. Sofia combs out the debris from the victim's hair.)
Sofia Curtis: She was dumped under a white birch. Her hair was full of pollen and tree vegetation.
(Grissom tape lifts fibers off the clothes. Sofia picks up a tree pollen and looks at it.)
Grissom: Red fibers and blue fibers on her dress.
Sofia Curtis: White powder on both palms.
(Grissom finds a strand of hair with a tag on it. He looks at it under the magnifying glass.)
Grissom: A brown hair with a follicular tag. A person's entire identity balled up in a few nanograms of matter.
Sofia Curtis: Assuming one's identity can be wholly quantified by our DNA.
Grissom: Well, genetically, it can. We're completely programmed as soon as the sperm hits the egg.
Sofia Curtis: So we're defined at a cellular level?
Grissom: More or less.
Sofia Curtis: No. Identity is the totality of our life experiences and our brain neurons process our relationship to the world and each other.
Grissom: I stand corrected. DNA is what we are, not who we are.
Sofia Curtis: What we are never changes. Who we are never stops changing.
Grissom: Yeah. Whether we like it or not.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins and Catherine are standing over the bear.)
Catherine: What's up?
Robbins: Well, when I fluoroscoped the bear, looking for other b*ll*ts, I noticed a microchip between his shoulder blades.
(Robbins shows Catherine the x-ray.)
Catherine: I see.
Robbins: I removed it, called animal control to borrow a magnetic reader. Check it out.
(The AVID Power Tracker II reader shows: AVID*061*032*517.)
Robbins: I tracked it down: Clark County Zoo.
CUT TO:
[EXT. CLARK COUNTY ZOO -- DAY]
(Catherine and Warrick talk with Sam Tracy at the Clark County Zoo.)
Sam Tracy: Are you sure the bear came from our zoo?
Catherine: Well, the microchip was registered to you. Take a look.
(She shows him a photo of the bear.)
Sam Tracy: Oh, God. It's Tippy. What happened?
Warrick: You mean you didn't know he was missing?
Sam Tracy: We sold him to a broker a few weeks ago. He said he found him a home at the Columbus Zoo.
Catherine: A broker?
Sam Tracy: Animal broker. Visitors want to see babies. The brokers find other zoos to purchase our surplus adult animals. You know, Tippy was so gentle, he'd eat grapes right out of my hand.
Catherine: Well, we're going to need to see some paperwork.
Sam Tracy: Yeah, I'll pull the file, but ... I remember the broker's name. It's Ken Bovitz. Out of Chicago. He mailed me his broker's license and documentation. The board approved the sale last fall. (He sighs.) They'll want to know what went wrong.
Catherine: Yeah, so do we.
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Sara is testing the car tires. She and Greg sit in front of the turning tire. Sara is holding a stopwatch.)
Greg: You giving the car a workout?
Sara: Well, you know how you said that the suspect admitted to following Lori, but when the tire didn't go flat, he gave up? Grissom wants me to disprove his account.
Greg: How long has the wheel been going round and round?
Sara: Three hours and nine minutes.
Greg: She left the club around eleven. Time of death was between midnight and
1:00 A.M.
Sara: Lori died before the tire went flat.
CUT TO:
[INT. CSI - LAB - DAY]
(Warrick is looking at a web page on the computer. Catherine is sitting next to him.)
Warrick: I think I know why someone snagged that bear's gallbladder. Apparently, in the southeast Asian community, some men believe it enhances their virility. It contains some chemical called ursodeoxycholic acid. These gallbladders are going for $500 a pop.
Catherine: I, uh, talked to the zoo in Columbus. They never heard of Tippy.
Warrick: Hmm. Any luck with the broker?
Catherine: The Department of Agriculture never issued a license for a Ken Bovitz. Documents are fake. I sent them to Q.D. for analysis.
(Nick walks into the lab.)
Nick: We may have an ID on our hunter. Uniforms found an abandoned Mercedes. Plates came back to a Mr. Rod Hollis, who had hunting permits that included tags for wild goats, deer, and bighorn sheep.
Catherine: And what about Kodiaks? NICK: That would be a no. Mr. Hollis's wife's on her way to P.D., so I'm gonna head over there right now.
CUT TO:
[INT. POLICE DEPARTMENT -- DAY]
(Nick interviews Faith Hollis.)
Faith Hollis: To be honest, I haven't seen my husband in over a year.
Nick: You were separated?
Faith Hollis: He made it big in venture capital. Retired at 32. That's when we started having problems. The officer said Rod died while hunting. Can I ask what happened?
Nick: He was mauled by a bear. Ms. Hollis, I have reason to believe there was somebody else out there with him. Any idea who?
Faith Hollis: No. In our circle of friends, he was the only one who owned a g*n. We used to fight about his sport. I showed him studies about how the animals suffer, how even the best hunters don't always get center sh*ts. Well ... I guess brutality begets brutality.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins goes over the body with Grissom.)
Robbins: C.O.D. is asphyxia due to manual strangulation. Petechiae in the eyes and mouth and extensive bruising in the strap muscles of the neck.
Grissom: Sexual as*ault?
Robbins: No abrasions or contusions to the vagina. No semen on the SART exam.
Grissom: Is this a burn?
Robbins: No tissue reaction means it's post-mortem. If she were alive at the time, it'd have a red edge. This one's bland. Burn extends subcutaneously, so the skin made contact with something hotter than 150 degrees.
CUT TO:
[INT. CSI - TRACE LAB]
(Sofia walks into the lab.)
Sofia Curtis: Talk to me, Hodges.
David Hodges: Well, you kind of inundated me with work. I should be cranky. But, uh, I don't get cranky. Let's start with the white powder you found on your victim's hands. It's talcum power without the talc.
Sofia Curtis: Excuse me?
David Hodges: Talcum powder can contain asbestos fibers. Who wants to put asbestos on their baby? So, today's baby powders are made from cornstarch, and are technically talc-free. Did your victim have her baby with her at the club?
Sofia Curtis: No, he was at home.
David Hodges: So maybe the baby powder was on her hands when she left the house.
Sofia Curtis: Well, we know she was drinking, so she was probably peeing.
Dave Hodges: And unlike some of the men in this lab, whose initials are Greg Sanders, she probably washes her hands. So the baby powder shouldn't even be there.
Sofia Curtis: Tell me about the fibers we collected from her clothing.
(He hands her the print-out results.)
David Hodges: Blue ones have a high twist rate and are composed of nylon and polyester olefins. I'd say synthetic berber. And the red ones are under the scope.
(Sofia looks at the scope.)
[SCOPE VIEW: FIBERS]
Sofia Curtis: Trilobal. From a car. Vic's clothing was covered in them.
David Hodges: My guess, she was rolling around in someone's trunk.
Sofia Curtis: Can you be more specific?
David Hodges: You bet. It's Wilton wool. Very high-end. And given the unique shade of red, I'd say that you're looking at the world's fastest four-seat coupe: the Bentley Continental GT.
Sofia Curtis: Thank you.
(Sofia leaves. Hodges watches her go.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[EXT. THE TOP FLOOR - PARKING LOT -- NIGHT]
(Brass and Sofia talk with the valet.)
Valet: Yeah, I was here last night.
Sofia Curtis: You park a Bentley?
Valet: Oh, man, my memory's not so good since, um ... well, I can't really remember.
Brass: You don't remember a Bentley?
Valet: Let me see what I got.
(He turns around to check his log.)
Brass: Yeah.
Valet: Yeah, here you go. One Bentley. Came in at 8:32. Parked it in spot
19C.
Brass: Do you remember, uh, what the driver looked like?
Sofia Curtis: Male? Female? Black? Caucasian?
Brass: Young? Old? He have a hat on?
Valet: (shakes his head) Sorry.
Brass: Okay.
Valet: Sorry ...
CUT TO:
[INT. CSI - WAITING ROOM - NIGHT]
(Amy Maynard is sitting in the waiting room when Sara walks in.)
Sara: Amy. (They shake hands.) Thanks for coming.
Amy Maynard: Of course. How can I help?
Sara: The other night at the club, I was wondering if you happened to notice anyone driving a Bentley.
Amy Maynard: That would be me. Birthday gift from my father.
Sara: Would you mind if I took a look at it?
Amy Maynard: You want to see my car? Why?
Sara: We found fibers from a Bentley on Lori's clothing.
Amy Maynard: Lori was in my car all the time, especially last week. (Sara shakes her head.) Mark was using hers.
Sara: The fibers we found are from the floor or a trunk.
(Amy takes the key off her ring and gives it to Sara.)
Amy Maynard: It's in the lot. I'll call my father. He'll pick me up.
(Amy stands up to leave. Sara stops her.)
Sara: Amy ... did Lori use the ladies' room at the club?
(Amy sits down.)
Amy Maynard: Yeah. We both did.
Sara: Do you know if she washed her hands?
Amy Maynard: Why are you asking me all these questions?
Sara: We're pursuing a lead.
Amy Maynard: Lori was like a sister to me. Investigate me all you want, but when you're done, you should take a look at Mark.
Sara: Mark. I thought you said ...
Amy Maynard: (interrupts) I know what I said. That was before she turned up d*ad. And I'm not saying he did it, and Lori ... she never said anything. It's just sometimes, um ... he can get rough.
(Sara makes a note on her paper.)
Sara: And you know this because ... ? (Sara interprets Amy's look correctly.)
You were the other woman.
Amy Maynard: One of them. I'm not proud of it.
Sara: Did Mark get rough with you?
Amy Maynard: That's why I ended it.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - GARAGE -- NIGHT]
(Sara opens the trunk to Amy Maynard's car. She looks into the trunk and sighs heavily.)
(Greg walks into the garage.)
Greg: You started without me.
Sara: Actually, I finished without you. Take a look.
Greg: Carpet's black. Fibers on the vic's clothing were red.
Sara: Obviously, we can rule out this car.
Greg: I don't mean to pry, but you want to talk about what happened with you and Ecklie?
Sara: Not really.
Greg: I don't know if you know this about me, but I'm a good listener.
Sara: I blew up at Ecklie. It was very unprofessional. And very satisfying, and now I'm moving on. Thanks for asking.
(Sara closes the trunk.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. KYMAN RESIDENCE -- NIGHT]
(Mark shows Sofia and Grissom into the nursery.)
Mark Kyman: (quietly) Joey just fell asleep, so please, keep your voices down.
Sofia Curtis: All we need is a sample of baby powder.
(Mark walks over to the crib. Grissom notices the carpet.)
Grissom: (loudly) This is Berber carpet, isn't it?
Mark Kyman: Yeah, Lori thought it'd be good for a boy's room.
(Sofia takes a sample of the baby powder.)
Grissom: I'd like to take a small sample.
(Grissom puts his kit down.)
Mark Kyman: What's going on?
Grissom: Just collecting evidence.
Mark Kyman: You're coming after me? Because I've cooperated. I've let you swab my mouth and let you take my prints. I love my wife. I miss her.
(He turns back to look at Joey.)
CUT TO:
[INT. CSI - HALLWAY/BREAK ROOM]
(Sara turns the corner and walks down the hallway. Inside the break room at the end of the hallway, she sees Grissom and Sofia sitting side-by-side at the table with their backs to the door. They appear very comfortable together.)
(Sara walks into the break room. They turn around when she speaks.)
Sara: DNA from Lori's shirt came back. It matches her husband.
Sofia Curtis: That could be probative.
(Sara nods.)
Grissom: Or casual transfer unrelated to the case.
Sara: I also picked up your trace results.
(She hands the print results to Grissom. The findings read:
CORNSTARCH, ZINC OXIDE, TOCOPHERYLZ
SAMPLE IS CONSISTENT WITH EVIDENCE COLLECTED
FROM LORI KYMAN AUTOPSY )
Grissom: Baby powder on Lori's palms is consistent with the baby powder we found at the Kymans' residence.
Sara: According to her girlfriend, Lori washed her hands at the club.
Sofia Curtis: Which suggests that Lori came home before she was k*lled.
Grissom: Which contradicts the husband's account.
Sara: I hate to state the obvious, but maybe the husband is lying.
Sofia Curtis: All right, well, let's say she came home first.
(Quick flash of: [NURSERY] Lori is changing Joey. Mark walks up to her and puts his hands on her shoulders. Lori looks at him and smiles. He starts choking her. End of flash. Resume to present.)
Sofia Curtis: Mark k*lled her, drove her out to Sutor, and dumped the body.
Grissom: One problem. Mark doesn't have a car and the carpet fibers we found on Lori's clothing are inconsistent with her Lexus.
Sara: Or, maybe Lori came home, she and Mark had a fight. Maybe she found out he was fooling around again.
(Quick flash to: [BOULDER HIGHWAY - NIGHT] The car travels quickly on the road.)
Sara: (V.O.) She takes off, drives around.
(The tire bursts.)
Sara: (V.O.) Tire eventually goes flat.
(Lori pulls off the side of the road and gets out of the car.)
Sara: (V.O.) She pulls over to the side of the road and a stranger comes along and abducts her.
(End of flashback. Resume to present.)
Sofia Curtis: (disbelieving) A stranger driving a Bentley?
(Sara nods sideways.)
Grissom: (to Sofia) Hey, the rich are just as deviant as the poor.
CUT TO:
[INT. CSI - BALLISTICS LAB - NIGHT]
(Bindle label:
b*llet FRAGMENT
2-10-05
DB
C. WILLOWS
(Bobby Dawson processes the b*ll*ts.)
DISSOLVE TO:
[INT. CSI - BALLISTICS LAB - NIGHT -- LATER]
(Warrick walks into the ballistics lab.)
Warrick: Hey, Dawson.
Bobby Dawson: Yo.
Warrick: Any progress on those b*ll*ts? Well, the copper jacket came from your vic's r*fle there. A .30-caliber Winchester, model 70.
Warrick: What about the fatal b*llet?
Bobby Dawson: That came from a .357 magnum revolver.
Warrick: A .357?
Bobby Dawson: Ran the baby through IBIS and get this: The g*n was used in a '98 robbery. The suspect was arrested but released on insufficient evidence and the g*n was returned.
Warrick: You got a name for him?
Bobby Dawson: Aaron Colite, from Henderson.
CUT TO:
[EXT. HENDERSON COMMUNITY (STOCK) - DAY]
[INT. COLITE RESIDENCE -- DAY]
(Aaron Colite shows Warrick, Nick and an officer into the living room.)
Warrick: Why don't you just stand up by the counter, sir? Here's your warrant that we have here for your .357 magnum revolver. We know you once used it in a '98 robbery. Serial number ML5684. We don't want you to get it. Why don't you just point and show us where it is.
Aaron Colite: What's this about?
Nick: Where's the g*n, sir?
Aaron Colite: Right under the TV.
(Nick opens the door to the cabinet under the TV and removes the g*n.)
Nick: Okay, Mr. Colite, this g*n is going into evidence.
Aaron Colite: Look, I was cleared in that robbery years ago.
Nick: You know, someone k*lled a Kodiak bear up in the Black Mountains the day before yesterday. You wouldn't know anything about that, would you?
Aaron Colite: Yeah, I did. I k*lled it.
Nick: Excuse me?
Aaron Colite: I k*lled it. Look, I was ... I was out hunting.
(Quick flashback to: Aaron Colite is out in the woods. He looks through his binoculars and sees Rod Hollis being mauled by a bear.)
Rod Hollis: Help! Help me! ROD HOLLIS: Stop! Help! ROD HOLLIS: Help me! Help! ROD HOLLIS: Help!
(He takes out his g*n and fires.)
(End of flashback. Resume to present.)
Aaron Colite: By the time I sh*t the bear, the guy was already d*ad.
Nick: You mind if I have a look around?
Aaron Colite: Yeah, I do, actually.
Warrick: You just admitted a felony of k*lling a bear. Why didn't you report it?
(Nick looks around the place.)
Aaron Colite: I've been through the wringer with you guys once before. I figured a guy was d*ad. There was nothing I could do about it. I took off.
(Nick finds blood smudges on the wall.)
Aaron Colite: Look, I've got a hunting license with tags. I was out hunting deer. Tried to save a guy's life. That's it.
(Nick opens the freezer and finds a ziplocked bag with the bear's stomach inside. Nick takes the bag out.)
Nick: Whoa, Mr. Colite. I just have one more question for you. How long have you been storing gallbladders with your ice cream?
Aaron Colite: It ain't illegal to cut up a d*ad animal as long as it's already d*ad. That's the law.
Warrick: Could you lift your pants leg for me, please, sir?
Aaron Colite: For what?
Warrick: Someone snagged their pant leg on a tree, probably cut themselves. I wanted to see if it was you.
(Aaron takes his pants off and pushes it down past his knees.)
Aaron Colite: Take a look. Wasn't me.
(There's no cut on his leg. Warrick turns to the officer and motions him toward Aaron Colite.)
CUT TO:
[INT. CSI - HALLWAY]
(Catherine and Nick walk through the hallway.)
Catherine: So Robbins sent the bear's blood to tox. It turns out there were elevated levels of ketamine in its system.
Nick: Barbiturates?
Catherine: (scoffs) Yeah.
(Nick pauses for a long moment, thinking.)
Nick: I think I know what's going on here, Catherine.
CUT TO:
[INT. CSI - LAB]
(On the monitor, video of a rhino being sh*t is shown.)
Nick: They're called canned hunts. Going on all over the country.
Catherine: I'm sorry. There's just no sport in that. It's just sick.
Nick: Well, you got that right. Point is, you don't have to go to Africa to hunt wild game anymore. If you've got the money, Africa comes to you.
Catherine: And they drug the animals?
Nick: To guarantee a k*ll, yeah.
Catherine: But in our case, both the hunter and the prey ended up d*ad.
Nick: Something went wrong.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - DAY]
(Grissom sits behind his desk. Sara knocks on the door and walks into his office.)
Sara: Hey. Oh, filling out reports?
(Sara sits down.)
Grissom: They tell me it's my job. (She smiles at him.) You doing okay?
Sara: Yeah. Thanks. I, uh, did a DMV search. There are only five Bentleys with red interior registered in Clark County. Two are leased. Two are privately owned. I ran the ROs. Nothing suspicious. PD is following up.
Grissom: What about the fifth one?
Sara: Well, that one is owned by a Boutique Rental Car Agency. I subpoenaed the rental history. Diane Hoyt, Lori's mother, had the car for the last two weeks. She returned it the day after Lori disappeared.
Grissom: Where is it now?
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Greg stands in front of the Bentley, admiring the car. Sara and Sofia walk up behind him.)
Greg: If you've added up every cent I've made in my entire life, I still wouldn't be able to afford half this car.
(They walk up to the car.)
Sara: Yeah, but why would you want it? The insurance premiums are sky-high. Not to mention theft, scratches.
Greg: It's art. And I'd have every girl in the neighborhood after me.
Sofia Curtis: Not when they saw your apartment.
Sara: You've been to Greg's apartment?
Sofia Curtis: Who hasn't?
(Greg opens the trunk. The carpet is red.)
Greg: Red carpet. Same as the interior.
Sara: Recently vacuumed.
Sofia Curtis: We got better vacuums.
VARIOUS CUTS OF THE CAR BEING PROCESSED
(Sofia vacuums the trunk of the car.)
(Quick CGI of: Particles are picked up through the vacuum nozzle, zooms through the tubing and catches on the filter. End of CGI. Resume to present.)
(She removes the filter and puts it in the bag Greg holds open.)
(Sara opens the car engine and looks inside. She finds a pod inside.)
(Quick flash of: [SUTOR] Camera pans up to the trees. A pod from the tree falls and hits the windshield. It slips down under the engine hood. End of flash. Resume to present.)
Sara: You found pods in the victim's hair, right?
(Sara picks up the pod.)
Sofia Curtis: Same shape, size, color. Too bad we can't ID this pod and tie it to that tree.
Greg: Who says we can't? Plant DNA is no different than human DNA. In fact, a plant genome is larger. I'm on it.
Sofia Curtis: If we can prove the pod came from that dump site, you know what that means?
Sara: Lori's mother is a viable suspect.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - DNA LAB]
VARIOUS CUTS OF:
(Greg processes the pod.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Brass and Sofia interview Diane Hoyt with her lawyer, Carol Allred.)
Carol Allred (lawyer): Why are you asking my client about a rental car?
Brass: It may be probative to our investigation of her daughter's death.
Diane Hoyt: I'll answer anything they want. I backed my car into a telephone pole. So I put it in the shop. I had to rent a car.
Brass: At a grand a day, a Bentley's a little extravagant. I mean, I usually rent a Taurus.
Diane Hoyt: It's a fantasy car. Ever since Amy got hers, I've wanted one, so I splurged.
Brass: Was the vehicle ever out of your possession?
Diane Hoyt: You mean, did I let anybody drive it?
Brass: That's what I mean, yeah.
Diane Hoyt: Lori and Mark both did. But I was always with them.
Brass: Ms. Hoyt, did you drive your car to Sutor, Nevada?
Diane Hoyt: No.
Carol Allred (lawyer): Where are you going with this?
Sofia Curtis: On the hood of the vehicle, which affirmatively matched the plant material we found in Lori's hair. All of which came from the same tree in Sutor.
Carol Allred (lawyer): Okay, but my client returned the Bentley the day before yesterday. It was washed and then rented again, so perhaps that individual drove through Sutor on his or her way out of town. Or, as you know, that "pod" could be weeks or months old.
Sofia Curtis: We also collected a number of errant hairs from the vehicle. Several are consistent with Mark and Lori's DNA and also Joey's, but not yours.
Carol Allred (lawyer): Okay, I'm sorry. You don't have a DNA sample of my client's for comparison purposes.
Sofia Curtis: No, but we have her daughter's. You're not Lori's biological mother, are you?
Diane Hoyt: I'm her stepmom. That's not a secret. (chokes) I couldn't have children of my own. Ever since Lori's father died a few months ago, she's all I had.
(Sofia stands up.)
Diane Hoyt: Look, Mark is devastated. I really should get back to my grandson.
Sofia Curtis: Before you go, could we take a DNA sample?
Carol Allred (lawyer): You do not have to do that.
Brass: Yeah, but if she has nothing to hide, it's no big deal.
Sofia Curtis: Could you open your mouth?
(Sofia takes a swab.)
Carol Allred (lawyer): All right. That's it. We're finished here. Let's go.
(Carol stands up and leads Diane Hoyt out of the interview room.)
[INT. POLICE DEPARTMENT -- HALLWAY -CONTINUOUS]
(The interview room door opens. Carol Allred and Diane Hoyt leave the room.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- CONTINUOUS]
(Brass remains sitting in the chair.)
Sofia Curtis: What are you thinking?
(Brass sighs.)
Brass: We have nothing to arrest her on.
(He gets up and leaves the room.)
[INT. POLICE DEPARTMENT -- HALLWAY -CONTINUOUS]
(Brass steps out into the hallway and stands in the doorway. Sofia steps out of the room.)
Sofia Curtis: And we have unexplained evidence placing Lori back at the house after her night out.
(They start walking down the hallway.)
Brass: That's why I like the husband. Maybe they're in it together.
Sofia Curtis: Well, when two people of the opposite sex conspire to k*ll one of their partners, sex or money is almost always involved. Now, Lori's friend, Amy, did say Mark was a player.
Brass: Hello, Mrs. Robinson.
Sofia Curtis: I had this boyfriend back in college, and when he got his first Harley, well, let's just say we sat face-to-face and went for a ride.
Brass: A Bentley is a lot more comfortable than a bike.
(She chuckles. They continue down the hallway.)
CUT TO:
[INT. CSI - GARAGE]
(Sofia is using the ALS on the Bentley's upholstery. She finds something. She takes a swab of it.)
(Cut to: Kneeling in front of her kit, Sofia puts the swab in the box. She notices some flesh hanging off the exhaust pipe.)
CUT TO:
[INT. CSI - QUESTIONED DOCUMENTS LAB]
(Ronnie Litre goes over his findings with Catherine.)
Ronnie Litre: Document was forged by taking an official license issued by the Department of Agriculture and scraping away the top layer of information. Document was then photocopied, and the bogus info was typed in. Take a look.
Catherine: Mm-hmm. A simple forgery, but it doesn't get us any closer to our suspect.
Ronnie Litre: Actually, it does. See, a couple years back, some photocopier companies started imbedding their machines with serial numbers less than a millimeter in size and visible only under a blue L-E-D light.
Catherine: Of course.
(Ronnie shines the light and exposes the number: 2407270313.)
Catherine: (smiles) I see it.
Ronnie Litre: It's as good as fingerprint.
Catherine: Thanks.
CUT TO:
[EXT. CLARK COUNTY ZOO -- DAY]
(Warrick and Catherine re-question Sam Tracy.)
Sam Tracy: And you think the broker's documentation was forged here on my copier?
Catherine: We know it was.
Warrick: Mr. Tracy, tell us about canned hunts.
Sam Tracy: Uh, a wild animal is released into a controlled area where a hunter pays a fee to k*ll it. The promoters guarantee a trophy, so no k*ll, no pay. They're illegal in Nevada. Is that what happened to my bear?
Catherine: Aaron Colite worked here, right?
Sam Tracy: Yeah. Maintenance.
Catherine: You fired him?
Sam Tracy: About six months ago. We let a lot people go. Cutbacks.
Warrick: Well, the evidence places Aaron at the crime scene.
Sam Tracy: Wait, so you're thinking he forged the broker's document and took Tippy under false pretenses?
Warrick: No. We spoke to your distributor. Your copy machine was only installed two months ago. We think you created the false document.
Catherine: We suspect that Aaron figured out a way to make a buck, and he asked for your help.
Warrick: So Aaron organizes this canned hunt. A few days ago, you guys meet up with Rod Hollis up at Lake Mead .
(Quick flash to: [WOODS - NIGHT] Rod Hollis, Aaron Colite and Sam Tracy walk through the woods. Aaron Colite points out the bear to Rod Hollis.)
Aaron Colite: Rod, Rod, Rod, Rod!
Aaron Colite: Right there. You see him?
(Rod sees the bear.)
Rod Hollis: Yes!
(He sh**t and hits the bear in the head. The bear goes down.)
Rod Hollis: Yes! I got him!
Aaron Colite: Yep, you got him.
(End of flash. Resume to present.)
Catherine: Mr. Hollis probably thought that he had k*lled the bear, and he raced over to claim his trophy.
(Quick flash to: [WOODS - NIGHT] Rod Hollis walks over to the bear. The bear gets up and whacks Rod on the side of his head. Sam Tracy stares in shock. He turns and runs. The bear att*cks Rod.)
(Aaron takes out his g*n.)
Rod Hollis: Help! Help! Help me! Help!
(Aaron fires.)
(End of flash. Resume to present.)
Catherine: His sh*t only stunned the bear. It was Aaron's sh*t that k*lled it.
Sam Tracy: You can't prove I was there.
Warrick: Would you lift up your pants legs, please, sir?
Sam Tracy: What?
Warrick: I have the judge on speed dial. You want to save me some time here?
(Quick flash to: [WOODS - NIGHT] Sam Tracy turns and runs. In his panic, he bumps into the bushes and scrapes his leg on the branches.)
Rod Hollis: Help! Help! Help me!
(Aaron fires.)
(End of flash. Resume to present.)
Sam Tracy: I got this gardening.
Warrick: We subpoenaed Aaron's bank records. Rod Hollis sent Aaron a check for
$16,000. Aaron sent you a check for $8,000. That's a 50-50 split.
Catherine: You're looking at grand larceny and obtaining property under false pretenses.
Warrick: That's about twenty years right there.
Catherine: I'm recommending to the DA that he add another charge: Second degree m*rder ...
(In the background, we hear the sounds of a vehicle and of dispatch over a police band radio. Sam Tracy turns around and sees the officer get out of the car. He closes the door.)
Catherine: ... for the death of the hunter.
(Sam Tracy closes his eyes and shakes his head.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 1 - DAY]
(Sara interviews Brad Himmel with his attorney, Margaret Finn.)
Sara: We found your client's semen mixed with a vaginal contribution from Diane Hoyt in the back of her rental car. You said you had nothing to do with Lori's m*rder. Would you like to revise that statement?
Brad Himmel: No. I met Diane, uh, two weeks ago at Rain. Banged the cougar that night, but I had no idea she was anybody's mother.
Sara: So you haven't spoken to her since?
Brad Himmel: Well, that's the whole point of banging a cougar -- you never got to see 'em again.
Sara: One lie after another.
Margaret Finn (lawyer): Are you questioning my client's veracity?
(Sara puts the phone record on the table.)
Sara: These are your client's cell phone records. Semen in the car was enough to get a warrant. On the night that Lori was m*rder, he called Ms. Hoyt on her cell phone at 11:23 P.M.
INTERCUT WITH:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 2 - DAY]
(Sofia interviews Diane Hoyt with her attorney, Carol Allred.)
Diane Hoyt: No, I don't know him.
Sofia Curtis: You've never seen or spoken to this man?
Diane Hoyt: No, not that I remember.
Sofia Curtis: Hmm. Do you remember the men you have sex with?
Carol Allred (lawyer): Ms. Curtis, that is uncalled for.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 1 - DAY]
Sara: Here's the deal. Lori left the club around eleven. By your client's own admission, he followed her for about twenty minutes, waiting for the tire to go flat. When it didn't, you called her mother.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 2 - DAY]
Sofia Curtis: It was all a setup. Brad was going to strike up a conversation with Lori at the club, and on her way home, abduct her. And then, one or both of you were going to k*ll her.
(Diane bursts out laughing. Her lawyer chuckles along.)
Sofia Curtis: But when you got his call ... You went to plan B.
Diane Hoyt: I left Lori's house, drove home and went to bed.
Sofia Curtis: You never left. Mark fell asleep in the living room, and you waited for Lori to come home.
(Quick flashback to: [NURSERY - NIGHT] Lori is changing Joey's diaper when Diane walks into the room. She grabs Lori from behind and starts choking her. End of flashback. Resume to present.)
Sofia Curtis: Lori's body was too heavy for you to carry, so you called for help ... on Mark and Lori's phone.
(Sofia shows the phone log to the lawyer.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 1 - DAY]
Sara: You got her call at 1:17 A.M. Coroner puts Lori's death at some time between 12:00 and 1:00 A.M.
Brad Himmel: Well, which means I didn't k*ll her, like I told you.
Margaret Finn (lawyer): Brad, be quiet.
Sara: Oh, I never thought you did k*ll her, but you did help get rid of the body, and that is conspiracy after the fact.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 2 - DAY]
Carol Allred (lawyer): Now, Mark would've heard something, and if he's claiming he didn't, I'd be looking at him.
Sofia Curtis: The living room's at the other end of the house. He was asleep.
Carol Allred (lawyer): Prove it.
Sofia Curtis: I don't need to. We found something of Lori's on the rental exhaust pipe: Her skin.
(Quick flash of: [SUTOR - NIGHT] Diane backs up the car. Brad is in the passenger seat. She backs up too much and bumps into Lori's d*ad body, skinning her leg with the exhaust pipe and searing the flesh at the same time. End of flash. Resume to present.)
Sofia Curtis: Your client's on record. The vehicle was never out of her possession.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 1 - DAY]
Sara: You drove back to the house, picked up Lori's Lexus, drove back into town. Tire went flat off Boulder Highway.
Margaret Finn (lawyer): You can't prove that.
Sara: When we suspected Brad's involvement, we printed the interior of the Lexus. Your prints are on the steering wheel.
(Margaret Finn whispers to Brad Himmel.)
Margaret Finn (lawyer): Is there a deal to be made?
Sara: Why did Diane Hoyt want Lori d*ad?
Brad Himmel: I don't know. The lady paid me 2,000 bucks. Um ... said she was having a fight with her daughter and wanted to make good ... um, only Lori wouldn't return her calls, so it was my job to get 'em together. When she called me and asked me for my help later that night, she said she'd pay me
$2,000 more.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Sofia and Sara are walking down the hallway when Greg walks up to them from behind.)
Greg: I know why she did it. While you two were at P.D., I called the family lawyer. He faxed over a copy of Lori's father's trust. Estate's worth $50 million.
Sofia Curtis: He left it all to Lori?
Greg: No, to her son. Lori was the trustee with a stipend of $2.5 mil a year. If anything were to happen to Lori, guess who takes her place?
Sara: Her stepmom.
Greg: Yup.
(Sofia chuckles.)
Sofia Curtis: Listen, you guys, I'll catch up later.
(Sofia walks away. Greg turns to Sara.)
Greg: Hmm. She's fitting in pretty well, huh?
(Sara turns and walks away.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - CONTINUOUS]
(Sofia walks into Grissom's office.)
Sofia Curtis: You got a minute?
Grissom: Sure. You did a nice job on the case.
Sofia Curtis: I, uh ... I just wanted you to know that I've enjoyed working with you.
(Grissom turns around and looks at Sofia.)
Grissom: Well, I've enjoyed working with you as well.
Sofia Curtis: No, it's time I made a change. I don't like the direction the lab's headed.
(Grissom takes off his glasses.)
Grissom: You mean Ecklie? You can't pay any attention to him.
Sofia Curtis: No, you got a good team, but I was a supervisor. My demotion was undeserved, and every day I'm here, I'm reminded of that.
(Grissom thinks about it. He looks at Sofia.)
Sofia Curtis: What?
Grissom: Well, someone once said, "What we are never changes, but who we are ... never stops changing."
(Sofia smiles at Grissom.)
Grissom: Let's have dinner, shall we?
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x14 - Unbearable"} | foreverdreaming |
DUE TO MATURE THEME, VIEWER DISCRETION IS ADVISED.
FLASH IN.
[EXT. EIGER RESIDENCE - FRONT DRIVE (STOCK) - NIGHT]
(Camera starts on the gate fronting the driveway. It slowly rises up over the gate to the large mansion beyond.)
FLASHES OF:
[INT. EIGER RESIDENCE - DINING ROOM - NIGHT]
[EXT. EIGER RESIDENCE - BALCONY DOORS - NIGHT]
(Camera slowly moves in toward the closed balcony doors. The curtains are drawn, the light inside is on.)
(We quicken the pace and zoom in to the balcony doors ... )
FADE IN.
[INT. EIGER RESIDENCE - FOYER / MAIN HALL - NIGHT]
( ... and into the quiet foyer. We linger for a moment.)
FLASH TO:
(From the foyer, the camera slowly follows the stairs up to the second floor. The camera rises up to the second floor.)
FLASH TO:
[INT. EIGER RESIDENCE - SECOND FLOOR HALLWAY - NIGHT]
(Slow motion. We see the lower half of a man running barefoot through the hallway.)
(The man is crying, a look of sadness on his face.)
WHITE FLASH TO:
[EXT. EIGER RESIDENCE - FRONT STEPS - NIGHT]
(CU: Bruce Eiger's d*ad body is on the front steps, his head is bloodied. Off his body we see the reflection of red flashing lights of emergency vehicles.)
Laurel Tessler (newswoman): (V.O.) This is the scene in seven hills, where casino mogul Bruce Eiger has been found d*ad on the grounds of his palatial estate.
(A camera snaps. Catherine snaps photos as Warrick shines his flashlight on the body.)
Laurel Tessler (newswoman): (V.O.) Eiger turned sixty earlier this year, ...
(Beyond Catherine, a small crowd has gathered on the driveway.)
Laurel Tessler (newswoman): (V.O.) ... throwing himself a half-a-million-dollar birthday party at his newly renovated Queen Regent Casino.
(Laurel Tessler reports from the crime scene. Other reporters take notes. In the background, we hear a siren blurb on and off as the crowd parts for another dark-colored vehicle driving through.)
Laurel Tessler (newswoman): (V.O.) Cause of death remains unknown, but as Eiger himself famously joked: In Vegas, if nobody wants you d*ad, you're not working hard enough. Reporting live from Seven Hills, I'm Laurel Tessler.
Man: Thanks Ginny. In this exclusive community ...
(Conrad Ecklie exits the vehicle.)
Conrad Ecklie: What's the 4-1-1?
(He and Grissom walk up to Brass. They all head toward the body as he fills them in.)
Brass: Wife comes home from canasta at the club, finds hubby d*ad in the driveway, calls 9-1-1. No sign of forced entry. The alarm was off. Nothing seems to be missing.
(Grissom ducks under the crime scene tape. Ecklie remains behind.)
Brass: Welcome to the party.
(Catherine looks up and sees Grissom approaching.)
Catherine: What's going on? This is my scene.
(Grissom puts his kit down and opens it. Ecklie answers her. She turns toward Ecklie.)
Conrad Ecklie: High profile case -- woke up the supervisors. All hands on deck, Cath. Grissom's lead on this. He's the senior supervisor.
Catherine: If it's all hands on deck, what are you doing behind the tape?
Conrad Ecklie: You know if I cross the tape, my name goes on the crime scene log that gets subpoenaed by the defense, and I have to testify.
Catherine: And when was the last time you testified?
Conrad Ecklie: That's not my primary job anymore. I'm an administrator. I run interference for you guys ... starting with the press.
(Ecklie turns around to deal with the press. Catherine walks back to the body. She passes Grissom as he closes his kit and stands up.)
Grissom: It's nothing personal, Catherine. (Catherine turns around to look at Grissom.) Cases like these rain down hard. You need all the help you can get.
Catherine: I need help, not supervision.
(Grissom doesn't say anything. He nods at the body.)
SHORT TIME CUT TO:
(Grissom and Catherine stand near the body. Warrick kneels down next to the body.)
Grissom: So, Warrick?
Warrick: Initial observations when we got to the scene. (Grissom turns around and looks up at the balcony.) Obvious impact to the face. Severe facial contusions. Broken nose, cracked teeth. No shoe prints. No tracks. No cast off. No sign of a w*apon.
Grissom: We're standing on the w*apon.
(Warrick looks up.)
(They all see: Virtual Bruce Eiger falling off the balcony and onto the driveway pavement.)
(Grissom looks down at the body and nods.)
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE OUT.
[EXT. EIGER RESIDENCE - FRONT DRIVE - NIGHT]
(Conrad Ecklie faces the group of reporters.)
Reporter: Mr. Eiger had a lot of enemies. Any idea who might have done this?
Conrad Ecklie: I'm not ready to confirm the circumstances under which Mr. Eiger died. I will say that this is the number one priority for the mayor and for all of us in law enforcement.
CUT TO:
[EXT. EIGER RESIDENCE - FRONT STEPS - NIGHT]
(Catherine, Grissom and Warrick look at the body. Nick stands in the background.)
Catherine: So, he either jumped, fell or was pushed.
Warrick: Well, the facial impact is consistent with the blood pool ... but not with the current position.
Grissom: Well, he landed on his face, but it looks like his head got moved.
Nick: And not by the paramedics. (Grissom turns around to look at Nick.) And according to them, he had a broken neck.
Grissom: Well, then he didn't roll himself over.
(Catherine looks at the body on the ground, then looks at the front door where Donna Eiger is talking with an officer.)
Catherine: Let's talk to the wife.)
CUT TO:
[INT. EIGER RESIDENCE - MAIN HALL / FOYER - NIGHT]
(Brass talks with Donna Eiger.)
Brass: House this big -- where's all the help?
Donna Eiger: Oh, the staff always gets Thursday nights off. I-I-I don't get what the mystery is here. He was m*rder. Some guys collect art. Bruce collected enemies.
Brass: I'm more interested in what happened after he died.
Donna Eiger: And what is that supposed to mean?
Brass: Mrs. Eiger, uh, I don't know how to put this ...
Donna Eiger: All right, please, you're making me feel old. Call me Donna.
Brass: Okay, Donna, sure. Your husband's boxer shorts.
Donna Eiger: He wasn't wearing them when he died, was he?
Donna Eiger: Oh, that's what this is all about. No, no, I-I pulled in. I saw Bruce lying there naked. I knew that the news was on its way over here. I didn't want the whole world to see him like that.
Brass: So you moved the body?
Donna Eiger: Yes, yes. I turned him over. I put his shorts on. What, is-is dignity a crime?
CUT TO:
[INT. EIGER RESIDENCE - GARAGE - NIGHT]
(Grissom opens the garage door. He flicks the light switch on. Inside the garage are five cars.)
(He walks down the short stairs and over to the first car. He puts his hand on the hood, feeling it.)
(He looks at the Nevada plates of the second car: 4MYDONNA. He puts his hand flat on the hood.)
(Grissom goes to the car and tries the driver's side door. It's locked.)
(He looks around.)
CUT TO:
[EXT. EIGER RESIDENCE - GARAGE - NIGHT]
(The garage door opens. Sara and Greg walk up to Grissom.)
Grissom: Question. You come home, see your husband lying in the driveway. What do you do?
Greg: (shrugs) Is that a trick question?
Sara: Stop, jump out, run over to him.
Grissom: Or take the time to pull into the garage and park and lock your car?
(Sara turns and looks at Greg. He shrugs at her.)
CUT TO:
[EXT. EIGER RESIDENCE - FRONT STEPS - NIGHT]
(Catherine stands on the front steps and looks around. Conrad Ecklie walks up to her and stops at the crime scene tape.)
Conrad Ecklie: Catherine ...
(Catherine looks at Ecklie, then continues to look on the ground for evidence.)
Conrad Ecklie: Look, it's not that we don't have confidence in you ...
(Catherine takes a deep breath.)
Catherine: I smell crap.
Conrad Ecklie: What?
(Catherine sees something.)
Catherine: Don't take another step.
(She shines the light down on the concrete right in front of Ecklie's shoes.)
Conrad Ecklie: Joe?
Officer Joe: Yeah?
Catherine: The Eigers have any pets?
Officer Joe: No kids, no pets.
Catherine: Okay.
(Catherine kneels down and snaps a photo of the crap and slips it into an envelope.)
Catherine: I saved you from putting your foot in it.
Conrad Ecklie: (nods) I appreciate that.
(Ecklie turns and leaves.)
Nick: (o.s.) Hey, Catherine.
(Catherine turns and looks up. Nick is standing on the balcony.)
Catherine: Yeah?
Nick: I think I found the launch point.
Catherine: I'll be right there.
(Catherine goes back to her kit. She puts her camera down on the bag and heads upstairs.)
CUT TO:
[EXT. EIGER RESIDENCE - DRIVEWAY -- NIGHT]
(Sara finds an oil spot on the driveway. Grissom stands nearby writing on a clipboard.)
(Sara kneels down in front of the oil spot.)
Sara: People who live in houses like these don't get oil leaks.
(Greg kneels down near Sara.)
Greg: But their visitors might.
(She touches it and looks at the stain on her fingers.)
Sara: Hasn't absorbed into the stone yet. It's fresh.
Grissom: Well, swab it and then check all their cars just in case.
[EXT. EIGER RESIDENCE (STOCK) -- NIGHT]
[INT. EIGER RESIDENCE - SECOND STORY BALCONY -- NIGHT]
(Catherine walks up to Nick who is examining the second story balcony.)
Nick: Hey. Whatever happened, it happened right here. (Warrick walks up to him to look at the planter.) Planter could've been broken during the struggle or been used as leverage.
Catherine: Well, if he was pushed, they'd have to be strong enough to get that big boy over the railing.
Warrick: Well, I didn't see any trace on Bruce's hands. I don't think those are his prints.
(Warrick looks at the handprints on the concrete railing.)
Nick: Well, maybe the k*ller hung out ...
(Quick flash of: [BALCONY - NIGHT] The k*ller stands near the balcony looking over the edge, his hands flat on the concrete railing.)
Nick: (V.O.) ... enjoying the fruits of his labor.
(End of flash. Resume to present.)
[INT. EIGER RESIDENCE - SECOND STORY HALLWAY - NIGHT -- CONTINUOUS]
(Catherine, Nick and Warrick walk back into the house through the hallway.)
Warrick: Well, I don't see any signs of struggle in this hallway.
Nick: No.
Catherine: The only clue is no clue.
(They walk into the room at the end of the hallway.)
[INT. EIGER RESIDENCE - STUDY - NIGHT -- CONTINUOUS]
(They look around the study.)
Catherine: The inner sanctum.
Nick: If these walls could talk, huh?
(Catherine sees a glass on the desk.)
Warrick: I wish they would.
Nick: Yeah, no doubt.
(She walks over to the glass and sniffs it.)
Catherine: Scotch ... and milk.
(They look around the study.)
Nick: Maybe the guy had stomach trouble, you know, ulcers.
Warrick: Well, you get as good as you give.
(Warrick picks up the cigar in the ashtray and smells it.)
Warrick: Who smokes half a cuban?
(Nick finds a couple of handprints on the wooden floor.)
Nick: Well, whoever was outside might've been in here, too. I've got some greasy handprints, look very similar to the ones on the railing.
Catherine: What are they doing on the floor?
(Quick flashes of: [STUDY - NIGHT] The cigar is burning in the ashtray. Bruce Eiger takes a sip of his drink. He exhales a long stream of smoke into the air.)
(Suddenly, someone bursts into the study, startling him. There's a struggle. The k*ller falls to the ground, his palms flat on the floor.)
(End of flashes. Resume to present.)
Nick: I'll take a sample.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins goes over the preliminary with Grissom and Sofia Curtis.)
Robbins: From everything I've heard, this guy was a considerable ass. Speaking of which, from the damage to his sphincter, I'd say he suffered repetitive insertions.
Grissom: Rectal insertions?
Robbins: Sizable. Matching perimortem bruises to the hips. The deceased had a peculiar rash around his genitals slathered in ointment. Doesn't read as an STD I'm familiar with. I swabbed the ointment. I also found a gallon of milky fluid in his stomach. Trace has that, too, along with fecal matter I scraped off his feet.
(Robbins grabs the victim's hands.)
Robbins: For what it's worth, nicely manicured nails on all but one thumb, which has a groove worn in it.
Grissom: Drugs?
Robbins: Yeah, it could be. His pupils were dilated to the size of pie plates. Tox has the blood.
Grissom: There's a lot behind the curtain of this guy's life.
Sofia Curtis: Cause of death?
Robbins: Asphyxia. Choked on his own blood.
Sofia Curtis: So he survived the fall.
Robbins: Well, it broke his neck, but he continued to breathe a while.
Grissom: Might've lived if he hadn't been rolled.
(Grissom glances at Sofia.)
CUT TO:
[INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY - NIGHT -- CONTINUOUS]
(Grissom steps out into the hallway. He's looking at his glasses. Sofia steps out into the hallway after Grissom.)
Grissom: I'm glad you decided to stay, Sofia.
Sofia Curtis: So am I ... for now.
(Catherine walks into the hallway.)
Catherine: Thanks for waiting. Got here as fast as I could.
Grissom: We just finished.
Catherine: Grissom, what the hell? Am I going to have any part of this case, or should I just go back to my office and start shuffling some papers?
Sofia Curtis: Catherine, it wasn't personal. The body was posted. We didn't think you'd be back for a few hours. There's the report.
(Sofia hands the report to Catherine.)
Catherine: (to Sofia) Stay out of this. (Sofia leaves.) (to Grissom) So, is this an Ecklie mandate, or is this just your thoughtlessness?
Grissom: Well, look, I apologize, but this is a group effort.
Catherine: (scoffs) Thanks. I feel much better.
(Catherine turns and leaves.)
CUT TO:
[INT. CSI - CATHERINE'S OFFICE - NIGHT -- CONTINUOUS]
(Catherine walks into her office and shuts the door behind her. She tosses the report on her desk along with her watch. She sits down in her chair.)
(She looks at her camera, takes out the connecting cord and hooks up her camera to the computer. The message reads:
CARD CONTAINS NO IMAGES
(Catherine checks the memory card in the camera. It's an SG1 32 MB card. This isn't good.)
(The office door opens.)
Warrick: Okay, just got back from the crime scene. Dropped the samples off at Trace.
(Catherine looks at Warrick.)
Warrick: What's wrong?
Catherine: You didn't touch my camera, did you?
Warrick: No.
Catherine: I have a 256 memory card. This is a 32. Somebody switched it out and took my crime scene photos.
Warrick: What?
(Catherine closes her eyes and sighs heavily. She puts a hand to her head and grimaces. No, this is definitely not good.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
Brass: (V.O.) Am I being strong-armed by private counsel?
[INT. POLICE DEPARTMENT - BRASS' OFFICE - DAY]
(Brass is talking with Bruce Eigler's attorney, James Mandelbaum.)
Brass: Because, contrary to what you may think, not everybody in Vegas is under the thumb of Bruce Eiger.
James Mandelbaum: Captain Brass, I am simply here representing the interests of Mr. Eiger's estate.
Brass: And those interests would be what?
James Mandelbaum: Well, finding out what happened, certainly. But doing everything within our power to protect Mr. Eiger's private life.
Brass: Protect what? The guy's d*ad.
James Mandelbaum: Mr. Eiger was a very private person. And although he's no longer with us, his intimates are.
Brass: Look, if this is about him being a sodomite, we already know that.
James Mandelbaum: Excuse me?
Brass: After the case is adjudicated, you can have access to the autopsy reports. In the meantime, let me do my job, okay?
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Conrad Ecklie and Grissom walk through the hallway.)
Conrad Ecklie: When Eiger was looking into buying the Queen Regent Casino out from under Sy Magli, the Gaming Commission turned him down. So he invited some of the commissioners over to his mansion for a party. A week later, he had his gaming and his liquor licenses. Must've been a hell of a party.
Grissom: Well, if the Wizard of Oz had nude photos of the wicked witch, Dorothy would have never lost her slippers.
Conrad Ecklie: Well, if those files exist, it gives us a list of suspects, but nobody actually knows if he has dirt on everyone, or just wants them to think he does.
(Greg catches up with them.)
Greg: Brass subpoenaed Eiger's home phone records in the last year.
Conrad Ecklie: Yeah, anything interesting?
Greg: Numerous calls from Eiger's house to Sy Magli's office.
Conrad Ecklie: Well, they were known business rivals.
Greg: Between midnight and 4:00 a.m.-- What I like to call "love hours."
Grissom: Wouldn't be the first time that hate mutated into passion.
Greg: Public enemies, private lovers. So Jackie Collins.
(They walk out of camera frame.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CASINO LOUNGE - DAY]
(Open on the board:
TANYA ROLLINS
"A STAR IS BORN" )
Sy Magli: (b.g.) Tanya, get your sweet little ass back over to the piano, and we'll talk about it later.
(Tanya Rollins turns from Sy Magli and heads back to the piano. She grabs the mike and talks with the accompanist. After a moment, she starts singing. In the background, Brass and Greg are walking toward Sy Magli.)
Brass: Mr. Magli, Detective Jim Brass, Las Vegas Police. Greg Sanders from the Crime Lab.
Sy Magli: Let me guess. You want to talk to me about Bruce. I hear they're using all the backhoes in hell to dig him a new pit.
Brass: We're, uh, focusing on his life here on earth.
Sy Magli: Well, you know, I thought that bastard would outlive us all.
Brass: When was the last time you saw him?
Sy Magli: At his birthday party.
(Sy nudges Brass and points to Tanya Rollins singing.)
Sy Magli: She's going to be a big star.
(He watches her sing for a moment.)
Sy Magli: Bruce didn't have any friends, so he had to invite his enemies, a real "Who's Who" of Las Vegas. See, Bruce was a shark who circled around for information. And when he found your weakness, he filed it away to be used later.
Greg: His phone records indicate that you spoke more recently than that.
Sy Magli: Oh ... so now you found my weakness.
Brass: What's that?
Sy Magli: I was banging his wife.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - DAY]
(Catherine walks into Grissom's office. She knocks lightly on the door. Grissom looks up.)
Catherine: We have a problem.
Grissom: Oh, no, not again.
Catherine: The memory card from my digital camera was stolen and switched with a blank. The only time the camera was out of my possession was at the crime scene.
Grissom: Well, how can that be? It was a secure scene.
Catherine: I don't know. I dusted the camera and the card. There weren't any prints. All of the crime scene photos of the body and the blood evidence were on that card.
(Grissom sighs and sits back.)
Grissom: We do have a problem.
Conrad Ecklie: Yes, we do.
(Catherine turns around to find Conrad Ecklie leaning against the door jam. He nods at her.)
Grissom: Get back to the crime scene, Catherine. Get what you can.
Catherine: Well, I know that the scene's been released.
Grissom: Well, go quickly.
Catherine: Okay.
(Catherine leaves; Grissom sighs.)
CUT TO:
[INT. CSI - TRACE LAB - DAY]
(Hodges reports to Nick.)
David Hodges: Ready?
Nick: Yeah.
David Hodges: The baddest ass in Vegas had diaper rash. The sample that Doc Robbins collected from between his legs at autopsy: Brenner's ointment, used expressly for that purpose.
Nick: Okay. What about the handprints from the railing and the floor in study?
David Hodges: Same deal.
Nick: I compared the hand size, and, uh, the prints aren't Eiger's, man.
David Hodges: Hmm?
Nick: No. Which means that ...
David Hodges: (interrupts) You couldn't pay me enough to rub ointment on some old guy's butt rash.
Nick: (chuckles) Well, maybe some people aren't as discerning as you are. How does a grown man get diaper rash?
David Hodges: I'll take incontinence for $200, Alex.
Nick: Maybe he had gastrointestinal issues.
David Hodges: And the stomach contents. All milk. You get any Tox back?
Nick: Yeah. No drugs in his bloodstream.
David Hodges: Really?
Nick: He had dilated pupils, and he was a sick guy, but ... no medications.
CUT TO:
[EXT. EIGER RESIDENCE - FRONT STEPS - DAY]
(Donna Eiger hoses down the front steps, washing away the bloodstains from the concrete.)
(Catherine runs up the driveway with her camera in her hands.)
Catherine: Mrs. Eiger! Mrs. Eiger, please stop.
(She turns the hose off.)
Donna Eiger: Please stop? What, am I supposed to look at his blood? Do I need this?
(Donna Eiger's phone rings.)
Catherine: I need to take additional photos of the crime scene. If you could just put the hose aside and ...
(Donna Eiger drops the hose on the steps. Catherine motions for her to put the hose aside.)
(Donna Eiger's phone rings. She answers it.)
Donna Eiger: (to phone) Yeah. (Donna Eiger steps right in the watery bloodstains on the steps while Catherine tries to take photos of the scene.)
Oh, Sy. You know what? Don't bother. You don't have to lie to me. I get it. I really, I really do. No, he's d*ad and you're leaving. Yeah, well, maybe I just thought that I was more than just a hate lay.
(Donna hangs up. She heads back up the stairs right through the watery bloodstains on the steps.)
Catherine: Uh, men just don't appreciate us.
Donna Eiger: It's never enough. (Donna leans forward and brushes the water from her sandals.) When you put up with things that nobody else would and he stills wants more. I mean, just how low are we supposed to sink?
Catherine: You know, I think you're better off without him, anyway.
Donna Eiger: What's your name?
Catherine: Catherine.
Donna Eiger: You know, Catherine, this whole, um, sisterhood thing that you're trying to get going here, it's just really not working for me. You can't con a con, sweetie.
(Donna heads inside.)
(Catherine watches her go.)
CUT TO:
[EXT. EIGER RESIDENCE - FRONT DRIVE - DAY - CONTINUOUS]
(Finished taking the pictures, Catherine heads back toward her car. She looks over at the overflowing trash binds out front and heads over to get a better look at what Mrs. Eiger has been doing all night.)
(She lifts up the trash bin cover and sees the rolled up carpet tucked inside.)
Catherine: (V.O.) Sara and Greg went through these cans last night. They were empty.
CUT TO:
[INT. CSI - GARAGE - DAY]
(Catherine and Warrick are looking through the trash bins.)
Warrick: Well, it looks like Mrs. Eiger's been a little busy.
Catherine: Evidently.
(Warrick takes out the rolled-up carpet from one bin. Catherine rips open the white trash bag and takes out some soiled clothing.)
(Warrick drops the carpet on the ground. Catherine gets a better look at the soiled clothing.)
Catherine: Uh, Warrick?
Warrick: Yeah.
(She holds up the cloth with a couple of safety pins still attached.)
Warrick: Is that a diaper?
Catherine: Mm-hmm.
Warrick: Those safety pins, they could match the bruises that we found on Mr. Eiger's hips. That accounts for that blood.
Catherine: Well, we can probably get DNA from the blood. But to confirm that Eiger actually wore this thing, Mia's going to have to test the urine inside. Lucky girl.
Warrick: Lucky her.
(Warrick turns back to the carpet and starts unrolling it. Catherine continues to take out the soiled linens from the white trash bags.)
(At the bottom of the bag, Catherine finds a pair of high-heeled women's shoes.)
Catherine: Do you think Donna always takes her laundry to the city dump?
Warrick: I've got handprints and feces on carpet. He wasn't just incontinent, he was a ...
Catherine: ... a freak.
(Warrick snaps photos of the handprints and stains.)
Warrick: That's disgusting.
(He sees something else.)
Warrick: Look at these indentations. I think they could have been a desk or something.
Catherine: Were gonna have to take this back to the house and look at it in its original context.
CUT TO:
[INT. EIGER RESIDENCE - FOYER - DAY]
(Donna Eiger and her friend stand in the foyer.)
Friend #1: Is that even legal? Why are they ...
Warrick: Take it straight up.
(Warrick points for the tech to carry the carpet up the stairs to the second floor. He hands Donna Eiger the warrant.)
Friend #1: Why are you guys doing this? Hasn't she been through enough? (to Donna) You know, you should sue the city. (to Warrick) She's gonna sue you people! How about that?
CUT TO:
[INT. EIGER RESIDENCE - SECOND FLOOR STUDY - DAY]
(The carpet is unrolled in the study.)
Grissom: How do you explain a handprint half covered by a wall?
Catherine: I mean, we're not even certain this rug came from this room.
Warrick: Well, I was gonna say the same thing, but the rug has eight divots that line up perfectly with that desk.
Grissom: Think outside the rug.
(Everyone's quiet for a moment as they look and think.)
Catherine: A man with secrets needs a place to hide them.
(Grissom kneels down near the wall and examines it. He sees something. He looks at Catherine. She stops and watches him.)
(Grissom nudges the wall paneling aside and pushes it completely open.)
(Catherine and Warrick are stunned.)
Warrick: Get the hell out of here.
(They kneel and look into the passageway.)
Warrick: Nice.
(Grissom looks at them and smiles. He turns and looks into the passageway.)
CUT TO:
[INT. EIGER RESIDENCE - NURSERY - DAY -- CONTINUOUS]
(Grissom, Catherine and Warrick crawl through the passageway and into the nursery.)
(They look around. Grissom turns the light on. Warrick laughs.)
Catherine: Wow. Just when you thought you'd seen it all.
Warrick: People lived in fear of this guy?
Grissom: Imagine the fear he lived with.
FADE OUT.
(COMMERCIAL BREAK)
DUE TO MATURE THEME, VIEWER DISCRETION IS ADVISED.
FADE IN.
[INT. EIGER RESIDENCE - NURSERY - DAY -- CONTINUOUS]
(They snap photos of the nursery.)
Warrick: A very powerful and paranoid man with a secret this big? It'd probably k*ll him if anyone found out.
Grissom: I think it did k*ll him.
Catherine: So we're back to su1c1de?
Grissom: Well, let's collect for now. We'll, uh, theorize later.
(Nick crawls in through the passageway. He takes a look at the nursery and his jaw drops.)
Nick: Whoa. Who's your mommy? The true inner sanctum.
(Catherine snaps photos of the adult-sized pacifiers.)
(Nick finds the pink nursing gown and holds it up.)
Nick: Hey, maybe we're looking for the hand that rocks the cradle.
Catherine: I think that Bruce just wanted the same thing as every other guy.
Grissom: Nurturing?
Catherine: Easy access.
(Nick smiles.)
(Grissom opens a drawer and finds the enema bottles.)
Grissom: Well ... (He holds them up.) ... this could explain the repeated insertions.
(Catherine snaps photos of the adult-sized bassinet.)
(Warrick pushes aside the clothes in the closet and finds a security panel.)
Warrick: I think this was originally used as a panic room. Eiger's got a massive security system here, motion and site sensitive. No video, though.
Catherine: Well, I guess we won't get to see who swaddled him.
(Nick opens the toy chest and looks inside.)
Warrick: Well ... there is a hard drive. I'll get it back to the lab.
(Nick closes the toy chest and picks up the adult-sized pacifier. He looks at it.)
Nick: I just don't get it, man.
Grissom: What, you never had a transitional object when you were a kid? A stuffed animal or a blanket?
Nick: No. I mean, I had a wooby, but who didn't?
(Catherine's eyes widen.)
Warrick: Oh, is that that blue thing that's in your locker?
Nick: (chuckles) Don't even.
Grissom: Seventy percent of children have something. Helps them with separation anxiety.
(Grissom opens the trash bin.)
Grissom: Maybe Bruce Eiger never got over his.
Warrick: I got a question. Where would you buy something like this? I mean, this crib and this rocking horse isn't exactly, uh, regulation size.
(Grissom picks up the white trash bag and looks at the emblem on the outside.)
Grissom: (reads) Forever Baby. For the child in all of us.
(Catherine opens the refrigerator and sees the bottles of milk on the shelf. She picks up one.)
Catherine: Do you think they do takeout?
CUT TO:
[INT. CSI - LOCKER ROOM -- DAY]
(Mia walks into the locker room and sees Catherine there. She takes off her jacket.)
Mia Dickerson: Hey.
Catherine: Oh, hey.
Mia Dickerson: You asked me to check the blood and urine from the diaper.
Catherine: Yeah.
Mia Dickerson: Yeah, the blood is a match for Eiger, and the urine had high levels of testosterone, which is indicative of an adult.
Catherine: It's a safe assumption that it's his.
(Mia slips on her jacket.)
Mia Dickerson: Yeah. You know, one other thing. When I was running the urine, I found another spike that I couldn't identify. So I sent it on to Tox.
Catherine: Well, I know that his blood work came back clean.
Mia Dickerson: Some drugs metabolize quickly, so what doesn't show up in the blood, shows up in the urine.
(Greg peers into the locker room through the hall.)
Greg: Catherine?
Catherine: Yeah?
Greg: You gotta see the TV.
CUT TO:
[INT. CSI - DAY]
[TELEVISION MONITOR]
Newscaster: (from TV) The photos you're about to see are the latest evidence in the strange death of casino mogul Bruce Eiger.
(Greg and Catherine walk into the room. Ecklie is there watching the set also.)
Newscaster: (from TV) We want to warn you these are graphic images of a bloody crime scene. In them, Mr. Eiger can been seen lying in a pool of his own blood in the driveway ...
Catherine: Those are mine.
Conrad Ecklie: (quietly) I'll have our public information officer contact his counterpart at the station. We'll also call Judge Anderson and get a warrant for the memory card, any copies, and the name of their source.
(Ecklie heads for the door, passing Greg and Catherine along the way.)
Newscaster: (from TV) ... Top Las Vegas gaming mogul left him with more than his share of adversaries.
Catherine: Thank you, Conrad.
Conrad Ecklie: It's my job.
Newscaster: (from TV) ... However, there are still no apparent leads.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. FOREVER BABY - DAY]
(Grissom and Nick walk into the adult baby store. They walk over to the counter.)
Madge: Howdy.
Grissom: Well, howdy. I was wondering, do you carry adult diapers?
Madge: Oh, we sure do. (She looks at Grissom.) What are you, about a 34, 36?
(Nick smiles.)
Grissom: Well, they're not for me.
Madge: Oh. (She looks at Nick.) Well, aren't you lucky to have such a nice daddy?
(Nick's smile fades fast. Grissom turns and looks at Nick, a huge smirk on his face. Nick glances at Grissom. He looks at Madge and smiles.)
Nick: I'm going to have a look around.
(He clears his throat and steps away from them to look around the store.)
Madge: Mommy-shopping?
Grissom: Sort of. I was wondering, in your line of work, do you ever wear a uniform or a dress?
Madge: No, but I could. Are you a drinker or a stinker?
Grissom: Excuse me?
Madge: Well, a drinker likes to ... (She motions to her breasts.) ... and stinker ... (She motions below.)
Grissom: I get it.
Madge: Yeah.
(Nick is standing over by the bulletin board. He takes a phone number off the hot pink flyer.)
Grissom: We're actually with the Crime Lab. We're investigating the death of Bruce Eiger.
Madge: Bruce Eiger.
(Nick walks over to the playpens and looks around. He lifts up the adult-sized jimmies hanging from the playpen.)
(He walks around and stops in front of a toy chest. Nick studies the toy chest.)
Madge: Are you with Vice? Because nothing here is illegal. It's simply nurturing. Mommy and adult baby playit's not erotic.
Grissom: Well, Freud had a somewhat different theory, but ...
Madge: Well, I could take you to my playpen.
(Grissom glances behind him.)
Grissom: You know, I don't think the department would let me expense it.
(She smiles.)
Madge: Okay, then, I'll just cut to the short version. Some guys can never love any woman but their mother. And some never had a mother who loved them.
(Camera holds on Grissom.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Mia removes a petri dish from the refrigerator. The bottom of the dish is labeled: (clockwise) COW, PIG, SHEEP, MONKEY GOAT, HUMAN. In the center is: UNKNOWN 43824-CW.)
(In the petri dish, she puts a sample of the milk from the baby bottles found in the nursery.)
SHORT TIME LAPSE:
(The milk for HUMAN matches the milk from UNKNOWN.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Catherine and Brass interview Foxy Harris.)
Catherine: Is Foxy short for anything?
Foxy Harris: No, no, it's just Foxy Harris. That's what's on my birth certificate. I signed an exclusive nondisclosure agreement with K-R-A-C. Whoever gave you my name is the one who broke the law.
Brass: It's funny what people will say when there's a warrant in their face.
Catherine: Yeah, your friends at KRAC take obstruction of justice seriously. You stole police department evidence in a homicide investigation. You're guilty of theft and possession of stolen property.
Brass: And we're looking at you for m*rder.
Foxy Harris: I sh**t pictures, not people.
Brass: Right. You're a journalist. So, what were you doing at the Eiger house that night?
Foxy Harris: Okay, so K-R-A-C isn't my only employer. I do discreet work for Sy Magli.
(Quick flash of: [EIGER RESIDENCE - NIGHT] Foxy Harris hides in the bushes while Donna Eiger makes out with Sy Magli.)
(End of flash. Resume to present.)
Brass: All right, let me get this straight. Sy Magli hired you to take pictures of him sleeping with Donna Eiger?
Foxy Harris: That's right.
Catherine: Why would he do that?
Foxy Harris: Eiger had dirt on everyone. Nobody obsessed with secrets doesn't have some of his own. Magli asked me to find Eiger's, but, well, I couldn't find any.
Catherine: So in the absence of scandal, Magli created some.
Brass: By sleeping with Bruce Eiger's wife.
Foxy Harris: Brilliant.
Brass: You know, there were cops everywhere. Whose palm did you grease?
Foxy Harris: I didn't need to. (sighs) Donna showed Magli, who showed me all the secret ways onto the property.
(Quick flash of: [EIGER RESIDENCE - DAY] Foxy Harris walks out between the police cars and switches out the memory cards from the camera. End of flash. Resume to present.)
Foxy Harris: You really should train your people better. All it took was a dark jacket, a baseball cap, and a camera. No questions asked.
CUT TO:
[INT. CSI - HALLWAY / TRACE LAB - DAY]
(Mia reports her findings to Warrick.)
Mia Dickerson: So here's the thing. The milk in the bottles was not bovine. It was human breast milk.
Warrick: Human?
Mia Dickerson: Mm-hmm.
Warrick: All of it?
Mia Dickerson: Yeah.
Warrick: Well, it definitely wasn't the wife's.
(They turn into the Trace Lab.)
Mia Dickerson: No, the widow Eiger's DNA was not a match. However, whoever pumped all that milk also wore this.
(She pulls out the dress smock from the evidence envelope.)
Mia Dickerson: The epithelials were a match.
Warrick: So we're looking for one very tired milkmaid.
CUT TO:
[INT. CSI - LAB -- DAY]
(Nick and Sara are taking apart Bruce Eiger's toy box.)
Nick: This is the same toy box they sell at Forever Baby, except the one in the store was twice as big on the inside. SARA: Well, he did like his secret spaces.
Nick: Yep.
(They unscrew the screws from the box.)
Nick: All right.
(Nick and Sara remove the side paneling.)
Nick: Whoa.
(Hidden inside the toy box are files. They put the paneling aside and remove the rest of the wood.)
Nick: Bingo.
(They look at the labels on the file folders.)
Nick: "Sy Magli ... Sam Braun ... Rory Atwater"?
Sara: Sheriff Rory Atwater?
Nick: Looks like it. Along with some gaming commissioners, judges, pro athletes.
(Nick chuckles.)
(Sara picks up a photo of a baby and looks at it.)
Sara: No name. Just a date -- 12-20-01.
(Nick looks at another photo.)
Nick: Well, apparently, Sy liked the spectrum --
CUT TO:
[INT. CSI - A/V LAB]
(Warrick and Greg look over the hard drive from Bruce Eiger's security system.)
Warrick: I downloaded the log from the Eigers' security system hard drive. All of the perimeter doors and windows in the Eiger mansion are protected. If one of them is opened, it's logged into the security system.
Greg: According to Mrs. Eiger's verified alibi, she left for the club around
7:15.
Warrick: Okay. Garage door opens, 7:18. Got it.
Greg: Dispatch received her 911 call at 11:42. So we're concerned with the four hours in between.
Warrick: 8:00, the front door opens. It was probably the milkmaid.
Greg: 10:09, the third floor balcony doors were opened.
(Quick flash to: [EIGER RESIDENCE] Bruce Eiger opens the balcony doors.)
(End of flash. Resume to present.)
Greg: Bye-bye, Bruce.
Warrick: Now four minutes later, the front door opens again.
Greg: Milkmaid exits?
(Quick flash to: [EIGER RESIDENCE] The front door opens and someone leaves, walking around Bruce Eiger's body.)
(End of flash. Resume to present.)
Warrick: 17 minutes later, at 10:30, the garage door opens. I guess that was Mrs. Eiger.
(Quick flash to: [EIGER RESIDENCE] Donna Eiger drives home.)
(End of flash. Resume to present.)
Warrick: But then a minute later, at 10:31, the front door opens again.
Greg: She didn't make her call to 911 until 11:42. What was she doing for over an hour?
CUT TO:
[INT. CSI -- LAB]
(Grissom and Catherine examine the crime scene photos.)
Grissom: Count Basie said that it's the notes you don't hear that matter.
Catherine: Two voids ... one pointing towards 11:00, one towards 1:00.
Grissom: Something blocked the spray.
Catherine: Something in a size eight.
Grissom: Could that be explained by her rendering aid?
Catherine: I don't think so. It's a fine mist. A spatter. (She looks at the pants fabric with the blood spatter on it.) I think he was still alive, expirating blood.
(Quick flash of: Bruce Eiger is on the concrete floor spitting out blood on Donna Eiger's legs.)
(End of flash. Resume to present.)
Catherine: I wonder what was going through her mind when she stood there and watched him die?
Grissom: I wonder what was going through his?
(Camera holds on the photo of Bruce Eiger.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Donna Eiger and her lawyer, James Mandelbaum are in the interview room with Brass and Grissom.)
Donna Eiger: Fine. I was, uh, playing canasta at the club, like I do every Thursday night. I come home. I pull into the driveway, and-and there he was.
(Quick flash of: [EIGER RESIDENCE - NIGHT] Donna Eiger pulls up the driveway and sees Bruce on the concrete dying.)
(End of flash. Resume to present.)
Brass: You administer any help?
Donna Eiger: Uh, more like encouragement.
(Quick flash of: [EIGER RESIDENCE - NIGHT] Donna Eiger stands over Bruce. He turns his head and spits out blood all over her white pants and shoes.)
(Camera zooms in to a CGI close-up: Down Bruce's open mouth and into his lungs filling with blood.)
(Cut to: Donna looks down at Bruce.)
Donna: Oh, dear. What happened to Mummy's widdle baby? Did Brucey fall down and go boom?
(End of flash. Resume to present.)
Brass: So you're admitting responsibility in the death of your husband?
James Mandelbaum: No. Mrs. Eiger is not a health care professional. She merely delayed in calling for help.
Grissom: She watched him die.
Donna Eiger: He had a broken neck. If he'd lived, he would've been a quadriplegic.
Brass: So it was a mercy k*lling?
James Mandelbaum: It wasn't a k*lling at all.
(Grissom gets it.)
Grissom: You would've had to take care of him.
Donna Eiger: Oh, bathe him, feed him, change his diapers. (She chuckles.)
Freakin' gift from God to him. See the thing was, I-I just didn't want Bruce to have the satisfaction of being helpless for the rest of his life. Do you know what the last words I said to him were? (b*at) You lose.
Brass: So I take it that you weren't his, uh, his mommy?
Donna Eiger: Look-- love, honor, cherish. Diapering was never on the list.
Grissom: How'd you deal with it?
Donna Eiger: Oh, I didn't. Look, I'm sorry, but ... you can't have sex with a man after you've seen him ... after you've seen him behave like that. So in order to save our marriage, we had, uh, an arrangement. On Thursday nights, I go to the club with my friends. He hires a baby-sitter.
Brass: We have reason to believe it was the same baby-sitter every week. Any idea who that is?
Donna Eiger: (shakes her head) No, women in my position have been looking the other way for years. I just had... something a little stranger to look away from.
Brass: Why didn't you leave him?
Donna Eiger: Nobody leaves Bruce.
Brass: Well, maybe you had to get Bruce to leave you. You push him off the balcony?
Donna Eiger: No. He'd already fallen when I found him. I turned him over. I watched him die.
(Quick flash to: [EIGER RESIDENCE - NIGHT] Bruce is d*ad on the concrete. Donna Eiger takes the diaper away.)
Donna Eiger: (V.O.) I got rid of the diaper.
(Cut to: She rolls up the carpet.)
Donna Eiger: (V.O.) I rolled up the carpet.
(Cut to: She removes her shoes.)
Donna Eiger: (V.O.) I changed my clothes.
(She takes her pants off.)
(End of flash. Resume to present.)
Donna Eiger: Then I called 911. And I should've left him in the damn diaper. I don't know what I was protecting.
Brass: Your reputation.
James Mandelbaum: Donna may be an opportunist, but she is not a m*rder. And since neither of us believe that Bruce was suicidal ...
Grissom: You're both psychiatrists?
Donna Eiger: Look, my husband did not commit su1c1de. So why don't you just find the guy who did, and I will write him a big, fat check.
CUT TO:
[INT. CSI - STAIRS - DAY]
(Catherine and Grissom walk down the stairs.)
Catherine: That drug spike that Mia detected in Bruce's diaper -- "Lucy in the Sky with Diamonds..." L-S-D. But I don't get it, because acid trips last for hours. Why wouldn't it have shown up in his bloodstream?
Grissom: LSD is in and out of your system in twenty minutes. But it acts as a trigger, which sets off cascading reactions in the brain.
(Quick flash of: Bruce is running through his hallway.)
Grissom: (V.O.) The brain keeps cascading long after the drug is gone.
(Camera zooms in to his eye and we see the nerve synapses in his brain flashing on and off.)
(End of flash. Resume to present.)
Catherine: Well, there are good trips, and bad trips, and trips right off the balcony.
Grissom: Strange drug of choice for a control freak.
Catherine: Maybe not his choice.
CUT TO:
[INT. CSI - LAB]
(Sara and Sofia are looking through papers.)
Sofia Curtis: So we're looking for a lactating female with a center whorl print.
Sara: We recovered two sets of prints from the baby paraphernalia. His and ... presumably hers.
(Sara shows Sofia the two prints.)
Sofia Curtis: We've excluded Mrs. Eiger. How long can a woman lactate after giving birth?
Sara: I had a professor in college, her six-year-old used to come in for lunch. I guess they'll go as long as you let them.
Sofia Curtis: What, the boobs or the kids? That's a two-legged topless buffet.
(She looks at the file folder.) Ugh.
Sara: I'm thinking, you know, if you commit to something every Thursday night, you got to be getting something good out of it. We found oil drops on the driveway. None of the Eiger cars had leaks. I ran it through Trace. It was an AGIP ... Sint 2000. It's a synthetic motor oil.
Sofia Curtis: A synthetic would make it high end.
Sara: That particular oil is only used for Lamborghinis. How many lactating women are driving one of those?
Sofia Curtis: So he either paid well or was a good gift giver.
Sara: Maybe we're looking for a cash cow.
Sofia Curtis: With liquid assets.
(Sofia hides her smile.)
CUT TO:
[INT. CSI - TRACE LAB]
(David Hodges sits in front of the table full of baby bottles, nipples and enema tubes.)
David Hodges: I had the distinct pleasure of testing all the modes of ingestion from the nursery. Most people take acid on their tongue. Bruce ...
(Hodges picks up the enema bottle.)
Catherine: An enema.
David Hodges: And people call me a**l.
Grissom: Well, the whole point of having a "mommy" is to have her do these things for you.
Catherine: So the acid was no doubt supplied by the same sweet thing who gave him breast milk from that ... boobs-ahoy dress.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. CASINO - NIGHT]
(Brass talks with Sy Magli.)
Brass: So, that new Lamborghini is a pretty smooth ride. Grant from the dealership told me you bought one recently.
Sy Magli: It was a gift.
Brass: For who?
Sy Magli: Tanya Rollins. You got to woo the talent.
(Brass takes out a photo and looks at it.)
Brass: Yeah, she's cute. How old is she?
Sy Magli: Twenty-four.
Brass: So, you been together nine years -- that'll make her about fifteen when you consummated the relationship. Don't you know that fifteen will get you twenty?
Sy Magli: What do you want?
Brass: Why was Tanya's Lamborghini parked in Bruce Eiger's driveway?
Sy Magli: They were involved.
Brass: I thought she was your girl.
Sy Magli: Tanya always goes where the best deal is. I "rolled" her, Bruce bankrolled her. Her career-- smart move. Turned out she actually had other talents. She was making him a ton of money, so I gave her a call.
Brass: You poached her.
Sy Magli: Ah, come on, look, she jumped at it, all right? Tanya said he was a freak and she wanted out.
Brass: Then what? 'Cause I got felony sex, infidelities and a picture of a baby I don't know anything about.
Sy Magli: Come on, we both know what I was after.
Brass: So, all's well that ends well, huh, Sy?
Sy Magli: I didn't want him d*ad. There's no sport in humiliating a d*ad man. Now, if you' excuse me, captain.
(Sy Magli turns and walks away.)
(Brass stands there and looks around.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Catherine and Brass interview Tanya Rollins.)
Catherine: Your fingerprints are all over the nursery. The DNA that we took from your breast pump matches the milk from Bruce's fridge. And the arresting officer confiscated LSD from your purse.
(Brass takes out Tanya Rollins' cell phone and switches it on.)
Brass: And your cell phone is full of pictures of "Baby Bruce."
Tanya Rollins: Sy said all that Bruce had was fear.
Brass: Yeah, there's really not much to fear about a crying man in a diaper.
(Quick flash to: [NURSERY] Bruce Eigler is sitting in his playpen playing with the mobile.)
Tanya Rollins: All right, Baby Bruce. Playtime's over.
(She kneels down and makes smooching noises to him.)
Tanya Rollins: I smell a smelly.
(Cut to: Bruce is on his stomach on the changing table. Tanya throws the diaper away.)
Tanya Rollins: You made a big messy in your diaper.
(Cut to: She puts ointment out on her hand.)
Tanya Rollins: You ready?
(She rubs the ointment on his backside.)
Tanya Rollins: There you go. That feels so good.
Tanya Rollins: Mommy's got a special treat for you. It's extra special today.
(She adds LSD to his enema bottle.)
(Cut to: Tanya holds Bruce in her lap while she sings.)
Tanya Rollins: (singing) ... Wonder what you are ...
(End of flash. Resume to present.)
Tanya Rollins: ... and then, he just started acting crazy.
Brass: As opposed to soiling himself and gumming your nipples?
Tanya Rollins: Yes.
(Quick flash to: [NURSERY] Bruce is high and spinning around.)
Tanya Rollins: What is it with you, Brucie?
(Bruce takes off his hat and throws it to the ground. Tanya takes out her phone and snaps photos.)
Tanya Rollins: What are you doing? What is wrong?
(Bruce takes out the soiled diapers and throws them on the floor. He grunts as he smashes it into the carpet.)
Tanya Rollins: Wait, that's a bad boy.
(Bruce crawls out of the nursery.)
(Tanya follows him out.)
[STUDY - NIGHT]
Bruce Eiger: The light. I see the light ... I see ...
(Bruce runs around in a circle in the study.)
Tanya Rollins: What is it with you, Bruce?
(Tanya crawls out of the nursery into the study.)
Tanya Rollins: What's wrong?
(Bruce is crying.)
(End of flash. Resume to present.)
Tanya Rollins: And then, he just ... jumped off the balcony.
Brass: That's it?
Catherine: You knew this man's most intimate secret. You could've left him.
Tanya Rollins: Nobody leaves Bruce.
Catherine: What were you afraid of?
Tanya Rollins: That I'd never see my baby again. Bruce said that he wanted a baby. That he'd take care of both of us.
Catherine: And you believed him?
Tanya Rollins: (nods) Yeah. Only after the delivery, he said he had to take the baby away. That he was going to take him to be with his mom. You know, wait until my career took off. Until I was ready to be a mother myself. And then he took me to his nursery. (chuckles) He explained to me, you know, about infantilism. Said that it was in the bible. And then he made me clean him.
Brass: How long ago was that?
Tanya Rollins: Five years. Five years and every week, I would ask him if I could see my baby and he kept saying, "next week". "Sure, Tanya, next week."
"No, maybe next week." You know, "maybe the next week after that." (shrugs) I guess in my heart I knew that it was never going to happen. It's just that ... that was the only connection I had to my baby, you know? That and nursing Bruce.
Catherine: Tanya, this man exploited you for five years. He didn't allow you to see your only child and ... there he was, high as a kite and you're the only one there. Are you saying that you didn't offer him any encouragement off that balcony?
Tanya Rollins: If I told you to jump off a bridge would you do it?
(Quick flash to: [EIGER RESIDENCE - NIGHT] Bruce runs up the stairs.)
Tanya Rollins: Fly, Brucie, fly. Show Mommy how you can fly like a birdie!
Tanya Rollins: Come on, you can fly!
Bruce Eiger: I can fly.
Tanya Rollins: You can fly!
Bruce Eiger: I can fly, Mommy. I can fly, Mommy.
Tanya Rollins: You can fly!
Bruce Eiger: I can fly.
(Bruce runs down the hallway. Tanya runs with him.)
Tanya Rollins: You can fly, you can fly.
Bruce Eiger: I can fly, Mommy.
Tanya Rollins: You can fly!
Bruce Eiger: I can fly! I can fly!
(Bruce pushes the balcony doors open. He steps out onto the balcony and jumps. He falls down and hits the concrete.)
(Tanya runs to the edge of the balcony, her hands flat on the concrete railing. She looks down at Bruce.)
(End of flash.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. MRS. EIGER'S ROOM - NIGHT]
(Brass talks with Mrs. Eiger. He shows her the photo.)
Brass: Do you recognize this infant?
Mrs. Eiger: No. I've never seen that baby before in my life.
Brass: Well, Bruce said he gave you his lover's baby to raise. The mother's name was Tanya.
Mrs. Eiger: Do I look like I could raise a baby?
Brass: When was the last time you saw your son, Mrs. Eiger?
Mrs. Eiger: Seven years ago.
Brass: You didn't know he had kids?
Mrs. Eiger: Do you know what my mother told me when I had Bruce?
Brass: What's that?
Mrs. Eiger: "Suckle the baby, cuckold the man".
Brass: I don't follow.
Mrs. Eiger: You were breast-fed.
Brass: Yeah.
Mrs. Eiger: My mother was a firm believer that the way you raised a boy was to make him hard. To let him know what the world was like right out of the womb.
Brass: And what's the world like?
Mrs. Eiger: No free lunch. All these mothers coddling their toddlers. Look where we are.
Brass: Yeah, look where we are.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Grissom: (V.O.) I've enjoyed working with you.
[INT. RESTAURANT -- NIGHT]
(Grissom and Catherine are sitting at a dinner table.)
Catherine: Which part? The part where I got in your face or the part where I, uh, lost evidence, or uh, maybe you just miss me.
Grissom: I did miss you. I missed your passion and your tenacity. I even missed your tush.
(Catherine chokes on her drink. Grissom takes a sip from his drink.)
Catherine: Really. Thank you.
(Brass joins them.)
Brass: Sorry to interrupt. I miss the punch line?
Catherine: Yeah.
(Brass chuckles as he sits down.)
Brass: So Bruce lied about the kid. There was an out-of-state adoption that placed the day the kid was born.
Waitress: Anything to drink, sir?
Brass: And Bruce's mother ... (to the waitress) -- a light beer, please. (to Grissom and Catherine) His mother was a piece of work.
Catherine: So, is Tanya going to take the fall?
Grissom: Can't convict her for cheerleading.
Brass: You can if there's LSD in her pom-poms. Acid makes her culpable. Class A felony.
Catherine: Any more culpable than his wife, who just let him lie there?
Brass: You know, what I can't get my mind wrapped around is, uh, you got a guy who's tough enough to get to the top of the heap in Vegas, all this power, and he ends up crawling around a playpen.
Grissom: That's the point, isn't it? It's only the truly powerful that have the luxury to relinquish power.
Catherine: But diapers?
Grissom: Why not? Where would you go if you had the connections and the cash to go anywhere you wanted?
Brass: I hear Fiji's nice.
Grissom: Eiger went further. He went all the way back to his childhood.
Brass: Yeah. I think I'd take Fiji.
(Camera slowly pulls away from the three at the dinner table.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x15 - King Baby"} | foreverdreaming |
FADE IN.
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - DAY]
[EXT. DESERT - DAY]
[EXT. RAINBOW CANYON -- WOODS - DAY]
(A fly flies into camera frame. The camera follows the fly.)
[FLY POV]
(The fly flies, then zooms down into the trees. It burrows into some flesh.)
(Resume POV. The camera pulls back out of the flesh and we hear the buzzing of flies and see dozens of beetles on the open chest wound of a d*ad body.)
(Camera pulls back and we see the face of the person has been completely blown off.)
[TIME LAPSE]
(Fast forward time through multiple nights and days. The flesh of the decomposing body melts away.)
(Wild animals stop at the body.)
(The flesh of the body rapidly melts away from the bone. Bugs and beetles feast on the flesh.)
[EXT. RAINBOW CANYON -- WOODS -- DAY]
(Close-up: Grissom picks up a single beetle off the decomposing flesh where the head of the victim used to be. He holds it up and looks at it.)
Grissom: Hide beetle.
(FAR sh*t of Grissom and David Phillips kneeling next to the body. Multiple officers roam the area, possibly securing the scene.)
Grissom: This guy's been here at least two weeks.
(Grissom picks up a b*llet from out of the decomposing flesh where the head of the victim used to be. He looks at it.)
Grissom: Number four buckshot, maybe?
David Phillips: Well, his pockets are empty. There's no wallet or any other kind of ID.
Grissom: What'd be the point of bl*wing someone's face off if you're going to leave their driver's license?
David Phillips: Well, he's all yours.
(David Phillips stands up and leaves. Catherine crosses the crime scene tape on the way to the body. Brass is talking with someone on the side.)
David Phillips: Hey, Cath.
Catherine: (to David) Hey. (to Grissom) Grissom.
(Grissom looks up. Catherine walks over to the body.)
Catherine: What's the deal? You're coming to my crime scenes before I get to them now?
Grissom: Weren't you on a 4-19 in north town?
(Grissom stands up.)
Catherine: Guess you missed me.
Grissom: I'm just documenting, then I'm leaving.
(He snaps a photo of the body. Catherine puts her kit down and gets a look at the body.)
Catherine: Oh. Ew.
Grissom: Lot of animal activity.
Catherine: Well, out here, I guess there's, uh, rodents, coyote, buzzards ...
(Grissom snaps more photos as Catherine kneels down next to the body.)
Catherine: ... occasional mountain lion.
(She picks up the victim's hand and notices his ring.)
Catherine: What do we have here? A little ice?
(Brass kneels down next to Catherine and looks at the victim's ring.)
Brass: The end of Rainbow Canyon. And this must be the pot of gold.
Catherine: (reading) Las Vegas ... greenbacks?
(Brass reaches over and moves the ring with the tip of his pen to look at the writing on its side: AFFA 12)
Brass: American Football Franchise Association. That league folded about twenty years ago.
(Catherine looks at the g*n hole in the victim's chest.)
Catherine: Now, that's what I call a rat hole. (Grissom snaps a photo.)
g*n wounds tend to be separate hits from individual pellets. But only if the sh**t's far enough away from the target. This guy was sh*t at close range.
(Quick CGI POV: A g*n is fired. The b*llet exits the barrel. The pellet cluster hits the chest in a single large hole.)
(A man grunts.)
(The barrel of the r*fle flares.)
(End of CGI POV. Resume to present.)
Grissom: Right between the numbers.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. RAINBOW CANYON -- WOODS -- DAY]
(Catherine is walking along the crime scene. Nick is standing at the edge near the trees. He's holding a camera and looking perplexed.)
Nick: I don't get it. Grissom calls me up, I come out here, and I find you. Things were a hell of a lot simpler when we were all on the same shift.
Catherine: You saying you don't like me as your boss?
(Catherine snaps a photo.)
(Nick doesn't know where this came from.)
Nick: Whatever.
(He snaps a photo of something. Catherine glances back at him, then goes back to what she found.)
Catherine: I got a sh*t cup. (She holds it up and looks at it.) Doesn't make any sense, 'cause our vic was definitely sh*t point blank.
Nick: Yeah, a sh*t cup coming out of a shell is like throwing a potato chip. It doesn't really go that far.
(She looks at the sh*t cup.)
Catherine: (quietly) Yeah.
(She puts it down as she thinks about it.)
(Cut to: Nick removes a b*llet out from the bark of a tree. He looks at it and puts it in a bindle.)
(He looks around.)
(Catherine snaps a photo of a mark on a rock.)
(Nick kneels down to pick something up from the ground.)
Nick: Another casing. (He walks over to Catherine.) That's got to account for at least two more sh*ts.
Catherine: Typical pump-action. Holds four in the mag, one in the pipe.
(She picks up another sh*t cup.)
Catherine: This was a chase.
(Quick flash of: The victim runs through the woods in the night. The k*ller is behind him and fires. The victim runs. The b*llet misses and ricochets off the tree. A second b*llet is fired and it ricochets off the rock. The victim continues to run.)
(The victim falls. The k*ller stands over the victim, cocks the r*fle and fires.)
(End of flash. Resume to present.)
(Nick nods.)
Catherine: We know where it ended, so ... let's find where it began.
(Catherine and Nick look out across the area.)
Nick: There's not much out here to do for a couple of guys, other than hike or hunt.
Catherine: And the vic wasn't dressed for either.
Nick: So they were up to no good. (Nick sees something in the distance.) Is that a trail over there?
(They wade through the water and head over to the trail.)
(Nick stops at the small dam and sees a hundred dollar bill with the twigs. He chuckles.)
Catherine: What you got?
Nick: C-note in a Beaver Dam.
Catherine: Hang on.
(Catherine snaps a photo of it.)
(Nick cuts the twigs and takes out the bill. He looks at it.)
Catherine: Damn. This beaver's doing nice work.
Nick: They should do a commercial for the city.
(Nick kneels down and looks inside the hole in the beaver dam. Camera pulls back and we see that there are more bills - lots of fifty dollar bills -- lining the inside of the hole.)
(Nick straightens.)
Nick: Las Vegas -- where even the beaver can strike it rich.
(Catherine gives Nick a look.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. TANGIERS - HALLWAY/ROOM - DAY]
(Det. Vartann is looking through his notes when Greg and Grissom walk up to him.)
Greg: Please tell me I finally got a hooker roll.
Det. Vartann: Sorry. Maybe next time.
(They all step inside the hotel room. They stand around the bed where the d*ad body is.)
Det. Vartann: Coroner was just here. Maurice Hudson, 37, lives in Tahoe.
(Grissom puts his kit down. Det. Vartann hands him the plastic bag with the victim's wallet and money.)
Det. Vartann: $14,000 in cash, and credit cards are accounted for.
Greg: That much cash? Guy must have been a gambler.
(Grissom looks down at the table and sees a couple of 2005 W-2 forms.)
Grissom: Casino W-2's. Looks like we got a winner.
(He picks up a name tag.)
Grissom: Name tag printed at the Tangiers. Probably a convention.
Det. Vartann: I'll check it out.
(Det. Vartann leaves.)
(Grissom walks up to the bed with the d*ad body on it. The man is on the right side of the bed. The left side of the bed has a huge sweat stain on it.)
Grissom: So tell me about the body.
(Greg leans forward and looks at the victim's right side.)
Greg: Well, uh, livor mortis is settled, which means the body's been laying in this position for a while. Pronounced petechiae on the chest from lack of oxygen. Guy was struggling to breathe, pressure built up, and it popped the blood vessels.
(Grissom remains quiet. He looks at the body, noticing something else.)
(Grissom takes out a strand of something purple near the victim's mouth.)
Greg: Yeah, I saw that purple fiber. I was going to collect it. I just work on my own rhythm. (Greg takes the fiber and looks around.) I don't see anything purple in the room.
(Grissom looks around. He focuses in on the table against the far wall. Greg puts the envelope with the fiber in his pocket.)
Grissom: This table's cracked.
(Greg looks at Grissom. Grissom kneels down and finds something else on the table.)
Grissom: And we have what appears to be ej*cul*te.
(Greg looks around. He sees some stains on the bed sheets.)
Greg: Me, too. This guy was a machine.
Grissom: And he got around.
(Greg shrugs. Grissom stands up.)
Grissom: Have Sara process the sheets, and then pull the hotel surveillance.
Greg: Got you. We want to see who came ... and went.
(Grissom turns around and raises an eyebrow at Greg.)
CUT TO:
[INT. CSI - LAB]
(The sheets are spread out on the table. Sara uses an ALS to examine the sheets.)
(She uses a marker to outline the impression on the sheets.)
INTERCUT WITH:
[INT. CSI - A/V LAB]
(Greg reviews the security video.)
(Sara continues to examine the sheet, marking the body fluid stains with a marker.)
(Greg continues to review the video footage. He finds the video of the victim stepping into the elevator.)
(Sara cuts out the portion of the sheet with the body fluid stains on it. She puts the material in a container and caps it with a label for DNA.)
(Greg views video footage of the victim leaving the elevator.)
[INT. CSI - A/V LAB]
(Sara walks into the lab.)
Sara: Any luck?
Greg: Hotel gave us copies of the surveillance tapes from the time Hudson checked in.
(Sara sits down next to Greg.)
Greg: I'm all the way up to last night, and he's always solo.
Sara: Until Mia processes the sheet, there's no way to know whether the semen is the result of self-service only.
Greg: No way. Soft p*rn couldn't crack that table.
Sara: Okay. If he had a partner, that would explain the unusually large sweat stain I found on the sheet.
Greg: No cell phone. No calls out. Always alone. Who was he with?
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins goes over the body with Grissom.)
Robbins: Maurice Hudson is a perplexing subject. Check out his eyes.
(Robbins pulls apart the victim's eyelids to show Grissom the eyes.)
Grissom: Bulbar hemorrhages.
Robbins: (nods and points) And petechial hemorrhages on the chest.
Grissom: Asphyxiation.
Robbins: Yep. Lividity, dark blue-purple, settled in the posterior area.
Grissom: Well, that makes sense. We found him face-up.
Robbins: Yeah? So then explain the additional blanching patterns on the chest and thighs.
Grissom: Blanching happens when something's pressed against the area, displacing the blood.
Robbins: Yeah, I know what you're thinking, but the body wasn't moved. And these two lividity patterns taken together are consistent with him being on his back.
Grissom: So there was something on top of him?
(Robbins nods.)
Grissom: Compression asphyxia?
Robbins: It took at least two to three very long minutes to k*ll him. And whatever was on him remained there until livor set, about eight to ten hours.
Grissom: Well, whatever it was was gone when we got there.
CUT TO:
[INT. CSI -- LAB]
(The tech removes the money from the beaver hole relocated to the lab. Catherine instructs the techs)
Catherine: I want two people in the room at all times, double counts, every pile. If you don't agree, do it all again.
Tech: I know the drill, boss.
(Catherine turns and leaves the room. She walks down the hallway.)
[INT. CSI - HALLWAY - DAY -CONTINUOUS]
(Catherine walks through the hallway when Warrick finds her.)
Warrick: Hey, Cath.
(She turns around when Warrick steps out of a lab.)
Catherine: Yeah.
Warrick: I think I've got an ID off the victim's ring.
Catherine: Let's hear it.
Warrick: The AFFA. It only lasted a few years, and only one player wore the number 12 for the Greenbacks. He was a wide receiver.
Catherine: Okay, what's his name?
Warrick: Gabe Miller. Fits the general description.
Catherine: All right, well, give it to Brass. We'll follow up.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins goes over the body with Nick. Nick is wearing a face mask.)
Robbins: Minimal hemorrhage around the head wounds suggests the heart was destroyed first. Close-to-contact SGW caused extensive pulpification on the heart and bilateral hemothraces.
(Nick removes his face mask as he holds out the sh*t cup.)
Robbins: Yeah, and that was embedded in the back of his skull. Not uncommon for a close-range sh*t.
Nick: I think the guy used a sawed-off g*n.
Robbins: How can you tell?
Nick: Check out the stria.
(Quick zoom to the markings on the sh*t cup.)
Robbins: Hmm? Yeah, what is it?
Nick: Impatience.
(Quick CGI POV: Someone saws off the barrel of a g*n.)
Nick: (V.O.) Sawing off the barrel of a g*n is hard work.
(Cut to: The person breaks off the end of the barrel.)
Nick: (V.O.) Those that do it are usually in a rush in to get it done. It leaves a burr on the edge of the barrel.
(The person cocks the r*fle.)
(End of CGI POV. Resume to present.)
(Nick holds the sh*t cup.)
Nick: So every time the w*apon fired, the burr on the barrel raked the sh*t cup ...
(Quick CGI POV: The g*n fires. The sh*t cup explodes out of the barrel, scraping up against the burr as it exits.)
(End of CGI POV. Resume to present.)
Nick: ... before the pellets blasted holes into Mr. Gabe Miller, here.
Robbins: That's the vic's name?
Nick: Yeah, why? Is it that funny?
Robbins: It's the same name as our new councilman from ward seven. Interesting story. The guy played pro football ...
Nick: Yeah, wide receiver for the Vegas Greenbacks, right?
Robbins: Right.
Nick: Well, his team ring was on this guy's finger.
Robbins: Yeah, then you mis-ID'd the vic. Gabe Miller's still alive. As much as a politician can be.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. - HALLWAY - DAY]
(Brass walks and talks with Gabe Miller down the hallway. He shows Gabe Miller a photo of the AFFA ring.)
Brass: So, this is your ring, huh?
Gabe Miller: Yeah, that's my old number. Haven't seen that ring in a long time.
Brass: Why is that?
Gabe Miller: Every cent I earned playing ball went up my nose or on some dog at Las Vegas Downs. I was a real mess until I accepted Jesus Christ as my personal savior.
(Brass makes a sound of disbelief. They stop walking.)
Gabe Miller: Do you got a problem with that, Captain?
Brass: No. No, no. No, I ... no, I'm just listening.
Gabe Miller: Well, there's no need to keep talking unless you're gonna speak your mind.
Brass: Okay, Councilman. Say you're an alcoholic. One day you decide to give up the bottle. And, more often than not, you're gonna trade in the sh*t glass for a dozen Krispy Kremes and start pounding them away with both hands. You know what I mean?
Gabe Miller: So you think I'm an addictive personality. Only now I'm into God instead of greyhounds?
Brass: No. I-I'm really not making any judgments.
Gabe Miller: When the Lord cleaned up my life, I promised him I'd always remember the man that I used to be, so I'd never be that man again. I dedicated twenty years of my life to playing football.
(He digs into his pocket, takes out his wallet and pulls out a pawn ticket. He hands it to Brass to look at.)
(A woman walks up to them.)
Gabe Miller: And I pawned my championship ring for a $50 parlay.
Woman: Sir, they're ready for you now.
Gabe Miller: (to the woman) Okay.
Brass: You can file a claim at our office and get the ring back any time you want.
Gabe Miller: (shakes his head) I don't need trophies anymore, Captain. Good luck on your case.
(Gabe Miller leaves.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[SCOPE VIEW: PURPLE FIBER]
(The purple fiber is in focus.)
David Hodges: (V.O.) Take a look.
[INT. CSI - TRACE LAB]
(Sara is looking through the microscope at the purple fiber as Hodges reports to her.)
David Hodges: Based on birefringence, your fiber's the product of a bivoltine moth.
(Sara looks up.)
Sara: You could just say it's silk.
David Hodges: (nods) Fine. Acid washed, dyed, tasar silk. Color's unique. Not found in our database or the feds.
Sara: That's it?
David Hodges: That's it.
Sara: It's not like you to get right down to business.
David Hodges: Even I have off days, Sara.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. TANGIERS - DAY]
(Det. Vartann, Grissom and Greg step onto the escalator going down. Grissom watches as a large woman wearing a pink tee-shirt steps on the opposite going up escalator.
Det. Vartann: There's only one convention at the Tangiers this weekend.
(The front of the woman's pink tee-shirt reads:
IF MY BODY DISGUSTS YOU ...
(She sees them looking at her and smiles.)
(They all turn to read the back of her tee-shirt:
KEEP IT TO YOURSELF
Det. Vartann: It's the same name tag as the one we found on the vic's clothes.
(They reach the bottom floor.)
CUT TO:
[EXT. TANGIERS - POOLSIDE -- DAY]
(There's an APAPSP convention at the Tangiers, "Association to Promote Acceptance of Plus-Sized People." Large men and women party poolside.)
(Det. Vartann smiles.)
Det. Vartann: A hogs 'n heifers convention. Hudson wasn't fat. What was he doing here?
Grissom: Maybe he used to be.
Greg: Or maybe he was a chubby chaser.
(Grissom looks at Greg. Greg shrugs.)
Greg: Hey, some men like curves.
Det. Vartann: There's curves, and then there's rolls. (sighs) Look, have tons of fun. I got a m*rder-su1c1de to cover.
(Det. Vartann turns and leaves.)
(Grissom looks around.)
Grissom: Something heavy k*lled our vic.
Greg: Heavy object, heavy person.
Grissom: Listen, pass this photo around the registration desk.
(Grissom hands Greg the DMV photo of Maurice Hudson.)
Grissom: Who knows. Maybe he did like big girls.
Greg: Where are you going?
Grissom: (points) I'm going dancing.
(Grissom shows the photo to a woman sitting in a chair.)
Grissom: Excuse me. Have you ever seen this man before?
(She shakes her head.)
(He heads over to two women dancing.)
Grissom: Excuse me, ladies. Have you ever seen this man before?
(They shake their heads and continue dancing. Grissom moves over to chair dancer #1 who is sitting down and dancing.)
Grissom: Excuse me. I'm with the Crime Lab. Have you ever seen this man before?
(He shows her the photo.)
Chair Dancer #1: (shakes her head) Never seen him before.
(Grissom notices her purple undershirt.)
Chair Dancer #1: Do you see something you like?
(She grabs her breasts and rubs them. Grissom backs away.)
Grissom: I'm sorry. I, uh ... I noticed your lovely purple undergarments.
Chair Dancer #1: I bought it here at the convention, honey.
Grissom: You did? (nods) Thank you.
(Grissom walks past her and she slaps his behind. Grissom turns around to look at her.)
Chair Dancer #1: (shrugs) Fat girl, gay guy. It's not unheard of.
(Without saying a word, Grissom turns and leaves.)
CUT TO:
[INT. TANGIERS - LOBBY OUTSIDE CONFERENCE ROOM -- DAY]
(Open on the painting. Greg shows the DMV photo to Brenda Morgan, who is sitting behind the registration table
Brenda Morgan: Yes, he's been to some of our events. We've exchanged hellos.
Greg: Was he here last night?
Brenda Morgan: I'm pretty sure I saw him at the mixer. Why?
Greg: We're investigating Mr. Hudson's death. Was he with anyone?
Brenda Morgan: I didn't notice. But you could check the message board.
(She points.)
Greg: Message board?
Brenda Morgan: When you see somebody you like, you leave them a note. If they respond, you're in luck. If they don't, it's softer than face-to-face rejection. We get that enough as it is.
CUT TO:
[INT. CSI - LAB]
(Nick and Warrick go over the cash taken from the beaver's dam.)
Nick: Roughly 25,000 in cash, money bands from five different sports books, some, uh, assorted trash and junk, and these.
(Nick hands Warrick two betting stubs from THE ORLEANS. He looks at them.)
Warrick: Without the vig, these are both $5,000 bets. Duke minus 17 on a Tuesday, and Louisville plus 23 on a Friday.
(The first ticket reads:
THE ORLEANS
90802-3EC1-0924
$5,500 Straight Bet
403 DUKE
-110 PLB -17
Event Date 02/14/05
Win $5,500 to pay $10,500
Ticket Cost $5,500
00331 MO326 Book 14Feb2005 10:05:58
9D802-3EC1-D654
(The second ticket reads:
THE ORLEANS
90802-3???-0924
$5,500 Straight Bet
225 LOUIVILLE
-110 PLB +23
Event Date 02/18/05
Win $5,500 to pay $10,500
Ticket Cost $5,500
00331 MO326 Book 18Feb2005 08:22:36
9D802-3EC1-D924 )
Nick: They winners or losers?
Warrick: You know what? I don't follow college roundball anymore. Most of the good players go pro right out of high school.
(Warrick picks up one of the money bands and looks at it.)
Warrick: The Mirage, the Stardust, the Golden Nugget, and Sam's Town. It's down the strip, across Fremont, up Boulder Highway. It's a classic runner's route.
Nick: Well, if he was placing bets for a bookie, maybe we can find out who it is.
(Warrick nods. Brass walks into the lab.)
Brass: Hey.
Nick: Hey.
Brass: So I tracked down the football ring from the pawnshop records. The ring was bought by Kelvin Russell. Get this. Russell worked for the VSL, the Vegas Sports Line.
Nick: Yeah, I've heard of them. They set the spread for almost every sports book in Vegas.
Brass: Now, if the vic worked for the VSL, he's legally prohibited from sports gambling. I mean, that guy should be nowhere near a betting ticket.
CUT TO:
[INT. VEGAS SPORTS LINE -- DAY]
(Open on some sports items and a large boxing poster that reads:
NOVOTNY VS. WILBUR
"CONTEST OF THE YEAR"
UNDISPUTED WILTERWEIGHT CHAMPION
GORG
VS. SAN JOSE
CHAMPIONSHIP FIGHTS ALL NIGHT LONG
SATURDAY DECEMBER 19
SPECIAL TIME
8PM ET / 5 PM PT
LIVE ON PAY-PER-VIEW
{on left} CESAR DABO
{on right} ARCHIE ARCHMAN
(Cut to: Mitch Urbana stands in front of a whiteboard as he discusses the spread with his team.)
Mitch Urbana: Five? A lousy five? This is the best left-handed sh**t in the country.
Oddsmaker #1: Yeah, you're right, Mitch. Uh, my research has me at six.
Mitch Urbana: Six? They'll cover that at halftime. Where are you morons getting your information?
Oddsmaker #2: Seven and a half.
Mitch Urbana: Seven and a half is a good start. Let me hear. Scotty, come on, beam me up. I want some numbers.
(Scott Kerwin takes a seat at the table.)
Scott Kerwin: Ten.
Mitch Urbana: Good. Okay, we're going ten here.
Oddsmaker #1: Mitch, add a hook for me.
Mitch Urbana: Uh-huh. A hook.
(He adds "1/2" to the "10". He turns around.)
Mitch Urbana: That's the game. Call it into the books.
(Brass and Warrick walk into the room.)
Brass: Hey, Mitch. So I see you're still the man with the plan, huh?
Mitch Urbana: Yeah, I am.
Brass: I'm here about one of your employees, Kelvin Russell.
Mitch Urbana: Then we got the same problem. That kid's been a no-show for two weeks. By the way, if you see him, you let him know he's fired, okay?
(Mitch takes a sip from his drink.)
Warrick: Oh, I don't think you have to worry about him coming back to work.
Brass: He's d*ad.
(This appears to be news for everyone in the room.)
Brass: We're gonna need statements from everybody. Who knew him best?
Mitch Urbana: That'd be Scotty. Scotty Kerwin.
(Scotty looks at Mitch.)
SHORT TIME CUT TO:
[INT. VEGAS SPORTS LINE - ROOM - DAY]
(Brass and Warrick talk with Scotty Kerwin.)
Brass: All right, Scott, so, uh, you and Kelvin were buds, right?
Scott Kerwin: No, not even. I was just the only guy that would talk to him.
Brass: Oh, so, he wasn't the favorite?
Scott Kerwin: He was cocky.
Warrick: Well, there's nothing wrong with a little confidence, especially in your line of work.
Scott Kerwin: Yeah, well, I guess the guys didn't think he deserved to be cocky just yet. I mean, Kelvin was new here, and Mitch Urbana's the man. And you know what I mean? His number is the number.
(Scott squints and rubs his nose.)
Warrick: You taking drugs, Scott?
Scott Kerwin: Yeah, it's for my Tourette's.
Brass: So, when was the last time you saw Kelvin?
Scott Kerwin: Monday. Yeah, it was the morning after the Duke-Louisville game. He-he sort of just came in and left.
Brass: What was the big rush?
Scott Kerwin: He didn't come in to work. He-he came in to gloat.
(Quick flash of: Kelvin Russell walks into the room.)
Kelvin Russell: (gloats) Hey, Mitch, you picked Duke minus 15, right? How'd that game turn out?
(He looks at Mitch. Mitch doesn't say anything.)
(Kelvin laughs.)
(He writes on the board: 22.)
Kelvin Russell: Just like I called it, old man! Hey, you weren't even close!
(End of flash. Resume to present.)
Scott Kerwin: Then he left. That was the last time I saw him.
CUT TO:
[INT. TANGIERS - LOBBY OUTSIDE BALLROOM - DAY]
(The registration table is busy. Camera cuts to the message board.)
Man: Hi. Can I leave this message for Melody?
(The man hands her a message and a photo.)
Jill Paisley: Sure.
(She takes the message form him.)
(Greg walks up to the woman in front of the message board.)
Greg: Hi. I'm from the Crime Lab. There's potential evidence on this board. I need the messages for Maurice Hudson.
Jill Paisley: Crime Lab? (She hands him the stack of messages.) Something happen to him?
Greg: Yes. He's d*ad.
Jill Paisley: Oh. A few ladies here are going to be in mourning. He was popular. I don't know why. Guess some people like pigs.
Greg: I take it you knew him.
Jill Paisley: Well enough to keep my distance. Bastard liked doing fat girls, but didn't want to be seen with them. There are some women around here who spend all their time and energy giving pleasure because they think they aren't worthy.
Greg: You don't have to be large to have low self-esteem.
(She smiles a little.)
Greg: Did he check his messages last night?
Jill Paisley: Yeah. He and Regina Owens played message tag for a while. I figured they hooked up.
Greg: Where can I find her?
Jill Paisley: She's a vendor. Intimates.
CUT TO:
[INT. TANGIERS - LOBBY - DAY]
(Grissom wanders through the vendors. He finds the stand with lingerie on it. He walks up and looks at the nightie. Regina Owens walks up to Grissom.)
Regina Owens: That's some tickler you got there.
Grissom: Excuse me?
(She motions to his beard.)
Regina Owens: You got everything you need to please a woman.
Grissom: Fine. (He looks at her name tag.) Regina, um, can I ask you, is this silk or synthetic?
Regina Owens: Oh, that's 100% silk.
Grissom: How many sets of these have you sold?
Regina Owens: Four pre-orders and another fifteen commissions. I even made a set for myself. (She pulls down the shoulder of the blouse and shows Grissom the purple lace underneath.) Men love purple.
Grissom: Do they?
Regina Owens: It's Purple Rain. Prince. Sexy. Custom color. You want it for the wife?
Grissom: I'm not married.
Regina Owens: Girlfriend?
Grissom: No.
Regina Owens: You want one?
Grissom: (smiles) Yes, I do.
(She laughs huskily.)
Grissom: I'd also like, uh, copies of your customer receipts.
(Her smile fades.)
CUT TO:
[EXT. THE ORLEANS BUILDING (STOCK) - DAY]
[INT. THE ORLEANS - SPORTSBOOK- DAY]
(The counter is busy. Camera rises to show the betting board behind the counter.)
WHITE FLASH TO:
[INT. THE ORLEANS - SPORTSBOOK - DAY]
(Warrick shows the victim's photo to the Sports Book Manager.)
Sports Book Manager: Yeah, this is the guy. Time-stamps match what were on the tickets.
(Warrick takes the photo and looks at it. The stamp on the photo reads:
EAST SPORTSBOOK
CAMERA 66
10:05:58:19
Warrick: Looks like a runner to me.
Woman: Got that right.
Sports Book Manager: Name's Lou Barnes. Yeah, we were kind of hoping those babies wouldn't show up.
Warrick: Why, because they're winners?
Sports Book Manager: Oh, yeah. Those little pieces of paper are worth ten-five each. Game h*t us hard.
Warrick: Yeah, I hear that book's the only place where casinos actually lose money.
Sports Book Manager: I worked here a long time, never seen anything like it. Not even ASU-Washington in '93.
Warrick: Oh, that's when the players shaved points. Any indication that this game was fixed?
Sports Book Manager: Well, Gaming Commission investigated. They didn't think so. I figure we just got caught in a good steam play.
Warrick: A lot of one-way action?
Sports Book Manager: Minute VSL opened the line. Yeah, it was weird. Those guys are usually right on. I mean, that's what we pay them for.
Warrick: The sharp number keeps you guys from getting h*t too hard, huh?
Sports Book Manager: Not this time. Number went all over the place. Money was rolling in so fast, guys were fighting for position in line. We lost over a million on that game.
Warrick: Could I get a printout of the line moves?
Sports Book Manager: You got it.
CUT TO:
[VARIOUS FLASHES OF THE SPORTSBOOK MAIN FLOOR]
[INT. THE ORLEANS - SPORTSBOOK - DAY]
(Catherine walks up to Warrick sitting at a table looking over the printout of the line moves.)
Catherine: Hey.
Warrick: Hey.
(Catherine sits down with her drink.)
Catherine: So, uh, Brass got a home address on the runner, Lou Barnes. He's looking into it. What are you still doing here anyway?
Warrick: I'm studying the game that our vic got rich on. These are the craziest line moves I've ever seen.
Catherine: Line moves? Got to say, the only thing that sports book means to me is guys without showers.
(Warrick laughs.)
Warrick: That's actually true.
Catherine: Yeah, I know.
Warrick: Okay, well, let me see if I can break it down. Monday morning, the week of the Duke-Louisville game, VSL sets the line at Duke minus 15.
Catherine: So if I were to place a bet on Duke, they would have to win by more than 15 in order for me to win the bet.
Warrick: Right. Now according to the Manager of the Book, the moment that number went up, cash came rolling in on Duke.
(Quick flash to: Bets are placed at the counter. The line starts at -15, then changes to -17.5, -23, then -25.)
Warrick: (V.O.) The professional bettors were all over the number, dispatching runners in every book in town. Now, remember, money moves the line. So, by the middle of the week, the tourists and local suckers caught wind of what the pros were betting, to Duke minus 25.
(End of flash. Resume to present.)
Catherine: Yeah, everybody's throwing money on Duke. Big favorite.
Warrick: This is where it gets weird. By Friday, all sorts of cash starts rolling in, but this time on the underdog -- Louisville plus 25.
Catherine: Which means that Louisville could lose by 24 and still win the bet.
(Warrick nods.)
Catherine: So, why would you bet on the underdog if you had already put money on the favorite?
Warrick: Well, here's why. (Warrick maps it out on a piece of paper for Catherine.) Our vic had Lou Barnes lay 17 points with Duke, and take 23 with Louisville. And the game ... landed 22. How do you think he did it?
Catherine: He got more than 17 and less than . He won both bets.
Warrick: All that action created this big "middle," so he was able to win on both sides. I think Kelvin Russell sold VSL's numbers, and got k*lled for it.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass interviews Lou Barnes.)
Brass: Lou Barnes. Big money runner. Still living at your mom's house?
(Lou Barnes' eyes start to flutter closed and he starts swaying in his seat.)
Brass: Hey, buddy, focus. You all right?
(Lou Barnes tilts off his chair and falls to the floor with a thud.)
Brass: Guess not.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HOSPITAL -- DAY]
(Lou Barnes is asleep on the hospital bed. The ER Surgeon is standing next to the bed.)
Nick: (o.s.) Okay, Ma'am. What've you got for us?
(The ER Surgeon turns around and takes out the plastic bag from her pocket. She hands it to Nick.)
ER Nurse: Pulled this out of his calf. Been in there at least a week. (to Brass) The guy was septic. He's lucky to be alive.
(The ER Surgeon leaves the room. Nick looks at the b*llet.)
Nick: Number four buckshot. Barnes was at Rainbow Canyon with Russell.
Brass: Russell knows the line's going to move on a big game, and he wants to cash in on it. But he can't go near a book without being reported, so he hires Barnes to place the bets.
Nick: They win big, and both wind up on the wrong end of a g*n.
(Quick flash to: A g*n fires. A man groans. The second man runs as the sh**t raises his r*fle and fires.)
Kelvin Russell: Oh, my God!
(The sh**t fires. Lou Barnes runs. The sh**t follows and fires.)
(He cocks the r*fle. The money floats to the top of the water. The sh**t stops and grabs a handful of money from the water.)
(End of flash. Resume to present.)
Nick: We're looking for a third guy.
(Brass turns and walks over to Lou Barnes' bed.
Brass: (loudly) Hey, Lou. Lou. (Lou wakes up.) You want to tell us who filled you full of lead?
Lou Barnes: I want a lawyer.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(Several officers walk through the hallway chuckling and laughing to themselves. In the waiting room, the women from the conference are there.)
(Sara walks through the hallway with her kit. She's heading for the waiting room. Officer Metcalf sees her at the doorway.)
Officer Metcalf: Walk softly. Don't cause a stampede.
(Sara doesn't laugh.)
Sara: I am going to remember that you said that, Metcalf, especially after these ladies sue you and the police for discrimination, you genius. Could you clear the halls for me, please? Come on, guys.
(Officer Metcalf and the officers leave, chuckling under their breaths.)
Sara: Hi, there. I'm Sara Sidle; I'm with the Crime Lab. And I would like to apologize for him. That was really out of line.
Jill Paisley: They all were, and so are you, unless you've got a good explanation on why we've been hauled down here.
Sara: Well, as you know, this is a homicide investigation. We've recovered evidence consistent with custom-made lingerie that all of you own.
Jill Paisley: I'm no lawyer, but that sounds flimsy, even to me.
Sara: We also ran DNA on evidence that we found at the crime scene that proves that two women had sex with the victim prior to his death. I would like to rule you out as suspects, so I'm asking for a voluntary DNA sample.
Regina Kern: You think one of us k*lled Maurice?
Blonde Woman: Who's Maurice?
Jill Paisley: You know, Maurice Hudson. Big ego, little scab.
Sara: If I could just swab the inside of your cheek.
Brenda Morgan: The answer is no.
Sara: I can easily get a court order with what I've got.
Regina Owens: So get one. Let's go.
(Instead of leaving, Jill Paisley walks up to Sara.)
Regina Owens: Jill?
Jill Paisley: I don't want this humiliation made more public than it already is. And I definitely don't want to come back here. So, you do what you want, but this ends for me right here.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 1 - NIGHT]
(Sara interviews Brenda Morgan.)
Sara: You told us that you didn't really know the victim.
Brenda Morgan: I didn't want to get involved. I still don't.
Sara: You were in his bed. I'd call that involved.
Brenda Morgan: Look ... Maurice wasn't a nice guy, but I slept with him anyway. I could service him all night, and he wouldn't even ride the elevator with me.
Sara: I bet that hurt. Enough to k*ll him?
INTERCUT WITH:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 2 - NIGHT]
(Grissom interviews Regina Owens.)
Regina Owens: He was better when I left than when I got there.
Grissom: What time was that?
Regina Owens: I went to his room around seven. Stayed just long enough to get mine and go.
(Quick flashback to: [HOTEL ROOM] Regina laughs. She bumps into the table. She laughs.)
Regina Owens: Ooh! Oh!
(She and Maurice Hudson kiss. She leans back into the table and it cracks under her. She continues to laugh.)
(End of flashback. Resume to present.)
Regina Owens: He knew how to have fun. And that's why we all come to Vegas, isn't it?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 1 - NIGHT]
(Brenda continues to talk with Sara.)
Brenda Morgan: I'm fat, Ms. Sidle. I am a fat woman. I've tried diet after diet, joined gym after gym, done obesity programs, obsessed about drastic surgery, and I'm still fat. I didn't get my high school crush. I did his homework. Didn't get the one in college, either. He became my "friend." But Maurice left a note in my slot on the message wall. And he made me feel special ... sexy ... wanted.
(She cries.)
Sara: Did you know about the other woman?
Brenda Morgan: When I went up to his room, she was leaving.
Sara: And you slept with him anyway?
Brenda Morgan: I thought about turning around, but it's not like I've had a lot of chances. It wasn't till afterwards ... that I started to feel ... angry. At myself. For letting him take advantage of me.
Sara: Did you argue with him? Was there a fight?
Brenda Morgan: No. I waited for him to fall asleep. Then I smothered him with a pillow and held him down until he stopped moving.
CUT TO:
[EXT. LAS VEGAS (STOCK) - NIGHT]
[EXT. ROAD -- NIGHT]
(Warrick walks over toward Brass who waits in the middle of the road. Three officer cars line the road near an abandoned vehicle.)
Warrick: Across town on a homicide, you guys call me out here for an abandoned vehicle?
Brass: The car was reported stolen last week. The R.O. is Mitch Urbana. It's been picked clean.
Warrick: You guys popped the trunk?
Brass: Waiting for you; pop it.
(The tech opens the trunk.)
(Inside the trunk is a small pile of metal shavings. Warrick touches it.)
Brass: What do you got?
Warrick: Feels like metal.
(Quick flash of: Mitch Urbana saws off the barrel of a r*fle. The metal shavings fall into the back of his car.)
FLASH TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Brass slides a photo of the car's trunk across the table toward Mitch Urbana.)
Brass: The dust in your trunk is high carbon steel mixed with chrome - consistent with a g*n barrel, like the w*apon used to k*ll Kelvin Russell.
(Mitch puts his glasses on to look at the photos. He shakes his head and takes his glasses off.)
Mitch Urbana: Look, uh, my car was stolen, and I reported it, okay? End of story. I don't know nothing about no g*n. Maybe the punk who stole my car must have put it there.
Brass: You and Kelvin weren't on the best terms, eh?
Mitch Urbana: (shrugs) Oddsmaking's a little art and a little science, you know? Russell was ... he was all mouth.
Brass: Hey, he nailed the Duke game.
Mitch Urbana: He got lucky. You know, there's about thirty games a day, and ... look, let me try to explain it to you, okay? Inside each game is a number. Once in a while, I'm, I'm a little off. But most of the time, I'm right. I work very hard to be right. I chisel through stacks of statistics, I sweep away all the irrelevancies. I try to get to the bottom -- you know, where the truth is. And yeah, I want to know what the quarterback had to eat that day, and if the point guard's going through a messy divorce. All these things, they come together, and all of a sudden, bang -- a number just jumps out at you. And within an hour, every sports book in Vegas got that number up on their board. My hard work displayed up there in lights. That's what I do.
Brass: Let me tell you what I think. Kelvin made you look bad. He made you look stupid. And for a guy who thinks highly of himself, who clearly needs to be right, where there's a tremendous amount of ego involved, that's motivation for m*rder.
Mitch Urbana: Kelvin Russell didn't know what hard work was, okay? He was a loudmouth major pain in the ass. You think I k*lled him?
(Brass raises his eyebrows at him.)
Mitch Urbana: Prove it.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY]
(Sara and Grissom walk through the hallway.)
Sara: Brenda Morgan is claiming that she smothered the victim to death with a pillow.
Grissom: He wasn't k*lled with a pillow. C.O.D. was compressed asphyxia.
Sara: She admits guilt, but she's hiding something.
Grissom: Maybe she's covering for someone else.
Sara: We know that Regina Owens was in the room. She claims she left the victim alive, and Brenda is backing her up.
Grissom: Yeah, but she's a liar.
CUT TO:
[INT. CSI - A/V LAB]
(Greg shows the video security footage to Sara.)
Greg: Brenda got off the elevator at 7:30. Regina got on. They knew each other, so things must have been uncomfortable.
(On the monitor, Brenda leaves the elevator while Regina steps into the elevator. The time stamp reads: 07:24.)
Sara: The tape confirms Brenda's account. What time did she leave?
Greg: Spent the night. She didn't leave till the next morning.
Sara: Doc Robbins ball-parked the victim's death at sometime between 9:00 P.M. And midnight.
Greg: That means she slept with a d*ad guy. She's not only a k*ller, she's a necrophiliac. That's what I call enjoying your work.
(Sara shakes her head.)
Sara: Hold on, hold on. Uh, back up the tape, please.
(Greg rewinds the tape.)
Sara: There. Stop.
(Time stamp is 07:23. On the monitor, Brenda puts her hand on the panel to steady herself.)
Sara: She's trashed. Maybe she passed out.
Greg: How drunk do you have to be to sleep next to a decomposing body? The smell alone's an alarm clock.
Sara: Not next to him. On top of him.
CUT TO:
[INT. CSI - LOUNGE]
(Warrick and Catherine watch the basketball game on the wide screen.)
Warrick: Who do you like?
Catherine: Uh, Charlotte. My mom grew up in North Carolina.
Warrick: All right, I'll give you Charlotte plus two.
Catherine: What do I get if I win?
Warrick: How about a fabulous dinner?
Catherine: (smiles) I'll take your action.
Warrick: (smiles) All right.
(The game continues.)
Catherine: So, unless we find our m*rder w*apon, the case against Urbana is circumstantial at best.
Warrick: But he's involved. I feel it. Those sports betting types -- they'll lie to their own kids about a game that hasn't been played yet.
Catherine: You were a sports betting guy.
Warrick: Yeah, and I lied when I was.
Announcer: Scott making his move. (The sh**t sh**t and misses the basket. Charlotte gets the ball.) No good! Charlotte looking for one last sh*t. (The buzzer blares.) He can't get it - buzzard! (The sh**t sh**t.) Final score: Hartford 89. Charlotte 88.
Catherine: (groans) Oh!
(Warrick smiles.)
Catherine: My team loses, but I still win that bet.
Warrick: Well ...
(Warrick's phone rings. He answers it.)
Warrick: (nods) Ah. (to phone) Brown. Really? Well, thank you. (He hangs up.) That was the manager of The Sports Book. Says a guy filed a lost ticket claim for the tickets that you found at the beaver dam.
Catherine: What's the name?
CUT TO:
[INT. CSI - A/V LAB]
(On the monitor, a photo of Cesar Dabo appears.)
Warrick: Cesar Dabo. No wants or warrants. Address in Lincoln County. That's near Rainbow Canyon. That's where you found the body, isn't it?
(The information on the monitor from the LAS VEGAS POLICE IDENTIFICATION RECORD reads:
CESAR DABO
HGT: 6'3" WGT: 230 LBS EYES: HAZEL
HAIR: BROWN RACE: CAUCASIAN
ADDRESS: 2974 WESTFALL AVE., LV, NV 89156
OCCUPATION: PROFESSIONAL BOXER 1979-1985
Bouncer: 1985-1992
Bartender: 1992-1999
Handyman: 2000-2004
Catherine: Yeah. (reading) Professional boxer from '79 to '85. After that, he spent a lot of time in Vegas as a bouncer, bartender, handyman. Just another one of those broken down, punch-drunk bums.
(Warrick runs Cesar Dabo through Google and finds 15,800 matches. The first four main titles read:
Archie Archman versus Cesar Dabo
Welterweight Contender Cesar Dabo
Cesar Dabo: Welterweight
Archer vs. Dabo
Warrick: It says Dabo was a welterweight contender. A title match against Archie Archman was his biggest fight. Lost by a split decision.
(Warrick scrolls down:
Cesar Dabo: Welterweight Contender
Title Match Fight: CASER DABO Vs. ARCHIE ARCHMAN
Winner By Split Decision: Archie Archman
(The three judges listed and their scorecards are for: TAYLOR GREEN, MITCH URBANA, and MAX TIMSON.)
Warrick: Check this out. The only judge who called the fight for Dabo was Mitch Urbana.
(Quick flash to: [LAS VEGAS SPORTSBOOK] Mitch Urbana is in front of the whiteboard.)
(Cut to: The photo of welterweight contender Cesar Dabo.)
(End of flash. Resume to present.)
Catherine: Oh. So maybe Urbana hired his former boxing buddy to do his dirty work.
Warrick: Dabo takes them out to Rainbow Canyon. m*rder Russell, but Barnes gets away.
Catherine: Dabo grabs most of the cash, goes back to Russell's body, takes the wallet, ID, takes off his face.
Warrick: And Urbana reports his car stolen to cover his ass.
Catherine: Let's put out a broadcast.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. DABO APARTMENT BUILDING - NIGHT]
(Officers with g*n are positioned outside the apartment building. Brass gives the signal for the officers to head for the apartment building.)
Brass: Let's go.
(Brass and the officers make their way to the apartment building.)
Brass: Go.
(Officers are already positioned near the doorway. Brass and a couple of officers rush up the stairs to the second floor.)
(An officer batter-rams the door open.)
[INT. DABO APARTMENT (#5) - NIGHT]
Brass: Las Vegas police.
(The door bursts open, startling the man and woman inside snorting coke. Brass and the officers hold their g*n on them.)
Brass: Cesar Dabo?
(Cesar Dabo doesn't move.)
Brass: Put your hands on your head.
CUT TO:
[EXT. DABO APARTMENT BUILDING - NIGHT]
(Brass talks with Cesar Dabo whose hands are cuffed behind his back.)
Brass: Listen, Cesar, you know, you're looking at a lighter gig if you tell us who paid you to k*ll Russell.
(Dabo sniffs.)
Cesar Dabo: Nobody paid me to k*ll him.
Warrick: What about your buddy Mitch Urbana? He called a fight for you back in '79, right?
Cesar Dabo: Yeah. I won that fight. Mitch was the only judge that got it right.
Brass: But you're willing to do time for that?
Cesar Dabo: Mitch said the kid was selling his number. He asked me to follow him, see what was going on.
Warrick: So, why were you driving Mitch's car?
Cesar Dabo: What, was I supposed to take the bus? My ride's been out all month.
Brass: All right, how much you get paid for the h*t?
Cesar Dabo: It wasn't a h*t. I did it on my own. I saw the money that runner was taking out of those books. Making Mitch look bad. He deserved it.
(Quick flash of: Lou and Kelvin Russell celebrate as they flash the cash at each other.)
(Cut to: Cesar Dabo watches them from the car.)
Cesar Dabo: (V.O.) They weren't so happy with a g*n in their face.
(Close-up of Cesar with the r*fle.)
Cesar Dabo: (V.O.) I drove them out to Rainbow Canyon.
(He cocks the r*fle and fires.)
(End of flashback. Resume to present.)
Cesar Dabo: I took the cash and stuff. I came back here. I called Mitch and told him what went down. I said I'd k*ll him, too, if he said anything.
(Cesar shifts from side-to-side, his eyes are barely open. Brass watches him.)
Cesar Dabo: I knew you guys would find me sooner or later.
Warrick: Dabo, tell me something. Why didn't you take the kid's ring? That was worth something.
(Quick flashback of: Cesar checks out the ring on the kid's hand. He passes it over.)
Cesar Dabo: (V.O.) Man, I thought it was a super bowl ring. Freakin' AFFA. That's my luck.
(He cocks the r*fle and fires.)
(End of flashback. Resume to present.)
(Camera holds on Cesar.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - GARAGE -- NIGHT]
(Grissom and Sara strap on the harness to the dummy as Greg watches.)
Greg: How much does this thing weigh?
Grissom: Two hundred and forty pounds at the moment. We'll increase the weight incrementally until you can't move.
Greg: Oh, I can't lift that. And if I can't, you can't. This is a safety issue.
Sara: Well, that's what the pulley is for, Greg, so relax and lie down on your back.
(Greg looks up at the pulley. He gives in and gets on the mattress on the floor.)
Greg: You know, this is exactly like a dream I had once, except it wasn't in a garage. And Grissom wasn't watching. (Sara suppresses a smile.) That was a different dream.
(Grissom lifts the dummy and places it over Greg. He lets it go.)
Sara: How's it feel, Dreamer?
Greg: Like 240 pounds of pure woman.
Grissom: How's your breathing?
(Greg pushes the dummy aside and sits up.)
Greg: Limited.
Grissom: Okay, add another forty pounds.
(Sara winks at him and nods.)
(Greg slips out from under the dummy as Sara adds the extra weight.)
Sara: Ready.
(Grissom lifts the dummy and places it over Greg. He lets it go.)
(Greg groans.)
Grissom: Well, the position's consistent with the victim. Face up, right arm is pinned.
Sara: If we could leave the dummy on long enough, we could actually match the blanching.
(Greg squeaks and groans, waving his hands to get their attention.)
Greg: Yeah, guys, help.
Grissom: Oh.
(Grissom lifts the dummy off Greg.)
Greg: Oh.
Grissom: Two hundred and eighty pounds.
Sara: Brenda's just shy of three.
(Quick flash of: [HOTEL ROOM] Brenda is on Maurice as he gasps for air.)
(End of flash.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Sara interviews Brenda Morgan.)
Sara: How long have you had Type II Diabetes?
Brenda Morgan: A few years. What difference does that make?
Sara: You also have hypertension.
Brenda Morgan: Do you always ask questions you already have the answers to?
Sara: The night that Maurice Hudson was k*lled, you'd been drinking. There was enough sweat on the sheets to run a tox panel.
Brenda Morgan: I don't drink a lot.
Sara: Well, it doesn't take a lot for someone to pass out who's on propranolol and glucophage.
(Brenda starts crying.)
Sara: (quietly) It was an accident, wasn't it?
(Quick flash to: [HOTEL ROOM] Brenda wakes up and kisses Maurice. She brushes the hair from his face and notices that he's d*ad.)
(She sits up.)
Brenda Morgan: Wake up. Wake up.
(But he's d*ad.)
Brenda Morgan: Wake up.
(End of flash. Resume to present.)
Brenda Morgan: I just couldn't bear the jokes. Be some comedian's punch line. I would rather admit to m*rder and go to jail ... than to ever be that.
(Sara nods.)
CUT TO:
[INT. CSI - HALLWAY / LOUNGE]
(Grissom walks through the hallway and into the lounge where Greg is sitting at the table looking through a magazine.)
Greg: I've finally regained feeling in my spine, thanks for asking.
Grissom: A little technical reading, Greg?
Greg: Yeah, I guess I just wanted to see what the big deal is.
Grissom: Attraction is subjective. It can't be analyzed.
(Grissom pours himself a cup of coffee.)
Greg: Yeah, I consider myself to be pretty open-minded. Find other people's predilections very intriguing. What do you like? What gets your juices flowing?
(Grissom thinks about it.)
Grissom: Someone who doesn't judge me.
(Grissom leaves the room. Greg looks up to watch Grissom walking down the hallway.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x16 - Big Middle"} | foreverdreaming |
FADE IN.
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. HOTEL CASINO - MAIN FLOOR - NIGHT]
[INT. FOUR ACES- FRONT DESK - NIGHT]
(Martha Krell rolls her bag to the front desk. The Front Desk Clerk looks at her.)
Front Desk Clerk: Welcome back, Mrs. Krell.
Martha Krell: I told you, it's Martha.
(She takes her card.)
Front Desk Clerk: Your room's ready and I have your credit card on file.
(She turns to her co-workers as she leaves.)
Martha Krell: See you in the morning. I'm b*at.
(The elevator door opens. She walks inside and presses the button.)
Front Desk Clerk: (o.s.) Call me if you need anything, Martha.
(She smiles as the elevator doors close.)
(The Front Desk Clerk looks up.)
(The elevator light for the second floor lights up.)
CUT TO:
[INT. FOUR ACES MOTEL - SECOND FLOOR - NIGHT -- CONTINUOUS]
(The stairwell door opens and a man in a dark-colored jacket steps out. He looks down the hallway one way, then notes the EXIT door down the other hallway.)
(Off screen, the elevator bell dings.)
(The man in the dark-colored jacket and white sneakers heads toward the EXIT door. He follows the hallway and sees Martha Krell heading down the hallway with her luggage in tow.)
(He starts walking quickly and purposefully toward her.)
(Martha Krell reaches the motel room door and uses the card key to unlock the door.)
(The man reaches Martha Krell quickly. He swiftly grabs her and pushes his way into her motel room, her scream muffled by his hand over her mouth.)
WHITE FLASH TO:
[INT. FOUR ACES MOTEL - KRELL'S ROOM]
(Brass, Grissom and Sara walk into the room. Officers are there.)
Brass: Decedent's name is Martha Krell. Flight attendant. She checked in this afternoon.
(Brass stops near the bed where Martha is d*ad on the bed, her blood seeping into the sheets.)
Brass: Apparently, she was s*ab to death. The coroner's en route.
(Grissom and Sara put their kits down.)
Grissom: Weird ... no sign of struggle.
(They look around the room.)
Brass: No clothes, no luggage.
Sara: Bedspread's undisturbed. (Sara notes the trash bin.) Trashcan is empty and the inside is spotless. It's possible a liner's been removed.
(Grissom looks at the d*ad body.)
Brass: Take a whiff.
Grissom: Smells clean.
Brass: Smells like a hospital.
Sara: Bleaches and deodorizers. k*ller att*cked the victim, then cleaned and sanitized the room.
Grissom: Ah, but here's the smell of the blood still, and all the perfumes in Arabia will not sweeten this little room.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. FOUR ACES MOTEL - STREET OUT FRONT -- NIGHT]
(Officer car lights flash.)
[INT. FOUR ACES MOTEL - KRELL'S ROOM]
(Close-up: The DFP450 thermometer gage reads 83 degrees. David Phillips removes it from the liver.)
(A camera snaps and flashes.)
David Phillips: Her liver temp's 83 degrees. She's been d*ad approximately ten hours.
(Sara is taking picture of the body.)
Sara: I'd like to get a clear photo of her wounds. Can we lay her out?
David Phillips: Oh, yeah. Grab her feet.
(Sara puts her camera down. She grabs the feet while David holds on to the victim's upper body. As they flatten the body out, we hear the joints cracking.)
(David picks up the victim's bloodied hand and looks at it.)
David Phillips: Defensive wounds.
(Sara picks up her camera and takes more photos.)
David Phillips: Incised.
(He looks down the body at the s*ab wounds. Sara snaps more photos.)
David Phillips: At least a dozen.
Sara: She did not want to die.
(Off screen, the motel room door opens. Greg walks in with his kit.)
Greg: I just got the call.
(Sara turns and looks at Greg.)
Greg: Where's Grissom?
Sara: Bathroom.
(Greg tilts his head, puzzled.)
Sara: Working the, uh, case.
(Greg heads for the bathroom.)
CUT TO:
[INT. FOUR ACES MOTEL - KRELL'S ROOM -- BATHROOM]
(Greg walks into the bathroom and finds Grissom sitting in the tub holding his flashlight down at the drain.)
Greg: Hey.
Grissom: Hand me my multi-tool, will ya, Greg? I need a Phillips.
(Greg puts his kit down and picks up Grissom's multi-tool. He takes out the Phillips screwdriver and hands it to Grissom.)
(Grissom takes the tool and starts unscrewing the drain.)
Greg: What are you doing?
Grissom: Well, the s*ab was brutal, but the crime scene is clean. No cast-off, no spatter. So, I want to know if the k*ller washed blood down the drain.
(Grissom removes the drain cover. He holds it up and looks at its underside with his flashlight. He puts it aside. He uses the forceps and removes a wad of hair in the drain. He holds it up and looks at it with his flashlight.)
Grissom: Swab and phenol this, will ya?
(Greg takes a swab from Grissom's open kit on the toilet and kneels down to swab the wad of hair. He tests it with phenol and the swab tip turns pink.)
Greg: Blood.
(Grissom holds out the wad of hair for Greg to take.)
Grissom: Label it. Send it to DNA.
(Greg takes the forceps from Grissom.)
CUT TO:
[INT. FOUR ACES MOTEL - KRELL'S ROOM -- CONTINUOUS]
(Close-up of: Martha Krell is on the gurney. The coroner covers her with a sheet.)
(Grissom steps out of the bathroom. He removes his latex gloves and watches as the coroner wheels out the victim's body. He heads over to Sara.)
(Sara is dusting the hotel table. Grissom stops and stands next to her.)
Sara: Usually in hotel rooms, we find too many prints. (She sighs.) Not a single one. Just wipes and swipes.
CUT TO:
[INT. FOUR ACES MOTEL - LOBBY -- NIGHT]
(Brass interviews the Front Desk Clerk.)
Front Desk Clerk: Ms. Krell was a real nice lady. She brought me a Dodger baseball cap.
Brass: Wow. So you were friends?
Front Desk Clerk: Not really. Airlines buy a chunk of rooms for their trolley dollies, discounted. She's just staying here for a few months.
Brass: So you discovered the body.
Front Desk Clerk: Her supervisor called to say her A.M. flight was canceled. She wasn't answering her phone. He asked me to make sure she got the message.
Brass: So you knocked on her door, and when she didn't answer, you just went right in?
Front Desk Clerk: Yeah. I got a master key.
Brass: Yeah, I knew that. Does the hotel have surveillance?
Front Desk Clerk: Nope.
Brass: Thank you. You've been a big help.
Front Desk Clerk: Right on.
(The Front Desk Clerk leaves. Hayden Michael steps up toward Brass.)
Hayden Michaels: Excuse me. I'm Hayden Michaels. I'm the Manager of the Four Aces. I just got the call. Anything we can do to help?
Brass: Thank you. I'll let you know.
Hayden Michaels: Detective, if this hits the media, this is really going to hurt our business.
Brass: What are you asking me?
Hayden Michaels: Anything you can do to keep it out of the press?
Brass: Look, I'm trying to catch a k*ller. I got no control over the press. If this makes the news, then it is what it is.
(Brass turns and leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. HAWKINS' RESIDENCE - DAY]
(Officers put up crime scene tape around the front of the house.)
(Catherine and Nick exit their vehicle and head for the house carrying their kits. They pass an officer escorting Martin Hawkins out the front walk, another officer escorting Yvonne Hawkins and a third officer escorting their son, Matthew Hawkins.)
(The officer opens the back seat car door for Martin Hawkins.)
(Catherine passes Matthew Hawkins on her way to the house.)
(Detective Chris Cavaliere meets up with Catherine and Nick.)
Det. Chris Cavaliere: Hey. Victim's in the bedroom. Ty Hawkins, 12.
(He leads them into the house.)
CUT TO:
[INT. HAWKINS' RESIDENCE - TY'S BEDROOM -- AFTERNOON]
(David Phillips removes the thermometer and puts the sheet down.)
Det. Chris Cavaliere: Mother came in to wake him ... found him like this.
(Det. Cavaliere, Nick and Catherine look at the little boy bruised and beaten under the bed sheet. Nick sighs.)
Nick: Beaten to death.
Det. Chris Cavaliere: This many blows; it was personal.
David Phillips: Liver temp makes T.O.D. around midnight.
Det. Chris Cavaliere: No sign of forced entry. Nothing's missing. All the doors and windows were locked except for the screen door. Parents claim they keep that locked.
Catherine: You find a w*apon?
Det. Chris Cavaliere: Negative. Family's been transported down to the station. I'm gonna go down and take their statement. Hey, when you're done here, roll by. We'll ink them.
Nick: You got it.
(Det. Cavaliere leaves.)
Catherine: Boy's not even safe in his own bed.
(Nick sighs again.)
Catherine: I'll take the inside.
Nick: Yeah, I could use the fresh air.
CUT TO:
[INT. HAWKINS' RESIDENCE - TY'S BEDROOM -- AFTERNOON]
(Catherine takes a swab of Ty Hawkins' bed. She picks up the bat and looks at the knob at the base of the bat handle. She swabs the head of the bat. She puts the bat down and tests it. Negative. She looks at the swab.)
(Catherine removes the sheets off the bed.)
(Camera pulls back out of the bedroom through the bedroom window and out of the house ...
[EXT. HAWKINS' RESIDENCE - BACKYARD-AFTERNOON -- CONTINUOUS]
( ... where Nick is standing with his camera to take a photo of the shoe print in the dirt just outside Ty Hawkins' bedroom window.)
(He puts the ruler aside and puts a metal ring around the shoe print. He smashes the bag of plaster and pours it over the shoe print.)
(Nick stands up.)
(Camera zooms back into the house through the bedroom window ...
[INT. HAWKINS' RESIDENCE - TY'S BEDROOM - AFTERNOON -- CONTINUOUS]
( ... where Catherine is standing near the shelves dusting them for prints.)
INTERCUT WITH:
[EXT. HAWKINS' RESIDENCE - BACKYARD-AFTERNOON -- CONTINUOUS]
(Nick has found the word "BRAT" written on the bedroom window. He dusts it.)
(Inside, Catherine dusts the window jalousies.)
(Outside, Nick dusts the word on the window glass. He leans in close and snaps a photo of it.)
[INT. HAWKINS' RESIDENCE - UTILITY ROOM - AFTERNOON -- CONTINUOUS]
(Catherine walks into the utility room and opens the washer. She takes out some bed sheets and other clothing. She uses an ALS on the clothes and finds some urine stains on the clothing and the bed sheets.)
[EXT. HAWKINS' RESIDENCE - BACKYARD-AFTERNOON -- CONTINUOUS]
(Nick walks over to the trash bins. On the ground are some heavy lead pipes. He snaps photos of it. He picks one up and looks at the treading at the bottom. He puts the pipe down and snaps a photo of it.)
[EXT. HAWKINS' RESIDENCE - DRIVEWAY -AFTERNOON -- CONTINUOUS]
(Catherine opens the back of their SUV. She takes her sunglasses off. Nick walks up to her carrying a lead pipe.)
Nick: Found a pile of pipes by the side of the house; one seems to be missing. This is an exemplar of a possible m*rder w*apon. And I cast a shoe impression just outside the kid's bedroom window. Also some graffiti on the window -- B-R-
A-T. Maybe somebody had it in for the kid.
(Catherine slips her jacket on.)
Catherine: Well, I bagged the bloody sheets from the bed. Found boxers, a t-shirt and a fitted sheet in the washer. ALS'd for blood, found urine.
Nick: (nods) Mm. Well, whoever k*lled the boy knew how to get in and out of this house without waking the family.
(Catherine closes the back door.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins goes over Martha Krell's body with Grissom.)
Robbins: No mystery here. Ms. Krell was violently s*ab to death. C.O.D. exsanguination.
Grissom: SAE kit?
Robbins: She was r*ped. Contusions to the vaginal introitus and an eighth-inch hemorrhagic laceration at the vaginal fourchette. Six o'clock position. The att*ck was brutal.
Grissom: Aren't they always? I don't know why people think that r*pe has anything to do with sex.
Robbins: If a guy just wants sex, he can hire a hooker.
Grissom: What else?
Robbins: Well, there is some good news. Motile sperm in the t mount. I've sent the kit to DNA for analysis.
CUT TO:
[INT. CSI - ECKLIE'S OFFICE -- DAY]
(Open on the writing on the side of a file storage box:
STEIN, SUE
MAY 12 1999
(Sara walks to the office and lingers in the doorway.)
Sara: (smiles) Ecklie, what's up?
(Ecklie looks at Sara.)
Conrad Ecklie: I paged Grissom.
(Sara walks into the office.)
Sara: And he paged me. How can I help you?
Conrad Ecklie: Five years ago, there was this, uh, day-shift case, homicide.
(Ecklie lays out the photos on the trace table. Sara moves in closer for a better look.) The victim was a flight attendant named Sue Stein from Palo Alto, California. (Sara moves to stand next to Ecklie.) She was r*ped and m*rder in a local hotel. k*ller was never apprehended.
(Camera focuses in on a particular photo of the victim. She's dressed in her underwear and on her side on the bed. A similar scene to the one she just left.)
(Quick flashback to: [FOUR ACES MOTEL - DAY] David Phillips is standing over the victim's body while Sara snaps photos of her.)
(End of flashback. Resume to present.)
(CU: Sara's eyes. She looks at the photos on the table. The crime scene from five years ago is very similar to the one they're investigating. The victim is on the bed bloodied from s*ab wounds. There are defensive cuts on her left hand.)
(Quick flashback to: [FOUR ACES MOTEL - DAY] David Phillips lifts up Martha Krell's bloodied right hand.)
(End of flashback. Resume to present.)
(Camera pans over the photos of the immaculate motel room from five years ago.)
(Quick flashback to: [FOUR ACES MOTEL - DAY] Camera moves over the table wiped clean.)
(End of flashback. Resume to present.)
(CU: Sara's eyes. She looks at the photos on the table. Ecklie looks at Sara.)
Conrad Ecklie: Vic's clothing and suitcase were missing. Room was immaculate, smelled like disinfectant.
Sara: Same signature.
Conrad Ecklie: One difference. In the, uh, prior case, body was found in a first floor room. Sliding glass door facing the pool was unlocked.
Sara: Ms. Krell was k*lled on the second floor. There was only one way into her room.
(Ecklie nods.)
Sara: Was there semen present in Sue Stein's SAE kit?
Conrad Ecklie: Yeah. Ran it through CODIS. No h*t. I asked Mia to compare it with the semen from the recent att*ck.
Sara: Is that fingerprint from your crime scene?
(Ecklie hands the print tape and photo to Sara.)
Conrad Ecklie: Only print we found. Impressed in Sue's blood on the bedspread near her hips. Underlying pattern on the fabric made it impossible to read.
Sara: That was then. (Sara looks at Ecklie.) This is now.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Nick fingerprints Martin Hawkins.)
Martin Hawkins: (upset) My son's d*ad. Why are you fingerprinting me?
Nick: The Crime Lab is going to dust your house for prints, so I need to know which ones are yours.
(Nick rips open a towel wipe and hands it to Martin Hawkins. Det. Chris Cavaliere questions Martin Hawkins.)
Det. Chris Cavaliere: Now, your wife said that you both went to bed after the news.
Martin Hawkins: I already told you that. Twice.
(Martin Hawkins nervously wipes his ink-stained fingertips on the towelette.)
Martin Hawkins: You know, I ... I got questions, too, you know. Why Ty? (He swallows.) Why not me?
(Nick looks at Det. Cavaliere.)
Martin Hawkins: How could my wife and I sleep ... (He takes a deep breath.) ... through it all?
Nick: Mr. Hawkins, would you stand up, facing me, so I can take some photos?
Martin Hawkins: (upset) Is this really necessary?
Det. Chris Cavaliere: Please, just let him do his job. Sir ...
(Martin Hawkins stands up. Nick raises his camera and snaps several photos - from his face down to his shoes.)
(Martin Hawkins glances over at Det. Cavaliere. Det. Cavaliere looks away.)
(Nick takes out a swab.)
Nick: Open up.
(Nick holds out a swab. Martin Hawkins opens his mouth. Nick swabs the inside of his mouth.)
Nick: I'll be needing to take your shoes as well. You can wear some booties home.
Martin Hawkins: What now?
Det. Chris Cavaliere: You and your wife are free to go.
Martin Hawkins: What about Matt?
Det. Chris Cavaliere: He has to stay here in protective custody until this is resolved.
(Det. Cavaliere glances at Nick. Martin Hawkins glances at Nick. Nick nods.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY - CONTINUOUS]
(Yvonne Hawkins sits in the hallway chair waiting. Martin Hawkins walks out and sees her.)
Martin Hawkins: Yvonne? (He walks over to her.) Hey.
(They hug.)
(Det. Cavaliere waits in the back.)
Yvonne Hawkins: They're keeping Matt.
Martin Hawkins: I know. He'll be home soon. It's just procedure. (He turns and looks at Det. Cavaliere.) Right?
(Det. Cavaliere nods.)
Det. Chris Cavaliere: Right.
Martin Hawkins: Can we at least speak to him?
Det. Chris Cavaliere: Can't allow that.
(Yvonne Hawkins turns and looks at Matthew sitting in the waiting room nursing a can of something to drink. She turns back and looks at Robert.)
Martin Hawkins: Come on, let-let's go. Come on.
(Nick walks out and watches them. Martin and Yvonne Hawkins leave. Matthew waves to them as they go.)
(Nick looks at Det. Cavaliere.)
Nick: You just gonna let them go?
Det. Chris Cavaliere: Neither has a record, no motive. There's no blood on them.
Nick: Well, they could've showered, tossed their clothes.
Det. Chris Cavaliere: Their grief is not an act.
Nick: Yeah, based on what?
Det. Chris Cavaliere: Years of listening to the parents of d*ad children. Let's go talk to this kid.
CUT TO:
[INT. CSI - DNA LAB]
(Greg walks into the lab. Mia is at the counter working. She doesn't look up when he stops near her.)
Greg: Hey, Mia.
(He notices that she's got earplugs on. He waves a hand in front of her face to get her attention. She takes the earplugs out.)
Greg: Let me guess; you're listening to something classy like Jessica or Ashlee.
( Man speaking French through headset )
(Mia smugly gives Greg a plug. He sticks it in his ear and hears a male voice speaking in French.)
Mia Dickerson: It's ... Jean-Paul Sartre. "Huis clos." (Greg shakes his head.) "No Exit?" (Greg takes the earplug out and looks at it.) It loses something in a translation.
Greg: Oui, oui.
Mia Dickerson: The blood from the hairy wad that you found in the drain is consistent with the victim.
Greg: And what about the semen from Martha's SAE?
Mia Dickerson: That's consistent with the DNA from the first att*ck. You are looking at the same r*pist. I want to show you something.
Greg: Really?
(She points to the microscope. They exchange places and Greg looks through the scope.)
[SCOPE VIEW:]
(Sperm with red spots around it.)
Greg: This guy's immune system doesn't recognize his own sperm. Antibodies are attacking the little guys.
Mia Dickerson: I read about this phenomenon in a forensic journal ...
Greg: November, 2003. k*ller had a vasectomy, then had it reversed.
Mia Dickerson: Oui, oui.
Greg: Thanks, Mia.
(Mia nods and smiles as Greg leaves.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Close-up of: Ty Hawkins' bashed and beaten face is on the monitor. Camera moves aside and we find Robbins going over the body with Catherine.)
Robbins: How could a boy have made someone so mad? C-O-D is blunt-force trauma. I counted fourteen separate blows. Several more were coinciding. Cylindrical w*apon, about an inch in diameter.
Catherine: Consistent with a pipe?
Robbins: Yeah. In fact, check this out.
(Quick CGI POV: Close-up of Ty Hawkins' head and a particular bruising indentation in his left forehead that looks to be in the shape of the threads of the pipe. The virtual image of a pipe is placed over the matching wound.)
Robbins: (V.O.) Thread pattern's consistent with the end of a pipe.
(The virtual pipe vanishes.)
(End of CGI POV. Resume to present.)
(Catherine picks up Ty Hawkins' hand and looks at it.)
Catherine: He's got no defense wounds.
Robbins: Yeah. My guess, he never woke up.
(Catherine looks at the beaten little boy and shakes her head.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Nick sits across the table from Matthew Hawkins. Matthew puts his shoe on the table for Nick.)
(Det. Cavaliere starts in on Matthew.)
Det. Chris Cavaliere: You're not fooling me, kid. The second I laid eyes on you, I knew how it went down. You took a pipe from the backyard, you went into Ty's bedroom, and while he was sleeping, you b*at his brains to a pulp.
(Nick glances at Det. Cavaliere.)
Det. Chris Cavaliere: Now, what the hell's wrong with you, kid? Your little brother is d*ad. What did he ever do to you?
(Matthew looks at Nick. Det. Cavaliere gets in Matthew's face.)
Det. Chris Cavaliere: Now, don't look at him. He can't help you. Nobody can help you. You're going to prison. And at fourteen, that means life. (shouts)
I'm talking to you, you little ... !
(Matthew jumps. Nick interrupts him.)
Nick: Detective ... can I have a word with you outside, please?
(Nick and Det. Cavaliere leave the room.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - CONTINUOUS]
(Nick closes the door behind them.)
Nick: We don't have enough evidence to suggest that that boy k*lled his brother.
Det. Chris Cavaliere: Well, what are you getting at?
Nick: I'm saying I'm not sure if thr*at him is the right tactic right now. I found no blood on his clothes. The screen door could have been the point of entry. (Det. Cavaliere shakes his head.) I mean, have you considered asking him what he heard or-or saw before you just put the full court press on him?
Det. Chris Cavaliere: (scoffs) I don't tell you how to collect the evidence.
Nick: No, you don't. Look, there's no disrespect here, okay? We're all on the same team.
Det. Chris Cavaliere: Then get to the lab and get me something that I can use.
(Det. Cavaliere turns and leaves. Nick sighs.)
CUT TO:
[INT. CSI - PRINT LAB]
(CU: The photo of the blood-stained print on the material is on the monitor. Sara walks into the lab and stands next to the Neil Jansen, the print tech.)
Sara: Hey.
Neil Jansen: Hey. Call me a geek, but background subtraction application software is the b*mb.
Sara: Only geeks still say "the b*mb." But it you ask me, geeks should be revered.
Neil Jansen: Okay. Um, the technology's pretty new. You'll get hammered on cross, but it definitely works. (He hits a key on the keyboard.) Okay, check it out. So the fingerprint is blood-red -- that's the shade we use for the color identifier -- and now the preprogrammed algorithm is just removing all the other colors from the fabric, and we're left with just the print. It's ...
Sara: Mind if I watch?
Neil Jansen: Voyeur, huh? I like that.
Sara: Geek.
(The monitor shows the pattern removed, leaving the bloodstain and the print.)
Sara: Wow.
Neil Jansen: Yeah. Right.
(He hits some keys on the keyboard.)
Neil Jansen: Scan this into I-AFIS, and here we go.
(The print is automatically scanned into the database and searches the database. The computer beeps.)
(The results read:
ACHESON, JESSE
EYES: BLUE HAIR: DARK BLONE WGT: 205 LBS HGT
RACE: CAUCASIAN SEX: MALE
ADDRESS:
288 TYLER RD. HENDERSON, NV 89101
CRIMINAL HISTORY
JANUARY 1998-APRIL 1999:
POSSESSION OF COCAINE WITH THE INTENT TO SELL (1ST OFFENSE)
JULY 1999 - JANUARY 2000:
POSSESSION OF COCAINE WITH THE INTENT TO SELL (2ND OFFENSE)
JUNE 2000 - MAY 2002:
POSSESSION OF COCAINE WITH THE INTENT TO SELL (3RD OFFENSE)
NOVEMBER 2002 - SEPTEMBER 2004:
POSSESSION OF COCAINE WITH THE INTENT TO SELL (4TH OFFENSE)
Neil Jansen: Got yourself a h*t. "Jesse Acheson. 38. "Multiple convictions, cocaine possession, intent to sell. In and out of prison for the past ... seven years.
Sara: Was he in or out on May 12, 1999?
Neil Jansen: Out.
Sara: What about last night?
Neil Jansen: Released six months ago. Living in Henderson.
Sara: Thanks, Neil.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
Cue Sound: (PRE-LAP) KNOCKING
[INT. ACHESON RESIDENCE - DAY]
(Brass knocks on the door of house #25153. Sara is with him as well as another officer.)
Michelle Acheson: (through door) Who is it?
Brass: Las Vegas police.
(The door opens. Michelle Acheson, wearing a VEGAS VEGAS sparkly shirt glares at them.)
Brass: We're looking for Jesse Acheson.
Michelle Acheson: Hey, look, my husband hasn't used since he got out of the joint, so whatever you think he did, you're wrong.
Brass: Do you know where he is?
Michelle Acheson: No idea.
Brass: Well, your marriage is just full of romance, huh?
Sara: May we come in?
Michelle Acheson: Nah, I don't think so.
Sara: Just one more question. Do you happen to know where he was last night?
Michelle Acheson: No. I, uh, I haven't seen him in days.
Sara: Thank you.
(She slams the door on them. Brass looks at Sara.)
Brass: That was fun.
Sara: Brass, ...
(She looks at Brass and the officer.)
Sara: You guys get in your cars, drive around the block. Pick me up in five minutes.
Brass: (nods) We'll be close.
(He and the officer head for their cars, leaving Sara in front of the front door.)
(We hear the sounds of the car doors opening.)
(Sara peers into the house through the window. We hear the sounds of a touch-tone phone beeping as Michelle Acheson makes a call.)
Michelle Acheson: (to phone) Jesse, cops were just here. What the hell's going on?
(Sara watches and listens in on the one-sided conversation.)
(In the background, we see the cop car pulling away.)
Michelle Acheson: (to phone) No, I didn't tell them where you are! I don't know where the hell you are! And when are you coming home? Jesse ... (She pulls the phone away from her ear. We can only surmise that Jesse hung up on her.) Damn you!
(She hangs up.)
(Sara pulls back away from the window.)
CUT TO:
[INT. CSI - LAB]
(Nick compares the shoe print samples taken from:
SUSPECT: HAWKINS, MARTIN
CASE #42396-NS-03/10/05
With the original shoe print found in the dirt:
VICTIM: HAWKINS, TY
CASE #42396-NS-03/10/05
SHOE IMPRESSION:
EXTERIOR BEDROOM
(It's not a match.)
INTERCUT WITH:
[INT. CSI - LAB]
(Catherine examines the victim's clothing. She finds a strand of hair and puts it on a tape. She puts it under the scope and finds that it's a match to another hair.)
(She looks at the shirt and finds something else. She takes a tape lift of it.)
(Nick reaches for the next shoe print for:
SUSPECT: HAWKINS, MATTHEW
CASE #42396-NS-03/10/05
(It's a match.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Nick reports to Catherine.)
Nick: The shoe impression outside Ty's window matches the brother's.
Catherine: Yeah, I got a hair off of Ty's t-shirt. Also consistent with Matt.
Nick: Either of which could be related to the m*rder or just a result of two brothers living together.
Catherine: Yeah.
Nick: What's in the bindle?
Catherine: Uh, blue fibers. Got them off the vic's t-shirt.
Nick: Nobody in the family was wearing anything blue.
Catherine: No, but you know, could be from a blanket, a carpet, towel. I'll take them to Trace.
Nick: Yeah.
(They continue walking.)
Nick: Hey, I am concerned that Detective Cavaliere's moving ahead of Forensics on this one.
Catherine: He can move as fast as wants. The D.A. won't file without the physical evidence. And right now, we got nothing.
CUT TO:
[INT. CSI - A/V LAB]
(Sara is working on the geography. She shows Grissom what she's found.)
(She shows the Acheson residence on the map on the monitor.)
Sara: Sandra Acheson called her husband at exactly 3:03 P.M. today. I secured a 2703-D court order for the number she was calling. It was a cell phone. I contacted the cell phone company and found out that Jesse answered his phone near tower 8, Phase West. Given the signal strength, he was within two blocks of the tower.
(She shows the tower on the map and the signal range in yellow.)
Sara: His wife said that she hasn't seen him in several days, so I had Homicide check registration at all the hotels within the yellow area. He is booked at the Tangiers.
(She shows the Tangiers inside the yellow area on the map.)
Grissom: Well done.
(Sara smiles.)
(Greg walks into the room to report what he's found.)
Greg: Get this -- the r*pist's semen came back positive for cocaine.
Grissom: We don't usually run a panel for semen, Greg.
Greg: I know that, but given our suspect's priors for blow, I had a tech run an immunoassay specific to the drug.
Grissom: (impressed) Wow. You guys are rendering me obsolete.
(Greg smiles.)
Sara: So, Jesse gets coked up, he commits the crime, he drives down to the strip and he checks into the Tangiers.
Greg: The gift show's in town. There aren't any vacancies on the strip.
Sara: Well, his wife said that she hadn't seen him in a few days.
Grissom: Maybe he's back in the game again, selling coke to out-of-town businessmen from the comfort and security of his hotel room.
Sara: So, he takes a break from his job, rapes and kills the vic at another hotel, and then goes back to work?
Grissom: Even cokeheads need a diversion now and then.
(Grissom looks at Greg, who shrugs.)
CUT TO:
[INT. POLICE DEPARTMENT -- BULLPEN]
(Nick walks into the bullpen and heads over to Det. Cavaliere.)
Nick: Hey.
Det. Chris Cavaliere: Hi, Stokes. Solve the case?
(Nick chuckles.)
Nick: I'm getting there. Nothing definitive as of yet. Which means you can't hold Matt Hawkins for longer than his twenty-four hours.
Det. Chris Cavaliere: Really? Well, you know, uh ... I got a signed confession.
(Det. Cavaliere hands Nick a file folder. He stands up.)
Nick: Really?
Det. Chris Cavaliere: Mm-hmm. Sort of kicks the crap out of your "evidence," now, doesn't it?
Nick: He confessed?
Det. Chris Cavaliere: Signed. Check it.
Nick: Did you b*at it out of him?
(Det. Cavaliere chuckles as he heads out of the bullpen. Nick follows him.)
Det. Chris Cavaliere: (scoffs) No, I used science, kind of like you guys.
Nick: Mm, how's that?
Det. Chris Cavaliere: I put him on a computer voice stress analyzer. Once I caught him lying, he gave it right up.
(Det. Cavaliere puts a file folder in the holder and takes out another file folder.)
Nick: That device has been discredited for years.
Det. Chris Cavaliere: Well, check their web site. It's still used in 1,400 state and local agencies.
Nick: Well, not in Las Vegas. Or anywhere else in this state. Say, was an advocate or a parent present at the time of the confession?
Det. Chris Cavaliere: He didn't ask for his mommy and daddy. Long as he says he understands his rights, we don't have to have anyone there with him.
Nick: He tell you why he did it?
Det. Chris Cavaliere: No, but he will. Hey, listen, Stokes, thanks for trying to help, but we got him.
(Det. Cavaliere leaves.)
Nick: Okay.
(Camera holds on Nick.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY]
(Brass and Grissom walk through the hallway.)
Brass: So, I just got back from the Tangiers. The G.M. won't let us into Jesse Acheson's room without a search warrant, and the judge denied our request.
Grissom: I'll talk to the judge.
Brass: I'll bring Acheson in for questioning, I guess.
Grissom: Could you just keep him under surveillance for now, let Greg tag along with your guy? We might learn something.
Brass: Sure, I'll get him a bag of donuts.
CUT TO:
[INT. CSI - LOCKER ROOM - DAY]
(Warrick and Nick are in the locker room.)
Warrick: I was testifying today. I ran into the D.A. He filled me in on your case. (Warrick removes his jacket.) Looks like Matt Hawkins' confession is gonna stand up in court.
Nick: Suspects are tricked into confessing all the time, but I'm telling you, Cavaliere intimidated that boy. Man, he would've signed anything.
Warrick: So you think he's innocent?
Nick: Could be. I checked the crime stats for the Hawkins neighborhood. There's been a rash of nuisance calls. There's some homeless guy running around out there peeping in windows, urinating in public, attempted B and E.
Warrick: Sounds like a suspect.
Nick: I'm gonna go back out there, see if the Hawkins know anything about it.
(Nick closes his locker.)
Warrick: Need some help?
Nick: You got that kind of time?
(Nick puts his jacket on.)
Warrick: I'll meet you in the car.
Nick: Thanks, Rick.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. JUDGE WITHERSPOON'S CHAMBERS -- DAY]
(Judge Witherspoon goes through the files on the desk while Grissom waits.)
Judge Witherspoon: You expect me to inv*de Mr. Acheson's privacy based upon a five-year-old fingerprint that was manipulated on a computer?
Grissom: It wasn't manipulated -- it was processed. That's what we do.
Judge Witherspoon: Try getting that one past a defense attorney. It's one thing to send a print through AFIS; it's another thing to use ... a "background subtraction algorithm" to isolate the print from a bedspread.
Grissom: It's not my fault that the courts lag behind our technology.
Judge Witherspoon: Gil. I'm sympathetic to your request, but if I grant a warrant based upon this print, and the print is later thrown out of court, then everything you find as a result of it would be excluded, and your pattern r*pist could be back on the street. Give me something else -- I'll be happy to grant you a warrant.
Grissom: Your honor, I need the warrant in order to find something else.
(She closes the file folder and hands it to Grissom.)
Judge Witherspoon: You'll find another way.
(He takes the folder from her.)
CUT TO:
[EXT. SIDEWALK -- DAY]
(Officer Akers holds a photo of Jesse Acheson.)
(Camera refocuses and we see Jesse Acheson sitting at a table drinking his coffee.)
Officer Akers: Kind of like bird-watching, ain't it?
(Greg is sitting next to the Officer.)
Greg: I wouldn't know.
Officer Akers: You bored?
(Greg sighs.)
Greg: I'm bored.
(He chuckles.)
Officer Akers: So, I got a question. (Greg takes a sip from his coffee.) I hear the k*ller completely wiped down the crime scene. So why do you think he left his semen behind? Could've worn a condom.
Greg: Well, before committing a crime, a typical serial r*pist will often masturbate to his perfect r*pe-m*rder fantasy. Didn't wear a condom then, didn't want to wear one during the act. Besides, the DNA isn't on file. It wasn't much of a risk.
(Jesse Acheson puts his cup down on the table. He folds his magazine, picks up his glasses and puts them on as he stands up. He leaves.)
Officer Akers: Litterbug.
Greg: CSI's don't mind the bugs.
(Greg picks up the coffee cup and puts it in a plastic bag.)
Greg: If the DNA on this cup matches the seminal DNA, Grissom won't need a warrant. We'll be making an arrest.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. HAWKINS' RESIDENCE - LIVING ROOM -- NIGHT]
(Nick and Warrick talk with Yvonne and Martin Hawkins.)
Yvonne Hawkins: We're not unfit parents. Please, we just want to speak with our son.
Martin Hawkins: We called the detective, but no one will tell us anything.
Nick: Right now your son's under investigation.
Yvonne Hawkins: What?
Nick: Yeah, the detective asked him if he wanted a parent or advocate present at the interrogation. He's fourteen years old, so it's his right to say no.
Martin Hawkins: But he's just a kid. I mean, he just lost his brother.
Yvonne Hawkins: Matt's sensitive. He doesn't handle stress well. If we-we-we could just talk to him. (softly) He may need a change of clothes.
Nick: Were those his clothes in the washer?
Yvonne Hawkins: Yeah.
Nick: Okay, we'll see what we can do about getting him something to wear.
Warrick: In the meantime, if you could just answer the question.
Yvonne Hawkins: You want to know about that homeless guy?
Warrick: Yeah.
Yvonne Hawkins: He's nuts. He-he scared the boys once or twice, but ...
Warrick: How did he scare them?
Martin Hawkins: Ty saw him writing something on the window.
Nick: Was it "brat"?
Martin Hawkins: Yeah. I chased him away. Matt ... cleaned off the window.
Nick: That would explain the shoe impressions outside the bedroom window.
Yvonne Hawkins: You're thinking that that guy had something to do with what happened?
Nick: Well, that's what we're trying to find out.
Yvonne Hawkins: (crying) Oh, God. I knew we should've called the cops.
Warrick: When was the last time that you saw him?
Martin Hawkins: I jog through that park every evening. Um, he's got this, uh ... makeshift tent thing set up by the playground.
CUT TO:
[EXT. PLAYGROUND - NIGHT]
(Lights flash from the officers' parked cars. An officer gets out of his car and hurries across the grass. Nick and Warrick rush across the grass over to the homeless man's tent hidden in the brush.)
(Officers reach in and pull the homeless man out.)
Walter (homeless man): What? Hey! Stop it!
Officer: Come on! Get up!
Walter (homeless man): Let me ... let me go!
(They pull Walter to his feet. He struggles against the three officers.)
Walter (homeless man): Let go of me! Stop it!
Officer Metcalf: Hey, what's your name?
Walter (homeless man): What?
Officer Metcalf: Tell the gentlemen your name.
Walter (homeless man): Walter! My name is Walter!
Nick: Walter, that's a nice blue sweater. Where'd you get it?
Walter (homeless man): What?
Nick: I said I like your sweater -- where'd you get it?
Walter (homeless man): It's mine!
Nick: Oh, it's yours?
(We see the bloodstains on the sweater.)
Walter (homeless man): Yes, this is my sweater!
Warrick: Whose blood is it on your sweater, Walter?
Walter (homeless man): Huh?
Warrick: We're gonna give you a nice warm place to sleep tonight, partner.
Walter (homeless man): Wha-- ?
(He looks around, surprised and not happy.)
Nick: Suspicion of m*rder.
(The officers lead Walter toward their cars. He trips and falls to the ground, screaming.)
Walter (homeless man): No! No!
Nick: Easy with the sweater. It's evidence.
CUT TO:
[INT. CSI - DNA LAB - NIGHT]
(Mia reports her findings to Sara and Greg.)
Mia Dickerson: So, I processed the DNA from the coffee cup, and it turns out that there were two contributions on the lip, which means that your coffee shop recycles, and not in the good way.
Sara: Gross.
Mia Dickerson: Bad news is that neither of the contributions is consistent with the semen that was recovered from the crime scene.
Sara: If Acheson didn't r*pe Sue Stein, what is his print doing on the bedspread?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Brass and Sara interview Jesse Acheson. Sara sits across him at the table while Brass looks out the room window.)
Jesse Acheson: Well, I certainly didn't k*ll anyone, and ... I do not know how my fingerprint got there.
Sara: We don't think that you did r*pe or k*ll anyone. We simply want to know how your fingerprint ended up at a m*rder scene five years ago.
Brass: Look, Jesse, we appreciate you coming down here voluntarily, but if you clam up, we're gonna have to file an obstruction of justice charge, and that's not good ... for you. Let's make it easy on yourself.
(Brass turns around.)
Brass: What were you doing in Sue Stein's hotel room?
Jesse Acheson: You won't believe me.
Brass: Try us.
Jesse Acheson: I did go to see Sue that night.
(Quick flashback to: [MOTEL ROOM - NIGHT - FIVE YEARS AGO] Jesse Acheson slips into the motel room through the open sliding door.)
Jesse Acheson: Sue.
(In the dark, he walks over to the bed and sees Sue on it. He shakes her trying to wake her up.)
Jesse Acheson: Come on, girl, wake up.
(He rolls her over and sees that she's bloodied and d*ad.)
(He sees the blood on his hands and wipes his hands on the bedcover.)
(He leaves through the sliding glass doors.)
(End of flashback. Resume to present.)
Sara: You just took off? You didn't bother to report a m*rder
Jesse Acheson: Ma'am, I ... I got a record, and I was on probation. If I'd done all of that, I'd have been ... suspect numero uno.
Brass: All right, let's cut to the chase. You were there to sell her blow, right?
(Jesse turns to look at Brass.)
Jesse Acheson: I don't need a lawyer, right? I mean, it's off the record?
Brass: We're just having a little chat here.
(He turns to look at Sara.)
Jesse Acheson: Well, that's why she left the door unlocked. We'd been doing it that way for years. Whenever Sue came to town, I always took care of her.
(There's a long pause.)
Jesse Acheson: I'm really sorry. She was my friend. I wish I could be more help.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Nick steps out into the hallway. He's looking through the file folder.)
Det. Chris Cavaliere: (o.s.) Stokes.
(Nick looks up and sees Det. Cavaliere.)
Nick: Hey, man.
(Det. Cavaliere walks up to Nick.)
Det. Chris Cavaliere: What the hell are you doing? Are you trying to screw with my case?
Nick: I'm just following the evidence, and it led me to another suspect. I think you're going to want to talk to him in the interest of justice.
Det. Chris Cavaliere: What, are you trying to help the defense now?
Nick: You know any good defense is gonna bring up a "rush to judgment" here. Come on! Chris, you put another interviewed suspect on your list. It shows due diligence. Let's go.
(Nick turns and heads for the interview room. Not liking it one bit, Det. Cavaliere turns and watches him go.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Nick interviews Walter with Det. Cavaliere in the room along with another officer in the back.)
Nick: Your sweater's been analyzed, Walter. Found bloodstains from a m*rder boy on it.
Walter (homeless man): It's not my sweater.
Nick: You already told me it was yours.
Walter (homeless man): Finders keepers. It wasn't always mine, though.
Nick: Where did you find it?
Walter (homeless man): On a bench. By the basketball courts.
(Quick flashback to: [NIGHT] The sweater is on the bench. Walter appears and looks around. He grabs the sweater and clutches it to himself. He leaves. End of flashback. Resume to present.)
(Det. Cavaliere glances at Nick.)
Walter (homeless man): I was cold.
Det. Chris Cavaliere: Hey, man ... if you're lying ...
Walter (homeless man): I'm not lying. I'm not lying!
Det. Chris Cavaliere: So when did you find it?
Walter (homeless man): Yesterday. No, um, a few days ago. I don't remember.
Det. Chris Cavaliere: Put him in lockup -- maybe it'll help his memory.
(The officer steps forward and takes Walter out of the room, leaving Nick with Det. Cavaliere.)
Det. Chris Cavaliere: Stokes ... I got a signed confession. You got a bum in a bloody sweater. What are you gonna do about it?
(Nick shakes his head. Det. Cavaliere turns and leaves. Camera holds on Nick.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(Nick processes the blue sweater, putting fibers he finds in a bindle.)
(He puts it aside and picks up the goggles. He puts the goggles on and uses an ALS on the sweater.)
(He finds a laundry mark near the inner back neck seam:
YUNG'S CLEANERS
#555-93-5157
CUT TO:
[INT. CSI - HALLWAY]
(Nick catches Catherine in the hallway. They walk as he fills Catherine in.)
Nick: Hey, Catherine.
Catherine: Yeah?
Nick: DNA finished up with the blue sweater and I processed it.
Catherine: Anything probative?
Nick: I ran it under the UV light and out popped one of those invisible dry cleaner ID stamps, you know?
Catherine: Yeah?
Nick: I called the dry cleaner; they gave me a name.
CUT TO:
[INT. HAWKINS' RESIDENCE - KITCHEN]
(Nick questions Martin Hawkins.)
Nick: Mr. Hawkins, is that your sweater?
(Nick shows them a photo of the blue sweater.)
Martin Hawkins: Yeah ... it looks like my sweater.
Yvonne Hawkins: Where'd you find it?
Nick: Did you give it away?
Martin Hawkins: No, but I haven't seen it in a while, though. Why?
Nick: It's got Ty's blood on it.
(Yvonne glances at Martin.)
Martin Hawkins: Do I need a lawyer?
Nick: That's your call, sir.
CUT TO:
[INT. CSI - TRACE LAB]
(Hodges removes a petri dish with the wad of hair out from under the microscope. Grissom walks into the lab.)
Grissom: You called me?
David Hodges: Yeah, Mia sent me that wad of hair that you pulled out of the hotel drain.
(He puts the wad of hair back in its container and turns to look at Grissom.)
David Hodges: It's coated in bleach. I'm thinking the k*ller must've poured the stuff down the drain. Really compromised the trace.
Grissom: That's it? A compromised wad of hair?
David Hodges: No, uh, I called you to discuss the bleach. The hairy wad smelled a bit woodsy to me. Which is odd, considering it should only smell like bleach.
Grissom: You sniffed it?
David Hodges: That disgust you?
Grissom: No, actually, it's the first time you've ever done anything to impress me.
David Hodges: Hm. Anyway, um, I analyzed the bleach. (He hands Grissom the analysis results.) It contains a cedar additive. Thought you'd want to know.
(Grissom takes the container with the wad of hair, turns and heads out of the lab.)
Grissom: Thanks, David.
David Hodges: Sure, Gil.
CUT TO:
[EXT. FOUR ACES MOTEL (STOCK) -- NIGHT]
[INT. FOUR ACES MOTEL - HALLWAY/ GM OFFICE -- NIGHT]
(A woman towing a luggage on wheels behind her walks down the hallway. Camera moves across the hallway and over to the General Manager's office where Brass and Grissom interview Hayden Michaels. The housekeeper, Lucy, is standing behind the desk near Hayden Michaels.)
Hayden Michaels: Like I said, I'm more than happy to help you in any way I can. So, when I got your phone call about the scent of our bleach, I figured you should to talk to Lucy. Lucy is our head of housekeeping.
Lucy: The guests sometimes complained about the bleach smell after we cleaned the bathrooms. A few years ago, I started adding cedar chips to the bottles. Makes it smell better.
Grissom: Lucy, who else has access to your bleach?
Lucy: Just the maids.
Brass: Are they all female?
Lucy: Yes.
Brass: You park your carts in the hallway when you clean the room, so anyone could have swiped a bottle of bleach, right?
(Grissom looks around the General Manager's desk and sees the family photos.)
(Camera passes over the first photo of Hayden Michaels with a dark-haired woman and an older son.)
(The second photo behind it is of Hayden Michaels with a young, blonde-haired woman carrying a baby.)
Lucy: No. We've had problems with theft, towels mainly, but now our maids take their carts into the rooms.
Grissom: Those your kids?
Hayden Michaels: Yeah. Two eldest are at UNLV.
Grissom: And the baby?
Hayden Michaels: Jake. Jake is, uh, six months old.
Grissom: Is that your second wife?
Hayden Michaels: Mm-hmm.
Grissom: So you must have had your vasectomy reversed.
(Hayden Michael is a little startled by the sudden change in subject.)
Hayden Michaels: Why are we talking about my vasectomy?
Grissom: You also have access to the bleach, so you won't mind if I take a DNA sample.
Hayden Michaels: (sighs) Look. If word leaks out that you took my DNA and I'm a m*rder suspect, I will never work in hospitality again. I'm sorry, the answer's no. Anything else?
Brass: We'll be in touch.
CUT TO:
[INT. CSI -- LAB]
(Catherine goes over the case and evidence with Nick and Warrick.)
Catherine: So we've got three suspects, three scenarios.
Nick: Yeah, Matt could have worn his dad's sweater when he k*lled Ty. Dumped it in the park during the night, where Walter found it.
Catherine: Or dad could have worn it and dumped it in the park.
Warrick: Or this sweater could have accidentally been left in the park, and Walter, the homeless guy, could have picked it up and worn it when he entered the house through the screen door and k*lled Ty. But none of the evidence goes to motive.
Catherine: Not our problem at the moment. Let's just stay focused on the sweater. It's tied to the victim and this scene. We need to tie it to the k*ller. Hey, how tall would you say Matt Hawkins?
Nick: (shrugs) About five feet, why? Dad is ... 6'2". What about Walter?
Warrick: Mmm ... 5'10". About Nick's height.
(Warrick and Nick nod.)
Nick: Yeah.
Warrick: What you getting at?
Catherine: Meet me in the garage in half an hour.
(Catherine turns and leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(CU: The blue sign for the "Interview Room" is lit . Inside, Grissom interviews Hayden Michaels in the presence of his attorney, Adam Matthews.)
Grissom: Mr. Michaels, in my work over the last twenty-five years, I've come to understand the kind of person who's a r*pist-k*ller.
Adam Matthews: Is that an accusation?
Grissom: Well, a woman was m*rder in your client's hotel. He has a right to hear our theory. The k*ller is clearly a psychopath. He's k*lled more than once. I'm sure that before his first r*pe and m*rder he fantasized about it for years.
(Quick flash to: [MOTEL ROOM - NIGHT] The woman struggles, trying to get away from the k*ller.)
Woman: No. No! WOMAN: No! WOMAN: Get away!
(She falls back on the bed. He covers her mouth with his hand and holds the Kn*fe to her face.)
k*ller: Quiet! Quiet! Quiet!
(He strips her.)
Woman: No!
(End of flashback. Resume to present.)
Grissom: During that time, he engaged in behavioral tryouts. Stalking women and attempting to coerce them sexually, each time moving closer and closer to the actual event.
(Quick flashback to: [MOTEL ROOM - NIGHT] The k*ller has the woman on the bed. His hand is over her mouth. She cries.)
k*ller: Shut up! Shut up! k*ller: Shhh-!
(End of flashback. Resume to present.)
Grissom: I believe that after you consummated your first att*ck, you felt excitement greater than you anticipated. Your only regret was that she died too quickly.
(Quick flashback to: [MOTEL ROOM - NIGHT] Hayden Michaels stands over Sue Stein's d*ad body on the bed. He holds the bloodied Kn*fe in his hand.)
(End of flashback. Resume to present.)
Grissom: But you took solace in the knowledge that, uh, you could do it again. In fact, your subsequent victim had similar characteristics to your first victim.
(Quick flashback to: [MOTEL ROOM - NIGHT] Hayden Michaels holds the Kn*fe on Martha Krell.)
Martha Krell: No! No! No!
k*ller: Shut up! k*ller: Shut up!
(She cries as he strips her slowly.)
Martha Krell: Please! Please!
(FAR sh*t: Hayden Michaels is on the bed with Martha Krell. She cries.)
(Cut to: Martha Krell is d*ad. Hayden Michaels holds the Kn*fe as he looks around.)
(End of flashback. Resume to present.)
Adam Matthews: This is a waste of time.
Grissom: You see, what differentiates a psychopath from a "heat of the moment" k*ller is forethought.
(Quick flashback to: [MOTEL ROOM - NIGHT] Hayden Michaels uses the bleach and cleans the room. He wipes down the tables.)
(End of flashback. Resume to present.)
Grissom: And you thought about this for a long time.
Adam Matthews: Thank you for the fascinating seminar, but you have no evidence, so we are free to go.
(The interview room door opens. Sara walks in with a wheelie luggage in tow behind her.)
Sara: Actually, I have some evidence.
Hayden Michaels: What is this? What's going on?
(Sara picks up the wheelie luggage and puts it on the table. She looks at Hayden Michaels expectantly.)
Sara: Mr. Michaels?
(Grissom looks at Hayden Michaels.)
Hayden Michaels: She can't ... you can't do that.
(Adam Matthews looks at Hayden Michaels.)
Adam Matthews: Do what?
Hayden Michaels: No, I know my rights.
Adam Matthews: Hey, shh.
Hayden Michaels: (angry) The bitch broke into my car.
(Sara and Grissom look at each other.)
Adam Matthews: I don't remember seeing a warrant, Ms. Sidle.
Sara: I don't have a warrant. I was following a hunch.
(Adam Matthews looks at Grissom smugly.)
Adam Matthews: Well, then you just set my client free.
Sara: On the contrary. Western Airlines issues this exact type of "wheelie" to all its flight attendants. Since Martha's wheelie wasn't in the hotel room, we thought maybe the k*ller took it ... as a souvenir. This particular suit case ...
(Sara unzips the luggage to show them the tape recorder inside.)
Sara: ... is not Martha's wheelie.
(Adam Matthews smiles.)
Grissom: And now that we know where to find it, and we have your client on tape, I bet you we'll get a warrant.
(Grissom turns to Hayden Michaels.)
Grissom: Thank you.
(Camera holds on Sara.)
CUT TO:
[INT. CSI -- LAB]
(Catherine is putting red dye on the head of a dummy. Warrick stands in front of the counter watching. He's wearing goggles and a clean sweater.)
Catherine: Okay, Warrick, you are approximately the height of Martin Hawkins. Nick, you and the homeless dude are about the same, and Judy, you're close to Matt.
(Nick and Judy are also wearing clean sweaters.)
Catherine: The table is the same height as Ty's bed - forty-three and half inches from the floor to the top of the mattress. The white sweaters, which you all look so adorable in, are the same fabric as the bloody one.
(Catherine walks around the counter and over to the shelf where the pipes are.)
Catherine: The pipes are the same diameter as the wounds on Ty's face. I want each of you to take a whack at our victim.
(She hands a pipe to each person.)
Judy Tremont: Just like Chuckie Cheese. Whack-a-mole.
(Catherine chuckles.)
Catherine: Uh, spatter up.
(Warrick steps up to the counter first. He uses both hands to grip the pipe and hits the dummy on the counter. With every whack, the red dye spatters on his white sweater.)
(Quick VIRTUAL POV of: Martin Hawkins holds the pipe and whacks Ty Hawkins as he sleeps.)
(Quick flash to: [BEDROOM - NIGHT] Martin Hawkins whacks Ty Hawkins as he sleeps.)
(End of flash. Resume to present.)
(Cut to: Nick whacks the dummy on the counter. With every one-handed whack, the red dye spatters on his white sweater.)
(Quick VIRTUAL POV of: Walter holds the pipe and whacks Ty Hawkins as he sleeps.)
(Quick flash to: [BEDROOM - NIGHT] Walter whacks Ty Hawkins as he sleeps.)
(End of flash. Resume to present.)
(Cut to: Judy Tremont whacks the dummy on the counter. With every two-handed whack, the red dye spatters on her white sweater.)
(Quick VIRTUAL POV of: Matthew Hawkins holds the pipe and whacks Ty Hawkins as he sleeps.)
(Quick flash to: [BEDROOM - NIGHT] Matthew Hawkins whacks Ty Hawkins as he sleeps.)
(End of flash. Resume to present.)
SHORT TIME CUT TO:
(Warrick's white sweater has spatters on the top three-fourths of his sweater.)
(Catherine steps over to Nick's sweater. The spatters cover half of the sweater, up to his elbows.)
(Catherine looks over at the blue sweater and sees that it's not a match.)
(Catherine steps over to Judy Tremont's sweater. The spatters cover the top one-fourth of the sweater, up to her mid-chest.)
(It's a match to the original blue sweater.)
(Quick flashback to: [BEDROOM - NIGHT] Ty Hawkins is sleeping in bed. Matthew steps into the room and bashes his head in with a pipe. The blood spatters on the blue sweater he's wearing.)
(Cut to: [PARK - NIGHT] Matthew removes the sweater and drops it on the park bench.)
(End of flashback. Resume to present.)
(Judy's sweater matches the original blue sweater.)
Catherine: Judy, your sweater -- k*ller.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Matthew talks with Nick and Det. Cavaliere.)
Matthew Hawkins: (scoffs) Like I told him, I did it. You want a medal for figuring out what I already said?
(On the other side of the observation mirror, his parents watch the interview.)
Det. Chris Cavaliere: You never told me why.
Matthew Hawkins: Why's it matter, anyways?
[OBSERVATION ROOM]
(Yvonne Hawkins turns and cries. Martin holds her. He looks at Warrick. Warrick motions with his head.)
Warrick: Go ahead.
(Martin leaves the room.)
[INTERVIEW ROOM]
(Martin walks into the interview room. Matthew is clearly surprised to see him.)
Matthew Hawkins: Dad.
Martin Hawkins: I want to know why.
Matthew Hawkins: Dad ...
Martin Hawkins: Why? Damn it. (Matthew starts crying.) Ty looked up to you. He ... he loved you.
Matthew Hawkins: (angry) He told. He told everyone!
Martin Hawkins: That you wet the bed?
(Matthew stands up and screams.)
Matthew Hawkins: Shut up!
(Martin stares at his son. Matthew sits back down in his chair and starts crying.)
Matthew Hawkins: Dad ... I'm sorry. I ...
(Martin shakes his head.)
[OBSERVATION ROOM]
(Yvonne Hawkins cries. Martin turns and looks back at the mirror where he knows Yvonne is. He shakes his head and looks at Matthew.)
CUT TO:
[INT. POLICE DEPARTMENT -- HALLWAY]
(Close-up: Matthew Hawkins' hands are handcuffed behind his back. He's escorted down the hallway. As he passes them, he tries to go to his mom, but the officers stop him.)
Yvonne Hawkins: (crying) Oh, Matthew.
(The officers lead Matthew away. Martin leads Yvonne away.)
(Down the hall, Nick watches.)
(From behind him, Det. Cavaliere turns the corner. He sees Nick and heads over to him.)
Det. Chris Cavaliere: Hey. (Nick turns and looks at him.) You owe me an apology.
(Det. Cavaliere looks at him expectantly. Nick nods a little.)
Nick: I'm sorry ...
(Nick turns away.)
Nick: ... that you feel that way.
(Nick turns and leaves.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x17 - Compulsion"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
(Camera lingers on various Las Vegas city stock sh*ts. It rises up toward the starry night sky, passes the moon and moves down to the woods.)
[EXT. WOODS]
(A man carrying a telescope kit walks through the grass and trees to find just the right spot. He opens his case and sets up the telescope.)
(The man looks through the telescope.)
SCOPE VIEW
(Through the window of a nearby house, a man loosens his tie.)
(The scope moves up and focuses in on the starry sky above.)
RESUME VIEW
(The man looks through the telescope. He pulls his eye away from the scope, then goes back to look through the scope.)
SCOPE VIEW
(Through the scope, we see the starry sky lit by an unnatural glow on the right side. The light on the right grows brighter and brighter.)
RESUME VIEW
(The man lifts his head from the scope. We notice that his right side is lit by this unnatural light.)
(We also hear the crackling of f*re.)
(The man lifts his head and sniffs the air.)
(We see burning particles flit across the screen. The man turns his head. The light is bright and upon him.)
(Right next to him, the grounds are afire. A burning wall of f*re makes its way toward him. The man backs away. He stumbles and falls to the ground.)
(The burning block of f*re moves toward him.)
(The man screams.)
(The screaming man rolls down the hill, burning.)
(On the ground is the man's pair of glasses. Reflected in the glass is the burning figure of a man consumed by f*re.)
(The man screams echo in the night.)
(Through the reflection in the glasses, we see the man fall to the ground as he continues to burn.)
FLASH TO:
[EXT. WOODS - NIGHT]
(CLOSE-UP: The b*rned corpse.)
(Grissom talks with the Chief Rick Dysart.)
Chief Rick Dysart: Local homeowner called it in early. We got it contained pretty quick. We were lucky.
Grissom: Luckier than he was.
(Sara doesn't say anything. Grissom, Sara and Chief Rick Dysart are around the body.)
Grissom: Low humidity, dry brush. Perfect conditions for maximum damage.
Chief Rick Dysart: Firebugs listen to the weather reports just like we do. Only for different reasons.
Sara: Maybe some moron just threw a cigarette out the car window.
Chief Rick Dysart: You're an optimist.
Grissom: Do you have a point of origin?
Chief Rick Dysart: Not yet ...
(Grissom and Chief Rick Dysart stand and look around.)
Chief Rick Dysart: ... f*re spread down the slope. Probably started along top of the ridge. I'll give you a shout when it's safe to come up.
Sara: Okay, Mom.
(Chief Rick Dysart smiles a little before he turns and heads back up the hill.)
Grissom: This area was always a good place for stargazing.
Sara: It's a good make-out spot, too. So I've heard.
(Sara snaps photos. Grissom glances at her.)
(Around them, the firefighters sh**t water on the smoldering area.)
(Grissom walks around. He looks around. He finds a second body under the trees. This one is just as b*rned.)
Grissom: Sara! We've got another body.
(The woman's eyes open.)
Grissom: (shouts) Get the paramedics!
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. HOSPITAL - HALLWAY -- NIGHT]
(The ER hallway is bustling as Greg walks through it.)
Woman: (over p.a.) Dr. Jacobs, dial 102, please. Dr. Jacobs ...
(A nurse works on a woman patient sitting on a gurney.)
Nurse: Are you okay? Is there anything else?
(Greg walks up to the nurse.)
Greg: I'm Greg Sanders from the Crime Lab. I'm here to collect trace from the arson victim.
Nurse: She was in the burn unit. (points) Bay number three.
Greg: Thanks.
Nurse: You're welcome.
(Greg heads for the burn unit.)
CUT TO:
[INT. HOSPITAL - BURN UNIT (ROOM 408) - NIGHT - CONTINUOUS]
(The door opens; Greg walks in. His steps slow down at what he sees.)
(Inside the sterile burn unit, a team of four work on the woman on the table. Greg stares at them.)
(The team work on removing and replacing the woman's b*rned skin. They work quickly and efficiently.)
(The doctor steps up behind Greg. Greg turns around slightly, noting his presence.)
Greg: I thought ... I just assumed she was d*ad.
Burn Unit Doctor: It's a miracle she's not. This is as bad as it gets.
Greg: How extensive are the burns?
Burn Unit Doctor: Eighty percent. Mostly third degree.
Greg: I hope the morphine's working.
Burn Unit Doctor: Third degree burns are painless. The nerves are b*rned away. She's not conscious of what's happening to her.
Greg: Not now.
SHORT TIME CUT TO:
[BURN UNIT -- CONTINUOUS]
(Greg is inside the burn unit. He's wearing a white smock.)
Greg: She's still a Jane Doe. I'm going to need all of her clothes, as well as any trace off her body.
Burn Unit Doctor: We'll save whatever we find during debridement.
Greg: Debridement?
Burn Unit Doctor: We scrape off the d*ad flesh, then cover it with cadaver skin. We then wrap it with gauze. It prevents infection and allows the remaining tissue to heal.
(Someone clips off the woman's wedding ring. Greg watches as they slip it off her finger. The doctor puts it in a metal pan.)
Voice: Seventy over sixty.
(He hands it to the burn unit doctor. The burn unit doctor hands the metal pan to Greg.)
Burn Unit Doctor: She's gonna lose those fingers.
(Greg looks up from the metal pan.)
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. STEWART RESIDENCE -- NIGHT]
(Dani Stewart is on a gurney as the EMTs wheel her away.)
EMT 1: Continue chest compressions and manual oxygen.
EMT 2: ... vital support. ETA to Palm Desert -- eight minutes.
(The EMTs and the gurney pass Catherine, Warrick and Brass.)
Brass: Just going through the motions. Kid's name is Dani Stewart; she's five. Neighbors saw her floating facedown in the pool from their second-story balcony, called 9-1-1.
Warrick: Why didn't they pull her out?
Brass: They couldn't get in the backyard gate. Childproof lock.
Catherine: No key, no access.
Warrick: Her parents protected that kid to death.
Catherine: Where the hell were they?
Brass: Home.
CUT TO:
[INT. STEWART RESIDENCE - KITCHEN -- NIGHT]
(Brass leads Catherine and Warrick into the house. He stops near the doorway. Catherine and Warrick step inside.)
Warrick: We'll call you, Dave, when we clear a path.
David Phillips: Okay.
(They walk in through the kitchen, shining their lights on the cluttered table top and counters. Half-eaten food on plates and food still on the cutting board shows they were interrupted at some point. The television set on the kitchen counter is still on.)
[INT. STEWART RESIDENCE - DINING ROOM - NIGHT -- CONTINUOUS]
(Catherine and Warrick step out of the kitchen into the dining room. Catherine looks around and sees the various toys on the floor.)
(We hear dripping sounds.)
(Warrick follows the sounds into the living room. He sees the large decorated dish filled with blood. Blood drips down the stair wall as well. He follows the bloodstains and sees a bloodied arm hanging off the side of the stairs.)
Warrick: Oh, man.
(Catherine joins him as they get closer to the body.)
Warrick: Whew. Well ... she obviously fell forward ...
Catherine: ... as she ran down the stairs.
(They head for the base of the stairs to climb up to the second floor.)
Warrick: Lots of pictures of the kid. Family revolved around the child, huh?
Catherine: Yeah, way should be.
(They climb up the stairs. Catherine stops mid-way and sees the broken glass and picture frame of the family portrait still hanging on the stair wall askew.)
Catherine: Struggle?
(Warrick looks at the blood on the cracked glass.)
Warrick: She might have put her hand out to break her fall.
(The dripping sounds continue.)
(Catherine and Warrick head upstairs to the second floor.)
EXTREME CLOSE-UP: (SLOW MOTION) A SINGLE DROP OF BLOOD FALLS INTO THE LIQUID
[INT. STEWART RESIDENCE - SECOND FLOOR BEDROOM -- NIGHT -- CONTINUOUS]
(Catherine and Warrick step into the second floor bedroom. They find a second body on the bed.)
Warrick: Man. What a scene.
(On the floor, they notice the broken shards of glass and mercury tip.)
(The m*rder w*apon is in the d*ad body's right hand. The man is on the bed, the back of the neck resting near the edge of the mattress. On the floor, the carpet is soaked through with a pool of blood.)
Warrick: What are you thinking?
Catherine: Maybe m*rder-su1c1de.
(Warrick puts his kit down. He looks at the g*n.)
Warrick: I don't know. This g*n looks like it might've been wiped clean.
(Quick flash to: [EARLIER] A person holding the g*n walks into the bedroom and finds the man sitting on the bed.)
Catherine: (V.O.) You thinking professional h*t?
(The k*ller walks up to the man and sh**t. The wife walks in and screams. She turns and runs. The k*ller chases her and fires.)
(End of flash. Resume to present.)
Warrick: What about the little girl?
Catherine: Loose end.
(Quick flash of: [EARLIER] Dani Stewart is floating in the swimming pool in her floater. The k*ller walks up behind her.)
Dani Stewart: Mommy, why is everybody screaming?
(End of flash. Resume to present.)
Warrick: There are three bodies in three locations. A lot of variables. Where do you want to start?
CUT TO:
[EXT. WOODS - DAY]
(The f*re has been put out. b*rned trees smolder from the heat.)
(Near the top of the hill, we see Grissom and Sara making their way up back toward the road.)
(They reach the top where other emergency personnel are.)
(Sara starts looking around. She finds something.)
Sara: I've got ... the business end of a disposable lighter. Could be an ignition source.
(Grissom walks over to her and snaps a couple of photos. She picks it up and looks at it.)
Grissom: Hey.
(Sara looks up. Grissom nods his head in a direction for her to look. He sees something.)
Grissom: What's that?
(They walk over to it. It's a smashed vodka bottle. Grissom snaps a couple of photos.)
Sara: Possible accelerant.
Grissom: Or possible martini.
(He snaps more photos.)
(Sara picks up the broken mouth end of the vodka bottle. She smells it.)
Sara: I didn't think you could smell vodka.
Grissom: Well, that depends on how long it was distilled.
Sara: Cheap stuff.
Grissom: Ironically, the word for vodka comes from the Russian phrase zhizennia voda. "Water of life."
CUT TO:
[EXT. STEWART RESIDENCE - BACKYARD/POOLSIDE -- NIGHT]
(CLOSE-UP: Garden statues of three bunnies - one adult bunny and two smaller bunnies.)
(A tech uncaps a sample jar and gets a sample of pool water.)
(David Phillips walks past on his way to the house.)
[INT. STEWART RESIDENCE - DINING ROOM - NIGHT -- CONTINUOUS]
(David Phillips walks through the dining room and approaches the stairs.)
David Phillips: Hey.
(Warrick is dusting the stair railing.)
Warrick: Hey, Super Dave.
David Phillips: You have any idea when I might be able to process the bodies?
(David Phillips starts up the stairs. Warrick dabs the back of his wrist to his forehead as David walks past.)
Warrick: Uh ... that'd be a question for the boss lady. She's upstairs to the right.
David Phillips: Thanks.
Warrick: Yeah.
(David heads upstairs.)
CUT TO:
[INT. STEWART RESIDENCE - SECOND FLOOR BEDROOM -- NIGHT -- CONTINUOUS]
(Catherine and Nick are in the bedroom. Nick is working behind a large piece of equipment. Catherine sets up the red laser light. She takes out a flashlight and looks at the bed sheets.)
Catherine: I've got some long hairs on the pillow -- brunette. Wife was a blonde.
Nick: So was the daughter, right?
Catherine: Yeah.
Nick: Well, I'll collect the sheets as soon as I'm finished up here.
(David walks into the room.)
David Phillips: Hey, Catherine, um, I was wondering if I ...
Catherine: Oh, I'm sorry, David. We're going to need to keep the bodies in their original position for a while longer.
(Catherine collects the hair strands and puts them in a bindle.)
Nick: Yeah. Crime scene this messy, gotta bust out the big g*n. You know what I mean? (David leaves the room.) Hey, did you know that Ecklie volunteered the lab to evaluate this scanner for Third Tech?
Catherine: I'm sure he's hoping they'll give us one for free.
Nick: Hmmm. I wouldn't count on it. But I am definitely going to enjoy using this while it's here. Virtual crime scene sketch. Sure beats doing it by hand.
(The red laser starts from the machine and scans around the room. The image is reconstructed onto the monitor.)
(Nick presses a couple of buttons.)
(On the monitor, the wire-frame of the crime scene room rotates.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(Brass interviews Annabelle Frost.)
Anabelle Frost: The whole family ... d*ad? Dani, too? She just had her birthday.
Brass: How long have you been Morgan Stewart's assistant?
Anabelle Frost: Uh ... about two years now.
Brass: Did you and Morgan ever see each other outside of work?
Anabelle Frost: Well ... I baby-sat Dani sometimes for some extra cash. I'm putting myself through school.
Brass: We found a brown hair in his bed. Your color.
Anabelle Frost: I wasn't sleeping with Morgan, and if you knew him, you wouldn't bother implying it. He was devoted to his wife. He was a ... he was a wonderful father.
Brass: Hmm. Were you ever in his bedroom?
Anabelle Frost: (scoffs) No.
Brass: Then you wouldn't mind giving us a sample of your hair.
Anabelle Frost: No. Be glad to ... as soon as you show me a court order.
Brass: You know how that makes you look?
Anabelle Frost: Save it. I'm pre-law.
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg uses a hand-held device and tests the level of hydrocarbons on the victim's b*rned clothes.)
(The beeping speeds up as Greg measures the top part of the woman's jacket near the pocket.)
(He puts the device down and removes something from the victim's pocket.)
(Grissom appears in the doorway.)
Grissom: I hear our victim is still alive.
Greg: I don't see why.
Grissom: Well, she's not ready to let go yet.
Greg: A plastic card. I found traces of alcohol all over her clothes. She was doused in it.
Grissom: The accelerant and the probable ignition source were found at the top of the hill.
Greg: That was the point of origin.
Grissom: But the victim was found, almost completely b*rned, at the bottom of the hill.
(Greg nods.)
Grissom: I don't think she was caught in the f*re ...
(Quick flash of: [NIGHT] The woman screams as she burns. She trips and falls down the side of the hill.)
(End of flashback. Resume to present.)
Grissom: I think she started it.
(Quick flash of: The large ball of f*re rolling down the hill straight for the camera.)
SMASH CUT TO BLACK.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(Sara processes the glass from the vodka bottle for fingerprints.)
(A print is found and is scanned into the computer. The computer searches for a MATCH to the print. The monitor reads:
<< PATRICK BROMLEY >>
HGT: 6'2" WGT: 205 LBS EYES:
HAIR: BROWN RACE: CAUCASIAN
ADDRESS: TALARUS COURT APARTMENTS
91334 RANCHO DR., APT #24-
LAS VEGAS, NV 89156
WORK HISTORY:
2001 - 2003 PALMS CASINO BUS BOY
2004 - CURRENT DAWSON TRUCKING COMPANY DR--
{PHOTO ON LEFT}
Sara: (V.O.) I got a work card h*t off the vodka bottle -- a Patrick Bromley.
CUT TO:
[INT. CSI - HALLWAY]
(Sara walks with Grissom through the hallway and fills him in on what she's found.)
Sara: He used to bus tables at the Palms. These days, he's driving a big rig.
Grissom: He's a trucker. Let me guess: He's on the road.
Sara: According to his employer, yes. Vartann is working at bringing him in.
(They turn into the lab.)
[INT. CSI - LAB - CONTINUOUS]
Sara: (continuous) But, as it turns out, the company tracks its drivers via GPS, and they were kind enough -- under thr*at of subpoena -- to give me access to Mr. Bromley's route data for the last 24 hours.
(Sara types in the route data for BROMLEY, P. The map appears with emphasis on:
STOP: Exit 19 A
TIME: 12:49 AM
33, 10, 11: LATITUTDE
110, 05, 24: LONGITUDE
Sara: And what do you know.
Grissom: He was in the area of the f*re an hour before the alarm went out?
Sara: Yes. And about a half hour before that, he made a stop at the local Gas
'n' Sip.
(She brings up info on another stop on Blue Diamond RD.
STOP: Exit 30 B
TIME: 12:19 AM
36, 12, 52: LATITUTDE
115, 10, 08: LONGITUDE
Grissom: Well, see if the store's got video surveillance.
Sara: Done. Footage is on its way in.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[EXT. TRUCK STOP - NIGHT]
(Sara and Det. Vartann interview Patrick Bromley, who is holding a cardboard drink holder with cups.)
Patrick Bromley: You got my dispatcher crawling all over my ass for the past five hours. You know, you pull off a route, that costs me money.
Det. Vartann: Hey ... shut up.
Sara: Why don't you tell us about your friend here.
(He watches security camera video of Tara Matthews in a pink sweater getting into Patrick Bromley's truck.)
Patrick Bromley: She's not my friend. I picked her up hitching out on Sunset.
Det. Vartann: Did she tell you her name?
Patrick Bromley: Never came up.
Sara: Where and when did you see her last?
Patrick Bromley: Dropped her off on Blue Diamond Road.
Det. Vartann: In the middle of nowhere, just like that?
Patrick Bromley: Yeah. She wanted out.
Sara: I bet she did. Where did you get the, uh, scratches on your neck?
Patrick Bromley: A bar fight, couple of nights ago.
Det. Vartann: Hey, do you mind if we look inside your truck?
Patrick Bromley: If that's what's gonna get me back on the road.
(Sara climbs into the truck and looks around. In the back of the truck, she finds a woman's pink sweater.)
(Sara pops out of the truck and holds the pink sweater up.)
Sara: Mr. Bromley! Pink is not your color.
(Det. Vartann takes the cardboard container from Patrick Bromley and drops it on the ground as he puts the handcuffs on him.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
Patrick Bromley: Look, I was just trying to help that chick out.
Sara: And then you helped yourself.
(Quick flash to: [BACK OF TRUCK - NIGHT] Tara Matthews struggles against Patrick Bromley.)
(End of flashback. Resume to present.)
Patrick Bromley: Uh-uh. Wasn't like that.
Det. Vartann: Are you saying you never touched her?
Patrick Bromley: No way. I mean, yeah ... the girl was ready to party. We had a couple drinks, and a smoke. She was definitely checking me out, but I'm a happily married man. I just gave her a ride.
Sara: We already know what you did.
(Quick flash to: [EXT. TRUCK - NIGHT] Tara Matthews' back hits the truck. Patrick Bromley raises the bottle of vodka, spilling it over Tara Matthews, drenching her in the flammable liquid. He drops the bottle and takes out a lighter.)
(He flicks the lighter on.)
(End of flash. Resume to present.)
Patrick Bromley: Looks like you guys already got your answers. Which means I want a lawyer.
CUT TO:
[CLOSE-UP OF CRIME SCENE PHOTOS]
(Warrick goes through the photos of the bedroom crime scene.)
Warrick: Bobby matched the b*ll*ts to the g*n that was found at the scene. He also ran a registration check.
[INT. CSI - HALLWAY]
(Catherine, Nick and Warrick walk through the hallway.)
Catherine: Let me guess: g*n was clean.
Warrick: No, it was registered to Morgan Stewart.
Nick: So, what, we're looking at a m*rder-su1c1de? Guy kills his family and then turns the g*n on himself?
Warrick: Well, you know it's a possibility. Brass pulled his financials. Morgan Stewart was in debt up to his eyeballs. He was in danger of losing his house.
Catherine: Never underestimate the fragility of the male ego.
(Warrick laughs wryly; Nick smiles.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins goes over the body with Catherine. The plastic rod is inserted into the b*llet hole in the underside of the victim's chin.)
Robbins: b*llet enters with a marginal abrasion on the underside of the chin. The wound path traverses the oral cavity, brain, and the high scalp, just right of the mid-line. b*llet exited with a stellate laceration in the right parietal scalp.
(Robbins turns to the second body on the second exam table. A plastic rod is inserted into the b*llet hole in the victim's back.)
Robbins: Mrs. Stewart ... b*llet penetrates the back. The hemorrhagic wound paths traverse the skin, subcutaneous tissue, and the deep musculature on the right side of the back. Trajectory is back to front, right to left and slightly downward.
Catherine: And what about the daughter?
(Robbins opens the morgue cabinet door where Dani Stewart's body is. He pulls the table out and lifts the sheet.)
Robbins: Cause of death was drowning.
Catherine: Any trauma to the body?
(Robbins puts the sheet back.)
(Robbins walks over to the x-ray viewbox.)
Robbins: I noticed a fracture on the left fourth costosternal junction-- with virtually no hemorrhage -- caused by excessive pressure on the upper aspect of chest.
Catherine: Broken rib. Now, I know the paramedics performed CPR ...
Robbins: Right, but the EMTs' report states that she already had the injury when they found her at the scene.
Catherine: So maybe this all started with the accidental death of a child.
(Quick flash to: [EXT. POOLSIDE - DAY] Corrine Stewart sees Tara Matthews floating head down in the pool. She screams and runs over to the pool, jumping in to get her daughter.)
Corinne Stewart: Oh, my God!
(She grabs Dani out of the pool.)
(Cut to: Corinne performs CPR on Dani.)
(Quick CGI POV of: Camera zooms in on Dani's chest. The rib cage is viewed as Corinne starts CPR. End of CGI POV.)
(Corinne cries.)
Catherine: (V.O.) Wife tells her husband, whose mental state is already hanging by a thread ...
(Flash as: Corinne turns and sees Morgan Stewart standing behind her. He says something to her.)
(He reaches into the drawer and takes out the g*n. He raises the g*n and points it at Corinne.)
(Corinne turns and runs.)
(End of flash. Resume to present.)
Robbins: Eh, that works.
Catherine: Except how do you perform CPR on your child and then toss her back into the pool?
CUT TO:
[INT. CSI - HALLWAY]
(Grissom and Mia Dickerson walk through the hallway as she reports to him.)
Grissom: Did you get an I.D. on our arson victim yet?
Mia Dickerson: I ran the DNA through CODIS and Missing Persons, and I came up empty. But one thing I do know is that one of her markers is out of the control range.
Grissom: "Off-ladder" peak?
Mia Dickerson: You talk the talk, but did you know the frequency of that anomaly is one in every 250?
Grissom: I learn something new every day around here.
(They walk out of camera frame.)
CUT TO:
[INT. CSI -- LAB]
(Greg processes a b*rned piece of paper found on Tara Matthews.)
(The paper reads:
(LIC)ENSE EXTENSION
02/02/04 EXPIRATION DATE: 02/??/0-
TARA MATTHEWS
17011 COLLIE LN LAS VEGAS NV 8910?
ONLY *** TO ORIGINAL ***
(Greg smiles.)
CUT TO:
[INT. MATTHEWS' RESIDENCE -- DAY]
(Greg and Grissom interview Neal Matthews.)
(Camera opens on the framed photos hanging in the hallway. There are three, all of Neal and Tara Matthews.)
Grissom: Mr. Matthews ... when was the last time you saw your wife?
Neal Matthews: Last night, about six.
Greg: She hasn't been home since?
Neal Matthews: No. We had a fight, she left. It's happened before.
Grissom: Do you have a lot of fights?
(He sighs.)
Neal Matthews: I don't know; what's a lot? Look, things have been a little rough for us lately. Tara's been on anti-depressants for awhile. I own my own business, so she's home most of the time. What's this all about? Where's my wife?
(Greg looks at Grissom.)
Grissom: She's been in an accident.
(Neal Matthews takes a deep breath.)
Neal Matthews: I want to see her.
CUT TO:
[INT. HOSPITAL - BURN UNIT - DAY]
(CLOSE-UP: MONITOR VIEW OF TARA MATTHEWS. The monitor beeps and the ventilator hisses. The camera moves down off the monitor and we see Tara Matthews in bed completely wrapped in gauze bandages. The burn unit finishes wrapping gauze around her b*rned leg.)
[OBSERVATION ROOM]
(Greg and Neal Matthews look into the room through the glass.)
Neal Matthews: I don't know who that is, but ... that's not my wife. That's not Tara.
(Greg holds up the small evidence bag.)
Greg: Is this her ring?
Neal Matthews: Oh, my God.
(The label on the evidence bag reads:
WEDDING RING
3-29-05
BURN UNIT *** ***
S. SIDLE )
(Neal Matthews looks at the ring. He starts crying.)
Neal Matthews: Oh, my God. Tara.
(Inside the burn unit, we're shown Tara's hand wrapped in gauze, the blood stains from where her fingers used to be starting to soak through.)
Neal Matthews: How did this happen?
(Greg swallows.)
Greg: We're still investigating.
Neal Matthews: All day ... I've been waiting for her to get home. I was really going to make it up to her.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI -- LAB]
(Greg holds a small glass sample container in his hand and looks at Tara Matthews' fingers inside. He stares at its contents.)
(Grissom walks in through the doorway. He watches Greg.)
Grissom: How'd it go at the hospital?
Greg: About as well as could be expected. Doctors had to amputate the fingers from her right hand. Too great a risk for infection.
(Greg puts the container down on the table.)
Greg: They gave them to me to process for trace.
Grissom: You've pulled a double, Greg. You need a break. I'll process it.
(Greg looks at Grissom. Grissom nods back, encouraging him to take that break.)
Greg: Thanks.
(Greg stands up and leaves. Grissom puts on a glove and sits down.)
(Grissom looks at the container and uncaps it. He takes the finger out and looks at it.)
(He picks up a magnifying glass and looks at the finger.)
(He flips the finger over and sees something underneath near the first knuckle.)
(He stares at it.)
[INT. CSI - LOCKER ROOM]
(Sofia Curtis walks into the locker room where she finds Greg sitting on the bench.)
Sofia Curtis: Hey.
Greg: Hey.
(She opens her locker.)
Sofia Curtis: What's the problem?
Greg: Nothing. I'm fine.
(She puts her bag down inside.)
Sofia Curtis: You're not.
Greg: I feel like a wuss. Grissom told me I should take a break, and I did.
Sofia Curtis: Your burn victim.
Greg: (nods) How do you get an image like that out of your mind?
Sofia Curtis: You go home. You, uh ... hug your cat, your dog, your pillow. You have a beer, you watch a movie, and then you come back tomorrow.
Greg: Is that supposed to make me feel better?
Sofia Curtis: Rumor has it you used to be a pretty funny guy. (She closes her locker.) Don't lose that.
(Sofia leaves.)
CUT TO:
[INT. CSI -- DNA LAB]
(Various cuts of: Mia Dickerson looks at the bed sheet under an ALS.)
(The Crime Evidence tag reads:
BEDSHEET
03-29-05
STEWART RESIDENCE
LPD 150389-??????
(She circles the stains she finds.)
(She cuts the stains out.)
CUT TO:
[INT. CSI -- TRACE LAB -- CONTINUOUS]
(As Mia works, Hodges watches her through the glass walls. He sighs.)
(In the doorway, Catherine watches Hodges.)
Catherine: It's hard to look and not touch, isn't it?
(Hodges is startled.)
Hodges: That poor kid has been working her tail off. Only fair, considering how DNA gets most of the glory these days.
Catherine: Have something for me?
Hodges: Of course.
(Catherine walks into the lab and over to Hodges, who shows her the print results.)
Hodges: The dark hairs you found on Morgan Stewart's bed were not a match to his wife. Pretty bold, to bring another woman into his matrimonial bed. Begging to get caught.
Catherine: Well, so far, you haven't told me anything I didn't already know.
(Hodges points to the monitor.)
Hodges: This is the broken glass and paper found on the floor of the master bedroom.
Catherine: Uh, looks like a thermometer.
Hodges: Yes, but what kind?
Catherine: Do tell.
Hodges: Notice how the gradations are broken down by tenths of a degree?
Catherine: Yes. And most thermometers aren't that specific.
Hodges: Correct. It's a BBT, a Basal Body Temperature thermometer, used by women to pinpoint a temperature spike that occurs ...
Catherine: ... during ovulation. I know. It maximizes your chance of conception. So ... Corinne Stewart, I guess, was trying to have another baby.
Hodges: With no clue as to what her husband was doing when she was out of the house.
Catherine: Or with whom.
CUT TO:
[INT. CSI - HALLWAY]
(Mia catches Grissom in the hallway.)
Mia Dickerson: Grissom -- hey, it's about your arson victim.
Grissom: Greg b*at you to it. I got an I.D.
(Grissom continues walking.)
Mia Dickerson: Yeah, well, I got something you don't have.
(Grissom stops walking and turns around.)
[INT. CSI -- DNA LAB - CONTINUOUS]
(Mia shows Grissom and Catherine the results on the monitor.)
Mia Dickerson: This is the standard ladder of alleles that I run against every unknown DNA. And it contains all of the commonly encountered alleles within the population. As you can see, at locus d3 the alleles are 12 through 19.
Catherine: Which is normal.
Mia Dickerson: Right. Now, as you can see on the sample on the bottom, the locus d3 alleles are 15 and 21.
Catherine: Not normal. The 21 allele is outside the normal range.
Grissom: An "off-ladder" peak. Like Tara Matthews.
Mia Dickerson: Right. This is her profile. And this ...
(She drag and drops the two together.)
Mia Dickerson: ... is the DNA that was extracted from the vaginal contribution to the sheets at the Stewart house.
Catherine: Tara Matthews' DNA in Morgan Stewart's bed.
Grissom: (smugly) We're working the same case.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - BREAK ROOM -- NIGHT]
(Grissom, Sara, Catherine and Warrick meet to go over their cases together.)
Grissom: There were several spots of high density polyethylene embedded in the fingers of Tara Matthews' right hand.
Sara: According to Hodges, the material is consistent with the plastic t*nk in most disposable lighters. (She picks up a photo and hands it to Warrick.) We found the top of one at the scene of the f*re.
Warrick: Well, heat melts plastic and butane will explode under pressure.
Catherine: So the lighter blew up in her hand? Are you saying that she ... set herself on f*re?
(Quick flash to: [ROADSIDE - NIGHT] Tara Matthews pours the vodka over her head. She drops the bottle and takes out a lighter. She flicks the lighter on and catches on f*re.)
(Quick CGI POV: The f*re burns her and goes back to her hand holding the lighter. It explodes.)
(White flash back to present.)
Sara: It was attempted su1c1de. She'd been as*ault by a truck driver shortly before her death. She was clinically depressed. She was having problems in her marriage.
Grissom: You know, some eastern cultures believe that f*re cleanses the soul.
Catherine: Well, Tara Matthews was having sex with Morgan Stewart. So, if she attempted su1c1de several hours after the Stewarts died, she's a possible suspect.
Grissom: Yeah, but just having her DNA in the bed doesn't prove she was there for the m*rder.
Sara: What about Tara's husband Neal?
Warrick: Well, according to Brass, Neal and Morgan were good friends since they were kids. Neal was good at making money, and Morgan was good at making debts.
Sara: Maybe Morgan was jealous of Neal, sleeps with Tara out of spite, Corinne finds out ...
Grissom: And three people end up d*ad. So the critical question remains. If Morgan sh*t himself, then he's the prime suspect in the m*rder, but if he, in fact, was m*rder, then somebody else was in the house.
CUT TO:
[INT. HOSPITAL - BURN UNIT - OBSERVATION ROOM -- NIGHT]
(Neal Matthews sits in a chair in the observation room doorway looking at his wife inside. Brass walks up to him. He looks at Tara Matthews in the burn bed.)
Brass: Mr. Matthews. Detective Jim Brass, Las Vegas Police. How's your wife doing?
Neal Matthews: How does it look like she's doing?
(Brass turns around and looks at Neal Matthews.)
Brass: You know, I just have a couple of questions. Maybe we should talk outside.
Neal Matthews: We can talk here.
Brass: Okay. You know, when the detective interviewed you earlier, why didn't you tell him that your best friend and his family had just been k*lled?
Neal Matthews: I didn't know then.
Brass: Were you at Morgan's house yesterday?
Neal Matthews: No.
Brass: How about your wife?
Neal Matthews: Not that I know of. Why would she?
Brass: Well, she's been spending a lot of time there.
Neal Matthews: What's that supposed to mean?
Brass: Your wife was having an affair with your best friend. Look, I feel for you, Neal; I do. Friends don't sleep with their friend's wives.
Neal Matthews: You think you know how I feel?
Brass: Guilty? I don't know.
Neal Matthews: (scoffs ironically) Yeah. I do feel guilty. I was unable to give my wife what she needed. If she went to Morgan, that's the reason. She never handled rejection well.
Brass: So, if Morgan rejected her, how would she have taken that?
Neal Matthews: Badly.
Brass: Bad enough to k*ll?
(He looks at Brass.)
Neal Matthews: (shakes his head) Not Tara.
CUT TO:
[INT. CSI - A/V LAB]
(MONITOR: Morgan Stewart Crime Scene. Nick is working on the 3-D digital image on the monitor. He goes from photo to wire frame. The b*llet trajectory angles are indicated through dotted lines.)
(Warrick walks into the lab.)
Warrick: How's it going?
Nick: Hey.
Nick: Checking out trajectory angles. This is the sh*t coming out of Morgan's body.
Warrick: What's the trajectory going into the wall?
Nick: Oh, the wall trajectory is a constant. Morgan's is the variable here.
Warrick: Well, there's no way those lines are gonna match up with Morgan all the way over on the bed.
Nick: So let's make them line up.
(Nick moves Morgan from the bed to the floor. The trajectory angles match.)
Warrick: Hang on. If he sh*t himself there ... how did he end up on the bed?
Nick: He was moved.
Warrick: Where is the blood spatter from the initial wound?
Nick: Wait. Morgan's wound bled out here. The blood puddle covered the initial spatter.
(Quick flash to: [STEWART RESIDENCE] The k*ller grabs Morgan, aims the g*n and fires. Blood spatters on the carpet.)
(White flash to: The k*ller moves Morgan Stewart to the bed and puts the g*n in his hand. The blood from the wound falls onto the carpet.)
(Several dissolves on a close-up of the blood puddle: Over time, the puddle of blood gets bigger and bigger.)
(End of flashes. Resume to present.)
Warrick: There was someone else in that room.
CUT TO:
[INT. MATTHEWS RESIDENCE - HALLWAY]
(Grissom and Sara are at the house. They pass by the framed photos on the wall.)
Nick: (V.O.) So maybe Neal or Tara Matthews has blood on their clothes.
Warrick: (V.O.) Time to check the house.
(Camera lingers on a photo of Tara and Neal smiling.)
CUT TO:
VARIOUS SCENES OF SARA AND GRISSOM IN THE HOUSE
(Sara turns on the ALS and checks the clothes in the closet.)
(Grissom opens a door to a nursery all in white.)
(Sara picks up hanger by hanger and runs the clothes through the ALS.)
(Grissom stands in front of the vanity and closes the overhead cabinet door)
(Sara continues to check the clothes.)
(Grissom looks at the items on the vanity.)
(Sara checks Tara's shoes.)
(Grissom opens the vanity drawer and looks inside.)
(Sara checks Neal Matthews' shoes. Under one of the sneakers, she finds a piece of broken glass. She removes the glass sliver from the rubber and looks at it.)
(Camera zooms for a close-up of the glass sliver.)
(Grissom searches through the drawer. He finds a basal thermometer from the BLESSINGS FERTILITY CENTER (800) 555-0185.)
CUT TO:
[INT. CSI - CATHERINE'S OFFICE]
(Grissom rushes up to Catherine's office. He hastily knocks on the door. Catherine looks up from her desk.)
Grissom: You found a basal thermometer at the Stewart house?
Catherine: Yeah. It was crushed on the master bedroom floor. Why?
(He holds up the evidence bag.)
Grissom: I found one in Tara Matthews' vanity drawer.
Catherine: I was just looking at Corinne Stewart's autopsy report. Uh ... she had a tubal ligation, so ... she obviously wasn't trying to have kids.
Grissom: Tara was.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. HOSPITAL - BURN UNIT - TARA'S ROOM]
(Tara is in bed and hooked up to a ventilator. Yellowish urine drains out from a catheter tubing.)
(Someone is taking a urine sample out from the bag on the side of the bed.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins holds up the container of Tara Matthews' urine sample. He opens the container and sticks the stick inside. The tip of the stick is blue-ish.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(Catherine sits in front of Grissom's desk and reports.)
Catherine: So it's been confirmed. Tara Matthews is pregnant.
Grissom: Third-degree burns on most of her body and she doesn't miscarry?
Catherine: A mother's body is designed to protect her baby. I don't know, all that trauma and morphine ... it'll be a miracle if she brings it to term.
Grissom: Do we have any idea who the father is?
Catherine: Too early to tell. She's just a few weeks pregnant.
Grissom: Okay, we know that Morgan and Tara were having sex. The broken basal thermometer we found in the bedroom implies that she was trying to conceive with him, and not her husband.
Catherine: Neal could've been sh**ting blanks. GRISSOM: Well, medical records will confirm that.
CATHERINE; And Neal and Morgan were best friends ...
Grissom: ... somebody she may have felt comfortable with.
(Quick flash to: [STEWART RESIDENCE - BEDROOM] Morgan opens the bedroom door and finds Morgan in bed with Tara.)
Catherine: (V.O.) Neal catches Morgan in bed with his wife ...
Neal Matthews: Hey, buddy!
Tara Matthews: Let me explain ...
Neal Matthews: Shut up!
(Neal heads for the bedside table. He steps on the basal thermometer.)
Catherine: (V.O.) And now, he knows where the best friend keeps his g*n.
(He opens the bedside drawer and takes out the g*n.)
(End of flash. Resume to present.
Grissom: The glass in Neal's shoe just puts him at the scene. We didn't find any blood on the clothes we recovered from his house.
Catherine: Clothes are easy to dump. The glass was an oversight; he didn't even know it was there.
Grissom: Or maybe he didn't k*ll anybody.
Catherine: Which leaves Tara.
Grissom: There was no blood on her clothes either. At least nothing at the house. And the clothes she was wearing went up in flames.
(Catherine looks at the open file folder in her lap and looks at the EVIDENCE sheet.)
PACKAGE #4597-1
ITEM #17 TWO MEN'S SOCKS
PACKAGE #4597-2
ITEM #18 PINK SWEATER, WOMEN'S
SIZE: MEDIUM
ITEM #19 BOOK OF MATCHES
ITEM #20 TRUCKER'S LOG BOOK )
Catherine: Not everything.
CUT TO:
[INT. CSI -- LAB]
(Catherine runs the pink sweater under the ALS. She finds something and reaches for the scissors to cut it out.)
CUT TO:
[INT. CSI - DNA LAB]
(Hodges opens the bindle and takes out the piece of pink sweater. He cuts a piece off and processes it.)
(The labels on the tubing read:
IN #27
*N *28
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Brass interviews Neal Matthews. His lawyer sits next to him.)
Brass: We got a problem, Neal. We found chlorine from the Stewarts' pool on your wife's sweater. That puts her at the scene. We're going to be charging her with the m*rder.
Neal Matthews: Whatever happened, Tara couldn't have done it on purpose. It must've been some sort of accident.
Brass: Well, the way we see it, you know, Tara went back to Morgan's house to tell him that she was pregnant with his child, and ... what, she told you the baby was yours?
Neal Matthews: (nods) Yeah.
Brass: And you believed her?
Neal Matthews: We were trying to have a baby. Why wouldn't I?
Brass: Oh, well, sure. I mean, you and Morgan are close enough in looks. She probably would've gotten away with it.
Neal Matthews: She always said that a woman without a child of her own wasn't a woman. We tried in vitro fertilization a half a dozen times.
Brass: Yeah, we know. We subpoenaed your medical records. You had bad sperm.
(Neal nods.) Anyway ... Tara went over to try to get Morgan to leave his family, he said no, she flipped out, she went nuts. She's got a history of depression, right?
Neal Matthews: Right.
Brass: I mean, I suppose Morgan got what he deserved. But just because you're defective doesn't mean that Tara's gonna jump in bed with him.
Neal Matthews: I told Tara we could adopt. She wouldn't.
Brass: And Corinne and the kid ... wrong place, wrong time, I guess.
Neal Matthews: She wanted to have a family so bad ...
Brass: ... and you couldn't give it to her, so she took her business elsewhere. And it didn't take long for Morgan to h*t a home run ...
Neal Matthews: Stop talking about it like that.
Brass: Look, Neal. Just because she's lying b*rned up in a hospital room carrying your best friend's kid ...
(Everyone starts shouting at each other.)
Neal Matthews: No!
Brass: ... Isn't going to cut it with the D.A.
Neal Matthews: No, I'm ...
Brad Lewis (lawyer): Look, Neal, not another word.
Brass: She k*lled three people.
Neal Matthews: (shouts) I want you to shut up! Just shut up!
Brad Lewis (lawyer): Neal, please. Let's go.
Brass: Go ahead and walk. Go ahead, let Tara take the fall. She's probably not gonna make it anyway.
Neal Matthews: I love my wife.
Brad Lewis (lawyer): Please, Neal. Let's go.
Brass: We know you were there. We got a fragment from a basal thermometer found in your shoe.
Neal Matthews: You don't know anything about her.
Brass: I know she wanted a baby more than she wanted to be your wife; I know that much. So tell me what I don't know.
(Neal nods and falls silent.)
Neal Matthews: We were just hanging out, having a couple beers and I got a splinter.
(Quick flashback to: [STEWART RESIDENCE - BATHROOM - DAY] The bathroom door opens.)
Neal Matthews: (V.O.) Morgan said the tweezers were up in his bathroom.
(Neal opens the medicine cabinet and finds the basal thermometer. Suddenly, he knows what's going on.)
(End of flash. Resume to present.)
Neal Matthews: He said it was Corinne's idea. They were just trying to help us.
(Quick flash of: [BEDROOM] Morgan tries to explain but Neal is too angry.)
Morgan Stewart: We did it for Tara.
Neal Matthews: You slept with my wife!
(Neal starts hitting Morgan. He reaches for the g*n in the bedside table drawer.)
Morgan Stewart: No.
(They struggle for the g*n.)
Morgan Stewart: Corinne!
(Outside, Corinne is watching Dani in the pool. She turns when she hears Morgan call her.)
(Inside, Neal steps on the basal thermometer, breaking it.)
Morgan Stewart: (o.s.) Corinne! Call the police!
(Outside, Corinne turns.)
Dani Stewart: Mommy. I want to get out.
Corinne Stewart: Morgan!
(Corinne heads for the house.)
(Inside, Neal sh**t Morgan just as Corinne reaches the bedroom door.)
Corinne Stewart: Morgan!
(Neal turns around and sees Corinne. Corinne turns and runs.)
Corinne Stewart: Morgan!
(Neal gets up and follows her. There's a second g*n.)
(End of flash. Resume to present.)
Neal Matthews: She ran. She was going to call the cops. I was just trying to stop her.
Brass: You sh*t her.
(Neal Matthews nods.)
Brass: What about Dani?
Neal Matthews: I didn't know what else to do, so I called Tara. When she came over, saw what I'd done ... She just freaked out.
(Quick flash to: [STEWART RESIDENCE - DAY] Tara runs toward the house. Neal is crying as he paces back and forth in front of the pool. She hits Neal as he explains.)
Neal Matthews: I made it look like Morgan sh*t Corinne and then he k*lled himself.
Tara Matthews: Are you out of your mind? Do you know what you've done?
Neal Matthews: This is all because of you.
(End of flash. Resume to present.)
Brass: Neal ... what happened to Dani?
(Quick flashback to: Tara turns.)
Tara Matthews: Dani!
(She runs and jumps into the pool. Dani is floating inside. She grabs Dani.)
(End of flash. Resume to present.)
Neal Matthews: She said we didn't deserve to live, neither one of us. And then she just ran out the door. I was afraid she was going to try to k*ll herself. All we wanted was a baby.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - DAWN]
[INT. CSI - FORENSIC AUTOPSY]
(The body bag is zipped up over Morgan Stewart.)
(The coroners stand around the table pulling the plastic bag over Corinne Stewart.)
(The body of Dani Stewart is zipped up.)
CUT TO:
[INT. HOSPITAL - BURN UNIT]
(Tara Matthews is on the bed. The camera stops in front of the monitor focused on Tara Matthews' face.)
(Her eyes flutter open.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x18 - Spark of Life"} | foreverdreaming |
COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY INTERSECTION (STOCK) -- NIGHT]
(Time Lapse Fast Forward. Focus on the street intersection below. The cars zoom quickly, their lights simple streaks of light on the street. In the center of the screen is the back of the Statue of Liberty.)
[EXT. TACO STAND - NIGHT]
(A young man makes a purchase and takes his tacos with him as he leaves. A woman nearby giggles.)
(The young man heads for his car, gets inside and starts the engine.)
(The headlights flip open.)
(The car moves forward and pulls out of the parked area.)
(Inside the car, the young man takes a bite from his taco. He grabs the steering wheel and turns his car out onto the main road.)
(He drives away while eating his taco. He takes another bite, looks up when bright lights shine straight toward him. He slams on the car breaks.)
(The car screeches to a halt as a large Hummer heads straight for his car.)
(The Hummer doesn't stop and rolls right over his car.)
(The windshield glass breaks. The man grunts as he's thrown side-to-side. He squishes his taco into the side window.)
FLASH TO:
[EXT. STREET - NIGHT]
(The officers lift the crime scene tape as Grissom ducks under it. He walks past Officer Metcalf, who drops the tape behind him, a large taco clutched in his other hand.)
Officer Metcalf: This is the best taco I ever had.
Grissom: I'm happy for you both.
(Grissom heads toward Brass, who turns around and appears surprised to see Grissom there.)
Brass: What, did you piss off Ecklie again? This is a h*t-and-run. I was expecting Greg Sanders.
Grissom: We're slammed. Everybody's on a case.
(Grissom puts his kit down on the road near the car; the Hummer partially covers the front half of the sleek car.)
Grissom: Is this a Fiero?
(Brass leads Grissom around the two cars.)
Brass: Yeah, the old Fiero. Kind of makes you nostalgic for a "members only" jacket. Anyway, the Hummer was going the wrong way on a one-way street. The guy in the Fiero, lucky to be alive. Nobody saw the driver get out.
(Grissom puts his gloves on.)
Grissom: People who drive $100,000 vehicles don't usually run away from them.
Brass: Well, you obviously haven't met any paroled rappers.
(Brass stops. Grissom sees the tread marks on the road.)
Grissom: Tread-mark shapes indicate acceleration.
(Grissom looks up. We hear the sounds of an engine g*n and tires screeching. Grissom visualizes the Hummer coming straight toward them from down the street.)
Grissom: Pedal to the metal. Maybe a getaway.
(Grissom and Brass turn, their eyes following the path of the imaginary Hummer as it comes to stop on top of the Fiero.)
Brass: Or maybe a joyride.
(Brass and Grissom walk over to the Hummer's open driver's door.)
Brass: There's a red smear on the door. Somebody's got blood on their hands.
(Brass shows Grissom the bloodstains.)
Grissom: Hmm.
(Grissom looks inside the driver's seat and notes the air bag.)
(Camera zooms to show the powder residue on the air bag. Grissom looks at the air bag.)
Grissom: Well, at least we know one thing about the driver.
(Quick flash to: Slow motion. The air bag releases and fills as the driver's face slams into the air bag. End of flash. Resume to present.)
Grissom: He's had a face lift.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(A phone rings as Grissom walks through the hallway. He heads toward reception.)
Judy Tremont: (o.s.) (to phone) Crime Lab, how can I help you?
(Grissom walks past a woman. As Greg and Sara return to the office, Grissom catches a bit of their conversation.)
Greg: Sara, I just want you to know that when we were in the shower, I didn't see anything.
(Grissom turns around and watches them go, surprise etched on his face.)
Sara: Really? Gosh, I saw everything.
Judy Tremont: (o.s.) Mr. Grissom. (Grissom turns to look back in Judy's direction.) PD just called. Apparently, the Humvee from your h*t-and-run was carjacked earlier tonight.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(Brass interviews Wilma and Kyle Shaw.)
Wilma Shaw: Yeah, it was our Hummer ... for all of twenty minutes.
Kyle Shaw: We ... we won it in a raffle.
Brass: So, what happened?
Kyle Shaw: All of a sudden, this fat guy comes out of nowhere and ...
Wilma Shaw: (interrupts) Fat guy?! No, that's you.
Kyle Shaw: What's me?
Wilma Shaw: (scoffs) Fat guy ...
Brass: Well, um, how do you see it, Mrs. Shaw?
Wilma Shaw: The kid who took the car was skinny.
Kyle Shaw: Well, maybe he wasn't as big as me, but he was definitely fat.
Wilma Shaw: I'm going to sock you one. He was not.
Kyle Shaw: He pulled me out of the car!
Wilma Shaw: He was as skinny as a stickman!
Brass: Yeah ...
CUT TO:
[EXT. ROAD - DAY]
(Officer Metcalf accompanies Grissom on a road back.)
Officer Metcalf: According to the, uh, witness statement, the carjacker was hanging over there by the fence.
(He points over to the wire fence lining the lot nearby.)
Grissom: What are we, about three blocks from the crash site?
Officer Metcalf: Uh, yeah.
(Grissom looks at the fence.)
Officer Metcalf: Nice freakin' neighborhood.
(Grissom raises his camera and takes photos of the smudges of blood on the fence post.)
(Grissom looks around. He looks down on the ground and sees some blood drops. He continues walking. A little farther down, he finds a handkerchief with some blood on it thrown in the grass on the side of the road.)
(He snaps a photo of it. He takes out a scissors and picks it up.)
(Sirens wail in the distance. A police car rushes toward them down the road, then turns to the right. Grissom looks up and notices the car. Off screen, we hear tires screeching.)
(A short while later, we see a detective car following the officer car.)
(Grissom goes back to the bloody handkerchief. He takes out a plastic bag from his pocket and opens it.)
SHORT TIME CUT TO:
[EXT. CONVENIENCE STORE FRONT -- DAY]
(An officer drags a man toward their car, the perturbed convenience store owner following them.)
Vernon: Come on, man! I didn't do nothing! Let me go!
Store Owner: Try to steal from me, you miserable lowlife! This time, I get justice! You're going to jail! You are going to jail!
Vernon: Man, you just a damn r*cist.
(Brass stops the officers.)
Brass: Hold up. This guy matches the description of a suspect in a carjack h*t-and-run.
Vernon: Naw, Dawgs, yo, I jacked a 40, not no car, a'ight?
Brass: Yeah, a'ight ... One Cent, let's go.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Brass and Grissom walk through the hallway.)
Brass: So the kid denies jacking the Hummer. Says he's never even been in one.
Grissom: We matched his blood on the gearshift and on the headband I found in the alley.
Brass: And he's skinny, which matches one of the descriptions. I'm charging him.
CUT TO:
[INT. TRACE LAB - DAY]
(Hodges reports his findings to Grissom.)
Hodges: The oily stain you collected from the Hummer's air bag was, ironically enough, oil. More specifically, lard.
Grissom: It looks like there's tissue fibers mixed into it.
Hodges: Several different types, actually, so I ran an ELISA to differentiate. Pork, beef, chicken and possibly human flesh. A real taste treat. It's all been cooked up, so I doubt we'll get any DNA.
(As he talks, something occurs to Grissom.)
Hodges: What are you thinking about?
Grissom: Tacos.
CUT TO:
[EXT. TACO STAND -- DAY]
(The taco stand owner cooks up the next batch of meat and onions on the grill. Grissom walks up to him.)
Grissom: Hola.
TACO STAND Owner: Hola. Chicken, beef or pork, boss?
Grissom: Los carnitas, por favor.
TACO STAND Owner: Carnitas.
Grissom: Say, uh ...
(Grissom shows the owner his ID card.)
Grissom: Have you had any trouble around here recently?
TACO STAND Owner: Just a little scuffle yesterday. Nothing I couldn't handle.
(Quick flashback to: [NIGHT] The taco stand owner checks his cash and shoves it in his pocket as two young men, Vernon and Lawrence Lafontaine, walk up to him.)
Vernon: Yo, pops, give me the loot!
(Vernon and Lawrence Lafontaine walk up to him intending on taking the money from him. The taco stand owner turns, deflects Vernon's arm from grabbing him, picks up the Kn*fe on the counter and s*ab the kid in the leg. The kid screams.)
(With his other hand, the taco stand owner picks up the hot pan of oil on the grill and throws it at Lawrence Lafontaine.)
(Both men turn and run screaming.)
(End of flashback. Resume to present.)
Grissom: Didn't you file a police report?
TACO STAND Owner: Bother you guys with something like that? (He scoffs.) I was a kid once. Those guys just needed someone to set 'em straight. Here you go.
(He gives Grissom his tacos.)
Grissom: Gracias.
TACO STAND Owner: Denada. Oh, it's on the house.
Grissom: Muchas gracias.
(The taco stand owner smiles. Grissom takes out his cell phone and starts dialing.)
Grissom: (to phone) Jim, we need to go back to the hospitals.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Grissom: (V.O.) We may be looking for a burn patient.
[INT. HOSPITAL -- NIGHT]
(Lawrence Lafontaine sits on the bed. Brass, Grissom and a couple of officers step into the room. Lawrence turns and gets to his feet.)
Brass: Lawrence Lafontaine, you're under arrest.
Lawrence Lafontaine: Vernon rat me out?
Brass: No, the taco did.
Lawrence Lafontaine: Everyone around my hood knows that taco guy. To get whooped by his old ass and not do anything about it?
(Quick flashback to: [NIGHT] Vernon and Lawrence Lafontaine are running down the side street.)
Vernon: For real, stop, yo!
(Vernon collapses to the ground. Lawrence takes off his headband and ties it around Vernon's thigh.)
Vernon: Man, dawgs, it hurts for real, man.
Lawrence Lafontaine: Here, now, you straight? Stop being such a little baby.
Vernon: I need some medicine -- I ain't talking about going to no hospital, either.
Lawrence Lafontaine: Well, have fun then, man. I'm-a get me some payback.
(Lawrence takes off.)
(End of flashback. Resume to present.)
Lawrence Lafontaine: Vern just bitched out, wanted to forget it ever happened. Not me.
Grissom: So you stole the Hummer for revenge.
(Quick flashback to: [NIGHT] Wilma and Kyle Shaw are in their new Humvee. Wilma looks at the map and shakes her head.)
Wilma Shaw: I knew we should've asked for directions.
(Lawrence runs up, opens the door and grabs Kyle Shaw, pulling him out of the car.)
Lawrence Lafontaine: Out of the car, man!
Kyle Shaw: Hey, hey, hey!
Lawrence Lafontaine: Get the hell out of the car!
CUT TO: [TACO STAND]
(The taco stand owner talks with the Fiero owner as he prepares his order.)
TACO STAND Owner: (to Fiero owner) They just needed someone to set them straight.
(The Humvee rushes down the street. Lawrence is behind the wheel. His eyes are solely on the taco stand and he doesn't see the Fiero pull out in front of him.)
(He sees the car too late. He tries to brake; the tries to turn. The Humvee rolls right on top of the Fiero.)
(End of flashback. Resume to present.)
Brass: Let me get this straight, Larry. An old man refuses to let you steal his money, so you jack a Hummer and try to run over his taco stand?
Lawrence Lafontaine: (sighs) Maybe.
Grissom: I think this is the dumbest thing we've ever heard.
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY INTERSECTION (STOCK) -- NIGHT]
(Time Lapse Quick Rewind. Focus on the street intersection below. The cars zoom backward quickly, their lights simple streaks of light on the street. In the center of the screen is the back of the Statue of Liberty.)
[INT. CSI - HALLWAY - DAY]
(Rewind. Sara and Greg walk backward as they pass Grissom in the hallway in front of reception. The sound is on rewind.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Camera pulls away from the city lights.)
[EXT. ROAD - NIGHT]
(Rewind. The Hummer on top of the Fiero rolls off, backward.)
[EXT. LAS VEGAS CITY (STOCK) - EVENING TO AFTERNOON]
(Rewind. Evening rewinds back into day.)
[INT. INTERNATIONAL VEHICLE EXPO - DAY]
(Various sh*ts of the Expo in full swing. With each display is a beautiful woman presenting the latest product.)
(At the main stage is Mr. Daluca standing in front of a closed curtain fronted by several beautiful women.)
Mr. Daluca: It's a beach house, a ski lodge, a state-of-the-art office, your home on the road ... ladies and gentlemen, Daluca Motorcoaches is proud to present the g-4700!
(The crowd cheers. The women standing in front of the stage pull the curtain open. On the floor, center stage, is a d*ad woman.)
(Mr. Daluca turns around. The crowd's cheers fade. Cameras snap.)
WHITE FLASH TO:
[INT. INTERNATIONAL VEHICLE EXPO - DAY]
(Warrick steps on stage.)
Warrick: Gentlemen.
(Det. Vartann looks at Warrick as David Phillips kneels next to the d*ad body.)
Det. Vartann: Hey.
(Warrick puts his kit down on the ground and steps closer.)
Warrick: What's going on here?
Det. Vartann: Lisa Schumacher, 29.
(Det. Vartann hands Warrick Lisa Schumacher's ID tag.)
Det. Vartann: There's no surveillance on the floor, and none of the rent-a-cops remember the last time they saw her.
Warrick: A convention girl.
David Phillips: A what?
Warrick: You know, a model, stripper or a showgirl working the convention for extra cash. You got a T.O.D. yet?
(David puts his clipboard down and rolls the body to check out the woman's back.)
David Phillips: Well, based on lividity, I'd say around 4:00 A.M. (David notes the cut on her mouth.) Laceration on the lower lip. Contusions on the neck.
(He checks her eyes.) Petechiae in the eyes.
Det. Vartann: So she got slapped around, strangled. Maybe somewhere in between, she was r*ped.
(Warrick kneels down next to the body and notes the off-colored makeup smudges on her skin.)
Warrick: These streaks right here. They don't look like blood.
(He looks at her nails.)
Warrick: Possible hair fragments and some skin under her nails.
Det. Vartann: She fought back.
Warrick: It'd be good for us.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. INTERNATIONAL VEHICLE EXPO - DAY]
(The coroners wheel out the body wrapped on a gurney. The crowd murmurs as they move out from behind the display)
CUT TO:
[INT. INTERNATIONAL VEHICLE EXPO - MOTORCOACH DISPLAY -- DAY]
(Warrick checks out the motorcoach the body was found in. He opens the door to the bathroom and looks around.)
(He looks at the things on the counter. He opens the cell phone, closes it and sets it back down on the counter.)
(He looks in the toilet and flips on the ALS. He finds some stains inside and takes a swab of it. He closes the swab. He flips open the flush unit and finds some used condoms inside.)
Warrick: So that's why they call it a "recreational vehicle."
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins goes over the preliminary report on Lisa Schumacher with Catherine.)
Robbins: C.O.D. is asphyxia due to manual strangulation. Whoever did this used a lot more force than they needed to. There's bleeding in the neck muscles. Fractures in the cornu of the thyroid cartilage and hyoid bone.
Catherine: Did you do a wet mount?
Robbins: Sure did. Found motile sperm in the vaginal cavity.
Catherine: Well, Warrick found several used condoms at the scene. k*ller must have run out, and started riding bareback.
Robbins: Eh, I'm not sure he rode anything at all. There's an absence of trauma in the vaginal cavity.
Catherine: Enough to rule out r*pe?
Robbins: Yeah. The semen was found at a depth not indicative of penile penetration. In this case, only a couple inches in.
Catherine: Maybe that's all the k*ller had to work with.
CUT TO:
[INT. INTERNATIONAL VEHICLE EXPO - EVENING]
(The Expo continues.)
Candice Mosti: And now, the moment that we've all been waiting for. The winner of the brand-new Humvee is ...
(She pulls a name out from the fishbowl.)
Candice Mosti: Kyle Shaw!
(Wilma Shaw screams and jumps up and down.
Wilma Shaw: Oh!
Kyle Shaw: Oh, my God! Honey, we won.
(They turn to each other and hug in celebration.)
Wilma Shaw: Whoa!
(Wilma and Kyle Shaw rush through the crowd toward the stage.)
(Warrick and Det. Vartann interview Donny Drummer.)
Donny Drummer: Hey, I got over seventy women working this convention, man. Booth bimbos, crowd gatherers, hostesses, narrators, demonstrators, translators. Whatever you need, I got it.
Det. Vartann: Well, we're only interested in Lisa Schumacher.
Donny Drummer: She's one of my girls. I represent her. They call her "Cris," as in Cristal, the champagne. She can't get enough of it.
Warrick: She likes to party?
Donny Drummer: She likes to make money. Girls who party make the money. This ain't L.A., where you get up at 10:00 A.M. for an audition. At 10:00 A.M., My girls are still at Drai's partying with the client. What's this about?
Warrick: She was found d*ad this morning.
Donny Drummer: No. Come on, she's over there working the Daluca account.
Det. Vartann: You didn't hear?
Donny Drummer: There's two million square feet of exhibits here, man. Forty thousand people. This place is a mini-city. That RV exhibit's across town.
Warrick: I was told that the doors close at ten. Any idea why she was here after hours?
Donny Drummer: Look, she worked behind a booth, yapping her mouth. Can't really throw her in a bikini no more. She's getting up there. Three-oh, uh-oh.
(He chuckles.) I didn't really keep tabs.
(Gwen rushes up to Donny, interrupting them.)
Gwen: Donny.
Donny Drummer: You're late. And you're not dressed. What's the deal, girl?!
Gwen: Please, Donny, I just had the worst morning.
Donny Drummer: Oh, you think you had it bad? Well, Cris is d*ad.
Gwen: Oh, my God.
(Gwen looks as if she's going to cry. She runs out. Donny looks at Warrick and shrugs.)
Donny Drummer: It's a tough business.
CUT TO:
[INT. CSI - TRACE LAB -- EVENING]
(Warrick walks into the Trace Lab from the hallway. At first appearance, there's no one there. He steps into the lab and finds Hodges under the sink looking at the pipes with a flashlight.)
Warrick: Hodges ...
(Surprised, Hodges reacts and hits his head on the sink above him.)
Hodges: What do you want?
Warrick: What are you doing?
Hodges: I'm looking for leaks.
Warrick: Call facilities. You got my results?
(Hodges turns and looks at Warrick.)
Hodges: If you knew the kind of stuff that grows in these pipes, you'd be on your hands and knees with me.
Warrick: The results, Hodges, from the swabs I gave you? From Lisa Schumacher's fingertips?
(Hodges stands up and pushes his face mask down. He goes over to get Warrick his results.)
Hodges: Fine. I found several substances. Nonoxynol-9 spermicide.
Warrick: Spermicide. So she did handle a condom.
Hodges: Also found traces of pvp, sorbitol, carbomer, hydroxypropylcellulose -- probably a hair gel.
Warrick: Well, she did have skin under her fingernails, so she could've scratched her attacker's scalp.
Hodges: Not my job. And last, the brownish-orange substance on the vic's fingers, chest and shoulders: instant tanning lotion.
Warrick: Hmm.
CUT TO:
[INT. CSI - PRINT LAB - EVENING]
(Jacqui Franco reports her findings to Warrick.)
Jacqui Franco: Got four work card hits from the motorcoach.
(She points to the monitor of the Las Vegas Police Identification Record. It reads:
<< DANA SIMMONS >>
HGT: 5'10" WGT: 126 LBS. EYES
HAIR: BRN DOB: 3/12/84 RACE: AF-
ADDRESS: 119 AUTUMNWOOD DR.
LAS VEGAS, NV 89121
WORK HISTORY:
2004 - CURRENT: ROYAL FLUSH MODELS
2002-2004: COFFEE BARISTA )
Jacqui Franco: Dana Simmons, ...
(The second ID reads:
<<CANDICE MOSTI >>
HGT: 5'4" WGT: 101 LBS EYES-
HAIR: BRN DOB: 5/10/80 RACE: PUERT-
ADDRESS: 234 MOUNTAIN VISTA
LAS VEGAS, NV 89156
WORK HISTORY:
2002 - CURRENT: ROYAL FLUSH MODELS
2001 - 2002: SALES CLERK
1998 - 2001: HIGH SCHOOL TUTOR )
Jacqui Franco: ... Lane Kelly,
(The third ID reads:
<<LANE KELLY >>
HGT: 5'5" WGT: 114 LBS EYES
HAIR: BROWN DOB: 10/21/82 RACE:A-
ADDRESS: 1153 STONE CREEK
LAS VEGAS, NV 89233
WORK HISTORY:
2003 - CURRENT: ROYAL FLUSH MODELS
2000 - 2003: RESTAURANT HOSTESS )
Jacqui Franco: ... and your vic, Lisa Schumacher.
(The final ID reads:
<< LISA SCHUMACHER >>
HGT: 5'8" WGT: 115 LBS EYES-
HAIR: BLONDE DOB: 1/9/76 RACE: CA-
ADDRESS: 234 MOUNTAIN VISTA
LAS VEGAS, NV 89156
WORK HISTORY:
2001 - CURRENT: ROYAL FLUSH MODELS
1998 - 2001: TANGIERS COCKTAIL WAITRESS
1994 - 1998: SALES CLERK )
Warrick: Twenty-nine and already over the hill.
Jacqui Franco: Please tell me you're kidding.
(Warrick chuckles.)
Warrick: This town has different standards. Let me see something.
(He presses a key and lines up all four ID's on the monitor.)
Warrick: Looks like Lisa had a roommate.
CUT TO:
[INT. POLICE DEPARTMENT - BULLPEN -- EVENING]
(Warrick and Det. Vartann interview Candice Mosti, Lisa Schumacher's roommate.)
Candice Mosti: So my prints are on the RV. Okay, I work that display sometimes.
Det. Vartann: It's not just the print that makes you look bad, it's you. You're raffling off a Hummer hours after your roommate turns up d*ad.
Candice Mosti: What am I supposed to do? I'm broke and my car insurance is due.
(As she talks, Warrick notices the makeup smudges on her arm.)
Warrick: What is that on your arm? Is that tanner?
(She looks at her arm.)
Candice Mosti: Forgot to rub it in, I guess.
Warrick: Razor-tight girl like you forgetting to rub tanning lotion in? Doesn't sound right to me. You know, the funny thing is, is your girlfriend Lisa had streaks of tanner on her body, too. Were you girls together last night?
Candice Mosti: Donny asked us to hang out with Mr. Daluca after work.
Det. Vartann: You and Lisa?
Candice Mosti: Me, Lisa, Dana, and Lane.
Warrick: You guys just "went out"? Come on.
Candice Mosti: Look, I'm not a hooker. All I do is these conventions. So when a big baller like Mr. Daluca comes into town and offers us a little cash to hang out, I'm with it.
Det. Vartann: "With it" where?
Candice Mosti: We had dinner at Fix. Partied at Mix. Gambled a little. Then he took us back to the convention center. Hammered and horny.
(Quick flashback to: [NIGHT] Candice and Lisa sit on the bed with Mr. Daluca and the two other girls.)
Mr. Daluca: Oh! Okay. Who gets the first ride?
(Mr. Daluca laughs. Lisa smiles and crawls over to him. He looks at her.)
Mr. Daluca: If I wanted someone your age, I'd do my wife.
(He laughs and pushes her away from him. He turns his attention to the two younger women. Lisa turns and cries.)
(End of flashback. Resume to present.)
Candice Mosti: I left there as soon as I could. I took a cab home.
Det. Vartann: Did Daluca get rough with her?
Candice Mosti: Not that I saw. He didn't even want to touch her.
Warrick: Really? Because we found Lisa's DNA on a condom.
Candice Mosti: When I left, Daluca was busy with Dana and Lane, and Lisa locked herself in the bathroom. That was the last time I saw her.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Warrick and Det. Vartann interview Mr. Daluca. Mr. Daluca looks at a post-autopsy photo of Lisa Schumacher.)
Mr. Daluca: You want my prints? My DNA? I mean, come on, guys. I'm on vacation here.
Warrick: Having a sample of your DNA would help exclude you as a suspect. Voluntary or court order, it's your choice.
Mr. Daluca: My DNA is gonna be all over that girl, but I didn't put it there, she did. Now, this broad was expiring like spoiled milk, and she was looking for a way out.
(Quick flash to: [RV - NIGHT] Lisa cries in the bathroom. She looks in the toilet and sees the used condom.)
(Cut to: The bathroom door opens and Mr. Daluca finds Lisa in the bathroom.)
Mr. Daluca: You still here?
(He realizes what she's doing.)
Mr. Daluca: You bitch. You bitch!
(He steps into the bathroom and hits her across the face.)
(End of flashback. Resume to present.)
Mr. Daluca: She puts my baby inside her, hey, quickie retirement plan.
Det. Vartann: You know, I can't think of a better reason for a man to k*ll a woman.
Mr. Daluca: If I'd have k*lled her, you think I'd put her in my own motorcoach, and then present it at an unveiling ceremony that I was announcing?
(Vartann looks at Warrick.)
Mr. Daluca: You don't believe me, go ask the convention authorities. I told them what she was trying to do. It's the last time I ever hire those skanks to work a show.
CUT TO:
[INT. CSI - HALLWAY]
(Nick is on the phone and walking through the hallway.)
Nick: (to phone) Ye... yes, yes, I'm very aware of Butterfield Academy's privacy policy, but this a homicide ...
(Nick passes Catherine and Warrick in the hallway, his voice fading as he goes. Catherine turns to watch Nick as she catches some of his phone conversation. Warrick is looking through the file folder in his hands.)
Warrick: Daluca's all over the condoms. Get this, on one of them, his DNA and her epithelials are on both sides.
Catherine: Well, that's kind of like turning a sock inside out.
Warrick: It does support his story, though.
Catherine: Well, what about the epithelials under her nails?
Warrick: It's not a match to Daluca.
Catherine: So where does that leave us?
Warrick: Oh, I'm not quite done yet.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. INTERNATIONAL VEHICLE EXPO - NIGHT]
(Warrick is back at the Expo.)
Warrick: Have a seat, Donny.
(Donny Drummer sits in the chair set out for him. Warrick walks up behind him.)
Warrick: What kind of hair gel do you use?
Donny Drummer: Well, I don't think it would work with the texture of your hair.
Warrick: Real funny.
(Warrick uses a magnifying glass and checks Donny Drummer's scalp.)
Donny Drummer: What are you doing?
Warrick: Please stay still.
(Warrick looks at Donny Drummer's scalp.)
(Camera zooms for a close-up of the half-moon scratches.)
Warrick: How did you get these scratches in your head?
Donny Drummer: Probably from scratching. I'm always thinking.
Warrick: I'll tell you what you were thinking.
Donny Drummer: You were thinking about how Lisa pissed off your best client. And how much business it was gonna cost you.
(Quick flashback to: Donny Drummer grabs Lisa. She struggles against him.)
Warrick: (V.O.) You k*ll her, Daluca takes the fall. You can't lose.
(Donny Drummer chokes Lisa.)
(End of flashback. Resume to present.)
Donny Drummer: Lisa was a nothing. Old news. Why would I risk everything for a zero like her?
Warrick: For that exact reason, 'cause she was a "nothing" to you.
Donny Drummer: That's a good story. You find that in one of your forensic journals?
Warrick: No, but when I match your DNA, I'll make sure you're on the cover. Cuff him.
(The officers handcuff Donny Drummer.)
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY INTERSECTION (STOCK) -- NIGHT]
(Time Lapse Quick Rewind. Focus on the street intersection below. The cars zoom backward quickly, their lights simple streaks of light on the street. In the center of the screen is the back of the Statue of Liberty.)
[INT. CSI - HALLWAY - DAY]
(Rewind. Warrick and Catherine walk backward through the hallway. They pass Nick who is on the phone, walking and talking backwards. Camera follows Nick as he walks backward through the hallway.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Camera pulls away from the city lights.)
[INT. INTERNATIONAL VEHICLE EXPO - DAY]
(Rewind. The audience applauds as the open curtain is pulled shut by the convention girls.)
[EXT. LAS VEGAS CITY (STOCK) - EVENING TO AFTERNOON]
(Rewind. Evening rewinds back into day.)
[EXT. PAUL CHARLES' RESIDENCE - FRONT - DAY]
(Gwen parks her black convertible on the road in front of Paul Charles' house. She grabs her things, gets out and rushes up the front steps. She rings the doorbell.)
(There's no answer.)
(We can hear the music coming from inside. She yells through the door.)
Gwen: Hey, Paul, it's Gwen.
(There's no answer. Gwen knocks on the door.)
Gwen: Come on, babe. Let me in. Work me out.
(She waits for an answer.)
CUT TO:
(Gwen walks around the side of the house looking for another way in.)
(She looks in through the side window and sees Paul Charles d*ad on the floor of the workout room.)
(She gasps and puts a hand over her mouth at the sight.)
CUT TO:
[INT. PAUL CHARLES' RESIDENCE - FOYER / LIVING ROOM - DAY]
(Det. Cavaliere leads Sara and Greg through the house and into the workout room where the d*ad body is located.)
Det. Cavaliere: Vic is Paul Charles, 28. Competition bodybuilder and personal trainer. Doors were all locked, windows closed. No sign of forced entry.
[INT. PAUL CHARLES' RESIDENCE - HALLWAY / WORKOUT ROOM - DAY -- CONTINUOUS]
(They walk through the hallway and into the workout room. The body is on the floor, a pool of blood near his head, eyes and nose area bleeding.)
(Greg looks around the room and notices the walls covered with posters of Paul Charles in various body-building poses.)
Greg: This guy's a poster child for self-love.
(Sara walks up to the body and puts her kit down.)
Sara: Maybe that's why they went for the face.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - HALLWAY / WAITING ROOM -- DAY]
(Det. Cavaliere interviews Gwen.)
Det. Cavaliere: Gwen, did you see anyone else near the house when you arrived?
Gwen: No, uhm, Paul cut down on clients so he could train for Mr. Las Vegas. It's next month and he really wanted to win this time. He cancelled my last two workouts.
Det. Cavaliere: So, why didn't you get another trainer?
Gwen: If he cancelled again, I was going to.
Det. Cavaliere: Did you and Paul ever get physical?
Gwen: Just once. Last month.
(Quick flashback to: Gwen is bench-pressing while Paul stands over her prompting her.)
Paul Charles: Press it. Come on, feel it. Paul Charles: Come on; you got to want it. Come on.
(Finished, he puts the weight back. Gwen grabs Paul's shirt and pulls him down to her.)
Gwen: I'll tell you what I want.
(They kiss.)
(He pulls away from her and stands up.)
Gwen: What's wrong?
(End of flashback. Resume to present.)
Gwen: He said he had a headache. But I mean, he was training really, really hard, so he was probably just tired.
Det. Cavaliere: Or gay.
Gwen: I don't know. I don't care. I mean, just lying back on that bench and sweating and pushing the weight with all of his muscle right there I mean, it, it was totally ... motivating.
CUT TO:
[INT. PAUL CHARLES' RESIDENCE - WORKOUT ROOM - DAY]
(Sara and Greg are going through the room. Greg walks around the room as Sara is near the body holding a camera.)
Greg: No matter how hard you work to get big, there's always someone bigger.
Sara: It could be what keeps them going. Like Freud said, "Anatomy is destiny."
(Greg stops in front of the rack of weights.)
Greg: What do you think Freud would have to say about one of these being the m*rder w*apon?
(Quick flashback to: Paul Charles is in the workout room lifting some hand weights. He puts them down. Someone hits him across the face with a weight. He falls to the floor with a thud.)
(End of flashback. Resume to present.)
(Sara takes a swab sample of the blood on the carpet.)
Sara: k*ller didn't even have to be his size. Could have been a little guy, or a woman.
(Greg stops in front of the full-length wall mirror. As Sara talks, Greg glances back to make sure she's not looking at him. He looks at the mirror and makes a muscle.)
Sara: All they would have needed was the right w*apon, some leverage, the element of surprise.
(Greg puts his arm down. He looks back just as Sara finishes and glances at him.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins and David Phillips stand around Paul Charles' body.)
Robbins: Victim is a well-developed Caucasian male. Musculature appears hypertrophied. Care to guess?
David Phillips: Blunt-force trauma.
Robbins: Absence of bruising.
David Phillips: Maybe it was a post-mortem blow.
Robbins: Let's find out.
CUT TO:
[INT. PAUL CHARLES' RESIDENCE - HALLWAY -- DAY]
(Greg walks through the hallway and into the bedroom. He looks at the things on the dresser.)
(Cut to: Greg looks at the newspaper and drops it on the bed. Greg walks around to the side of the bed and checks the nightstand. He opens the drawer and finds a g*n inside. Greg takes a photo of the g*n.)
(Greg picks up the g*n and puts it in a bag.)
(He closes the top drawer and opens the bottom drawer. Inside, he finds three syringes of varying sizes.)
(Cut to: Greg takes a photo of the syringes. He picks one up and looks at it.)
[PHOTOS]
(Cut to: Camera slowly pans across the photos on the counter. All are of Paul Charles. Next to the photos are a couple of awards. After the awards are even more photos of Paul Charles.)
[INT. PAUL CHARLES' RESIDENCE - WORKOUT ROOM - DAY]
(Sara picks up a framed photo and looks at it. Sara looks at the other items on Paul Charles' desk. She reaches behind his open laptop and picks up his calendar book. She looks through it.)
(Greg walks into the room holding up the bag with the g*n.)
Greg: Nine millimeter in the nightstand, and syringes next to the bed.
(He holds up the second bag.)
Sara: Wow.
Greg: Maybe our vic was putting the smack in "smackdown."
Sara: (shakes her head) There was no blood on the poles or the weights.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins and David Phillips continue their work on the body.)
Robbins: Rigor mortis is full and extremely rigid. Liver mortis is posterior and fixed. Let's roll him.
(They roll the body.)
Robbins: That's good. Present on the bilateral buttocks are multiple fine punctures, with some surrounding faint purple ecchymosis.
(They put the body back down, then check the back of the body's head.)
Robbins: Laceration noted at the base of the scalp. Uh, loss of blood from that laceration is significant but non-fatal.
(Robbins looks at the victim's face.)
Robbins: Left eye socket appears swollen ...
(Robbins takes his finger and presses it on the inside of the eye. The eye sinks into the skull, a thick black liquid oozes out.)
(David looks at Robbins.)
(Robbins looks at the tip of his finger.)
CUT TO:
[EXT. PAUL CHARLES' RESIDENCE - FRONT PORCH - DAY]
(Two men in HazMat suits pull Sara and Greg out of the house.)
HazMat Man 1: We have a biohazard situation.
(They lead Sara and Greg down the front stairs.)
HazMat Man 1: You need to be decontaminated immediately.
(The HazMat Man1 pulls Sara into the make-shift decontamination tent set up in front of the house. HazMat Man2 follows inside with Greg.)
CUT TO:
[INT. DECONTAMINATION TENT - DAY - CONTINUOUS]
(The two men in HazMat suit shower down Sara and Greg.)
(Sara glances at Greg.)
(Greg looks up.)
(Sara turns back.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins is cutting open Paul Charles' skull. He pulls the skull cap off and puts it on the side.)
(He removes the brains and looks at it. The thick black liquid is all around the brain.)
Cue Sound: (PRELAP) TELEPHONE RINGING
CUT TO:
[INT. CSI - RECEPTION HALLWAY - DAY]
(Judy Tremont answers the phone.)
Judy Tremont: (to phone) Crime Lab. How can we help you?
(Grissom appears out of the hallway and passes reception. He heads off in one direction. Sara and Greg return and head toward reception. Grissom can't help but overhear part of their conversation.)
Greg: Sara, I just want you to know, when we were in the shower, I didn't see anything.
Sara: Really? Gosh, I saw everything.
(Grissom stops and stares as Sara and Greg continue through the hallway.)
Judy Tremont: (o.s.) Mr. Grissom. PD just called. ...
CUT TO:
[INT. CSI - LAYOUT ROOM]
(Robbins reports his findings to Sara and Greg.)
Robbins: The black pus suggested a possible infection from an airborne agent. I took the precaution to get you out until Hazmat cleared the scene.
Sara: (dryly) Yeah, thanks a lot. (She clears her throat.) Uh, what did they find?
Robbins: Actually, it's what I found -
(Out in the hallway, Hodges stops near the doorway and listens.)
Robbins: -- mucormycosis, a disease caused by exposure to rhizopus oryzae, a kind of mold.
(Hodges steps into the room.)
Hodges: Did you say rhizopus oryzae?
Robbins: Mm-hmm.
Sara: We spent hours in that house.
Robbins: You're not at risk. You both have healthy immune systems. I suspect that's not the case with your vic.
Hodges: Copy that. Trace on the syringes was deca-durabolin, sustanon and oxandrolone.
Greg: Steroids. That guy was "stacking" to get bigger.
Hodges: Immune suppression is a common side effect.
Sara: So, how does a mold infection make it look like someone smashed him across the face?
Robbins: His face collapsed from the inside. Mucor causes deterioration of the bones around the sinuses and eye sockets. You remember the swollen eyeball? The pus was pushing it out, while the bones that held it in place were getting eaten away.
(Quick flash of: Paul Charles is working out.)
Robbins: (V.O.) The airborne mold spores enter the nasal cavity ...
(As Paul Charles breathes in, the camera zooms into his nose.)
(Quick CGI POV of: The camera zooms into the nasal cavity. The spores latches onto the sinuses and turn the walls from pink to black as it grows.)
Robbins: (V.O.) ... and they consume sinus tissue as they multiply.
(End of CGI POV. Resume to present.)
(Camera holds on a photo of Paul Charles on the floor.)
Sara: So, his compromised immune system isn't strong enough to fight the spread of the infection.
Robbins: That's right.
Greg: Sick.
Hodges: And what's even more sick is that rhizopus oryzae likes to grow on human tissue.
CUT TO:
[INT. PAUL CHARLES' RESIDENCE - HALLWAY - DAY]
(Sara and Greg return to the house. They're both wearing face masks as they walk through the hallway.)
Hodges: (V.O.) Mold grows outward as spores reproduce and are carried away from the source.
(Sara stops in the hallway and puts her kit down and starts looking at the vents in the hallway floor. Greg continues on to the bedroom.)
INTERCUT WITH:
[INT. PAUL CHARLES' RESIDENCE - BEDROOM - DAY]
(Greg heads for the sliding door and puts his kit down near the bed. He kneels down to look at the vents in the floor near the sliding door.)
Hodges: (V.O.) If you pinpoint the source of the human tissue, that should tell you something.
VARIOUS CUTS:
(Sara unscrews the vent cover and removes it. Underneath there are a few black spots.)
[INT. PAUL CHARLES' RESIDENCE - HALLWAY - DAY]
(Sara and Greg are standing in the hallway, each removing the framed photos hanging on the walls.)
(They remove the photos from the hallway completely.)
(Sara and Greg are cutting out pieces of the hallway walls.)
(They remove a piece. On the back, it's stained with black mold.)
(Dissolve to: They cut out more pieces of the hallway wall, looking for the source.)
(Another piece is cut out. On the back, the mold stain is bigger.)
(Cut to: Sara cuts out a large square piece. The back of it is completely covered with mold.)
Sara: Whew! We have got to be getting close to the source.
(She puts the piece down and looks inside the hole.)
Sara: Shut the blinds.
(Off screen, we hear the blinds close. Sara stands up and gets the spray bottle.)
(Dissolve to: Sara sprays the wall around the area of the square cut, then proceeds to continue to spray down the hallway into the room used as an office. Greg watches.)
Greg: (points) Here? A whole lot of blood.
Sara: We're getting warmer. (points) Open it up.
(Greg cuts through the wall. They peel back the drywall and find a thick coat of black mold growing along the pipes and wall inside. The pipe is leaking.)
(Sara turns on her flashlight and looks at the growth.)
Sara: Looks like we found the source of the mold.
Greg: Okay. So, how does human tissue get inside a wall?
Sara: Good question.
(Sara looks further.)
Sara: There's a hole in the air duct.
(She finds a b*llet.)
Sara: A b*llet hole ... (She takes out the b*llet.) It's a nine mil.
Greg: Same as the g*n I found in the bedroom.
Sara: Copper-jacketed. It's good penetrating power. I think somebody was sh*t here.
(Quick flash of: A woman's shadow is cast on the wall. The woman gasps. A g*n fires. The b*llet goes through the wall, spattering blood and flesh on the wall inside. The woman falls to the ground.)
(Camera zooms in through the b*llet hole in the blood-spattered wall.)
Sara: (V.O.) b*llet pushed blood and tissue through the wall.
(Camera pushes into the b*llet lodged just under the leaky pipe.)
Sara: (V.O.) And water from the pipe leak fed the mold growth.
(Quick CGI POV of: Time lapse. The mold grows around the b*llet.)
Greg: (V.O.) Eventually, the mold released spores, ...
(The mold lets off spores that float through the air.)
Greg: (V.O.) ... which spread through the house AC, and right on up into muscle-head's nose.
(End of flashback. Resume to present.)
CUT TO:
[INT. CSI - LAYOUT ROOM -- NIGHT]
(Sara and Greg report their findings back to Grissom.)
Sara: We ran the phone numbers from the vic's planner. Everybody checked out, except for a woman named Tiffany.
(Close-up of Paul Charles' planner. The square for Wednesday, March 2, 2005
(61/304) reads:
TIFFANY
702-555-0169 )
Grissom: No last name?
Greg: Well, Tiffany is actually a street name for Angela Wheeler, known prost*tute.
(Greg shows the paper ad:
TIFFANY
(702) 555-0169 )
Greg: Her family reported her missing last month.
Grissom: Well, anyone who appears this narcissistic may prefer paying for hookers rather than wasting his love on a girlfriend.
Sara: And as we know, in addition to immune suppression and heart and liver disease, steroid abuse can also cause shrunken testicles, impotence and aggression -- "roid rage."
(Quick flashback to: [NIGHT] Paul Charles and Tiffany are in bed. Paul rolls off her.)
Angela Wheeler (Tiffany): Oh, baby, looks like you have one muscle that isn't hard.
(Paul reaches for his g*n.)
Paul Charles: You think that's funny, bitch?!
(Tiffany sees the g*n and gets out of bed quickly.)
(End of flashback. Resume to present.)
Sara: So, if the DNA from the tissue on the b*llet matches Tiffany ...
Grissom: We have a sample?
Greg: A DNA reference sample was collected from her apartment in the initial investigation. (Greg looks at Sara.) Mia's on it.
(Grissom looks at them.)
Grissom: Very good.
Greg: This is just like that Edgar Allen Poe story where the victim's heart under the floorboards betrays the m*rder.
Grissom: "The Tell-Tale Heart." I thought you didn't like reading the classics.
Greg: I do when they're about dismembered bodies.
(Grissom smiles.)
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY INTERSECTION (STOCK) -- NIGHT]
(Time Lapse Quick Rewind. Focus on the street intersection below. The cars zoom backward quickly, their lights simple streaks of light on the street. In the center of the screen is the back of the Statue of Liberty.)
[INT. CSI - HALLWAY - DAY]
(Rewind. Sara and Greg walk backward as they pass Grissom in the hallway in front of reception. Grissom walks backward past reception. The sound is on rewind.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Camera pulls away from the city lights.)
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Rewind. The black pus seeps back into the body's eye socket as Robbins examines the body.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Resume Forward. Camera moves through Las Vegas City.)
FLASH TO:
[EXT. STREET CORNER - NIGHT]
(Divine limps through the sidewalk on tired feet as she makes her way to the nearest bus stop bench.)
(She walks up to the bench and sees someone already on it under a blanket.)
Divine: Move over Chester, my dogs are barking.
(There's no answer.)
Divine: Come on, now.
(She pushes the body a bit and sits down next to it. In the background, we see a vagrant pushing a shopping cart head over to her.)
Divine: Move over a little bit. Let me sit down.
(She rests her feet on the bench and glances over at "Chester" under the blanket.)
Divine: Chester, damn!
(Chester arrives and overhears her.)
Chester: It's not me. Why don't you put your shoes back on?
(Divine looks from Chester back to the body on the bench. She moves away the blanket and finds a d*ad boy.)
Divine: Oh, sweet Lord.
WHITE FLASH TO:
[EXT. STREET CORNER - NIGHT]
(David Phillips looks over the body with Nick.)
David Phillips: Kid can't be more than 12 or 13. You think he's homeless?
Nick: Jeans are a little nice for a homeless kid. Check his veins and do a SART kit anyway. Can you ballpark a T.O.D.?
David Phillips: Sure.
(David puts his clipboard down and opens the boy's mouth.)
David Phillips: Well, he's just developing rigor, so, I'd say d*ad no more than eight hours.
Nick: (shakes his head) This is a busy line -- buses, traffic ...
David Phillips: ... and nobody noticed him?
Nick: Maybe be hasn't been here the whole time. Could explain the blanket.
David Phillips: Body dump.
(Nick leaves David with the body and walks over to the grass where he sees cart track marks on the ground.)
Nick: Hey, Chester, you been taking that thing off road again?
Chester: Nah, mud screws up the ride. I bet you always get a bad cart at the store, huh? Not me.
(Chester pushes the cart to show that it rolls smoothly.)
Nick: Thanks, Chester.
(Nick looks around.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Nick collects evidence off the body.)
(Nick does a tape lift off the victim's sweatshirt. He looks at the purple fibers.)
(He does a second tape lift off the victim's jeans. He finds more fibers.)
(Nick checks the boy's hair and finds something in it. He cuts the hair around it and looks at it.)
(Nick checks the boy's pants pocket and removes a slip of paper. It's for:
BUTTERFIELD ACADEMY
STUDENT LUNCH PROGRAM
NAME: Chase R. )
(Nick puts it aside and looks at the body on the table. He puts his head down and sighs.)
CUT TO:
[INT. CSI - HALLWAY TO RECEPTION - DAY]
(Nick is walking through the hallway, headed toward Reception. He's on the phone.)
Nick: (to phone) Sir, all I'm asking for is your class roster. Ye ... yes, yes, I'm very aware of Butterfield Academy's privacy policy, but this a homicide investigation.
(Nick walks past Warrick and Catherine. Warrick is reporting to Catherine. Catherine is looking at Nick.)
Warrick: Daluca's all over the condoms. And get this, on one of them ...
Nick: (to phone) Sir, please, court orders take time. You could help me identify this boy tonight. (pauses and sighs) Okay. No, no, no. I understand your position. Thanks.
(Nick hangs up.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins reports his findings to Nick.)
Robbins: Whatever happened to this boy wasn't pretty. First- and second-degree burns on several areas of exposed skin.
Nick: What about the burn to the face? Could that be from an iron?
Robbins: It's a possibility. He sustained several hematomas along his arms, together with a nasty skull fracture. I'm thinking child abuse.
Nick: Skull fracture what k*lled him?
Robbins: No. Positional asphyxia. Check out his eyes. Heat damage. To all the respiratory mucosa, as well. I'd say this kid was in a small, hot space for quite a while. Closet with a radiator, boiler room ...
Nick: Shake and bake.
CUT TO:
[INT. CSI - HALLWAY -- NIGHT]
(Nick is walking through the hallway.)
Catherine: (o.s.) Oh, Nick?
(Nick turns around.)
Nick: Yeah.
(Catherine steps out of her office with a small booklet.)
Catherine: I heard you were looking for the student directory for Butterfield Academy.
(She gives the Student Directory to Nick.)
Nick: Yeah. Yeah. How'd you get this? I talked to the headmaster. He wouldn't give me jack.
Catherine: I pay tuition.
Nick: Your daughter goes to Butterfield?
Catherine: (nods) Mm-hmm.
Nick: Wow. That's a little pricey.
Catherine: She was at a crossroads and I, uh, needed to put her in a school with tighter reins. You know, when it comes to your kids, you, uh, find the money.
Nick: Yeah.
Catherine: You looking for a prom date?
Nick: (chuckles) No. I'm trying to I.D. A victim. Thanks for this.
(Nick turns and walks away.)
Catherine: Good luck.
Nick: Thank you.
(Nick flips through the book and finds the page:
ROCKWELL, ADDISON
MR. AND MRS. ADDISON ROCKWELL
288 TYLER RD.
LAS VEGAS, NV 89107
PARENT'S NUMBER: (702) 555-0168
RYAN, CHASE
MR. AND MRS. CHASE RYAN, SR.
275 STORM CLOUD LANE
LAS VEGAS, NV 89112
PARENT'S NUMBER: (702) --
SANDRED, MARVIN
MR. AND MRS. --- )
(Nick taps the name and address with his finger.)
(He closes the book and heads out.)
CUT TO:
[EXT. RYAN RESIDENCE - FRONT -- DAY]
(Nick walks up the drive and heads over to the front door.)
(He rings the doorbell.)
(Jackie Ryan opens the door.)
Nick: Oh. Hi there. I've been ringing the bell.
Jackie Ryan: Sorry. I was sleeping.
Nick: No school today?
Jackie Ryan: I'm sick. The whole house is sick.
Nick: Oh, gosh. Okay. Uh, well, my name's Nick Stokes. I'm with the Las Vegas Police Department, and, uh, this is pretty important. Parents around?
Jackie Ryan: No. Uh, they're not home.
(Nick glances into the house and sees the large keg on the table. Jackie glances back and notices what he's looking at.)
Nick: Do you have their cell phone or work numbers handy?
Jackie Ryan: Okay, they're skiing in Vail. What are you gonna do, arrest me for having a kegger?
Nick: No, not exactly. Um ... how old are you?
(A college boy appears next to Jackie.)
College Boy: What's going on, babe?
(She pushes him back behind the door.)
Jackie Ryan: Just go ...
College Boy: What?
Nick: How old is he?
Jackie Ryan: My father's a lawyer, so I probably shouldn't be talking to you.
(Nick looks around.)
Nick: You have a brother?
Jackie Ryan: Chase?
Nick: Yeah, Chase. Is, uh ... is he around?
Jackie Ryan: No, he spent the night at his friend Andy's house.
Nick: Is that the last time you saw him?
Jackie Ryan: I don't know.
Nick: Do you have a picture of your brother I can take a look at?
Jackie Ryan: Yeah.
Nick: Would you get that for me, please? Thank you.
(Jackie leaves, gets a picture and shows it to Nick. It's the victim.)
Nick: Um ... I'm gonna need your parents' contact information if you don't mind, in Vail, okay?
(He hands the photo back to Jackie.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Nick interviews Andy Jones with his mother present.)
Nick: You're Chase's best friend, Andy. I need to know what happened last night.
Mrs. Jones: Andy was supposed to sleep over at Chase's, but Chase wasn't feeling well, so Andy came home early instead.
Nick: Ma'am, please, I need to hear Andy's version. Okay? (Nick looks at Andy.) Go ahead, Andy.
Andy: I told my mom I was sleeping at Chase's house, and he told his sister we were sleeping at my house.
Mrs. Jones: (to Andy) Where were the Ryans?
Nick: They were in Vail.
Andy: We just wanted to see a high school party.
Nick: And did you?
Andy: Some of it.
(Quick flashback to: [KEG PARTY - NIGHT] Andy and Chase walk around the pool in the back yard of the Ryans' house. They're each carrying a plastic cup of alcohol.)
Andy: This tastes horrible.
Chase Ryan: Just keep drinking. It must get better.
(End of flashback. Resume to present.)
Andy: Jackie caught us. Made us leave. We promised to go to my house. We didn't. We went to this arcade, played a few games, and then I walked home.
Nick: What about Chase?
Andy: He stayed there, playing the games.
CUT TO:
[INT. CSI - TRACE LAB -- NIGHT]
(Nick walks into the lab.)
Nick: Talk to me, Goose.
Hodges: Well, according to tox, junior was a boozer. BAC three times the legal limit.
Nick: Yeah, the, uh, teenage sister had a kegger.
Hodges: How old were you when you first got drunk?
Nick: Oh, 16, 17.
Hodges: Amortized over a generation, 12's about right?
Nick: So your saying, two generations from now, four-year-olds are just gonna be getting trashed?
Hodges: Pre-school graduation parties are going to be off the hook.
Nick: Mm.
Hodges: But Chase's party was just getting started. Tape lifts were a cornucopia. Hairs: Caucasoid, mongoloid, negroid. And feline and canine.
(Hodges shows Nick the Trace Analysis report:
2974 Westfall Avenue
Las Vegas, NV 89109
(702) 555-0150
FIBERS: COTTON
WOOL
POLYESTER
LYCRA )
Hodges: As for fibers, we have cotton, wool, polyester, and someone brought lycra.
Nick: Transfer from the blanket?
Hodges: No. I tested that. It came back clean.
Nick: Okay. What about the, uh, the gack in the guy's hair? HODGES: Melted vulcanized rubber and thermoplastic elastomers. From the sole of your average athletic shoe.
Nick: Hmm. What's hot, cramped, and full of other people's hair?
Hodges: As I've often said, that's your job.
CUT TO:
[EXT. WASH & DRY (LAUNDROMAT) -- FRONT]
(Chester sits outside next to his cart.)
CUT TO:
[INT. WASH & DRY (LAUNDROMAT) -- FRONT]
(Nick looks inside the dryers.)
(He finds one with the same gack inside.)
(Quick flash of: A pair of sneakers inside a dryer.)
(Quick flash of: A kid inside the dryer.)
(End of flash. Resume to present.)
(Nick removes the rubber gack from the dryer. He looks at it and puts it in a sample jar.)
(Nick looks around and sees the cart with muddy wheels. He walks over to the cart and looks at it.)
CUT TO:
[EXT. WASH & DRY (LAUNDROMAT) -- FRONT]
(Nick pushes the cart out through the parking lot. He reaches the end of the parking lot and the cart's tires lock. Nick kneels down and looks at the tires.)
CUT TO:
[INT. WASH & DRY (LAUNDROMAT) -- DAY]
(Nick heads back into the laundromat looking for the manager. The manager is working on a washer; his back is to Nick.)
Nick: Excuse me. You the manager?
Jared (manager): (without looking up) Yeah.
Nick: Yeah. Uh, I was taking my laundry to the car, and the cart locked up on me.
Jared (manager): Yup. We got this fancy system 'cause people steal 'em. I'm the only one with a remote. So ...
(Jared finishes, closes the washer door and grabs the remote as he turns around.)
(And finds himself face to face with Nick.)
Jared (manager): I spend all day unlocking 'em. (He chuckles.) Which one is it?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Nick interviews Jared.)
Jared (manager): m*rder?
Nick: A 12-year-old boy died in one of your dryers the other night. You trying to tell me you don't know anything about it?
Jared (manager): Couple of kids were playing around the 'mat, making trouble. I chased them out. What happened after that ... I don't know.
Nick: That's it? I don't buy it, Jared. I don't. You know why? Your fancy carts. And I know that no cart leaves that parking lot unless somebody presses the magic button. And I also matched tires treads. Someone ... wheeled one of your carts through wet grass ... and dumped a d*ad 12-year-old boy on a bus bench.
Jared (manager): Okay, look, I'm supposed to be on duty the whole time. But this customer -- he was gettin' all pissed off.
(Quick flashback to: [NIGHT] A customer yells at Jared as Andy and Chase play with the carts in the laundromat.)
Angry Customer: Look at this, look at this! See what it did to my vest. I have to go to work in this. I demand justice!
Jared (manager): (yells at the kids) Hey, will you get the hell out of here?
(End of flashback. Resume to present.)
Jared (manager): So I went next door. Had to get the smell of detergent out of my nose. Bought a Yoo-Hoo. I came back to check on things.
(Quick flashback to: [NIGHT] Jared comes back to the laundromat and starts shutting the dryer doors.)
(Inside one, he finds Chase.)
(End of flashback. Resume to present.)
Jared (manager): I didn't know if he was d*ad or not.
Nick: Bus bench. Hospital. I could see how you could make the mistake.
Jared (manager): You have any idea what the liability would be on something like that?
Nick: (shakes his head) Uh-uh. But I'll let you know.
Jared (manager): I was just hoping that somebody would find him and take care of him.
CUT TO:
Nick: Hey ... (Nick leans forward) You found him. You put him in the dryer.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Andy shakes his head.)
Andy Jones: Mm-mm. Mm-hmm.
(Nick nods.)
Nick: Mm-hmm. Chase can't even lock himself inside those things. They lock from the outside.
(Mrs. Jones looks at Andy.)
Nick: And I matched your print on the handle. I got it off your school's safe kit.
(Andy looks at his mom. He turns to Nick.)
Andy: He asked me to.
(Quick flashback to: [NIGHT] Andy pushes Chase in the cart. They reach the end of the aisle up against the dryers.)
Chase: Whoa! Dude!
(Chase opens the dryer and crawls inside. Andy shuts the door.)
Chase: Come on, turn it on! Turn it on!
(Andy puts in some money and turns the dryer on. He chuckles as he watches Chase turn around and around.)
(The longer he stands there, the less funny it seems.)
(End of flashback. Resume to present.)
Andy: And after that, it gets a little fuzzy.
Mrs. Jones: (crying) You put your best friend in a ... in a dryer, and you turned it on, and you just walked away? What is wrong with you?
(Andy throws up on the table.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - HALLWAY -- NIGHT]
(Slow motion. Nick puts his bag around his shoulder as he leaves.)
(Resume motion. He walks past reception and heads out. He passes Grissom on his way in.)
Grissom: Tough shift, huh?
Nick: Just another day in paradise.
(Grissom picks up his messages.)
(Nick leaves. Grissom turns and walks past reception.)
Cue Sound: (o.s.) PHONE RINGS
(Judy Tremont answers the phone.)
Judy Tremont: Crime Lab. How can we help you?
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x19 - 4 x 4"} | foreverdreaming |
FLASH OPEN:
[EXT. VARIOUS LOS ANGELES CITY LIGHTS (STOCK) - NIGHT]
[HOLLYWOOD STREET SIGN]
WHITE FLASH TO:
[EXT. VARIOUS HOLLYWOOD (STREET) - NIGHT]
(Various sh*ts of prost*tute walking the street in front of various establishments.)
Dakota: Hey.
"JERSEY" (ELLIE): Hey. You get anything?
Dakota: No.
(A car pulls up alongside them.)
"DAKOTA": My, uh, knight in shining German armor has arrived.
"JERSEY" (ELLIE): See if he has room for two.
(Dakota sighs. They lock pinkies as Dakota heads for the car.)
"JERSEY" (ELLIE): Careful.
(Dakota leans over the curb and looks into the car.)
Dakota: Hey. You wanna party?
(Dakota looks back at "Jersey". Dakota gets into the car and closes the door. She waves back at "Jersey".)
("Jersey" signals for Dakota to give her a call. The car drives away.)
FLASH TO:
[INT. POLICE DEPARTMENT - DESK - MORNING]
("Jersey" is at the police station. The officer at the desk isn't too interested in what she's saying.)
Officer: It's only been a few hours.
"JERSEY" (ELLIE): Dakota always calls me. We have a system. Something is wrong.
Officer: Why don't you go home, Jersey? Eat something for once, get some sleep.
(Disgusted, "Jersey" turns to leave. With a last look at the officer, she slaps her hand on the counter in frustration, then leaves.)
CUT TO:
[EXT. SIDEWALK - DAY]
(Walking along the sidewalk, "Jersey" takes out her cell phone and dials.)
INTERCUT WITH:
[INT. (LAS VEGAS) POLICE DEPARTMENT - BRASS' OFFICE - DAY]
(Brass is working when his phone rings. He puts the pen down and answers it.)
Brass: (to phone) Hello.
Ellie Brass: Hello, Dad?
Brass: Ellie. Are you okay?
SMASH CUT TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Brass steps out of his office and looks both ways down the hallway. He sees the sheriff and heads over to him.)
Brass: Oh, hey, Sheriff. I'm glad I caught you.
(Brass stops in front of the sheriff.)
Brass: Um ... I got to take some emergency leave. It's a ... it's a family matter.
Sheriff Burdick: I didn't know you had a family.
Brass: Well, you're new. We haven't had a chance to talk. Um ... I, uh, briefed my lieutenant on my cases. He'll cover for me for a couple of days.
Sheriff Burdick: This is not a good time for family problems. All the narco guys are at a HIDTA conference. I got no backup. I'm still learning the ropes here.
(Brass chuckles.)
Brass: Well, it's never a good time to have a family problem, Sheriff. Look, I don't ask for time off normally. I'd appreciate the courtesy.
Sheriff Burdick: Do I have a choice here, Jim?
(The sheriff continues down the hallway.)
Sheriff Burdick: (over his shoulder) Get back here as soon as you can.
(Brass watches the sheriff go.)
DISSOLVE TO:
[EXT. MIKE'S DINER (STOCK) -- DAY]
[INT. MIKE'S DINER - DAY]
(The waitress takes the money off the counter. Brass stands in front of the small counter-top display and picks up a cellophane-wrapped gift with a small pink bear near the ribbon tie on top.)
(Brass puts the small gift on the counter. He counts out the bills and pays the cashier.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[HIGHWAY]
(Top view down of the highway.)
[EXT. LAS VEGAS CITY (STOCK) - HIGHWAY - DAY]
[EXT. CITY (STOCK) - DAY]
[EXT. POLICE DEPARTMENT BUILDING - DAY]
(Brass walks up to the front of the building.)
[INT. POLICE DEPARTMENT - OFFICE - DAY]
(Brass and Annie Kramer hug.)
Annie Cramer: You look good, Jimmy.
Brass: You do, too, Annie.
(Annie Kramer goes to sit behind her desk.)
Brass: L.A. seems to agree with you.
Annie Cramer: Oh, yeah, well, I couldn't take another Jersey winter.
(She sits down. Brass sits down across her desk.)
Annie Cramer: Or another Jersey cop.
Brass: You stay in touch with the old crew?
Annie Cramer: You know, dirty cops don't like to hang with clean ones.
Brass: So that's why they called me squeaky?
Annie Cramer: I thought what you did took a lot of guts. Integrity is, um, hard to come by in vice.
Brass: Yeah, it's the only detail where you're told to drink, gamble and pick up hookers, all the while carrying a g*n.
Annie Cramer: Garden of Eden. Temptation kills you, or it compromises you.
Brass: So, you got my message? My daughter Ellie and her friend Dakota were out partying and Dakota got in some guy's car. Ellie was able to pull a partial. Something about a whale tail.
(Brass hands Annie Kramer the notebook paper with:
CA PLATE
1TA )
Annie Cramer: California Coastal Commission specialty plates. I'll run it through DMV. Cross reference with BMWs. In the meantime, I pulled Dakota's rap sheet.
Brass: She has a sheet?
Annie Cramer: They both do.
(Brass nods.)
Annie Cramer: She, uh, works a stretch on Hollywood Boulevard between Highland and Vine.
(She hands the file to Brass. He opens it and sees a photo of Dakota holding the ID numbers:
POLICE DEPT
4240 321 )
Annie Cramer: When was the last time you saw Ellie, Jimmy?
Brass: About three years ago. Um, she got into some trouble in Vegas. Hanging around with a bad bunch.
(Brass looks at the rap sheet:
REYNOLDS, SASHA
DOB: 03/04/83 SEX/F RAC/C WGT/120 EYE/BRO
AKA: 01 DAKOTA
02: 188282811
03: 199292939
04: 399199292
KNOWN ASSOCIATES: BRASS, ELLIE
AKA: JERSEY )
(Brass catches a glimpse of the name and looks away.)
Brass: Looks like her taste in people hasn't changed much.
(He shuts the file. Annie hands Brass a slip of paper.)
Annie Cramer: Here. Last known address. In case you don't have it.
CUT TO:
[EXT. STREET -- DAY]
(Brass pulls up the front of a dingy apartment building. In the background, a dog barks. Brass gets out of the car and looks at the building. Graffiti litters the walls. He looks up and sees Ellie step up to the open window.)
(He reaches into the car and grabs his cell phone. We note the pink bear gift in the front seat. With his eye on the window, he makes the call.)
Brass: Ellie, it's your dad.
Ellie Brass: (to phone) How'd you get this number?
Brass: Relax, take it easy. I got it off caller I.D.
Ellie Brass: (to phone) Oh, okay. So did you make the call?
Brass: Yeah. LAPD's looking into it.
Ellie Brass: (to phone) Thanks.
Brass: Hey, how are you doing?
Ellie Brass: (to phone) Great, actually. Livin' at the beach, temping, waiting tables. Got some really good friends.
(As Brass watches, a man steps up to the window next to Ellie. He's smoking a pipe and offers it to her. She inhales. He also inhales.)
Ellie Brass: (to phone) It's a big bowl of cherries.
(She smiles. The man puts his arm around her waist and lingers.)
Brass: (to phone) Okay, um, I'll call you when I hear something, all right?
(Brass hangs up.)
DISSOLVE TO:
[EXT. (KOREATOWN) - NIGHT]
(Cops are parked around an area. Brass gets out of his car and meets with Annie Kramer.)
Annie Cramer: Hey, Jim.
Brass: Hey.
Annie Cramer: We found the beemer. Found these two kids trying to hotwire it. Whale tail license plate starting with One-T-A.
Brass: Let's talk to them.
Annie Cramer: I'll talk, you listen.
(Annie and Brass walk up to the two kids.)
Annie Cramer: All right, what the hell's the matter with you? You looking to die young? 'Cause you can do it inside in lock-up or outside with this wanna-be g*ng banger stealing cars crap.
Kid 1: We weren't stealing nothing. Window was already busted. Car wouldn't even start. We were just playing around.
Annie Cramer: You like playing with cars, huh? LAPD's having a car wash fund-raiser on Saturday. You just signed yourselves up. You're welcome.
(She steps up and motions to the officer nearby.)
Annie Cramer: Come on.
(The officer unlocks the kids' handcuffs.)
Brass: So, no Rudy Giuliani broken windows theory here, huh?
Annie Cramer: Jimmy, windows are already broken. Someone's got to fix 'em.
(They walk up to the BMW for a closer look. Brass notices a sticker on the broken windshield.)
Brass: Hey, check this out. B-H-G-C?
Annie Cramer: Looks like a country club or something. Doesn't read like Koreatown. I'll have my guys run the plates.
Brass: Anybody checked the trunk?
Annie Cramer: Not yet.
(Brass opens the hood.)
(The spare tire is missing.)
Annie Cramer: Doesn't look good for Ellie's friend.
(Annie takes out her cell phone and dials.)
INTERCUT WITH:
[INT. LOBBY (HIDTA CONFERENCE) - NIGHT]
(Matt Glazer answers his phone.)
Matt Glazer: (to phone) Glazer. Yeah, we're just finishing up. No traffic. I'll be there in about twenty minutes. Okay.
(He hangs up and taps Warrick on his shoulder.)
Matt Glazer: Vegas?
(Warrick turns around.)
Warrick: Hmm?
Matt Glazer: You know a Jim Brass?
CUT TO:
[EXT. VARIOUS LOS ANGELES CITY LIGHTS (STOCK) -- NIGHT]
[EXT. (KOREATOWN) -- NIGHT]
(Warrick and Matt Glazer arrive at the site.)
Warrick: Where he at?
Matt Glazer: (points) (garbled) Over there.
(Warrick walks over to Brass.)
Warrick: Jim.
Brass: Rick. Rick, what are you doing here?
Warrick: I'm here for the HIDTA conference. Buddy of mine from L.A.P.D. told me there was a new captain in town, stirring things up. What are you doing here?
Brass: Ah, it's a long, sad story, man.
Warrick: Have anything to do with a feisty little blonde named Ellie?
Brass: She's not a blonde anymore. Let's check out the car.
(Brass and Warrick head over to the car. Annie Kramer stands near the trunk. Brass makes the introductions.)
Brass: Captain Annie Kramer, this is Warrick Brown from Las Vegas.
Annie Cramer: Good to meet you.
(They shake hands.)
Warrick: Good to meet you.
Matt Glazer: (to Brass) Matt Glazer, L.A.P.D. Crime lab.
Brass: Hey, Jim Brass.
(They shake hands.)
(Warrick looks at the car.)
Warrick: Well, I thought L.A. was all about car culture. This reminds me of home.
Matt Glazer: Trunk's been stripped clean.
Warrick: Too clean.
Matt Glazer: Oh, they missed a spot.
(Camera zooms in to the spot that was missed.)
Matt Glazer: Looks like two large caliber b*llet holes.
Warrick: But a b*llet hole wouldn't make those markings. What is that?
Matt Glazer: I don't know.
Warrick: It looks like a tool marking.
(Quick flash of: A crowbar-like tool is in the hole being jammed in and twisted around, leaving the area scratched up. End of flash. Resume to present.)
Matt Glazer: Let's haul it back to impound and find out.
(Matt Glazer picks up his things and heads out. He looks at Annie Kramer.)
Matt Glazer: I'll be in touch.
Annie Cramer: Thanks.
Warrick: Hey, you know, uh, Jim, I'm here all weekend. If you need anything, don't hesitate to call. (to Annie) Pleasure meeting you.
Annie Cramer: Same here.
(Warrick walks past Brass.)
Warrick: (to Brass) Remember, what happens in L.A., stays in L.A.
(Warrick leaves. Brass looks at Annie.)
Annie Cramer: You still a scotch man?
Brass: I'll take a rain check, okay.
(He smiles and winks at her. Brass turns and walks away.)
CUT TO:
[EXT. HOLLYWOOD (STREET) - NIGHT]
(A car pulls up to the curb. Ellie gets out; the car leaves. She starts walking along the sidewalk.)
(Another car pulls up to the curb. She walks up to the car and knocks on the glass.)
Ellie Brass: Hey, baby, you want to party?
(Brass rolls down the window. Ellie looks at her dad.)
Brass: Ellie ...
Ellie Brass: Oh, I can't ever trust you. All I did was ask you to make a call.
Brass: How's the beach house?
Ellie Brass: Go to hell.
Brass: I have information about your friend, Dakota. Get in.
Ellie Brass: All right. But I'm not playing twenty questions with you.
(Ellie slips into the car.)
(Just then, a cop car passes, lights flashing.)
Ellie Brass: So, did you find her body?
(Brass looks at Ellie.)
Brass: No. But we found the car.
Ellie Brass: So she could still be alive?
Brass: We found blood in the trunk.
Ellie Brass: No, no, no, she's alive. I can feel it.
Brass: Look, do you have anything with her DNA on it, like a hair brush or toothbrush or ... ?
Ellie Brass: No. We keep all that stuff in our purse.
Brass: How about clothes or sheets or pillowcases, like that?
Ellie Brass: We share everything else.
Brass: Even the bed?
Ellie Brass: I told you I'm not playing that game.
Brass: If the lab doesn't have anything to match the blood to, then we'll never know. That's it.
(She looks away and sniffs.)
Brass: Come on, let's get some dinner, huh? You look hungry.
Ellie Brass: Wait. Blood. We went and got tested last week at the free clinic on Ivar. Maybe they keep it.
Brass: Tested for what?
Ellie Brass: What do you think?
Brass: Don't you use protection?
Ellie Brass: Guys pay extra for bareback.
(She looks away. Brass sighs.)
Brass: You're a lot smarter than that, Ellie. Come on.
Ellie Brass: Yeah, well, just because you want me to be smarter and sweeter and safer doesn't mean I am. And I got to go. Guess you know how to find me if you hear anything.
Brass: Don't go away. Don't-don't leave, don't leave.
Ellie Brass: You're one to talk. All my life, that's all you did, walk out. Now we're gonna Norman Rockwell it? Look around, Dad. It's too late.
Brass: Don't leave.
(Ellie gets out of the car.)
Ellie Brass: Leave me alone.
(She slams the door and leaves.)
Brass: Ellie. Ellie!
(Camera holds on Brass.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. FREE CLINIC -- DAY]
[INT. FREE CLINIC - HALLWAY -- DAY]
(Brass and Annie talk with the doctor at the Free Clinic.)
Doctor: Here at the clinic, we pride ourselves a confidential relationship with our patients. This is a highly unusual request.
Annie Cramer: I understand, but we're investigating a possible homicide here.
Brass: We found blood in the trunk of a car. We have reason to believe it could be Sasha Reynolds', street name Dakota.
Annie Cramer: We're not interested in whether it's positive or negative. We need it for the DNA.
(A young blonde woman walks up to the doctor.)
Doctor: How many do you need?
Woman: Ten.
(The doctor looks at her. The woman looks sheepish.)
Woman: Twelve.
(The doctor looks at the clerk who hands her the condoms. The doctor hands the condoms to the woman.)
Brass: Is that all the help they get?
Doctor: These kids come from all over the place with stars in their eyes. While they're waiting to be discovered, they still got to pay their rent. They do a bump to turn their first trick. Next they're turning tricks to get their next bump. We do what we can. You do what you do.
(Annie's phone rings.)
Annie Cramer: Excuse me.
(She steps away to answer it. The clerk hands the doctor a zip-loc bag with the vial of blood in it. The doctor hands it to Brass.)
Annie Cramer: (to phone) (o.s.) Yeah. Kramer.
Doctor: Good luck.
Brass: Good luck to you, too, doctor.
Annie Cramer: (to phone) You're kidding me. Terrific. Okay. We're on it. Bye.
(She hangs up as Brass steps up to her.)
Annie Cramer: We got an R.O. on the car.
CUT TO:
[EXT. HOLLYWOOD SIGN (STOCK) - DAY]
[EXT. PICCONE RESIDENCE - FRONT DRIVE - DAY]
(Annie Kramer and Brass walk up the front drive of the large home. Brass picks up the paper and follows Annie to the front door.)
[EXT. PICCONE RESIDENCE - FRONT PORCH - DAY]
(Annie rings the doorbell. The door opens. A young, well-dressed man in a suit and tie answers. He smiles at Annie.)
Todd Piccone: Captain Kramer.
Annie Cramer: Hey, Todd.
(Todd glances at Brass.)
Todd Piccone: What's up?
Annie Cramer: I, uh, stumbled across something. Thought I'd pay you a house call. You missing a car?
Todd Piccone: Yeah, it was stolen.
(Again, Todd glances at Brass.)
Annie Cramer: You didn't report it.
Todd Piccone: No, I didn't.
Annie Cramer: What's that about?
(Todd turns and looks at Brass.)
Todd Piccone: Who are you?
(Brass smiles at Todd.)
Annie Cramer: I'm sorry, this is an old friend of mine, Captain Jim Brass, Vegas P.D.
(Brass gives Todd his newspaper. Todd puts the paper aside.)
Todd Piccone: Off the record?
Annie Cramer: Okay.
Todd Piccone: I went down the hill. I was, um ... lonely. Partook of the services of a certain kind of young lady. And while we were getting acquainted, I was carjacked.
(Quick flash of: [NIGHT] Todd Piccone and Dakota are in the car when someone carrying a g*n taps on his window.)
Dakota: Just relax.
(End of flashback. Resume to present.)
Todd Piccone: I was set up. It was probably her pimp or drug dealer.
Brass: How'd you get up the hill?
Todd Piccone: Took a cab.
Brass: They didn't take your wallet?
Todd Piccone: Oh, the car was worth more than the cash. They knew what they were doing.
Brass: It's a pretty sweet ride. I'm still hung up on why you didn't report it.
Todd Piccone: Captain, maybe I should introduce myself. Todd Piccone, Assistant City Attorney. Let's just say that my reputation is worth more than my car.
Brass: Then maybe you should stop having dates in your front seat.
(Annie turns and looks at Brass.)
Todd Piccone: You're right. Lesson learned. Thank you, officer.
(Todd turns back to Annie.)
Todd Piccone: So the car was stripped, I'm sure, uh ... South Central? Koreatown? East L.A.?
Annie Cramer: Koreatown.
Brass: How would you know that?
Todd Piccone: 'Cause, Captain, that's where good cars go to die in Los Angeles.
Annie Cramer: Hey, Todd, I don't suppose we could take a look around?
Todd Piccone: Uh, yeah. You know, I'm expecting company. Now's not a good time.
(He closes the door on them.)
CUT TO:
[EXT. CAR (MOVING) - DAY]
Brass: We need to get a warrant to get into that house.
[INT. CAR (MOVING) - DAY]
(Annie drives.)
Annie Cramer: Oh, yeah? Well, we don't have enough.
Brass: Enough for a city attorney?
Annie Cramer: You know, give me a break. You know how many cars get jacked in L.A. every day? He admitted to being with a prost*tute. What makes you think he's not telling the truth about the rest?
Brass: He's hinky. I can feel it.
Annie Cramer: Your gut can talk to my Judge. Or better yet, talk to Ellie. You should. You should get the 4-1-1 on Dakota from her.
Brass: There's an unreliable witness. So what do we do now?
(She sighs.)
Annie Cramer: We eat steak.
CUT TO:
[EXT. MUSSO'S GRILL (STOCK) - DAY]
[INT. MUSSO'S GRILL - DAY]
(Annie leads Brass into the restaurant.)
Annie Cramer: Tony, how are you doing? Table for two, please, in the back, if you could.
Brass: What are we doing here again?
Annie Cramer: I'm doing you a big favor.
(As they head toward the back, they come across a large table with various well-
dressed powerful men. Judge Silvio Peters stands up to greet Annie.)
Judge Silvio Peters: Annie, hello.
Annie Cramer: Hey, Judge Peters. What a nice surprise.
Judge Silvio Peters: Nice to see you.
Annie Cramer: Good to see you. How's that porterhouse?
Judge Silvio Peters: Eh, I haven't started yet.
(Annie introduces Brass to the group of men.)
Annie Cramer: Gentlemen, I'd like you to meet an old friend of mine, Captain Jim Brass, LVPD.
Brass: Hey.
Annie Cramer: This is Judge Silvio Peters, Councilman Joe Cohen.
Brass: Judge, Councilman.
Annie Cramer: Comptroller Daniel Reichmann, and Vic Patterson.
(Brass shakes Vic Patterson's hand.)
Brass: Hey, Vic, how are you doing?
Vic Patterson: Soon to be mayor.
(Vic Patterson laughs.)
Vic Patterson: Hey, you know what? We sh*t a couple episodes of my show in Vegas. You remember that? Right?
Brass: Right.
Vic Patterson: The Eagle. Yeah, you guys were great. You always treated us really well.
Brass: Well, we try.
Annie Cramer: Remember how great he was as that cop?
(Vic Patterson laughs.)
Annie Cramer: Like he was playing you.
(The others around the table laugh.)
Brass: Well, that's not easy.
(As they continue talking, Annie walks over to Judge Silvio Peters and speaks to him quietly.)
Annie Cramer: (to Judge Silvio Peters) Listen, since I happened to run into you ... we found Todd Piccone's car just off of Vermont. Had b*llet holes and blood in the trunk. He claims it was stolen, but I'm hoping that I could get a look around his house a bit ...
Vic Patterson: Oh, you know what? Let me get you an autograph or something. Little something for me. And a little something for you.
(Vic Patterson reaches into his jacket pocket for a pen. Brass happens to catch the tie clip he's wearing with the letters B-H-G-C on it.)
Judge Silvio Peters: If you had enough for a warrant, you wouldn't be here. You'd be on your cell phone, calling me from Tommy Burger.
(Annie suspected as much.)
Annie Cramer: Finish your steak before it gets cold.
(Vic Patterson gives Brass the napkin with his autograph on it.)
Vic Patterson: There you are.
Brass: I'm touched. Thank you, man. Thank you. Gentlemen.
Annie Cramer: Enjoy your lunch, gentlemen. Nice to see you.
Judge Silvio Peters: You as well.
(Annie and Brass leave the table.)
Annie Cramer: (to Brass) Strike one, your turn.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HALLWAY - DAY]
(Annie and Brass walk through the hallway. We hear a television set playing loudly. They stop at apartment 2-F. Annie knocks on the door.)
(Ellie opens the door.)
Ellie Brass: Oh. Well, if it isn't Dick Tracy and his little sidekick, Nancy Drew.
Annie Cramer: We're here on official business. Just let us in.
(Annie steps into the apartment. Ellie turns around and heads inside. Brass steps inside. On the television is an ad for Vic Patterson's campaign.)
Vic Patterson: (from tv) Vote Vic Patterson. Put some action back in government.
(Ellie sits on the bed.)
Announcer: (from tv) Vic Patterson has a plan for Los Angeles. He wants to restore trust in City Hall. Vic Patterson has the energy it takes to get Los Angeles back on track ...
Annie Cramer: You and Dakota have the same pimp?
Ellie Brass: No. We don't have a pimp. We're independent.
Brass: I can see that.
Annie Cramer: Look, if she were gonna pull a con with some guy, who would it be?
Ellie Brass: She's not like that.
Annie Cramer: So other than her customers, there's, what, no men in her life? You and she are ...
Ellie Brass: Roommates.
Brass: Look, you can be cute, or you can help us find your friend. What's it gonna be?
Ellie Brass: Well, there's this guy named Ronnie, all right? He was kind of like her boyfriend. Sometimes he would get jealous when she turned tricks.
Annie Cramer: Where do we find this Casanova?
(She points upstairs.)
CUT TO:
[INT. HALLWAY - DAY - CONTINUOUS]
(Brass leads Annie through the hallway.)
Annie Cramer: Look, you know I can't go in there without probable cause or a warrant.
Brass: You're not gonna arrest me for breaking and entering, are you?
(Annie sighs.)
Annie Cramer: Jimmy, what are you hoping to find in there?
Brass: I'll know it when I see it.
(Brass knocks on the door.)
(With his g*n out, he breaks the door in. He and Annie linger in the doorway.)
(Inside the apartment is a regular meth lab - buckets, containers, supplies and a hot plate on the tables, chairs and floors.)
Brass: Smelled something in the hallway. That's why we broke in, right?
Annie Cramer: Yep.
CUT TO:
[INT. APARTMENT - DAY]
(Warrick picks up an empty box and looks at it.)
Annie Cramer: L.A. has over two hundred criminalists. You got to bring your own guy?
Brass: Well, Rick is like a vampire. He needs to be invited in.
(Warrick hears that one and smiles.)
Annie Cramer: If this goes to court, Warrick's going to have to come back and testify.
(Warrick stands up.)
Warrick: Well, you got beaches, bikinis. Free trip to L.A.? I'm down. (He looks around.) So we got coffee filters, cough medicine, matches, camping fuel
... hot plates.
Brass: Are you thinking what I'm thinking?
Warrick: If this is a meth lab, then there would be free iodine coated all over these walls. And if Matt packed this kit right, I would have some spray starch
...
(Warrick opens the kit and takes out a spray can. Warrick walks over to the nearest wall.)
Warrick: ... that would react with the iodine ...
(Warrick sprays the wall and it turns blue.)
Warrick: ... turning it a nice dodger blue. Yes, it's a meth lab.
(Quick flash to: [TOP VIEW DOWN OF TABLE] Fast Forward. Ronnie picks off the items from the table and goes around the room between tables as he works on creating his stuff. He puts the dish on the hot plate and takes a drink of beer as he watches it bubble and cook. The stuff in the dish hardens into powder.)
(End of flash. Resume to present.)
Annie Cramer: So meth dealer and his hooker girlfriend looking for a quick score. Carjacking's not such a stretch. Neighbors are lucky he didn't blow the whole building up.
Brass: No g*n, no blood. Nothing in plain sight linking him to Dakota's disappearance.
Annie Cramer: Well, we'll haul him in on manufacturing. We'll get what we can out of him.
Warrick: Jail would be an improvement over this hole.
(Suddenly, Ronnie appears in the doorway brandishing a g*n, nervously waving it from side to side. Annie and Brass both take their g*n out and point it steadily at Ronnie.)
Annie Cramer: Drop the g*n! Now!
Brass: Put the g*n down!
Ronnie: Bad guys go away.
Brass: Put the g*n down.
Ronnie: You're trying to rob me?
Annie Cramer: Drop the g*n!
Ronnie: I'm being robbed by cops? You're trying to rob me!
(Warrick stays where he is and watches.)
(Ronnie starts to cry.)
Brass: (slowly, clearly) Don't make me sh**t you. Put the g*n down.
Annie Cramer: Come on.
(Ronnie puts the g*n down on the ground. He puts his hands over his face as he cries.)
(Camera holds on Brass.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. -- NIGHT]
(Coroners remove the d*ad body. They carry it in an open bag to the gurney waiting on the grass nearby. In the background, we see Brass standing with Ellie.)
Annie Cramer: How long has the body been here?
Officer: ... about three and a half hours now.
(They put the body on the gurney. Brass and Ellie walk as the coroners wheel the body a little up the path.)
Officer: Jogger found her, called it in. Description matched your broadcast.
(Quick flash of CGI POV: The body hits the water and sinks to the bottom. The longer the body stays on the bottom of the water, the body fills with gasses that expand and fill it.)
Officer: (V.O.) Looks like body gas has brought her to the top.
(End of CGI POV. Resume to present.)
Officer: God, somebody b*at the pulp out of her. Any leads?
Annie Cramer: Yeah, he's detoxing in the t*nk.
(She looks at the officer.)
Annie Cramer: This is why I don't believe in easy money.
(The officer nods. Annie turns to Ellie.)
Annie Cramer: Ellie.
Brass: You have to identify the body.
(Brass leads Ellie to the gurney. As they get nearer, Annie leads Ellie to the gurney. Ellie pulls away, but Annie holds on to her.)
(Brass walks away.)
Ellie Brass: I'm going to be sick.
Annie Cramer: No, come here. Come on. Look, I just need an answer. Is this your friend?
(Ellie looks at the gurney and nods as she holds back her tears.)
(Done, she breaks away.)
Brass: (softly) Hey. Hey.
(Ellie brushes past Brass, ignoring him.)
(Brass' phone rings. Brass turns and watches Ellie run across the playground area outside the crime scene tape. She sits on the slide. Brass answers his phone.)
(Brass sighs.)
Brass: (to phone) Brass.
Sheriff: (from phone) Family business?
INTERCUT WITH:
[INT. (LAS VEGAS) POLICE DEPARTMENT - HALLWAY - NIGHT]
(The sheriff walks through the hallway while he's on the phone.)
Sheriff: That is a wedding or a funeral, or a bar mitzvah. That is not permission to become a vice cop in another jurisdiction. Get back here now.
Brass: Who you been talking to?
Sheriff: Not that it matters. The police chief called me after Judge Peters called him. I hear they do a nice t-bone at Musso's.
Brass: Look, my kid's in trouble, Ben.
Sheriff: Well, if she's not d*ad, you get your ass back here.
(Brass watches as Ellie cries.)
Brass: Look, write me up for insubordination. I can't come back now.
(Brass hangs up.)
(Annie watches as Brass lifts the crime scene tape and heads over to Ellie.)
CUT TO:
[INT. (LOS ANGELES) POLICE DEPARTMENT -- INTERVIEW ROOM - NIGHT]
(Annie Kramer interviews Ronnie.)
Annie Cramer: You have a prior. Mandatory minimum for manufacturing -- ten to fifteen.
(Brass watches from the observation room.)
Annie Cramer: You start to talk about Dakota, we'll see what we can do.
Ronnie: Dakota? Now, what that crazy bitch got to do with this, huh? What, she snitched on me?
Annie Cramer: Not before you k*lled her.
Ronnie: I didn't k*ll nobody.
Annie Cramer: You have a relationship with her?
Ronnie: Yeah, we kicked it, all right? We kicked it. Look, I would never k*ll no girl with all that good ... all right, look, let's just say I enjoyed having her live downstairs from me, man. Listen ... she knew when to open her mouth and when to keep it closed. Now, her girl, Jersey ... oh, God, the best mouth I ever had. Mmm. That mouth gave me a lot of pleasure. It just never stopped.
Annie Cramer: Where were you two nights ago?
Ronnie: Out.
Annie Cramer: (hard) Be more specific!
Ronnie: I-I-I was seeing customers, all right?
Annie Cramer: Dakota?
Ronnie: No.
Annie Cramer: You like BMWs?
Ronnie: (shouts, agitated) Bitch, what the f- ... What are you talking about?!
(The officer in the room steps forward; Annie stops him.)
Annie Cramer: Watch your mouth! I'll lay it out for you.
(Quick flashback to: [NIGHT] Ronnie knocks on the BMW's glass. The door opens.)
Ronnie: Come on, man. Get out of the car.
Todd Piccone: All right.
(Todd Piccone gets out of the car.)
CUT TO:
(The BMW drives away, leaving Todd Piccone outside.)
[INT. CAR (MOVING) - NIGHT]
(Ronnie talks with Dakota.)
Ronnie: So, how was he?
Dakota: What do you mean?
Ronnie: You wasn't supposed to do him.
(He hits her in the face. She screams.)
CUT TO:
(Dakota is in the trunk of the car, her face beaten. Ronnie points the g*n at her and fires.)
CUT TO:
(Ronnie takes the body out of the car and dumps it in the pond.)
(End of flashback. Resume to present.)
Ronnie: You want me to admit to a m*rder I didn't commit so you can reduce a drug charge?
(He sniffs and shakes his head.)
Ronnie: What, you high, right? Y-y-you must me high.
CUT TO:
[INT. POLICE DEPARTMENT - OBSERVATION ROOM - CONTINUOUS]
(Annie joins Brass in the observation room. She closes the door.)
Annie Cramer: I'm sorry you had to hear that.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY]
(Brass steps out into the hallway and walks over to Ellie.)
Ellie Brass: What did he say?
(Brass shakes his head and walks past her.)
Ellie Brass: Dad?
Brass: You were right; I shouldn't have come.
Ellie Brass: I told you he didn't do it. It was that guy in the car. You've got to find him.
Brass: Don't you understand? We just pulled your best friend out of a lake. I mean, it was just luck it wasn't you.
Ellie Brass: Yeah, well, it wasn't me.
Brass: Yeah, not today. But look at you. You've turned yourself into a disposable human being. Don't you get it? You're nothing but plumbing.
Ellie Brass: What, you're going to send me to my room and ground me? Have a patrol car pick me up at prom? Or spank me?
Brass: Okay. You're right. You're right. I messed up. But I'm just trying to do the best that I can. I wish you could say the same thing.
(Brass turns and leaves.)
CUT TO:
[EXT. POLICE IMPOUND -- DAY]
(Matt Glazer tests for g*n residue.)
Matt Glazer: Clothes test positive for lead wipe. Confirmed b*llet hole.
Warrick: Did her DNA match the blood that you swabbed from the trunk?
Matt Glazer: Yeah, but the autopsy report said she wasn't sh*t.
Warrick: So, what's with the b*llet holes?
(They think about it for a moment.)
Warrick: Clean-up.
(Quick flash of: The g*n fires twice. The crowbar is put into the hole. End of flash. Resume to present.)
(Warrick lies on a dolly and rolls under the car. He finds one b*llet hole and sticks his pinky finger in the hole.)
Warrick: One b*llet exited. Is the other hole to the left or to the right?
Matt Glazer: About seven and a half, eight inches up.
(Warrick looks for it.)
Warrick: That's the gas t*nk.
(Matt Glazer empties the gas t*nk. The gasoline is stained red with blood. He searches the liquid and finds a b*llet. Warrick picks up the b*llet.)
Matt Glazer: Looks like a .45. Big, fat and slow. Lucky for us, it didn't have enough power to go through-and-through the gas t*nk.
Warrick: Yeah. Look at that. No wonder those hood rats couldn't get the car started. It won't run on blood.
Matt Glazer: Well, that tweaker you busted just got bumped off the top of the list. He had a nine millimeter.
Warrick: You think you could run this through IBIS?
Matt Glazer: We do have that here.
(Warrick smiles.)
CUT TO:
[INT. MOTEL ROOM -- DAY]
(Brass is on the phone.)
Brass: (to phone) Hey, Doc, did you get my fax?
INTERCUT WITH:
[INT. (LAS VEGAS) CSI - FORENSIC AUTOPSY]
(Doc Robbins is sitting at his desk and is on the phone.)
Robbins: (to phone) Yeah, I did.
Brass: (from phone) Yeah, well, it's all Greek to me. Can you help me out?
Robbins: (to phone) Mmm, sure, of course. But I thought you were asked to come home.
Brass: (from phone) I'll be home tomorrow.
Robbins: (to phone) I hope she was worth it.
Brass: (to phone) What do you mean?
Robbins: (from phone) I don't know; I mean, you put your career on the line. I assume there's a woman involved.
Brass: What are you, a detective now?
Robbins: All right; let's take a look at this. FX, OC-- that's a fractured osseocartilaginous -- that's a broken nose.
(Quick flash of: [AUTOPSY] Close-up of the examiner moving the nose.)
Robbins: (V.O.) FX, ST, CL -- sternal clavicle, ...
(The examiner feels the body's chest.)
(End of flashback. Resume to present.)
Robbins: ... and LAC, SDH on her head -- Lacerations and subdural hematomas.
Brass: Cause of death?
Robbins: It looks like exsanguination.
Brass: So, she was beaten and left to die?
Robbins: Beaten with something specific. The L.A. coroner noted repetitive patterned contusions.
(Quick flash of: The repetitive patterns on the body.)
(End of flashback. Resume to present.)
Brass: Anything else?
Robbins: Yeah, the coroner's assistant who prepped her body ...
(Quick flash of: The examiner collects the substance under the fingernails.)
Robbins: (V.O.) ... collected a green, waxy substance under her fingernails.
(End of flashback. Resume to present.)
Robbins: Also, looks like he found concrete chunks in a bag tied to her waist.
(Brass picks up a couple of photos.)
Brass: Probably what they used to weigh her down in the lake.
(Quick flash of: The bag around Dakota's waist.)
(End of flashback. Resume to present.)
CUT TO:
[EXT. PICCONE'S DRIVE - DAY]
(Brass is looking at one of the concrete blocks dug up from Tony Piccone's drive. Annie Kramer is next to Brass.)
Annie Cramer: You want to say I told you so?
Brass: No. I just want it to be over with and have a happy ending.
(Tony Piccone rushes out of the house escorted by two officers. He heads down the drive. Warrick and Matt Glazer are there. They stop talking and turn to watch.)
Tony Piccone: What the hell's going on? What's up?
Annie Cramer: Sorry, Todd. We got the warrant; we have to search.
(Annie and Brass head for the house. Tony tries to follow them, but the officers stop him.)
Tony Piccone: You got to be kidding me. Wha ... ?
Officer: Stay here.
(Warrick, Matt Glazer, Annie, and Brass head into the house.)
Tony Piccone: I just had the floors polished. Will you at least take your shoes off, please?
Brass: I sleep in my shoes, Todd.
[INT. PICCONE'S RESIDENCE - DAY - CONTINUOUS]
(They climb up the stairs to the second level.)
Matt Glazer: This guy married?
Annie Cramer: No.
Matt Glazer: Mm-hmm. Anyone else's gaydar going off?
Warrick: Well, he did have a female hooker in his ride.
Brass: Well, maybe he swings both ways.
Warrick: Why, because he has this nice shag carpet?
(Warrick touches the carpet.)
Warrick: This carpet's wet.
(Matt Glazer and Warrick remove the shag carpet. They find a large bloodstain underneath.)
Warrick: Oh, yeah. That's a lot of blood.
Matt Glazer: How much, you figure?
Warrick: I don't know -- two, three pints?
Annie Cramer: Nobody loses that much blood and lives.
Brass: She died in this room.
Warrick: I don't think we'll be able to get any DNA off this. The carpet solvents probably compromised the sample.
Brass: She was beaten multiple times. There must be some spatter or cast-off.
(Matt reaches into his kit. He sprays the nearest wall. He gets a blue glow, but the wall television is on.)
Matt Glazer: I can't get a clean read.
(Warrick stands up near the wall television set.)
Warrick: You know what? It's this metal surface. It's giving us a false positive.
(Warrick puts his face to the side of the wall and looks at the television set.)
Warrick: Does anyone see a remote?
Brass: Yeah, got one right here.
Warrick: Could you h*t the input button until we find a blue screen?
Brass: Yeah.
(Brass changes the input to the blue screen. They find a large crack in the monitor glass. There's some blood in the crack.)
Warrick: Look at that.
Matt Glazer: I'll get a sample for DNA.
CUT TO:
[INT. PICCONE RESIDENCE - KITCHEN - DAY - CONTINUOUS]
(Warrick and Brass walk through the kitchen.)
Warrick: Nice place.
Brass: Mmm.
(Warrick opens the trash bins in the kitchen.)
Brass: Who needs three trash bins?
Warrick: Someone with a lot of dirt.
(In the third trash bin, there are empty hard alcohol bottles.)
Warrick: Wow. Big party. Tequila. Whiskey. Gin. Absinthe.
Brass: The coroner found green wax under Dakota's fingernails.
(Camera zooms in for a close-up of the nail marks on the green neck on one of the bottles.)
CUT TO:
[INT. (LOS ANGELES) POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Annie Kramer interviews Tony Piccone.)
Tony Piccone: (sighs) Yes, I solicited her.
Annie Cramer: So, you admit to having sexual relations with Sasha Reynolds, A.K.A. Dakota?
Tony Piccone: No.
Annie Cramer: But money changed hands?
Tony Piccone: I paid her $60.
Annie Cramer: For what?
Tony Piccone: I drove her back to my house and introduced her to a friend.
Annie Cramer: And then?
Tony Piccone: I have no knowledge of what happened after that.
Annie Cramer: Does this friend have a name?
Tony Piccone: Mmm. A big one.
Annie Cramer: You know, Todd, I think you're smart enough to recognize consciousness of guilt. (Todd swallows.) Blood in your house, in your car. All of which was cleaned up. This friend worth going to prison for?
Tony Piccone: Turn off that mic.
(Annie gives Tony a look. She reaches for the switch and glances at the mirror behind her.)
[INT. OBSERVATION ROOM]
(Brass watches, but can't hear anything.)
(Annie turns the switch back on.)
Annie Cramer: (loud) Officer.
(The interview room door opens and the officer outside steps into the room.)
(Tony Piccone stands up and goes with the officer. Annie watches him go.)
(She turns to Brass.)
Annie Cramer: He invoked.
(Brass nods.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. -- NIGHT]
(Brass is out walking. A car pulls into the parking lot behind him, headlights gleaming directly at Brass.)
(The car comes to a stop in front of him, brakes squealing.)
Brass: Whoa, whoa, whoa.
(It's Warrick.)
Warrick: I wanted to catch you before you left. I got a look at the print results from the bottles that we collected just before I was escorted out and asked to leave the lab.
Brass: They say why?
Warrick: No, but I think I know why.
(Brass nods.)
Warrick: It's like Chinatown, Jim.
Brass: So visiting hours are over, doctor. It's time to go.
Warrick: What about Ellie?
Brass: What about her?
Warrick: Well, she's the only one who can I.D. Todd Piccone as the driver.
Brass: Well, I couldn't get much out of Annie, but I don't think Piccone k*lled Dakota -- it wasn't his scene.
Warrick: I don't know. He's involved. It's his house. It's his car. It's his party.
Brass: Who's going to believe a tweaker hooker?
Warrick: You better hope nobody, or she'll be taking a dirt nap.
CUT TO:
[INT. ELLIE'S APARTMENT - NIGHT]
(Ellie sits at her vanity putting on her make-up. The phone rings.)
Ellie: (answering machine) Hey, it's Ellie. Leave a message and I'll get back at you when I can.
Brass: Yeah, uh, Ellie, it's, it's your dad. Listen, you were right about the guy; he's a pretty important person with pretty important friends. So, uh, do me a favor. Don't go out tonight. Okay?
(The answering machine beeps off.)
CUT TO:
[EXT. HOLLYWOOD BLVD (STOCK) - NIGHT]
[INT. BRASS' MOTEL ROOM - NIGHT]
(Warrick picks up a bottle.)
Warrick: If Dakota had wax under her fingernails, I think she must have been doing more than just pouring.
Brass: Self defense?
(Quick flashback to: [NIGHT] Dakota screams. She grabs the bottle by the neck, her fingernails digging into the wax. She stands up and tries to swing at her attacker.)
(End of flashback. Resume to present.)
Brass: Who was she defending against?
Warrick: From the prints that we got off the bottle, I have a list of six suspects.
(Warrick takes out the notebook paper from his pocket and reads the list of names to Brass.)
Warrick: Silvio Peters, Joe Cohen ...
Brass: Wait a minute. Silvio Peters? He's a judge. He's on the list?
Warrick: Yeah. Daniel Reichmann, Vic Patterson, Todd Piccone, Parker Smythe.
Brass: They're all in AFIS?
Warrick: Yeah. I mean, you can be in AFIS for a lot of reasons. After 9-11, anyone who works in a government building.
Brass: Right. I mean, doctors, lawyers, right.
Warrick: Or anyone who has a permit to carry a concealed w*apon.
(Brass looks at Warrick just as Warrick gets an idea.)
Warrick: You know what?
(Warrick sits down in the nearest chair. He puts the phone on the table on speaker phone and dials.)
(The phone rings.)
INTERCUT WITH:
[INT. (LAS VEGAS) CSI - LAB - NIGHT]
(Nick is looking through a scope when his phone rings. He answers it.)
Nick: Hello!
Warrick: Hey, Nicky. Where are you? Are you near a computer? Can you do me a favor?
Nick: Yeah, sure. How's the conference going?
Warrick: Uh, it's intense. I have a list of suspects, all in AFIS. I want to know if any of them have a permit to carry concealed.
Nick: Okay, sh**t.
Warrick: Silvio Peters, Parker Smythe, Daniel Reichmann,
(Nick types in the names.)
Nick: Mm-hmm.
Warrick: Todd Piccone, and Vic Patterson.
(The results read all NEGATIVE except for Vic Patterson who is AFFIRMATIVE.)
Nick: Vic Patterson does. Are we talking about "The Eagle"? From that TV show?
Warrick: Yeah. What kind of g*n?
Nick: A .45, same kind he uses in all his cheeseball sh**t-outs.
Warrick: Can you give me anything else?
Nick: Yeah, I can run the serial number through Automated Firearms Service, give you the history.
(Nick types in the serial number: T8341.)
(The results read:
AUTOMATED FIREARMS SYSTEM
COLT .45
CURRENT Owner: VIC PATTERSON
PREVIOUS Owner: BEVERLY HILLS g*n CLUB
SOLD SEPT. 28 1983 TO VIC PATTERSON )
Nick: Colt sold it to the Beverly Hills g*n Club, who, in turn, sold it to "The Eagle" on September 28, 1983.
(Quick flashes of: The BHGC sticker on the broken BMW windshield. Vic Patterson's tie clip.)
(End of flash. Resume to present.)
Brass: If he shops there, maybe he sh**t there.
(Warrick nods in agreement.)
CUT TO:
[EXT. LAS VEGAS CITY SKYLINE (STOCK) -- MORNING]
[INT. BEVERLY HILLS g*n CLUB -- DAY]
(Brass and Warrick step up to the main desk. Brass shows the man his badge.)
Brass: You know, I'm just in town for a couple of days. It's always been a dream of mine to sh**t at the famous Beverly Hills g*n Club. I wonder if I could get a day pass?
g*n Club Man: For Las Vegas's finest? Sure thing.
(Warrick walks over to the g*n display.)
Brass: Look, um ... tell me something. You know, is it, is it true that, uh, you know, the actor Vic Patterson sh**t here?
g*n Club Man: Not really supposed to give out member info. But between you and me? The man is a damn fine sh*t.
Brass: No kidding.
g*n Club Man: Matter of fact, he won several of our competitions.
Brass: Wow.
g*n Club Man: You want to rent or sh**t your own?
Brass: Um ... I'll sh**t what Vic sh**t.
g*n Club Man: (to Warrick) You sh**ting, too?
Warrick: Nah, I'm just going to hang back. Let him blow off some steam.
(Brass gives Warrick a look.)
(The g*n Club man notices that Warrick is looking at Vic Patterson's award, g*n and b*ll*ts.)
g*n Club Man: Ain't that something?
Warrick: Yeah, it's something.
g*n Club Man: Right this way.
(Camera lingers on the b*ll*ts in the award display. The plaque under it reads:
VIC "THE EAGEL" PATTERSON
1ST PLACE - 45 CAL sh**t
AUGUST 26, 2003 )
DISSOLVE TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - LAB - DAY]
(Nick is on the phone and looking at the b*llet.)
Nick: (to phone) Hey, Jim. I just got your b*llet. I'm running it through IBIS right now. Not gonna ask how you got it.
(Nick sets the b*llet up and runs it through the database.)
Nick: (to phone) So, did you meet him?
INTERCUT WITH:
[INT. MOTEL - DAY]
Brass: (to phone) Yeah.
Nick: (to phone) Ha-ha. Yeah. Did you get his autograph for me?
Brass: (to phone) You know, actually I did, and if you get me a match, you might be able to meet him at his trial.
Nick: (to phone) Do you think that would make his autograph worth more? Or less?
(The computer beeps. The results read:
CASE REPORT: .45 CALIBER SLUG
LOGGED: OFF. MATT GLAZER
LAPD, SERVICE: 1/5/1998
EVIDENCE RETRIEVED: 4/23/05
BMW 325: WHITE CONV.
HOMICIDE INVESTIGATION PEND.
CASE# 192801_218
VEHICLE REMOVED FROM GAS
t*nk, DRIVER'S SIDE.
PL 220.03 SUB00
IDENTIFICATION MARKS ENTERED INTO IBIS BY:
OFF P. LEBLANC
LAPD 28719.1
Nick: (to phone) We got a match. Entered by Matt Glazer, LAPD. Recovered from a BMW gas t*nk. Open investigation, homicide-related.
Brass: (to phone) Great, great. Thanks for all your help. Thank you.
Nick: (from phone) Sure.
(Warrick knocks and enters the room. Brass hangs up. Warrick sits down on the bed.)
Warrick: Was that Nick?
Brass: Yeah. IBIS confirmed the match. We're good to go. So, where you been?
Warrick: In Hollywood, thinking. You know, even if Vic Patterson did sh**t up the car with his g*n, that doesn't mean he k*lled Dakota. Just means he helped clean up.
Brass: She wasn't sh*t. She was beaten.
Warrick: Yeah. We need a m*rder w*apon to nail his ass. I got these photos at a Hollywood memorabilia shop for ten bucks.
(Warrick hands Brass some photos.)
Warrick: Who do you see?
(The top-most photo is of Vic Patterson posing with his g*n.)
Brass: A jackass.
Warrick: Look closer. Look at the p*stol grip ... and The Eagle. You know, these autopsy photos I saw all got me thinking. This one. Look at the pattern contusions.
(Warrick picks out a particular photo and shows it to Brass. The bruising pattern on the victim matches the raised eagle logo on the g*n.)
Brass: The g*n is the m*rder w*apon.
(Quick flashback to: [NIGHT] Dakota struggles against Vic Patterson. She's screaming.)
Dakota: Stop it! Stop it!
(He hits her with the handle of the g*n.)
(End of flashback. Resume to present.)
(Warrick nods.)
CUT TO:
[INT. BAR - NIGHT]
(Brass and Annie Kramer talk.)
Annie Cramer: About six months ago, this strung-out hooker comes into the PD, b*at to crap, screaming that Vic Patterson had done it, and her wounds looked a lot like this. I figured it was her pimp, she was sniffing around for a settlement. Sent her home with an ice pack.
Brass: Oh. I'm sorry. I knew you thought this guy was a winner.
Annie Cramer: I worked my whole life to sit at the table with the big boys ... only to find out that the food is poisoned.
Brass: You know, the only record of this investigation is in that envelope, and half the evidence collection won't stand up in court, so it's your call. (She's thinking.) How many years you got on?
Annie Cramer: Eight back in Jersey, fifteen here.
Brass: Well, that's 23 combined. That's a lot of innings. I mean, the worse they can do is make you retire.
Annie Cramer: What am I gonna do then? Knit? This is it, Jimmy. This is all I got.
Brass: Well, if it's all you got, then you got to do it right. Remember Mike O'Toole? From Vice?
Annie Cramer: Of course I do. Broke my heart when I found out he was dirty.
Brass: Yeah, he was a heartbreaker. Broke up my marriage.
Annie Cramer: I thought I did that.
Brass: Well, Nancy used our affair because she was looking for a way out, but for me ... I mean, I guess I'm old-fashioned. You know, a bad marriage is better than no marriage ... I thought.
Annie Cramer: And you thought a kid would help?
Brass: You see, that's the thing. I didn't have a kid.
(Annie turns and looks at Brass. She puts the palm of her hand on his cheek.)
Annie Cramer: (gently) Yeah, you did. I don't see Mike O'Toole out here helping her.
Brass: Well ... I spent a good chunk of my life looking the other way. I mean, so much so that my neck got tired. So I, you know, I got a divorce. I, uh ... turned Mike and his crew in. Started over in Vegas. Ellie. She's like the unfinished business of all that.
Annie Cramer: So it's my neck now.
(Brass remains silent as he picks up his drink.)
CUT TO:
[INT. HALLWAY OUTSIDE ELLIE'S APARTMENT - DAY]
(Brass walks down the hallway. He comes to apartment 2-F and stops. He takes a deep breath and exhales. Brass puts the small pink bear gift on the floor in front of the door. He looks at the card in his hand for DREAM HARBOR, REHABILITATION FACILITY.)
(He flips the card over. On the back is a hand-written note:
Ellie -
When you're ready, I'll make it happen.
{heart} Dad
(Brass tucks the card in the cellophane. He stands up, looks at the door, then walks away back down the hallway.)
(Camera holds, then ...
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x20 - Hollywood Brass"} | foreverdreaming |
FLASH IN.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
(It's raining. Thunder rumbles, lightning flashes.)
[EXT. DESERT STATE MENTAL HOSPITAL - OUTER FENCE -- NIGHT]
(Camera slowly pans downward and we note the prison-like barbed-wire fence surrounding the hospital. The echoes of thunder rumble through the night.)
[EXT. DESERT STATE MENTAL HOSPITAL -- NIGHT]
(Nurse Nanette Faber holds her umbrella as she hurries up the front walk toward the hospital. We see the shadow of a person standing near the second floor middle window just above the front door.)
[INT. DESERT STATE MENTAL HOSPITAL -- NIGHT]
(Through the closed front door glass we see Nurse Nanette Faber closer her umbrella as she walks up the front steps. Thunder rumbles in the background.)
(The front doors open and she walks inside.)
(She stops at the security desk and smiles at the Len, the security guard.)
Nanette Faber: Hey, Len.
(He puts her ID badge and a LC-110 A-H safety alert alarm on the counter. She takes them and smiles at Len.)
Nanette Faber: Thanks.
(She rounds the corner and stops at the metal checkpoint where two more security guards wait behind a table. She puts her bag and things in the plastic tray.)
Security Guard: Hi.
Nanette Faber: (mumbles something)
(She signs in on the clipboard, then walks through the metal detector. The machine beeps.)
(On the other side, she gets her ID and alarm from the security guard.)
Nanette Faber: Thanks.
[CU: CARD SWIPE]
(Nanette Faber swipes her card into the wall security lock and punches in her access code, 5-2. The light switches from red to green and the door buzzes.)
(She opens the door and walks inside.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(She walks up to the panel and presses the button on top, releasing her keys. She removes the keys and walks over to the grated metal door nearby.)
(She uses the key, unlocks the door and slips inside.)
(The door shuts behind her.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(Nanette Faber reaches the nurse's station. She uses the key, unlocks the door and slips inside. She takes off her jacket. The door closes behind her. Thunder rumbles in the distance.)
(Nurse Joanne McKay is already there. She doesn't look up as she writes in her clipboard.)
Joanne McKay: Some night, huh?
(Nanette Faber reaches for the clipboard.)
Nanette Faber: It's ugly out there.
(She heads out to do her nightly shift bed checks.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(Nanette Faber walks over to the door to Unit 2C. She opens the door and enters the unit.)
(She walks up to the first door and uses the flashlight to peer into the door window to check that Earl Simmonds is in the room. He is there sitting on a chair near the door. In the darkness, Earl Simmonds stares back at her. She turns the flashlight off and he looks away. Thunder rumbles in the background.)
(She jots down notes on the clipboard as she heads to the next room.)
(Again, she uses the flashlight and peers into the room. Charles Pellew is sleeping on the bed. She heads to the next room.)
(She looks inside and sees Adam Trent sleeping. She turns, writes on her clipboard as she heads for the next room.)
(She peers in through the door window and finds the bed empty. She looks on the floor and sees Robbie Garson on the floor, his head bloody.)
(Nanette Faber opens the door and rushes inside to check. She sees the blood spatter on the floor near Robbie Garson's head.)
(She hears a sound behind her, turns and finds another inmate, Kenny Valdez, crouching on the floor near the wall, his hands and mouth bloody.)
(She takes a step back and pulls the security alarm. Immediately, it starts beeping. The lights in the unit flash as Nanette Faber keeps her flashlight on the inmate in front of her.)
FLASH TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - HALLWAY -- NIGHT]
(The hospital administrator leads Brass, Grissom and Sara out toward the grated door to the unit.)
Hospital Administrator: We have two types of patients here: The criminally insane and sexually violent predators, all with multiple convictions.
(He inserts the key into the door.)
Hospital Administrator: We get all the inmates the prisons can't handle.
(He turns around and looks at Brass, Grissom and Sara.)
Hospital Administrator: Keep your kits closed and locked when not in use. Um, Ms. Sidle, best if you remove the vest. New uniforms upset them.
(He opens the grated door as Sara puts her kit down on the ground to remove her vest.)
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(He opens the door to the unit and they walk in. The guard outside closes the door.)
(They head toward the nurse's station.)
Hospital Administrator: We're mostly concerned with maintaining psychiatric remission. We want to s*ab symptoms and reduce an individual's risk of v*olence to himself and to others.
(He stops. In front of him is a line of inmates being led through the hallway. They're headed in their direction. The hospital administrator immediately instructs his visitors.)
Hospital Administrator: Oh, uh, could you actually stop here and put your backs against the wall, please. (to Brass) It's, uh, standard safety procedure.
(Brass, Grissom and Sara have their backs to the wall as the inmates walk by.)
(One of the inmates, Jake, looks directly at Sara, smiles wildly at her, opens his mouth and sticks his tongue out, wiggling it obscenely at her.)
Leon Madera: Put your tongue in your mouth, Jake.
(As he follows the others, Jake turns and keeps his eyes on Sara, a wild grin on his face. He disappears into the room.)
Hospital Administrator: We're moving them all to the day room.
(Off screen, we hear a door buzz and unlatch open.)
(The hospital administrator leads Brass, Grissom and Sara down the hallway.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(Through the closed door window, we see the hospital administrator leading the others to the hallway outside the crime scene.)
Nanette Faber: (o.s.) This is not good. The hospital doesn't need this.
(The door opens and they walk inside.)
(Nurse Nanette Faber, Nurse Joanne McKay and Lieutenant Reed Owens wait out in the hallway for them.)
Hospital Administrator: This is Captain Brass. Dr. Grissom and Ms. Sidle are from the Crime Lab.
Reed Owens: Lt. Reed Owens, Desert State Hospital Police.
Hospital Administrator: We have our own internal police team and Lieutenant Owens was the first officer on the scene after the call came in.
Reed Owens: The victim was found by Nurse Faber at approximately 12:10 A.M.
Nanette Faber: Joanne was coming off shift, I was coming on. Doing bed checks, I found Robbie on the floor. Kenny was in the corner covered in blood.
(Grissom breaks away from the group and heads for the room.)
Brass: Are the patients locked in their rooms at night?
Hospital Administrator: No. The doors are left unlocked.
(Grissom shines his flashlight into the room.)
Brass: So they're free to roam around?
Hospital Administrator: Locked rooms usually lead to patients trying to harm themselves.
(He notes the blood on the walls.)
Brass: Where's Kenny now?
Nanette Faber: He's been taken to seclusion.
CUT TO:
[SECLUSION]
(Kenny Valdez is strapped to the bed as he screams. Leon tightens the strap around his chest.)
(The door opens and Nurse Faber enters the room. She checks his chart. Behind her, Grissom, Sara and Brass also step into the room.)
Leon Madera: Shh-shh-shh.
Nanette Faber: Leon, let's get a couple more milligrams of lorazepam into him.
(Sara notes the gashes in Kenny's left arm.)
Sara: How did he get those wounds?
Leon Madera: Oh, Kenny's a self-mutilator. He suffers from Renfield's syndrome; gets off on blood.
(Nurse Faber holds Kenny's head still.)
Nanette Faber: Shh ...
Leon Madera: Couple of weeks ago I caught him gouging himself with a carpet staple.
(As he talks, Leon injects Kenny.)
Grissom: He was wearing these clothes when you found him?
Nanette Faber: Yes.
(As if knowing what he's thinking, Sara turns to look at Grissom. He motions with his head for them to step outside. He and Sara leave the room.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - HALLWAY -- NIGHT]
(Grissom and Sara talk out in the hallway.)
Grissom: There was blood spatter all over the victim's room.
Sara: Blood but no spatter on Kenny's clothes.
Grissom: I'm not sure this is our guy.
Sara: (looks around) Locked unit. Finite number of suspects.
Grissom: Crazy or not ... here we come.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C -- NIGHT]
(One of the inmates stands at the window watching the rain outside. Thunder rumbles in the distance.)
(Inside at the table, Jake and an inmate play cards with Charles Pellew. It appears that they're using cigarettes as chips. Jake drops a cigarette into the pot.)
(The inmate has all red cards -- a King of Diamonds, Queen of Hearts and Jack of Diamonds. Jake glances over at Earl as they play.)
(Across the table from them is Charles Pellew. The television set behind him shows a polar bear and her cub.)
CUT TO:
(Earl Simmonds threads an imaginary string through an imaginary needle. He licks the imaginary string and tries to get it through the imaginary needle.)
(Outside in door, Brass and Grissom watch.)
Brass: Who's this guy knitting an imaginary sweater? How's he know when it's finished?
Grissom: His brain tells him that what he's doing is real. He has no reason to doubt it.
Brass: Or any desire to.
(Other inmates in the room include Robert Salter, who sits on the couch staring out in front of him, and Adam Trent, sitting on another couch reading a book while biting his nails.)
Grissom: They asked John Nash how he could believe that extraterrestrials were sending him messages. He said that the messages came to him in the same way that his mathematical ideas did. So he had to take them seriously.
(Behind them, Valerie Dino walks up to them.)
Valerie Dino: Hey. Valerie Dino. I'm the on-call doctor.
Grissom: Did you pronounce?
Valerie Dino: Yeah. The administration asked me to set up some rooms for your interviews, but, uh, personally, I don't see what you hope to accomplish. These patients are criminals with severe mental disorders. They're not going to give you a straight answer.
Brass: (smiles) No one ever does.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - HALLWAY -- NIGHT]
(The door opens and the gurney with Robbie Garson's body on it is wheeled out of the hallway.)
(Sara lingers out in the doorway looking into Robbie Garson's room. She's holding a camera in her hand and looking at the room assignments.)
DESERT STATE MENTAL HOSPITAL
UNIT 2C ROOM B
NAME: ROBBIE GARSON
Psychiatrist: DR. VALERIE DINO (MD)
Nurse: JOANNE MCKAY (RN)
Noc. Nurse: NANETTE FABER (RN)
Psych. Tech: LEON MADERA
MEDICATIONS: GEODON, OLANZAPINE, DEPAKOTE
LITHIUM, LORAZEPAM
(She raises her camera and takes a photo of the sign.)
[INT. UNIT 2C -- NIGHT]
(Sara steps into the room. Thunder rumbles outside, lightning flashes.)
(She looks down at the blood on the floor with the finger marks in the middle of it.)
(She snaps a photo of the blood on the edge of the bed sheets and photos of the blood on the floor.)
(She crouches down and snaps more photos of the blood near the dresser.)
(She stands up and opens the dresser drawer.)
(She snaps a couple of photos of its contents. Thunder rumbles outside. Sara looks up and around the room, something on the walls near the bed catches her eyes.)
(On the wall are a couple of photos. The topmost is of two men sitting in chairs and is held up by blue tape. The bottom one is of a faded man. Next to the top photo is a space, but there's remnants of some blue tape still on the wall.)
(Sara walks over to the wall and snaps a couple of photos of it.)
(At first, she tries to scrape off the blue substance on the wall, but realizes that it's tape and peels it off with her fingertip. She places it in a bindle.)
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - INTERVIEW ROOM 1 -- NIGHT]
(Grissom interviews Ronald Salter. Ronald picks at the hair near his right ear. He doesn't look at Grissom.)
Ronald Salter: I definitely heard something. He said, "I'll get in!" No, no, it was, "I'm coming in." I heard him say it. And it's not like he isn't serious.
INTERCUT WITH QUICK FLASHES OF THE INMATE'S RECORD
(FIRST) RONALD
NAME: (LAST): SALTER
MULTIPLE r*pe / m*rder
(Grissom looks at Ronald Salter.)
Grissom: Who isn't serious?
(He looks at Grissom.)
Ronald Salter: The, uh, perpetrator.
[QUICK FLASH: RECORD]
HALLUCINATIONS, DELUSION
(Grissom looks at Ronald Salter.)
Grissom: Can you tell me anything else about him?
Ronald Salter: Oh, no, I couldn't.
Grissom: Why not?
Ronald Salter: (whispers) He's here.
(Grissom's eyes shift around the room. Finding nothing, he looks at Ronald.)
Grissom: In this room?
(Ronald taps the side of his right temple.)
Grissom: Is his name Ronald?
Ronald Salter: No. My name is Ronald.
Grissom: What's his name?
Ronald Salter: He doesn't have a name. He's a cricket.
(Again, Ronald taps the side of his right temple.)
Ronald Salter: Here.
Grissom: A cricket?
Ronald Salter: Yes. Trying to burrow a hole in my head.
[QUICK FLASH: RECORD]
SIMMONDS EARL
(3) COUNTS OF r*pe, ONE
DIAGNOSIS: MAJOR DEPRESSIVE
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - INTERVIEW ROOM 2 -- NIGHT]
(Brass has his pen poised on the paper in front of him as he interviews Earl Simmonds.)
Earl Simmonds: I don't sleep.
(Brass looks at him.)
Brass: Never?
(Earl shakes his head.)
(Earl's hands move as if he were knitting.)
Brass: So what do you do at night?
Earl Simmonds: Day, night, it don't make no difference. I think.
Brass: About what?
Earl Simmonds: Bitches.
CUT TO:
[SARA]
(Sara is using the ALS on the bed sheets looking for any kind of body fluid.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - ROOM B -- NIGHT]
(She moves the sheets aside and finds something.)
(She checks the pillows and the rest of the bed.)
(She lifts up the mattress and finds some magazine photos on the wire frame. She sits down and removes her goggles. The magazine pages are from a clothes catalog - photos of teenaged boys.)
CUT TO:
[QUICK FLASH: RECORD]
TRENT ADAM
MULTIPLE su1c1de ATTEMPT
EXTREME
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - INTERVIEW ROOM 1 -- NIGHT]
(Grissom interviews Adam Trent who smirks at Grissom.)
Grissom: What's so amusing?
Adam Trent: So let's say you find out who did it, and maybe it's me.
[QUICK FLASH: RECORD]
MULTIPLE ATTEMTPS, THREE RAPES
--NGS COUPLED WITH DELUSION
[ADAM TRENT]
Adam Trent: What are you going to do? Are you going to convict me of m*rder and put me in a bad place?
(Adam smirks and starts biting his nails.)
Grissom: Is it you?
Adam Trent: Check the files, sir. I'm a r*pist, not a m*rder.
[INMATE]
(Brass looks across the table at an elderly inmate.)
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - ROOM B -- NIGHT]
Brass: Robert Garson?
(The inmate stares back at him without saying anything.)
Brass: Hmm?
(Brass looks at the inmate trying to find a response. There is none.)
WHITE FLASH TO:
[QUICK FLASH: RECORD]
PELLEW CHARLES
OCD / PANIC DISORDER
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - INTERVIEW ROOM 1 -- NIGHT]
(Grissom interviews Charles Pellew.)
Grissom: Do you know what happened to Robert Garson?
(Charles Pellew nods. He sits in the chair holding both his arms tucked in close to his body.)
Charles Pellew: Female pig relation, hanged, it sped even, well, too.
Grissom: What?
[QUICK FLASH: RECORD]
YOUNG BOYS, INCOMPETEN--
(Charles Pellew shakes his head.)
Charles Pellew: No. I ground it ... blindly. Wet and dirty. Cut the blood oven. It spoke justly, repeatedly, calmly. Some thin rod dared your wash. They foretold this into some ready child, which fell crossly. They hag-rode me... again.
(Grissom stares at him.)
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - UNIT 2C - ROOM B -- NIGHT]
(Brass interviews Jake, whose hands are strapped to the chair's armrests.)
Jake: Why are you looking at me? You got Leon, he's a spic. Earl, the brother. And the crazy frickin' Jew boy with the bug in his head.
[QUICK FLASH: RECORD]
JAKE
[QUICK FLASH: RECORD]
JAKE
MULTIPLE RITUAL m*rder
-S: ANTI-SOCIAL O-
TIME ADMITTED: 08:43
(Brass stares at Jake.)
Jake: You know, most of the doctors here are Jewish. They're the ones with the access.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - HALLWAY -- NIGHT]
(Sara makes her way through the hallway and stops in front of Valerie Dino's office door. The sign next to the door reads:
DR. VALERIE DINO
PSYCHIATRIST
C-113
(Sara knocks.)
[INT. DESERT STATE MENTAL HOSPITAL - DR. DINO'S OFFICE - NIGHT -- CONTINUOUS]
(Inside the office, Dr. Valerie Dino is working at her desk.)
Valerie Dino: Yeah?
(The door opens. Sara walks in.)
Sara: Dr. Dino.
(Valerie Dino looks up.)
Valerie Dino: Hi.
Sara: Paperwork.
Valerie Dino: This is a state-run facility. What can I help you with?
Sara: Question about the victim. I have heard that in some cases of deviant sexual predisposition, you slow the sex drive ...
Valerie Dino: (nods, interrupts) If you're talking about chemical castration, the answer is, yes, Robbie was.
Sara: So he didn't masturbate.
Valerie Dino: Masturbate, yes. ej*cul*te, no.
Sara: So the semen that I found on his bed is someone else's?
Valerie Dino: Likely.
Sara: Thanks.
Valerie Dino: Sure.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - HALLWAY -- NIGHT]
(Sara joins Grissom and Brass in the hallway.)
Sara: Hey, guys, I found semen in the victim's room and it's probably not his. He was chemically castrated.
Brass: So you're thinking the donor could be the k*ller?
Grissom: Sex is the foreplay. v*olence is the climax.
Brass: Well ... (Brass motions to the inmates in the room.) Happy swabbing.
(Grissom and Sara step into the room.)
[INT. DESERT STATE MENTAL HOSPITAL - DAY ROOM - NIGHT - CONTINUOUS]
(Lieutenant Reed Owens motions them inside the room.)
Reed Owens: They've been prepped. You're all set.
(Sara and Grissom put their kits down and put their gloves on.)
Grissom: Thank you, Lieutenant.
(Nearby, Leon hands a medication cup to Ronald Salter.)
Leon Madera: Here you go, padre. Wash your worries away.
(Ronald swallows the pills and gives Leon the empty cup back.)
Leon Madera: Thank you.
(Leon moves on to the next inmate, Charles Pellew.)
(Grissom looks around at the inmates in the room.)
Grissom: (to Sara) Well, you take that side. I'll take Jimminy Cricket.
Sara: Excellent.
(Each carrying a handful of swabs, Grissom goes to the left while Sara makes her way to the inmates on the right.)
[GRISSOM]
(Grissom kneels in front of Ronald Salter.)
Grissom: Say ah.
(Ronald opens his mouth and Grissom takes a swab sample.)
Ronald Salter: Ah.
[SARA]
(Sara stands in front of Earl Simmonds.)
Sara: Open for me, please.
(Earl opens his mouth and Sara takes a swab sample.)
Sara: Thank you.
(Cut to: Sara writes on the box. She moves over to the next inmate, Adam Trent.)
(Adam Trent watches Sara with bright eyes. He opens his mouth and Sara takes a swab sample.)
[GRISSOM]
Grissom: Say ah.
(Charles Pellew opens his mouth and Grissom quickly takes a swab sample.)
Charles Pellew: Aah-ah-ah.
(Grissom puts the swab in the box as Leon returns with his tray of medication.)
Grissom: You, too, Leon.
Leon Madera: I work here.
Grissom: Exactly.
(Grissom takes out a swab and takes a sample from Leon.)
[SARA]
(Sara holds the swab out in front of the elderly inmate.)
Sara: Open your mouth, please.
(There's no response. The inmate doesn't move.)
Sara: Would you open your mouth, sir?
(Suddenly, he moves, opening his mouth trying to take a bite out of Sara.)
(Sara quickly pulls back.)
(The officer standing nearby puts his hands on the elderly inmate's shoulders, holding him back.)
Officer: (quietly) Settle down.
Elderly Inmate: (mutters to himself rapidly in Spanish)
Sara: Grissom ...
(Across the room, Grissom looks at Sara. Sara turns and looks at Grissom.)
Sara: You take this one.
(Sara turns and walks away.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(It continues to rain heavily. Sirens blare in the distance.)
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Robbins goes over the body with Grissom.)
Robbins: Let's start with the stomach contents. They're fascinating. It reminded me of that scene in "Jaws" where Dreyfuss cuts open the shark's belly and all kinds of weird things come out.
Grissom: You find a license plate?
Robbins: Well, not quite.
(Robbins turns and shows the metal bowl filled with the various non-digestible contents swimming in stomach liquid.)
Robbins: Highlights include band-aids, wood chips, hair and half a snapshot.
Grissom: Pica?
Robbins: Boo?
Grissom: Pica is a compulsion to eat non-nutritive food items. It's from the Latin word for magpie, a bird with a large and indiscriminate appetite.
Robbins: Trichotillomania would explain the pulling out and eating of hair.
Grissom: Another OCD disorder.
Robbins: Uh, I sent hair and blood samples to tox.
(Robbins points to the head wound.)
Robbins: Stellate lacerations. Linear skull fracture extending into the calvarium. And contre-coup contusions to the frontal and temporal lobes.
Grissom: So C.O.D. Was blunt force trauma?
Robbins: No. Asphyxiation.
Grissom: During the struggle?
Robbins: No. Coagulation of the blood tells me that the head trauma was post-mortem, at least two hours after he was suffocated.
Grissom: So evidently d*ad wasn't d*ad enough.
Robbins: I also found ligature marks on the wrists and ankles.
(Robbins lifts up the victim' wrists to show Grissom the bruising. He points to the marks on the victim's ankles.)
Robbins: They showed up during the Y, peri-mortem. So, what, tortured? Tied up?
Grissom: Restrained.
(Quick flashback to: [SECLUSION] Robbie Garson is on the bed screaming as two people restrain him down, securing the leather straps around his wrists and ankles.)
(End of flashback. Resume to present.)
Grissom: Nobody mentioned restraints.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - TRACE LAB]
(Sara adjusts the scope as she looks through it.)
Hodges: Would you ever bleach your hair?
(Sara glances up at Hodges nearby.)
Hodges: I wouldn't. It's so Greg Sanders.
(Sara goes back to the scope.)
[SCOPE VIEW]
(Dark colored hair with yellow tips.)
Hodges: Most of the hair is the vic's, but I also found that bleached sample as well. In my continuing quest to further my standing, I took it upon myself to get you the tox report.
Sara: Thanks.
Hodges: You're welcome. Blood came back with pretty hefty levels of olanzapine.
Sara: That's a potent anti-psychotic.
Hodges: Good for drooling. And also there's the, uh, not so potent smattering of ibuprofen.
Sara: That's it?
Hodges: That's it.
(Sara looks at the report. It reads:
TO: A. ROBBINS, M.D.
CHIEF MEDICAL EXAMINER
FROM: Forensic Toxicology Laboratory
Forensic Science Laboratories
SUBJECT: Coroner's Case Number LVP -
In accordance with your request, tox -
Performed and are now completed on the -
SAMPLE TEST RESULTS
------ ---- -------
BLOOD NARCOTICS OLANZAPINE BLOOD NARCOTICS IBUPROFEN BLOOD ALCOHOL NONE BLOOD CHEMICAL NONE
(Hodges pontificates.)
Hodges: If I were institutionalized, I think I would hope for something better. Clonazepam, maybe.
(Sara gives Hodges a look.)
Hodges: What, you, uh, think I'm crazy?
Sara: Crazy is as crazy does.
(Hodges doesn't know what to make of that one.)
Sara: His chart indicated at least four other anti-psychotics. Why wasn't he getting those meds?
Hodges: (shrugs) Do I look clairvoyant?
CUT TO:
[INT. CSI - HALLWAY]
(Brass shares his findings with Grissom.)
Brass: News flash from the loony bin. Two reported deaths in the last three years from "complications due to restraint procedures."
Grissom: And how many have gone unreported?
Brass: The hospital just got off probation. One more death by restraint brings the feds in.
Grissom: Good incentive to keep it quiet.
Brass: Or make it look like someone else did it.
Grissom: Yeah. Somebody who's crazy.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAWN]
(It continues to rain.)
Hospital Administrator: (V.O.) We're legally required to tape all our sessions.
[SECURITY TAPE]
(The monitor shows Nurse Joanne McKay and Leon struggling to put Robbie Garson into the bed.)
Hospital Administrator: This is Robbie in the seclusion room the day he died.
[INT. DESERT STATE MENTAL HOSPITAL - SECURITY --- DAWN]
(Brass, Grissom and Sara review the security tape.)
(Back on the monitor, they watch as the two orderlies struggle to hold Robbie Garson down on the bed while Nurse Joanna McKay stands in the corner near the cart preparing a needle.)
(Dunbar reaches out and fast-forwards the tape a little.)
(Back on the monitor, we're shown the on-call doctor and Nurse Joanne McKay checking on Robbie Garson.)
Hospital Administrator: As you can see, the on-call doctor and Nurse McKay checked in on him.
(He reaches out and fast-forwards the tape a little more.)
(On the monitor, the two orderlies escort Robbie Garson out of Seclusion.)
Hospital Administrator: Two hours later, he was escorted out, so I resent the accusation. We've made a lot of changes. Policy, staff, surveillance have all been overhauled. Look, Robbie left the seclusion room alive.
Sara: Okay, fine. Who administers medication?
Hospital Administrator: Uh, the nurses, psych techs. Why is this important?
Sara: Well, according to his tox results, Robbie's system was short four anti-psychotics.
Hospital Administrator: Maybe he was cheeking them.
(Quick flashback to: Robbie takes the medicine cup.)
Leon Madera: Here you go, Robbie. Here's your feel-good.
(He swallows them, tilting his head to the side. He takes a sip of water.)
(Camera zooms in for a CGI close-up of the inside of a mouth. The water washes down the throat, but we see the pills tucked into the space between the teeth and gums.)
(End of CGI close-up.)
(Robbie smiles and turns to leave.)
(End of flash. Resume to present.)
Brass: Why would he do that?
Hospital Administrator: They think they don't need 'em. They sell 'em, trade 'em or ... store them up, get high later.
Brass: We're gonna need to talk to his pharmacist.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - PHARMACY -- NIGHT]
(Leon looks across the hall at the line of inmates against the wall.)
Leon Madera: Who's next?
(He looks up and sees Earl.)
Leon Madera: Oh, come on, Earl. (He hands Earl the pill container.) There you go.
(Earl takes the pills and swallows some water.)
Leon Madera: Hey, you know I'm gonna bust your ass on the court, right?
(Earl turns and walks away. Leon hangs out from the counter watching Earl go.)
Leon Madera: You better bring your 'A' game next time.
(The orderly escorts Earl away. Down the hallway, we see Brass and Sara headed toward the pharmacy.)
Leon Madera: Come on, Chuck, I got something for you.
(Leon turns his back to the window.)
(Charles Pellew takes a step toward the pharmacy, but the security guard holds him back as Sara and Brass are at the next window.)
(Sara leans over the window counter and picks up a pill container to examine its contents.)
(Leon turns around and sees Sara and Brass there. Sara notes Leon's bleach-tipped hair.)
Sara: Love your hair, Leon.
Leon Madera: (nods) Thanks.
Sara: What do you got here?
(Sara looks at the pill container.)
Sara: Ibuprofen, laxative, aspirin. What are you treating exactly, schizophrenia or constipation?
Brass: Where are the real drugs, Leon?
(Leon suddenly looks very nervous.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAWN]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass and Sara interview Leon.)
Brass: Man ... xanax, lanzopine, zoloft, suprazadone, clozapine, lorazapan, lithium, valium, wellbutrin, haldol, respiredone.
(Sara slides a photo across the table of a drawer full of pills.)
Sara: You took everything with street value.
Leon Madera: (to Brass) Look, dude ... I get 22-K a year. That's nothing. Diddly-squat. I should get hazard pay. These people, I get ... I get spit on, puked on, peed on, bitten. I get my hair yanked out, I get my ass pinched, I get ... I get death thr*at. All for 22-K. So I supplement my income. It don't hurt nobody.
Sara: Are you a doctor?
Leon Madera: (scoffs) Look, these places, they overmedicate all the time. It controls the population. And I don't endanger the patients, okay? I-I'm all about the patients.
Brass: Maybe Robbie caught you skimping on his meds, thr*at to blow the whistle. There goes that supplemental income.
(Quick flash of: [PHARMACY] Leon puts some pills into a bag. Robbie is at the window and sees him.)
Robbie Garson: I see what you're doing. I'm reporting you. You're stealing.
Leon Madera: Robbie, hold on a second, hold on a second, will you?
CUT TO:
[SECLUSION]
(Robbie Garson screams and fights against the two orderlies trying to get him restrained on the bed.)
(During the fight, Robbie grabs some of Leon's hair and stuffs it in his mouth.)
Voice: All right, here you go, here you go, here you go.
(Robbie continues to scream and struggle as they try to restrain him on the bed.)
CUT TO:
[ROBBIE'S ROOM - NIGHT]
(Robbie is asleep when Leon enters the room and chokes Robbie. We hear Robbie's muffled cries.)
(End of flashback. Resume to present.)
Leon Madera: No. All right, no way, man. That's a story. 'Kay? That's not why he went to seclusion.
Sara: Why did he go to seclusion?
Leon Madera: He freaked out in group. I wasn't even there. Ask somebody who was.
(He looks at them.)
Leon Madera: Am I gonna lose my job? 'Cause these people ... need me.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Sara looks at the video logs. It reads:
[ACTIVITY //
WAKE UP // 0007:30:1687 // (OUT) 07:50
BREAKFAST // 0007:50:8721 // (IN) 07:50 (OUT) 09:00
THERAPY // 0009:03:4789 // (IN) 9:00 (OUT) 12:10
LUNCH // 0012:10:5004 // (IN) 12:10 (OUT) 01:10
THERAPY // 0013:10:2354 // (IN) 1:10 (OUT) 05:00
SECLUSION // 0017:03:7421 // (IN) 05:03 (OUT) 07:06
TAKEN TO ROOM // 0019:06:76-- // (IN) 07:06 (OUT) 07:10
BED CHECK AWAKE IN BED // -- ]
Sara: According to the video logs, the victim was brought into seclusion at
5:03 P.M. and taken out of the room at 7:06 P.M. Nurse McKay noted that he was awake and in bed at the 9:30 P.M. bed checks.
(Grissom refers back to the file in front of him.)
Grissom: Body was found at 12:10. So sometime between 9:30 and midnight he was suffocated.
Sara: Probably closer to 9:30. The blood would've needed time to coagulate before his head was smashed in.
Grissom: And not necessarily by the same person.
(Greg walks in carrying the bagged pillow from Robbie Garson's room.)
Greg: Hey, how about some pillow talk? Robbie's pillow had saliva on it. Lots of it; all his.
Grissom: (shrugs) Could be from drooling. Or it could be from dying.
Greg: Well, look at this -- I found slits at both ends. (Greg grasps the pillow aligning the slits with his nails.) Left hand ... and right hand.
(Grasping the pillow in his hands he turns toward Sara and motions as if smothering Sara. Sara smiles.)
Sara: Looks like we have a m*rder w*apon.
CUT TO:
[EXT. DESERT STATE MENTAL HOSPITAL - PHARMACY -- NIGHT]
Voice (woman): (over P.A.) All past-level-three patients, please return to your unit for a head count. All past-level-three patients, please return to your unit ...
(Lt. Reed Owens holds the umbrella over Sara as they walk out of the facility and into the courtyard. It continues to rain as they walk down the pathway over to the patio nearby where Nurse Joanne McKay is taking a smoke break.)
Sara: Thanks, officer.
(The officer turns and leaves. Sara talks with Joanne McKay.)
Sara: Nurse McKay, hi. Dr. Dino said that you supervised group therapy yesterday.
Joanne McKay: Uh, yeah.
Sara: I heard there was an incident involving Robbie.
Joanne McKay: He had a personal item.
(She puts the cigarette to her lips to smoke.)
Sara: A personal item?
(Nurse McKay nods and puts the cigarette out in the tray next to her.)
Joanne McKay: You can't bring anything in group except a beverage. It distracts the other patients.
Sara: What did he bring?
Joanne McKay: A photograph.
Sara: Of what?
Joanne McKay: A little boy.
Sara: What did you do?
Joanne McKay: I followed protocol.
(Quick flashback to: [GROUP THERAPY] Joanne McKay leads the group therapy session.)
Joanne McKay: Anybody else have anything they want to talk about?
Jake: I wanna know why everybody's always staring at me -- especially him. (He points to the elderly man sitting across from him.) He's staring at me.
Elderly Man: I'm not staring at ...
(The two start pointing fingers at each other.)
CUT TO:
(Robbie sits in therapy holding the photo in his hand. He lifts it close to his face and kisses the photo.)
Joanne McKay: Hey, hey, hey. Hang on, hang on. Robbie? Wh-What have you got there?
Robbie Garson: Nothing.
(Robbie fingers the photo of a little boy.)
Jake: (taunts) f*g candy.
Joanne McKay: Well, what's the rule?
Robbie Garson: Um.
(Joanne McKay stands up and walks over to Robbie.)
Joanne McKay: There's no personal items in here ...
(Robbie gets to his feet.)
Robbie Garson: (shouts) No!
Joanne McKay: Give me the...
(Adam Trent sits with the others, a smile on his face.)
Robbie Garson: No!
Joanne McKay: Give me --
(Two security guards approach them and grab Robbie from behind. Robbie shoves the photo into his mouth.)
Robbie Garson: No! Don't touch me!
(They take him away.)
(Joanne starts to follow, but turns back to the other inmates.)
Joanne McKay: Watch it!
(The security guards drag Robbie Garson out of the room.)
(End of flashback. Resume to present.)
Joanne McKay: Boom, boom and boom: Medication, seclusion, restraint.
Sara: Tough love.
Joanne McKay: Call it what you want -- these aren't my children.
(Nurse McKay picks up her things and stands up.)
Sara: Why didn't you mention this information last night?
Joanne McKay: Because crap like that happens every day here. (shrugs) I should get back to the unit.
Sara: Sure.
(Nurse McKay leaves. Sara's phone rings. She answers it.)
Sara: (to phone) Sidle.
Grissom: (from phone) We got the DNA results back on the semen on Robbie's sheets. Patient Adam Trent -- the nail biter.
Sara: (to phone) Okay.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - ADAM TRENT'S ROOM -- NIGHT]
(Camera flashes of the artwork on Adam Trent's wall. First, of an oboe. Second, of a tree with sharp blades and spikes on the end of its branches.)
[ROOM SIGN]
(The room sign reads:
UNIT 2C
ROOM 2C-E
ADAM TRENT
(Sara and Grissom are in Adam Trent's room. Grissom is photographing the pictures on the wall.)
(He snaps a photo of a drawing of a cat with its back to the viewer and looking over its shoulder, the end of its tail morphs into spikes.)
(Sara stares at the photos.)
(Grissom puts his camera down.)
Grissom: This stuff is dark.
Sara: Yeah. 'Course, I wouldn't expect Winnie the Pooh.
(Grissom notes a drawing of Medusa.)
Grissom: Adam's subconscious was working overtime.
(He again looks at the drawing of the cat with the thorns on its tail.)
Sara: I bet you aced your Rorschachs. (Sara smiles at Grissom. Grissom raises his camera and takes more photos.) When I was in fifth grade, I drew a picture of a harpooned whale. Everyone thought I was gonzo'd. But I had just read Moby Dick. (shrugs) Sometimes a dying whale is just a dying whale.
(They share a look and a smile.)
(Sara reaches out to remove a smaller drawing and loses her grip on it. The drawing falls behind the small drawers.)
(She and Grissom move the drawers away from the wall.)
(Sara picks up the photo near the air vent. She looks at it and sets it aside.)
(She removes the air vent grating and finds something hidden inside. She turns her flashlight on and finds various items. She takes out a stack of letters and sets them aside.)
(Grissom picks up the letters and looks at them. He notes that they're addressed to ADAM TRENT at the DESERT STATE MENTAL HOSPITAL on CANYON AVE. and the first letter is postmarked JUN 13 '02.)
(The second letter is also postmarked JUN 13 '02.)
Grissom: These are all postdated over a year ago.
(Sara removes a hair brush from the vent and looks at it carefully as she sets it on the drawers.)
Grissom: It's not just his subconscious. This guy's got stuff buried everywhere.
(Sara glances up from the brush.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. DESERT STATE MENTAL HOSPITAL - DR. DINO'S OFFICE -- NIGHT]
(Grissom and Sara sit in Valerie Dino's office. She reads from the letters they've found.)
Valerie Dino: "Dearest Angel, I think of you wherever I go. You are my prince. I miss you. Write to me. Your only love, Mother." (She sets it aside and picks up another letter.) Another one. Uh ... "It rained today. I thought of that time when you and I got caught in the storm at the lake. The f*re ... I came home and made your favorite dinner. I even set a place for you ... " so on and so forth.
Sara: That does not sound maternal to me.
Valerie Dino: (shakes her head) It's not.
Grissom: Incest?
Valerie Dino: Fully consummated. Mother-son incest is rare and deeply pathological.
Sara: Oedipal complex taken too far?
Valerie Dino: Oedipus ... implies son to mother. In this case, the mother was seeking the love and creating the codependence. We call this a Jocasta Complex.
Grissom: Oedipus' mother.
Valerie Dino: When Adam was nine his father died. His mother replaced her d*ad husband with her son.
Sara: That's got to mess you up.
Valerie Dino: Yeah. Adam is schizo-affective, suicidal, and a pathological narcissist. When he was a teenager he was unable to retaliate against his mother and incapable of actual intimacy, so ... he started raping women.
Grissom: Always women?
Valerie Dino: Yes. Which is why I don't think he k*lled Robbie.
Sara: We found Adam's semen in Robbie's bed.
Valerie Dino: You see, that surprises me. Like any good psychopath, he rarely veers from his pattern. Adam is a single-celled organism who exists wholly for himself. He must've been getting something tangible in return.
Sara: What? Drugs? Cigarettes?
Valerie Dino: Drugs aren't his issue. And as far as I know he doesn't smoke. Um ...
Grissom: So, uh, what can we learn from his artwork?
(She looks at the drawings.)
Valerie Dino: Uh ... he starts with an innocuous object: a tree, a cat, an oboe -- all of which he morphs into something deadly. You can see ... all of them.
Grissom: So, what should be safe turns into something unsafe.
Valerie Dino: Mother becomes lover.
Sara: What about the mother? Do you have any idea where she is?
Valerie Dino: She lives near Reno.
(She shakes her head.)
Sara: Based on the postmarks, it seems like she stopped writing him.
Valerie Dino: Every time a letter came, a manic episode followed, then a severe depression, including one su1c1de attempt. So I started sending the letters back. Eventually, she stopped writing.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - INTERVIEW ROOM -- DAY]
(Adam Trent bites his nails as he's questioned by Sara. Grissom sits on the side, watching. Valerie Dino is also in the room. Thunder rumbles softly in the background.)
Adam Trent: Did I k*ll him? Yes.
Sara: Why?
Adam Trent: He was q*eer.
Sara: But you had sex with him.
(Adam Trent stops biting his nails and looks at Sara.)
[QUICK FLASH: ADAM'S POV]
(Sara.)
[RESUME VIEW]
Adam Trent: No. He had sex with me. He was the punk.
Sara: Was it consensual?
Adam Trent: I don't know.
Sara: So why did you do it?
Adam Trent: I don't know.
Sara: Okay. So then what happened?
Adam Trent: I took his head and I smashed it into the floor.
(Quick flashback to: [ROBBIE'S ROOM] Adam Trent smashes Robbie's head against the hard floor. Blood spurts on the ground.)
(End of flashback. Resume to present.)
Sara: And that's how you k*lled him?
(He looks at her for a long moment. Suddenly, Sara turns and glances at Grissom.)
Adam Trent: (deep breath) What? You don't believe me?
(Sara looks at Adam.)
Sara: I'm just wondering if that's how you k*lled him.
Adam Trent: Yes. I'm saying this and this is true. And if you don't believe me, just look in the bucket in the latrine.
(Again, Sara turns and looks at Grissom.)
Adam Trent: Okay ... (Sara turns and looks at Adam.) Do you really want to know why I k*lled him?
Sara: Yes.
(Adam looks at Sara.)
[QUICK FLASH: ADAM'S POV]
(He looks at Sara's face, then down to her breasts.)
(He looks at her right hand on the table between them. We note that her index fingernail is painted gold.)
(Cut back to: Sara's face.)
[RESUME VIEW]
(Adam goes back to biting his nails. We notice that his nails are bleeding.)
(He puts his hand aside and stares at Sara.)
Adam Trent: It's because I'm crazy.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - LATRINE -- NIGHT]
(The security guard opens the door to the latrine. Sara and Grissom enter. Grissom's carrying his kit. They walk inside looking around.)
Sara: Not a word about suffocation.
Grissom: Well, his nails weren't long enough to leave those tears in the pillow. And there would have been traces of blood from his cuticles.
Sara: Something is off.
(At the end of the bathroom near the showers are the janitor's bucket and mop. Sara walks into the small walkway and takes out her flashlight. She switches it on and puts on a glove.)
(She kneels down next to the bucket and removes a bundle of clothes. She puts the bundle on the floor and unrolls it. They immediately see the blood on the front of the shirt.)
Grissom: Well, there's our blood splatter.
(Sara opens up the pants and the boxer shorts. They immediately notice the red stain in the front of the shorts.)
Grissom: What is that on the crotch?
Sara: Lipstick.
QUICK FLASHES OF:
[DR. VALERIE DINO]
[NURSE NANETTE FABER]
[NURSE JOANNE MCKAY as she takes a puff from her cigarette and puts the cigarette down into the nearby tray.]
CUT TO:
[EXT. DESERT STATE MENTAL HOSPITAL - PATIO -- DAY]
(One of the inmates stands near the window looking down outside.)
(In the smoke break area, Sara picks up a single cigarette butt with lipstick on the end of it. She puts it in a bindle.)
(Sara turns to Lieutenant Reed Owens standing near her.)
Sara: Where is Nurse McKay? I need to talk to her.
Reed Owens: She's on lunch duty.
Sara: All right. I can either take this and the underwear back to the lab and confirm the match, which will only extend our presence here. Or ... you can give me access to the nurse's station right now.
CUT TO:
[INT. DESERT STATE MENTAL HOSPITAL - HALLWAY / NURSE'S STATION -- DAY]
[HALLWAY POV]
(Camera slowly creeps around the hallway to reveal that Grissom and Sara are in the nurse's station. The door is wide open.)
[RESUME VIEW]
(Grissom looks at the various file folders. Sara is looking at a photo.)
Sara: This must be the photo that Nurse McKay confiscated from Robbie in group. The missing half? I found blue tape in Robbie's room.
(We see it's a photo of a young boy in yellow shorts standing between two other boys, his arms resting on their shoulders. Both faces of the two other boys are cut or torn out.)
Sara: Kind of looks like Adam.
Grissom: Where would Robbie get a picture of Adam?
Sara: Well, they were having sex.
(Grissom tries a drawer and finds it locked. Sara turns over a small heart-shaped paperweight on the desk and finds "J + A" painted in black under it.)
(Grissom tries more drawers and finds them locked.)
Grissom: I'm going to find someone who can open these drawers.
Sara: Okay.
(Grissom starts removing his gloves as he heads for the door. Sara is still looking at the various items on the counter, her back to the open door.)
[HALLWAY POV]
(Grissom walks out of the nurse's station. The door is wide open as he makes his way down the hallway.)
[RESUME VIEW]
(Sara is in the nurse's station, her back to the open door.)
[GRISSOM]
(Grissom walks down the hallway toward Lieutenant Reed Owens, who is at his post near the main door. Grissom stops in front of him and talks with him.)
[SARA]
(Sara is in the nurse's station studying the different photo of Adam that she's found.)
(Behind her, we see Adam Trent appear in the doorway. He turns and walks quietly into the nurse's station.)
(Sara hasn't noticed him.)
(With his eyes on Sara, Adam starts to close the door.)
Adam Trent: Hey.
(Sara stops and turns around. She puts the photo down on the counter behind her.)
[GRISSOM]
(Outside in the hallway, Reed Owens is talking with Grissom. He points to the doorway on the right. Grissom turns and exits the hallway, disappearing through the door.)
[SARA]
(Back in the nurse's station, Sara stares at Adam Trent. Adam closes the door.)
Adam Trent: Are you a spiritual person?
Sara: Sometimes.
Adam Trent: Do you believe that everything happens for a reason? That bad things are there to teach us a karmic lesson?
(We hear Adam move slowly toward Sara. Sara backs away casually, reaching behind her, grabbing a syringe from the counter top.)
Adam Trent: You know, maybe all our problems can be cured by tuning in to a higher frequency.
(Adam continues to talk with Sara.)
Adam Trent: There's this one guy I read, he believes that illness, anxiety and fear all occur when people are vibrating at ten thousand cycles a second.
(Sara nods. Adam moves closer toward Sara. Sara moves. She uncaps the syringe and tries to jab it at Adam. Adam grabs Sara, turns her around and holds her in front of him.)
(The syringe falls harmlessly to the floor.)
[HALLWAY POV]
(Through the glass, we see Sara struggle against Adam. They both fall out of view as they sink down to the floor.)
[RESUME VIEW]
(Sara struggles against Adam. She tries to elbow him in the chest, but Adam has a firm hold on her. Adam takes out a pointed piece of hardened clay that he holds against Sara's throat.)
Adam Trent: If they could just get up to a hundred thousand cycles per second they'd be in the realm of sound, light and spirit, and everything would be just fine. Right?
Sara: (nods) Yeah.
[HALLWAY]
(Grissom returns with an orderly. They both head back to the nurse's station.)
Adam Trent: (o.s.) You know what I think?
[NURSE'S STATION]
(Adam has a firm hold on Sara.)
Adam Trent: I think I'm just vibrating at the wrong frequency.
(Sara struggles against Adam's hold on her.)
[HALLWAY]
Adam Trent: (o.s.) Don't --
Sara: (o.s.) It's okay.
(Grissom and the orderly return to the nurse's station and find the door locked shut. The orderly jiggles the lock. It doesn't open.)
Adam Trent: (crying) (o.s.) Do you think I'm smart?
[OFF ADAM AND SARA]
(Alarmed, Grissom steps to the side to look in through the window.)
Sara: (o.s.) Yeah. ADAM TRENT: (o.s.) Yeah?
(Sara sees Grissom outside.)
Sara: (nods) Uh-huh.
Grissom: (o.s.) Oh, dear God.
Adam Trent: (crying) Do you think I'm right?
Grissom: (o.s.) Open the door.
(Adam presses the ceramic tip against Sara's throat.)
Sara: (o.s.) I do.
[HALLWAY]
Adam Trent: (o.s.) You do?
(The orderly fumbles as he tries different keys.)
Orderly: I can't. I don't have the right key.
Grissom: (quietly) Just open it.
(Off screen, we hear keys jingling as the orderly struggles to find the right key.)
[NURSE'S STATION]
(Adam turns and finally notices that Grissom is there looking at Sara. Sara has stopped struggling as she looks back at Grissom.)
Grissom: Please open the door.
Adam Trent: (to Sara and Grissom) Don't you move a muscle. I will grind you, you bitch. You hear me?
(Sara nods, her eyes averted and gazes down at the floor. We hear the alarms beep and lights flash.)
Adam Trent: Do not look at them!
Sara: Okay.
Adam Trent: Keep your eyes on the floor!
(Suddenly, Nurse Joanne McKay runs up to the nurse's station, her hands pressed to the window glass.)
Joanne McKay: Wait!
(Adam turns and sees Joanne McKay through the window.)
Joanne McKay: Adam --
(Suddenly, he goes wild, his attention averted from Sara to Joanne. He points the ceramic piece to her, standing up, releasing his hold on Sara.)
Adam Trent: You! You, go away!
(Sara turns and sees Nurse McKay. She quickly elbows Adam in the chest, pushing him away and getting to her feet. Adam falls back against the desk.)
Adam Trent: (wildly) You! You, go away!
Joanne McKay: (o.s.) No!
(Adam takes the clay piece and uses it to cut his own neck. Blood spurts out from the wound.)
Joanne McKay: (o.s.) Adam! Stop!
(Sara opens the door and runs outside, ignoring everyone as she hurries past them. She walks quickly to the end of the hallway, getting as far away as she can.)
Joanne McKay: (o.s.) (shouts) Get a medic in here!
(Grissom watches Sara, then turns back to look inside the nurse's station. The guard and an orderly hold Adam Trent, who struggles against them as he cries.)
Guard: Hold still. Apply some pressure.
(Joanne McKay rushes into the nurse's station and kneels down to help them, pressing her hands against Adam's wound.)
(Grissom stares at them, then turns to look back at Sara.)
(Sara has reached the end of the hallway where the metal grate covering the window is. It's raining outside.)
Joanne McKay: (o.s.) Where is it? Where is it?
(Off screen, we hear Adam crying.)
(Sara reaches the window and slams both her hands, palm forward on the metal grate.)
(She rests her forehead against the metal grate.)
Joanne McKay: (o.s.) We need help in here!
(Camera holds on Sara as the alarms around her continue to beep, red lights continue to flash.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. DESERT STATE MENTAL HOSPITAL (STOCK) - NIGHT]
(It continues to rain outside. We see the shadow of a person standing near the second floor middle window just above the front door.)
[INT. DESERT STATE MENTAL HOSPITAL - HALLWAY -- DAY]
(It's raining outside. Thunder rumbles. Sara looks out the window. Grissom stands quietly nearby listening.)
Sara: When my father died, my mother came to a place like this for a while for evaluation. It looked the same, it smelled the same. It smelled like lies.
Grissom: You sure you're okay?
Sara: Crazy people do make me feel crazy.
Grissom: If you want, I can have somebody take your place.
Sara: I appreciate that. I do, I really do, but ...
(Down the hallway near the nurse's station, we see Adam Trent on a gurney with the security guard, orderly and a doctor standing over him. He's in restraints. Nurse Joanne McKay heads for Grissom and Sara.)
Joanne McKay: I'll be right back.
Man: Okay.
(Sara continues.)
Sara: I kind of made a decision to move beyond that and ... I really want to finish this case.
Joanne McKay: (interrupts) We have rules for a reason.
(Grissom turns and looks at Nurse McKay.)
Joanne McKay: You people come in here disrupting things. You're unsafe. This is your fault.
Grissom: Really?
Sara: You seem to take your job rather personally.
Joanne McKay: What are you suggesting?
Sara: That you had an intimate relationship with Adam Trent.
Joanne McKay: (scoffs) That's ridiculous.
Sara: Your lipstick is on his underwear.
Joanne McKay: I gave Robbie my lipstick sometimes. Maybe he was wearing it when the whole thing ...
Grissom: (interrupts) We didn't find any on his lips.
Joanne McKay: Well, that's your problem.
(She scoffs, turns and heads back to the men standing around the gurney.)
Joanne McKay: What are you waiting for? Get him to the medical unit, stat.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - MORNING]
(The skies have cleared some. Sirens blare in the distance.)
[INT. DESERT STATE MENTAL HOSPITAL - ART ROOM -- DAY]
(Grissom walks into the day room carrying the clay piece. He looks around and notes the inmates painting.)
(He walks up to the table nearest him in the center of the room with various un-fired and un-painted pottery pieces on it.)
(He notices a particular piece on the second table. It's a one-handled damaged vase.)
(He takes the piece in his hand and matches it to the vase as one of the missing handles.)
(Grissom turns and talks to the therapist sitting at his desk in the corner.)
Grissom: Excuse me. (The therapist looks up.) Adam Trent was working on this piece?
Therapist: Yes. He made it on Monday. (The therapist stands up and heads over to Grissom.) But he never got a chance to f*re it. Nurse McKay came in; they had a conversation. Actually, it was more of an argument, very heated, very loud.
(Quick flashback to: [ART ROOM - DAY] Adam Trent is on the pottery wheel making his vase.)
(Nurse McKay walks up to him and kneels down next to him. She starts talking to him as Adam works on the piece.)
(End of flashback. Resume to present.)
Therapist: And then she yanked him out of class.
Grissom: Was this on the wheel while they were arguing?
Therapist: (nods) Yeah.
(Grissom kneels down to look at the piece at eye level.)
Therapist: Adam's work is very provocative.
(He sees the groves in the side.)
Grissom: Yeah. It speaks to me.
CUT TO:
[INT. CSI - HALLWAY TO A/V LAB -- DAY]
(Grissom and Sara walk through the hallway.)
Sara: Acoustic archeology?
Grissom: In the '60s, experiments were done on clay pots and painted canvas. Scientists were able to ferret out sounds that were captured during the creative process in the clay and the paint.
(They step into the A/V Lab. Sofia Curtis is there with the pottery piece on a turntable.)
Sara: Trippy.
Sofia Curtis: It's actually not that out there. (As she talks, she flips the turntable on.) In the old days, the first gramophone recordings were made by taking the vibrations of sound and cutting them into wax cylinders while they were turning.
(Quick flash to: A woman plays the cello sitting next to an old fashioned gramophone.)
Sofia Curtis: (V.O.) Based on the frequency and intensity of the sound, the stylus cut into the wax, creating distinct variances of depth and width.
(Camera zooms in through the gramophone down to the stylus as it cuts through the wax on the cylinder.)
(End of flashback. Resume to pottery.)
Sofia Curtis: For playback, a mechanical transducer vibrated along a groove, generating a current which, when amplified, turned into sound.
Grissom: When the art therapist told me that there'd been an argument while Adam was on the wheel, I thought, well, maybe we can pull some sound off his pot.
(Sofia flips a switch and a red light appears on the side of the turning pottery.)
Sara: Doppler laser. Optical transducer.
Sofia Curtis: We've come a long way.
Grissom: Baby.
(Grissom turns and looks at Sara.)
(Sofia works on the pottery piece. She puts the sound on the computer and plays it. We hear a high-pitched whine.)
Sofia Curtis: Well, there's something there. And it sounds like ...
(She plays it back.)
Sofia Curtis: -- this.
(The sound is muffled with interference, but we can definitely hear a voice pattern there.)
Sara: It's lousy signal-to-noise. It's going to need a lot of processing.
(Sofia clicks on FILTERS and selects BASS & TREBLE.)
(She plays it again.)
(She clicks on FILTERS and selects HIGH/LOW PASS.)
(She plays it again.)
Sofia Curtis: Speech elements skew to consonants. I'll try and dig them out.
(She plays it again. This time it sounds like someone speaking.)
Computer Voice: (muffled with interference)
(Quick flashback of: [ART ROOM - DAY] Adam Trent is at the pottery wheel while Joanne McKay is next to him.)
Joanne McKay: (muffled with interference)
(Quick flash close-up of the brush on the side of the pottery piece etching the sound into the side.)
Joanne McKay: (muffled) rrr-bee ...
(CU: CLAY POTTERY. The red laser light reads the sound off the grooves in the side of the turning pottery piece.)
Joanne McKay: (muffled) rrr-bee...
(End of flashback. Resume to present.)
Grissom: Robbie?
Sara: (nods) Maybe. (to Sofia) Could you run that back a little bit?
Sofia Curtis: Sure.
(She replays a portion of it.)
Joanne McKay: (muffled with interference)
Sara: What is that?
Joanne McKay: (muffled with interference)
Joanne McKay: (muffled with interference) Tht's my Nnn-gl.
Sara: Right there.
Joanne McKay: (muffled with interference) Nnn-gl...
Sara: You hear it?
Joanne McKay: (muffled with interference) That's my Angel.
Sofia Curtis: angle?
Sara: Angel.
(Quick flashback to: [ART ROOM - DAY] Joanne McKay.)
Joanne McKay: (clearly) That's my angel.
(Camera zooms in to the grooves in the side of the spinning pottery piece.)
Joanne McKay: (clearly) That's my angel.
(End of flashback. Resume to present.)
(Sofia looks at Grissom. He explains.)
Grissom: In her letters, Adam's mother called him "angel."
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Sara and Brass interview Joanne McKay. Sara looks at the DNA results.)
Sara: The hair from the brush in Adam's room was fresh enough to get a DNA profile. It came back female. We tested it against your cigarette butt. It matched.
Joanne McKay: Adam liked it when I brushed his hair.
Brass: I bet he did.
Sara: You were lying about giving Robbie lipstick. You have seven out of 13 alleles in common with your patient, Adam Trent.
(Brass holds up the bagged letters.)
Brass: Your Dearest Angel.
(Joanne McKay doesn't say anything.)
Brass: Okay. Joanne McKay, registered nurse, licensed by the Nevada board of Nursing 1978. Married Howard Trent 1980. The board requires you to get a new certificate when you get married. I guess you never complied.
Joanne McKay: I've always gone by my maiden name.
Brass: I guess that makes it less embarrassing to check into the motel with your son. (She glares at him.) Oh, I'm sorry. You checked into a psycho ward instead.
Joanne McKay: My son needed me.
Sara: For what? To destroy his ego? To fill him with guilt? To make him hate himself so much he would take his own life just to be free of you?
Joanne McKay: You have no idea what goes on between us.
Brass: Let's cut the umbilical cord, okay? Six months ago your letters started to come back. No more communication with Little Lord Fauntleroy. So you apply to Desert State. They were desperate for nursing staff, so you got a job.
(Quick flashback to: [DAY ROOM - DAY] Valerie Dino introduces Joanne McKay to the inmates.)
Valerie Dino: Gentlemen, this is our new nurse, Nurse McKay.
Joanne McKay: Hello.
(Joanne turns and looks directly at Adam Trent. Adam looks away and starts biting his nails.)
(End of flashback. Resume to present.)
Brass: Bet it's tough to turn a folie a deux into a menage a trois. N'est-ce pas?
(Quick flashback to: [ADAM'S ROOM - NIGHT] Adam brushes Joanne McKay's hair. He kisses her.)
(End of flashback. Resume to present.)
Sara: Even tougher that your son was cheating on you ... with a man no less.
(Quick flashback to: [COURTYARD - DAY] Joanne watches as Adam meets with Robbie.)
CUT TO:
[ART ROOM - DAY]
(Joanne talks with Adam.)
Joanne McKay: You need to stop this.
Adam Trent: Stop what?
Joanne McKay: End it with Robbie.
Adam Trent: Don't tell me what to do.
Joanne McKay: End it or I will.
(End of flashback. Resume to present.)
Sara: But he didn't end it, did he? Robbie was lover's leverage. He was that thing that Adam kept in his back pocket and pulled out whenever he needed to distance himself from you.
Brass: So you had no choice but to get rid of Robbie. And being a good nurse, you knew his trigger.
(Quick flashback to: [ROBBIE'S ROOM - DAY] Joanne takes the photo of Adam off Robbie's wall and gives it to Robbie.)
Joanne McKay: I want you to talk about this in group today.
Robbie Garson: B-but I thought that we ...
Joanne McKay: It's okay. You can bring it.
(Joanne walks out.)
CUT TO:
[GROUP SESSION]
(Robbie looks at the photo in group.)
Joanne McKay: Hey! Robbie. What do you got there? JOANNE MCKAY: There's no personal items in group.
Robbie Garson: (stutters) B-but y-you ... you told me ... th-th-that I could bring this.
Joanne McKay: I didn't say anything. (Joanne stands up.) Give me that. What is that, a picture?
(She tries to take the photo from him. Robbie hides the photo from her.)
Robbie Garson: You remember?
Joanne McKay: Give me the picture.
Robbie Garson: No, do you remember? You remember? (shouts) No!
Joanne McKay: Give me the picture.
(Robbie stands up and starts to struggle with Joanne McKay for the photo.)
Robbie Garson: No, you don't tell me! You told me...!
CUT TO:
[SECLUSION]
(Robbie is being restrained on the bed.)
Joanne McKay: Hang on!
(They struggle to restrain Robbie as he screams.)
CUT TO:
[ROBBIE'S ROOM - NIGHT]
(Joanne McKay is in Robbie's room. She takes his pillow and smothers Robbie Garson. He struggles against her, but she keeps the pillow firmly on his head.)
(End of flashback. Resume to present.)
Brass: You manipulated the situation and took advantage of his weakness.
Sara: Exactly what you have been doing to Adam for the past twenty years. And being such a good mother, you made him cover it up. (b*at) Again.
(Quick flashback to: [ROBBIE'S ROOM - NIGHT] Adam removes Robbie's body from the bed and places it on the floor. He smashes Robbie's head against the floor until a pool of blood gathers under his head.)
(Blood spatters on Adam's clothes.)
LATER:
(The door opens and Kenny walks in. He glances around, sees the blood on the floor and can't help himself. He rubs his hands in the pool of blood, smashing it against his mouth trying to drink it all in.)
(End of flashback. Resume to present.)
Joanne McKay: Why would my son do that?
Sara: Because he loves you as much as he hates you.
Joanne McKay: You can't prove any of this.
Brass: Just the incest, which is a Class B felony. It carries a penalty of up to ten years.
Sara: That's ten years away from Adam.
Joanne McKay: Good luck getting him to testify.
Brass: (sighs) Well. Okay.
(Sara gathers her things and heads out of the room.)
(The officer in the room steps forward.)
[OBSERVATION ROOM -- CONTINUOUS]
(Through the reflection in the glass, we see Grissom is in the observation room watching. Sara leaves the room.)
(The officer reaches for Joanne McKay.)
Brass: (o.s.) Joanne McKay, you're under arrest for the crime of incest ...
(Grissom turns and looks at Sara, who is standing next to him.)
Brass: (o.s.) ... your rights. You have the right to ...
Grissom: Well, jail or no jail, ... (The officer has Joanne McKay handcuffed and standing as she listens to her rights.) -- I don't think she'll last six months. She'll die without her son.
Sara: That would be better for both of them.
(Grissom turns and looks at Sara.)
(He nods, then quietly leaves the room. He closes the door behind him.)
(Camera lingers on Sara.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x21 - Committed"} | foreverdreaming |
FLASH OPEN:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - HALLWAY / DNA LAB -- NIGHT]
(The camera follows Catherine down the hallway toward the DNA lab. Catherine steps into the lab. Mia Dickerson, working at the table, looks up.)
Catherine: Hi.
Mia Dickerson: Hey.
(Catherine takes the two swab boxes out of the plastic bag and holds them out for Mia.)
Catherine: Husband and wife got into it.
Mia Dickerson: Hmm.
(Mia takes the swabs from Catherine.)
Mia Dickerson: Hmm. What set them off?
Catherine: She caught him with a hooker in their bed. She cut him. He k*lled her.
Mia Dickerson: What about the hooker?
Catherine: She grabbed his wallet and took off. I caught the guy just sitting on a curb. I swabbed his hands for blood spatter.
Mia Dickerson: I am super backed up. Can this wait till tomorrow?
Catherine: (shrugs) He's not going anywhere. Thanks, Mia.
(Catherine turns, walks out of the lab and into the hallway.)
(She sees Warrick and Nick turn the corner talking with each other.)
Nick: Yeah ...
(She joins them, putting an arm around each of them.)
Catherine: Oh, hey, guys. I could really use a drink. You want to join me? I'm buying.
Warrick: I'd love a drink, but we made plans, though.
Catherine: You did?
Warrick: Tomorrow.
Nick: Rain check.
Catherine: All right.
Nick: Rain check.
(Nick and Warrick both continue down the hallway, leaving Catherine alone.)
Catherine: (sighs) Okay.
CUT TO:
[EXT. HIGHBALL - FRONT - NIGHT]
(A group of women walk toward the entrance as a taxi drives away.)
[INT. HIGHBALL -- NIGHT]
(Catherine sits at the bar talking with Adam Novak.)
Adam Novak: No way you were never married. Oh, let me guess. You were young, he seemed more mature than he really was, he swept you off your feet, and, uh, he let you fall.
Catherine: Bruised, but not broken.
(The bartender checks on them.)
Bartender: Get you another one?
Catherine: No, I'm good, thanks.
(Adam lightly brushes his fingertips up and down Catherine's bare arm.)
Adam Novak: So you're divorced?
Catherine: (nods somewhat) You?
Adam Novak: Yeah. She seemed more mature than she really was; swept me off my feet.
(She chuckles.)
Adam Novak: Kids?
Catherine: Uh, yes, I have a daughter.
Adam Novak: If she's got her mother's looks, you're in trouble.
(He leans in closer to her and whispers into her ear. Catherine chuckles.)
Catherine: If I don't get home soon, I will be in trouble.
(Catherine finishes her drink.)
Catherine: Thanks. I needed this.
Adam Novak: If you're bl*wing me off, no worries.
(He opens a matchbook and writes his phone number down inside the lid.)
Adam Novak: But if you're not ... (He gives her the matchbook.) ... give me a call.
(Catherine takes it and puts it in her bag. She turns to leave. He stops her.)
Adam Novak: Wait a second. Let me walk you to your car.
CUT TO:
[EXT. HIGHBALL - PARKING LOT - NIGHT]
(Catherine and Adam Novak are kissing in front of her car. Catherine pushes him away.)
Catherine: I can't do this tonight. I ... I'll call you.
(Catherine opens the car door. Not liking the brush off, Adam shuts the door on Catherine.)
Adam Novak: What the hell is your problem?
(Catherine tries to tug the door open, but he holds it shut on her.)
Catherine: Go to hell.
(She pulls and he lets go. The door opens, hitting Catherine in the cheekbone. She groans.)
(He leans in close to her.)
Adam Novak: You're not worth the trouble.
(Adam Novak leaves.)
CUT TO:
[INT. CATHERINE'S RESIDENCE - BEDROOM -- NIGHT]
(The phone rings. Catherine groans and sighs. The phone continues to ring.)
(She answers it.)
Catherine: (to phone) Hello.
[INT. CATHERINE'S RESIDENCE - LIVING ROOM - NIGHT -- LATER]
(Dressed, Catherine sneaks over to her mother sleeping on the couch.)
Catherine: (whispers) Mom, Mom. Grissom just called. I've got to go in. I'm backing up grave.
(Catherine's mother wakes up and sniffs.)
Lily Flynn: What? Vodka, with an Altoid chaser.
Catherine: I brushed my teeth.
(She notices the cut on Catherine's cheek.)
Lily Flynn: What did you do, walk into a door?
Catherine: Hey, listen, Lindsey's got a dentist appointment before school. I wrote all the information down in the kitchen.
Lily Flynn: Okay.
Catherine: Okay? Thank you.
(Catherine's mom settles to go back to sleep.)
Lily Flynn: Oh, good grief, girl.
CUT TO:
[INT. GARAGE -- NIGHT]
(Catherine walks over to the crime scene. Lights flash around her. Off screen, we hear a camera snap.)
(In the parking structure, David Phillips checks the body while Grissom snaps photos.)
(Catherine walks up to them.)
Grissom: I appreciate this. Everyone's out. I'm short.
Catherine: You're welcome.
(Catherine looks at the body as Grissom snaps more photos. She notes that the victim's head is covered by her jacket.)
Catherine: Clotted blood hasn't retracted yet.
Grissom: She hasn't been d*ad long.
Catherine: We have an ID?
(Det. Vartann joins them.)
Det. Vartann: Yeah, building manager took a peek. ID'd her as Alice Granger. Apartment 207. Moved here about a month ago.
Grissom: David, you want to take the, uh, jacket off her face?
(David Phillips removes the jacket to show that the woman is blonde. Grissom looks at Catherine and notices the cut on her cheek.)
Grissom: What happened to you?
Catherine: I walked into a door. Can we not talk about it?
(David checks the wound on the top of the victim's head.)
David Phillips: g*n. Looks like a small caliber w*apon.
Catherine: No cartridge casings.
Det. Vartann: No purse, no car. I put out a bolo. Possible car jacking.
(Quick flash to: [GARAGE - NIGHT] Alice Granger is in the garage when a person with a g*n comes up behind her. The woman takes off running. The person follows her. She falls and is sh*t.)
(End of flashback. Resume to present.)
Grissom: Usually when a k*ller covers the victim's face, it suggests familiarity. An act of contrition.
(Quick flashback to: [NIGHT] Alice Granger is d*ad. The k*ller drapes her jacket over her face.)
(End of flashback. Resume to present.)
Catherine: (nods) Maybe she knew her attacker.
Grissom: Great. Carjacked by a friend.
(Det. Vartann's phone rings. He answers it.)
Det. Vartann: (to phone) Vartann. Yeah, got it. (He hangs up.) We got a 20 on her car.
Grissom: You go; I'll stay with the body. I'll meet you there.
(Catherine nods.)
SHORT TIME CUT TO:
[INT. CAR (MOVING) - NIGHT]
(Catherine follows the officer's car to the next crime scene. They pull up in front of the Highball.)
(In the reflection of the rear view mirror, we see Catherine's eyes widen as she realizes where they are.)
CUT TO:
[EXT. HIGHBALL - PARKING LOT -- NIGHT]
(Catherine looks around the place as she and Det. Vartann head over to the officer standing near Alice Granger's car.)
Det. Vartann: You see anybody get out of the car?
Officer: No, sir. Saw it on patrol.
Det. Vartann: You checked the bar?
Officer: I waited for you. No one's exited since we got here.
Det. Vartann: Okay, I'll see you inside.
(The officer leaves. Catherine looks inside the car through the windows.)
(She looks around, then at the technicians standing nearby.)
Catherine: Can you open it up?
Technician: Uh, yes, ma'am.
(The technician jimmies the lock and opens the car door for Catherine.)
Catherine: Thank you.
(She looks inside the driver's side. Under the car seat, she finds a g*n.)
Catherine: I found a g*n under the seat.
(Grissom joins them. Catherine takes the g*n out and shows it to them.)
Catherine: .22 Beretta.
Grissom: Well, that's small enough to be the w*apon.
Det. Vartann: So he sh**t her, takes her car, and stops off for a drink.
Grissom: He could still be in there.
(Catherine stops examining the g*n and looks at them.)
Det. Vartann: Let's find out.
(Det. Vartann turns and heads into the bar.)
(Grissom holds a bag open.)
Grissom: Did you hear the one about the cop and the monkey who walk into a bar?
(Catherine puts the g*n in the bag.)
Catherine: I'm not in the mood.
Grissom: Neither was the monkey.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. HIGHBALL -- NIGHT]
[SLOW MOTION]
(Det. Vartann and Catherine walk into the bar. Catherine looks around at the various people still at the bar. Her eyes settle on the blonde-haired bartender
- the same one who served her drinks earlier in the night.)
[RESUME MOTION]
(The officer reports to Det. Vartann.)
Officer: Except for the Saturn, all the cars in the lot are accounted for.
Det. Vartann: Okay.
Officer: Thanks.
(The officer leaves. Det. Vartann starts to question the bartender.)
Det. Vartann: Hi. You recognize this girl?
(Catherine walks up to the bar.)
Bartender: Yeah. She's been in a few times.
Det. Vartann: How about last night?
Bartender: (nods) Yeah.
(The bartender turns and looks at Catherine. She recognizes Catherine from earlier. Catherine shakes her head.)
Bartender: Throwing them back pretty good, too.
Det. Vartann: You see anybody hassle her?
Bartender: She was getting a lot of attention. She didn't really seem to mind.
Catherine: Did you see her leave with anyone?
Bartender: No. She was wasted. Had me call her a cab.
Det. Vartann: Around what time?
Bartender: We were really slammed. Maybe 2:00 ... 2:30.
Catherine: Which cab company?
Bartender: Lucky Cab.
Det. Vartann: Well, that would explain why her car's still here.
Catherine: Doesn't explain the g*n.
(Det. Vartann turns and walks away. Catherine leans toward the bartender.)
Catherine: (whispers) Thank you.
Bartender: Why? Do I know you?
(Catherine smiles, turns and leaves.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins goes over the body with Grissom.)
Robbins: I dug it out of the right frontal cortex. The b*llet lacerated the right occipital lobe. It crossed the mid-line, destroying the vital structures of the brain and bounced off the left frontal calvarium.
(Grissom looks at the b*llet.)
Grissom: Hmm. This is a .25 caliber.
Robbins: What, disappointed?
Grissom: We found a .22 in the victim's car. This just ruled that out as the m*rder w*apon.
Robbins: So sh**t me. (Robbins goes back to the victim.) Stellate tear means close contact. See the muzzle impression around the entrance wound?
(Grissom leans in for a closer look of the muzzle impression on the top of the shaved victim's head.)
(Quick CGI POV of: The muzzle of the g*n is close to the victim's head. The g*n fires. The smoke clears, leaving an impression on the scalp.)
(End of CGI POV. Resume to present.)
Grissom: This could help identify the firearm.
(Grissom takes a ruler and measures the angle of the entry wound.)
Grissom: This is an unusual point of entry.
Robbins: Yeah, I measured the trajectory. Ten to 15 degrees left of vertical.
Grissom: sh**t would have to be standing over her.
Robbins: Which would make him a giant, except for this.
(Robbins lifts up the sheet and shows Grissom her knees.)
Robbins: Abrasions on her knees.
Grissom: So ... maybe she was kneeling.
Robbins: Begging for her life.
CUT TO:
[INT. CSI - LAB -- DAY]
(Sara and Catherine go over the victim's clothes. Sara takes out a credit card from the pocket.)
Sara: So, Judge Wilson tells me I'd have better luck with a blue suit than a gray suit. What is that? Do you think he meant that? Do you think he was flirting with me or ... ?
Catherine: I thought judges were supposed to be color blind.
Sara: Yeah, right. That's cute.
Catherine: I found some particulate on the jacket. Not sure what it is. I'll get it to Hodges.
Sara: Pocket contents: Credit card, car keys, lipstick and one matchbook.
Catherine: Can I see that?
(Sara shows it to Catherine.)
Sara: There's no name, just a phone number.
(Quick flashback to: [HIGHBALL - NIGHT] Adam Novak writes down his number on a matchbook. He gives it to Catherine.)
Adam Novak: Give me a call.
(Catherine takes the matchbook.)
(End of flashback. Resume to present.)
Sara: I'll have Vartann run it down.
(Sara opens the matchbook.)
Catherine: You know, I've got to go pick up Lindsey. Could you cover for me?
Sara: Sure.
(Catherine stands and heads out of the lab.)
Catherine: Thanks.
Sara: Tell her I said, "hey."
CUT TO:
[INT. CAR (MOVING) -- DAY]
(Catherine drives home and pulls up the driveway. She engages the brakes.)
[INT. CATHERINE'S HOUSE - DAY - CONTINUOUS]
(Catherine rushes into the house and goes to the kitchen to check the garbage. The bin is empty.)
Catherine: Lindsey!
Lindsey: Yeah.
Catherine: What happened to the trash?
Lindsey: I took it out, like you always tell me to. It's Thursday.
(Catherine sighs.)
Lindsey: Uh, hello, Mom, you okay?
Catherine: Yeah, I'm great.
(Catherine's mom steps into the kitchen and follows Catherine through the living room.)
Lily Flynn: Are you sure about that? You want me to be the babysitter, but you want me to be deaf and blind too?
(Catherine heads back out the front door.)
Catherine: Can't get into this now, Mother. I'm in a jam.
Lily Flynn: You haven't seen your daughter all week.
(Catherine steps outside, her mother following her.)
Catherine: Save the sermon.
Lily Flynn: I was a working mother too, you know?
Catherine: (to herself) There but for the grace of God ...
Lily Flynn: Don't just assume that my time means nothing to me.
(Catherine lifts the curb-side trash bin lid up and finds it empty.)
Catherine: Damn it.
(She shuts it and heads back to the car.)
Lily Flynn: Catherine?
(Catherine's phone rings.)
Catherine: I threw something away. It's gone.
Lily Flynn: You're throwing more than you know away.
(Catherine opens her car door and answers her phone.)
Catherine: (to phone) Yeah? Uh ... yeah, just wait till I get there. Yeah.
(Catherine hangs up. She turns to look at her mom.)
Catherine: Mom ...
Lily Flynn: Go. Go. I'll be here when you get back.
(Catherine's mom turns and heads back into the house, leaving Catherine standing by the car.)
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(Hodges sighs. In the background, we see Grissom walking down the hallway. Hodges looks up and sees Grissom walking by. He waves his arms in the air, trying to get Grissom's attention.)
(As Grissom passes the door, he sees Hodges waving to him. Hodges motions for Grissom to come into his lab.)
(Grissom steps into the lab. Hodges hands him a file folder.)
Hodges: Results from Alice Granger's jacket. Found trace elements of iron, chromium, manganese and carbon.
Grissom: Metals.
Hodges: More specific, automotive sheet metal. The metallic balls would've been released into the air during the welding process.
(Quick flash of: A person welding and the sparks flying. End of flash.)
Grissom: So you're saying our k*ller has metal balls?
Hodges: Yes ... maybe. Turns out that the victim worked in a car dealership, so she could've gotten metal balls on the job. And just in case you're wondering, working here, I'm developing them too.
(Grissom flashes Hodges a humorless smile. He turns and leaves.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Catherine steps into the hallway. Greg catches up with her.)
Greg: Yo.
Catherine: Oh. What do you have for me?
Greg: b*llet is a .25 auto caliber Winchester full metal jacket. You can't sh**t .25s from a .22 caliber p*stol.
Catherine: I know.
Greg: Which means the semi-a*t*matic you found in Alice Granger's car isn't the m*rder w*apon.
Catherine: I know.
Greg: Okay, well, did you know that the g*n is registered to a Douglas Granger?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Catherine steps into the interview already in progress. Det. Vartann interviews Douglas Granger.)
Det. Vartann: Were you jealous, Mr. Granger? I mean, she was a beautiful girl.
Douglas Granger: I don't understand why you're asking me this. I'm her brother, not her husband.
Det. Vartann: You still own a lot of g*n. A .22 p*stol, Colt .25, among others.
Douglas Granger: That's right.
Catherine: We found the .22 in Alice's car.
(Douglas Granger sighs.)
Douglas Granger: If she carried it in her purse instead of leaving it in the car, she might still be alive.
(Det. Vartann glances at Catherine.)
Det. Vartann: I don't follow.
Douglas Granger: I gave her the g*n last week.
Det. Vartann: Then what? You sh*t her with your .25?
Douglas Granger: Are you insane? It's no mystery who k*lled her.
(Quick flash from Catherine's POV of Douglas Granger.)
Douglas Granger: Jeff Simon, her ex-boyfriend. Guy was stalking her.
(Quick flash from Catherine's POV of Douglas Granger's clasped hands and face.)
Douglas Granger: She changed her phone number, changed jobs, moved a half dozen times. No matter where she went, there he was. Last week, I was over at her new apartment. Jerk sitting in his truck, in front of the building.
Catherine: Is that when you gave her the g*n?
(He sighs.)
Douglas Granger: Taught her how to sh**t it. Helped her get a restraining order. Got zero help from you guys. "Catch him in the act." That's all we heard.
Catherine: You know where we can find Jeff Simon?
Douglas Granger: Yeah. We used to be friends.
CUT TO:
[EXT. JUNKYARD - DAY]
[SLOW MOTION]
(Catherine follows Det. Vartann through the junkyard. As they step into the main building, REGULAR MOTION RESUMES.)
[INT. JUNKYARD - MAIN BUILDING -- DAY]
(They pass several workers welding. Det. Vartann asks the nearest worker.)
Det. Vartann: Excuse me, I'm looking for Jeff Simon.
(The worker turns and leads them over to a man using a saw. He taps him on the shoulder. Jeff Simon turns the saw off.)
Det. Vartann: Jeff Simon?
(Jeff Simon takes his shield helmet off.)
Det. Vartann: Are you Jeff Simon?
Jeff Simon: Yeah.
(Det. Vartann shows him his badge.)
Det. Vartann: When's the last time you saw Alice Granger?
Jeff Simon: Before the restraining order kicked in.
Det. Vartann: Come on.
Jeff Simon: This is just a big misunderstanding, officer.
Det. Vartann: Well, I'm glad you feel that way. You mind if we take a look in your truck?
Jeff Simon: What did Alice say I did now?
Det. Vartann: Where is it?
(He turns and looks at Catherine. Catherine looks back at Jeff Simon.)
(Quick flash from Catherine's POV of Jeff Simon's face and head.)
Jeff Simon: I don't get a break for another half hour.
Catherine: Look, we can get a court order.
(Jeff Simon sighs and points back outside at his truck.)
Jeff Simon: You can look anywhere you want. Just give Alice a message for me. I love her, and I want her back.
(Det. Vartann and Catherine exchange glances.)
Det. Vartann: Look, buddy, she's d*ad.
(Jeff Simon takes a breath as the news hits him hard. He staggers back and sits down.)
(Det. Vartann and Catherine exchange another glance.)
Jeff Simon: What the ... I swear, I haven't been ... I haven't been anywhere near her since her brother broke us up.
Catherine: I'm gonna check out his truck.
(Catherine leaves. Det. Vartann crosses his arms and sticks with Jeff Simon.)
CUT TO:
[EXT. JUNKYARD - GARAGE - DAY - CONTINUOUS]
(Catherine looks at the truck. She opens the driver's side door and takes a look inside. She climbs in and checks out the glove compartment.)
(She looks at the seat and removes a jacket covering a laptop. She opens the laptop and finds it on to a map of the Las Vegas area. On the map is a blinking red circle.)
(The monitor focuses in on the blinking red circle and an address pops up: 3057
WESTFALL AVE., LAS VEGAS.)
(Catherine knows that address. She takes out her cell phone and dials.)
Catherine: (to phone) Gil, the suspect has a laptop in his vehicle that has a GPS unit that's honed in on the lab.
INTERCUT WITH:
[INT. CSI - HALLWAY TO GARAGE - DAY]
(Grissom is on the phone as he walks through the hallway.)
Grissom: Well, you can't track a static location. It has to be something mobile.
Catherine: (from phone) I know. That's why I'm calling.
(Grissom turns the corner and heads for the garage where they're currently keeping Alice Granger's car.)
(Cut to: Using a long-handled mirror, Grissom is checking under the car for the unit. He starts at the front, goes around the side and looks under the back. He finds the unit.)
(He dials.)
(Catherine answers the phone.)
Catherine: Yeah.
Grissom: You were right. We found a GPS transmitter under the rear bumper of the girl's car.
Catherine: Thanks.
(She hangs up the phone and shouts to Vartann.)
Catherine: (to Vartann) He was tracking her car. Let's bring him in.
Det. Vartann: Get up.
(Jeff Simon gets up.)
(Camera holds on Catherine.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Catherine sits in the interview room across the table from Jeff Simon. The door opens and Dev. Vartann walks in with a file folder.)
Det. Vartann: You are a real prize. Jeff, your prints are all over that box, which means one count felony stalking. That's seven to ten. m*rder two adds a quarter. Now, you plead out now, you'll live to see parole.
Jeff Simon: I didn't k*ll Alice. I loved her.
Catherine: Is that your idea of love? Stalking her with a GPS unit?
Jeff Simon: I wasn't stalking her. I wo-worried about her.
Det. Vartann: So that restraining order she filed against you was because you're a nice guy.
Jeff Simon: Let me tell you about Alice. She ... liked to party ...
(Quick flashback to: [EXT. CLUB - NIGHT] Alice and her date head back to the car.)
Jeff Simon: (V.O.) ... barely ate, hardly slept, ...
JEFF SIMON'S POV: Jeff is sitting in the car across the street watching Alice and her date stand in front of the car. Alice kisses her date.
Jeff Simon: (V.O.) ... didn't want to admit she had a drinking problem.
(Camera swings over to the driver's side-view mirror and we see Jeff Simon's reflection as he glares at them. We hear the car door slam off screen.)
(End of flashback. Resume to present.)
Jeff Simon: She needed me to look out for her.
Catherine: Well, there's a problem with your story. She called a cab.
Jeff Simon: I'm telling you, Alice got into a Chrysler or... a Buick? It was blue, maybe black. And the guy she was with, maniac driver. Complete moron.
Det. Vartann: Wait, wait. You ... you followed them?
Jeff Simon: I had to. But I was pulled over by the cops. They kept me on-on the side of the road for over an hour.
Det. Vartann: What time was this?
Jeff Simon: It was around 2:00. It was a buck-fifty ticket. I'm innocent.
Catherine: Cut the crap. We found trace amounts of automotive sheet metal on her clothing. You work around cars. If Alice picked it up from you, you were in violation of the T.R.O.
Jeff Simon: Lady, until we broke up, we spent every waking minute together. She'd come over to my shop on her lunch break just to get some.
Catherine: It was over, Jeff. She didn't want you to be her lover, her protector. She didn't want you within a hundred yards. Whatever trace from you we found on her was fresh.
Jeff Simon: She worked around cars, too. I'm telling you, I'm innocent!
Catherine: You were living a fantasy, thinking you still had a chance. When reality set in, you k*lled her.
Jeff Simon: I only did one thing wrong. I didn't protect her from that guy.
Det. Vartann: What did this guy look like?
Jeff Simon: Sleazy bastard. Slight build, dark hair. I think he had a leather jacket.
(Catherine stares at Jeff Simon as she remembers.)
(Quick flashback to: [HIGHBALL - NIGHT] Catherine chuckles as Adam Novak leans in close to whisper into her ear. We note that he's wearing a black leather jacket.)
(End of flashback. Resume to present.)
(Camera holds on Catherine.)
DISSOLVE TO:
[INT. CSI - HALLWAY / GRISSOM'S OFFICE / DNA LAB]
[SLOW MOTION]
(Catherine walks through the hallway and into Grissom's office. Grissom is finishing up a phone call.)
Grissom: (to phone) Okay.
(He hangs up.)
Catherine: Do you have a minute?
Grissom: I got a problem in DNA.
(Grissom heads out of his office and back into the hallway. Catherine follows him.)
Catherine: Okay, uh, it really is only gonna take a minute. Um, I just need to have a conversation with you.
Grissom: First things first.
(Grissom and Catherine enter the DNA Lab.)
Mia Dickerson: I processed the swabs from the wife who found her husband in the hooker case.
Catherine: Right.
Mia Dickerson: Two contributions.
Catherine: Two?
Mia Dickerson: One was a match to the wife's DNA. The other was from an unknown male. I found the same unknown male contribution on the swabs from the Alice Granger homicide.
Grissom: Well, it's unlikely that they're connected.
Mia Dickerson: They're not. I also matched that unknown male contribution to a r*pe kit from the day shift.
Grissom: Cross contamination?
Mia Dickerson: That's why I raised the alarm. I was able to narrow the time frame to the last 48 hours.
Catherine: Are you saying that all the DNA evidence from the last two days has to be resubmitted and retested?
Grissom: We don't have any choice. It's potentially all contaminated. (to Mia) Document everything.
(Grissom leaves the lab. And leaves Catherine without hearing what she had to tell him.)
CUT TO:
[INT. CSI - CATHERINE'S OFFICE]
(Though the reflection of the mirror in her compact, Catherine fixes her make-up.)
(In the background, we see the blurry figure of a person in the doorway.)
Greg: Hey. Your suspect, Jeff Simon, just got released from custody.
(Catherine closes her compact.)
Catherine: How the hell did that happen?
(She puts it down on her desk and pushes it out of sight.)
Greg: His alibi checked out. I talked to the cop who pulled him over for speeding, at 2:15 A.M., right around T.O.D.
Catherine: It's proof he lost track of her.
(Thought the office window, we see Greg standing out in the hallway, just outside Catherine's doorway.)
Greg: They jammed him for over an hour. I mean, made him walk the line, gave him a breathalyzer, the whole nine.
(Catherine brushes her hair away from her eyes.)
Greg: Guy confessed to stalking. At least you got him on that.
Catherine: Which they'll probably kick down to a misdemeanor because she's d*ad.
(Sara joins them. She stands next to Greg outside Catherine's office.)
Sara: Hey. Phone number on the matchbook panned out. Guy's on his way to P.D.
Catherine: (cautiously) You got a name?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(OFF THE SUSPECT. We see the back of the suspect's head as he's being interviewed by Det. Vartann and Grissom. Camera slowly moves around him.)
Adam Novak: Was it necessary to show up at my office? Try the phone. I'm an officer of the court.
Grissom: Mr. Novak ... do you recognize this telephone number?
(He looks down, presumably at the number off screen. We see that Adam Novak is the same man Catherine met at the bar.)
Adam Novak: That's my work number.
Grissom: Did you write it on the matchbook?
Adam Novak: I may have. What's this about?
Det. Vartann: A homicide. That matchbook was found in a d*ad woman's pocket.
Adam Novak: This the only evidence linking me to the victim?
Det. Vartann: This will go much easier if you just answer our questions.
Adam Novak: Oh, yeah? Easier for whom?
Grissom: Why didn't you write your name on it?
Det. Vartann: I'm a memorable guy.
Grissom: Why not your home number?
Adam Novak: This is getting tedious. At bars, I give out my work number to weed out the crazies.
(Grissom shows Adam Novak a NEVADA DRIVER LICENSE:
GRANGER, ALICE
7748 CANYON AVENUE
LAS VEGAS NV 89101 )
Grissom: This is Alice Granger. Do you know her?
Adam Novak: I bought her a drink last night.
[INT. POLICE DEPARTMENT - HALLWAY - CONTINUOUS]
[SLOW MOTION]
(Just outside, Catherine walks through the hallway toward the interview room.)
Det. Vartann: (o.s.) Okay, why don't you, uh, walk us through your evening? Start with "I left the office..."
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - CONTINUOUS]
Adam Novak: I was deposing a witness. Left the office late. Stopped at the Peppermill for a burger. Medium rare. No onions. Got to the Highball around
11:00. Met this redhead. Bought her a drink and ...
(Adam Novak stops when he sees Catherine Willows walk into the interview room.)
(Grissom turns around.)
(Catherine clears her throat and introduces herself.)
Catherine: Mr. Novak ... I'm Catherine Willows, CSI.
(He scoffs.)
Adam Novak: You want to know what happened next? Ask the redhead.
(Grissom and Det. Vartann both turn and look at Catherine.)
(Camera holds on Catherine.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Det. Vartann interviews Adam Novak.)
Adam Novak: At a bar that time of night, we're all after the same thing, aren't we? I came onto her. She was into me.
INTERCUT WITH:
[OBSERVATION ROOM]
(Catherine watches the interview from the observation room. Adam turns and looks at the glass.)
Adam Novak: (through speaker) I know when a woman is going to give way and believe me, she was there.
Det. Vartann: And then what?
Adam Novak: (through speaker) I walked her out.
(Camera moves to the left and shows us through the glass reflection that Grissom is standing next to Catherine.)
Adam Novak: I put my arm around her waist. She moved in. One minute she's got her tongue down my throat. The next, she puts the brakes. She's a bitch and a tease. She told me to get lost ...
Catherine: We should ask for his clothes. Black leather jacket, black t-shirt, jeans.
Grissom: What else should we ask him, Catherine?
Catherine: This is what I was trying to tell you.
Grissom: Yeah, but you didn't, so now I'm way behind. Is he telling the truth?
Catherine: He's not lying about anything that pertains to me.
(Grissom turns and looks at Catherine.)
Grissom: He h*t you.
Catherine: No, it was an accident. But ... by the time it happened, he wasn't who I thought he was, and ... that scared me.
(Grissom turns and looks at the interview in the other room.)
Det. Vartann: Eyewitness claimed that a man matching your description left the bar with the victim. Drove off in a dark-colored, four-door sedan. What do you drive, Mr. Novak?
Adam Novak: Look, I'm innocent, but it's in my best interest to retain counsel. We're done here.
(Adam Novak stands up and heads out of the room.)
[INT. POLICE DEPARTMENT - HALLWAY - DAY - CONTINUOUS]
(Adam Novak exits the interview room and walks down the hallway. Several beats later, Grissom and Catherine step out of the observation room.)
Grissom: You have to recuse yourself from processing evidence. This guy's a lawyer. He could claim prejudicial treatment. Your whole life will become public record.
Catherine: I have nothing to be ashamed of.
Grissom: We all live in glass houses, Catherine. You gotta be careful where you take your shower.
(Grissom walks off screen, leaving Catherine staring after him.)
(Brass steps out into the hallway and walks past her.)
Brass: Catherine.
CUT TO:
[INT. CSI - ECKLIE'S OFFICE - DAY]
(Catherine meets with Conrad Ecklie.)
Conrad Ecklie: Just walk me through your interaction with the suspect.
Catherine: I met Adam Novak in a bar called the Highball.
Conrad Ecklie: Were you drinking?
Catherine: I had one cocktail, on his tab. He walked me out to my car. Things got physical.
Conrad Ecklie: Could you define "physical"?
Catherine: I believe that I outlined the specifics in my memo.
Conrad Ecklie: Catherine, you know what I'm asking, and it's not in the memo.
Catherine: I didn't have sex with him, though he clearly wanted it.
Conrad Ecklie: And you didn't?
Catherine: I went out after shift to unwind. I even invited Warrick and Nick to come along. They had other plans.
Conrad Ecklie: All right. So ... when you put on the brakes, Mr. Novak ... got angry.
Catherine: Yeah. I got into my car. He went back inside.
(Quick flashback to: [THE HIGHBALL - NIGHT] Adam Novak steps back into the bar. He pauses and looks over at the bar. Camera refocuses on Alice Granger, sitting at the bar.)
Alice Granger: Hey, Al, will you do me a favor and call me a cab?
Bartender: Sure.
(She finishes her drink. When she puts it down on the counter, Adam Novak is standing next to her.)
Alice Granger: Thanks.
(End of flashback. Resume to present.)
Catherine: This is just a theory, but ... she was drunk, probably more compliant than I was. He walked her outside. He waited with her for the taxi, offered her a ride ...
(She's interrupted by a knock on the door. Warrick is standing in the hallway.)
Warrick: I hate to break up the party. Catherine, you got a 4-19 in Seven Hills. I'll grab the kits and meet you outside.
(Warrick leaves. Catherine turns to look at Ecklie.)
Catherine: We'll finish this later?
Conrad Ecklie: Guess we'll have to.
CUT TO:
[EXT. SEVEN HILLS -- DAY]
(Catherine, Warrick and Det. Sam Vega arrive at the scene. David Phillips is there going over the body.)
David Phillips: Look familiar?
(Catherine and Warrick kneel down next to the body with a jacket wrapped around her head.)
Catherine: Yeah. Like the other night.
(Warrick snaps a photo.)
Warrick: You got an ID on the vic?
Det. Sam Vega: Yeah. Holly Pearson, 31, single. She lived across the street. Car was locked. Keys and purse were accounted for. Found them in the mailbox along with her mail.
Warrick: Any indication of sexual as*ault?
David Phillips: Well, her clothes and underwear are undisturbed.
Catherine: Can you remove the jacket?
David Phillips: Sure.
(David removes the jacket and shows the blonde-haired woman and her head wound.)
Catherine: Looks like a small-caliber g*n wound ... like the first victim.
David Phillips: Location of the entry wound is different.
(David checks for an exit.)
David Phillips: Slug's still inside her.
(Catherine stands up and turns to Det. Sam Vega to fill him in.)
Catherine: Grave is working a case with similarities. That victim left a bar called the Highball shortly before she was k*lled. I'm wondering if Holly went out last night.
Det. Sam Vega: I'm on it.
Catherine: Thanks.
(Det. Sam Vega leaves. Catherine looks around the area.)
Catherine: There's two sets of shoe prints ... with a bit of distance between the strides. Which means they were both running.
(Warrick snaps a photo. He looks around and finds something.)
Warrick: Got some shell casings.
(Warrick marks the area with a small flag as Catherine looks around.)
Catherine: Well, there's only one sh*t fired in Grissom's case.
Warrick: It was close contact. He couldn't miss.
Catherine: (points) I'm thinking that she was att*cked near her house ... and then made a run for it.
(Quick flash of: [NIGHT] Holly Pearson runs across the street. Someone chases her. He fires and she falls to the ground.) He walks up to her.)
(Cut to: He stands up after wrapping her head with her jacket. The sh**t walks away.)
(End of flashback. Resume to present.)
(Catherine finds something else: A Clark County card key.)
Catherine: Got a courthouse keycard. For the parking lot.
Warrick: I wonder where Holly Pearson works.
Catherine: Adam Novak's a public defender. Let's run his prints against this.
Det. Sam Vega: Guys? I found a couple of the victim's coworkers. They said she was at the Highball last night. Got them coming into PD.
CUT TO:
[INT. POLICE DEPARTMENT -- DAY]
(Catherine and Det. Sam Vega interview two of Holly Pearson's co-workers.)
Co-worker 1: Holly was just promoted. Youngest systems analyst at the bank and we were celebrating.
Co-worker 2: She wasn't exactly a party animal. We practically forced her to go out.
Det. Sam Vega: Any guys come on strong?
Co-worker 2: Yeah. We collected numbers all night.
Catherine: Anyone write their number on a matchbook?
Co-worker 2: I got, uh ... business cards.
Catherine: So ... you're having a good time and ... Holly had had enough.
Co-worker 1: Yeah. We carpooled, so she took a cab home.
(Det. Sam Vega turns and nods at Catherine.)
Det. Sam Vega: I'd like to show you some pictures. (He puts the sheet of six photos on the table in front of them.) See if you recognize anyone.
(They look at the photos, then point to picture #4 of Adam Novak.)
Co-worker 1: He bought us a round.
Co-worker 2: He tried to get friendly.
Catherine: When Holly left, did you see that man again?
Co-worker 2: Actually, no.
CUT TO:
[INT. CSI -- FORENSIC AUTOPSY - HALLWAY -- DAY]
(The hallway is cluttered with bodies on gurneys. Doc Robbins stands between a couple of the gurneys when Catherine turns the corner.)
Catherine: Hell of a backlog, here, doc.
Robbins: Yeah. Traffic pile-up on I-15.
Catherine: Holly Pearson?
Robbins: Mm.
(Robbins turns and heads into the autopsy room.)
[INT. CSI - FORENSIC AUTOPSY - DAY - CONTINUOUS]
(Robbins and Catherine stand around Holly Pearson's body as Robbins reports.)
Robbins: C.O.D.'S a one sh*t to the back of the head. Absence of g*n powder and stippling suggests a non-contact wound. I dug this out.
(He gives her the b*llet. Camera zooms in for a close-up of the b*llet.)
Catherine: .25 caliber. It's the same as the first victim.
(He takes the b*llet and puts it aside.)
Robbins: You know, I got something you might find interesting. I emptied the stomach and she hadn't eaten for hours.
(Robbins leads Catherine over to the scope.)
Robbins: A small amount of white zinfandel -- less than a glass, vintage undetermined, and a tiny scrap of meat. Take a look.
(SCOPE VIEW: Skin cells.)
Robbins: Surface tissue of a human tongue. Those are the taste buds.
(Quick flashback to: [NIGHT] The Man tries to kiss Holly Pearson and she bites his tongue.)
Catherine: (V.O.) She bit her attacker ... when he tried to kiss her.
(End of flashback. Resume to present.)
Robbins: This woman did not go gently into that good night.
CUT TO:
[INT. CSI - LAB]
(MONITOR VIEW: Two b*ll*ts. The computer beeps and the view changes to the side-by-side markings on the b*ll*ts.)
Nick: (o.s.) Hey.
(Warrick continues to work. Nick walks into the lab.)
Nick: Heard you may be looking at a second victim?
Warrick: Yeah. b*ll*ts from both homicides are from the same g*n.
Nick: I just got off the phone with courthouse security. That keycard that you and Catherine found belongs a guy named Adam Novak. (shrugs) Only prints I found on the card were his.
Warrick: Well, let's call PD and bring him in.
CUT TO:
[INT. CATHERINE'S CAR (MOVING) -- NIGHT]
(Catherine is driving home. We see her reflection through the rear-view mirror.)
(As she nears her home, she sees a car parked on the side of the road.)
(She sees Adam Novak standing out front talking her mom and Lindsey. Lindsey waves and they all watch as Catherine parks her car and engages her brakes.)
(Alarmed, Catherine takes her seatbelt off and takes out her phone. She dials
9-1-1 and sets it aside on the car seat.)
Voice: (from phone) 9-1-1. What is the nature of your --
[EXT. CATHERINE'S RESIDENCE - NIGHT -- CONTINUOUS]
(Catherine gets out of the car.)
Adam Novak: I see that beauty runs in the family.
Lily Flynn: No.
(She slams the door and unsnaps her g*n. She approaches them.)
Catherine: Mom, Lindsey, go inside the house.
Lily Flynn: (smiling) Believe it or not, Catherine does know how to say, "Hello, how are you? Would you like a cup of coffee?"
(Catherine joins them.)
Adam Novak: I was talking to your mother about the case we're working.
Catherine: Mom, we're fine. Take Lindsey inside.
(Catherine gives her mom a look and shifts her eyes over to Adam Novak. Her mother stops smiling. She grabs Lindsey's hand and heads for the house.)
Lily Flynn: Let's go.
Lindsey: I don't, I don't want to.
Catherine: Lindsey.
Lindsey: Are you going to go out again?
Catherine: No. I'm coming in. I want to hear about your day.
(Lindsey and Catherine's mother head inside the house.)
Adam Novak: It was a pleasure meeting you.
Catherine: What the hell are you doing here?
Adam Novak: I want to know why you're setting me up, manipulating evidence to make me look guilty. All because I came on too strong?
Catherine: I want you out of here.
Adam Novak: I didn't get my signals crossed. You changed the play, and you're screaming foul. That's some power trip, babe. Who's the guilty one here?
Catherine: You want to talk to me, call your lawyer. Set up an appointment down at PD.
(Sirens wail in the distance.)
Adam Novak: You think I k*lled her?
(Catherine takes a step back, pulls out her g*n and holds her other hand in front of him to keep his distance.)
Catherine: Back off.
Adam Novak: You going to sh**t me?
Catherine: If you take one more step.
(Police sirens wail and lights flash as they approach. Adam Novak turns and sees the cars. He turns back to Catherine.)
Adam Novak: You bitch.
Catherine: You came to my house.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - OBSERVATION ROOM -- NIGHT]
(Catherine watches as Grissom and Det. Vartann question Adam Novak with his lawyer.)
Grissom: Mr. Novak, would you stick out your tongue, please?
Lawyer: What is this about?
Grissom: Well, right now, it's about his tongue.
Det. Vartann: And two d*ad women. We believe the second victim, Holly Pearson, bit her attacker's tongue.
[INT. POLICE DEPARTMENT - OBSERVATION ROOM -- NIGHT]
Grissom: Open up, please.
(Adam Novak sticks out his tongue for Grissom to look at. Grissom shines his flashlight on it.)
(Thinking Grissom's done, Adam turns away. But Grissom stops him.)
Grissom: Uh-uh. Once more.
(Adam Novak sticks out his tongue and Grissom snaps a photo of the teeth marks on it.)
Grissom: Thank you. That's all I need.
(Grissom leaves the room.)
Det. Vartann: Have a seat.
(Adam and his attorney sit down.)
Det. Vartann: You comfortable? We're going to be a while.
Adam Novak: I know how this looks.
Lawyer: Adam, I ...
Adam Novak: I advise some of the stupidest guys that come through this room. And it's my job is to keep their mouths shut. And I know what you're thinking -
- that I k*lled Alice Granger.
(Quick flashback to: [NIGHT] Adam Novak chases Alice Granger. She trips and falls to her knees. He sh**t her in the head.)
(End of flashback. Resume to present.)
Det. Vartann: You're a mind reader.
Adam Novak: I already admitted that I picked her up at a bar the other night. What I didn't mention, and you didn't ask was that I gave her a ride home.
(Quick flashback to: [CAR - NIGHT] Adam Novak and Alice Granger are in his car. They lean toward each other ... )
Adam Novak: (V.O.) It got hot and heavy. We both got what we needed.
(End of flashback. Resume to present.)
Adam Novak: Then she said good night and got out of the car. I drove off.
Lawyer: Uh, do you have any evidence at all that refutes my client's account, or suggests otherwise?
Det. Vartann: Our evidence pertains to the second victim, k*lled last night with the same g*n, and we believe that a portion of your client's tongue was in her stomach.
Adam Novak: I can explain that.
Det. Vartann: Oh? Really.
Adam Novak: Her taxi never showed up.
(Quick flashback to: [EXT. HIGHBALL - NIGHT] Holly Pearson waits outside for her taxi. Adam Novak comes out of the Highball and walks over to her.)
Adam Novak: (V.O.) I was drunk. Out of line. Bad couple of days, thanks to you guys.
(He and Holly start walking.)
Adam Novak: (V.O.) I was looking for a little release and I chose the wrong girl.
(He grabs her and starts kissing her. She struggles against him and pushes him away.)
(End of flashback. Resume to present.)
Det. Vartann: And what happened next?
Adam Novak: Her taxi finally showed up.
Lawyer: I spoke to both the bartender at the Highball and the cab company, and a cab was ordered and drove the victim home.
Det. Vartann: Mr. Novak, have you ever been to Holly Pearson's house?
Adam Novak: No. I have no idea where she lived.
Det. Vartann: Then how do you explain your courthouse keycard which we found near her body? CSI matched the prints on the card. Only yours.
Adam Novak: Every attorney in the Public Defender's office is issued one card. Mine has never left my car. I keep it in the center console. You don't need a warrant. You have my permission to check. It should be there.
Det. Vartann: Well, that won't be hard to verify, because your car's already at CSI.
CUT TO:
[INT. CSI - HALLWAY / GARAGE -- NIGHT]
(Catherine walks down the hallway toward the garage. Nick is standing with the car.)
Catherine: Nick.
Nick: Hey.
Catherine: The center console. Was there a parking lot car key inside?
Nick: No. Two sticks of gum and a pack of condoms. Why?
Catherine: Suspect claims some incriminating evidence found at the second crime scene wasn't his. It looks like he was lying. We got him.
Nick: I don't know how you're going to take this, but I think this car was recently broken into. These scratches ... they look fresh. B&E 101.
(Nick points to the scratches in the driver's side window.)
Catherine: The Slim Jim.
(Quick flash of: A Slim Jim is pushed into the car door through the window slot. Camera zooms into the door showing the slim Jim pushing down onto the door lock mechanism.)
(End of flash. Resume to present.)
Nick: Somebody could've swiped his keycard.
Catherine: And then locked the car back up. Novak wouldn't be the wiser until he drove into the courthouse again. Did you find any prints?
Nick: Smudges and partials, inside and out.
Catherine: (nods) Run 'em.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAWN]
[INT. CSI - LAB]
(Nick scans the prints into the database and runs the search.)
DISSOLVE TO:
[INT. JUNKYARD - DAY]
(Det. Vartann and Catherine question Jeff Simon.)
Det. Vartann: Let's run through the night Alice died again.
Jeff Simon: We've been through this. I have an alibi.
Det. Vartann: Your alibi only proves you lost track of her. You knew where Alice lived.
Catherine: Have you been in Adam Novak's car recently?
Jeff Simon: No. I don't even know an Adam Novak.
Det. Vartann: But you identified his vehicle as the car that Alice left the bar in.
Jeff Simon: I didn't know whose car it was.
Catherine: Then why did we find your prints in it?
Jeff Simon: Maybe somebody's trying to frame me.
Catherine: No, but I think that you're familiar with the concept. You were obsessed with Alice, and when you saw Adam having at her, you flipped out.
(Quick flashback to: [NIGHT] Jeff Simon sits in his car and watches Adam Novak and Alice Granger kissing.)
(End of flashback. Resume to present.)
Catherine: I mean, here's a woman that you can't get any traction with, yet she's willing to do a stranger she picked up in a bar.
(Quick flashback to: [NIGHT] Alice Granger gets out of the car and giggles. Jeff Simon sits in his car, hands gripping the steering wheel as he watches her.)
(He turns his lights on.)
(Alice turns around.)
(Jeff gets out of the car.)
Alice Granger: Jeff?
(She sees him and starts running. He runs after her.)
CUT TO:
(Jeff cover's Alice's face with her jacket.)
(End of flashback. Resume to present.)
Catherine: I mean, lucky for you, the Highball was Adam's second home.
(Quick flashback to: [HIGHBALL - PARKING LOT - NIGHT] Jeff Simon breaks into Adam Novak's car and steals Adam's card key.)
Catherine: (V.O.) The next night, you came back and saw his car in the parking lot. Creative justice. You could get them both.
(Cut to: Adam is hitting on Holly outside the Highball.)
Catherine: (V.O.) It was just bad luck that Holly Pearson met Adam that night.
(Cut to: Adam follows Holly home.)
Catherine: (V.O.) You had no reason to k*ll her, but you followed her home and worked up the nerve.
(Adam turns and sees Holly on the sidewalk looking for her key.)
(He gets out of the car. Holly looks up and sees him. She turns and starts running. Jeff takes out the g*n and follows her.)
CUT TO:
(Jeff cover's Holly's face with her jacket. He turns and leaves. He takes Adam's card key out of his pocket and drops it on the ground.)
(End of flashback. Resume to present.)
Catherine: You made one mistake, though. The evidence that you used to frame him brought us back to you
(Jeff turns and looks away.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Mia is tossing all the kits away. Grissom appears in the doorway.)
Grissom: You figured out the source of the contamination?
Mia Dickerson: I got a positive result off my negative control. Matched the contamination. Turns out somebody at the manufacturer forgot to put on their mask and then sneezed or coughed on what was supposed to be a sterile product.
Grissom: You have to collect everyone's swabs.
Mia Dickerson: Kits. Trucks. Vests. Work stations.
Grissom: How long till the new shipment gets here?
Mia Dickerson: It's on its way. Until then, do it old school.
(Grissom turns and leaves.)
[INT. CSI - HALLWAY - DAY -- CONTINUOUS]
(Grissom writes in a file as he walks down the hallway.)
Catherine: Gil.
(He looks up; Catherine steps out into the hallway and joins him.)
Catherine: I'd ask you out for a drink, but under the circumstances, it's, uh ...
(He looks at her, then goes back to his file. He doesn't say anything.)
Catherine: Okay, how long is this going to go on?
Grissom: I don't know, Catherine.
Catherine: Gil, it was an act of omission.
Grissom: How many times have we heard a public defender say that?
Catherine: I went out after work. Is it a crime to want a little human contact?
Grissom: I guess that's why I don't go out.
(Grissom walks away.)
(Camera holds on Catherine.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x22 - Weeping Willows"} | foreverdreaming |
FLASH IN.
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
INTERCUT WITH:
[INT. TRIP WILMONT'S ROOM - NIGHT]
(We see the blurry figures of Trip Wilmont and Paula Levine kissing passionately.)
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[INT. TRIP WILMONT'S ROOM - NIGHT]
(Clothes are rapidly being removed.)
[EXT. COLLEGE CAMPUS - PATH TO DORM - NIGHT]
(Camera follows several college kids walking toward the dorm. Camera rises to show the two figures in Trip Wilmont's window.)
[INT. TRIP WILMONT'S ROOM - NIGHT]
(Trip Wilmont and Paula Levine kiss passionately.)
[EXT. COLLEGE CAMPUS - PATH TO DORM - NIGHT]
(Camera rises up closer to the two figures in Trip Wilmont's window.)
[INT. TRIP WILMONT'S ROOM - NIGHT]
(Paula Levine removes her slippers. She and Trip Wilmont continue to kiss. More clothes are being removed and dropped on the floor where they stand.)
(Trip opens a sleeping bag on the floor. He and Paula lie on it and continue kissing. In the foreground, lit candles on the dresser burn. Trip removes Paula's bra and they continue to kiss.)
CUT TO:
[EXT. COLLEGE CAMPUS - PATH TO DORM - MORNING]
(Police cars are parked in the front. Camera pulls back to the dorm front where Brass shows Grissom, Greg and Sara into the building.)
Brass: Freshman dorm, coed. Two DB's on the third floor -- Trip Wilmont and Paula Levine. Both 18.
[INT. COLLEGE CAMPUS - HALLWAY - MORNING]
(Brass, Grissom, Sara and Greg continue through the corridor to Trip Wilmont's room.)
Greg: Hey, Grissom, when you went to college did you live in the dorms?
Grissom: Surely, you jest.
(Sara laughs.)
Sara: You know, they say a B.A. is worth a million dollars in extra income over a lifetime.
Grissom: Yeah, but the present value of college tuition is about the same amount.
Greg: So you're saying college isn't worth the expense?
Grissom: I guess it depends on what you learn.
Brass: So this is Trip's dorm room. When he missed a big b-ball game this afternoon, his coach called his R.A. His R.A. got the kid next door to jimmy the lock
[INT. TRIP WILMONT'S ROOM - MORNING]
(The officer standing at the door opens the dorm room.)
Brass: (o.s.) Paramedics pronounced and took off. The coroner's en route.
(Brass stops just outside the dorm room to let Grissom, Sara and Greg inside.)
(On the floor next to the bed are the two bodies. Sara looks around the room. She notes the stereo system, beer bottles and candles.)
Sara: Music, alcohol, candles. Kid was a regular Romeo.
Grissom: "For never was a story of more woe than this of Juliet and her Romeo"
(Greg appears between Grissom and Sara holding the open condom wrapper.)
Greg: Condom wrapper.
(He looks at them and shows it to them.)
Grissom: So much for safe sex.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. COLLEGE CAMPUS (STOCK) - DAY]
David Phillips: (V.O.) Sara, do me a favor and open the window, please.
[EXT. COLLEGE DORM - WINDOW -- DAY]
(Through the window, we see David Phillips and Grissom standing in the dorm room.)
Sara: Sure.
(Sara walks over to the window and opens it.)
Sara: You feeling okay, David?
David Phillips: Yeah.
[INT. TRIP WILMONT'S ROOM - MORNING]
(David Phillips shines his flashlight on the d*ad bodies to look at their skin color.)
David Phillips: Take a look at the skin coloration on both victims. (David Phillips kneels down for a closer look.) Their bodies are slightly pink.
(Grissom lingers in the doorway.)
Grissom: And you're thinking "pink" skin tones are a common effect of carbon monoxide fumes.
(David Phillips looks back at Grissom and nods. Greg is kneeling near the bodies.)
Greg: (points) That vomit's also consistent with exposure to C.O.
(Grissom notes the vomit on the rug.)
Grissom: We'll need a sample of that vomit.
(Greg reaches over to get a vomit sample.)
(Grissom's phone rings; he answers it.)
(Greg collects a vomit sample and puts it in a sample container.)
Grissom: (to phone) Grissom. Okay, I'll be right there. (He hangs up.) My testimony's up in the Hoyt case. I gotta go. I see no common source for C.O., so you'll have to use the detector. (to Sara) You're running point.
(Sara smiles as Grissom turns to leave.)
CUT TO:
[INT. COLLEGE DORM - HALLWAY - MORNING]
(The coroners wheel the gurney down the hallway. At the end of the hallway, Brass interviews Susan, the R.A., and Zack Capola.)
Susan: I knew something was wrong. Trip lived for basketball, and it was the semis, so there's no way he'd miss a game.
Zack Capola: Yeah, I saw Susan banging on his door, so I used my pocketknife to jam it open.
Brass: Had you done that before?
Zack Capola: Yeah. All the time. Whenever Trip would get drunk and lock himself out, he would bang on my door.
Brass: So you and trip were friends?
Zack Capola: Me and Trip?
Brass: (nods) Mm-hmm.
Zack Capola: No. I'm not really the type of guy that Trip Wilmont would hang out with.
Brass: BRASS: So I guess that's a no?
Zack Capola: Yeah. But we had Spanish 102 together. Sometimes he'd roll over to my dorm, and I'd help him with his homework.
Brass: Did you help him, or did you do it for him? Look, it's not the Spanish Inquisition.
Zack Capola: For a jock, it could have been a lot worse but, no, we weren't friends.
Brass: Okay.
CUT TO:
[INT. TRIP WILMONT'S ROOM - MORNING]
(Greg dusts the door handle for prints while Sara is in the back of the room near the window checking the carbon monoxide levels. She kneels down on the floor checking the levels near the floor. Greg takes out the ALS and checks the door handle for body fluids. Sara's hand-held device reads '0'.)
Sara: No trace of carbon monoxide.
(Greg finds something on the door handle.)
Greg: There's a trace of semen on the door handle.
[EXT. TRIP WILMONT'S ROOM - HALLWAY - MORNING -- CONTINUOUS]
(Greg steps out of the room to the next-door neighbor's and finds body fluids there, too.)
Greg: This one, too.
(Sara steps out of the room. Greg removes his goggles and looks at her.)
Greg: Trophy condoms.
Sara: Trophy condoms?
Greg: When a stud scores, he announces his victory by putting his spoils on his neighbor's doorknob.
Sara: Oh. Well, my bet is Trip scored a lot.
(Suddenly, there's an expl*si*n and a scream.)
(Sara and Greg look at each other.)
[INT. CAMPUS DORM - BATHROOM - MORNING -- CONTINUOUS]
(Sara and Greg walk into the bathroom.)
Sara: Everyone okay?
(There's a commotion in the bathroom. Someone reaches for his bathrobe while a boy and a girl stand in front of the stall. There's water all on the floor and bits of porcelain on the floor. We hear gushing water coming form the stall.)
Sara: Excuse me.
(The kids move aside. Greg steps into the stall and turns the water off. Sara can't help by chuckle.)
Greg: Spontaneous toilet combustion?
Sara: (laughs) Or a college prank.
Greg: You think this has anything to do with the case?
Sara: Twenty feet away from two d*ad kids. We got to check it out. Guess you should, uh ... start processing.
(Sara turns and leaves Greg in the stall. Greg rolls his eyes and sighs.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Det. Vartann walks through the hallway. He looks in the break room and doesn't see anyone. He turns and continues his search down the hallway. He looks in the next office and finds it empty as well.)
(Det. Vartann turns and continues down the hallway. He sees Conrad Ecklie reading a file and walking through the hallway toward him.)
Det. Vartann: Conrad.
Conrad Ecklie: Hey, detective.
Det. Vartann: Homicide called you guys over an hour ago. 4-19 at the Tangiers. No one's responded. Not even the coroner.
(Ecklie stops in front of the reception desk to check his messages.)
Conrad Ecklie: Have you tried Grissom or Catherine?
Det. Vartann: Catherine's on a case, I think. Grissom ...
Conrad Ecklie: Oh, that's right. Grissom's in court.
Det. Vartann: Oh. And Sofia's still on her task force leave. Both shifts are tapped.
Conrad Ecklie: Did you check ... ?
Det. Vartann: I checked the board. No one's available ...
(Ecklie shakes his head absently, his back to Vartann so he doesn't see the light in Vartann's eyes.)
Det. Vartann: ... except for you.
(Ecklie turns and looks at Vartann. Vartann shrugs.)
Conrad Ecklie: I'm the Assistant Lab Director.
Det. Vartann: I know. But you're still qualified to process a scene, right?
Conrad Ecklie: Yes, I am. (Vartann nods.) I'll dust off my kit.
(Ecklie tosses his messages back on the reception counter, picks up his book and looks at Vartann.)
Det. Vartann: Meet you there.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins stands between the two tables with the bodies on it. Sara knocks on the door lightly before entering.)
Sara: Hey, doc.
Robbins: Two d*ad bodies. Both were in perfect health.
Sara: I am so hoping that you have more in your report than that.
Robbins: There are two toxins which can turn a body pink postmortem.
Sara: We already ruled out carbon monoxide.
Robbins: Which leaves one -- cyanide ingestion. Interesting fact about cyanide -- not everyone can smell it.
Sara: Right. It's a genetic quirk.
Robbins: Unfortunately, I don't have that ability.
(The doors open. Hodges enters as Sara turns around to look at him.)
Hodges: "The nose" has arrived.
Sara: Hodges has the genetic quirk?
(Robbins nods.)
Hodges: It's a blessing and a curse.
(Hodges walks into the room. Robbins points to the table with the sample contents.)
Robbins: Stomach contents of both decedents. Hodges, start your sniffer.
(Hodges picks up the first container and sniffs it. He puts it down and picks up the second container and sniffs that as well. Robbins and Sara look at each other as they wait for Hodges' verdict.)
Hodges: Hints of stale beer and ... cheese whiz. But I don't smell any cyanide.
Robbins: Thank you.
Hodges: Anytime.
(Hodges puts the container down, turns and heads for the door.)
Sara: Well, all due respect to "the nose," I would still like to send a sample of blood to tox.
Robbins: It's already done.
Sara: Is there anything else?
Robbins: Nothing on or in the body indicates cause of death. Nothing consistent with homicide whatsoever.
Sara: Two college kids die under mysterious circumstances. Let's treat this as a homicide till we know otherwise.
(Robbins nods.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. PARKING GARAGE -- DAY]
(OFF ECKLIE: Ecklie steps out of the vehicle. In front of him past the crime scene tape, Det. Vartann stands with the body and an officer.)
Det. Vartann: (to the officer) Finally. Yeah, well three hours. All right. Thanks.
(Ecklie ducks under the crime scene tape and heads over to Vartann.)
Det. Vartann: Crime scene's getting cold.
Conrad Ecklie: Had to refill my powders.
(Ecklie looks at the body and puts his kit down. Vartann fills him in.)
Det. Vartann: I found a rental car agreement in the glove box. James Billmeyer. New Jersey. He's not registered at the hotel. Probably stopped by to lose a few bucks.
Conrad Ecklie: Did the coroner step in the blood?
(Ecklie snaps a couple of photos of the bloodied prints leading away from the body.)
Det. Vartann: No. We're still waiting on him. That shoe print belongs to Mrs. Vivoldi. (Ecklie looks up at the woman talking with the officer.) She called it in. We been waiting on you to take her statement.
Conrad Ecklie: Let's do it.
Det. Vartann: Yes, let's do it.
(Vartann turns and heads over to Mrs. Vivoldi. An officer holds the crime scene tape up for him and Ecklie.)
Det. Vartann: Thanks.
(The officer talking with Mrs. Vivoldi steps away. Det. Vartann and Ecklie interview Mrs. Vivoldi.)
Det. Vartann: Ma'am, sorry to keep you waiting. I'm Detective Vartann. This is Conrad Ecklie from the crime lab. Do you mind if we ask you a few questions?
Mrs. Vivoldi: I'd mind if you didn't. I am the one who found the body.
(Det. Vartann and Ecklie nod and smile.)
Det. Vartann: Yes. At the time, were you walking to or from the hotel?
Mrs. Vivoldi: I'd had just finished lunch with the girls. We say "girls," but we're, you know, women. I don't find being called a "girl" derogatory.
Det. Vartann: That's good. To or from?
Mrs. Vivoldi: I was walking to the car. (She points to her car. Vartann turns to look.) The SUV? A gift from Oscar. Thirty years with the same man.
Conrad Ecklie: Congratulations.
Mrs. Vivoldi: Thank you. Are you married?
Conrad Ecklie: Divorced.
Mrs. Vivoldi: Oh. And you?
(She looks at Vartann.)
Det. Vartann: (squirms) Uh ... ma'am, so you were walking to your car ...
Mrs. Vivoldi: Walking to the car, and I think I stepped into gum or something ...
(Quick flashback to: Mrs. Vivoldi walks and steps in the blood. She looks down and screams when she sees the body.)
(End of flashback. Resume to present.)
(Ecklie looks down and notes the blood on Mrs. Vivoldi's shoes.)
Mrs. Vivoldi: That's when I called 911. (pointedly at them as she checks her watch) Which was about, um ... two hours ago.
(Vartann looks around. Ecklie shakes his head and apologizes.)
Conrad Ecklie: I'm sorry, ma'am. We've been very busy.
Mrs. Vivoldi: Oh.
Conrad Ecklie: I'm going to need your shoes. We'll get them back to you. Even wash off the blood.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - INTERVIEW ROOM -- DAY]
(Sara interviews Mrs. Levine, Paula's mother, and Tripp Wilmont's parents.)
Mrs. Levine: (crying) I just talked to Paula yesterday afternoon. She was on her way to the library. She had a biology final this morning. She shouldn't have been in a boy's room.
Mrs. Wilmont: None of this makes any sense. Trip was a serious athlete. He would never sleep around the night before ...
Mrs. Levine: (offended) Sleep around?
Mr. Wilmont: It's not like your daughter was Trip's girlfriend.
Mrs. Levine: Ms. Sidle ... I need to know. Did trip take advantage ... ? Did he ... force himself on Paula?
Mrs. Wilmont: (interrupts) My son would never force himself on anyone.
Mr. Wilmont: Trip could have any girl he wanted.
Sara: Mrs. Levine, the coroner found no evidence of as*ault. Did Paula ever mention Trip to you?
Mrs. Levine: No. I know she liked a boy on the basketball team. I never knew his name. I guess it was Trip.
Mrs. Wilmont: I just want to know what happened to them.
Sara: So do I.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. (STOCK) - DAY]
[EXT. FIELD -- DAY]
(Catherine and Warrick shut the vehicle door. David Phillips is standing near the body writing on the clipboard.)
(They head over to David Phillips, who is standing in the middle of the tall, grassy field.)
Warrick: This land used to be part of the Bennett estate.
Catherine: Bill Bennett? Guy who owns the Sahara?
Warrick: Yeah. Huh. We used to come out here when we were in high school. Used to be, like, a seven-acre lover's lane.
Catherine: I thought you said you were a dork in high school.
Warrick: I was a dork in high school. I'm still a dork, but I had dimples. I got a little action.
Catherine: I don't doubt that. Hey, Dave.
David Phillips: Oh, hello. The path to the body was made by the paramedics. They pronounced and took off. ID'ed has Kevin Staniland, age 30 from Reno. I figured before I processed the body, you'd want to photograph the crop circle.
Warrick: Crop circle?
David Phillips: Well, it's a circle in the middle of a field. What would you call it?
Warrick: I guess it's a crop circle.
(They head toward the body.)
Warrick: The guy has a blindfold on.
Catherine: Pin the tail on the donkey gone wrong?
(Catherine snaps a couple of photos as David turns the body over.)
David Phillips: Lividity is fixed.
Warrick: Lividity's fixed? So this wasn't a body dump? He died there?
Catherine: (looking around) The only pathway is from the paramedics. How'd he end up in the middle of the circle?
(David looks up at the sky.)
David Phillips: I have an idea.
(Warrick glances up.)
David Phillips: I'll keep it to myself.
(Catherine smiles as David leaves.)
CUT TO:
[INT. CAMPUS DORM - BATHROOM -- DAY]
(Greg works on swabbing the toilet porcelain pieces on a table in the bathroom. Sara walks in.)
Sara: Hey. How's it going?
Greg: I swabbed every square inch of this toilet. So far, no evidence of expl*sive powders or a detonation device.
Sara: Well, I spoke with maintenance. It is an isolated incident. There are no other reports of exploding johns. How about methane gas? Maybe there's a natural reserve under the dorm.
Greg: Theoretically, pressure could have built up, broken a sewer pipe and sh*t up through the toilet.
Sara: (shrugs) Yeah.
Greg: I already checked. There's no methane gas in this region of Clare County.
Sara: Well, there's got to be some logical explanation.
Greg: Well, if dorm food is as bad as I can remember, we should consider expl*sive diarrhea.
(Sara can't help but smile at that.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(David Phillips snaps photos of the body. Nick and Warrick walk into the room.)
Nick: Crop circles?
(Nick laughs.)
Nick: Come on, Super Dave. Wasn't the alien autopsy embarrassing enough?
(Nick leans forward and looks at the body.)
David Phillips: Given the circumstances, alien was not an unreasonable conclusion at the time.
Nick: You need to get a girlfriend.
David Phillips: I'm engaged, but thank you. Could you just check out his pants? There's grass stains on his knees.
Nick walks over and checks the victim's clothes.)
Warrick: That's odd, because the grass around the victim was undisturbed.
(Nick notices a smell from the victim's underpants.)
David Phillips: His tighty whiteys were soaked in urine. Don't know if it's pre- or post-mortem.
(Warrick glances down at the body and notices a white worm wiggling out of the victim's mouth.)
Warrick: Oh! Now, that's alien. What is that?
David Phillips: I've got to document this.
(David grabs the camera and starts snapping photos of the white worm.)
Nick: Oh, hang on. We have ourselves a tapeworm, gentlemen.
(David stops snapping photos. Nick uses a forceps and pulls the tapeworm out.)
Nick: This guy's been eating meat or fish infected with tapeworm cyst.
(Quick CGI POV of: An open mouth. Some meat or fish is fed into the mouth and is swallowed down the esophagus. The food lands in the stomach.)
(A tiny CGI tapeworm cyst goes through the stomach.)
Warrick: (V.O.) Yeah, that cyst grows up to be nice fat tapeworm that attaches itself to the intestinal wall and sucks out all your nutrients.
(A close-up of the tapeworm as it attaches itself into the intestinal wall.)
(The CGI tapeworm grows.)
(End of flashback. Resume to present.)
Nick: Yeah, and since this guy's already d*ad, the tapeworm needs to find a new host. Only two ways out.
Warrick: I'm glad it picked the mouth.
(They all chuckle.)
Warrick: Well, the tapeworm could have made the guy sick, but it didn't k*ll him.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Sara enters the lab. Mia looks up.)
Sara: Hello.
Mia Dickerson: Hey. Want to talk about semen?
Sara: Okay.
(Mia hands Sara the file folder.)
Sara: Okey-dokey.
Mia Dickerson: The semen on the vic's doorknob and the neighbor's doorknob is consistent with Trip's DNA. So, what I'm thinking is that Trip put a trophy condom onto his neighbor's door and then transferred a trace of his reproductive material back onto his own doorknob.
(Quick flash of: Trip puts the condom on his neighbor's doorknob. He chuckles and heads back to his room.)
(End of flashback. Resume to present.)
Sara: You've, uh, you've heard of trophy condoms?
Mia Dickerson: (chuckles) Sara, I went to college.
(Greg walks into the lab.)
Greg: Ladies, I just spoke with Western LVU's student affairs officer. Apparently, Trip's next-door neighbor, Zack Capola filed several grievances against him. I'm headed over there now.
(Sara heads for the door.)
Sara: I'll drive.
(Greg follows her.)
Greg: (mutters) You always do.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins works on stitching up the body as he talks with Catherine.)
Robbins: So, crop circles and tapeworms, you got quite a case.
Catherine: Mm. You have C.O.D.?
Robbins: I have T.O.D., about midday yesterday. Cause of death less definitive. Cuts and abrasions are superficial. There's no obvious anatomical defect. And at this point, I'm going to have to check the default -- cardiac arrhythmia.
Catherine: A young man's heart stops, and you don't know why?
Robbins: Tox and vitreous lytes are all normal. That's all you're getting from me.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CAMPUS DORM - ZACK CAPOLA'S ROOM - DAY]
(Sara and Greg talk with Trip Wilmont's neighbor, Zack Capola.)
Zack Capola: This is bunk. I was told my grievances were confidential. They said my name wasn't even on the form.
Sara: Why was confidentiality so important?
Zack Capola: Ask him. You look like you were a jock in college.
Greg: Me?
Sara: Him?
Zack Capola: Whatever. Look, if it had gotten around that I had ratted out Trip, the whole basketball team would have come down on me.
Sara: You are a straight-A student. We've reviewed your academic records. The distractions must've pissed you off.
Greg: You had problems with his loud music, banging on the wall, used condoms hanging on your doorknob.
Zack Capola: A handful of used condoms would have pissed you off, too. Look, what are you getting at?
Greg: We're trying to figure out what happened to Trip and Paula. Earlier you said he wasn't such a bad guy.
Zack Capola: Because I didn't see a need to badmouth the d*ad. But you want the truth, he was an ass, okay?
(Greg turns and looks at Sara.)
CUT TO:
[INT. CSI -- MORGUE -- DAY]
(The door opens and Robbins walks in. He finds Conrad Ecklie inside.)
Robbins: Well, Conrad, can I help you?
Conrad Ecklie: Where have you been?
Robbins: I posted three bodies and then I took a time-out.
Conrad Ecklie: A time-out?
Robbins: A personal hour. A few weeks ago, my Siamese had kittens. I went by the house to check on 'em. They're just about weaned. You want one?
Conrad Ecklie: I'm allergic. So tell me about James Billmeyer. Guy found at the Tangiers.
Robbins: I'm just about to post him. Per my prelim, there was an abraded laceration to the right occipital scalp, and a penetration of the epithelium, but not the galea. It's not what k*lled him, but I'll know the full story once I open him up.
(Robbins opens the morgue cabinet to get the body and finds that it's empty.)
Robbins: I saw David put him in here.
Conrad Ecklie: So where is he?
Robbins: I'm not sure.
(Robbin pushes Ecklie aside and checks the cabinet next to the empty cabinet.)
Conrad Ecklie: Maybe he's taking a time-out.
(Nope, there's a body in there.)
Conrad Ecklie: Maybe David probably moved him.
Robbins: He had no reason to.
(Robbins opens a third drawer and finds a body in that one, too.)
Conrad Ecklie: A few years back, a body was prematurely sent to a mortician. Remember that?
(Robbins shuts the cabinet and checks the cabinet above. It's empty.)
Robbins: This is weird.
Conrad Ecklie: Maybe someone in your department mislabeled the corpse?
Robbins: It's highly unlikely.
Conrad Ecklie: Fine. When you find him, get back to me.
(Ecklie turns and leaves.)
(Robbins shuts the cabinet door.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY OUTSIDE ECKLIE'S OFFICE]
(David waits nervously in the hallway outside of Ecklie's office. Through the door, he hears Dr. Robbins' muffled, angry voice.)
(The door opens and Dr. Robbins steps out. He walks past David.)
(David enters the office.)
[INT. CSI - ECKLIE'S OFFICE - DAY]
(Conrad Ecklie sits behind his desk. David shuts the door behind him. He stands in front of Ecklie's desk. Ecklie does some paperwork. David waits.)
David Phillips: Sir?
Conrad Ecklie: We have a situation.
David Phillips: I know. A body disappeared.
Conrad Ecklie: No, no. Mr. Billmeyer didn't disappear. He's missing. There's a difference.
David Phillips: Sir, this isn't my fault.
Conrad Ecklie: You prepped him for autopsy, right?
David Phillips: Yes, sir.
Conrad Ecklie: Walk me through that.
David Phillips: Walk you through what?
Conrad Ecklie: Everything you did to Mr. Billmeyer.
David Phillips: Okay, um, I brought him into the washroom ...
(Quick flashback of a visual of David's narrative. David is snapping photos of the body ... )
David Phillips: (V.O.) I photographed the body, took hair and fingernail cuttings, emptied his pockets, removed clothing, washed his body, tagged him. I put him into the cooler and ...
(David pushes the body in the cabinet.)
(End of flashback. Resume to present.)
David Phillips: I haven't seen him since.
(Ecklie stares at David.)
David Phillips: What?
Conrad Ecklie: I was just thinking, David. I've lost my keys, sunglasses, even a wallet.
David Phillips: (interrupts) Sir, this really isn't my fault.
Conrad Ecklie: But I've never lost a body.
David Phillips: I didn't do anything.
Conrad Ecklie: Find him, Phillips, or this goes on your record.
David Phillips: What would you like me to do?
Conrad Ecklie: Get out!
David Phillips: I don ...
Conrad Ecklie: Get out. Out!
(David turns and leaves the office. Ecklie sighs.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Doc Robbins is on the phone.)
Robbins: (to phone) Six-one, brown hair and eyes, about 200 pounds are you sure?
(David steps into the room.)
Robbins: (to phone) All right, thanks. (He hangs up.) I've checked every mortuary and funeral home in the city, no luck.
David Phillips: Right, 'cause you never authorized a transfer.
Robbins: David, are you familiar with the Latin word necrostuprum?
David Phillips: Body snatcher?
(Robbins nods.)
Robbins: We didn't mislabel or misplace the body. Someone took it.
David Phillips: If you wanted to steal a body, wouldn't it be a lot easier to go to a hospital or university facility?
Robbins: (nods) Absolutely, which means somebody wanted this particular body.
CUT TO:
[INT. CSI - STAIRS / HALLWAY]
(Nick and Catherine walk down the stairs.)
Nick: Some of the leading theories on crop circles include extraterrestrials, wind vortexes, earth energies, and of course, hoaxes. But in 1985, farmers near one U.S. military base suspected the source of a recent incident to be the down wash from a helicopter's rotor blades.
(Quick flash of: [FIELD - DAY] A helicopter hovers low in a field and starts to rise.)
Nick: (V.O.) The spinning of the blades caused the chopper to rise ...
(End of flashback. Resume to present.)
Nick: ... forced the air downward, in effect, bending the grass below.
Catherine: For every action, there is an opposite but equal reaction.
Nick: Since I'm a skeptic when it comes to aliens and earth energies, ooh. So we started with the chopper.
(Nick and Catherine step into the A/V lab.)
[INT. CSI - A/V LAB - CONTINUOUS]
(Catherine takes the seat next to Archie Johnson.)
Catherine: Hey, Archie.
Archie Johnson: Oh, hey. (points to the monitors) Nellis sent over the radar surveillance. Current feed goes back 48 hours. This is where your decedent was located.
Nick: Decedent's T.O.D. was approximately 12:00 noon, yesterday.
Archie Johnson: Using echo and doppler shift we can determine an object's speed.
(He manipulates the radar information over Bennett Ranch.)
Catherine: Freeze the frame, Archie.
Archie Johnson: Found your chopper. It's holding steady. Airplanes can't do that.
Catherine: (smiles) Let's see who owns it.
CUT TO:
[INT. CSI - TRACE LAB]
(Neil Jansen is in the lab when Sara walks in. She's looking at her pager and is surprised to see Neil Jansen when she looks up.)
Sara: Hey, I got your 911. Don't you work days?
Neil Jansen: Ecklie keeps moving me around. Your pink college kids were both blotto.
Sara: Yeah, there were beer bottles at the scene. That's not a surprise.
Neil Jansen: You want a surprise? Check this out. Now, I know you and Greg tested the scene for carbon monoxide, but did you check for carbon dioxide?
Sara: No. I've been a CSI eight years. I have never processed a C02 scene. I mean, you'd need a ton of that gas to cause serious damage.
Neil Jansen: It's a first for me, too. I found traces of blood in Trip's vomit. C02 levels are usually .03%. His levels were 8%. Lethal.
Sara: C02 replaces oxygen on hemoglobin molecules. At 8%, those kids would've literally suffocated on a cellular level.
(Neil nods.)
Neil Jansen: Still doesn't explain why they were pretty in pink. Carbon dioxide, unlike carbon monoxide, doesn't affect skin coloration.
Sara: So what did?
CUT TO:
[INT. CSI - LAB]
(Det. Vartann takes out some of the victim's clothing from the box. He rolls his eyes and looks at Robbins.)
Det. Vartann: What are we expecting to find here?
Robbins: Someone went to a lot of trouble to steal James Billmeyer ... maybe there's a clue in his personal effects.
(Robbins takes out the items from Billmeyer 's travel kit.)
Det. Vartann: So you're a CSI now?
(Robbins looks at Vartann.)
Robbins: If I were, I would have printed the cooler.
Det. Vartann: Really? Maybe you should just put together a list of everyone who had access to the morgue.
Robbins: Law enforcement personnel, (sighs) CSIs, paramedics, funeral home personnel, maintenance workers, hospital workers, janitors ... people that get lost in the building ...
Det. Vartann: Yeah, that sounds good.
Robbins: Two pairs of socks, two pairs of underwear, two T-shirts.
Det. Vartann: That tells me the guy was going to be staying in Vegas for two days.
Robbins: Your powers of deduction are remarkable, detective.
Det. Vartann: Thank you.
(Robbins takes out a WESTERN AIRLINES cocktail napkin and finds writing on it:
JACINDA HENDLER
973-555-0198
{heart} CALL ME!
Robbins: "Jacinda Hendler, call me." Written on an airline napkin.
Det. Vartann: Decedent probably met her on the flight, possibly hours before he died.
Robbins: (scoffs) You think?
(Vartann reaches over and grabs the napkin out from Robbins' grip.)
Det. Vartann: I'll run it down.
(Vartann turns and leaves the room.)
CUT TO:
[DMV NEW JERSEY DRIVER'S LICENSE]
AUTO OPERATOR LICENSE
JAMES BILLMEYER
2371 HANNOVER ST.
MORRISTOWN, NJ 07360
[INT. CSI - INTERVIEW ROOM]
(Det. Vartann and Conrad Ecklie interview Jacinda Hendler.)
Jacinda Hendler: Yeah, I know Jamie. He's a sweet man. He was supposed to call me. What happened to him?
Conrad Ecklie: He died.
Jacinda Hendler: Oh, I'm sorry. Why'd you contact me?
Det. Vartann: Well, your name was in his pocket.
Jacinda Hendler: Napkin. We, uh, we met on the plane.
(She laughs.)
Jacinda Hendler: And, uh, there was only one blanket, so we ... shared it, and I got a little frisky, and ... anyway, there was a kid sitting two seats away, so ...
Conrad Ecklie: So you gave him your number ... to meet up later?
Jacinda Hendler: Yeah.
Det. Vartann: Do you have any idea who may've k*lled him? Or who might want his body in its current condition?
Jacinda Hendler: No. Jamie told me that he-he was flying in to party with some pals from high school in Seven Hills. Said he'd invite me over. Figured he blew me off. It-it happens. I mean ... I have a healthy self-esteem.
Conrad Ecklie: Good for you.
Jacinda Hendler: Yes.
CUT TO:
[INT. CAMPUS DORM - TRIP WILMONT'S ROOM -- DAY]
(The officer standing in the hallway outside Trip Wilmont's dorm room opens the door. Sara and Greg duck into the room under the crime scene tape blocking the door.)
Sara: (to the officer) Thanks.
(Sara sighs. Greg snaps the camera.)
Greg: What exactly are we looking for?
(Greg puts his kit down on the floor.)
Greg: Most sources of carbon dioxide come from ... (looks around) ... factories, cars and volcanoes, not something we're gonna find in a dorm room.
(Greg picks up a journal notebook from the side and looks at it.)
Sara: Maybe somebody pumped the gas in through a vent.
Greg: Uh, sex journal.
(Greg opens to the journal and looks through a couple of pages.)
Greg: Lists of girls ... dates ... and sexual activities.
(Sara looks around the room.)
Sara: Boys and their conquests.
Greg: I've never even heard of some of these.
Sara: Really?
Greg: Never mind.
Sara: Would you help me move the bed, please?
(Greg puts the journal aside and helps Sara move the bed.)
Sara: There's a fresh hole in the wall. Splinters are on the inside. Someone drilled in from the other side.
Cue Sound: (PRE-LAP) KNOCKING
CUT TO:
[INT. CAMPUS DORM -- ZACK CAPOLA'S ROOM -- CONTINUOUS]
(The door opens to Sara and Greg.)
Zack Capola: Hey.
Sara: Hi, Zack. Mind if we come in?
Zack Capola: Why?
(Sara and Greg walk into the dorm room. On his walls are posters of cars.)
Greg: Ah, you're a car buff, huh?
Zack Capola: I guess.
Greg: Yeah, me, too. I always wanted a Testarossa. What about you, what's your dream car?
(Sara moves Zack's bed and finds the hole in the wall.)
Zack Capola: Uh, I don't know.
Sara: Zack, can you explain this hole in your wall?
Zack Capola: I didn't even know there was one.
(Zack walks in closer to look at it. He sighs.)
Sara: I think maybe we should step outside. Your room is now a crime scene.
CUT TO:
[EXT. HELICOPTER TOURS -- DAY]
(Close up of the banner sign:
LAS VEGAS
HELICOPTER TOURS
CALL: 702-555-0101
(In the background, a helicopter lands. Warrick and Catherine get out of their SUV and head over to the helicopter. The pilot steps out of the helicopter and walks over to them.)
Catherine: Are you Morgan Wendel?
Morgan Wendel: Yeah.
Warrick: We're from the crime lab. We have information that put your chopper at a crime scene yesterday, around noon.
Morgan Wendel: You're here about Kevin.
Catherine: That's right, yeah.
Morgan Wendel: I'll tell you everything, but I want immunity.
CUT TO:
[MONITOR]
(The host talks into a microphone. Kevin Staniland is sitting next to him wearing a blindfold.)
Host (man): All right, Kevin!
Kevin Staniland: Yeah! Whoo!
Host (man): I want you to prepare to jump!
Kevin Staniland: Without a parachute? (The host nods.) That's my stunt?! No way!
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Catherine and Nick are in the interview room with
Host (man): (from monitor) Dude, the name of the show is "Going All the Way."
You signed a contract. Now, do it!
(Kevin is shaking his head.)
Kevin Staniland: Jumping out of chopper's not going all the way -- it's su1c1de!
Host (man): Listen, man, you don't have a choice, Kevin. You already ate raw meat, you stuck your face in a beehive. You don't go all the way, you don't get nothing! Come on, Kevin!
Kevin Staniland: No!
(The host laughs.)
Kevin Staniland: What are you doing?!
Host (man): Wait a minute, wait a minute. Dude, dude, check this out, get a sh*t of this.
(The host pulls Kevin toward him while looking at the cameraman.)
Host (man): Get his crotch. Get his crotch. Come here.
(The camera goes down for a sh*t of Kevin's pants.)
Host (man): Our first contestant peed his pants.
(The host gets into the camera.)
Host (man): (shouts) Re-a-li-ty! Come on, let go! You can't fake this.
(He turns to Kevin.)
Host (man): Now, Kevin ... go, baby!
(He pushes Kevin out of the helicopter.)
(Kevin screams. The host laughs.)
Host (man): (to the camera) Keep going, keep going. But here's the thing. We're only four feet up. Joke's on him. Let's check it out.
(He motions out the helicopter door.)
Host (man): (shouts) Kevin! Kevin!
(Camera shows Kevin on the ground. He's not moving.)
Host (man): (o.s.) He's not moving.
(The host looks at the camera and motions.)
Host (man): Turn off the camera. Turn off the camera! Turn ...
(Catherine and Nick talk with the host and his lawyer.)
Catherine: Kevin thought that he was being pushed out of a helicopter a thousand feet in the air, but ...
(Quick flash of: [HELICOPTER] The host yells as he pushes Kevin out of the door.)
Host (man): (shouts) See you later, Kevin!
(Kevin falls to the ground.)
(The helicopter, #N388, hovers over the ground.)
Host (man): (yells) Hey, Kevin?
(The host looks out at Kevin on the ground.)
Host (man): He's not moving.
(The host jumps out of the helicopter to check on Kevin and realizes that he's d*ad. He heads back into the helicopter.)
Host (man): Come on, let's get out of here!
(The host jumps into the helicopter. The helicopter leaves.)
(End of flashback. Resume to present.)
Lawyer: Did you have a warrant for that tape?
Catherine: The pilot gave us the name of the cameraman, who supplied the tape voluntarily.
Host (man): Look, I assured Kevin all our stunts were safe. And they were. Besides, he signed a waiver; I'm not guilty of anything.
Catherine: When you saw that he wasn't moving, you just took off. That sounds like guilt to me.
Nick: You scared him to death. He had a heart att*ck. So the signing of a waiver doesn't make it any less criminal.
Catherine: When the jury sees that tape, you'll be going all the way ... to jail. Second-degree m*rder. Twenty-five to life.
CUT TO:
[EXT. LAS VEGAS POLICE DEPARTMENT -- FRONT -- DAY]
(Conrad Ecklie gets out of his car. He turns the alarm on and heads over to the crime scene.)
Conrad Ecklie: I hope this is a f*re drill.
(He walks under the crime scene tape toward the bench on the grass. Robbins is standing in front of the bench examining the body.)
Robbins: Conrad. We found our body.
(Sure enough. On the bench is the missing James Billmeyer wearing a party hat and a cigar stuck in his mouth.)
(Ecklie looks at the body.)
Conrad Ecklie: Looks more like he found us.
(Robbins turns and looks at Ecklie.)
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS POLICE DEPARTMENT -- FRONT -- DAY]
(Ecklie snaps a couple of photos of the body. He turns to Robbins.)
Conrad Ecklie: Doc, I want you to process the body ASAP.
Robbins: Yeah, Conrad, I'll get right on it.
(David Phillips is standing and looking at the body sitting on the bench.)
David Phillips: Ah, yes-- the guy we left on the bench.
(David turns to leave. Robbins follows him.)
Robbins: (scoffs) Right.
(Ecklie reaches for an evidence bag. Behind him, Grissom walks by. He's dressed in a suit.)
Grissom: Hello, Conrad.
Conrad Ecklie: I thought you were in court.
Grissom: We had a one-hour recess -- I'm on my way back now. And this must be Mr. Billmeyer. I'm so glad he's back.
Conrad Ecklie: Very funny.
Grissom: You might want to have Hodges analyze that cigar. Oh, and the print tech is free. He could, uh, spray the party hat with ninhydrin.
Conrad Ecklie: I think I remember how to do my job, Gil, thank you.
Grissom: I love it when you wear your gloves.
(Grissom leaves.)
(The body on the bench tilts to the right and slowly falls sideways on the bench.)
(Ecklie looks at it and shakes his head.)
CUT TO:
[INT. CAMPUS DORM - ZACK CAPOLA'S ROOM -- DAY]
(Zack Capola talks with Sara and Greg.)
Zack Capola: I swear, I don't know how that hole got there. And if you think that I had anything to do with Trip's death, you're wrong. I was in L.A. for four days. I had just gotten back, and I saw Susan banging on his door.
(Quick flash to: [HALLWAY] Susan knocks on the door just as Zack walks down the hallway toward his room.)
Susan: Trip, are you in there? Open up. If you can hear me, open the door. Please?
Zack Capola: Hey, are you all right?
Susan: Yeah, Trip missed a game. I thought something's wrong.
(Zack drops his duffle bag on the floor and knocks on the door.)
Zack Capola: Trip?
(He takes out a pocket Kn*fe.)
Zack Capola: Hey, man, we're coming in.
(Zack pops the lock on t he door. The door opens.)
(End of flashback. Resume to present.)
Sara: Can anyone verify that you were in L.A.?
Zack Capola: The whole dorm can verify it. I was visiting my boyfriend. It was his birthday. We went to the auto show.
Greg: Does anyone else have access to your room?
Zack Capola: No, I've got the only key, but like I said, it's easy enough to break in.
(Sara notices the burn on Zack's finger.)
Sara: What happened to your finger?
Zack Capola: I'm not sure. I had just gotten back from my trip, and I saw something on the floor, so I picked it up. It kind of b*rned me or something.
Sara: And that didn't seem weird to you?
Zack Capola: I'm in college. A lot of things seem weird to me.
(Sara smiles.)
Sara: Okay. This thing ... that b*rned your finger, where is it now?
Zack Capola: I tossed it.
(Sara looks at Greg.)
Greg: Excuse me.
(Greg ducks under the crime scene tape and enters the room. He heads over to the trash bin and checks it.)
Greg: I don't see anything but a couple pieces of balled up paper and a soda can. Nothing incendiary.
Zack Capola: It was there. I don't know what to tell you, man.
Sara: All right, Zack, we are not going to take you into custody, but we are going to need access to your room for the rest of the day.
Zack Capola: Okay. I'm late for ancient history. Can I go?
Sara: Sure. (Sara points to the officer standing in the hallway.) And this, uh, this nice officer ... he's gonna be your "study buddy."
Zack Capola: Thanks.
(Zack leaves with the officer right behind him.)
Greg: Well, what are you thinking?
Sara: Name a chemical compound that can burn skin and can also disappear into thin air.
Greg: The only thing I can think of is dry ice.
Sara: And dry ice releases carbon dioxide as it sublimates.
Greg: Yeah, but can you put enough dry ice in Zack's room to raise the amount of carbon dioxide in Trip's room to a lethal level?
Sara: Is that a dare?
CUT TO:
[THE DARE]
(Sara, wearing a mask, opens the cooler and starts stacking the blocks of dry ice against the wall between Zack and Trip's rooms.)
(In Trip's room, Greg is wearing a mask and holding the monitor as he checks the CO2 levels in the room.)
(TOP VIEW DOWN: Sara continues to stack the dry ice against the wall.)
(Camera pans over the separating wall into Trip's room as Greg monitors the CO2 levels. The monitor changes from 1.1 to 1.2.)
Greg: Level's only 1.2. We need more dry ice.
(Sara continues to stack the dry ice against the wall.)
(The monitor changes from 4.9 to 5.0 to 5.1.)
(Camera pans back into Zack's room where Sara continues to stack the dry ice.)
(Back in Trip's room, the monitor is up from 7.9 to 8.0)
CUT TO:
[INT. CAMPUS DORM - HALLWAY - DAY]
(Sara and Greg step out of the rooms.)
Sara: It took thirty pounds of dry ice to reach the lethal level of saturation.
Bill: On the floor, where the sleeping bag was.
Sara: Carbon dioxide is one and half times heavier than air. You know, it's conceivable that if Trip and Paula had been sleeping in his bed, they might still be alive.
Greg: I think I know why the bodies turned pink.
Sara: Really?
Greg: Dry ice is cold. The dry ice significantly lowered the temperature in both rooms, and the drastic decrease in temperature can turn a d*ad body pink. We see it all the time when we pull d*ad bodies from frozen rivers.
Sara: (nods) Nice, Greg. You know, if Zachary is telling the truth, and he simply b*rned his finger on a remnant of dry ice, who put it there?
Greg: I'll have P.D. run a credit card check on everyone in the dorm, see if anyone recently purchased a large quantity of dry ice.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins goes over the body with Ecklie.)
Robbins: Your decedent smells like a pine tree.
Conrad Ecklie: Whoever stole him probably sprayed his body with disinfectant to cover up the stench. You got cause of death?
Robbins: Yeah, he died of a heavy heart. Heart weighed 50 grams instead of
300. Hypertensive cardiovascular disease.
Conrad Ecklie: So his heart stopped, he keeled over, h*t his head on the pavement.
(Quick flashback to: [PARKING GARAGE - DAY] James Billmeyer gets out of his car, collapses and hits his head on the concrete.)
(End of flashback. Resume to present.)
Conrad Ecklie: Do you think he was aware of his condition?
Robbins: Oh, I know he was. I sent blood to tox ; he was taking atenolol. A heart that size, he was a walking time b*mb.
Conrad Ecklie: Anything else?
Robbins: Yup, our guy chugged a beer, after he died. Lungs were full of foam.
Conrad Ecklie: So somebody poured it down his throat?
Robbins: Wouldn't be my postmortem beverage of choice, but to each his own. So did you get any prints off that cooler drawer?
Conrad Ecklie: Three. Two were yours, one was David's. See you later.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(Neil hooks up the party hat in the fumer and shakes the spray can. He sprays the party hat. He closes the fume hood and waits.)
(Time lapses and pink fingerprints appear on the party hat.)
[INT. CSI - TRACE LAB - DAY]
(Hodges takes a sample of the b*rned tobacco straight off the tip of the burning cigar. He puts the ashes in a tube and tests it.)
SHORT TIME CUT TO:
[INT. CSI - TRACE LAB - DAY]
(Conrad Ecklie walks into the lab.)
Conrad Ecklie: Anything?
Hodges: Just so you know, I moved all your trace evidence up to the top of my pile.
Conrad Ecklie: Well, thank you. Why don't you quit bl*wing smoke and tell me about the cigar?
Hodges: Huh. Low in nicotine, high in furfural. I compared it to other tobacco samples from the exemplar collection. It's consistent with the Perdomo Reserve brand. I took the liberty of calling a cigar society. They referred me to the Vegas distributor. Spoke to him directly. Perdomos are very high-end.
(Neil walks into the lab.) He only made one sale this past month. It was to a guy in Seven Hills.
(Neil scrunches his face at the smell in the lab.)
Neil Jansen: Smells like my grandfather. Am I interrupting?
Hodges: Actually, yeah. Conrad was about to pat me on the back.
(Ecklie smiles.)
Conrad Ecklie: What do you got for me, Neil?
Neil Jansen: Lifted four clear prints from the party hat. They all came back to Preston Hayburn, from Henderson.
(Hodges quickly looks down at his results.)
Neil Jansen: He's a paramedic. Would've had access to the morgue.
Conrad Ecklie: Good work, Neil. Good work.
(Hodges holds out a sheet of paper to Ecklie.)
Hodges: I have a number.
Neil Jansen: Oh, me, too.
(Neil hands Ecklie his own sheet. Ecklie looks at it. It reads:
HAYBURN, PRESTON
Re: qhey.es. 190021, 05309258.sjj0987 DATE: 2/2-
RESTRICTED - EMPLOYMENT VERIFICATION
ATTN: LVPD 189929287873.0919_0199
LVPD - NO CRIMINAL RECORD
EMPLOYMENT AMBULANCE EMT
1111 NEVADA ONLY RECORD
C11/AD0/198828-91988288377_1290
DOB: 7/19/69 SEX: M RAC/CAUC
HGT: 5'10" HAIR: B EYES: B
6622 NELSON DR.
HENDERSON, NV
89123
Conrad Ecklie: The woman he met on the plane said he was heading to party in Seven Hills. I'll start there and then I'll head to Henderson. Okay?
Hodges: Yes.
(Ecklie leaves the lab. Both Hodges and Neil are smiling.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - GARAGE - DAY]
(Sara and Greg stand in front of a toilet that Greg procured for an experiment. The toilet is in a plexiglass protected area. Surrounding the toilet are stacks of sand bags.)
Greg: I found this toilet behind my apartment complex. It's, uh, volunteered for an experiment.
Sara: It's moving.
Greg: I put dry ice in the bowl.
Sara: So you're thinking that the k*ller might have put his excess dry ice in the dorm toilet.
Greg: When the ice was flushed, it would've lodged in the drain trap. As the ice sublimated and gas was released, it would've built up, causing the toilet to explode.
Sara: Good theory.
(The toilet water starts to bubble.
Sara: I spoke with Brass.
(Greg motions for them to move further away from the toilet experiment.)
Sara: Zack's alibi checks out. He was in L.A. all week.
Greg: And, uh, P.D. checked credit card records. No one in that dorm bought dry ice on credit.
(They step out of the experiment area. Greg closes the door. He puts his fingers over his ears.)
Greg: There's only two retail outlets in twenty miles that sell it, and no one's purchased a large quantity of dry ice in the last few weeks.
(The toilet water starts to bubble and shake. Sara and Greg turn to look at the toilet.)
(The toilet explodes.)
(Sara laughs.)
(Greg removes his goggles.)
Greg: Well, I think I explained the explode-a-potty.
Sara: Greg, maybe the dry ice wasn't purchased. I mean, we are looking at a university. Science department would probably keep the stuff on hand. Science major would have access.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Sara and Greg interview Susan.)
Susan: I was his R.A. The guy lived for basketball, beer and girls. Didn't want much to do with dorm activities.
Greg: Have you ... seen this before?
(Greg takes out Trip's sex journal.)
Susan: No.
Greg: Trip kept record of his, uh, relationships with women. Your name is in here. Three times. On, uh, February 2nd, you hooked up for the first time. Looks like second base. On February 9th, you rounded third, and on February
18th, he got a grand slam.
Susan: He wrote that down?
(Greg sits down.)
Susan: We had sex, I admit it. No big deal. I didn't tell you guys because I'm not exactly proud of it, okay?
Sara: Trip and Paula died from carbon dioxide gas. We already know that you have access to dry ice, and as a materials science grad student, you are familiar with the chemical properties.
Susan: This is crazy.
Sara: Last week, you checked out forty pounds of dry ice from the campus lab.
Susan: My thesis is on metallurgy. I use dry ice to test the physical constrains of certain metals.
Sara: I also spoke to your advisor, who told me that your experiments require two pounds of dry ice, at most.
(Susan doesn't say anything.)
Sara: He broke your heart. He led you on, he let you believe it was serious, and after you went all the way, you were history.
(Quick flashback to: [TRIP'S ROOM] Susan is in the sleeping bag on the floor. Trip is getting dressed.)
Trip Wilmont: Look, this has been a wild ride, but if I gave you the impression that I want a relationship, then, uh ...
(End of flashback. Resume to present.)
Susan: I was an idiot. I had been consulting my female advisees not to take that kind of crap.
Greg: You knew Zack was in L.A., so you broke into his room during the day and drilled a hole in the wall.
(Quick flashback to: [ZACK'S ROOM] The door opens. Susan enters. She pushes the bed away from the wall and takes out a drill.)
(She drills a hole in the wall.)
(End of flashback. Resume to present.)
Greg: Later that night, you returned.
(Quick flashback to: [ZACK'S ROOM] Susan opens Zack's door using a Kn*fe to open the lock. She pulls in a blue cooler and starts stacking the blocks of dry ice against the wall.)
(When she's done, Susan leaves the room.)
(In the next room, Trip and Paula are sleeping on the floor.)
Greg: (V.O.) Trip and Paula were asleep, passed out from the alcohol. When the ice evaporated, the gas engulfed the room, k*lling them.
(End of flashback. Resume to present.)
Susan: I didn't know Paula was there, and I never meant to k*ll Trip.
Greg: So drilling the hole in the wall and leaving the ice behind was an accident?
Susan: No, no, look. Trip's room is 16 feet by nine feet. I used exactly the right amount of ice just to make him sick. If he had been in the bed three feet above the ground and not on the floor ... I just wanted him to miss his basketball game. Trip only slept on the floor when he had girls over, and he never had sex before a big game. He shouldn't have been on the floor.
Sara: Your science was perfect; your instincts were not so good. And you miscalculated one huge factor: The sex drive of a college jock.
CUT TO:
[EXT. SEVEN HILLS (STOCK) - DAY]
[INT. JACKSON RESIDENCE -- DAY]
(The doorbell rings. Charlie Jackson walks down the stairs.)
Charlie Jackson: Who is it?
Det. Vartann: (through door) L.V.P.D.
Charlie Jackson: sh**t.
(Charlie answers the door. Det. Vartann and Conrad Ecklie are on his front porch.)
Charlie Jackson: Can I help you?
Det. Vartann: Are you Charlie Jackson?
Charlie Jackson: Yeah.
Det. Vartann: Do you know a James Billmeyer?
Charlie Jackson: Yeah, we went to high school together.
Det. Vartann: Are you aware that he passed away?
Charlie Jackson: Yeah, yeah, it was a big blow; we were close.
Conrad Ecklie: You mind if we come in?
Charlie Jackson: Yeah, come in.
(Ecklie and Det. Vartann step into the house.)
(Ecklie looks around at the pocker table, the half-filled beer glasses, party hats and cigars on the table.)
Conrad Ecklie: You, uh ... smoke Perdomo Reserve?
(Ecklie uses the glove and opens the cigar box.)
Charlie Jackson: Yeah, on special occasion. Why?
(Ecklie smells a cigar. He turns and looks at Charlie Jackson.)
Conrad Ecklie: Do you know a Preston Hayburn? Paramedic from Henderson.
Charlie Jackson: Yeah, he, James and I were tight. We went to high school together. What's this about?
Det. Vartann: Cut the act, Charlie. We know that Preston had access to the morgue. We believe he stole James Billmeyer's body, maybe brought it here. But what we don't know is why?
Charlie Jackson: All right, James was dying. He had a bad heart, everybody knew it, so we flew him out here for one last bash, and Preston got called to the Tangiers and it was Jamie. The poor guy died in the parking lot.
Conrad Ecklie: And then what? You decided to throw him a d*ad man's party?
Charlie Jackson: (shrugs) Well, we already bought the booze.
(Quick flashback to: [PARTY] The party is in full swing. Someone gives James Billmeyer a cigar, sticking it between his lips. They light the cigar and give James a drink of beer.)
(Someone else snaps a digital photo of the g*ng together - complete with d*ad James Billmeyer in the center.)
(The party continues. Someone sprays air freshener on James. James falls forward and hits the food on the table face first.)
(The party continues.)
(End of flashback. Resume to present.)
Charlie Jackson: He was my best friend, you know?
(Charlie sits down.)
Det. Vartann: It's a class D felony to steal a corpse with the intent to sell or mutilate. I'm not really sure how to classify "partying with the d*ad."
Charlie Jackson: Look, I know how it looks, but if you knew Jamie ... it's what he would've wanted. And we did return him.
Det. Vartann: You're still under arrest. Obstruction of justice and conspiracy to commit theft. You're looking at one to four years, Charlie.
(Charlie stands up and nods.)
Charlie Jackson: He would have done it for me.
(Ecklie and Vartann look at each other.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Finished for the day, Robbins shuts his laptop closed. He gets up and starts to head out.)
(He stops, turns around and goes back to the morgue cooler. He opens the cabinet door and looks inside to make sure the body is still there.)
(Satisfied, Robbins shuts the door.)
(Inside the cabinet, the camera pans down to the body's toe tag:
CLARK-COUNTY
CORONER'S OFFICE
NAME: BILLMEYERS, JAMES
DATE: 02/25/05
CASE NO. 05-3796
427 CAISNO RD.
ROBBINS
ECKLIE
(Camera holds for a b*at, then ...
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "05x23 - Iced"} | foreverdreaming |
FLASH IN.
[VARIOUS EXT. LAST VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. TRAILER PARK - NIGHT]
(A trailer in the trailer park is on f*re. There are a series of expl*si*n within the f*re.)
(A helicopter flies overhead.)
Helicopter Pilot: (over radio) Control, this is air one. I'm at the trailer park 402. There's a large gas main construction f*re. (audio fades out, continues in cc) The scene is totally involved. Dispatch additional f*re units and paramedics. Over.
FLASH TO:
(The firefighters are there spraying water on the blaze. The helicopter flies overhead.)
(CC) WOMAN: We need your help!
TIME CUT TO:
[EXT. TRAILER PARK - NIGHT]
(The f*re is out. The CSIs arrive as the officers are putting up the crime scene tape. They stop just outside the tape and look at the damage.)
Catherine: Warrick, why don't you and I take the perimeter and work our way in.
Warrick: All right. (motions to Greg) Greg, you're with us.
Greg: I'll start the sketch.
(They all duck under the tape and head toward the b*rned trailer. Wilcox walks past them.)
Wilcox: How you doing, Nick?
Nick: (smiling) Above ground, Wilcox.
(Sara and Nick follow Grissom toward the trailer.)
Sara: Would you like inside or out?
Nick: I'll take in.
(They head toward Brass, who is inside the trailer.)
Brass: We got two victims. We think the girl is Selena March. She owns the trailer.
(They shine their flashlights down on the blonde-haired woman on the ground near Brass. There's a second body near her.)
Grissom: What about the male?
Brass: Nothing yet.
Nick: This is a piece of the roof right here -- fiberglass and particle board. These things weren't built to last.
Grissom: They were built to burn.
Nick: This place is totaled. The bed's collapsed.
Officer Metcalf: My money's on meth lab.
Sara: You know, Metcalf, just because somebody lives in a trailer park, doesn't mean they're a meth cook.
Officer Metcalf: You guys are a real pain in the ass, you know that?
(Grissom heads out.)
Grissom: Get used to it, pal.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. TRAILER PARK - NIGHT]
(Brass is talking with the neighbors gathered outside.)
Brass: I'm just having a little trouble understanding this because you all live so close together. You mean none of you saw the expl*si*n?
(Randy Swansinger steps forward.)
Randy Swansinger: Uh, I heard it.
Brass: Well, good.
Randy Swansinger: When I came out about five minutes later, the whole place was burnin' up.
Brass: Where do you live?
Randy Swansinger: (points) Right over there.
(Brass turns to look.)
Brass: Uh-huh. (He turns back to look at the man.) All right, let me get this straight -- you heard a blast like that coming from your neighbor's and it took you five minutes to poke your head out and see what was going on?
Randy Swansinger: I was watching TV.
(A woman standing next to him interrupts.)
Nosy Lady: I'm sure he was drinking.
(Randy Swansinger sighs and turns to leave. Brass stops him.)
Brass: No, hang around, hang around. Hey, hang around.
Woman: Did you find a man in Selena's trailer?
Brass: Now why would you ask that? Was Selena a hooker?
Woman: I'm sure I don't know. But one thing I do know, that's not Selena's car.
(She looks pointedly at the car parked outside the trailer.)
[INT. TRAILER PARK - TRAILER -- NIGHT]
(Sara is looking at some blue paint on the gas main in the trailer.)
(Outside, Catherine and Warrick are crouched down looking at something. Catherine's phone rings.)
Catherine: Yeah?
Grissom: (over phone) Catherine, we have a 4-19 off Industrial. Would you like to handle it?
Catherine: (to phone) So you get the team back together only to break us apart again. What kind of a perverse game are you playing here, Gil?
Grissom: (from phone) I'm not a pervert.
Catherine: (to phone) Yeah, I'll cover it. I'm taking Warrick.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. INDUSTRIAL - STRIP CLUB - NIGHT]
(Warrick and Catherine walk down the sidewalk toward the taped-off area.)
(An officer is already there. They head toward the scene.)
Officer DA Michaels: Oh, hey, guys. Good to see you. Hey, would you tell Nick I hope there's no hard feelings about that whole, you know, abduction thing. He hasn't returned my calls.
Warrick: He's been busy.
Vartann: Squad car found her about a half hour ago -- no ID, but there's a lot of homeless in this area.
(Warrick crouches down and starts snapping photos of the victim. Catherine remains standing nearby, shining her flashlight on the victim.)
Vartann: Looks like somebody took something to her head.
Warrick: Yeah.
Vartann: Didn't find a w*apon, but my guys are still looking.
(The woman is wearing a shopping bag with the following printed on top in red:
BONANZA
WORLD'S LARGEST GIFT SHOP
www.bonanzagifts.com
Sahara & the Strip
Las Vegas, Nevada
Catherine: A shopping bag for a shirt, rubber boots and a g-string. Homeless stripper?
Warrick: Well, this is g-string row, isn't it?
(Warrick puts a hand to his forehead. Catherine notices the ring on his finger.)
Catherine: Why is there a ring on your ring finger?
Warrick: Because I'm married.
Catherine: What?
(Warrick glances at Catherine and nods his head.)
Vartann: (joking) Congratulations. How much did you pay her?
(Vartann steps forward and shakes Warrick's hand. Warrick chuckles as he stands.)
Vartann: No, seriously, good luck with that, man. I didn't even know you had a girlfriend.
Warrick: Oh, yeah, it's a girl I've been dating a couple months--Tina.
Catherine: How long have you been married?
Warrick: Since yesterday. Did this, uh, drive-through wedding at Circus Circus Way, you know. Fun, yeah, we, uh ... fun time.
(Vartann smiles as Warrick walks a little. David joins them.)
David Phillips: Hey. Sorry I'm late. Busy night.
(David puts his kit down near the body and kneels next to Warrick near the body.)
Warrick: We need a TOD, David.
David Phillips: Rigor's barely set, so not long--under four hours.
Catherine: About as long as Warrick's been married.
David Phillips: You're married? Congratulations.
Warrick: Thanks. Do you think she was dumped?
David Phillips: Lividity is consistent with the position of the body. So it's highly unlikely.
Vartann: All right. I'll check out the strip clubs.
Warrick: I'll go with you.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAWN]
[INT. TRAILER - DAWN]
(It's morning. Nick steps out from one of the rooms into the living room. He's holding a hot plate and cord in his hand. He walks over to Grissom.)
Nick: Well, there doesn't seem to be any drug-manufacturing supplies, but plenty of ignition sources: a hot plate, fondue pot, gas stove, candles. One leaky pipe's all it takes.
(Grissom looks around. He doesn't say anything.)
Nick: Which I haven't found yet.
(Nearby, Sara examines a b*rned item.)
Grissom: Yeah, but even if you had, that would only explain the expl*si*n in here, not the ruptured gas main outside.
(Sara walks over to Grissom and Nick.)
Sara: Think I can help you with that. I found this gas meter over by the main. Trailer blows, this thing becomes a m*ssile.
(Quick flash of: The gas main explodes, sending the gas meter flying toward the trailer. It hits the pipes, causing a second expl*si*n.)
(End of flash. Resume to present.)
Sara: One expl*si*n leads to another.
Grissom: Yeah, but where did it all start?
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Greg reports to Grissom as they walk through the hallway.)
Greg: Brass ran the plates on that Acura near the trailer. It's registered to a Robert Durgee.
Grissom: You get his photo from the DMV?
Greg: Confirmed as the vic -- Henderson address, mortgage broker. Wife's name was on the insurance card.
Grissom: She coming in?
Greg: She wasn't home. Brass is tracking her down.
(Greg leaves. Judy Tremont, the receptionist, stops Grissom.)
Judy Tremont: Excuse me, Mr. Grissom ... (Grissom walks over to her. She has a plastic bag in front of her.) An officer brought this in off a call from Flora Nevada Nursery. They thought it might have something to do with the Walter Gordon case.
(Grissom takes the bag and sees that there's a b*rned cassette tape inside.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins reports his findings to Nick and Grissom.)
Robbins: Female's lungs were filled with soot. COD is smoke inhalation.
Nick: Okay, that means the natural gas didn't suffocate her. expl*si*n probably knocked her out before the f*re even started.
Robbins: Yeah, male didn't even last that long. His lungs were clean, but he suffered fatal crushing injuries to his abdomen.
Grissom: The pieces of debris that were on this guy's body were not heavy. But the bed he was lying in collapsed.
Nick: expl*si*n could've done that.
(Grissom looks closer at the bruises on the body.)
Grissom: Let's photo-enhance these bruises.
(Grissom attaches the lens to the camera mounted on a stand over the body while Nick sets up the computer. He goes to help Grissom by adjusting the light.)
(They snap a couple of photos. Nick adjusts the image on the monitor.)
Nick: Yeah, yeah, the UV light's definitely bringing out the bruises underneath the skin.
(He enhances and sharpens the image. It becomes clear what it looks like.)
Nick: That looks like a tire mark.
Grissom: Maybe our gas expl*si*n just turned into a h*t-and-run.
CUT TO:
[MONITOR: TIRE MARKS]
(The tire image taken from the body split-screens on the monitor next to a tire.)
[INT. CSI - LAB - DAY]
(Nick stands at the computer trying to find a match to the treadmark.)
(He finds the match and pulls up the tire information:
Brand: MICHELIN
TYPE: 195/70/R14
PATTERN: BLOCK
GROOVE: 5
VEHICLE MODELS CONSISTENT WITH MICHELIN 195/70/R14
VEHICLE MODEL 1: TOYOTA CAMRY, '96-99
VEHICLE MODEL 2: HYUNDAI SONATA, '96-'98
VEHICLE MODEL 3: PONTIAC SUNFIRE SE '96-2000
VEHICLE MODEL 4: FORD RANGER '96
(Nick checks the information against the State of Nevada Insurance Identification Card. It reads:
COMPANY NUMBER: 23509
COMPANY: American Peak Ins. Co.
POLICY NUMBER: --7399581-03
EFFECTIVE DATE: 01/01/2005
EXPIRATION DATE: 05/30/2005
VEHICLE IDENTIFICATION NUMBER: 1N6SD1155RC400678
12688 OWENMOUTH AVE.
LAS VEGAS NV 89101
ROBERT DURGEE
AMBER DURGEE
8824 SANDY CREEK RD.
LAS VEGAS NV 83123
(He enters a Search Request for:
AMBER DURGEE
(The results show:
MAKE: FORD
MODEL: RANGER
YEAR: 1996
LICENSE PLATE: 219 RSB
VIN#: 7Q10T19Q27R211657
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass interviews Amber Durgee.)
Amber Durgee: Well, Robert said that he was going to be working late. So I went to midnight bingo.
Brass: Alone?
Amber Durgee: Excuse me?
Brass: Alone?
Amber Durgee: I was ... with a friend.
Brass: What was your friend's name?
Amber Durgee: Why?
(Brass offers her a tissue. She takes one.)
Brass: Why not?
Amber Durgee: He's married.
Brass: Looks like the only person in this thing who isn't married is the d*ad girl in the trailer with your husband.
(Amber looks at Brass, surprised to hear this.)
Brass: You didn't know he was having an affair?
Amber Durgee: (shakes her head) No, I had no idea.
Brass: You have a '96 blue Ford Ranger. We're going to need to take a look at it.
Amber Durgee: But my truck is in New Mexico. My brother borrowed it this morning, he, uh ...
Brass: A wild guess: You have no idea how to reach him.
Amber Durgee: Not until he gets back. Why do you need to see my truck?
Brass: Let me tell you a story. Once upon a time, you follow your husband to a trailer park. You see him slumming with his little trailer bunny. You waited for him to come out ...
(Quick flash to: [TRAILER PARK - NIGHT] The trailer door opens and Robert Durgee steps out of the trailer. Amber sits inside her car watching him. He lights his cigarette. Suddenly, carlights glare and the tires screech as the car surges toward him. He turns to look.)
(End of flash. Resume to present.)
Brass: When she pulls the body back in, before she can call for help, you torch the place. Kaboom.
(Quick flash of: The trailer explodes. End of flash.)
Brass: The end.
Amber Durgee: That is the craziest thing I've ever heard.
(Brass chuckles.)
Brass: Wouldn't even make my top ten.
FADE OUT
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(Brass and Grissom walk through the hallway.)
Brass: So that's when the bereaved Mrs. Durgee lawyered up. Broadcast out on her truck, and the warrant's ready to go.
(They stop walking. Grissom looks up and sees Sofia Curtis handing a suspect off to an officer.)
Suspect: I didn't do it.
Sofia Curtis: (to the officer) I don't care what he says. Put him in the t*nk and see if he wises up. Sure as hell can't get any dumber.
Grissom: (calls out) Detective Curtis.
(Sofia walks over to Grissom and Brass.)
Sofia Curtis: Grissom.
Grissom: I thought you were supposed to be arresting people in Boulder City.
Sofia Curtis: Well, a spot opened up here and ... I transferred in today.
Brass: Surprise.
(Brass turns and leaves. Sofia and Grissom smile at each other.)
Grissom: Well, your mother would be proud.
Sofia Curtis: My mother made captain. You know, I'd just qualified for my shield when the sheriff pulled my papers and "volunteered" me to CSI. I think my mom hated that more than I did.
Grissom: You won't miss the lab, will you?
Sofia Curtis: (shrugs) There's some things I'll miss. I'll see you around.
(Grissom watches her leave.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Catherine removes something from the victim's head cut. She looks at it. Camera zooms in for a close-up.)
(Catherine puts the piece in a container and sets it aside. An assistant stands on the other side of the table. Catherine looks at the victim's nails. She cuts the plastic bag off the body and removes it.)
(She snaps photos of the body.)
(Catherine removes the rubber boots from the victim's feet. She finds lettering on the side of the boots: S & S. She also finds initials on the back: EV.)
(She looks at the woman on the table.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Catherine is on the computer looking up a website: City of Las Vegas. The page is about "Streets and Sanitation Maintenance".)
(More information pops up.)
(Warrick walks into the office.)
Warrick: So, Vartann and I struck out on g-string row.
Catherine: You poor guys.
(He chuckles.)
Warrick: Yeah, right. You know what I mean. No one recognized the victim's picture. Listen, Cath, about this whole marriage thing ...
Catherine: Yeah, that. Yeah, that kind of threw me for a loop. Tina, right?
Warrick: Yeah.
Catherine: She must be a very special woman. I look forward to meeting her.
Warrick: Yes, she is ...
(Catherine passes the report toward Warrick. She turns back to her monitor.)
Catherine: (interrupts) The vic's blood-alcohol level was .16 and COD was blunt-force trauma.
(Resigned, Warrick walks over to look at the report.)
Warrick: Smashed and then smashed, huh?
Catherine: Mm-hmm.
Warrick: Any luck on the, uh ... victim's prints?
Catherine: No work card; no record. But the rubber boots were standard issue: Streets and Sanitation.
(She indicates the photo on the table. Warrick looks at it. It's of the initials.)
Warrick: "E.V."?
Catherine: Yeah, there's three S&S workers with those initials and ...
(The information appears on the monitor:
NAME: VONNER, EDDIE
ADDRESS: 288 TYLER RD.
HENDERSON, NV 89109
Catherine: ... it looks like an Eddie Vonner was on duty last night.
CUT TO:
[EXT. LOT -- DAY]
(Det. Vartann and Catherine talk with Eddie Vonner as he stands in front of his truck #3143.)
Eddie Vonner: Why would you want to see my boots?
Vartann: You tell us.
Eddie Vonner: Look, I know it's against the regs to pick up anything other than trash, but, I mean, come on.
(Quick flashback to: [NIGHT] The woman wearing a plastic bag runs along the sidewalk in her bare feet. Eddie gives her his boots.)
Eddie Vonner: (V.O.) She was barefoot; she was stepping on glass and crap, so, yeah, I gave her my boots.
(End of flash. Resume to present.)
Eddie Vonner: And she practically begged, so, I gave her a lift.
Vartann: So, you're just a good Samaritan.
Eddie Vonner: Oh, come on, it was pretty obvious she didn't belong there.
Catherine: Where?
Eddie Vonner: Jefferson and K? You ever see the citizens that hang out in that neighborhood?
Catherine: When I see them, they're usually d*ad.
Eddie Vonner: Well, there you go. I mean, come on, she ... I could tell, despite the ... well, the get-up, she was hot. And, I mean, I'm not talking like garbage truck hot. I mean, she was like ... like limo hot.
(He motions toward Catherine. She rolls her eyes.)
Vartann: Listen, did she tell you her name, or, uh, how she ended up there, anything?
Eddie Vonner: She looked kind of embarrassed, so I didn't push it. So, I just ... I dropped her off down at, uh, Western and Industrial. Never left my route. Why, did she, uh ... ? She say anything about me?
Catherine: She died a few blocks from where you dropped her off.
CUT TO:
[INT. TRAILER PARK -- DAY]
(Nick jumps out of the trailer while Sara snaps photos of the various items spread out on a blue tarp.)
Sara: If the wife torched the trailer and caused the expl*si*n, you would expect to see small debris embedded all over the inside of these walls. There's nothing here.
(She snaps more photos. Nick finds something else.)
Nick: Hey, hey ... Sara. Check this out. This is a piece of the exterior wall facing the road.
Sara: With a tire mark on it?
Nick: Yeah.
Sara: There is blue paint on this gas main. Didn't mean anything at the time. Amber has a blue Ford Ranger, right?
Nick: Uh-huh.
Sara: What if Amber follows her husband to the trailer, sees him go inside, totally freaks out. Why wait for him to come out?
(Quick flashes of: [INSIDE TRAILER] Robert and Selena are in bed.)
(Outside the trailer, Amber sits behind the wheel, steps on the gas and rams the Ford Ranger into the trailer wall. The truck runs clear over the bed and its occupants. Glass sprays all over the bedroom.)
(End of flash. Resume to paresent.)
Nick: Yeah. Yeah, just come straight through. Run him over in bed with another chick.
Sara: Trailer collapses, f*re breaks out, sweeps through, and destroys practically all evidence of a collision.
Nick: Yeah.
Sara: It's too bad we don't have her truck. We could match this to her tires.
Nick: Well, '96 f Ford Ranger, stock paint. (Nick picks up the pipe with the blue paint on it.) Maybe I can match the transfer to this.
(Sara looks around.)
Sara: I'm starving. There's a unit going out for sandwiches. Would you like me to get you something?
Nick: No, no, you go ahead. I'm gonna ... (He looks around, his mind preoccupied.) I'm gonna work on this.
(Sara leaves. Nick carries the pipe and wall over to the back of his car where they have an additional table set up. He puts the wall down and concentrates on the pipe.)
(He puts the pipe down on the table along with a blank evidence tag. Unknown to him, a large cockroach is on his shirt and climbing up his arm.)
(Nick glances down at the roach and sees it. For a moment, he's startled and bats at the roach to get it off him.)
(Nick looks around.)
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. BONANZA - NIGHT]
(Vartann meets up with Warrick.)
Vartann: According to the garbage man, she ran up from this direction.
Warrick: Yeah?
Vartann: Must be where she got the bag.
Warrick: Hmm.
(They both walk the sidewalk.)
Vartann: Victim wasn't carrying a cell phone. She's in the wrong part of town in her underwear, scared out of her head. She's gonna call her man, her family, someone.
Warrick: And she didn't have a quarter, so she called 911. I'll print the phones.
Vartann: I'll dump the call records.
(Warrick looks around as Vartann dials.)
Warrick: Let's get the traffic cameras, too.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - TRACE LAB -- NIGHT]
(Hodges reports his findings to Grissom and Nick.)
Hodges: The, uh, treadmark on your trailer wall is consistent with Michelin
195/70/r14s.
Grissom: What about the blue paint scrapings we found on the gas main?
Hodges: You got a real thing for blue paint. You know that? But, uh, this isn't from a Ford Ranger, or any Ford for that matter. It's a GMC paint.
(He shows Grissom the report with the following:
BLUE COLORED PAINT SCRAPINGS RECOVERED
FROM EVIDENCE ITEM #7166 IS CONSISTENT
WITH GMC PRODUCTS )
Nick: Amber Durgee was cheating on her husband, maybe even wanted him d*ad, but her truck didn't have anything to do with it.
Grissom: Right tires, wrong vehicle.
Nick: (nods) Mm.
CUT TO:
[EXT. TRAILER PARK -- DAY]
(Grissom is snapping photos of the treadmarks on the ground. He looks around. He walks around the trailer over to the other side and finds two large holes in the ground. He picks up a piece of broken glass with 32V??H on it.)
(Nick walks over to him.)
Nick: Found something?
Grissom: Part of a headlamp, maybe.
Nick: Well, I found some blue paint transfer on that chain-link fence. As far as tracks go, this place is a parking lot, man. They're everywhere.
Grissom: Except between the gas main and the trailer.
Nick: So, the trailer wasn't rammed?
Grissom: I think we're looking at the, uh, vehicular equivalent of a through-and-through. Car comes down the road.
(Quick flash of: [NIGHT] A car coming down the road skids to the side and grazes the wire fence.)
Grissom: (V.O.) Gas main acts as a ramp.
(The car runs up the gas ramp and goes completely through the trailer. The trailer explodes.)
(End of flash. Resume to present.)
Nick: Flying car. (nods) That's what we're gonna go with?
(Grissom turns and looks at Nick just as Nick looks away.
Nick: mm-hmm. Okay.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Nick and Brass walk through the hallway.)
Nick: The partial OEM number on the headlamp piece belongs to a '97 Pontiac Sunfire.
Brass: Boy, that was quick.
Nick: Well, GMC paint -- tire model wasn't that tough.
Brass: I'll put out another broadcast.
Nick: All right.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. PARKING LOT -- DAY]
(Sara snaps a photo of the blue Pontiac with a couple of parking tickets on the windshield.)
(Grissom and Sofia kneel behind the car looking at the closed trunk.)
Sofia Curtis: Your broadcast was for a blue Pontiac. Patrol figured this was worth a look.
Grissom: How bad does a smell have to get before Parking Control calls Homicide?
(They're looking at the decomp goo dripping from the bottom of the trunk.)
Sara: No way this car was at the trailer park. Think we've got a new case. First citation was issued five days ago. Car's probably been here at least six.
(Sofia pops the trunk.)
Sofia Curtis: Six days in the summer heat.
(Inside are the soupy remains of a d*ad body, cloth and bones ... and the sounds of flies buzzing around the mess.)
Grissom: (exhales) And a trunk becomes a crockpot.
Sara: Looks like a male and a female.
(Grissom notes one of the skulls.)
Grissom: That could be an entry wound in her skull.
Sofia Curtis: Well, if she was sh*t in there, there might be b*ll*ts and casing. I say we process the car in place. Let's get rolling.
Sara: Area is uncontrolled. Evidence can be contaminated or lost. We need to get this back to the lab.
Grissom: Car condom.
(They shut the trunk door.)
[VARIOUS sh*ts]
(Sara places a sticker on the back left door that reads: DO NOT OPEN, POLICE.)
(She and Grissom wrap the car's trunk completely in rolls of thin plastic.)
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Archie removes the cassette tape from the bag and puts it in the player. He hits play and listens to the tape on his earphones.)
Walter Gordon: (from tape) Hi, CSI guy. You're wondering why you're here? Because you followed the evidence.
(Warrick walks into the lab
Warrick: Archie?
(Archie doesn't move. Warrick nudges Archie's chair, startling him. Archie removes the earphones.)
Warrick: Archie? Do you have anything on pay phone dump?
Archie Johnson: Oh. Yeah.
(Archie turns the tape off, stands and moves over to the video equipment.)
Archie Johnson: The 911 call about five minutes before your garbage man picked up the vic. Then I matched time codes with the video from the traffic cam. Synched up the audio.
(He hits play and shows Warrick both the audio and video of what happened on the street. Time code starts at 3:17.)
(The girl is on the phone in nothing but her underwear.)
Operator: (from video) 911. What is your emergency?
Woman 1 (victim): ... pick me up.
Warrick: Whoa!
Operator: (from video) Ma'am, just calm down.
Warrick: That's our girl.
Operator: (from video) Will you tell me your location?
Woman 1 (victim): (hysterical) No. I don't know where I am, okay?!
Operator: (from video) If you'll just calm down and tell me where you are.
Woman 1 (victim): (from video) I don't know where I am. I'm just ...
(A second woman walks up to her, grabs the phone and hangs up.)
Woman 2: (from video) Yo, ho, get off my phone ... Woman 1 (victim): (from video) Please, please ...
Archie Johnson: Someone's getting territorial.
Warrick: I'll put Vartann on it.
Woman 2: (from video) This is my phone. Woman 1 (victim): (from video) Okay, fine. You can have this phone!
(The second woman chases the first woman out of camera frame. The first woman leaves.
Warrick: Vic loses her shoes. Explains the boots. Let see where she came from. Rewind it a little bit, would you?
Archie Johnson: Yeah.
(Archie rewinds the tape and shows the victim coming out of a large vehicle.)
Warrick: Oh. Stop. Hold it. That looks like an airport shuttle. There's a logo on this side.
Archie Johnson: Yeah. I can enhance that.
(He enhances the logo and sees:
EXCLUSIVE
SEDAN SERVICE )
Archie Johnson: That's a limo?
Warrick: This is Vegas. It's a strip bar on wheels.
CUT TO:
[INT. EXCLUSIVE (SEDAN SERVICE) -- DAY]
(Warrick is going through the limo while Vartann and Catherine interview the limo driver.)
Limo Driver: I don't even pay attention to the talent. I just drive down Industrial Boulevard, from strip club to strip club, picking 'em up. It's like bus stops. Before you know it, we're full, the bus is on f*re ...
(Quick flash of: Inside the limo, the girls are dancing to the music. End of flash.)
Limo Driver: We call it the "champagne ride."
Vartann: Oh, yeah?
Limo Driver: It's nice.
Vartann: So what do the girls get paid for this?
Limo Driver: The girls, they make uh ... at least twice as much as they do in the clubs, so ...
Catherine: Depending on what else they ride.
Limo Driver: Oh ...
(Inside the limo, Warrick finds a cell phone. He checks the calls and finds them all made by "GISELLE". He finds a small wallet and takes out a Nevada driver's license for:
HARRIS, BROOKE
91334 RANCHO DRIVE
LAS VEGAS, NV 89123
EXPIRES: 02-17-2006
SEX: F
HEIGHT: 5'6"
WEIGHT: 105
EYES: BLU
HAIR: BRN
(Outside, Catherine and Vartann continue to question the limo driver.)
Catherine: It's a pretty sweet deal for the guys. Hot chicks getting trashed with no security and nowhere to go.
(Warrick steps out from the limo and joins them.)
Catherine: And what happens when the girls want to get off?
Limo Driver: Usually, it's the guys that are getting off.
Warrick: I found something in there besides body fluids. Belongs to the victim, Brooke Harris. You dropped that girl off in a w*r zone, man.
Limo Driver: When the guy paying the tab says he wants to stop, I just stop.
(Quick flash of: Inside the limo, the party continues. A man sitting down grabs Brooke Harris, trying to get her to sit on his lap. She pushes him away.)
PAYING CUSTOMER: Come on ...
Brooke Harris: You know, you've got to sit down and ...
PAYING CUSTOMER: Come on ...
Brooke Harris: Stop it! Back off, jerk!
PAYING CUSTOMER: Stop the bus! Get her off the bus!
Brooke Harris: No, I don't want ... I don't want to get ...
(End of flash.)
Limo Driver: Look, strippers are tough chicks, okay? I figured she'd find a way home, one way or another.
CUT TO:
[INT. GISELLS (GYM) - HALLWAY -- DAY]
(Catherine talks with Vartann as they walk through the hallway.)
Catherine: Brooke Harris was getting calls from a gym?
Vartann: Well, the "Giselle" number went straight to voice mail. The voice mail said to contact her here.
(They turn and watch the exercise class through the window.)
Catherine: And what's the word on the husband?
Vartann: Huh?
Catherine: The husband.
Vartann: Yeah ... no, according to his office, he's away in Laughlin on business. We're still trying to get in touch with him.
(Inside the exercise room, the women are dancing around poles.)
Instructor: ... swing those legs up and around. Yeah, like a waterfall ... you got it. That's it!
SHORT TIME CUT TO:
(Catherine and Vartann talk with Giselle.)
Giselle: So I called Brooke a few times. So what? She was one of my students.
Vartann: You actually teach this?
Giselle: Strippers have the best bodies in town. If you want the body, this is how you get it. Trust me, I've been doing this since before I had my driver's license.
Catherine: Well, workout is one thing. What is a housewife from Centennial Park doing on a stripper bus with pros?
Giselle: She wanted it.
Vartann: Come on ...
Giselle: No, really. She loved the attention. Loved the fantasy. She wanted to try it for real. See how she stacked up against some real talent.
Catherine: And you let her.
Giselle: Do I look like her mother?
Catherine: You were teaching her a lesson.
Giselle: If I'd wanted to do that, I would've sent her to Stripperama, fed her to the wolves.
Catherine: And drunk CEOs aren't wolves? They're worse. You know that. That's why you kept calling her. So you could hear all about it, right?
Giselle: I was just calling to see how things went.
Vartann: Oh, really?
Giselle: It's starting to sound like I need a lawyer.
CUT TO:
[EXT. TRAILER PARK -- DAY]
(Brass, Nick, Grissom and an officer head for the house.)
Brass: So I pulled all the ROs from all the '97 blue Sunfires in Nevada; one name and address just jumped out ...
(They turn into the front walk.)
Brass: (shouts) Randy Swansiger. Las Vegas police! Come on out, Randy.
(Nick heads over to the car covered with blue plastic and uncovers it. Brass knocks on the front door.)
Brass: Walk out slowly, Randy.
Nick: Michelin tires.
Grissom: Blue car. Broken headlamp.
Randy Swansinger: Hey, how's it goin'?
Brass: I'm Detective Jim Brass. Remember me?
Randy Swansinger: Hey, hey, hey, hey ... whoa, whoa ... what are you guys doing?
Brass: You got a couple of DWIs on your record. What have you got to say for yourself, Randy?
Randy Swansinger: I was coming home ... been working late ... I guess I fell asleep at the wheel ...
(Quick flash of: [NIGHT] The car grazes the wire fence, hits the gas main pipes like a ramp and b*ll*ts through the trailer. The trailer explodes. End of flash.)
Randy Swansinger: Next thing I know ... crash-boom-bang! The car still worked, so ...
(Randy runs. Brass and the others don't follow. They watch as Randy runs to the end of the road, runs into the fence, trips and falls to the ground.)
(Grissom turns and looks at Nick, who shakes his head.)
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Greg has his hand in the soupy mess in the trunk while Sara sits near by, watching.)
Sara: Drain plug's probably under the carpet.
Greg: I think I found it.
(Greg pulls the plug back. The soupy goop splashes on his face. He groans.)
Greg: Ahh ...
Sara: (shrugs) Technically, that makes you a cannibal.
(Sara hand Greg a cloth to wipe his face.)
Sara: Grissom would be proud.
Greg: Grissom would've tasted it on purpose.
(Sara kneels to check under the car. The soupy goo is draining through the bottom of the trunk.)
Sara: It's working.
[VARIOUS CUTS]
(Sara and Greg watch as the soupy goo drains out of the trunk and into plastic canisters with large strainers over it.)
(Sara checks inside the car.)
(She opens a pink box from Gooeybunz and finds the remains of partially eaten buns inside.)
(She cuts through the DO NOT OPEN sticker on the back door.)
(Greg sifts through the remains in the strainers. He finds something, washes it off and puts it in a second, smaller container on the side to drain.)
(Sara snaps photos of the GM VIN number: 1G2NE54N1PM630014.)
(Sara takes a sample of some red goo on the carpet. She reaches in and picks up a cheeseburger wrapper on the floor. Under it, she finds a whole gooey bun. She picks it up and looks at it.)
(She dusts the windshield and pulls some prints.)
(Greg continues to sift and separate the items in the sieves when Sara walks up to him.)
Sara: That makes 34 prints. Jacqui's going to love me.
(She watches him.)
Sara: You got something?
Greg: I think so ... b*llet fragment. Copper-jacketed. Rules out a .22.
Sara: See, it was worth it.
CUT TO:
[INT. CSI - LAB -- DAY]
(Hodges walks into the lab to report to Warrick and Catherine.)
David Hodges: You better get ready for this because this is going to blow you away. The rust-colored material you found on the victim's head wound ... was rust. Plain old ferric oxide, found on nearly every iron object on the planet earth. Case breaker? No? As they say, "garbage in, garbage out."
(Hodges leaves.)
Catherine: Um ... the champagne ride picks up strippers near the clubs, but not actually at the clubs.
Warrick: Right. The owners don't like that bus coming anywhere near the clubs because they don't make any money off them.
Catherine: Well, look, Brooke Harris wasn't planning to die that night. She had to have parked her car somewhere.
Warrick: Well, there's a secured parking lot not too far from where the garbage man dropped her off.
(Catherine points to the two spots on the map.)
Catherine: So, if she parked her car here ... why did she go here?
(Warrick's quiet for a moment.)
Warrick: Hey, Catherine ...
Catherine: Yes?
Warrick: Can we talk? (He shows her the ring.) About this?
Catherine: Sure.
Warrick: You know, what happened to Nick ... it just got me thinking. Life is so short, you know? It's almost ... it's almost shorter than we want to ever believe.
Catherine: Live for the day.
Warrick: Exactly. So, I, uh ... I've been heading to ask this young lady I've been seeing--Tina--to marry me.
Catherine: You know that I'm happy for you.
Warrick: Yeah?
Catherine: Yeah.
Warrick: But it also feels like you're not so happy for me.
Catherine: Warrick ... you know, the thing that makes a fantasy great is the possibility that it might come true. And when you lose that possibility ... it just kind of sucks.
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(Bobby Dawson reports his findings to Greg.)
Bobby Dawson: Okay, Mr. Greg, your most likely match is a .44 round recovered from a drug-related sh**t-out in Mesquite five days ago. Case is still open.
Greg: That's roughly two days after the bodies ended up in the trunk. Maybe our vics were the beginning of a little crime spree. Thanks.
(Greg leaves the lab, heading in one direction. Coming down the hallway from the other direction are Sofia and Sara.)
Sofia Curtis: I ran the Grand Am's VIN. Last RO was a tow yard over by Nellis. Vehicle's most likely an impound, sold under the table to some scammer who faked his tags.
Sara: You're not going to get far in that direction.
Sofia Curtis: I know. What about prints?
(Sara hands the file to Sofia.)
Sara: 13 different IDs. Some off work cards, some off felonies ranging from as*ault, B&E, cocaine tr*ffick.
Sofia Curtis: Well, even if I do manage to track them all down, there's no guarantee any of these were involved with the vics.
Sara: Well, they didn't put themselves in the trunk, and unless they were sh*t right there at the curb, somebody drove the car there. You're the detective.
(smiles) Go detect.
(Sara leaves.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins prods through the skeletal remains as he shares his findings with Sara and Greg.)
Robbins: Fully developed skeletal structure consistent with an adult male. The medial end of the clavicle's almost fused. Suggests he's about 25 years old. Lack of prognathism indicates he's Caucasian. The female, however, is Prognathic ... (He moves to the second body.) ... and that suggests Negroid. Unfused epiphysial ends make her a teenager.
Sara: White male, younger black female ... racially motivated?
Greg: Could be a Son of Sam thing. Summertime, couple on a date, making out in the car. Berkowitz used a .44.
Robbins: g*n wounds are most likely COD for both. Female shows an entry wound at the rear of the skull. Exit wound took off most of her face.
(Robbins moves back to the first body.)
Robbins: Male has no exit wound, but the entry wound ... is pretty obvious.
(Quick flash of: [MOUTH POV] The g*n fires through the partially opened mouth. End of flash.)
Robbins: b*llet never left the skull.
Greg: (nods) That would explain the b*llet fragments.
Sara: What we need are IDs.
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg reads off what he found to Sara, who is sitting next to him.)
Greg: No missing persons filed for Caucasian males between 20 and 30 in the last two weeks, but there are possibles for the girl.
Sara: Hm.
(The monitor reads:
{POSSIBLE 0}
MISSING: JULY 18, 2005 SEX: FEMALE
RACE: AFRICAN-AMERICAN
{POSSIBLE 2}
DANIELLE WATERS
DOB: SEPT. 8, 1992 AGE: 13
HEIGHT: 5'3" WEIGHT: 95 LBS
HAIR: BROWN EYES: BLACK
MISSING: AUGUST 31, 2005 SEX: FEMALE
RACE: AFRICAN AMERICAN
CURRENTLY MISSING: 47
AGE GROUP: 13-17 N/A
SEX: M/F F
RACE: AFRICAN-AMERICAN N/A
DAYS OR MORE MISSING 10
FILE SECURE: Y/N Y
Greg: Two cases still open. Thirteen seems a little young.
Sara: Could be a kidnapping.
(Greg scrolls down the screen to POSSIBLE 3.)
CLARA JAMES
DOB: MAY 14, 1989 AGE: 16
HEIGHT: 5'2" WEIGHT: 132 LBS
HAIR: BLACK EYES: BLACK
MISSING: SEPT. 8, 2005 SEX: FEMALE
RACE: AFRICAN AMERICAN
Greg: The other one's 16.
Sara: This is one time it would be better to stay missing.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT -- ]
(Sofia talks with Mr. James as he puts the things they requested on the desk in front of her.)
Mr. James: I also brought her toothbrush and her hairbrush. (He takes out some files.) This one's from her doctor. Other's from her dentist.
(Sofia's looking at a framed photo of Clara James.)
Mr. James: How long is it going to take you?
Sofia Curtis: That's hard to say. Mr. James, was Clara by any chance seeing an older man?
Mr. James: As far as I know, she wasn't seeing anybody but it wouldn't surprise me if she was. Clara wasn't smart when it came to people, talking to any lowlife chump who'd give her the time of day. The girl never did listen to a damn word I said.
Sofia Curtis: The older man ... Um ... could've been someone she met at school?
(He shakes his head, no.)
Sofia Curtis: Did she have a part-time job?
Mr. James: Gooeybunz, over on El Dorado.
Sofia Curtis: We found a number of half-eaten Gooeybunz in the car.
Mr. James: You know, Clara wasn't really that smart about her diet either, but she hated those things. Smell'd get into her clothes. By the time she got home, she was practically ready to throw up. You find out who did this ... you let me know.
Sofia Curtis: Yeah.
CUT TO:
[INT. CSI - LAB -- DAY]
(Sara takes out the bun parts from the plastic bag.)
Sara: According to Clara James' father, Clara didn't eat Gooeybunz. She didn't like them, which means it was either the k*ller or the male DB.
Greg: So we're looking for ... bite marks? If we find a good impression, maybe we'll get an ID through dental records.
Sara: You got it.
Greg: And the student becomes a master.
(Sara looks at Greg. He smiles at her.)
(Together, they search through the bun parts.)
Greg: I'm not seeing any bite marks.
Sara: Me either. It's not like they were bitten at all. More like torn apart.
Greg: Check it out. They might all be in pieces ... but they're all still here. No one ever ate any of them. Which is kinda weird. I mean, why buy all of 'em and not eat 'em?
(She looks at the whole bun in the bag.)
Sara: I found this one under a passenger seat -- intact, on the floor.
(She takes it out of the bag and examines it.)
Greg: It escaped the carnage.
(She sees something and pulls out a small plastic bag of drugs.)
Greg: That's not frosting.
Sara: I always liked the middle part the best.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. FLAT FEE PARKING -- DAY]
(The sign reads: FLAT FEE PARKING $10.00. Catherine and Warrick head for the parking lot.)
Warrick: When she parks her car, she's a hot housewife. A few hours later, she's just another freak.
(Quick flash of: Brooke Harris hands the car keys to the attendant.)
Brooke Harris: Hello. Thank you.
(She walks away.)
(Cut to: Brooke Harris runs over wearing the plastic bag.)
Brooke Harris: It's my Mercedes, okay? I can prove it. Just give me the keys.
Attendant: Show me ten bucks or you ain't proving squat.
Brooke Harris: I don't have anywhere to go!
(End of flash. Resume to present.)
Catherine: Brooke Harris probably spent ten bucks a day on nonfat lattes.
Warrick: Right.
Catherine: She needed money to get her car back.
Warrick: Well, I don't see any ATMs around here. This is a bad place to be broke.
(They walk up to the officer.)
Officer DA Michaels: Hey, you miss me?
(Warrick looks at the rust on the metal pole holding the crime scene tape up.)
Warrick: Rusty flakes.
(He touches the rust on the pole and looks up at the officer.)
Warrick: Hey, Michaels, did you put this crime tape up?
Officer DA Michaels: Yes, sir.
(Warrick also sees the blood on the pole.)
Warrick: Yeah, well, you missed something. There's blood on this rebar.
Catherine: Where'd you find that?
Officer DA Michaels: I, uh ... I just picked it up over there ...
(He points to the area between the buildings. Catherine and Warrick head over there and find a homeless person sitting near the wall.)
Catherine: May I ask you a question?
(She shows him the photo.)
Catherine: Do you recognize this woman?
Homeless Person: She's a thief. She took some money out of my hat.
(Quick flash of: [NIGHT] Brooke Harris creeps up to the homeless man's hat of money and snatches a handful. She turns and runs.
Homeless Person: Hey! Hey!
(He grabs the rebar and runs after her. He hits her on the head.)
(End of flash. Resume to present.)
Homeless Person: Stealing's a crime.
Catherine: Hey, Michaels. Think you might be able to take this man into custody?
(Officer Michaels takes out his handcuffs and heads over to the homeless person.)
CUT TO:
[EXT. LAST VEGAS CITY LIGHTS (STOCK) - EVENING]
[INT. CSI - LAB -- NIGHT]
(Sara and Greg go over their information.)
Sara: Tox confirmed that the packet in the Gooeybun contained cocaine, and one of the prints that I lifted off the Grand Am was a felony conviction for cocaine tr*ffick -
(She pulls up the information on the monitor:
JOEY ZACK
DOB: SEPT 5, 1979 AGE: 25
HGT: 5'10" WGT: 180 LBS
HAIR: BROWN EYES: BROWN
RACE: CAUCASIAN SEX: MALE
ADDRESS:
BURTON HOTEL
2321 TOP WAY
LAS VEGAS, NV 89156
CONVICTIONS: Drug dealer, probation 1 year in Mar 2004
NOTES: prints found on stolen car radio tuner
(Sara glances at Greg.)
Sara: Joey Zack, drug dealer. Seems he liked to use Gooeybunz to move his coke.
(Quick flash of: Close-up of: Someone cuts out the middle of the bun and pops a bag of coke inside before covering it up again. End of flash.)
Sara: He's a nice regular customer at Gooeybunz. He used to chat up cute Clara when he was there, sweet-talks her into a date, and they both end up d*ad in his bitchin' Grand Am.
Greg: Well, whoever did it must've done it for the drugs.
(Hodges enters the lab and hands Sara the report. She looks through it. Greg notes the comments on the monitor. )
Hodges: GCMs on the melted gloves from your Grand Am. A delicious confection of sugar, gelatin, starches, citric acid, mineral oil, red 40, yellow 5, blue 1 and carnuba wax.
(Greg turns and leaves the lab.)
Sara: Candy.
Hodges: Gummy candy. I'm partial to Jujubes myself. Is it something I said?
Sara: (smiles) Probably.
(Greg returns carrying the radio.)
Greg: Joey Zack's print was found on the radio, which was tuned to 107 FM.
(Greg turns the radio on.) Now, as far as I know, there is only one place in town where you can get gummies, a generic cheeseburger, and 107.1 gets anything other than static.
(Greg finds the station and all we hear is static.)
CUT TO:
[EXT. DRIVE-IN -- NIGHT]
(The sign outside reads:
THIS WAY TO THE
MOONLIGHT! TUNE
YOUR RADIO TO
107.1FM FOR SOUND )
Drive-in Manager: Sorry, I don't recognize him. Most of the time when people come here, it's dark.
Greg: How about this? You ever seen this car before?
Drive-in Manager: No. All I remember from the last two weeks is what's playing
'cause I've seen it 8,000 times:"k*ller Punch" --a big draw for crap cars.
Sofia Curtis: We're gonna need to talk to your employees.
Drive-in Manager: (groans) Oh, come on, please. Is that really necessary?
Sofia Curtis: It's a homicide investigation.
Greg: We could just call the health inspector and ... see how many code violations he has festering in that concession stand.
Drive-in Manager: Geez, fine, knock yourselves out. Jerry's on tickets ... Maddox runs the projector, and Darryl's in concessions. No. No, he quit last week.
Sofia Curtis: Why?
Drive-in Manager: He said he was gonna go live with his parents up in Mesquite.
CUT TO:
[INT. CSI - BREAK ROOM ]
(Sofia goes through the papers on Darryl Blakeney with Greg, Sara and Grissom.)
Sofia Curtis: Guy's name is Darryl Blakeney. (She hands it to Grissom.) Small-time hood with priors for B&E and possession.
Sara: His prints were on the steering wheel of the Grand Am.
Greg: When he quit his job at the drive-in, he was in court-ordered rehab.
Sofia Curtis: We figured Blakeney was one of Joey Zack's customers. One night, Blakeney sees his coke dealer's Grand Am at the drive-in, and the fiend snaps.
(Quick flash of: Darryl Blakeney walks up to the car and bursts into the back seat. Clara James and Joey Zack are in the front seat with the Gooeybunz. He holds the g*n on them.)
Darryl Blakeney: Move, and you're d*ad! Shut up!
Joey Zack: All right, all right, all right!
Darryl Blakeney: Give me the coke, Joey! Give me the coke!
(He grabs the box, knocking the bun on the floor.)
(End of flash.)
Grissom: Do we know where he k*lled them?
Greg: We don't know where yet.
Sofia Curtis: Or why.
Sara: Maybe the girl started freaking out; maybe Blakeney's just a psycho. Anyway, uh, Blakeney tossed the bodies, and throws them in the trunk and drives home. The street where the Grand Am was found is a block away from his last known residence.
Greg: He leaves it there collecting parking tickets, skips town, and uses the same g*n two days later in another drug-related crime in Mesquite.
Sofia Curtis: The scumbag's still in the wind.
Grissom: At least he's in the system with a double homicide.
Sofia Curtis: That's not going to satisfy Clara James' father.
(Sara sighs.)
CUT TO:
[INT. CSI - LOCKER ROOM]
(Catherine, Warrick and Nick are in the locker room getting ready to leave. Nick needles Warrick. )
Nick: Can she cook? Is she a good cook? Come on, Warrick.
(Warrick sighs. Nick sees Grissom walk by the door and catches him.)
Nick: Hey, Grissom. We're taking Warrick to the Pepper Mill to celebrate his marriage and to condemn his elopement. You in?
Grissom: Did you invite your wife?
Warrick: I don't think I'm ready to subject her to the crew just yet.
Catherine: I got to beg off, you guys. Got to take Lindsay to school.
Nick: All right.
Catherine: Bye.
(Catherine closes her locker and leaves.)
Nick: Bye. So?
Grissom: I got one more thing to do.
(Grissom leaves.)
Nick: All right.
(Nick glances at Warrick, who shakes his head and closes his locker.)
Warrick: Don't.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Grissom and Archie are listening to the recording.)
Walter Gordon: (from recording) So, breathe quick. Breathe slow. Put your g*n in your mouth and pull the trigger. Any way you like, you're going to die here. Okay?
Voice 2: (from recording) Perfect.
(Grissom rewinds it a little.)
Walter Gordon: (from recording) Okay?
Voice 2: (from recording) Perfect.
(Archie looks at Grissom.)
Archie: How'd you know it was going to be there?
Grissom: If that "okay" had been meant for Nick, it wouldn't have been in the form of a question. I think maybe Walter Gordon had an accomplice.
(Grissom plays it again.)
Voice 2: (from recording) Perfect.
Grissom: Male or female?
Archie Johnson: It's, um ... hard to say. The tape was pretty mangled. Enhancement and noise cancellation increase intelligibility, but it alters timber and tone. So, I don't know there's any more I can do here. You know, Nick recorded a message on the flip side of the tape. You think maybe we should ...
Grissom: No. This is between you and me.
(Camera holds on Grissom.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x01 - Bodies in Motion"} | foreverdreaming |
FLASH IN.
[VARIOUS EXT. LAST VEGAS CITY LIGHTS (STOCK) - NIGHT]
CUE SONG: "Mad World", Gary Jules
FADE IN.
[INT. CLUB -- NIGHT]
(Men and women drink. One man smiles as he's flanked by two women - one woman busy kissing his neck.)
(Across the room, a blonde-haired woman stares worriedly at her cell phone.)
[EXT. STRIP - NIGHT]
(Outside, a limo passes by. In the back seat of a car, a young Vietnamese man sits and watches the limo pass by. His face is bruised and there are tears staining his cheeks.)
(The cab he's sitting in drives away.)
[INT. TAXI POV]
(The young man looks out the windows as the taxicab drives around the strip. The bright lights from passing motels and other establishments reflect back through the rolled-up window.)
(The taxi driver's sweating.)
(The young man in the back seat glances over at the taxi driver.)
[START: SPLIT SCREEN]
(Top half: [INT. CASINO] The man from the bar leaves with two women.)
(Bottom half: [TAXI CAB] The taxi stops and parks. The driver engages the brakes and sees the young man leave.)
Taxi Driver: Hey! Where's my money?
(The young man turns around and yells back to the taxi driver.)
Young Man: You wait here!
(Top half: Cameras flash as photographers snap photos of the man walking through the casino; several women follow him.)
(A young woman in red snaps a picture of the man walking by. He notices her and turns back to look at her as he passes.)
Man: You want to come with us?
(A man standing in the back glares at the man walking by.)
(Bottom half: The taxi driver waits. The fare changes from 7.20 to 7.40. The taxi driver continues to wait.)
(Top half: The blonde-girl in red turns to her friend standing next to her.)
Tally Jordan (woman in red): Oh, my God. Come on.
(The two head out, following the man.)
(Bottom half: The taxi driver takes out his log and writes in it: 270 7888
OAKEY ST.)
(Top half: The party has moved outside to the pool.)
(Bottom half: The taxi driver continues to wait. The fare changes from 8.00 to
8.20.)
(Top half: The blonde-haired woman in red and her friend are now sitting on either side of the famous dark-haired man. He pays her special attention.
(Bottom half: The taxi driver continues to wait. The fare changes form 8.20 to
8.40.)
FLASH CUT TO WHITE: END OF SPLIT SCREEN
Cue Sound: g*n
FADE IN FROM WHITE
[EXT. 7888 OAKEY STREET - NIGHT]
(Police cars with their flashing lights are at the site. Officers mill about the area.)
(Camera moves into the car and we notice the fare is now at 24.00. The taxi driver is slumped forward against the driver's wheel, his eyes closed. We note the blood coating the shirt covering his right shoulder.)
(Sara turns on her flashlight and looks at the driver's wound.)
Sara: g*n wound to the neck. No visible GSR.
(She looks up and notices the visor. She flips it down and sees the money.)
Sara: Money on the visor. It wasn't a robbery.
(Grissom is looking in the back of the cab.)
Grissom: Dirt clods on the floor mat look undisturbed. Could be from the last fare. I don't see any shell casings, though.
Sara: Partition's closed. b*llet-proof glass. He was not sh*t from inside.
(Grissom walks around the cab as Sara snaps photos of the d*ad body.)
(He sees the b*llet holes in the passenger door.)
Grissom: Well, I got two b*llet holes in the passenger door.
Sara: That's a weird side of the car for a drive-by.
Grissom: Maybe he wasn't sh*t here. Maybe he just ended up here.
(Grissom looks around the area. He sees the detective talking with someone in uniform. Grissom calls out to him.)
Grissom: Excuse me?
(The man from the Transit Board looks up.)
Grissom: Are you with the Transit Board?
MTB Rep: Yeah.
Grissom: Do you have the dispatch log?
(He hands the log to Grissom. From what we can see, the log shows:
270 2549 LAS VEGAS ---
270 465 LEXINGTON 10:01
270 3900 LAS VEGAS 10:45 1040
270 2112 WESTERN BL. 11:01 420
270 4500 W. TROPICANA 11:30 780
270 20 FREMONT 12:10 980
270 7888 OAKEY ST. 12:55. {BLANK} )
(Grissom hands the log back.)
Grissom: Thanks.
(Grissom turns and leaves.)
MTB Rep: Why's he leaving?
(Sara takes a photo, then puts her camera down to answer the man's question.)
Sara: Well, that's kind of what he does.
(Sara leans forward into the cab and notices the camera.)
Sara: Is this camera always on?
MTB Rep: Only on HBO. It takes stills for ten seconds when the door opens, and then for the first ten seconds of the fare.
Sara: We're gonna need the pictures.
(Grissom is walking away from the site and dialing his cell phone.)
Catherine: (from phone) This is Catherine.
Grissom: (to phone) It's Gil. How you doing?
Catherine: (from phone) I'm busy. Checking up on me?
Grissom: (to phone) Why would I need to do that?
Catherine: (from phone) You tell me.
Grissom: (to phone) Look, I know you tend to get a little territorial about your crime scenes, and I don't want there to be any tension between us, so I'm giving you fair warning.
(Grissom stops when he sees the tire treadmarks on the asphalt.)
Catherine: (from phone) Fair warning for what?
(cc) You're at 7888 Oakey Street. Am I right?
Cut to:
[EXT. PARKING LOT - NIGHT]
(Catherine is kneeling down next to a d*ad body in the parking lot.)
Grissom: (from phone) Hi.
(She looks up and sees Grissom. He smiles and waves his cell phone at her.)
(Jaw dropped open, Catherine closes her cell phone.)
CUT TO:
[INT. -- NIGHT]
(Julian Harper's d*ad body rests against the cushions as Robbins takes his liver temperature. Warrick snaps photos of the body.)
Robbins: Julian Harper. If it weren't for the cyanosis, I'd say he was doing a photo sh**t for GQ.
Warrick: Yeah, I'm sure he wasn't ready for this photo sh**t.
Robbins: Body temp's 95.
(Warrick snaps more photos. Robbins glances at his watch.)
Robbins: That would make TOD approximately 3:00 A.M.
(Warrick snaps photos of the bedside table with a couple of champagne bottles, a hotel room VIP card key, a rolled-up bill and some white powder on the black tabletop.)
Warrick: Well, there's plenty of drugs around here. You think he OD'd?
(Robbins checks the victim's mouth and eyes.)
Robbins: Yeah, no edema. Some petechia. Could be suffocation or strangulation. But no ligature marks or bruising. However ...
(Camera zooms in for an extreme close-up of black fibers on the victim's neck.)
Robbins: ... some fibers under the chin.
(Robbins puts the sample in a bindle. Warrick continues snapping photos.)
(Robbins takes a digital camera out.)
Warrick: What are you doing?
Robbins: It's for my scrapbook. I've got a perfect spot for him -- a place of honor between Tupac and Entwhistle.
CUT TO:
[EXT. MOTEL PARKING LOT -- NIGHT]
(Close-up of the victim, his head in a pool of blood. Grissom and Catherine kneel down next to the body. Catherine snaps photos of the victim.)
Grissom: The taxi's last drop-off was this address. This guy's got dirt on his shoes and pants. There was dirt in the cab. He's got to be the last fare.
Catherine: So, somebody k*lled them both. And if it's about money, doesn't look like this guy has much.
Grissom: Well, I guess it's relative.
START: SPLIT SCREEN
(Top screen: Robbins raises the digital camera to snap a photo of Julian Harper.)
(Bottom screen: Catherine raises her camera to snap a photo of the victim.)
Grissom: It depends on who you are.
WHITE CAMERA FLASH TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. MOTEL PARKING LOT -- NIGHT]
(Catherine checks out the victim's identification.)
Willows: Samay ... Samay Thao. 15527 East Charleston Road. That's a long way from here.
(Grissom notes the wounds on the victim's chest.)
Grissom: I count six sh*ts in his chest. There were two in the cab, one in the cabbie. If the math is correct, that's nine.
Catherine: Suggests semi-a*t*matic, but I don't see any shell casings here.
Grissom: Yeah, there were none in the taxi, either.
Catherine: k*ller could have picked them up.
Grissom: To sh**t a guy six times in the torso, you either have to be very close, or a hell of a sh*t.
David Phillips: It's okay if I roll him?
Grissom: Yeah.
(David rolls the body onto its side and pushes up the shirt as Catherine snaps more photos of the victim's wounds.)
David Phillips: Well, no through-and-throughs. We should be able to recover some b*ll*ts from the body.
Grissom: Hang on. (points) What do you make of that?
(He points to the markings on the victim's bloodstained shirt.)
David Phillips: Looks like he rubbed up against something.
(Catherine looks around.)
Catherine: Could be transfer from that railing. There's some paint flaked off of that railing.
(Grissom turns and looks at the railing on the second floor.)
(Quick flash of: Samay Thao is on the second floor. Someone uses a semi-a*t*matic w*apon and sh**t Samay Thao. The impact form the b*ll*ts pushes him up and over the railing.)
(End of flash. Resume to present.)
(Grissom and Catherine make their way down the second floor hallway. Grissom checks the concrete floor along the way and finds a lot of blood spatter.)
Grissom: We got blood drops.
(Catherine looks over at the metal gate. Grissom looks down over the railing at the body below.)
(Catherine sees metal cut.)
Catherine: Gil. This looks fresh.
Grissom: Hey, Brass?
SHORT CUT TO:
(An officer kicks the door in and rushes into the apartment. A second officer and Brass follow. A man sitting on the floor starts shouting in Laotian.)
Brass: Las Vegas Police! Put the g*n down!
Keo Vipraxay: (shouting in Laotian)
Brass: (firmly) Put the g*n down! (softer) Put it down.
(The man puts the g*n down. Immediately, officers push him to the floor and handcuff his hands behind his back.)
Keo Vipraxay: (shouting in Laotian) (then, in English) I sh**t ... burglar!
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. PALMS HOTEL - HOTEL ROOM - NIGHT]
(Nick and Warrick stand at the base of the bed looking down at the body as they both put on a pair of gloves.)
Nick: Julian Harper.
(Warrick nods.)
Nick: Wasn't he supposed to be like, uh ... (very quietly) the next Brad Pitt or something?
Warrick: Yeah. Now he's the next River Phoenix.
(Warrick turns as he looks around and walks into the next room where Sofia Curtis is interviewing Gerald, also known as "Blinky". He stops and stands next to her.)
Sofia Curtis: All right, Gerald.
Blinky (Gerald Allison): Uh, they call me Blinky.
Sofia Curtis: And what was your relation to Julian Harper?
Blinky (Gerald Allison): Best friends since kindergarten. Now I work for him.
Sofia Curtis: What did you do for him?
Blinky (Gerald Allison): Pretty much everything. You know, bought his stuff, hooked him up. Drove him to meetings.
Warrick: Did you find the body?
Blinky (Gerald Allison): I ordered room service. I wanted to see if he was hungry. Boom, there he was.
Warrick: Did you touch or move the body in any way?
Blinky (Gerald Allison): Uh, no way. No. I watch those m*rder shows, you know? I know to just keep my hands to myself, and, uh, call the cops.
Sofia Curtis: What is with the robe?
(Warrick looks at the officer standing nearby.)
Warrick: Did you pat him down?
Officer: He's packing a small, friendly w*apon.
Warrick: Would you mind standing up for us, sir?
Blinky (Gerald Allison): Nah, bro, I-I-I ... kind of got the angle of the dangle going. The boing, boing, boing.
Sofia Curtis: Stand up.
(Uncomfortable and awkward, Blinky stands up.)
Blinky (Gerald Allison): I, uh, took a Prevalis on the plane over. I been pitching a tent for, like, eight hours. Yeah, I-I think I need to consult a physician.
Sofia Curtis: It's called a priapism. Just in case you were wondering.
Warrick: What else are you on, man?
Blinky (Gerald Allison): Oh, uh, nothing. I mean, uh, I smoked a little herb at the club, but that's it.
Warrick: What about Julian?
Blinky (Gerald Allison): Oh, Jules? Oh, no, he, uh ... he won't even take aspirin. You know, he's organic. You know, treats his body like a temple.
Sofia Curtis: Well, we're gonna need a list of everyone who was here worshipping the temple.
(She hands him her notebook and pen.)
Blinky (Gerald Allison): Can I sit down?
Sofia Curtis: Yeah.
(In the background, we hear the shower water running.)
Warrick: Did someone turn a shower on or something?
Sofia Curtis: You cleared that room, right?
(The officer takes out his g*n and heads for the bathroom.)
(Warrick and Sofia both follow. They both draw their w*apon as they head into the bathroom.)
(In the shower, a young woman in her underwear is on the floor in a fetal position.)
Warrick: Hey! Are you okay?
(Warrick tries to help her sit up. She immediately throws up.)
Sofia Curtis: (calls out) Hey! We need a medic!
(The young woman continues throwing up.)
Warrick: And a bag for stomach contents.
CUT TO:
[EXT. MOTEL - HALLWAY OUTSIDE APARTMENT -- NIGHT]
(The officer escorts Keo Vipraxay out of the room. They head downstairs past Catherine and Grissom. Brass steps out of the room.)
Brass: His name is Keo Vipraxay. He barely speaks English. He's south Asian, I think. Anyway, it's all clear.
Catherine: Thanks, Jim.
(Grissom and Catherine enter the room.)
SHORT TIME CUT TO:
[EXT. MOTEL - APARTMENT -- NIGHT]
(Catherine looks at the end of the sh*t.)
Catherine: Double *** buck. Standard sh*t is nine pellets.
Grissom: That would account for all the hits.
Catherine: So you're saying that a single g*n blast, through a security door, took out two separate victims in two separate locations?
Grissom: Weird, huh?
(Quick flash of: [NIGHT] The cab pulls up.)
Grissom: (V.O.) The cab drops Samay Thao in front of this building.
(Cut to: The cab door slams shut and Samay Thao heads toward the building.)
(End of flash. Resume to present.)
(Grissom stands in front of the door as Catherine turns the laser on through the small hole cut in the wire door. A red dot appears on Grissom's chest.)
Grissom: And the position of the blood drops gives us a pretty good idea of where Samay was standing when he was sh*t. He was a little shorter than me.
(Catherine adjusts the laser light.)
Catherine: sh*ts were centered on his chest, about there.
(Quick CGI visual image: A blue light visualization of Samay Thao stands outside the door near the railing. He's sh*t and the image vanishes, leaving just the red laser pointing in the direction of the sh*t.)
Grissom: My guess is, the cab was parked down there.
(Grissom points behind him.)
(Quick CGI visual image: A blue light visualization of the taxicab down on the parking lot. A g*n fires and the taxi takes off.)
Grissom: The driver peeled out when he got sh*t.
(End of CGI visual image. Resume to present.)
(Catherine takes out a measuring device and places it on the laser.)
Catherine: Vertical deflection down to the cab is roughly 60 degrees. Standard sh*t won't spread that far.
Grissom: The pellets must have come through the screen.
(Quick flash of: Keo Vipraxay raises the g*n and fires. The pellets go through the screen, then h*t Samay Thao in the chest. Some of the pellets miss him and go on to h*t the taxi driver.)
(End of flash. Resume to present.)
Grissom: The old billiard ball effect.
Catherine: The cab driver was collateral damage.
Catherine: Okay, but the man with the g*n said he sh*t a burglar. What's here to steal?
[START: SPLIT SCREEN]
(Bottom half: Grissom looks around the room and notes the various items in the sparsely furnished room.)
(Top half)
[INT. PALMS HOTEL - HOTEL ROOM - DAY]
(Nick puts on his protective eye gear and turns on the ALS.)
Nick: Semen on the bed sheets, as well as every other flat surface in here.
Warrick: (chuckles) Yeah. I've got vodka, champagne, cocaine ...
Nick: Hey, hey. Pantyhose.
[END: SPLIT SCREEN]
(Nick picks up the pantyhose. Warrick pushes the curtains aside and lets the light into the room.)
(He looks at the glass windows.)
Warrick: I've got some smudges over here.
(Nick steps up to the window and looks at it. Warrick kneels down to look at the floor.)
Warrick: I've got some footprints.
(Warrick looks at the footprints and visualizes a body standing in front of the window. End visualization.)
Warrick: I think someone was standing right there.
Nick: Was this guy just doing it all over the hotel room?
(Quick flash of: Julian Harper presses a woman flush up against the window glass as he kisses her neck. They're both laughing. End of flash.)
Warrick: If those are his footprints ... where are hers?
Nick: Or her feet were up ... in the air. You tell me -- you just had your honeymoon.
Warrick: You want to swab this?
(Warrick hands Nick a swab.)
CUT TO:
[INT. BAR -- DAY]
(Sofia Curtis interviews Eva, Julian's ex-wife, as she nurses her drink at the bar.)
Eva: I just don't understand. I mean, who would want to k*ll Julian? I mean, he'd had some weird fan mail, but I don't think any of those kinds of people would be able to get in his suite.
Sofia Curtis: Were you in his suite?
Eva: The ex-wife isn't exactly the best person to have around when you're looking to get laid.
Sofia Curtis: Was that your choice or his?
Eva: It was mutual. I'm strictly his manager now.
Sofia Curtis: So if you weren't in his suite, where did you go?
Eva: I was taking care of business. Checked the boys in, made sure the suite was copasetic, had a drink at Skin, and played Pai Gow until hotel security came to get me.
Sofia Curtis: So how did you get to be his manager?
Eva: When I was with him, he was broke. Then after the divorce, I still ... did his laundry, paid his bills, read his scripts. After a while, I wanted to get paid. Now I get ten percent of everything. Look ... I need to make some calls. Julian's parents, the studio ... can we talk about this later?
Sofia Curtis: Sure. But I need your prints and your DNA now.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins reports his findings to Warrick.)
Robbins: Tox shows low levels of cocaine, alcohol and Prevalis. Rules out overdose.
Warrick: Really? I guess he was just acting about the clean-living part. COD?
Robbins: Asphyxia.
Warrick: Asphyxiated how?
Robbins: I don't know. No broken hyoid. That and the absence of ligature marks or bruises makes strangulation unlikely.
Warrick: Did you find any fibers in his nose or mouth?
Robbins: Nope.
Warrick: That doesn't rule out suffocation. k*ller could have used something that didn't shed fibers.
Robbins: Or maybe they came from whoever he was rolling around with in bed. Found, uh, lubricant on his genitals, probably from a condom, and minor abrasions on his penis, indicative of vigorous, prolonged activity.
Warrick: Sex, drugs and movies: the American Dream.
Robbins: Mm-hmm.
FADE OUT.
(COMMERICAL SET)
FADE IN.
[CGI EFFECTS: STOMACH CONTENTS DRAINED]
[INT. HOSPITAL ROOM -- DAY]
(Warrick and Sofia Curtis interview Kate, the young woman found in Julian Harper's bathroom shower.)
Warrick: Your stomach contents contain alcohol and traces of Triazolam.
Katie: Try-as-a-what?
Warrick: It's a sleeping pill, has you reading the inside of your eyelids for a week.
Katie: I didn't take any pills.
Warrick: We also found cocaine in your bloodstream. I guess you didn't take that, either?
(She shrugs and rolls her eyes.)
Katie: So I did a couple of lines, but I didn't take any pills. If I was gonna take a pill, I would've popped e or a perc.
Sofia Curtis: Miss Villa, we found you in Julian Harper's suite. Were you ever in his bedroom?
Katie: (shrugs) Who knows? I don't even know how I ended up in Blinky's room.
(groans) Oh, my ... I swear, if that guy slipped me something ...
Sofia Curtis: Tell us what you do remember.
Katie: Um ... me and my girls were at Skin, and, uh ... Blinky came over and said he was partying with Julian Harper.
(Quick flash of: Julian Harper and the woman in red are in the pimpy booth kissing.)
Katie: (V.O.) And he said they had this pimpy booth, so we went over. It didn't turn out the way I hoped.
(Kate turns around and sees them. Blinky is sitting next to her and offers her a drink. She reaches for the drink.)
(End of flash.)
Katie: And the next thing I know, Blinky's on top of me.
Sofia Curtis: We could assist you in reporting a date r*pe.
(She shakes her head.)
Katie: Thanks, but no.
Warrick: It's not an offer, it's our job.
Katie: There's this Stuff Magazine party at Ghost Bar tonight. I'm not gonna make it harder for me to get in because I tattled on Julian Harper's best friend. I mean, if I run into them tonight ...
Warrick: Julian Harper will not be there.
Katie: Trust me, he will.
Warrick: The coroner finished the autopsy early this morning.
Katie: He's d*ad?
Sofia Curtis: Yeah.
Katie: I was in Julian Harper's suite when he died? You're kidding me, right?
Sofia Curtis: And being in his suite makes you a suspect.
Katie: I am?
Warrick: Yes. So we're going to need to take a sample of your DNA.
Katie: Oh, man.
(She thinks about it and starts to smile.)
Katie: I am so getting into that party tonight for sure.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. - DAY]
(Sara interviews a convenience store owner.)
Store Owner: Yeah, I remember that guy. He's, like, Chinese or something, real spun out.
Sara: He was on meth?
Store Owner: Well, he was on something. He was acting all shady. Downed a bottle of soda before he even paid for it.
Sara: And that's how you knew he was on something?
Store Owner: There ain't nothin' out here. People here act messed up because they are messed up.
Sara: The Metro Transit Board said that he caught a Sunstar taxi from this address.
Store Owner: I called it for him. Anything to get that tweaker out of here.
Sara: Any idea how he got here in the first place?
Store Owner: All I saw him do was walk through the door.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins shares his findings with Catherine.)
Robbins: Samay Thao. I don't even need to open him up to guess COD.
(Robbins checks the victim's eyes.)
Robbins: Ocular inflammation. Laceration of the sclera. Hurts like hell when you get a grain of sand in your eye. Imagine this.
(He takes a piece of glass out from the victim's eye.)
Robbins: Bad night for Laotians.
Catherine: What other Laotians are having a bad night?
(Cut to: Robbins pulls out one of the tables from the morgue.)
Robbins: Solo traffic collision on Mount Charleston. Came in early this morning. Noy Vipraxay.
Catherine: Vipraxay? Well, that's a hell of a coincidence.
Robbins: Does it mean something to you?
Catherine: Yeah, he's got the same last name as the guy who sh*t him. In fact, Grissom said that our vic over there caught a cab at a gas station near Mount Charleston. I'll have Auto Detail bring in his car.
Robbins: Sounds like your double's becoming a triple.
Catherine: Unless you got any more in your drawers?
CUT TO:
[INT. CSI - A/V LAB - DAY]
(Nick walks into the lab; Archie is standing in front of the computer.)
Nick: Hey, Archie. See if you can help me out. There was a smear on the window at the hotel. It came back saliva. So I ran it through CODIS, got a h*t--felony battery on this guy, Willie Angel.
(Nick hands Archie a photo of Willie Angel.)
Nick: Now, he's a Las Vegas resident, but he wasn't a registered guest at the hotel. He has no affiliation with Julian's little entourage whatsoever.
Archie: I think I scoped this guy earlier.
Nick: Really?
Archie: Yeah.
Nick: Do it up.
(On the monitor in front of Archie, we see that he has the security video from the hotel elevator cued up. He goes through the video and finds Willie Angel.)
Archie: Yeah, there he is.
Nick: Mm-hmm.
Archie: (chuckles) Looking dapper. All right.
(He runs the tape and notes the time when Willie Angel steps off the elevator.)
Archie: 12:31 A.M. Gets off on the high-roller floor.
(He runs the tape and notes the time on ELEVATOR 3 CAM when Willie Angel steps back into the elevator - this time carrying a shopping bag with him.)
Archie: Hey, 2:45 A.M.
Nick: Shopping bags? There's no mall on that floor. He was shopping at Julian Harper's.
Archie: Enough time to shop and k*ll.
Nick: (sighs) The Palms issued two card keys -- one to Julian, and one to his boy Blinky. But the database shows ... one, two ... three keys were used to access the suite?
Archie: Well, assuming the third card was Willie's. You can't just walk up to the front desk and pull the "I lost my key" scam on a VIP suite.
Nick: So ... how'd Willie get it?
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Catherine walks into the lab and finds Hodges yawning.)
Catherine: Hi.
Hodges: (yawning) Sorry. I just started seeing someone. Had a bit of a late night. Let me ask you something. How do you know when it's gone from just friends to more than?
Catherine: Well, if you have to ask, it's just friends.
Hodges: She is making dinner for me this weekend.
Catherine: Are you the only guest?
Hodges: Do her roommates count?
(Catherine doesn't say anything, but he catches her look. He turns reports.)
Hodges: The splinter from your vic's eye has four distinct layers: polycarbonate plastic, aluminum, acrylic and dye. Being an audiophile, I prefer the sound of vinyl.
Catherine: It's from a compact disc? Well, how did it end up in Samay Thao's eye?
CUT TO:
[INT. CSI - GARAGE]
(Catherine walks into the garage. Grissom is already there with a smashed-up car.)
Catherine: Noy Vipraxay's car.
Grissom: Easy for you to say.
(Catherine reaches for a coat and puts it on.)
Catherine: Find anything?
Grissom: Take a look at this. Gravitational pooling directly under the steering wheel.
(Inside the car, there's a large amount of blood on the steering wheel and a big pool of blood on the floor.)
(Quick flash to: The car is at the bottom of the hill.)
Catherine: (V.O.) The car was found at the bottom of a steep incline.
(End of flash. Resume to present.)
Catherine: So he was leaning over it when he bled out.
Grissom: Except he wasn't. Take a look. See this?
(He shines the flashlight on the crime scene photo he has out on the roof of the car. It shows Samay leaning against the driver's window.)
Grissom: (cc) These were taken at the crash site. (audio) If he'd have bled out in the position he was found, there'd be blood on the door, not under the steering wheel.
(He points to the door in the photo. Catherine turns and looks at the bloodless car door behind her.)
Catherine: So someone moved the body?
Grissom: There was plenty of mud at the scene, and Samay had mud on his pants. Now, maybe we can match soil samples.
(Catherine looks at the CD player in the car.)
Catherine: Hang on.
(In the CD player is a broken CD. Catherine reaches in and removes the disk.)
Catherine: Trace came back on the splinter that was in Samay's eye. It was a CD fragment. Samay was in this car.
Sara: (o.s.) Hey, guys.
(Sara walks into the garage. She's reading an open file folder.)
Sara: I got work card hits off prints from the two d*ad Laotians and the sh**t.
Grissom: We already know their IDs.
Sara: Well, did you already know that they all worked together?
CUT TO:
[VARIOUS CUTS OF WORKERS AT A LAUNDRY BUSINESS]
[INT. LAUNDRY BUSINESS -- DAY]
(Brass interviews Joe Cavanaugh, the owner of the laundry business.)
Brass: So Samay Thao worked for you?
Joe Cavanaugh: Yeah, runs the dryers.
Brass: When was the last time you saw him?
Joe Cavanaugh: He's been off a couple days now.
Brass: Did you know, uh, Noy or Keo Vipraxay?
Joe Cavanaugh: Sure. They work here, too.
Brass: They brothers or cousins, or what?
Joe Cavanaugh: Brothers. Keo's older. I hear they got six more back in Laos. They work swing -- they're on at 4:00.
Brass: Were they friends of Samay's?
Joe Cavanaugh: No! No way. Keo and Noy are Lao Loum. They're lowlanders. Samay's Hmong; he's in the hills. They're born to hate each other. Some tribal crap. What kind of trouble are they in?
Brass: The kind where you stop breathing. Noy's d*ad -- car accident. Samay's d*ad, too -- Keo sh*t him.
(Joe Cavanaugh turns and sees one of the workers lighting a cigarette. He starts shouting to him in Lao.)
Joe Cavanaugh: (shouts) (untranslated Lao)
(The worker turns and quickly puts the cigarette out.)
Joe Cavanaugh: (shouts) (untranslated Lao)
(The worker goes back to work.)
Brass: You speak Lao?
Joe Cavanaugh: And Thai, Vietnamese, Tagalog. I pulled a stint straight out of high school. I got southeast Asia; lucky me.
Brass: Yeah, I know how you feel.
Joe Cavanaugh: Did Keo tell you what happened? I mean, his English isn't very good.
(Brass looks at his watch.)
Brass: No, we're, uh, we're still waiting on an interpreter.
Joe Cavanaugh: If you need any help, you let me know.
Brass: Yeah, maybe ... maybe I'll take you up on that.
(The owner turns and walks away.)
Joe Cavanaugh: (shouts) (untranslated Lao)
CUT TO:
[INT. HOTEL - KITCHENS / CASINO]
(On one floor, the kitchen workers are busy cleaning the dishes. Camera continues upward. On the next floor, the chefs are busy preparing meals. Camera continues upward. On the floor above that is the casino main floor.)
(Sofia Curtis walks up to Willie Angel, who is playing a slot machine. Nick and a couple of officers follow her.)
Sofia Curtis: Willie Angel?
(He doesn't answer her.)
Sofia Curtis: You can't fool the eye in the sky, Willie. There's a lot of people looking for you.
Willie Angel: Okay, you got me. What do you want?
(She motions to the officer and they step closer to Willie, who stands up.)
Willie Angel: Hey, what are you doing?
(They start to search his pockets.)
Willie Angel: Hey, you can't do that.
(She holds out the warrant.)
Sofia Curtis: Oh, this here says we can.
(The officer finds in one pocket that Willie has a card reader. He hands it to Nick.)
Nick: Ho-ho-ho! Slick Willie. Look out now.
(Sofia reaches into Willie's other pocket and takes out a handful of cards.)
Sofia Curtis: You collect card keys, Willie?
Willie Angel: I won at those places.
Sofia Curtis: Really?
Willie Angel: I hang on to them for good luck.
Nick: Well, I bet you're real lucky with this cheap magnetic stripe reader and palm top, huh? (to Sofia) You know you can get into most hotel rooms in the city with this thing?
(Quick flash to: Willie stands in the casino behind one of the large machines and punches the information into the stripe reader. He swipes the card.)
Nick: (V.O.) You take the old card key, you input the room number, a little magnetic encoding ...
(Quick CGI POV: The machine puts the information on the new card.)
(End of flash. Resume to present.)
Nick: ... and Bob's your uncle.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[FLASHBACK]
(Willie swipes the card into the security lock. He opens the room door.)
Nick: (V.O.) You used the card to open the door. You get into his suite and hide.
(Willie hides behind the curtain, against the window.)
Nick: (V.O.) Julian comes back - (cc) drops his wallet and takes off his watch
- (audio) he falls asleep.
(Willie steps out from his hiding place and starts picking up the things off the bedside table.)
Nick: (V.O.) You rob him blind.
(Julian Harper stirs.)
Nick: (V.O.) But he wakes up. So it's k*ll him or go back to jail.
(Julian Harper sits up in bed and sees Willie Angel.)
Julian Harper: What the ... ? Who the hell are you?
(End of flashback. Resume to present.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(With a hand to his forehead, Willie's eyes are closed.)
Willie Angel: Stop, okay? Just stop.
(He looks at Nick and Sofia sitting across the table from him.)
Willie Angel: I was in his suite. And, yeah, I'm a thief. But I didn't k*ll anybody.
Nick: You were in his suite for over two hours, man. That's more than enough time to snag a couple shopping bags.
Willie Angel: 'Cause that sick, rich freak wasn't going to sleep. He was banging some blonde for, like, two hours.
(Quick flash of: Willie is stuck in his hiding place while Julian and the blonde-haired woman are on the bed. He shakes his head. End of flash.)
Willie Angel: Talk to her.
Sofia Curtis: We're talking to you.
Willie Angel: (sighs) I don't know what the hell they were doing, but when she left, he wasn't moving. I thought he was asleep. Then I saw the news this morning. If it's a k*ller you're looking for, talk to the girl in the red dress.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass interviews Keo Vipraxay.)
Brass: We believe that Samay Thao k*lled your brother and tried to make it look like an accident.
(He looks across the table at Joe Cavanaugh and nods. He starts translating.)
Joe Cavanaugh: (in Lao) (untranslated)
(When he's finished, he turns and looks at Brass.)
Brass: Did you know about it?
Joe Cavanaugh: (in Lao) (untranslated)
Keo Vipraxay: (in Lao) (untranslated)
(Brass watches Joe Cavanaugh translate.)
Joe Cavanaugh: (in Lao) (untranslated)
Keo Vipraxay: (in Lao) (untranslated)
(He looks at Brass.)
Keo Vipraxay: (in Lao) (untranslated)
Joe Cavanaugh: He says he thought Samay was there to rob him. That's why he sh*t him.
CUT TO:
[ELEVATOR 3 CAM]
(At 12:56, Julian Harper is holding the woman in the red dress. Also in the elevator is Blinky with two other women. The elevator stops and everyone gets off the elevator)
[INT. CSI - A/V LAB]
(Camera pans out and we find Archie, Nick and Warrick going over the security camera footage.)
Archie Johnson: The girl in the red dress gets off with Julian's entourage at
12:57.
(He shows footage of the girl in the red dress entering the elevator.)
Archie Johnson: Then gets back on at 2:33.
Nick: Certainly looks like she's been through something rough.
(Archie sees something and smiles.)
Archie Johnson: She forgot her pantyhose.
(He enhances the focus on the girl's legs.)
Nick: Good eyes.
Archie Johnson: Great legs.
Warrick: Been a while, Arch?
Nick: Can you follow her out?
Archie Johnson: Yeah. I just got this footage ...
(Archie goes to work as Greg walks into the lab.)
Greg: Hey, I heard you guys are having trouble with the Julian Harper case.
Warrick: Who'd you hear that from?
Greg: Ecklie. He's putting me on it.
Nick: Man, you gotta quit kissing his ass.
(Warrick chuckles.)
Archie Johnson: All right, fellas, check this out.
(Archie finds the footage of the casino floor and they watch as the girl in the red dress steps out of the elevator.)
(Eva runs out of the elevator and catches up with the girl in the red dress.)
Warrick: Okay, that's Julian's manager.
(They watch as Eva puts some money in the girl's hand. Eva leaves.)
Archie Johnson: Whoa, whoa, whoa. Hang on.
(Archie rewinds the footage. They watch as Eva takes some money out of her back pocket and gives it to the girl in the red dress.)
(Archie enhances their hands.)
Nick: That's got to be at least a few G's.
Greg: She a hooker?
Warrick: I don't know. I think she could be the k*ller.
Nick: Solicitation m*rder? Manager pays to have her client whacked.
(Archie follows the cameras and they watch as the girl in the red dress goes to the bag shop.)
Archie Johnson: She went shopping.
Warrick: Wait a minute. What kind of hired k*ller takes their payoff and goes to the mall?
Archie Johnson: I don't know.
(Archie fast-forwards, freezes and enhances the girl in the red dress as she fills out the form.)
Archie Johnson: This one put herself on a mailing list. (reads) Tally Jordan. There's the phone number.
CUT TO:
[INT. CSI - INTERVIEW ROOM 1]
(Warrick interviews Tally Jordan.)
Tally Jordan: You call my cell, I answer, and we talk. And then you guys show up and arrest me at the pool, in front of my friends. Is that fair?
Warrick: You left Julian Harper's room at 2:33. A couple of minutes later, you're taking money from his manager.
Tally Jordan: I'm not a prost*tute.
Warrick: Couple hours later, Julian's d*ad.
Tally Jordan: Okay, this is crazy. I would never even think of k*lling Julian Harper. I've been a fan of his since he was doing cereal commercials.
Warrick: Oh, so you stalked him? Is that it? And then you k*lled him?
Tally Jordan: I'm in Vegas for a speech tournament - (off their skeptical look) -- Okay, a school-supervised trip. Does that mean that my school is stalking him, too?
Warrick: Is the club Skin on your school schedule?
Tally Jordan: When I found out that Julian was going to be in Vegas at the same time I was, I freaked. Okay, I wanted a look, an autograph, or a picture at most. And what I got was incredible.
(Quick flash of: Tally turns and looks at the blonde-haired woman next to her.)
Blonde Woman: Go for it. You're the one he wants.
(Tally turns and kisses Julian Harper.)
(End of flash. Resume to present.)
Tally Jordan: It was like I was in one of his movies. Until he kicked me out of bed and ... and then I get off the elevator, and there's his manager handing me a wad of money.
(Camera swings over to the next interview room.)
[INT. CSI - INTERVIEW ROOM 2]
(Sofia interviews Eva.)
Eva: I tip all the girls Julian's with.
Sofia Curtis: So you're his pimp?
Eva: It keeps them from running their mouths. It protects Julian's image. It's just a part of managing his career.
[INT. CSI - INTERVIEW ROOM 1]
Tally Jordan: I had sex with Julian because I wanted to.
Warrick: But you took the money, and you bought a purse with it.
(Warrick indicates the purse on the table in front of her.)
[INT. CSI - INTERVIEW ROOM 2]
Sofia Curtis: I had a conversation with Julian's lawyer. And he said you weren't only his ex-wife, you were about to be his ex-manager. That piss you off?
Eva: His lawyers and his agents don't like me. They pressured him to drop me. But Julian and I are family. That wasn't going to happen.
[INT. CSI - INTERVIEW ROOM 1]
Tally Jordan: Eva said if anyone asked, Julian was a gentleman. Later he took me out and got me a Katherine Baumann purse. It's a much better story to tell my friends.
CUT TO:
[CRIME SCENE PHOTOS]
(Various photos of the two crime scenes.)
Grissom: (o.s.) Samay and Noy go for a drive after work.
(Quick flash to: [NIGHT] The car is parked.)
Grissom: (V.O.) They stop at Mount Charleston.
(The two men are talking in the car when Samay grabs Noy and smashes his head hard against the steering wheel several times.)
Grissom: (V.O.) Samay kills Noy ...
(Noy struggles and smashes the CD; a piece of it gets into Samay's eye. He groans with pain.)
(He turns, grabs Noy and continues to smash his head against the steering wheel.)
Grissom: (V.O.) ... and makes it look like an accident.
(Cut to: [NIGHT] The car is off the steep hill.)
(End of flash. Resume to present.)
[INT. CSI - LAB]
(Grissom, Catherine and Sara are looking at the photos from the various crime scenes.)
Grissom: And then he goes to Keo's apartment and Keo sh**t him, claiming self-defense.
Catherine: I don't buy it. Keo sh*t him from the other side of a locked door. He was waiting to blow the guy away.
Grissom: Which indicates that Keo knew Samay was coming.
Sara: Maybe he hired Samay to k*ll his brother, and then he decided to cut him out of the deal. Noy had a life insurance policy issued through his union, worth ten grand.
Catherine: Life's getting cheaper. Who's the beneficiary?
Sara: Keo was the primary, but check this out. Half the payout goes to Joe Cavanaugh.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(Brass, Grissom and the interpreter review the tape of Joe Cavanaugh
"interpreting" for Keo.)
Joe Cavanaugh: (in Lao) (untranslated)
Brass: He's not a court-approved translator. That's why I taped it. I just didn't tell him.
Interpeter: So far, he's saying what you asked him.
(The time/date stamp on the recording is:
09.30.05
5:33 PM
(The interpreter translates.)
Interpeter: "You must help me. That's why I'm here. Just tell them what they want to know." This is the part that's different.
Keo Vipraxay: (in Lao) (untranslated)
Interpeter: "There are many things I can tell him about you, so you tell him this: "Samay came to my home. I was afraid. I thought he was there to rob me or k*ll me. So I sh*t him."
Brass: So our interpreter is hiding something.
Grissom: Well, that's not lost in translation.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. LAUNDRY BUSINESS]
(The workers are busy. Brass walks through with a couple of officers. He heads for Joe Cavanaugh's office.)
Brass: Mr. Cavanaugh, can you come out here, please?
(Joe Cavanaugh stands up and steps out of the office.)
Brass: We're going to have a private chat. Let's go.
(One of the officers takes Cavanaugh by his arm and leads him back out the way they came.)
(As he walks by, one of the workers takes out a cigarette and lights it.)
CUT TO:
[INT. LAUNDRY BUSINESS - BASEMENT]
(Brass talks with Joe Cavanaugh.)
Brass: In the interview, remember Keo said, "There are many things I can tell them about you"? You didn't tell me that. You left that part out. Why?
Joe Cavanaugh: I told you what he said. You're not arresting me because I screwed up my translation?
Brass: You're a co-beneficiary of Noy Vipraxay's life insurance, right?
Joe Cavanaugh: So what? I help my guys try to get a little security for their families. I help them in a lot of ways. Driver's licenses, green cards ...
Brass: Oh, what, what? Out of the goodness of your heart? Come on, they have to come to you.
Joe Cavanaugh: Without me, they're back in a rice paddy making three cents a day. Look, some of these guys put me on their policy. It's their way of saying
"thank you."
Brass: So when one of your guys kills another one of your guys, you make money out of it? We both know that insurance companies don't even investigate claims under ten grand. So you get a free pass.
Joe Cavanaugh: You don't really think I'd have somebody k*lled for five grand?
Brass: I've seen it done for a lot less.
Joe Cavanaugh: That don't mean I did it. There's new casinos that open all the time. They all got laundries. I bring home 15 G's a month on the side. So I am not going to bend over a dollar to pick up a dime.
CUT TO:
[INT. CSI -- DNA LAB]
(Warrick and Nick walk into the DNA lab and up to Hodges who is looking through a scope.)
Warrick: Hodges, do you have the results on the fibers that we dropped off to ... ?
(Warrick stops as he gets a good look at Hodges, who is sleeping.)
Warrick: Hodges?
(Hodges doesn't move. Warrick looks at Nick.)
Warrick: Dude. He's asleep.
(Warrick and Nick both laugh.)
Nick: (loudly) Let me guess! ...
(Hodges is startled awake and sits up abruptly.)
Nick: (normal voice) ... the fibers are wool. Are you bagging Z's right now, man?
Hodges: I was just having the greatest dream.
Warrick: You were out.
Hodges: It was the '80s and I had this Don Johnson beard, you know, the Miami Vice stubble. It just gave me this air of danger. My lady loved it. (Warrick nods.) Um, I found two types of fibers on your guy's chin: cotton and a polyester-Lycra blend. Both dyed black.
(He gets up and lets Nick have a seat at the scope for a look.)
Warrick: Dyed black? The bedding might have been cotton, but it wasn't black.
(Nick looks through the scope.)
[SCOPE VIEW: BLACK FIBERS]
(Warrick continues.)
Warrick: The comforter and draperies may have been poly, but they weren't black, either.
Nick: I bagged some black socks and some black pantyhose.
CUT TO:
[INT. CSI -- LAB]
(Warrick is looking at the socks under a lit magnifying lamp.)
Warrick: This could be the source of the fibers. He wasn't suffocated with his crew sock.
(He drops the sock and picks up the pantyhose.)
Warrick: (to Nick) Did you notice the burn mark on the knot in these pantyhose at the crime scene?
Nick: No. No, they were all balled up. I just bagged them and tagged them.
(Nick looks at the b*rned pantyhose under the magnifying lamp.)
Nick: Oh, yeah. Yeah, we've got to get this to DNA.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - DNA LAB -- NIGHT]
(Greg is back in the lab. Warrick and Nick are walking up to him from behind, both talking loud enough for him to hear.)
Nick: I thought Greg was in the field. Is he back in the lab?
Warrick: I don't know.
Nick: We've got to clear this up. It's like he's confused. Lab, field, field, lab. We have a lab on wheels.
Greg: How about you guys just shut up, all right? I'm doing this as a favor for Ecklie. It's a one-time thing. He's still interviewing lab techs.
Warrick: You making overtime?
Greg: I'm taking one for the team.
Warrick: Mm-hmm. NICK: Mm-hmm.
Warrick: Tell me about these pantyhose.
Greg: Well, I found Tally's epithelials on the inside, which is no surprise, since she was wearing them.
(Warrick looks through the scope.)
[SCOPE VIEW]
(Warrick sees skin cells on the pantyhose fibers.)
(Greg continues.)
Greg: I also found black cotton fibers on the outside -- highest concentration near the crotch. Insert joke here.
Nick: The vic had a pair of black cotton socks.
Warrick: Well, I did find black cotton fibers under his chin.
Nick: Okay, transfer from the sock to the pantyhose, to the neck. So the sock was in between the pantyhose and the neck?
Greg: Padding. BCP, breath control play.
(Warrick nods.)
Greg: Couples increase their partner's pleasure through strangulation. And if you're not careful, it leaves marks.
Warrick: Yeah, this guy Julian Harper's an actor, so I'm sure he didn't want bruises on his neck to be showing on camera.
Nick: There were only two girls in the suite. Which one of them k*lled him?
CUT TO:
[INT. PALMS HOTEL -- BEDROOM]
(Warrick and Nick are standing in the bedroom looking around.)
Nick: Burnt pantyhose. Okay, evidence of sex games gone wrong.
Warrick: I don't see how we could have missed anything. There's no fireplace here. I haven't seen any lighters.
Nick: Well, something singed the hose.
(Warrick looks around as Nick puts his kit down. Warrick finds something black on one of the wall lamps.)
(Zoom in for camera close-up of the burnt black substance.)
Warrick: Hey.
Nick: Hmm?
Warrick: There's some burnt residue on this lamp.
(Warrick puts the residue in a bindle.)
Warrick: You know what I think? I think someone tied him up, and they couldn't get the knot undone, because it melted. So they panicked. And they pulled the hose down.
(Nick nods.)
Warrick: I'll print the light.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Sofia Curtis and Warrick interview Blinky.)
Warrick: I guess even having an unlimited supply of hot women is not enough, huh? Bondage sex with your best friend?
Sofia Curtis: It's cool, you guys were on the down low.
Blinky (Gerald Allison): I don't understand.
Warrick: Well, we found both your prints and Julian's prints on a light fixture above the bed.
(He tosses the LAS VEGAS POLICE DEPARTMENT AFIS REPORT toward Blinky. It has a single print on the center with his name on the bottom:
ALLISON, GERALD
ALIASES: BLINKY
Blinky (Gerald Allison): Whoa, whoa, whoa, whoa. We were not down like that.
(Quick flashback to: The bedroom door opens and Blinky walks in, calling out to Julian Harper.)
Blinky (Gerald Allison): Rise and shine, buddy! Room service.
(His eyes widen with horror as he sees his friend on the bed, the black hose still around his beck and tied to the lamp.)
Blinky (Gerald Allison): Dude, Julian?
(He goes over to his friend and removes the hose from around his neck. Julian falls face down on the bed.)
Blinky (Gerald Allison): (V.O.) He did it to himself. He did it to himself. So, I took the pantyhose, and I took them off the light.
(The hose starts to melt on the hot lamp.)
(End of flash. Resume to present.)
Blinky (Gerald Allison): And then I put his boxers back on. I wasn't going to let his mom open up US magazine and see her boy like that. Jules, he always did me right. Now I just wanted to do him the same.
CUT TO:
[INT. CSI - HALLWAY]
(Catherine and Grissom walk through the hallway.)
Catherine: I got the serial number rundown from Keo's g*n. He bought it last week, two days before he sh*t Samay.
Grissom: The guy's barely scraping by, and he spends $250 on a brand-new Mossberg?
Catherine: There's a word for that. "Premeditation."
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Brass interviews Keo Vipraxay with his lawyer and an interpreter sitting next to him.)
Brass: Your brother gets k*lled. You k*lled the guy who did it with a g*n you just bought. And end up $5,000 ahead.
(Keo turns and looks at the interpreter.)
Interpeter: (in Lao) (untranslated)
Brass: In Nevada, that's m*rder one. Twenty years to life. Unless you get the death sentence.
Interpeter: (in Lao) (untranslated)
Lawyer: What are my client's options?
Brass: A full confession. We make a recommendation to the DA; maybe he gets m*rder two.
Interpeter: (in Lao) (untranslated)
(He shakes his head. The interpreter stops. Keo turns and looks at Brass.)
Keo Vipraxay: (in English) I brought Noy here to help me.
Brass: What?
Keo Vipraxay: To work hard and save. To bring our family here. Our parent. Our sister. My wife. Instead he waste the money--on the DVD, gambling, clothes.
Keo Vipraxay: Noy's life was worthless. His death is not.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Grissom is in his office. Warrick knocks on the door. He looks up.)
Warrick: Griss, we closed that actor case.
Grissom: And?
Warrick: Accidental death as a result of auto-erotic asphyxiation.
Grissom: Strangled himself to death to enhance his own pleasure.
(Warrick nods.)
Grissom: It was in the days of public hangings that people first noticed that men would get erections and sometimes even ej*cul*te. They called it "The k*ller Orgasm."
Warrick: It's a waste. Guy had everything -- money, fame ...
Grissom: Yeah, look where he ended up.
CUE SONG: "Mad World", Gary Jules
CUT TO:
[INT. MORGUE]
Lyric: All around me are familiar faces, worn-out places, worn-out faces
(The gurney carrying a body is wheeled down the hall. The identification tag around the body's big toe reads:
N. VIPRAXAY
09/22/05
A. ROBBINS
C. WILLOWS
(The gurney table stops next to a second body with the tag that reads:
HARPER, JULIAN
09/29/05
DR. ROBBINS
W. BROWN
Lyric: Bright and early for the daily races going nowhere, going nowhere
(TOP VIEW DOWN: The two d*ad bodies are side-by-side.)
(Someone pulls a sheet over the first body over his face.)
Lyric: ... Mad World ...
(Camera rises to show the face of the second body. Someone pulls the sheet over the second body to cover his face.)
FADE TO BLACK.
Lyric: ... Mad World ...
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x02 - Room Service"} | foreverdreaming |
FLASH IN.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
Operator: (V.O.) 911. What is your emergency?
Ray Lester: (V.O.) (panicked) Yes. There's been an accident. An accident. Please ...
[EXT. - NIGHT]
Operator: (V.O.) What kind of emergency, sir?
(A paramedic takes his kit from the vehicle.)
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
Ray Lester: (V.O.) Please, ma'am, I need you to send an ambulance. Please, just hurry.
[EXT. LESTER RESIDENCE - FRONT DRIVE - NIGHT]
Operator: Calm down, sir, paramedics are on their way.
(The paramedics head for the house. A man with blood on his shirt runs out of the house.)
Ray Lester: Oh, my God! Please, you've got to help me! Please, hurry!
Paramedic: Sir, where are you injured?
Ray Lester: What the hell? No, not me, my wife!
(He turns and leads them to his house.)
Ray Lester: Hurry! She's in here!
CUT TO:
[INT. LESTER RESIDENCE - NIGHT - CONTINUOUS]
(He leads them into the darkened house to show them the woman on the stairs in a pool of blood.)
Paramedic 1: Get out of the way, sir.
(Paramedic 1 rushes over to the woman. He steps in the pool of blood. He turns and looks over at his partner.)
Paramedic 1: De-fib.
Paramedic 2: Yeah.
(The paramedic places the defibrillator on the ground. Ray Lester starts panicking.)
Ray Lester: What does that mean?
Paramedic: Sir, sir!
Ray Lester: Wh-What does that mean?
Paramedic: Sir, please stand back. (to the other paramedic) Go ahead. Go ahead.
(He puts the electrodes on her and turns on the machine. There's a flatline and steady tone.)
Paramedic: No response.
WHITE FLASH TO:
[EXT. LESTER RESIDENCE - FRONT WALK - NIGHT]
(Catherine and Grissom, both carrying their kits, duck under the crime scene tape to meet up with Brass and the two paramedics.)
(Brass turns around and immediately starts filling them in.)
Brass: There was an emergency call-out; the paramedics responded. They found Mrs. Lester on the back stairs. They pronounced at 12:16 a.m.
(Grissom notes the paramedics' bloodied shoes.)
Grissom: And, of course, you walked through the house.
Paramedic: We were responding to a traumatic injury. Our priority was to assist the victim.
CUT TO:
[INT. LESTER RESIDENCE - NIGHT - CONTINUOUS]
(Brass leads Catherine and Grissom into the house. There are bloodied footprint tracks on the floor. Over in the living room, Ray Lester is sitting in a chair, his legs, shirt and hands bloodied.)
Brass: That's Ray Lester, the vic's husband.
(Brass continues into the house to lead them to the d*ad body.)
Catherine: Was he injured?
Brass: No, uh, that's his wife's blood. He said he checked to see if she was still alive and he held her until the paramedics came.
Catherine: Wouldn't you?
Brass: You never met my ex.
[INT. LESTER RESIDENCE - KITCHEN - NIGHT - CONTINUOUS]
(They enter the kitchen and find a bottle of tequila, less than a quarter full, and two empty sh*t glasses on the counter.)
Catherine: Tequila will always remind me of Señor Frog's.
Brass: Which one?
(Grissom looks outside
Catherine: Cancun. My honeymoon. My dime.
Brass: Well, if you ever want to go back, it's on me.
Catherine: Is that a proposal?
(They continue to follow the bloodied footprints through the kitchen and on into the next room where the body is.)
David Phillips: It's like the Red Sea in here.
Grissom: The Red Sea's not red, David.
David Phillips: No, it's blue from afar and transparent when held in hand, like any other body of water. I was just speaking figuratively.
Catherine: I'm assuming those boot prints aren't yours.
David Phillips: Please, I was just waiting for you guys to clear a path. Blame the paramedics.
Grissom: This girl's head and spine are perfectly aligned.
Catherine: Yeah, when you fall down the stairs, your head tends to go in one direction, your body in another.
Brass: I'll take a statement from the husband and the paramedics; see if she was moved.
(Grissom looks at the door.)
David Phillips: You know, twice as many people die each year from falling down stairs than from accidental g*n?
Brass: You didn't just get back from one of those coroner's conferences, did you?
(Grissom looks at Catherine, who glances at him and sees his look.)
Catherine: What are you thinking?
Grissom: Led Zeppelin, "Stairway to Heaven."
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. LESTER RESIDENCE - FRONT DRIVE -- DAY]
(The coroner's van is parked in the driveway. Officer keeps the crowd behind the taped-off area. One of the paramedics puts his shoes into the paper bag Greg holds for him. The other paramedic is doing the same.)
(Sara parks the car. Warrick, Nick and Sara exit the car and walk over to Greg.)
Warrick: Hey, Sanders.
Greg: Hey. Back stairs. And, uh, you might want to hug the wall.
(They turn and head for the house as Greg bags the other paramedic's shoes. He glances in the bag and takes a whiff of it.)
Greg: Whew! Did you ever hear of Odor Eaters? Never mind.
Paramedic 1: We don't get another boot allowance till spring.
Greg: Well, I'll try to get 'em back to you before your next shift, okay? Uh, one more question: Did either of you guys move the body?
Paramedic 2: Didn't have to. She was face-up.
Paramedic 1: I unbuttoned her blouse to apply the leads, but that's it.
Paramedic 2: We tried not to touch anything. Once we saw that blood, we knew you'd be showing up.
CUT TO:
[INT. LESTER RESIDENCE - DAY -- CONTINUOUS]
(Everyone stands at the base of the stairs looking down at Becky Lester's body as Grissom preps them.)
Grissom: Becky Lester. Catherine and I got here a half an hour after her husband called 911.
Catherine: Edges of the blood pools were already dry. The pools themselves were tacky.
Nick: Which means she'd been down here at least an hour or two before you guys even got here.
Sara: Why did the husband wait so long to call?
Catherine: Good question.
Grissom: Coroner won't touch the body till Catherine and I are done processing around it, so, Sara, would you please go up the front stairs and work your way down the back stairs?
Sara: You got it.
(Sara picks up her kit and leaves.)
Grissom: Warrick, could you process the blood evidence from the front door to the back stairwell? And if you'll notice, she doesn't have any blood on her feet.
Warrick: So I can assume those bloody footprints aren't hers.
(Warrick turns and leaves.)
Grissom: Nick, Brass is in the study with the husband and he's waiting for you.
(Nick picks up his kit and leaves.)
(In the kitchen, Warrick puts an evidence marker down on the floor and snaps a photo of the bloodied footprints.)
(He continues to process the scene.)
(Various dissolves of Warrick putting down more evidence markers and taking more pictures as he works his way to the door.)
(Off on the counter, he notices a single blood drop. He snaps a photo of it. He puts a plastic protective covering over it, then looks around in the trash. He finds a napkin with blood on it. He picks it up.)
(On the second floor, Sara examines the stairs, starting from the top, and works her way down.)
(Grissom puts a measuring ruler near some blood drops and snaps a photo of it.
(Catherine takes a swab of the blood pool.)
(Sara prints the side of the stairway wall.)
(Catherine measures the blood spatter on the wall near the body.)
(Grissom is snapping photos of the contents in the hallway closet nearby.)
Catherine: Hey, Grissom, spatter on the wall doesn't exceed 18 inches.
Grissom: Well, that's consistent with the fall.
(Quick flash of: Becky Lester appears at the top of the stairs and trips. She falls down the stairs. Blood spatters on the wall near the bottom.)
(End of flash.)
(Sara is dusting the stairway walls.)
Sara: Guys, if she fell, even if she was pushed down these stairs, I would expect to find smudge marks on these walls.
Catherine: Yeah, she would've instinctively reached out for leverage.
Sara: There are none. Not to mention, that if she was up here before she was down there ... she should've landed head first.
(Quick flash of: Becky Lester trips and falls. She lands head on the bottom of the steps. End of flash.)
Sara: The body position is inconsistent with the fall.
Catherine: Well, it's inconsistent if she fell down the stairs. Maybe she fell up.
(Quick flash of: Becky Lester is walking up the stairs. She trips and falls, hitting her head on the stairs. She then falls a couple steps down. She gets up long enough to flip over, then falls back on the steps. End of flash.)
Sara: Catherine, can I borrow your micrometer?
(Catherine hands Sara the micrometer, which Sara uses to measure one of the blood drops on the wall.)
Sara: Blood spatter measures two millimeters.
Grissom: Medium spatter. Suggests impact with a blunt object.
(Quick flash of: Becky Lester is being beaten with an object. End of flash.)
Sara: But if she was h*t, where's the castoff?
(Grissom looks at the ceiling above them.)
Grissom: It is a low ceiling. Pretty hard to swing a w*apon.
Catherine: Sometimes first blush gives you a head rush.
CUT TO:
[INT. LESTER RESIDENCE - SITTING ROOM - DAY -- CONTINUOUS]
(Brass interviews Ray Lester while Nick gathers evidence from him.)
Ray Lester: I don't think I moved her. Um, I mean, I cradled her head in my lap. Tried to wake her up, but that's it.
Brass: So, you and your wife went to Piero's for dinner, got home around 10:00, got out the tequila. Then what?
Ray Lester: I, you know, got comfortable ... then we went outside and did a few sh*ts.
Nick: How'd the tequila get back inside?
Ray Lester: Um, the phone rang and it was my daughter Susan.
Brass: Your daughter?
Ray Lester: Yeah, from my first marriage. She's, she's staying at Becky's dad's.
(Quick flash of: Out the patio, the phone rings; Ray Lester answers it.)
Ray Lester: (to phone) All right. It's Susan.
Becky Lester: Oh. (to phone) Hey, babe. Uh-huh.
(Ray pours himself a drink.)
Becky Lester: (to phone) Okay. (to Ray) It's boy trouble. I'll take this inside.
(She presses the hold button on the phone, stands up and heads inside.)
(End of flash. Resume to present.)
Brass: What did you do after that?
Ray Lester: Another sh*t or two and then I guess I fell asleep. And I woke up around midnight. (Nick looks up from what he's doing.) And I figured that she and Susan had just gotten into one of their talk-a-thons.
(Quick flash of: Ray goes back into the house and puts the tequila and glasses on the counter.)
Ray Lester: (V.O.) I took the tequila and the glasses into the kitchen and that's when I saw her.
(He turns and sees Becky on the stairs.)
Ray Lester: Oh, my God. Oh, please!
(He runs over to her and holds her.)
Ray Lester: Oh, please, please! Oh, God. Oh, please, Oh please.
(He puts her back down, his hands in her blood.)
(Flash to: He runs to the phone and dials, the blood from his hands all over the phone.)
(End of flash. Resume to present.)
Brass: Now, is there any reason you can think of why your wife would be using the back stairs?
Ray Lester: From the kitchen, it's closer to the bedroom.
Brass: You never mentioned anything about the bedroom.
Ray Lester: Are you trying to trip me up or something? I mean, I don't ... maybe she went to, uh, brush her teeth or put on her nightgown. I really don't know.
Nick: Okay, sir. I'm going to need to take your clothing.
Ray Lester: I'll go upstairs and change.
(Ray stands up; Nick stops him.)
Nick: No, that's okay. We're still processing upstairs. You can remove them right here and I'll give you a jumpsuit.
(He turns and looks at Brass.)
Brass: I'll close my eyes, if you're shy.
(Ray removes his shirt to show teeth marks on his chest.)
Nick: Those don't look like mosquito bites.
Ray Lester: My wife likes to bite, and I don't mind it, okay?
Nick: (nods) Okay.
(Nick puts the shirt in a bag.)
(The coroners wheel out the body on a gurney. Ray's eyes follow the gurney as it passes the sitting room doorway on its way out of the house. He appears very upset.)
CUT TO:
[INT. LESTER RESIDENCE - BACK ROOM - DAY -- CONTINUOUS]
(Brass walks back into the room where Grissom and Catherine are working.)
Brass: Okay, the husband says he fell asleep, he woke up his wife was d*ad.
Grissom: He's a good sleeper.
Brass: Yeah, I'm sure he's gonna say something like that. Anyway, there's a daughter. She spent the night at her grandfather's, who lives a few blocks away. I'm gonna check it out.
(Brass leaves.)
Warrick: I'm ready.
(Grissom and Catherine head for the kitchen where Warrick is.)
Warrick: The blue markers denote the footprints. They're all consistent with the husband.
(Quick visualization of: Ray is near Becky's body. He's already stepped in the pool of blood. He runs over to the phone, leaving bloodied footprints behind him.)
Warrick: The footprints are associated with gravitational blood drops.
(The visualization continues: Ray puts the phone down and runs back to the body. The wet blood from his hands drops to the wooden floor.)
(Warrick points to the other markers.)
Warrick: The yellow markers denote the paramedics' boot prints.
(Quick visualization of: The two paramedics are at the body. They stand up and head back out, leaving a trail of bloody prints on the floor. Visualization ends.)
Catherine: And what about this here, on the counter?
Warrick: It's a single blood drop.
(Quick flash of: A single blood drop falls and hits the counter.)
Warrick: I'm thinking that's from when the husband reached for the phone.
Grissom: That's a good observation. What do you got in the bag?
Warrick: This ...
(Warrick opens the bag and takes out a paper towel.)
Warrick: ... is a bloody paper towel I found in the trash. It's too textured to print, but Sanders talked to the paramedics, who confirmed that it wasn't theirs. I'm thinking it was from the husband when he tried to clean up and saw it wouldn't be too easy.
Catherine: Lucky for us.
CUT TO:
[INT. LESTER RESIDENCE - SECOND FLOOR BEDROOM - DAY]
(Grissom climbs up the stairs and reaches the top. He looks around. The nearest bedroom is a girl's room. He looks around inside from the doorway.)
(He turns and walks down the hallway. At the end is another bedroom. He looks inside and notes it's a man's bedroom. A pair of reading glasses and a wallet are on the nightstand; a pair of shoes is next to the bed.)
(He turns and finds Sara in the woman's bedroom.)
Sara: Hey. Husband slept in the other room. His reading glasses are on the nightstand. Clothing's in the dresser.
(Sara looks under the bed covering.)
Grissom: That's odd. A man and a woman who don't share a bedroom arrange to have a night alone, send their daughter to a relative, go out to dinner, have drinks by the pool, but they sleep in separate bedrooms.
Sara: Maybe one of them snored or had insomnia or liked to work at night.
Grissom: Or maybe they were suffocating each other and he couldn't breathe.
(Sara turns and opens the nightstand drawer. She finds a tube and picks it up.)
Sara: Sexual lubricant. It's half empty. Sticky. You know, you don't have to sleep in the same bed together to have sex or ... have romance.
Grissom: I'm going to go see the doctor.
Sara: I'll grid the house.
(Grissom turns and walks out of the bedroom.)
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[INT. LESTER RESIDENCE -- DAY]
(Open on various framed family photos on the counter. Brass interviews Susan Lester and Grandpa Stein.)
Grandpa Stein:I don't understand. Becky was in perfect health. Can I see her? I'd like to see my daughter.
Brass: Well, her body's with the coroner, sir. There will be an autopsy as a part of our investigation.
Grandpa Stein:But you said she fell.
Brass: Yeah, um, if you don't mind, I'd like to ask you both a few questions.
Grandpa Stein:Anything.
Brass: When was the last time either of you saw her?
Grandpa Stein:When she dropped Susan off yesterday evening, she came in for a few minutes. Said she was headed home and out to dinner with Ray.
Brass: And that's the last time you spoke with her.
Grandpa Stein:Yeah.
Susan Lester: No. I called her. A little after 10:00, after Grandpa went to bed.
Brass: What did you talk about?
Grandpa Stein:Why is that important?
Brass: Well ...
Susan Lester: Stupid stuff. My best friend Jamila and I, we both like Leon. And I know, friendship first. I just wanted Becky to say it, you know?
Brass: Uh, yeah, okay. Thank you. Thank you, Susan.
Grandpa Stein:Susan, would you give me a moment with the detective?
Susan: Okay.
(Susan leaves.)
Grandpa Stein:You said you found my daughter's body on the stairwell?
Brass: That's right.
Grandpa Stein:You're aware that Ray's first wife, Susan's mother, was found the same way?
Brass: Well, now I am.
Grandpa Stein:They said Susan's mom died of a stroke.
Brass: But you don't think so?
Grandpa Stein:I never had any reason to doubt it.
Brass: So how would you, uh, how would you characterize your daughter's marriage?
Grandpa Stein:Ups and downs. About a year ago, Ray's business went under. And Becky works for Western Airlines. They've been downsizing since 9/!!. It's been rough.
Brass: Yeah. Mr. Stein, does your son-in-law have a temper?
Grandpa Stein:Do I have to answer that?
Brass: You just did.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins goes over the findings with Grissom.)
Robbins: Becky Lester, 32. Final meal, pasta. I can't tell you the variety of the noodle, but there was a white sauce with clams. And I found some blood in her stomach. Her tongue was lacerated perimortem.
Grissom: She probably chomped down on it when she h*t the stairs.
Robbins: I sent a blood sample to Tox and Nick asked for teeth impressions. Husband claims she's a biter. Fine line between pleasure and pain. But who doesn't like to cross it every once in a while, right?
(Grissom gives Robbins a look.)
Robbins: Anyway, um, I don't know if it's probative, but there's semen in her vaginal vault. Sperm motility and positive acid phosphates suggest intercourse approximately six to 12 hours prior to death.
Grissom: Yeah, I'm mostly interested in cause.
Robbins: Exsanguination from five lacerations: two to the forehead, one to the right temple, and two to the occipital bone.
Grissom: Are they consistent with a fall?
Robbins: Yes, but I'd expect to see hand fractures as a result of the impact, and there are none.
Grissom: Are they consistent with blunt force trauma?
Robbins: Sure, but if the husband bludgeoned her, there'd be fractures to the skull.
Grissom: And there are none.
Robbins: None.
Grissom: Well, you've given me a lot of information, doc, and none of it very helpful.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB -- DAY]
(Grissom spits out some ketchup onto a wall. He looks at the spatter, then pours more ketchup into a plastic teaspoon. He puts the ketchup in his mouth.)
(Catherine walks up to him.)
Catherine: You want fries with that?
(Grissom spits the ketchup onto the wall.)
Grissom: Robbins said the vic bit her tongue. Theoretically, she could've expirated the blood on the wall, providing an alternative explanation for the medium velocity spatter.
(He looks at her.)
Grissom: Do me a favor, check it out.
(Catherine measures the spatter.)
Catherine: Well, it looks like two millimeters--same as the blood at the scene. So, maybe it was just an accident.
(Quick flash of: Becky Lester goes to climb up the stairs. She trips, falls and hits her head against the steps.)
Grissom: (V.O.) As she tried to get up, she expirated the blood on the wall.
(She gets up and spits blood on the wall.)
Grissom: (V.O.) She failed to regain her footing, impacting her temple ...
(She falls back down, flips over and dies.)
(End of flash. Resume to present.)
Grissom: ... and then she bounced on her occipital bone.
Catherine: So we've got two theories, supported by physical evidence.
Grissom: Yeah, if we ever find a m*rder w*apon, my theory's done.
Catherine: Well, I know that there was no blood found in the car, so it's unlikely that Ray took a drive to dispose of the w*apon.
(Brass walks in carrying a file folder.)
Brass: Hey, ready for a quiz? Guess how Ray's first wife died?
Grissom: Wait. She had a stroke on a stairway. Robbins told me. Is that the autopsy report?
Brass: No, these are medical records. There was no autopsy. Jackie Lester had a heart condition. Three weeks before she died, she was admitted to a hospital with vertigo. She ignored the doctor's warnings, didn't take her medication. Family physician pronounced it a stroke.
Catherine: Well, if she wasn't cremated, it's not too late for a postmortem examination.
Brass: Judge Witherspoon is issuing a court order for exhumation. Now, look, I just came from the DA. I gotta tell you, he's already made up his mind. Husband and wife, home alone, all that blood, shaky alibi. Plus, he says, "He just looks guilty."
Grissom: How does one "look" guilty?
Brass: You know, I'm just a messenger. What do you think the chances are he didn't do it?
Catherine: Well, what do you think the chances are we're going to give you an answer before all the evidence is in?
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg walks through the hallway when Henry Andrews stops him.)
Henry Andrews: Greg ... Becky Lester had a BAL of .18. And I found trace amounts of diazepam.
Greg: Thanks!
Henry Andrews: Hey, I heard the coroner found semen, so I tested for birth control. Estrogen and progesterone levels were spiked.
Greg: Where did you hear about the coroner's findings?
Henry Andrews: Actually, I read the report. Maybe I don't want to be a toxicologist my whole life. I mean, you went from DNA to the field, and I guess you're kind of a role model to me.
Greg: A role model, huh?
Henry Andrews: Yeah. By the way, where do you get your hair cut?
CUT TO:
[INT. CSI - LAB]
(Nick is examining the photos of the bite marks from Ray Lester's chest.)
(He makes a teeth print from a mold of Becky's teeth. He matches the bite marks to the mold print. They don't' match.)
(He tries to match the mold to the bite marks. Still, they don't' match.)
(Catherine walks in.)
Nick: Quick. How many teeth in the human mouth?
Catherine: Without wisdoms? 28.
Nick: Yep, and the 28 teeth in Becky's mouth do not match the bite impressions on her husband's body.
Catherine: I guess Ray found himself another set of pearly whites.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Catherine interviews Ray Lester.)
Ray Lester: Look, I loved my wife. But, a year into our marriage, she told me that she wasn't into sex anymore. And, uh, she went frigid on me. Asked me to move into the other bedroom.
Catherine: And you were okay with that?
Ray Lester: Well, I kept hoping things would get better. And we had fun and we respected each other. And she was a great mom to Susan.
Catherine: I'm still confused about the bite marks.
Ray Lester: I found a way to make our relationship work.
Catherine: You found yourself a vampire?
Ray Lester: I met a girl online. She liked biting. I liked being bit. It just seemed like a good match, and it never got sexual.
Catherine: Uh-huh. And, uh, what is her name?
Ray Lester: I know her as buffy227(a)gmail.com.
Catherine: And your wife never suspected anything?
Ray Lester: We'd meet at a motel ... every few weeks. I'd tell Becky that I was going out for a bite. It was consensual and it wasn't sexual. It was not cheating.
Catherine: But you never told your wife?
Ray Lester: I didn't tell Becky everything I did every minute of the day, but that doesn't mean that I was unfaithful.
Catherine: When, exactly, was the last time that you had sexual intercourse with your late wife?
Ray Lester: Four years ago. (He holds up his hand.) Rosy Palm and Thumbelina are the only action that I get.
Catherine: Uh, wow, you know, uh, a joke like that doesn't quite seem appropriate for a distraught husband.
Ray Lester: I'm just answering the questions.
Catherine: Mr. Lester, did you know that your wife was having an affair? The day that she died, she had had intercourse.
Ray Lester: Are we done here?
Catherine: For now.
CUT TO:
[INT. CSI - A/V LAB - DAY]
(Archie and Nick are watching the monitor where a beautiful blonde woman leans forward and bites a man on the chest.)
Archie Johnson: Ow ... ooh. She's hot. But I still wouldn't let her fang me.
Nick: No, no. I'm with you. Was the video encrypted?
Archie Johnson: No. I was processing Ray's computer and it was just sitting on the desktop ... in a folder called "dental records."
Nick: Did you get an ID on Buffy?
Archie Johnson: Grissom got us an administrative subpoena. ISP sent over the subscriber information: Dr. Jeri Cohen -- aka Buffy227 -- is a dentist.
Nick: Are you kidding me?
Archie Johnson: I could not make this stuff up.
CUT TO:
[INT. POLICE DEPARMENT - WAITING ROOM]
(Nick and Brass talk with Dr. Jeri Cohen.)
Jeri Cohen: I'm not ashamed of my predilection. Assuming both parties are healthy, biting can be orgasmic.
Nick: Huh.
Brass: Dr. Cohen, where were you last night?
Jeri Cohen: Home alone, like most nights.
Brass: Ma'am, we're here to talk about your relationship with Ray Lester.
Jeri Cohen: Well, I wouldn't call it a relationship, per se. There was no sex, no commitment. We'd meet at a motel room, once or twice a month.
Nick: You e-mailed Ray digital video of your sessions together.
Jeri Cohen: Ray bought me that camera for, uh, my birthday. It was fun.
Brass: If you say so.
Jeri Cohen: The Kama Sutra says that any place on the body that can be kissed can also be bitten--except the upper lip, the interior of the mouth, and, of course, the eye. It also goes on to describe eight different ways to bite your partner. Ray liked "the broken cloud." Teeth ... are sexual organs.
Nick: (clears throat) Um, Dr. Cohen, did, uh ... did, uh ...
Brass: Ray.
Nick: ... Ray ever mention his wife?
Jeri Cohen: He told me he was married. It wasn't a problem for me. He said they made better friends than lovers and she was a good mother; that's about it.
Brass: Was he violent?
Jeri Cohen: Ray? No, he was nothing like that.
(Jeri Cohen undoes the top buttons on her blouse and shows them her chest - her unbitten chest.)
Jeri Cohen: See? No bite marks. I'm the aggressor. Ray just lies there and takes it. He's a real sweetheart.
(Nick picks up the mold.)
Nick: Uh, ma'am ... would you mind biting down on this for me?
(She smiles at him.)
Jeri Cohen: You know I wouldn't.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Warrick and David Phillips are with Robbins and the coffin.)
Warrick: They don't tell you about this part of the job when you're training to become a CSI.
Robbins: Come on, after five years, at least they don't smell anymore.
David Phillips: Always with the silver lining.
Robbins: Right.
Warrick: You ready?
(David and Warrick open the coffin. Inside is a corpse.)
Warrick: Well, hello, Jackie Lester. On three.
(Warrick and David reach into the coffin.)
Warrick: One ... two ... three.
(They lift up the corpse and put it on the empty table next to them.)
(Robbins puts a hand on the corpse's head and looks at Warrick and David.)
Robbins: If you two don't mind ... we'd like some alone time.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. CSI - FORENSIC AUTOPSY]
(Robbins goes over the body.)
(Various dissolves of: Robbins cuts her hair off. He shaves the head, then cuts and peels the remaining skin off. He sees something.)
SHORT TIME CUT TO:
(Warrick walks in.)
Warrick: You done with your alone time, Doc?
Robbins: Just completed my prelim, but check this out. Subgaleal hemorrhages, consistent with lacerations to the occipital bone.
Warrick: So both of Ray's wives end up d*ad at the bottom of the stairs with lacerations to the head.
Robbins: If my full autopsy confirms m*rder, you may be looking at the first serial stairway k*ller.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Sara and Catherine walk through the hallway.)
Sara: If there was a m*rder w*apon, it was not in that house. We searched everywhere.
Catherine: What's in the bag?
Sara: Sex lube, found at the crime scene. Autopsy revealed that Becky was sexually active. Ray claims that they've both been celibate for the past four years.
Catherine: And you wanted to see if her lover's prints were on that bottle.
Sara: Two viable prints, both in a light coat of lube. One was Becky's and the other is an Adam Gilford. Work card is in the system. He's an executive at Western Airlines.
Catherine: Lovers and co-workers. That never works.
Sara: If Ray did find out about the affair, that's motive.
CUT TO:
[INT. WESTERN AIRLINES BUILING - GILFORD'S OFFICE -- DAY]
(Catherine and Sara interview Adam Gilford.)
Adam Gilford: Of course I knew Becky Lester. I'm her boss. I'm the one who hired her. Hard to believe that was six years ago. And it's such a tragedy. She was loved.
Catherine: By some more than others.
Adam Gilford: Excuse me?
Sara: Mr. Gilford, we know that the two of you were sleeping together.
Adam Gilford: Becky wasn't in love with Ray. They'd stopped having sex. If they divorced, she'd owe him alimony, and Becky didn't think that was right.
Sara: Becky told you that?
Adam Gilford: She told me everything. She and Ray were living on vapors. They'd just taken a second on the house. She also told me that Ray was hiding money from her -- the insurance payout on his first wife. Look, if you suspect she was m*rder, I can tell you why Ray did it.
Catherine: We're listening.
Adam Gilford: At Western Airlines, VP's and above receive corporate life insurance policies--quarter mil payouts. Last week, a round of pink slips went out. We both got h*t. Two weeks, she would have been out of here. And the insurance policy, suspended.
Catherine: And Ray is the beneficiary.
Adam Gilford: He k*lled her just in time to make a k*lling.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Grissom's behind his desk when Ecklie walks in.)
Conrad Ecklie: DA's planning to file charges against Ray Lester -- tomorrow, after an ADA stops by the crime lab for a full briefing.
Grissom: That's too soon.
Conrad Ecklie: Tell me about the first wife.
Grissom: Preliminary investigations suggests foul play, but we've got nothing definitive until she's fully posted. And the physical evidence in Becky Lester's death is completely ambiguous.
Conrad Ecklie: The DA figures he'll make a headline while you find corroborating evidence. You think he's guilty, right?
Grissom: I don't think that yet.
(Catherine walks in.)
Catherine: Oh, um, am I interrupting?
Grissom: No.
Catherine: Brass just called with a heads up. Since when does the DA's office tell us when we're ready?
Conrad Ecklie: When the case is high profile and the DA is feeling heat from the sheriff. Look, you'll just walk him through the evidence. You won't bias your reports or skip anything ambiguous. It is what it is. If the DA wants to sh**t his wad too early, we can't stop him.
Grissom: Okay.
(Ecklie leaves.)
Catherine: Sara and I may have uncovered motive. In the last two weeks, Ray filled out five loan applications--200 g's a pop. All denied. With his wife d*ad, he is the beneficiary of a $250,000 policy.
Grissom: Huh. I wonder what he needed the money for.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass interviews Ray Lester.)
Ray Lester: I was ... being blackmailed. Um, someone found out about Buffy. I ... I got a letter and a photo in the mail. They wanted 200 grand or the ....
Brass: Otherwise, they'd share your biting secret with your wife.
Ray Lester: Yeah. Our marriage was having enough problems.
Brass: I mean, you're covered in those bite marks. Didn't your wife ever ask where they came from?
Ray Lester: She hadn't seen me naked in a long time. I just ... I would've been humiliated if she found out about Buffy. She was a great mom. And she kept ... she kept me sane when my business went under.
Brass: You still have the blackmail note?
Ray Lester: Yeah. I couldn't risk letting Becky find it. Soon as I opened that letter, it went right into my briefcase. I've got the only key.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. CSI - LAB -- NIGHT]
(Catherine and Sara look at the note. There are fingerprints on the front.)
Sara: (reading) "Send $200,000 to P.O. Box 4976, Searchlight, Nevada, 89431 within two weeks or I'll send photos to your wife."
Catherine: P.O. Box was through a private company, paid for in cash with a pseudonym: Abe Lincoln. Ninhydrin picked up six distinct prints. Five were matched to Ray.
Sara: What about the sixth?
Catherine: Becky Lester.
Sara: Hold on. Ray told Brass that Becky never saw that note, which means he was lying. If she read the note, then it's possible that Ray freaked out, bludgeoned her to death.
Catherine: What if Ray's telling the truth?
Sara: Well, Catherine, if he was, her fingerprints would not be on this note.
Catherine: Unless she touched the letter before it was sent, which would make her the sender.
Sara: Well, that doesn't make any sense.
Catherine: Becky thought that Ray was squirreling away money. Maybe this is her way of getting her hands on it.
Sara: She used his fetish against him?
Catherine: She blackmailed her own husband, knowing that he would pay up, so she wouldn't find out his secret.
Sara: That's ingenious. And really sad.
(Catherine laughs.)
Sara: If it's true.
Catherine: Well, if Becky's saliva's on that envelope, it's indisputable.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[CGI EFFECTS]
(Quick CGI POV of: Camera reverses out from inside a brain.)
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Robbins points to the brain on the metal tray as he explains to Warrick what happened.)
Robbins: This is a blood clot. Take a look.
(Robbins pries the brain apart to show Warrick what it looks like inside.)
Warrick: Huh. The blood's continuous.
Robbins: Comes from deep within the parenchyma. The first wife had a stroke and it was fatal.
Warrick: What about the scalp lacerations?
Robbins: Perimortem.
Warrick: So she must've h*t her head on the stairs on the way down.
Robbins: Well, I can't tell you about the second wife, but this was a natural.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Greg runs an ALS over the blackmail note. He finds a watermark on the bottom.)
Sara: That's the Western Airlines logo.
Greg: Over the past few years, corporations have g*n embedding their insignia into the stationery for security purposes.
(Catherine's phone rings; she answers it.)
Catherine: If Becky wrote the note, she wrote it at work. (to phone) This is Catherine. Oh, yeah. I'm on my way.
(Catherine leaves the lab.)
CUT TO:
[INT. CSI - LAB]
(Grissom meets with Ecklie and ADA Jeffrey Sinclair.)
Grissom: For the record, I think you're filing prematurely.
ADA Jeffrey Sinclair: As always, I value your opinion. But I'm confident in our decision to move forward. But, come on, Grissom, granted the first death was a natural -- but two d*ad women married to the same guy found in a stairwell? Lightning doesn't strike in the same place twice.
Grissom: Actually, it does. The Empire State Building gets struck twenty times a year.
(Sinclair looks at Ecklie, who rolls his eyes.)
Conrad Ecklie: Let's just run the case.
(Catherine rushes into the lab.)
Catherine: Sorry, I got held up.
Grissom: No, you're just in time. Ms. Willows, would you bring Mr. Sinclair up to speed?
Catherine: I'd be happy to. Ray and Becky Lester were unhappily married. She was having an affair with her boss; he was indulging his biting fetish. They were having financial problems. But Becky believed that Ray was hiding money. Two weeks ago, Ray received a blackmail note demanding 200 grand or the wife finds out about bite girl. Well, we have just confirmed that the blackmailer and the wife are one and the same.
Grissom: Based on what?
Catherine: The envelope of the ransom note. DNA was a match.
ADA Jeffrey Sinclair: The wife was blackmailing the husband?
Catherine: (chuckles) Never underestimate the deviousness of a malcontented spouse.
ADA Jeffrey Sinclair: Well, he found out and he k*lled her.
Grissom: We don't have any evidence to support that.
ADA Jeffrey Sinclair: Run the timeline.
Grissom: Couple got home around 10:00 P.M. They went outside and had some tequila. At 10:08, Ray's daughter from his first marriage phoned. Becky went inside to take the call.
ADA Jeffrey Sinclair: How long did they talk?
Grissom: It's not in Brass's notes.
Catherine: Well, I have the phone records here, so ... uh, the call lasted ... two minutes?
Conrad Ecklie: I thought the husband told Nick it was a marathon call.
Catherine: Yeah, I'm just seeing this for the first time here. Um ... the incoming call did not come from the grandfather's house.
(Catherine turns her phone on.)
Catherine: I'm gonna call this number.
(The phone rings. An answering machine goes on.)
Ray Lester: (answering machine) You've reached the home office of Ray Lester. Please leave your details after the beep.
Catherine: Susan called her stepmother from inside the house.
Conrad Ecklie: Did anybody process that office phone?
Grissom: The office was away from the crime scene. We, uh, checked it for a m*rder w*apon, but that's about it. I'll get an investigator over there. Unless you're in too much of a hurry.
(Grissom leaves.)
CUT TO:
[INT. LESTER RESIDENCE -- DAY]
(Greg and Sara enter the house. They look over at the desk and see the phone.)
Greg: There it is.
(Greg snaps a photo of the phone. Sara picks the phone up and checks it. She flips it over and finds the blood on the back.)
(Camera zooms in for a close-up.)
Sara: Greg ... there's a fingerprint in blood.
CUT TO:
[EXT./INT. STEIN RESIDENCE -- DAY]
(Brass knocks on the door. Grandpa Stein answers it. Catherine and Brass are on the front porch.)
Grandpa Stein:Detective, what's going on?
Brass: Mr. Stein, where's Susan?
(Susan steps out from the back.)
Susan Lester: Is everything okay with Dad?
Brass: We have a warrant to search your house.
(Catherine slips inside the doorway.)
Grandpa Stein:A warrant?! What?
Brass: Would you both please step outside with this officer?
Susan Lester: Can I get my homework?
Brass: Well, uh ...
(Catherine turns and looks at Brass.)
Catherine: Sure. That'd be all right.
Susan Lester: Okay.
(Susan hurries to her room. Catherine follows her.)
(In the bedroom, Susan is closing her backpack. She turns around just as Catherine steps in the doorway.)
Catherine: I'm gonna need to see inside your backpack.
Susan Lester: It's just my books and stuff.
Catherine: I'd like to see what you're studying.
(Catherine takes the backpack from her. She puts it on the bed and opens it. Inside the backpack, Catherine finds books ... and a bloodied shirt.)
Catherine: What did you h*t her with?
(Susan looks around. Catherine looks at the closet door.)
Susan Lester: I want to talk to my dad.
Brass: Why don't we take a ride downtown. You can call him from there.
(Susan leaves.)
Brass: (to Catherine) Nice work.
(Catherine puts the shirt aside. She picks up the camera and opens the closet door. She takes a photo of the shirts hanging inside.)
(She takes out her flashlight and looks around. She pushes the clothes aside and finds a cane leaning against the wall. She looks at the cane handle and puts it on the doorknob. She takes a swab and tests for blood. The swab turns pink.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass interviews Susan Lester. Ms. Karpell sits next to her.)
Susan Lester: My stepmom was a bitch.
Ms. Karpell: Susan, you're not helping. Please, stay quiet.
Brass: Excuse me for a minute.
(In the observation room, Grissom and Catherine watch the interview.)
Grissom: You know, I guess this could explain why Becky's skull was lacerated and not fractured.
Catherine: She wasn't strong enough.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
Susan Lester: I had to protect him.
Brass: Protect who, Susan?
Ms. Karpell: Susan!
Brass: Protect your father? Protect your father from what?
Susan Lester: She was gonna leave him.
Brass: So that's why you k*lled your stepmother--to protect your father.
Susan Lester: Last week, I skipped soccer practice and came home early.
(Quick flash of: Susan rushes up the stairs and puts her backpack in her room. She hears Becky and a man laughing.)
Becky Lester: You are so damn brilliant.
Adam Gilford: I just found the digital video and printed out the stills.
(Susan heads for Becky's bedroom and finds Becky in bed with Adam Gilford.)
Becky Lester: "Dental records." I married a moron.
(She sees them kiss.)
Adam Gilford: Did you check the P.O. Box today?
Becky Lester: Empty, but he's got another week. Ray's whipped. He brought up counseling again. The idiot would die before letting me in on his freak-ass fetish.
(End of flashback. Resume to present.)
Susan Lester: My dad only married Becky because of me.
Brass: Explain that to me.
Susan Lester: Well, he thought I needed a mom and that's why he stayed with her.
Catherine: Blaming herself for the marriage.
Grissom: She doesn't seem to blame herself for ending it.
Brass: So you waited for your granddad to go to sleep and you snuck out of the house, snuck back into your house then you called your stepmom from your dad's telephone line. Pretty tricky. And then, you must've ... hid somewhere.
Susan Lester: I hid in the closet. I told her we had to talk and that I knew about her boyfriend.
(Quick flash of: Susan is in the closet and on the phone.)
Susan Lester: (to phone) Uh, hey, Dad. Is Becky there? Could I talk to her?
Ray Lester: (to phone) All right.
(He hands the phone to Becky.)
Ray Lester: (to Becky) It's Susan.
Becky Lester: (to phone) Hey, babe.
Susan Lester: (to phone) Just tell Dad you'll take the call inside and meet me in my room.
Becky Lester: (to phone) Okay. (to Ray) It's boy trouble. (she puts the call on hold) I'll take this inside.
(Flash to: Becky heads inside. As soon as she passes the closet and heads upstairs, Susan rushes out and uses the cane to h*t her over the head.)
(Becky hits her head on the stairs. She gets up and turns around. Susan hits her again. She falls backward. Susan hits her again, blood spatters on the wall.)
(She looks at the blood on the cane handle and on her shirt.)
(End of flashback. Resume to present.)
Ms. Karpell: Are we done here?
Brass: Almost. We're almost done. You know, Susan, there was a bloody paper towel left in the trash. Can you tell me about that?
(Quick flashback to: Susan runs to the kitchen and grabs a paper towel to wipe the blood off the cane handle.)
Susan Lester: (V.O.) I went into the kitchen. Tried to clean up.
(She tosses the paper towel in the trash.)
(End of flashback.)
Susan Lester: I put the phone back in my dad's office and I walked back to Grandpa's.
Brass: Where was your father when you k*lled your stepmother?
Susan Lester: He was outside. Asleep.
(In the observation room, Grissom and Catherine listen.)
Grissom: Did you catch that?
Catherine: Timeline is off.
Grissom: Curious. You want to talk to the dad and I'll call the DA?
Catherine: Sure.
(Grissom leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM]
(Ray Lester waits in the waiting room with an officer. Catherine walks in.)
Catherine: You knew.
Ray Lester: What?
Catherine: Your daughter k*lled your wife and you knew it.
Ray Lester: I don't know what you're talking about.
Catherine: Susan att*cked Becky as soon as she went into the house. But you admitted to having another drink. You would've heard the att*ck.
Ray Lester: I'm sorry, but that's what happ ...
Catherine: You went into the house and found Susan wiping blood off of her hands. You sent her back to her grandfather's. You came up with a story to tell the cops, and then called 911. You were protecting your daughter. And now she's protecting you.
Ray Lester: You can't prove it.
Catherine: Well, either way, you have to live with it.
(Catherine turns and leaves. She walks down the hallway. Susan Lester, Ms. Karpell and an officer exit the interview room. Catherine walks past them.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x03 - Bite Me"} | foreverdreaming |
FADE IN.
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
(Camera pulls out and away from the city.)
[EXT. COPELAND RESIDENCE (STOCK) - NIGHT]
(A dog barks. The house is dark; the lights are off. The dog continues to bark and growl viciously at something.)
[INT. RESIDENCE - BEDROOM - NIGHT]
(Mr and Mrs. Copeland are sleeping in bed. They get up.)
Mr. Copeland: Tucker's barking.
Mrs. Copeland: Probably another coyote.
(Suddenly, they hear something clanging from downstairs. Mr. Copeland looks at the open bedroom door. The sounds continue.)
(He opens the nightstand drawer and takes out a g*n.)
Mrs. Copeland: What are you doing?
(He snaps the cartridge in the g*n, loading it.)
Mr. Copeland: Call the police.
(He walks over to the door and looks out. He turns back.)
Mr. Copeland: (whispers) Do it!
Mrs. Copeland: (whispers) Okay!
(She picks up the phone and makes the call.)
(He heads downstairs. In the background, we hear the dog's low growl, then a whimper.)
(He reaches the bottom of the stairs and finds someone in the kitchen taking food from the refrigerator. His arms are full of food and he's stuffing whatever he can in his mouth.)
Mr. Copeland: Freeze! I said freeze!
(The intruder drops the food and runs out of the house. He runs outside.)
Mr. Copeland: I'm not afraid to use this.
(The man chases him out of the house. He stops running when he finds a large group of people in his yard. He's stunned for a moment. They all are.)
Mr. Copeland: Nobody move.
(Suddenly, the group runs.)
(The man starts to chase them, then trips over a d*ad body.)
Mr. Copeland: Oh, my God.
SHORT TIME CUT TO:
[EXT. COPELAND RESIDENCE - BACK YARD -- NIGHT]
(Catherine snaps photos of the d*ad man. David Phillips takes the liver temperature.)
David Phillips: No wallet, no ID. (The thermometer beeps.) 80.6 degrees. He's been d*ad around twelve hours.
Catherine: Broken nose, broken cheekbone. Somebody worked him over pretty good. There's a piece of his shirt that's missing. That doesn't look like a tear from a struggle. It looks like it got snagged on something.
(She looks around and snaps photos of the shoe prints in the dirt near the fence.)
Catherine: There's heavy foot traffic but no blood. It's got to be a body dump.
David Phillips: Could be.
Catherine: But why here?
(Brass walks over to Catherine. She notices the sheet over a second body nearer the house.)
Catherine: Dispatch didn't say anything about another body.
Brass: It's Tucker, their dog. He was found d*ad with his tongue hanging out. I guess they must've slipped it something.
Catherine: I'll get its blood to tox.
Brass: The homeowner said that nothing was missing in the house but food.
Catherine: They get a look at the intruders?
Brass: Yeah, the husband says they were dirty, you know, like filthy, like they hadn't showered in months. Didn't know if there were five or fifty of them. Where is he?
(Catherine motions with her head.)
(Grissom is standing outside the light and looking up at the sky at the meteor shower overhead.)
(Brass walks up to him.)
Grissom: The Orionid meteor shower. You never get a view like this in town.
Brass: Hmm. So, uh, is this part of the investigation?
Grissom: No. But we're here, and it's beautiful.
(Grissom turns on his flashlight and points it on the ground in front of him.)
Grissom: Footprints going in both directions. They came and they went.
Brass: So dump the body, raid the refrigerator.
Grissom: Maybe they had an appetite for m*rder.
(Grissom and Brass both turn and look up at the sky.)
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. COMMUNITY (STOCK) - DAY]
[INT. COPELAND RESIDENCE -- DAY]
(Brass checks the back sliding door and sees that the screen is ripped. He uses a pen and pushes the sliding door open. He steps into the house.)
Brass: Well, it's no secret how they got in.
(Sara is in the kitchen dusting the refrigerator for fingerprints. Brass sees the food on the floor.)
Brass: Whoa. Looks like somebody had a super bowl party in here.
Sara: They had some kind of party. Suspect made a mess. Seems like they were looking for junk food.
(Brass puts on a pair of gloves. See sees the fingerprints on the refrigerator door.)
Sara: Somebody had sticky fingers.
[EXT. COPELAND RESIDENCE - DAY]
(Catherine jumps over the fence and joins Grissom on the other side. He's staring out at the desert.)
Catherine: It's a big desert.
Grissom: About 25,000 square miles.
Catherine: And the nearest town is Pahrump. That's about 30 miles from here.
(Grissom shows her his canteen.)
Grissom: But I got water. We can share.
(He heads out.)
Catherine: Who are you today, Moses?
(Catherine takes out her phone and dials.)
Catherine: (to phone) Yeah, Jim, uh ... (chuckles) Grissom and I are going to take a little walk.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Nick walks in. They go over Robbins' findings.)
Nick: Hey, Doc.
Robbins: Hi, there, Nick. I've lost count as to how many broken bones this guy has. Multiple fractures to the spine, ribs, pelvis, skull. Multiple lacerations and contusions. No vital response to the injuries.
Nick: Perimortem.
Robbins: Yep.
Nick: He was dumped in a backyard by a whole bunch of other people. Do you think they could've b*at him to death?
Robbins: Nick, it took a lot of people to do this.
CUT TO:
[EXT. COPELAND RESIDENCE -- DAY]
(Warrick snaps photos of the shoe prints on the dirt. He makes a plaster cast of the prints.)
(When the casts dry, he removes them and lines them up.)
Warrick: Dirty dozen.
CUT TO:
[EXT. DESERT -- DAY]
(Grissom and Catherine are out walking in the desert following the tracks as it leads them farther and farther away from the house.)
Grissom: I count five distinct treads: boots, shoes, sneakers. Drag marks are always right in the middle -- thin, parallel lines.
Catherine: The vic's shoes were scuffed at the toes, so he must've been dragged.
(Quick flash of: The victim's feet drag on the ground as people half carry, half drag him. End of flash.)
(Catherine finds a candy wrapper caught on a branch.)
Catherine: Well, whoever they are, they like junk food.
Grissom: Who doesn't?
(They continue walking.)
Grissom: You ever seen the Pyramids?
Catherine: Does the Luxor count? Eh, what do you think? I haven't even been to New York.
Grissom: I'd like to see the Pyramids one day.
Catherine: Keep walking, we could come upon them today.
(Grissom smiles.)
Catherine: So you like archeology, huh?
Grissom: Oh, yeah. Whenever I want to feel small.
(In the distance, they see a column of black smoke rising in the air.)
Grissom: Smoke?
DISSOLVE TO:
(Catherine and Grissom walk up to the burnt car. Catherine snaps some photos.)
Catherine: I found the point of ignition.
(She snaps a couple of photos.)
Catherine: Molotov.
(Quick flash of: Someone lights the fuse and leaves. The car explodes. End of flash.)
(Grissom is looking at the back of the car, when he stops and stands up.)
Grissom: You hear that?
(He turns and looks around.)
Catherine: Sounds like a motor.
(Nearby is a compound.)
Catherine: Think someone's in there?
(They head for the compound.)
(As they approach the compound, Grissom sees the generator running on the side of the wall.)
Grissom: This looks like some sort of observation post. Maybe used to monitor nuclear tests.
(They head for the entrance.)
Catherine: Half of Nevada was a w*apon site.
(Grissom starts walking down the entryway stairs.)
Catherine: Stop. You're not going any further without backup.
(Catherine's phone rings. She answers it.)
Brass: (from phone) Catherine, where the hell are you guys?
Catherine: (looking around) That's a good question, Jim. I think we're about three miles northeast of the Copeland house, in front of some kind of military installation.
(Static crackles over the phone.)
Brass: (from phone) Hello, Catherine.
Catherine: Jim, can you hear me?
Brass: (from phone) I'm losing ...
Catherine: you're breaking up. Jim?
(She hangs up.)
Catherine: Lost him.
Grissom: Well, we got two choices: Go back ... or go forward.
(Catherine takes her g*n out. Grissom turns and heads inside the compound.)
[INT. COMPOUND - DAY - CONTINUOUS]
(Grissom opens the door and looks inside.)
Catherine: I don't hear anything but the generator.
(Grissom and Catherine both turn their flashlights on. She nods to Grissom.)
Catherine: After you.
(Grissom steps inside. High above them is a large ceiling fan. Down below are several floors.)
Grissom: (shouts) Las Vegas Crime Lab!
Catherine: (shouts) Anyone here?
(They walk deeper into the compound. The hallway wall is covered with graffiti.)
(At the end of the hallway, they reach a large room lined on either side with wire cots. There's a d*ad person on each cot.)
(Grissom and Catherine walk into the room.)
(Grissom knocks over an empty water bottle.)
Grissom: I count eleven.
Catherine: Me, too. They're so young.
(The bed on the end is empty.)
Grissom: And number twelve is missing. Maybe that was the guy we found in the yard.
(Behind them, a loud clanging sounds. Catherine whirls around, her g*n raised.)
Catherine: (shouts) Who's there?!
(There's no answer. Grissom and Catherine head back toward the doorway)
Catherine: (shouts) Las Vegas Crime Lab! Identify yourself!
(Suddenly, two officers appear in the doorway.)
Officer: Don't sh**t, don't sh**t. LVPD. Captain Brass radioed us. Said you might be in here and need assistance.
(Grissom turns around and looks at the d*ad bodies in the room.)
Grissom: Well, unfortunately, we're not the ones who need the help.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. BUNKER -- DAY]
(Greg looks into the b*rned car's broken window. He can barely make out a VIN number. He walks to the other side of the car and looks at the b*rned glove compartment. He snaps a photo of it. He takes out what looks like a b*rned piece of an ID card.)
(An SUV drive up. Nick gets out of the car.)
Nick: Hey!
(Nick waves to Greg, who waves back. Nick heads over to Robbins, who stands near the compound entrance.)
Robbins: Hey, Nick.
Nick: How many we looking at Doc?
Robbins: Eleven total. And it's hot. You got to move.
Nick: Okay.
(Nick heads for the compound, then stops when he realizes that it goes underground. He overhears two officers talking to each other.)
Man: Yeah, eighty feet underground, no A/C. Thought I was going to suffocate.
Man 2: I can't even get down there. Claustrophobic.
Man: Yeah. Uh, listen, preliminary sketch here ...
(Nick glances back at them. He looks at the compound and forces himself to continue.)
(He pauses at the door and takes several deep breaths. He heads inside.)
[INT. COMPOUND - DAY -- CONTINUOUS]
(Nick walks down the stairs. He passes an officer on his way out. The officer points down below.)
Officer: Just keep on going.
(Nick reaches the corridor. He passes the coroners wheeling out a gurney with a body bag. Nick continues down the corridor.)
[INT. SLEEPING CHAMBERS - COMPOUND - DAY - CONTINUOUS]
(Various photo flashes of: The empty water bottle, the victim's ankle, the victim's face.)
(Catherine continues snapping photos. Nick arrives and walks up to Catherine.)
Nick: Oh, man. What is this place, a mini Jonestown?
Catherine: I don't know if they drank spiked Kool-Aid, but they drank something. Smells like alcohol.
Nick: I'll process the bottles.
(Nick heads for the end of the row of beds.)
(On the empty bed is an empty water bottle and funnel. Catherine takes a picture of it.)
(Nick picks up the funnel and looks at it.)
(Camera zooms in and notes the residual on the outside of the funnel.)
(Grissom looks around the compound and comes across a large room. On one of the walls, he finds various article clippings posted - of aliens, Stonehenge, the Pyramids, astrology and other things. On the opposite wall near a single bed, he finds a mural of people ascending into a spaceship through a white beam of light.)
(Next to the bed is a nightstand filled with bottles and things. Just behind the bed is a large metal sphere with a ring around it. Grissom walks up to the planet and turns it on. The light from inside the metal planet shines through the holes in the surface, casting different sized spots of light on the ceiling and walls as it turns.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins has two bodies out on the table. Camera moves through the first autopsy room and into the hallway where we see that the other bodies are pushed up against both walls.)
(Camera continues through the hallway into a second room where Warrick and Sara are documenting the physical evidence gathered from the bodies. Warrick takes a photo and matches it against one of the victim's shoes while Sara is taking photos.)
CUT TO:
[INT. CSI - LAB -- DAY]
(On the table in front of them, Warrick has the shoe prints and the casts from the Copeland house matched.)
Warrick: Well, I've matched the shoes from all the bodies in the bunker to the impressions that we found at the scene.
Sara: You got one extra.
Warrick: It's a size eight athletic shoe. I can't account for it. It doesn't belong to the guy who was dumped there, and I've already ruled out Mr. and Mrs. Copeland.
Sara: So one of the people that dragged that body through the desert did not die in the bunker.
CUT TO:
[INT. BUNKER - CIRCULAR ROOM -- DAY]
(Grissom snaps photos of the mural on the wall while Catherine is processing the bed. After snapping several photos, Grissom pauses.)
Grissom: The mythology here appears to be similar to the Heaven's Gate Cult in California several years ago. They committed mass su1c1de to shed their earthly bodies and hitch a ride on a spaceship hidden in the tail of the Hale-Bopp comet.
Catherine: Well, these earthly bodies got a good workout first. Big room, big bed, light show. This cult was about getting laid.
Grissom: Well, Jim Jones and Charles Manson used sex to manipulate their followers. I'm guessing they were timing their ascension to the Orionid meteor shower last night?
Catherine: So while you were watching sh**ting stars, they were dying.
Grissom: There's twelve bunks in there, one bed in here. There should be thirteen bodies. One prophet, twelve apostles.
Catherine: And two people are missing.
Grissom: Maybe they caught the spaceship.
Catherine: Well ... would you settle for a flying saucer?
(Catherine finds a metal bowl with b*rned pieces of paper inside. Grissom snaps photos of the bowl and contents.)
CUT TO:
[INT. BUNKER - CORRIDOR -- DAY]
(Nick is headed out carrying several evidence bags when something on the floor catches his eyes. He shines his flashlight on what appears to be smudges of blood on the metal floor.)
(He looks at the blood on the floor and takes a couple of steps back, but the blood smudges stop. He then looks up at the walkways above.)
(He sees some cloth caught on one of the metal walkways.)
(Quick flash of: A body falls from above and hits the metal walkway, causing a tear in the clothes. End of flash. Resume to present.)
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Greg smashes through the windshielf and removes the VIN plate off the front dashboard. He works on it and gets the VIN: YZ1AX8848E194189.)
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Greg reports his findings to Sara.)
Greg: VIN plate on the b*rned-out car came back to a Vivian Bentley. She died two years ago at the ripe old age of 90. Car was never re-registered.
Sara: d*ad end.
Greg: Not exactly. I also found a melted name tag with a sunburst logo. Figured I'd let my fingers do the walking.
Sara: You scanned the yellow pages.
Greg: I knew the first three letters. By the way, do you know how many companies in Las Vegas start with S-U-N?
Sara: I so don't care.
Greg: Well, only one has the sunburst logo: Sunview Travel Agency. Vivian's grandson, Ty Bentley, works there. I pulled his DMV photo.
(He shows her the copy of the NEVADA DRIVER LICENSE. It reads:
IC# 1800592214
EXPIRES: 02-17-2006
ISSN: ??03-45-734
CLASS: C
ENDORSE
RESTRICTIONS
BIRTHDATE: ??-17-1975
SEX: M
HEIGHT: 5'7"
WEIGHT: 165
EYES: BRN
HAIR: BRN
BENTLEY, TY
7748 CANYON AVENUE.
LAS VEGAS, NV 89101 )
Sara: That's the guy that was dumped at the house.
Greg: Brass is going to check it out. How are we doing on the other IDs?
Sara: Including the one that you just made, we got one.
(She hands the file folder to Greg and walks out of camera frame.)
CUT TO:
[INT. SUNVIEW TRAVEL AGENCY - LOBBY -- DAY]
(Brass is talking with the travel manager.)
Travel Manager: Ty hasn't been here for the last two days. Didn't even call in. This is his desk. It's really not like him. Is he okay?
Brass: Does Ty work here full time?
Travel Manager: Yeah. Puts in more hours than anybody.
Brass: Was he a member of any religious organizations that you know of?
Travel Manager: I don't know. It never really came up. Something happened to him, didn't it?
Brass: Yeah. So the last time you saw him was two days ago?
(Brass finds a photo of Ty Bentley with a young woman.)
Travel Manager: He's worked here over a year, never raised his voice. Then this strange-looking customer came in. Ty must've known him ...
(Quick flashback of: Ty stands and yells at an older man.)
Ty Bentley: I want to talk to Emma, you freak!
Joseph Diamond: She's moving on, boy.
(End of flashback. Resume to present.)
Brass: Would that customer's information still be in the computer?
Travel Manager: Nobody's touched it since. Should be the last entry.
(She sits at the desk and uses the computer. Brass shows her the photo.)
Brass: Do you know the person in this photo?
Travel Manager: That's Emma, Ty's girlfriend. Well, ex-girlfriend. They broke up last year. Here we go. Last customer was a Joseph Diamond. Booking a trip to Australia-Sydney-one way.
Brass: One way.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(The print search runs on the database. The computer beeps showing a "POSITIVE MATCH". Sara walks in. Mandy Websterk reports.)
Sara: Any good news, Mandy?
Mandy: A little bit. A male DB, at the bunker--matched your partial from the kitchen door. So far, he's the only one with a record.
(The following record appears on screen:
FILE PRINT A
LAS VEGAS POLICE
NAME: MATTHEW DICKENS
AGE: 19 HEIGHT: 5'8"
WEIGHT: 130 LBS EYES: BLUE
RACE: CAUCASIAN SEX: MALE
HAIR: BROWN DOB: MAR 1, 1986
LAST KNOWN ADDRESS:
WESTERN LAS VEGAS UNIVERSITY
SUNSET HALL, 574 CANYON GROVE
LAS VEGAS, NY 89107
STATUTE: HRS 205 0528
ARREST: MISDEMEANOR PETTY THEFT
DISPOSITION: ONE YEAR PROBATION (2002)
STATUTE: HRS 205 0528
ARREST: MISDEMEANOR PETTY THEFT
DISPOSITION: ONE YEAR PROBATION (2004)
Mandy: Matthew Dickens, 19. Busts for petty theft.
Sara: College student.
Mandy: Yeah, very impressionable. When I start my religion that's where I'm going to recruit.
CUT TO:
[EXT. WESTERN LAS VEGAS UNIVERSITY (STOCK) - DAY]
Man (Ryan?): (V.O.) I remember him. Matt Dickens. We used to call him Hollywood.
[EXT. WESTERN LAS VEGAS UNIVERSITY - CAMPUS -- DAY]
(Sofia Curtis talks with two students. Dexter is playing a hand-held game. He's wearing earplugs.)
Ryan: He was in our, uh, our freshman dorm. He was a ...
Dexter: ... religious studies major.
Ryan: Right. Hard core trekkie, too.
Dexter: Mars bars.
Ryan: Right. That dude loved junk food. He smoked a ton of weed.
Dexter: Guy was a loser.
(Sofia grabs the game from Dexter. He pulls the earplugs out from his ears.)
Sofia Curtis: What do you mean?
Dexter: His parents sent him loads of cash. He spent it all on dope, and then he stole stuff to get more dope.
Sofia Curtis: According to the registrar, he was taking classes till the end of term last fall. Why did he leave?
Dexter: He started hanging out with some other losers, and they convinced him to drop out.
Ryan: Yeah, there was a redhead. She was hot, but in a ... in a weird kind of way.
Dexter: Hollywood was a moron. One week, the guy's saving the whales, and the next week, he's American Taliban.
Ryan: Yeah. He was totally into that girl.
Sofia Curtis: She have a name?
Dexter: Emma.
(She shows them a morgue photo of Emma.)
Sofia Curtis: Was this her?
(Ryan looks at the photo and points.)
Ryan: Is she d*ad?
Sofia Curtis: They're all d*ad.
Ryan: Emma was working Hollywood with some old guy named Diamond.
Sofia Curtis: Working him?
Dexter: Yeah, they were running some kind of religious scam. E-Emma tried to recruit me ... with her hands down my pants.
Ryan: She did that to me, too.
Dexter: No kidding?
Ryan: Yeah.
Dexter: (sighs) Anyway, uh, the second she started talking about outer space and transcendence, I blew her off, 'cause I do not waste time on crazy chicks.
Ryan: She was really hot, though.
Dexter: That was almost a year ago. Then the last time I saw Hollywood, he was with some other freak. A notch down, though. Abbey ... I think her name was. They said they were going to some better place.
Ryan: I thought they meant UCLA.
(The two boys look at each other and chuckle. They quickly stop when they look at Sofia.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. BUNKER -- DAY]
(Catherine is on the phone. She's walking quickly out of the bunker.)
Catherine: (to phone) Nick, I got a real low signal; you're cutting in and out. Say that again.
INTERCUT WITH:
[INT. CSI - HALLWAY - DAY]
(Nick is walking past reception.)
Nick: (to phone) I said all the prints on the bottles belong to the victims. The prints on the funnel came back unknown though.
Catherine: And what about the blood in the elevator shaft?
Nick: It matched to Ty Bentley, but we can't confirm he was m*rder. For all we know, he fell down that shaft.
Catherine: No, that's unlikely, after all they torched his car, dragged his body three miles and dumped it in the Copelands' backyard. Anything on the liquid in the bottles?
Nick: Yeah, tox results just came back: 40 grams percent ethanol. Now, that's about 80 proof. Kind of smelled like vodka, the cheap stuff.
Catherine: Nobody dies from a martini.
Nick: No, but you add ten grams percent of ketamine and they do.
Catherine: Well, that's enough to k*ll a horse.
(Nick walks into the break room and gets himself a cup of coffee.)
Nick: Yeah, or the Copelands' dog for that matter. Ketamine's a disassociative anesthetic, which means they were hallucinating, having out-of-body experiences ...
Catherine: So I was wrong; they did take a trip.
Nick: Well, there are a lot of different ways they could have k*lled themselves, so I'm guessing that was the point.
Catherine: Ten grams percent of ketamine times 12 bottles, that's 300 milliliters of ketamine? Can't score that on the street.
(Nick picks up his cup of coffee and walks across the break room.)
Nick: Well, we didn't find any ephedrine, which is generally used to cut ketamine. Veterinarians use liquid injectable ketamine as an animal sedative, so Sofia's checking with the local vets now.
(Grissom walks up to Catherine.)
Catherine: What did autopsy say time of death was?
Grissom: 3:15 A.M.?
Nick: Between 3:00 and 3:30.
Catherine: (to Grissom) How did you know that?
Grissom: That's when the Orionid meteor shower passed over Vegas. Ask him if they all died about the same time.
Catherine: Nick, was TOD same for everyone?
Nick: Approximately. It varied with body weight. Took between 12 and 20 minutes for them to die.
(Quick flash of: Someone drinks from the bottle of water. He falls back on the bed and groans in pain with everyone else. End of flash. Resume to present.)
Nick: Ketamine's really hard on the stomach; it induces vomiting.
(Quick flash of: Someone throws up. End of flash.)
Nick: I think a combination of alcohol and the drug just slowed their lungs.
(Quick flash of: Someone falls back on the bed. Camera zooms in for a close-up. The person's eyes open wide.)
(Quick CGI POV of: The camera zooms in to the person and shows their lungs stop working. End of CGI POV. Resume to present.)
Nick: (from phone) Ultimately, they died of respiratory arrest.
(In the distance, Catherine sees buzzards flying overhead.)
Catherine: Okay, thanks, Nicki. Got to go.
(She hangs up.)
Catherine: (to Grissom) Did you notice those buzzards earlier?
Grissom: No. But something sure smells good to them.
(They both head off toward the buzzards.)
CUT TO:
[INT. EXAM ROOM -- DAY]
(Warrick is having his throat checked.)
Tina Brown: Say "ah."
Warrick: Ah.
Tina Brown: Ahh ...
Warrick: Ahh ...
Tina Brown: Sore throat, you say? Okay, I don't see any inflammation. Take off your shirt, please.
(Warrick starts to unbutton his shirt. He looks at his wife.)
Warrick: Can't we just make out?
Tina Brown: I'm working, Mr. Brown.
Warrick: I don't care, Mrs. Brown.
(He pulls her toward him and they kiss.)
Tina Brown: There's nothing wrong with you. You're just working too hard.
Warrick: What time you get off shift?
Tina Brown: Midnight. You?
Warrick: Who knows?
Tina Brown: I got to get back to work.
(They step out into the hallway and start to kiss.)
Woman: (over loudspeaker) Dr. Curry, please check with the message center. Dr. Curry, please check with the message center.
(He looks up and sees a man talking with a woman at the end of the hallway. The man looks back at Warrick. Tina glances back at the man. She looks at Warrick.)
Tina Brown: Don't even say it, Warrick.
Warrick: I didn't say anything. You got to admit, though, working around the ex is a little strange.
Tina Brown: It was a long time ago.
Warrick: It was a year ago.
Tina Brown: You have to trust me.
Warrick: I do trust you.
Tina Brown: Look, there's still so much that we don't know about each other yet. Okay?
(Warrick nods.)
Tina Brown: But we've got the rest of our lives to figure it out.
(They kiss. Tina leaves. Warrick watches her go.)
CUT TO:
[EXT. DESERT -- DAY]
(Grissom and Catherine find a car under a makeshift roof.)
Grissom: Are you having the same mirage I'm having?
Catherine: A silver Beemer in the middle of the damn desert? Yeah. Nice wheels. Somebody sure went out of their way to hide this car.
Grissom: Well, you can sure smell what the buzzards are after.
Catherine: Decomp.
(They pop the trunk and find the d*ad body inside.)
Catherine: Fits the description of the leader, Joseph Diamond. Guess he never made it to Australia.
Grissom: Something tells me this wasn't a su1c1de. Like this tire iron-- convenient w*apon of choice.
Catherine: Well, assuming this is Diamond and Ty Bentley was a spurned lover and not a member of the cult ... we're still short one body.
Grissom: Which I believe makes that body our number one suspect.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. CSI - LAB -- NIGHT]
(Warrick is in the lab pulling out the partially b*rned pieces of paper. He groups the pieces together.)
(Various dissolves of Warrick working.)
(As he finishes the papers, he places a piece of glass over it. He puts the glass and paper into the machine. He passes it under different colored lights to see the writing on it.)
(The first b*rned letter is from "Mom".)
(Cut to: Warrick scans the letter into the copier.)
(Cut to: Warrick pins copies of the different letters up on the wall. He looks at the letters.)
Voice (woman): (V.O.) "Thank you for writing. Your father and I miss you so much."
Voice (man): (V.O.) "Money's kind of tight, I hope this helps. Send more when I can."
Voice (woman 2): (V.O.) "Mom and Dad went to the police to report you missing. Please come home, even if it's just a visit."
Voice (man 2): (V.O.) "I don't understand what you're doing with your life.
Your roommate says you left your things behind."
Voice (man 3): (V.O.) "I wish you could tell me why you need this money."
Voice (man 4): (V.O.) "Mom says you joined a commune. She's mad. Hey, Dad sent the money. When you talk to Mom ..."
Voice (woman 3): (V.O.) "No more money until I hear from you. I love you."
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
(Brass and Sara walk through the hallway.)
Brass: The FBI keeps tabs on high-risk groups, cults, religious fanatics. They were good enough to fax this over. Makes good reading.
(He hands her the report. They walk into his office.)
Sara: "Joseph Diamond, AKA Sirus Bent, AKA Kelvin Adams ..."
(Brass and Sara sit down.)
Brass: Yeah, he founded a group called "Soul Survivors" in Tulsa in the mid-
90s. A few years later, same thing in Guadalajara, Mexico.
Sara: "Recruited susceptible youths, keeping them isolated for nine months to a year."
Brass: Yeah, prior to the arrival of the mother ship, which they can only enter in spirit form, leaving their temporal vehicles, their bodies, behind.
Sara: Mass su1c1de.
Brass: Attempted mass su1c1de. They woke up -- probably with a hangover -- and both Diamond and their money were gone. And in both cases, his disappearance coincided with a meteor shower just like the one last night.
Sara: Only last night everybody died.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins goes over the body with Grissom.)
Robbins: Depressed fracture.
Grissom: Well, we found a tire iron at the scene.
Robbins: That would do it.
Grissom: What about TOD?
Robbins: Well, it's hard to say. Desert heat, locked in a trunk ... both can make liver temp actually rise.
Grissom: What about relative to the other bodies? Did he die before or after the others?
Robbins: Given the degree of decomp, it appears that he died before the others. I can run some chemical tests, but that's going to take some time.
(David walks up to the body and lifts the shirt.)
David Phillips: What's this?
(He finds a belt wrapped around the body's waist. He unzips the belt and takes out folded bills.)
David Phillips: Hmm, looks like a money belt.
(Warrick walks in as David hands some money to Robbins.)
Robbins: Gives new meaning to "strapped for cash."
Warrick: Diamond was running a cash business. He had all those kids write home and ask for money. His return address was a P.O. Box that I found.
(Grissom reaches into the money bag and takes out a plastic bag of pills.)
Robbins: I didn't find any undigested pills in the victims' stomachs.
Warrick: We assumed that they were ingesting a liquid ketamine.
Grissom: So what are these?
CUT TO:
[INT. CSI - LAB - NIGHT]
(Henry Andrews reports to Grissom.)
Henry Andrews: Zolpidem. Popped one when I went to Europe. Six hours sleep, no hangover.
Grissom: Are there enough pills in that bag to k*ll 11 people?
Henry Andrews: Well, if only one person downed all these, yes, it'd be lethal. But divvied up, no way. Zolpidem's a pretty safe sedative.
Grissom: And from what we know, Diamond was a con man, not a m*rder.
(Greg walks in.)
Greg: Hey, I lifted a partial off that tire iron. Matched it to a print that Nick lifted off the funnel from the bunker. Whoever whacked Diamond mixed the ketamine cocktail.
Grissom: So who brought the ketamine to the party?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. VETERINARIAN'S OFFICE -- DAY]
(Sofia and Nick walk into the vet.)
Sofia Curtis: They had a break-in the day before yesterday.
Nick: Has it been forensicated?
Sofia Curtis: Not yet. Not much stolen, so ...
Nick: It's a low priority for CSI.
Sofia Curtis: Expensive equipment, pharmaceuticals -- doctor even had his laptop open on the desk. They obviously knew what they wanted.
Nick: Hmm, and where to look for it. Drugs have been alphabetized.
Missing drug was between ivermectin otic suspension and methocarbamol.
Nick: "K" for ketamine.
Sofia Curtis: Yeah. They took it all.
Nick: Okay, well, it's probably an inside job. Just get me a list of current and former employees, and we'll ... go from there. Thanks.
(She hands him the list.)
CONFIDENTIAL EMPLOYEE LIST
AARON CAPOLA
1153 STONE CREEK
LAS VEGAS, NV 89101
(702) 555-0198
CARLISLE DEAMS
170 STORM CLOUD LN.
SUMMERLIN, NV 89129
(702) 555-0187
JANET FROMMER
17611 COLLIE LANE ... )
Nick: Wow, it's alphabetized. (She puts on her gloves.) Now what are you doing?
Sofia Curtis: You'll be dusting for prints. I'll help.
Nick: Okay.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - MORGUE / HALLWAY -- NIGHT]
(Warrick slides the table out to allow Mr. and Mrs. Meyers a chance to identify the body of the young woman on it.)
Mr. Meyers: That's Emma. That's our daughter.
(They cry.)
CUT TO:
(Warrick leads the Meyers out into the hallway with the other family members. Mrs. Meyers turns and stops Warrick.)
Mrs. Meyers: Excuse me, sir. Mrs. Spencer isn't here. Her daughter went to college with Emma. They disappeared at the same time. Uh, we both received letters from them last month.
Warrick: Spencer, you said?
Mrs. Meyers: Her daughter's name was Abigail.
Warrick: Well, ma'am, you see, the letters that we recovered were damaged. Not all of them yielded a name.
Mrs. Meyers: Well, perhaps she was luckier than me.
(They turn to leave; Warrick stops them.)
Warrick: Ma'am ... would you be able to identify Abigail?
Mrs. Meyers: (nods) Absolutely.
CUT TO:
[INT. CSI - PRINT LAB - NIGHT]
(Nick is in front of the computer running the prints through the database. Warrick walks in just as the computer beeps to show a "MATCH FOUND".)
Warrick: Nick, you have that employee list from the vet's office?
(Nick hands the folder to Warrick.)
Nick: The prints found at the clinic break-in are a perfect match to the ones lifted off of the tire iron and the funnel.
(Warrick looks at the employee list:
EARL MICHAELS
50 VIKING CIRCLE
LAS VEGAS, NV 89101
(702) 555-0117
ABIGAIL SPENCER
217 WOLF COURT
LAS VEGAS, NV 89101
(702) 555-0145 )
Warrick: Abigail Spencer. She was a cult member. She used to work for your vet until last year, and she's missing.
Nick: Her W-2's in the file.
Warrick: I'll call Brass.
(Warrick leaves.)
CUT TO:
[EXT. SPENCER RESIDENCE - FRONT PORCH - NIGHT]
(Brass and Warrick knock on the front door. Mrs. Spencer opens the door.)
Brass: Mrs. Spencer?
Mrs. Spencer: Yeah?
Brass: I'm Detective Jim Brass, Las Vegas police. Do you have a daughter named Abigail?
Mrs. Spencer: Yes. Why?
Brass: We have a warrant to search these premises.
Mrs. Spencer: A warrant? What for?
Brass: Your daughter is wanted for questioning in the m*rder of Joseph Diamond.
(He shows her the warrant and steps past her into the house.)
Mrs. Spencer: I haven't seen Abigail in almost a year. I have no idea where she is.
(Brass heads for the bedrooms and finds an unmade bed. He touches the sheets.)
Brass: The bed's still warm. Where is she?
CUT TO:
[EXT. ALLEYWAY - NIGHT]
(Abigail Spencer is running down the alleyway.)
[INT. SHED - NIGHT - CONTINUOUS]
(Abigail steps into a shed and hides in a corner. She uncaps several bottles and drinks it. She chokes a little, then uncaps a large bottle of vodka and drinks that.)
(She closes her eyes and looks up.)
Abigail Spencer: (softly) Please. Take me with you.
(The shed starts to rumble and the tools hanging on the wall fall off. The shed continues to rumble. A bright light shines outside.)
(Abigail gets to her feet and walks to the center of the shed. The bright light shines down on Abigail.)
(Above, we hear the sounds of helicopter blades whirring.)
(Abigail spreads her arms out to receive the light.)
(Just then, the shed door opens and Brass walks in. Abigail looks stunned. A voice from the helicopter speaker filters through the blades whirring.)
Voice (man): (over helicopter speaker) Freeze! Remain where you are.
(Abigail closes her eyes and falls to the floor.)
FADE OUT.
FADE IN.
[INT. HOSPITAL - ROOM - DAY]
(Abigail opens her eyes and finds Grissom sitting next to her hospital bed.)
Grissom: Abigail?
Abigail Spencer: You pumped my stomach?
Grissom: Yeah. Just in time.
(She turns her back to Grissom.)
Grissom: Are you disappointed?
Abigail Spencer: They're all up there right now. In rapture. A higher plane of existence. No wars, poverty, politics. Our bodies are just shells. They're worthless.
Grissom: Well, how come you didn't die with your friends? And why exactly did you k*ll Mr. Diamond?
Abigail Spencer: He was the most beautiful person I ever met.
(Quick flashback to: Joseph Diamond speaks to a group of kids as they sit on the ground listening to him.)
(Cut to: Joseph Diamond grunts and rolls off Abigail Spencer in bed. She stares up at the moving lights across the dark ceiling.)
(End of flashback. Resume to present.)
Grissom: We found your fingerprint on a tire iron that was used to split his head open.
Abigail Spencer: He always said we'd be tested.
(Quick flashback to: Joseph Diamond opens the car trunk as Abigail walks up to him.)
Abigail Spencer: (V.O.) I was taking a walk when I spotted a car parking about a mile away from the compound.
(She surprises him.)
Abigail Spencer: Whose car is this? Where have you been?
Joseph Diamond: I received a message last night from the Orionid. I have to move on, spread the word.
Abigail Spencer: What about us?
Joseph Diamond: Come with me, Abbey. We'll do it together ... somewhere near a beach.
Abigail Spencer: We're ascending tomorrow night to the mother ship.
Joseph Diamond: You're a smart girl.
(He takes out a small plastic bag with the pills inside and gives it to Abbey.)
Joseph Diamond: Just two or three of these, and everyone will get a real good night's sleep. Time to get out of town. Everyone's parents have been really good to me.
(He turns his back to her and continues to put his things in the trunk of the car.)
Joseph Diamond: I got forty grand.
(Abigail picks up the tire iron and hits him over the head with it.)
(End of flashback. Resume to present.)
Abigail Spencer: I knew the others would be looking to me now.
Grissom: But you didn't tell them, did you?
Abigail Spencer: We were on a schedule.
Grissom: And fortunately, you knew where to find something a little stronger than zolpidem?
Abigail Spencer: It was important that no one suffered.
Grissom: Ty Bentley suffered.
Abigail Spencer: That was unfortunate.
(Quick flashback to: Abigail sees Ty Bentley arrive with his own car. She sees him running toward them.)
Abigail Spencer: (V.O.) Ty must've followed Diamond back to our compound. I'm sure he was looking for his ex-girlfriend, Emma.
(Cut to: In the bunker, Ty pulls Emma toward the door.)
Ty Bentley: These people are freaks, Emma! You're coming with me!
Emma Meyers: This is my family now.
Ty Bentley: Fine. I'm coming back, and I'm bringing the cops with me.
(Ty Bentley leaves. On the way out, Abigail walks in. She grabs him and pushes him over the railing. He falls down the shaft, hitting one of the metal railings on the way down.)
(End of flashback. Resume to present.)
Abigail Spencer: Emma lost it, said we couldn't leave his body there. The others started to get restless.
Grissom: And as you said, you were on a schedule. The peak of the meteor shower was 3:00 A.M.
Abigail Spencer: (nods) We agreed to dump the body where it would be found ... given a decent burial.
Grissom: And then you went back to the compound ... and you used the funnel to distribute the ketamine and vodka.
(Quick flashback to: The funnel is placed on a water bottle. The ketamine bottles are opened and poured into the funnel. End of flashback.)
Abigail Spencer: I had to be the last to drink.
Grissom: Did you watch them all die? What was it like?
(Quick flashback to: The kids drink the bottle and start coughing and throwing up. They groan and cry out in pain. On the last bunker, Abigail stares at her water bottle. She doesn't drink. One by one, they gasp for breath and die on their beds. She recaps the bottle.)
(End of flashback. Resume to present.)
Abigail Spencer: They just died.
Grissom: And you went home to your mother.
Abigail Spencer: I know they're all up there ... happy ... healthy ... perfect. You don't believe we're one in the universe?
Grissom: Abigail ... I'm sure if there is something out there looking down on us from somewhere else in the universe, they're wise enough to stay away from us.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x04 - sh**ting Stars"} | foreverdreaming |
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
INTERCUT WITH:
[EXTREME CLOSE UP: SPERM (STOCK)]
(Sperm zooms past the camera and toward the egg.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[CU: EGG (STOCK)]
(The sperm swarm around the egg. Camera zooms past the sperm toward one that enters the egg.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[CU: EGG (STOCK)]
(The fertilized egg starts to divide.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[CU: The fetus (STOCK)]
[EXT. LAS VEGAS CITY (STOCK) - DAWN]
[CU: The fetus (STOCK)
(Close-up of the feet and toes. We hear the fetus' heart beating.)
[EXT. LAS VEGAS CITY (STOCK) - MORNING]
[CU: The fetus (STOCK)]
[CU: The baby]
(A baby is awake in his crib. The doorbell rings.)
(The camera sweeps around the room to show there's no one there. There's no answer.)
(The doorbell rings again.)
(On the floor, a woman is d*ad in front of the baby's crib.)
[EXT. ADALIAN FRONT PORCH - MORNING]
(Lana Adalian knocks on the front door to her sister's house. A dog barks in the background. After a moment, she peers into the house through the side window.)
(Inside the house, the baby cries.)
(Lana Adalian peers into the window and sees the baby in the crib and the body on the floor.)
FLASH TO:
[EXT. ADALIAN RESIDENCE - DAY]
(A police car is parked in the driveway as officers question people outside. The front of the house is taped off.)
(The CSI SUV drives up and parks on the road. Brass turns from talking with an officer and sees the car.)
(Catherine and Sara carry their kits as they make their way toward the house. Brass meets them.)
Brass: The decedent's name is Christina Adalian, 28. g*n to the temple. Her sister is over there, (He nods toward the dark-haired woman standing near the officer car and carrying the baby.) ... just came in from L.A. When no one answered the door, she looked inside. Saw her sister on the floor. The playpen with the baby was next to the body. Police officers kicked in the door.
Catherine: Where's the father?
Brass: Well, according to her sister, she's a single mom. They lived alone.
[INT. ADALIAN RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]
(Brass, Catherine and Sara enter the house. David Phillips is there with the body.)
Brass: Hey.
David Phillips: Lividity suggests she hasn't been moved. Liver temp is 92 degrees, which means she's been d*ad four to five hours.
(Catherine notes the wound and the g*n in the woman's hand.)
Catherine: Wound pattern and GSR suggest a tight contact sh*t.
Brass: Consistent with su1c1de. Oh, there's a note on the white table.
(On the table, Catherine finds the hand-written note signed by Christina Adalian.)
Catherine: "Joey is better off without me. Christina Adalian." Postpartum depression so bad, it leads to su1c1de?
Sara: Sister was feeding the baby. Where'd she get the bottle?
Brass: The fridge is full of bottles of breast milk.
Sara: Mom stocks the fridge and kills herself, knowing her sister was going to show up.
Catherine: She wanted to make sure that her baby was quickly found and fed.
Sara: David, do you mind if I render the g*n safe?
David Phillips: Better you than me.
(Sara removes the g*n from the body's grip and checks it. Catherine looks at the victim's hand. Sara checks the cylinder.)
Sara: One sh*t fired.
Catherine: Sara, check out the blood on her hand.
Sara: There isn't any.
(Sara checks the g*n.)
Sara: The g*n is spattered in dried blood. She wasn't holding this g*n when she was sh*t.
Catherine: And what appears to be -- is not.
SMASH CUT TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. ADALIAN RESIDENCE - DAY]
(David pushes the gurney with the body down the front drive toward the coroner's van. He rolls the gurney past the victim's sister, Lana Adalian, who is standing next to Brass on the front road. The baby is in her arms.)
Lana Adalian: Honest. I am good with kids. I'll get a hotel. I'll stay in town.
Brass: I know we've been over this before. Like I said, he'll be placed in Child Services until appropriate custody can be determined. That's just the way it is. I'm sorry.
(An officer joins them.)
Officer: Metro just arrived with a baby seat. We're ready.
Brass: All right.
Lana Adalian: I'd really like to go with him.
Brass: Okay, after we're finished, an officer will take you to the facility.
Lana Adalian: Finished with what?
Brass: Well, we have a few more questions. And, uh, CSI has to take your fingerprints. We won't take long, believe me.
Lana Adalian: Well, what about his bottles?
Brass: They're in a cooler in the officer's car.
(The officer holds his hands out for the baby. The baby starts to cry.)
Officer: Ma'am.
(Lana hesitates.)
Officer: It's okay.
Brass: (softly) It's okay. It's gonna be all right.
(The officer takes the baby from her. The baby screams louder.)
Officer: (to the baby) Hey, buddy. It's okay. It's okay.
(The officer leaves with the baby.)
CUT TO:
[INT. ADALIAN RESIDENCE - LIVING ROOM -- DAY]
(Grissom snaps photos of the note. He pauses and looks at the note.)
(Catherine walks into the room.)
Catherine: Can't find a red pen anywhere.
Grissom: Well, maybe the k*ller brought his own pen. Or took it with him as a souvenir.
(Grissom's phone rings. He checks the caller ID and sees: ECKLIE.)
(He tucks the phone back into his pocket. Warrick enters the room.)
Warrick: Okay, guys. I swept the perimeter. I think someone jimmied the back kitchen door.
SHORT TIME CUT TO:
[EXT. ADALIAN RESIDENCE - BACK KITCHEN -- DAY]
(Warrick leads Grissom and Catherine outside to show them the back kitchen door.)
Warrick: Now, I printed the doorknob. Nothing but smudges. Check out the fresh scrapings there on the doorjamb and the striker plate.
(Grissom leans forward for a closer look.)
Grissom: Looks like forced entry with a metal object.
(Quick flash of: Someone jams a long, thin metal object to jimmie the door open. End of flash.)
(Catherine leans forward and notices the dust on the floor.)
Catherine: Some black and white particles. Want to hand me a hinge lift?
(Warrick hands Catherine the hinge lift from his kit.)
Warrick: Good eyes.
(Grissom snaps a photo.)
(His cell phone rings again. Grissom notes the caller ID and shuts the phone off.)
Catherine: (without looking up) Who do you keep avoiding?
Grissom: Ecklie.
Catherine: Ah, that means you should answer it.
Grissom: No, he just wants to yell at me because I'm late with the personnel evaluations. It can wait.
Catherine: No, it can't.
(Catherine gets a tape lift of the black and white particles.)
Catherine: No one on your team receives cost-of-living adjustments until those evaluations are turned in.
(Catherine stands up and looks at Grissom.)
Warrick: Well, she kind of has a point. I do like to take the wife out to dinner every now and then.
Grissom: Mm-hmm. I'll do them as soon as I get back to the lab.
CUT TO:
[EXT. ADALIAN RESIDENCE - DAY]
(Lana Adalian talks with Sara and Brass.)
Lana Adalian: Last time I saw my sister was over a year ago. She was just beginning to show. She'd gone through a really bad breakup and couldn't stop crying.
Brass: Is the ex the baby's father?
Lana Adalian: I'm not sure.
Brass: Well, we need to contact him regarding Joey. It would be helpful to know his whereabouts.
Lana Adalian: I only know his first name. Evan. But Christina referred to him as "the jerk." They met at a church social a few years back. Christina complained he wasn't very Christian-like. But that was part of the attraction, if you ask me. He was older. Didn't want to get married. You know, Christina never said he was the father.
Sara: So there were other guys?
Lana Adalian: No. As far as I knew, Christina was a prude. She'd turn red if somebody told a dirty joke. I always thought she was a virgin until ...
Sara: Until she got pregnant.
Lana Adalian: Yeah.
(Sofia walks up to them.)
Sofia Curtis: Excuse me, have either of you two seen Grissom?
Sara: He's in the house.
(Sara watches as Sofia heads for the house.)
CUT TO:
[INT. ADALIAN RESIDENCE - DAY]
(Sofia removes her sunglasses as she steps inside the house. Catherine turns around and notices her.)
Catherine: Sofia.
Sofia Curtis: Hey, Catherine. Grissom, Ecklie's been looking for you. Is your cell not working?
(Grissom is kneeling in front of his open kit, his back to her. He doesn't turn around.)
Grissom: (over his shoulder) What are you doing here?
Sofia Curtis: Well, apparently, I was a CSI, then a detective, but now I'm a messenger. You're needed at the lab ASAP.
Grissom: Why?
Sofia Curtis: I have no idea. But the undersheriff's camped out in the break room.
(Sofia turns and leaves. Grissom doesn't move.)
Catherine: I'll have Greg run down the g*n's serial number. Nick is covering the autopsy. (Grissom slowly shuts the lid to his kit.) Warrick and I will finish the processing here and I'll keep you posted.
(Grissom slowly snaps the kit shut, locking it.)
Grissom: (sighs) Thanks.
(Grissom grabs his kit and stands up. He walks past Catherine as he heads out.)
Catherine: (quietly) What would you do without me?
CUT TO:
[INT. CSI - HALLWAY / BREAKROOM -- DAY]
(Grissom walks through the hallway and heads toward the break room. Inside the break room, Ecklie and Undersheriff McKeen sit side-by-side at the table. They both stand when Grissom walks in.)
Ecklie: Grissom.
Grissom: Conrad. Sheriff. It's always lovely to see you fellas, but I'm right in the middle of a crime scene.
Ecklie: We have a situation, Gil. Preston Breckman who's on trial for the m*rder of Joanna Whitson.
Grissom: Yeah, I know. (to the sheriff) She was a friend of yours. I'm sorry.
Undersheriff McKeen: I was her godfather. Grew up with her dad. Two weeks before she was m*rder I gave a toast at her sweet sixteen.
Grissom: Well, they say it's a slam dunk case.
Ecklie: You would think. (He looks down at the file folder in front of him.)
We've got an eyewitness who saw him s*ab her. Hair, fiber, even DNA from the k*ller's tobacco indict, Breckman.
(He hands the folder to Grissom.)
Ecklie: We got the right guy.
Grissom: Then what am I doing here?
Ecklie: Defense has called entomologist Mark Thayer as an expert witness.
Grissom: He's a g*n for hire.
Ecklie: He's gonna say that the insect activity on the body proves defendant was out of town at the time of the m*rder.
Grissom: And you want me to refute his testimony?
(Ecklie nods. Grissom looks at the folder.)
Grissom: When does he take the stand?
Undersheriff McKeen: Half an hour. Look, he's been on the list, but the DA assured me he was unavailable.
Ecklie: Gil, we need you to listen to his testimony. Prosecution may need your assistance on cross.
Grissom: I'll do my best.
CUT TO:
[INT. CSI - MORGUE -- DAY]
(Robbins goes over the preliminary findings with Nick.)
Robbins: No mystery here. Penetrating g*n wound to the right temple k*lled our virgin Mary. I sent the b*llet to ballistics.
Nick: Virgin Mary?
Robbins: Hymen's intact, which means she's never had intercourse. But she gave birth ... caesarean scar.
NICK; So other than divine intervention, how do you explain this miraculous conception?
Robbins: Well, the most obvious explanation would be frottage.
Nick: You mean dry humping?
Robbins: In sex ed, Nick, they teach that rubbing body parts is safe. But since the hymen's not a barrier to semen, there's still a risk of pregnancy, not to mention STDs.
Nick: Right. Sperm meets labia, all bets are off.
Robbins: It's all about gravity.
Nick: Thanks, Dr. Ruth.
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(Bobby Dawson goes over the b*llet findings with Greg.)
Greg: The test f*re b*llet matches the evidence b*llet.
Bobby Dawson: That confirms the g*n found at the scene was used to k*ll this, uh ... (He opens the file folder and looks at the victim's name.) Christina Adalian.
Greg: You run the serial number?
Bobby Dawson: Yeah, of course. Anyway, Greg, your two-inch Colt was originally purchased in 1986 by a Mr. Duane McWane from Henderson. Good luck.
(He hands the file folder to Greg.)
Greg: Thanks.
(Greg turns and leaves the lab.)
CUT TO:
[INT. WITHERSPOON'S COURTROOM -- DAY]
(Open on a courtroom chart titled: LIFE CYCLE OF THE BLACK BLOWFLY (P. Regina). The cycle shows from egg to pupa to adult.)
(Mark Thayer is on the stand.)
Mark Thayer: Well, as you can see, the life cycle of the black blowfly, from egg to larva to puparium to adult, is like clockwork.
Adam Matthews (defense): So, to be clear, we can use the fly's lifecycle to accurately determine the precise day the victim was k*lled.
Mark Thayer: That's correct.
Adam Matthews (defense): The victim was m*rder in a woodsy area near Lake Mead. In that vicinity, how long would it take for the blowfly to lay eggs in Joanna Whitson's body?
Mark Thayer: Within minutes of her death.
(In the audience, Ecklie turns to Grissom.)
Ecklie: (quietly) Is that true?
Grissom: (nods) Mm-hmm.
Adam Matthews (defense): Doctor, based on your review of the blowfly activity as documented by CSI, can you tell this jury the exact date Joanna was m*rder?
(In the back of the audience, Undersheriff McKeen sits watching the proceedings.)
Mark Thayer: CSI found puparia on the body, but no adults. So that means that the victim had been d*ad for fifteen days.
Adam Matthews (defense): The body was discovered November 15. So based on your analysis, the victim was k*lled November 1?
Mark Thayer: That's correct.
Ecklie: (to Grissom) Defendant was in Mexico 'til November 3. We think he k*lled her on the fourth.
Grissom: (quietly) Well, he's still got to prove his timeline.
Adam Matthews (defense): Dr. Thayer, this timeline you suggest-- from egg to puparia, has this been documented?
Mark Thayer: I documented it myself. In fact, in preparation for this trial, I videotaped a black blowfly breeding on a pig carcass. Now, this videotape will illustrate that the timeline from egg to puparium is, in fact, precisely fifteen days.
(Adam Matthews turns back to his table and picks up a video tape. He holds it out for the court.)
Adam Matthews (defense): Your honor, on this video tape, I have relevant footage of Dr. Thayer's experiment. With your permission, I'd like to play it for the jury.
(Grissom leans forward toward the prosecutor.)
Grissom: Have you seen this tape?
ADA Jeffrey Sinclair (prosecutor): (to Grissom) No. (louder, to the court)
Objection. Your honor, the defense never produced that tape for our review. We haven't had the opportunity to examine its authenticity.
Adam Matthews (defense): It's not our fault. It was never requested.
Judge Witherspoon: Is that true, counselor?
ADA Jeffrey Sinclair (prosecutor): The defense is playing games, your honor. We subpoenaed the expert's files, reports and opinions. But, apparently, they've conveniently construed the subpoena too narrowly. They're acting in bad faith, your honor, and cannot expect this court to usurp ...
Adam Matthews (defense): Your honor, your honor. If I may ...
Judge Witherspoon: (interrupts) You may not. You blindsided the court. You knew that the ADA would want to see that tape and you deliberately withheld it.
(to the ADA) How much time do you need?
ADA Jeffrey Sinclair (prosecutor): We won't know until we review the video.
Judge Witherspoon: Fine. The defense is to hand over the tape and all associated evidence. (to the jury) The jury is dismissed until 1:00 P.M. tomorrow.
(The judge bangs her gavel. Court is dismissed. The prosecutor immediately turns toward Grissom.)
Grissom: Send everything over to the lab. I'll be there.
(Still seated on the stand and with a glint in his eyes, Mark Thayer notices Grissom. Grissom looks up directly over at Thayer.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - DNA LAB -- DAY]
(Hodges reports his findings to Catherine and Warrick.)
Hodges: Your black-and-white particles were composed of plagioclase, biotite, hornblende and pyroxene.
Catherine: Diorite granite.
Hodges: You remember your geology.
Catherine: Yes!
Warrick: Wow.
Catherine: Actually, senior year I took "rocks for jocks." I dated the TA.
Hodges: Lucky guy.
Warrick: I'm sure you got an "A."
Catherine: (smugly) As a matter of fact, I did.
Warrick: Mm-hmm.
Hodges: (to Warrick) You're married? Don't flirt. (Warrick's jaw drops.)
Anyway, uh, diorite granite is used in high-end bathroom vanities. Was there any recent construction at the house?
Warrick: No, I processed the bathroom and the countertops for some kind of plastic laminate.
Hodges: Made a few calls. There's only one slab yard in Clark County that works with diorite. It's on Alonzo Avenue across the street from the old theater.
CUT TO:
[EXT. SLAB YARD -- DAY]
(Catherine and Warrick talk with the shop manager.)
(The shop manager watches a fork lift pass by.)
Shop Manager: (to the driver) Hey, take it easy with that thassos. It's the last shipment of the month. (to Catherine and Warrick) Sorry about that.
(He looks at the NEVADA DRIVER'S LICENSE. It reads:
(to right corner) 05-14-1991
LIC # 1800592214
EXPIRES 05-12-2005
SSN 503-45-734
CLASS C
ENDORSE
RESTRICTIONS
BIRTHDATE 05-12-1980
SEX F
HEIGHT 5'8"
WEIGHT 120
EYES BRN
HAIR BRN
(printed) Christina Adalian
ADALIAN, CHRISTINA
16 SOUTH MEADOWS LN
LAS VEGAS, NV 89101
Shop Manager: Sure, I know Christina. Dated one of my guys. Real sweet gal. Used to bring donuts around before they broke up.
Catherine: Her ex happen to be working today?
(The shop manager turns and looks around the yard. He turns and points.)
Shop Manager: Yep. His name's Evan.
(They turn and see a young man working.)
SHORT TIME CUT TO:
[EXT. SLAB YARD -- DAY]
(Catherine and Warrick talk with Evan Peters.)
Evan Peters: Well, I'm sorry to hear about Christina, but we broke it off months ago. I haven't seen her since.
Warrick: Really? Was she dating one of your co-workers?
Evan Peters: Huh?
Warrick: Well, we found marble particles in her house and we identified the stone. It came from this facility.
Catherine: See, Mr. Peters, we know that you and Christina technically never had sex, so when you found out that she was pregnant, I'm guessing that you felt that she cheated on you.
Evan Peters: How in the hell do you know about my sex life?
Catherine: I mean, that had to have made you really angry, right?
Evan Peters: Well, that's why I dumped her.
(Catherine nods.)
Evan Peters: And fine, I saw her a couple of days ago. She called me in a panic. Dingbat had locked herself out with her damn baby still inside the house. Thought I had her spare key. I didn't. She sounded hysterical, so I went over to help.
(Quick flashback to: [EXT/INT. ADALIAN RESIDENCE - BACK KITCHEN DOOR - DAY]
Evan jimmies the lock with a long, thin piece of metal. We hear the baby crying inside the house.)
Christina Adalian: Please hurry.
(Evan opens the door and Christina runs inside.)
Christina Adalian: Joey!
(Evan follows slowly behind her. He's looking at the piece of metal and absently scrapes the bottom of his boots on the door mat.)
(End of flashback. Resume to present.)
Warrick: You followed her into the house?
Evan Peters: Yeah. Well, she wanted to talk.
Warrick: What did you talk about?
Evan Peters: All right, get this. She tried to tell me that God got her pregnant. (He laughs.) I mean, if that's true, the big guy owes me an apology
'cause she was my girlfriend. He should have asked me first.
Catherine: Why did you lie to us? Claim that you hadn't seen her in months?
Evan Peters: Well, you guys were investigating her m*rder, and I want to stay out of it.
Catherine: Well, it's too late for that, my friend. We need your DNA. Open wide.
(Evan opens his mouth.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Greg talks with Duane McWane.)
Duane McWane: The day I got married, I got rid of my g*n. The wife didn't want it in the house.
Greg: You sell it?
Duane McWane: No, I gave it to my paralegal. I'm an attorney. Look, it's just a g*n, so I wasn't required to register the transfer.
Greg: What's your paralegal's name?
Duane McWane: Rita Day. She left the firm years ago. She's a paramedic now at emergency care ambulance.
Greg: You still keep in touch with her?
Duane McWane: I get a card every Christmas.
Greg: All right, well, thanks, Mr. McWane.
Duane McWane: Look, just, just so you know, she only got that g*n for her own protection. Whatever you're investigating, Rita didn't do it.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - DAY]
(Grissom is in his office reviewing the tape from the trial on his laptop. On the monitor, he watches the pig carcass on day 10.)
(He closes the video and goes back to the main menu. He scrolls down from day
10 to day 11. He runs the video.)
(On the monitor, he watches the infestation in the pig carcass's mouth.)
(Grissom reviews the file when Ecklie walks in.)
Ecklie: How is it going?
Grissom: Well, according to my experience and all three of these textbooks, the P. Regina would develop from egg to puparium in eleven days.
Ecklie: Great. That discounts Thayer's testimony and puts Breckman in Vegas at the time of the homicide.
Grissom: Yeah, but his demonstration speaks for itself. There's no visible puparia for fifteen days, just as Thayer asserts.
Ecklie: And jurors might be more receptive to video documentation than books.
Grissom: The science in these textbooks is sound, but the tape is more than enough to get reasonable doubt.
Ecklie: Well, there's no doubt in my mind that Thayer worked his science to get the answers the defense needed. We just need to know how he did it. Could he have altered one of the variables?
Grissom: I've reviewed his documentation. He purchased the pig from a reputable dealer. He conducted the experiment at a private lab with eyewitnesses, controlled all variables to replicate the conditions at Lake Mead during the time in question--65 to 73 degrees, no precipitation, on and on.
Ecklie: Can you conduct your own experiment?
Grissom: Sure, if the judge will give me eleven days.
Ecklie: Well, we know that's not gonna happen.
Grissom: I'll have Archie review the video footage. Maybe he messed with the time code or something. (He shrugs.) I'll let you know.
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Catherine is with the new DNA tech, Wendy Simms.)
Wendy Simms: So I heard that my predecessor in DNA had all these you know, personal hygiene issues. Well, just for the record, I'm not like that. I have always been very touchy-feely. I mean, I used to work in San Francisco, you know. So ... every day we started with hugs.
Catherine: Uh-huh. Yeah. That must've been nice for you. So ...
Wendy Simms: (interrupts) Hey, how about lunch tomorrow? Just you and me. Cause, see, I-I figure that you gotta know where the bodies are buried around here. So to speak.
Catherine: Is that why you paged me?
Wendy Simms: No. No, um ... I compared Christina Adalian's DNA to baby Joey's, and guess what? Mother and son -- they're not mother and son. At least not genetically speaking. There's no relation.
Catherine: And Evan Peters isn't the father?
Wendy Simms: Nope. So assuming that there was no big baby mix-up at the hospital, I'm thinking that Christina Adalian had to be a surrogate.
Catherine: Surrogacy ... that would explain her hymen.
Wendy Simms: Hello.
Catherine: Her hymen was intact, which is consistent with in-vitro fertilization.
Wendy Simms: Yeah, but there's one problem. A surrogate's not supposed to keep the baby. The surrogate is supposed to be a gestational carrier who returns the child to the biological parents after it's been born.
Catherine: Yeah, that is a problem.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(Grissom is sitting behind his desk when Archie knocks on the door before entering.)
Archie Johnson: Hey, Gris. I reviewed your videotapes. Checked for insertions, deletions, omissions. They're all authentic.
Grissom: You're certain?
Archie Johnson: Oh, yeah. I de-interlaced the video, checked the head switching, the hbi-vbi looked for in-out signals. The tapes are clean. Sorry.
Grissom: Did you blow up the frames?
Archie Johnson: Yeah. One every six hours. They're in layout, when you're ready.
Grissom: Okay.
(Archie leaves; Catherine enters.)
Catherine: Oh, hi, Archie.
Archie Johnson: Hey.
Grissom: I just finished your eval.
Catherine: And?
Grissom: In the comments section, I noted that if you had my job, these evaluations wouldn't be late.
Catherine: Thank you. So I understand that you're going up against Mark Thayer.
(Catherine sits down.)
Catherine: The guy's an ass.
Grissom: He used to be a competent scientist. We actually co-authored a paper together ten years ago. I believe greed has gotten in his way.
Catherine: Well, I've seen him on the stand. He manipulates evidence.
Grissom: He manipulates people. The public assumes that scientists are ethical, but many of us are no better than politicians, evidently.
Catherine: So do you think that Thayer is presenting the jury with faulty forensics?
Grissom: I know he is. I just don't know how. Videotapes are clean. The science appears sound. How's your case going?
Catherine: (chuckles) Huh. I don't know who k*lled Christina Adalian, I don't know how she got pregnant and I don't know the identity of the baby's biological parents.
Grissom: It's always good to know what you don't know.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. AMBULANCE SERVICE (BUILDING) - FRONT -- DAY]
(Greg interviews Rita Day.)
Rita Day: Sure, I know Duane. He's a good boss. I just hated being cooped up in an office building all day.
Greg: He claims he gave you his g*n several years back.
Rita Day: Yeah, sure. Why?
Greg: It was recently used in a homicide.
Rita Day: Damn. Well, I'm sorry.
Greg: So, the g*n's no longer in your possession?
Rita Day: Lost the Colt in a poker game years ago.
Greg: Do you remember who you lost it to?
Rita Day: I was drunk as a skunk. Met these guys at a bar. Lost a small fortune trying to keep up with their raises.
Greg: Can you tell me anything about the guy who won the g*n?
Rita Day: Well, he's an older guy, at least fifty. I remember guys were calling him "Cy," but that wasn't his real name. He had this large mole between his eyes.
Greg: "Cy," short for, uh, "cyclops"?
Rita Day: Yeah. I swear I thought that thing was winking at me.
Greg: Thanks for your help.
Rita Day: No problem.
(Greg turns and leaves.)
CUT TO:
[INT. CSI - CATHERINE'S OFFICE -- DAY]
(Catherine is sitting at her desk working when Sara walks in. She sees the wooden ducks on Catherine's desk.)
Sara: Oh, ducks. That's a new decorating choice.
(Catherine immediately grabs the ducks and puts them on the counter behind her.)
Catherine: I now have to share this office with the day shift supervisor. She's got some kind of thing for waterfowl. What's up?
(Sara sits down and opens the file folder she's carrying.)
Sara: Warrick and I tracked down Joey Adalian's birth certificate. Christina's named as the mother, father's unknown. (She hands the reports to Catherine.)
We also found another document in her desk. It's a registration form for an organization called Project Sunflower. They find mothers for abandoned embryos.
Catherine: Abandoned embryos?
Sara: According to literature, Project Sunflower believes that every fertilized egg or embryo is a baby from the moment it's created in a laboratory dish. Fertility clinics freeze fertilized eggs for their clients undergoing in-vitro fertilization. Often, the clinics freeze more eggs than they ultimately need.
Catherine: And Sunflower tries to find women willing to gestate and raise the leftovers?
Sara: Uh-huh. Project Sunflower promotes itself as doing God's work.
Catherine: I knew a stripper who claimed the exact same thing. So, is there any chance that you have a record of the baby's biological parents?
Sara: Not yet. But I do have an address for Sunflower's local chapter.
CUT TO:
[INT. PROJECT SUNFLOWER OFFICE - DAY]
(Sara and Catherine meet with Dr. Emily Ryan.)
Emily Ryan: It's a tragedy. There are over four hundred thousand embryos currently in cryobank storage in the United States. Pre-born children suspended in time.
Catherine: If I understand your program correctly, you take these embryos and you place them in available wombs.
Emily Ryan: We seek out special unselfish women who are prepared to adopt at the embryonic stage of development. We believe that the soul is infused when sperm meets egg. That's when life begins.
Catherine: Are you aware that throughout much of history, the official church position held that a child's life begins when the mother first becomes aware of movement?
Emily Ryan: Oh, that's your opinion.
Catherine: In the 16th century, the pope proclaimed that embryos less than forty days old are not human. That is not my opinion.
Emily Ryan: You've had an abortion, Miss Willows?
Catherine: Huh. No. Thank God I decided not to have one. But we are not talking about me, Dr. Ryan. Are you a medical doctor?
Emily Ryan: I don't care for that insinuation.
Catherine: Oh, it's just a question. I take it that's a no?
Emily Ryan: I have a very busy afternoon. What exactly can I do for you?
Sara: I have a question. Do the biological parents get to meet the embryo adopters?
Emily Ryan: Of course. If you are going to give up your pre-born child, you'd want to approve of his or hers future parents, right?
Sara: Uh, one of your special women, Christina Adalian, was m*rder. We're going to need the names of her son's biological parents.
Emily Ryan: I am, I'm sorry to hear about Christina. I conducted her intake interview personally. A lovely woman. Our records are confidential. I'm sorry.
Catherine: We can get a court order.
Emily Ryan: So get one.
CUT TO:
[INT. CSI - LAYOUT ROOM - DAY]
(Grissom has the photos he asked Archie to take spread out on the table and up on the walls. Grissom walks up to the wall and uses a magnifying glass to look at the particular photo. He steps back and looks at another photo. He looks at the day 2 photos on the table.)
(Undersheriff McKeen walks into the room.)
Undersheriff McKeen: Ecklie said the tape might be authentic.
Grissom: Seems so.
(Grissom goes back to looking at the day 2 photo. He uses a pen and circles the indentions on the pig carcass.)
Undersheriff McKeen: Grissom, I don't know what to do: Instruct the DA to offer second degree? I mean, I can't risk letting this guy back out on the street but to plead this out after what he did to someone I loved. I need some guidance here.
Grissom: I can't tell you what to do, Sheriff.
Undersheriff McKeen: No, you can't. But you can tell me where we stand. What are you doing?
Grissom: Circling blowflies.
Undersheriff McKeen: Why?
Grissom: 'Cause d*ad flies tell no lies.
CUT TO:
[INT. CSI - Q.D. -- DAY]
(Professor Rambar has the su1c1de note up on the overhead as he reports his findings to Catherine.)
Professor Rambar: The signature is definitely hers, and you're right, she wrote the note under duress.
Catherine: Have you been able to analyze the ink?
Professor Rambar: Thin-layer chromatography tells us the red dye is consistent with a standard coda pen. But find the pen. I should be able to match it to the note.
Catherine: You can match ink?
Professor Rambar: I can match its flow.
(He walks around the table and focuses the overhead close on the letter "T".)
Professor Rambar: What do you notice about the ink?
Catherine: Uneven distribution?
Professor Rambar: (nods) The pen socket that holds the ball in place was askew.
(Quick flashback of: Christina Adalian cries as someone writes out the su1c1de note.)
Professor Rambar: (V.O.) The cockeyed socket caused ink disruption as it flowed down to the paper.
(End of flashback. Resume to present.)
Professor Rambar: The damaged socket is quite common in sheet-writing instruments. Lucky for us, the uneven distribution of the ink will be unique to the pen that wrote the note.
(Sara knocks on the door before entering.)
Sara: Hey, Professor. Looking good. (to Catherine) You know how sometimes fact is stranger than fiction?
Catherine: Yeah.
Sara: Brass got the court order for Joey Adalian's biological parents: A Kenli and Dan Johnson in Seven Hills. We also found Christina's will. Guess who she named as Joey's guardians.
Professor Rambar: Kenli and Dan?
(Sara looks at the professor and smiles.)
Professor Rambar: (sheepishly) Excuse me.
Sara: (nods) You're right.
Catherine: A single woman adopts a leftover embryo from an infertile couple and upon her death agrees to give the child back to its biological parents?
Sara: Who gave up the embryo in the first place?
Catherine: You happen to have an address for this Mr. and Mrs. Johnson?
Sara: Let's go.
[INT. CSI - HALLWAY - DAY - CONTINUOUS]
(Sara and Catherine step out of the lab and into the hallway where Greg joins them.)
Catherine: Oh, hey. How's the way of the g*n?
Greg: It was lost in a poker game.
Sara: Did you get the winner's name?
Greg: No, but he has a large mole between his eyes and his nickname's "Cy."
That's all I got, so sorry.
Catherine: Greg, never apologize for doing your job.
(Sara and Catherine leave.)
Greg: Okay.
CUT TO:
[EXT. COMMUNITY (STOCK) - DAY]
[INT. JOHNSON RESIDENCE - LIVING ROOM -- DAY]
(Sara and Catherine interview Kenli Johnson while her mother, Sandra Walkey prepares a cup of tea in the kitchen.)
Kenli Johnson: Dan and I were desperate to have a child, and the doctor said our only hope was in-vitro.
Catherine: Where is your husband now?
(Sandra Walkey sits down next to Kenli.)
Kenli Johnson: He ... he passed away.
Sandra Walkey: Are you sure I can't get you something?
Catherine: No, thank you.
(Sandra hands the cup of tea to Kenli.)
Kenli Johnson: Thank you, Mom.
Sandra Walkey: You're welcome, baby.
Kenli Johnson: It's been almost a year. We were coming home from a movie when we were broadsided. The guy kept going and Danny never woke up.
Catherine: I'm so sorry. Can I ask you ... did you ever conceive a child?
Kenli Johnson: My body kept rejecting the procedure, so we tried three times and then called it quits.
Catherine: Had you ever considered a surrogate?
Kenli Johnson: It's very expensive. Danny just was never comfortable with the notion that ... well, we just figured we weren't meant to be parents.
Sara: And that's why you decided to give away your embryos.
Kenli Johnson: Yeah, I had seen a flyer at the clinic.
Catherine: Are you aware that one of those embryos was carried to term?
Kenli Johnson: Dan and I pre-screened Christina, and we went to see Joey and her once a month. So that's why when I got your call, I just don't know who'd want to hurt such a sweet girl.
Sara: According to Christina's will, you were named Joey's guardian.
Kenli Johnson: Yes, that was very important to Christina. She's not close with any of her family, so I've already called Child Services, and as soon the lawyer reviews the will, I'm supposed to pick him up.
Catherine: Well, if you don't mind, I'd like your permission to take a look at the clothing that you wore two nights ago.
Kenli Johnson: You can't possibly think I had anything to do with this?
Catherine: It's protocol. The victim was sh*t at close range.
(Kenli walks over to the utility room and brings back a laundry basket.)
Kenli Johnson: I wore the white blouse.
Catherine: We're going to need to take all the laundry back to our lab.
Kenli Johnson: You never found the guy who k*lled my husband, and now you're wasting time looking at my dirty clothes. That's fine. Take it.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - DNA LAB -- DAY]
(Open on the label on an evidence container. It reads:
SECOND STAGE LARVAE
11-1-05
LVPD 05.11 2104GG
GG
(The container is filled with larvae. Henry Andrews, the lab tech, processes the larvae. He blends them, takes a sample of them and puts the sample in the machine.)
(Various dissolves of: The sample is processed. The results print out.)
(Grissom walks into the lab.)
Henry Andrews: Why did the fly, fly?
Grissom: Because the spider spied her. Catherine's daughter told me that when she was three. Do we have results?
(The lab tech gives Grissom his results. Grissom looks at it.)
Grissom: Thank you.
[INT. CSI - HALLWAY - DAY - CONTINUOUS]
(Grissom walks into the hallway and meets up with Catherine.)
Catherine: Oh, hey, Ecklie said you wanted to see me.
Grissom: Yeah. A Dr. Ryan called and said that you verbally harassed her?
Catherine: I met Dr. Ryan in the course of my investigation. She runs an organization called Project Sunflower. Philosophically, I completely disagree with the organization. Perhaps I expressed myself.
Grissom: Which means?
Catherine: I'm pro-choice. I'm in favor of stem cell research. I'm sorry she felt harassed, but my comments were in response to her statements. I don't think I was out of line.
Grissom: You should have cited Leviticus 17:11. "The life of the flesh is in the blood." Taken literally, life doesn't begin when the sperm meets the egg, but 18 days later. When the embryo is infused with blood.
Catherine: Is that your position?
Grissom: Well, if I were speaking with a woman who prefers theology to science, it's a position she'd find tough to refute.
Catherine: So are we having a philosophical discussion here, or am I being reprimanded?
Grissom: (shakes his head) I don't know. I got to go to court.
(Grissom leaves. Catherine turns and sees Hodges leaning up against the door frame to his lab as he watches her.)
Catherine: What?
Hodges: Your white blouse. The results are printing.
[INT. CSI - DNA LAB - CONTINUOUS]
(The results print out.)
Hodges: It seems like you and Grissom were having a fairly intense conversation. Can I ask ... ?
Catherine: (interrupts) Tell me about the blouse, please.
Hodges: I ran the S.E.M. over the adhesive disks and confirmed g*n residue.
(Catherine looks at the results.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Catherine interviews Kenli Johnson as her attorney, Carol Allred, sits next to her.)
Carol Allred (attorney): You found clothing in a laundry basket that tested positive for g*n residue. So what? That doesn't mean my client k*lled anyone.
Catherine: It proves that she fired a g*n, Carol.
Kenli Johnson: I've never fired a g*n. I've never even touched a g*n.
Carol Allred (attorney): Catherine, I'm sorry, but if I understand your forensics, the GSR test does not, in fact, confirm that she fired a g*n. I mean, it's possible she rubbed up against someone who did.
Catherine: Theoretically.
Kenli Johnson: I cared about Christina.
Catherine: I'm sure that you did. But looking into Joey's eyes and seeing your husband must've torn you up inside. And the only person standing between you and your baby was the victim.
Carol Allred (attorney): Okay, don't respond to that.
Catherine: When was the last time you actually saw Christina?
(Kenli looks at Carol. Carol nods for her to answer the question.)
Kenli Johnson: Two days ago. I took them to lunch.
Catherine: What were you doing two nights ago, around 11:00 P.M.?
Kenli Johnson: I was home all night.
Catherine: Can anyone verify that?
Kenli Johnson: My mom lives with me, but she wasn't home. That's gin rummy night.
SHORT TIME CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY]
(Catherine walks out of the interview room and heads over to the waiting room where Sandra Walkey is waiting.)
Sandra Walkey: What's going on in there? Kenli had nothing to do with this.
Catherine: Mrs. Walkey, I need your help. Your daughter claims that two nights ago she was home watching television. Can you confirm that?
Sandra Walkey: Well, of course. I was with her.
Catherine: Thank you.
CUT TO:
[INT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - LAB - DAY]
(Sara is examining the laundry basket clothes under the ALS. She stops and turns the lights back on when Catherine walks in.)
Sara: If you had to guess, what's Kenli's dress size?
Catherine: Four, maybe six.
Sara: I found blood spatter on this blouse. Size 12.
Catherine: There're two women that live at that house. Only one is a size
12.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Catherine interviews Sandra Walkey.)
Sandra Walkey: I don't need an attorney. I've done nothing wrong.
Catherine: Would you mind emptying the contents of your purse?
Sandra Walkey: First you go after Kenli, now me. A few hours ago, you guys were saying there was g*n powder on Kenli's blouse. You make a mistake?
Catherine: No, it was probably transferred from your blouse, the one that you wore that night. I have a warrant to search your person and your home. Please empty the contents of your purse onto the table.
(Mrs. Walkey dumps the contents of her bag onto the table. Catherine finds a red pen.)
Catherine: A red coda pen.
(Quick flashback of: Mrs. Walkey holds the g*n on Christina Adalian as she writes out her su1c1de note.)
Sandra Walkey: Joey ... is ... better off ... without me.
(Christina finishes the note and looks at the baby.)
Christina Adalian: Please don't do this. Oh, God, please.
Sandra Walkey: Sign it. Sign it!
(End of flashback. Resume to present.)
Catherine: You knew that her sister was coming for a visit, so the baby would be okay. You k*lled her and then staged the scene.
(Quick flashback to: The baby is in the crib. Mrs. Walkey fires. Christina falls to the floor. Joey screams.)
(Mrs. Walkey quickly grabs the red pen. She kisses Joey on his head, then leaves.)
(End of flashback. Resume to present.)
Sandra Walkey: You have a wild imagination, Ms. Willows.
(Catherine looks down and sees a photo on Mrs. Walkey's keychain.)
Catherine: Is this your husband?
Sandra Walkey: Arnold. He passed away. Two years ago, May.
Catherine: He looks like a poker player.
Sandra Walkey: You can tell that from his photo?
Catherine: Actually, it's ... the mole between his eyes that's his tell.
Sandra Walkey: Why are we talking about Arnie?
Catherine: Because you used his g*n. The g*n he won in a poker game.
Sandra Walkey: Are you going to put me in jail?
Catherine: That's how it works.
Sandra Walkey: And the baby -- he goes with Kenli, right?
Catherine: I'm sure that Child Services will follow the dictates of Christina's will.
Sandra Walkey: Then it was all worth it. My baby has her baby. That's all that really matters.
Catherine: Did you ever consider that Christina Adalian is somebody's baby?
Sandra Walkey: We each protect our own. That's how it's done.
Catherine: Officer, would you please escort Mrs. Walkey to lockup?
(The officer steps forward and escorts Mrs. Walkey out of the room.)
CUT TO:
[INT. JUDGE WITHERSPOON'S COURTROOM - DAY]
(The court watches the video of the d*ad pig on day 14.)
Mark Thayer: As you can see, on day 14 -- plenty of larvae, commonly known as maggots, but no puparia.
(Video cuts to the d*ad pig on day 15.)
Mark Thayer: Finally on day 15, you'll notice the puparia swimming in the brown liquid.
(Mark Thayer is on the stand.)
Mark Thayer: Based on that evidence, I can reliably conclude that Joanna Whitson was k*lled on November 1.
Adam Matthews (defense): You're absolutely certain of that timeline?
Mark Thayer: Yes.
Adam Matthews (defense): Thank you. No further questions.
Judge Witherspoon: Your witness.
ADA Jeffrey Sinclair: We have no questions for Dr. Thayer. But I now call to the stand Dr. Gil Grissom as a rebuttal expert witness.
Judge Witherspoon: Dr. Thayer, you're dismissed. Dr. Grissom, please approach the stand to be sworn in.
(Mark Thayer leaves the stand. Grissom stands up and walks over to the stand.)
Bailiff: Raise your right hand. Do you swear to tell the truth, the whole truth, so help you God?
Grissom: I certainly do.
Judge Witherspoon: You may be seated.
ADA Jeffrey Sinclair: Dr. Grissom, you've had a chance to review Dr. Thayer's tape and associated evidence, is that correct?
Grissom: Yes.
ADA Jeffrey Sinclair: Do you agree with his finding that Joanna Whitson was m*rder fifteen days before her body was discovered?
Grissom: No.
ADA Jeffrey Sinclair: Can you please elaborate?
Grissom: Our crime lab analyzed fly larvae that was taken from the pig used by Dr. Thayer in his demonstration. Apparently, they digested dimethyldithiophosphate and t-mulz light aromatic.
ADA Jeffrey Sinclair: A toxin commonly known as malathion?
Grissom: Yes. I believe the malathion was sprayed onto the pig's skin.
(Quick flashback to: Malathion is sprayed on the d*ad pig. End of flashback.)
ADA Jeffrey Sinclair: How would malathion affect a fly's life cycle?
Grissom: It would delay the time it takes for puparia to appear. Specifically, the malathion would delay oviposition.
ADA Jeffrey Sinclair: Oviposition?
Grissom: Laying eggs. Without malathion, adult flies would immediately lay new eggs on the pig's flesh. But with malathion, oviposition would be delayed up to four days.
ADA Jeffrey Sinclair: A four-day delay would mean that Joanna Whitson died on November 4, not November 1, is that correct?
Grissom: Yes.
ADA Jeffrey Sinclair: Is there any scientific rationale for spraying a pig with malathion before documenting a fly's life cycle?
Adam Matthews (defense): Objection.
Judge Witherspoon: Overruled.
Grissom: The only rationale I can think of would be jury manipulation. Every entomologist knows that early oviposition is undetectable because flies lay their first round of eggs inside body openings. Anyone reviewing the tape would assume that the eggs were being laid, when in fact they were not. If our lab had not tested the larvae for toxins, we would never have known that. Nor would the jury.
ADA Jeffrey Sinclair: Thank you. No further questions.
Judge Witherspoon: Counselor, your witness.
Adam Matthews (defense): Uh, we have no questions at this time.
Judge Witherspoon: Oh, in that case, we are adjourned until 9:00 A.M. tomorrow morning.
(The judge bangs her gavel. Court is dismissed.)
(Grissom steps down from the stand. Mark Thayer stands up to meet with him.)
Mark Thayer: I want to talk to you.
Grissom: I have nothing to say to you.
Mark Thayer: You impugned my character.
Grissom: What character?
ADA Jeffrey Sinclair: Uh, excuse me, Dr Thayer.
Mark Thayer: (annoyed) What the hell do you want?
ADA Jeffrey Sinclair: Well, to inform you that you have the right to remain silent. The DA'S filing charges for perjury ...
(Jeffrey Sinclair motions for the officers to step forward.)
Mark Thayer: (groans) Oh, my God ...
ADA Jeffrey Sinclair: ... and obstruction of justice. We won't be accepting a plea.
(Mark Thayer turns and glares at Grissom.)
Mark Thayer: This is all your fault.
Grissom: I hope so.
(The officers escort Mark Thayer out of the courtroom.)
(Grissom heads for the door. Undersheriff McKeen meets with him.)
Undersheriff McKeen: Grissom. Great work up there.
Grissom: Actually, the work was done in the lab.
Undersheriff McKeen: When I took this job, I heard a lot of things about you. If you ever need a favor, if I can help you in any way ...
Grissom: You know Sheriff, you could help me. I'm late delivering my team's personnel evaluations.
Undersheriff McKeen: I'll tell Ecklie. He'll backdate your cost-of-living adjustments.
Grissom: Thank you.
Undersheriff McKeen: So, Grissom, I'm not sure of your ambitions, but if you're interested in taking on more responsibility, maybe a promotion, I'd be glad to pass ...
Grissom: (interrupts) You know, Oscar Wilde once said, "Ambition is the last refuge of failure." I'm fine. Thanks.
(Smiling, Grissom heads out of the courtroom.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x06 - Secrets and Flies"} | foreverdreaming |
FLASH IN.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- DAY]
(Sirens wail in the distance.)
[EXT. LAS VEGAS STREET - DAY]
(A black Caprice zooms down the street. Two officer cars are pursuing it, their sirens blaring.)
(The black car crosses an intersection, nearly hitting a white car crossing it at the same time. The white car's horn blares.)
(The black car turns the corner. The officer cars continue their pursuit, sirens blaring. The intermittent sounds of a*t*matic g*n f*ring are heard during the chase.)
(In one of the cars, Brass is driving; Sofia sits in the passenger seat.)
Sofia Curtis: These guys are hard core. Who are they?
(The car chase continues.)
(In the second car are two officers. The older officer, Sergeant Adams, is driving; the younger officer in the passenger seat is Officer Bell.)
Officer Adams: Tell Control these guys have a*t*matic w*apon! Probably A-Ks!
(Officer Bell doesn't respond. He's just amazed by the car chase.)
Officer Adams: (shouts) You with me!
(Officer Bell shakes himself out of it and makes the call. g*n sh*ts are fired from the black car in front of them. The windshield from one of the cars smashes from the impact of the b*ll*ts.)
Officer Bell: (to radio) Three-David-34, be advised subjects are f*ring a*t*matic w*apon, possibly AK-47s.
(In the third car are Officer Davis and Sergeant Carroll.)
Officer Davis: (to radio) All right, we're coming up on a T-intersection. Get ready.
Sgt. Carroll: Three-boy-seven, pursuit approaching a t-intersection on Jefferson and Third.
(g*n continues from the black car in front.)
(Car 2's windshield is h*t; glass shatters in the car.)
Officer Bell: We're going to get k*lled!
Officer Adams: Not if you do what you're supposed to do.
(g*n continues.)
(The black car hits the side and flips over.)
(Car 2 stops. Both officers get out.)
Officer Bell: (to radio) Three-David-34, suspect Caprice has T/C'd. Intersection Jefferson and Third.
Officer Adams: When you get out, keep your head down.
(The two officers open their doors and use it as shield as they prepare for more g*n.)
(The occupants of the black Caprice crawl out of the overturned car. They're both carrying g*n and open f*re immediately.)
(Behind them, a second officer car arrives. Officers Davis and Carroll immediately open their doors and use it as shields and return f*re.)
(The g*n from the car crawl out and f*re to get to cover behind the overturned Caprice.)
(It's complete chaos as g*n is fired from both sides. b*ll*ts are everywhere - sides of cars, windows, tires - richoceting off metal bins.)
(Brass and Sofia's car arrives. Sofia gets out of the car and starts f*ring.)
(g*n continues between the cops and the g*n.)
(Brass gets out of his car and starts f*ring from behind the car door.)
(A b*llet hits one of the officer car's tires and flattens.)
(A g*n in the blank t*nk top, Salvator "Stuckey" Rosario, stops to change cartridge.)
(g*n continues.)
(Salvator Rosario puts his g*n aside. He intends to run for it.)
Salvator Rosario: Guys! Go! Go!
(Rosario uses the a*t*matic w*apon and fires at the officers.)
(He tosses the r*fle aside when he runs out of b*ll*ts.)
Officer Adams: They're out of r*fle a*mo!
(Rosario takes out a g*n. An officer sees him and shouts out a warning.)
Officer: (o.s.) No! Get down! They've got more!
(Rosario fires.)
(Brass returns f*re.)
(We hear the pinging of b*ll*ts off metal.)
(Officer Bell stands up to f*re and is h*t with a b*llet square in his chest. He falls backward and hits the ground. We see he's bleeding from his neck)
(Salvator Rosario stands up to run. Leandro Chavez follows. A sh*t is fired and he is sh*t in the thigh. He falls to the ground.)
(Salvator Rosario takes off running up a resident's front drive.)
Officer: They're running. I'm going left. You go right. Going to take these guys. You guys, move on up.
(Brass moves forward to provide cover as Officer Adams checks on Officer Bell. The other officers scramble to chase after the running g*n.)
Officer: (to radio) Three-boy-seven in foot pursuit of two male Latinos. One east, one west on Third Street. Requesting backup.
(Officers chase after the g*n. Salvator Rosario jumps over a wall.)
(Officer Adams calls for assistance.)
Officer Adams: Three- David-34, officer down. Requesting immediate backup and paramedics. (to Sofia) I'll take care of it. I'll stay with him.
(Brass and Sofia both leave to help pursue the g*n.)
(Additional backup arrives.)
(Sofia runs up to Leandro Chavez, who was sh*t. She stands over him, her g*n on him. She kicks his g*n out of his reach.)
(A neighbor steps out into his yard and looks over at Brass.)
Neighbor: Que paso?
Brass: Nada. Haciente. Adentro, adentro.
(A second officer approaches Sofia.)
Sofia: Cuff him.
(The officer takes out his handcuffs to cuff the man in the white t*nk. Sofia turns and starts running to help catch the other g*n.)
Leandro Chavez: Dame una ambulancia, puey.
Officer: I don't speak Spanish.
(Sofia runs to help Officer Davis as they head to the west of the alley behind Third.)
(Brass rushes alongside the building to the east of the alley behind Third, his g*n in hand. He reaches the back of the building.)
(He hears a noise and whirls around. He sees a woman open the door and step outside. He motions for her to get back inside.)
Brass: (to the woman) Back inside, back inside.
(In the distance, g*n are fired. Brass makes his way toward the sound.)
VARIOUS FLASHES OF:
(Officer Davis and the g*n exchanging g*n as the g*n tries to escape down the alley.)
(Officer Davis runs out of b*ll*ts, his g*n clicking.)
(Salvator Rosario turns around and steps closer to the officer to f*re. Sofia turns the corner and sees the g*n. She fires several sh*ts, hitting the g*n in the shoulder.)
(Salvator Rosario goes down.)
(They both approach the g*n.)
Sofia Curtis: You okay?
Officer Davis: Yeah. You?
Sofia Curtis: Yeah.
(Officer Davis reaches the g*n first. He picks up the g*n.)
Sofia Curtis: What are you doing? Put it down.
(He puts the g*n back down on the ground.)
Officer Davis: Yeah, sorry. I was just trying to secure his g*n.
Sofia Curtis: He's not going to use it anymore.
(Meanwhile, the third g*n, Ricardo Estevez, is near the top of a fence when Officer Carroll turns the corner and stops him.)
Officer Carroll: Stop! Police! Stop! Police!
(Ricardo Estevez jumps back down to the ground, his hands raised high above his head.)
Officer Carroll: Don't move! Don't move!
(Officer Carroll hears a sound behind him and turns to look. Brass rounds the corner, his g*n raised.)
(Ricardo Estevez suddenly finds himself with a g*n in his hands.)
(Someone fires and hits Ricardo Estevez several times in the chest.)
(Officer Carroll steps forward. Brass kicks the g*n off to the side.)
(Brass takes out his radio.)
Sofia: (from radio) Brass, suspect's in custody.
Brass: (to radio) Copy. Control, this is Brass. Situation here is code 4. We have three suspects in custody. One is on the run.
CUT TO:
[EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD - DAY]
(The ambulance pulls away. Grissom and Catherine approach the scene.)
Catherine: You know it's going to be a long shift when you get the call to respond to a command post.
Grissom: Yeah. (to phone) Warrick ... we need everyone from grave. But park on Wall Street. Jefferson's taped off all the way back to Lincoln.
Vartann: The suspect was last seen running south.
Officer: These buildings have been searched and cleared.
Vartann: Okay, move south one block. Check each apartment. This guy's armed and dangerous.
Cavaliere: You got a lot of witnesses claiming to have seen what happened.
Vartann: Okay, good. Let's get some vans down here, bring them all to the station.
(They walk over to Sofia and Brass leaning up against the SWAT van.)
Catherine: What happened out here?
Brass: I was one of the sh**t. So was Sofia, so you know the deal. That's really all I'm allowed to say.
(Brass notices Detective Nestor Ortega standing nearby.)
Brass: I see, uh, Detective Ortega, that hard-head from IA, is handling the case. Just our luck.
(Vartann joins them.)
Vartann: Caprice full of sh**t opened up on two of our guys. One's down.
Grissom: Is Bell going to make it?
Vartann: (shakes his head) He's DOA. Three suspects are d*ad. Fourth outstanding.
Nestor Ortega: (interrupts) Excuse me ... guys, hang tight. I'm going to get some rides. Take you down to the station, okay? I want to get your statements.
Brass: Yeah ... yeah.
Nestor Ortega: Good, good. Excuse me.
(Ortega leaves.)
Catherine: (quietly to Grissom) I'll stay with them. I'll collect their firearms and a*mo.
Grissom: All right. (to Brass) Good luck.
Brass: Thank you.
(Grissom walks past Brass and Sofia. He walks past an officer standing nearby.)
Officer: (under his breath) Hell of a day, man.
Grissom: It's just beginning.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. STREET -- DAY]
(Detective Chris Cavaliere rushes down the street with the g*n in his hand in pursuit of the final g*n. He turns the corner and sees the body on the street. The other officers rush forward.)
Officer: GSW victim matches the suspect.
Chris Cavaliere: You sh**t him?
Officer: No, sir. Found him this way.
(Detective Cavaliere notices the bike strap still around the kid's ankle.)
Chris Cavaliere: Bike strap ... this isn't our suspect. This is a kid on his way to school. Where's his bike?
Officer: There was no bike.
Chris Cavaliere: Put out a broadcast. Suspect may be on a bicycle. (to radio)
We need medical transport. Code three ...
CUT TO:
[EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD - DAY]
(Grissom hands out instructions.)
Grissom: Okay, everybody around here has got a video camera or a cell phone camera. They'll all be taking pictures.
Warrick: I think we all know how to operate in front of a camera.
Nick: Don't be caught picking your nose.
Grissom: Catherine's back at the station collecting the officers' g*n. This is the main crime scene. So Nick, you and Sara take this. There's two additional crime scenes down the alleys behind Third. Warrick, you take the west alley, I'll take the east.
Greg: And what do I get to do? Go back to the lab and wait for a phone call?
Grissom: This is a running g*n battle that started twenty blocks back. You get that.
Greg: That's got to be, like, a mile? Who's with me?
Sara: A bunch of pissed-off locals with sh*t-up cars.
(Sara picks up her kit.)
Greg: Awesome.
Warrick: You'll be all right.
(They all pick up their kits and head in the direction of their assignments.)
CUT TO:
[EXT. ALLEY BEHIND THIRD (EAST) - DAY]
(Grissom arrives at the alley and puts his kit down. David Phillips is already there with the body. The coroner and an officer stand nearby.)
(Grissom puts evidence marker #12 down next to the b*llet casing and snaps a photo.)
David Phillips: Grissom?
(Grissom picks up his kit and moves to the next casing.)
David Phillips: Heard anything about Bell?
Grissom: He died, David.
(Grissom puts his kit down and puts evidence marker #13 next to the g*n.)
Grissom: (to the officer) Is this g*n in its original position?
Officer: The arresting officers kicked it clear of the suspect.
(Quick flashback to: Ricardo Estevez and standing in front of the fence is holding a g*n in his hand. He's sh*t several times and drops the g*n. Brass kicks the g*n aside.)
(End of flashback. Resume to present.)
Officer: Nobody's touched it since I've been here.
(Grissom snaps a couple of photos.)
David Phillips: Well, there's no b*llet holes in the back. That's always good.
Grissom: How many times was he h*t?
David Phillips: I don't know. Officer, can you remove these handcuffs?
Officer: Sure.
(The officer steps forward to remove the handcuffs. Grissom picks up the g*n and looks at it. He removes the g*n's cartridge.)
Officer: (to David Phillips) You have anything I can wipe these off with?
David Phillips: Yeah.
(David hands the officer something.)
Officer: Thanks.
(The officer stands up and walks over to the side. Grissom gets up and walks over to David Phillips, who is rolling the body over.)
David Phillips: Looks like three went in.
Grissom: All right, leave him here, David. Warrick's DB's in the other alley just over there.
(Grissom looks up and sees a couple of people peering through their second floor window from a building nearby.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Sofia sits in the hallway chair, nervously wringing her hands together. Brass enters at the end of the hallway and sees her. He walks over to her.)
(Undersheriff McKeen intercepts Brass.)
Undersheriff McKeen: You did a hell of good job out there.
Brass: Yeah, not good enough. Has Bell's wife been notified?
Undersheriff McKeen: The sheriff's on his way to the house now.
Brass: You know, she's pregnant with their third kid.
Undersheriff McKeen: We all know the risks.
(Undersheriff McKeen leaves. Brass walks over to Sofia.)
Brass: Hey ...
(He sits down next to her and sighs.)
Brass: (softly) I remember my first sh**ting ...
Sofia Curtis: (interrupts) I appreciate the sentiment. We're not supposed to talk to each other till we give our statements.
Brass: You're right, you're right.
(An officer walking down the hall points to Brass.)
Officer: You're up. Curtis, make yourself comfortable.
Brass: Okay.
(Brass stands up.)
CUT TO:
[INT. POLICE DEPARTMENT - CONFERENCE ROOM - DAY -- CONTINUOUS]
(Detective Ortega turns the tape recorder on and puts it in the middle of the table. Catherine is in the room as they interview Brass.)
Nestor Ortega: This is Detective Nestor Ortega. I am in PD interrogation taking a statement from Captain James Brass regarding the officer-involved sh**ting that occurred around 0643 hours this morning. CSI Catherine Willows is present to document and collect Captain Brass's firearm as evidence.
(Brass puts his g*n on the table. Detective Ortega pushes the tape recorder forward.)
Nestor Ortega: Ready?
Brass: Yeah.
Nestor Ortega: You're not a patrol unit. Why did you get involved in the pursuit?
Brass: Detective Curtis and I were just closing a robbery case and, uh, we stopped for a bite to eat.
(Quick flashback to: [HOT DOG VENDOR - DAY] Sofia and Brass are getting their hot dogs when they hear the dispatch on the radio.)
Dispatcher: ... All units in the vicinity. Three- David-34 is in pursuit of a dark Chevy Caprice southbound of Paradise toward Desert Springs.
(Brass looks around.)
Brass: That's right near here.
(They run to their car and get in.)
(End of flashback. Resume to present.)
Brass: We joined the pursuit on Desert Springs.
Nestor Ortega: So you elected to back up the officers.
Brass: Yes.
Nestor Ortega: Were the suspects sh**ting at the time?
Brass: Yes.
Catherine: Could you tell the types of firearms they were using?
(Quick flashback to: [THE CAR CHASE] g*n erupts from the dark Caprice in front of them. End of flashback.)
Brass: Well, the two guys in the back had r*fles, maybe AK's. The other two had g*n. I'm not sure what type.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
(A news helicopter flies overhead.)
Reporter: (V.O.) We're flying over Third Street where just this morning police were involved in a deadly sh**t.
CUT TO:
[EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD - DAY]
(Sara and Nick are putting plastic rods in the b*llet holes of one of the police cars, C9538.)
Nick: Looks like a porcupine.
Sara: There's not enough room between rods for a human being to fit.
Nick: No, Bell and Adams must have really been swerving and weaving.
(Quick flashback of: [THE CAR CHASE] The officer car is weaving left to right as it chases the dark Caprice. End of flashback.)
Sara: Seventy-eight b*llet holes.
(She looks down at the bloodstain on the road.)
Sara: And Bell wasn't h*t until he was outside the car.
Nick: I heard Bell was a rookie, barely off training. It was just his time, I guess, huh?
(Nearby, the coroner walks past Vartann.)
Coroner: Suspect will be getting a ride with the coroner.
Vartann: A little street justice. Civilians okay?
Coroner: Some old lady's going to need stitches. The kid on the bike's critical in surgery.
(The coroner leaves. Vartann looks at Sara and Nick.)
Vartann: You guys okay here?
Nick: I'll call and have the suspect's vehicle towed to CSI.
Sara: I'm going to start digging b*ll*ts out of people's houses.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass continues.)
Brass: I was just reloading and continuing f*ring. I don't know what h*t him.
(Quick flashback to: [sh**t] Brass is f*ring. He sh**t and hits Leandro Chavez in the thigh. Leandro Chavez goes down, his g*n on the ground. End of flashback.)
Brass: b*ll*ts were flying. There were multiple rounds. It was chaos.
Nestor Ortega: At what point did Carroll and Davis go in foot pursuit after the two suspects?
Brass: After the driver went down, the other suspect, I guess he felt it was getting too hot back there.
(Quick flashback to: Salvator Rosario yells for the others to go. End of flashback.)
Catherine: And they were sh**ting the entire time?
Brass: Oh, yeah. I mean, it was like, you know, those movie g*n; they never run out of b*ll*ts.
Nestor Ortega: I don't go to the movies.
Brass: Oh.
Nestor Ortega: What happened next?
Brass: The next thing I remember ... the next thing I remember is Bell. Bell went down.
(Quick flashback to: Officer Bell is h*t in the neck and falls backward. He hits the ground. End of flashback.)
Brass: He was ... he was just a kid.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
(A news helicopter flies overhead.)
[EXT. STREET (MAIN CRIME SCENE) -- JEFFERSON AND THIRD - DAY]
(A loud crowd of neighborhood residents shout angrily from the crime scene tape.)
Man In Crowd: (shouts) (in Spanish)
(Nick turns around.)
Nick: Are they saying what I think they're saying? (He repeats the phrase to Detective Cavaliere in Spanish.)
Chris Cavaliere: Yeah. They claim this other cop sh**t the suspect in the back. And not to mention there's a news leak in the hospital.
Man: See! Another one got k*lled! Where's ...
Chris Cavaliere: Hey! Let us do your job here, okay?
Woman: Mi hija vio a sus policias disparle a un nino en la espalda.
Nick: Senora, donde esta su hija, huh? Queremos hablar con ella.
Woman: La policia se la llevo.
Nick: Usted vio algo de lo que paso? No? (to Cavaliere) Nobody saw anything.
(looking at the a*t*matic w*apon he's holding) I don't think this is police issue.
Chris Cavaliere: Look, these folks were suspicious of the cops long before this happened. Now this is how your circle stories get started.
(Nick checks the a*t*matic w*apon.)
Nick: The story keeps changing till you don't know what the truth is or whose story it was to begin with.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass continues.)
Brass: So, uh, so the suspects saw that we were kind of distracted helping Bell, and they took the opportunity. I went on foot pursuit, you know. They, uh ... I can't run as fast as I used to, I mean, so I lost them. But that's when I heard the two sh*ts. I think ... No, I heard sh*ts coming from ... the east.
Nestor Garcia: How many?
Brass: Three.
(Quick flashback to: Brass is in the alley. He hears four g*n, turns and heads in that direction.)
Officer: (o.s.) Get down!
(End of flashback. Resume to present.)
Brass: Four. And they sound a lot louder than a nine-millimeter.
(Quick flashback to: [EXT. ALLEY BEHIND THIRD (EAST) - DAY] Brass enters the alley. Officer Carroll has his back to the suspect, Ricardo Estevez, who suddenly has a g*n in his hands. Four sh*ts ring out. End of flashback.)
Catherine: The suspect had a g*n in his hand.
Brass: Oh, yeah, definitely. I kicked it away when I cuffed him.
Catherine: Did you f*re any sh*ts in the alley?
Brass: I didn't have to.
Nestor Ortega: Captain, hand over your firearm to CSI Willows.
(Brass takes the g*n out of his holster and gives it to Catherine. She checks the g*n.)
Catherine: Any magazines?
(Brass looks at his empty holster.)
Brass: Uh ... I must have used them..
(One b*llet pops out of the chamber.)
Catherine: Captain Brass's service p*stol was received with an empty magazine and one live round in the chamber.
Brass: Well ...
Nestor Ortega: It'd be smart to have a*mo before you go running into a g*n.
(Brass shakes his head and wisely stays quiet.)
CUT TO:
[EXT. ALLEY BEHIND THIRD (EAST) - DAY]
(Grissom holds up the bagged g*n and shows it to Vartann.)
Grissom: I didn't find any cartridge casings in this alley from the d*ad guy's g*n. Just these three nine-millimeters from our cop.
(Quick flashback to: Officer Carroll fires three times. Ricardo Estevez is h*t and falls back against the wire mesh fence. End of flashback.)
Vartann: So he must have been out of a*mo.
Grissom: Yeah, but he had to know that he'd get sh*t holding a g*n whether it was loaded or not. Why didn't he just toss it?
Vartann: Maybe he didn't know he was out. Heat of the battle. I mean, we're not talking rocket scientists.
Grissom: That doesn't make him suicidal, though, does it?
CUT TO:
[INT. CSI - HALLWAY / FORENSIC AUTOPSY - DAY]
(David Phillips and Robbins push the gurney with the d*ad body into the forensic autopsy room. Robbins looks up and sees Sergeant Adams walking toward them.)
Robbins: Sergeant Adams, I'm sorry for your loss. If you'd like a few minutes to say good-bye ...
(Sergeant Adams walks past Robbins and goes into the forensic autopsy room. David Phillips walks out.)
(Adams stops in front of the table with the body on it. He looks up at David Phillips and Robbins. They leave him and walk out of view.)
Sgt. Adams: Okay, partner ... I guess I was pretty rough on you. Maybe not rough enough. You're the best rookie I ever trained. I have to leave you now. I'll, uh, I'll talk to Tracy. Try to make her understand. Drop in on the kids. You were a good cop.
CUT TO:
[INT. HOSPITAL - HALLWAY OUTSIDE CCU]
(Chris Cavaliere and Undersheriff McKeen stand outside the windows in the hallway looking in on the teenager inside.)
Chris Cavaliere: Geraldo Zamesca. High school football star. Full scholarship to USC. Got a b*llet lodged in his spine. Condition's critical.
Undersheriff McKeen: Can we get the b*llet?
Chris Cavaliere: Not unless his condition improves or he dies. SWAT guys going house-to-house breaking down doors. They're the ones who found him. They were going to blame us for this, too.
Undersheriff McKeen: CSI's processed the scene?
Chris Cavaliere: Not much to process. Some blood stains off the ground nine-millimeter cartridge case.
Undersheriff McKeen: Cops are sh**ting nines. Guilty until proven innocent.
(Off to the side, we hear Geraldo's parents.)
Danilo Zamesca: (to the doctor) This is my wife, Geraldo's mother. We want nothing but the best for our son. That means we will decide if you go in and get the b*llet, not the police.
(Danilo Zamesca looks at McKeen and Cavaliere.)
Danilo Zamesca: You got that?
(The Zamescas enter the room. McKeen glances back at Cavaliere.)
Undersheriff McKeen: Kid's family?
Chris Cavaliere: (nods) Yeah. Danilo Zamesca, a local business man that lives in the 'hood, but dines uptown.
(McKeen closes his eyes and shakes his head.)
CUT TO:
[EXT. NEIGHBORHOOD BUILDING (STOCK) - DAY]
[INT. TORRES' APARTMENT -- DAY]
(Sara is inside a second floor apartment of a building near the sh**ting. She snaps some photos of the window.)
(Mrs. Torres is upset. She has her two young children - a boy and April -- in front of her.)
Mrs. Torres: Perro porque la policia le disparo aqui nuestra casa? Nosotros no hicimos nada. Porque la policia nos disparo?
Sara: I-I'm sorry. I don't speak Spanish.
(Sara walks past her as she tries to work.)
Mrs. Torres: Que... no entiende, que ... nos hubiera matado. Die algo para que ella entienda.
April Torres: She wants to know why our house got sh*t at.
(Sara turns around and looks at April.)
Sara: I don't have the answer to that. I'm sorry.
Mrs. Torres: Que? Es que usted no me puede decir nada? No vio lo que hicieron? Que si fueran mis hijos? Que voy hacer sin mis hijos?
(She kneels down in front of her children, scared for them, and she cries. April turns and looks at Sara.)
(Sara finds something embedded in the wax candle on the shelf.)
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(Hodges scrapes the side of the g*n handle and puts it in a bindle as Bobby Dawson watches.)
Bobby Dawson: So, what do you think that is?
Hodges: Well, it's not blood, it's not rust.
Bobby Dawson: Where did Grissom find that?
Hodges: In an alley off Third.
Bobby Dawson: 'Cause see, those scrapes and gauges look like road rash. Like when you toss a g*n out of a moving car.
(Quick flash of: As a car passes by, tires screeching, a g*n is tossed out of the moving car's window. End of flash.)
Hodges: You'd be the one to know about rashes.
(Hodges turns and leaves.)
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Nick dusts the car passenger door for prints.)
(Dissolve to: Nick dusts the glove compartment for prints.)
(Dissolve to: Nick dusts the dashboard for prints. He finds some prints on the dashboard.)
CUT TO:
[EXT. ALLEY BEHIND THIRD (WEST) - DAY]
(The coroner and David Phillips wheel out a body on the gurney. As they head for the coroner's van, a woman and a man scream loudly from the crime scene tape.)
"STUCKEY" ROSARIO'S BROTHER: That's my brother, man! What'd he do?!
Mrs. Rosario: My baby!
(Mrs. Rosario ducks under the tape and runs toward the gurney. Warrick is standing at the back of the open SUV when he hears the woman. He turns around.)
Mrs. Rosario: (distraught) My baby! You k*lled my son! My baby! You cops m*rder my son!
Warrick: Miss ...
Mrs. Rosario: You m*rder my son!
Warrick: Calm down, okay? I'm sorry for your loss. I'm with the Crime Lab. Talk to one of the detectives. Miss ...
(Mrs. Rosario starts hitting Warrick.)
Mrs. Rosario: I don't need to!
(Warrick grabs the woman's hands to stop her. She turns around and shouts to the crowd behind the tape.)
Mrs. Rosario: Look, police brutality! He's hitting me!
(Her son, standing behind the tape, ducks under the tape and runs toward them.)
Warrick: Can I get some backup here, please?
(Mrs. Rosario continues screaming.)
("Stuckey's" brother reaches Warrick and punches him in the face. The officers rush to assist and grab the man.)
Officer: You're under arrest.
(The officers grab Mrs. Rorasio and her son and move them back toward the tape. The woman glares at Warrick.)
Mrs. Rosario: Now you want my other son, huh? Is that what you want?
Warrick: I just want to do my job here.
Mrs. Rosario: What, lie for the Police Department?
(Warrick checks his jaw.)
Warrick: (to the officer) Can we lock this place up and move that crime tape down another block?
Officer: (to radio) Officer Mitchell, come into the west alley. Bring two uniforms with you.
Voice: (from radio) That's affirmative.
Officer: (to Warrick) These people think if they catch us doing something wrong, they sue and win the lottery.
Warrick: Yeah. We don't do anything wrong, we got nothing to worry about.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[TV MONITOR]
(On the television monitor, Danilo Zamesca gives a press conference.)
Danilo Zamesca: (from tv) My son should be in school today. He should be playing football.
INTERCUT WITH:
[EXT. STREET CORNER - DAY - CONTINUOUS]
(The press conference is taking place out on a street corner outside a building.)
Danilo Zamesca: Instead, he's lying in a hospital bed. Why? Because the cops decided to sh**t first and ask questions later.
[INT. CSI - FORENSIC AUTOPSY - DAY]
(David Phillips takes fingerprints off one of the g*n.)
Danilo Zamesca: (V.O.) Anybody remember the last time the police had a running g*n battle down the strip? No? That's 'cause it's never happened.
[EXT. STREET CORNER - DAY - CONTINUOUS]
Danilo Zamesca: Summerlin? Never. Seven Hills? No way. But down here, hey ...
[INT. HOSPITAL GERALDO'S ROOM - DAY]
(Mrs. Zamesca cries as she sits next to Geraldo's bed.)
Danilo Zamesca: (V.O.) My son, Geraldo, was a good boy. He was a great football player. Fearless out there. He had a chance to do something with his life.
[INT. CSI - PRINT LAB - DAY]
(Nick runs the prints found in the car through the database.)
Danilo Zamesca: (V.O.) To be better than his father. And now ...
[EXT. STREET CORNER - DAY - CONTINUOUS]
Danilo Zamesca: I may outlive my son. Because the police sh*t him before he could tell them who he was.
[INT. CSI - FORENSIC AUTOPSY - DAY]
(David Phillips snaps photos of the g*n on the tables.)
Danilo Zamesca: (V.O.) Before he could tell them he was an honor student. I want to invite everybody here ...
[EXT. STREET CORNER - DAY - CONTINUOUS]
Danilo Zamesca: ... who cares about what happens in the community to come to Queen of Angels tonight, 6:00 P.M., ...
[INT. CSI - PRINT LAB - DAY]
(The computer beeps. Nick finds a match to the print in the car.)
Danilo Zamesca: (V.O.) ... to pray for Geraldo's life.
(The information on the computer shows:
NAME: JOSE FAUSTO
DOB: SEPTEMBER 28, 1974
AGE: 31 HEIGHT: 5'10"
WEIGHT: 150 LBS EYES: BROWN
RACE: HISPANIC SEX: MALE
HAIR: BROWN
WORK HISTORY:
DRIVER'S LICENSE #:
CRIMINAL HISTORY:
NRS 453.337
DRUG tr*ffick (MARIJUANA)
PROBATION 1 YEAR
NRS 453.3385
POSSESSION OF DRUGS (HEROIN)
STATE PRISON 1 YEAR
NRS 453.336
POSSESSION (NOT FOR SALE) (COCAINE)
STATE PRISON 1 YEAR
NRS 453.337
DRUG tr*ffick (COCAINE)
STATE PRISON 2 YEARS )
COMMENTS:
KNOWN MEMBER OF THE 18TH STREET CHUCOS g*ng.)
Danilo Zamesca: (V.O.) And I want to say out loud, right now, to Sheriff Burdick, this will not stand.
(Nick nods.)
[EXT. STREET CORNER - DAY - CONTINUOUS]
Danilo Zamesca: You, sir, will be held to answer. I mean it. I'm not going away.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(The officers watch the report on the monitor.)
Reporter: (from tv) A police spokesman confirms that department officials are looking into all allegations of brutality and misconduct. Sheriff Burdick could not be reached for comment. Here's what we know so far ...
Officer 1: Nobody gives a crap about a d*ad officer.
Officer 2: I don't see them lighting candles for Bell.
Reporter: (from tv) ... This morning with a car chase. The pursuit ended in a sh**t at Jefferson and Third Street between heavily armed suspects and police.
(Officer Adams turns and leaves the room.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Catherine and Nestor Ortega question Sofia Curtis.)
Catherine: Detective Curtis' service p*stol was received with one magazine containing three live rounds and one live round in the chamber.
Nestor Ortega: During the g*n battle, were you aware of the other officers' positions relative to you?
Sofia Curtis: They were in front of me and ... and to my right. No, my left.
Nestor Ortega: Did you continue to be aware of their positions after the suspect took off running?
(Quick flashback to: [sh**t] Sofia fires at the g*n behind the car. She sees Officer Bell in front of her stand up. End of flashback.)
Catherine: Uh ... Bell was in front of me ... but he was down behind his car.
Nestor Ortega: Do you remember Officer Bell being sh*t?
(Quick flashback to: [sh**t] The g*n in black behind the car has his g*n pointed at the officers in front of him.)
Voice: Get down!
(Sofia fires.)
(Cut to: Officer Bell falls down.)
(End of flashback.)
Sofia Curtis: Um ... s-sorry, what was the question?
Nestor Ortega: I asked if you remember Officer Bell being sh*t.
Catherine: Do you need a moment here?
Nestor Ortega: No, no, that's all right. She's going to do just fine.
Sofia Curtis: Uh ... make sure you check Bell's vest. I think he took one in the chest.
(The door opens and Detective Cavaliere steps inside.)
Chris Cavaliere: Detective Ortega, Catherine, can you step out for a moment?
(Catherine and Nestor Ortega head for the door. Ortega stops by Sofia and whispers to her.)
Nestor Ortega: We're not done.
(They leave the room.)
[INT. POLICE DEPARTMENT - HALLWAY - DAY - CONTINUOUS]
(Catherine, Detective Nestor Ortega and Detective Chris Cavaliere meet in the hallway.)
Catherine: So how are we doing on the suspect that got away?
Chris Cavaliere: Jose Fausto. Identified through prints in the car. He's got a long rap sheet. Dogs lost his scent. SWAT guys checked the building -- nothing. g*ng unit's beating the bushes. Word on the street is we sh*t two unarmed men and a high school kid.
Catherine: We got ID's of all three d*ad suspects. Multiple felonies, drugs, immigration violations. They're all members of the 18th Street Chucos.
Nestor Ortega: Also driving a stolen car, sh**ting a*t*matic w*apon at a police car. These guys aren't exactly altar boys.
Chris Cavaliere: West alley, I got eye-witnesses saw Po-Po plant the g*n. East alley, I got an old lady who swears she saw Ricardo Estevez with his hands raised before he was k*lled.
Catherine: These witnesses credible?
Chris Cavaliere: I don't know.
Nestor Ortega: Listen, if the suspects don't have g*n in their hands, we can't sh**t them.
Catherine: Well, let's not get ahead of the evidence.
Chris Cavaliere: Okay, one more thing. The family of Leandro Chavez is suing the department for wrongful death. Claims we delayed treatment.
CUT TO:
[CGI EFX: CLOSE-UP]
(From inside the thigh, the Kn*fe pierces the skin and cuts through the flesh. End of CGI EFX.)
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins cuts through Leandro Chavez's thigh. He puts the scalpel down and takes the forceps to remove the b*llet.)
[CGI EFX: CLOSE-UP]
(Inside the thigh, the tweezers reach in. End of CGI EFX.)
(Robbins pulls out the b*llet.)
Robbins: Medium caliber b*llet -- transected the femoral artery.
David Phillips: Major artery. Fatal wound.
(Quick flashback to: [sh**t] Leandro Chavez is h*t in his thigh. End of flashback. Resume to present.)
(Robbins points to the body's chest.)
Robbins: Take a look. What's missing?
(David Phillips checks.)
David Phillips: All of the organs seem to be in the right place.
Robbins: Look closer.
David Phillips: Okay. Kidneys are ... a bit pale. Liver is light tan.
Robbins: Right.
David Phillips: Not a lot of blood.
(Robbins nods.)
David Phillips: d*ad at the scene. He bled out.
Robbins: Bingo. The wound was not immediately fatal. It took a while.
David Phillips: This is going to look bad.
Robbins: David, it is what it is.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(The interview with Sofia Curtis continues. Nestor Ortega puts a large map of the community down on the table in front of her.)
Nestor Ortega: Why did you leave a downed officer?
Sofia Curtis: Sergeant Adams told me he had the situation under control. So I went to back up Officer Davis, who ran off in ... this direction. (She points to the map.) I caught up with him here.
(Quick flashback of: [BACK ALLEY] Officer Davis fires his w*apon at the suspect. His g*n locks. End of flashback.)
Sofia Curtis: Davis' slide was locked back. He was out of a*mo.
Catherine: So the suspect had a g*n pointed at Officer Davis.
Sofia Curtis: Of course. That was why I fired.
(Quick flashback of: [BACK ALLEY] The suspect has a g*n pointed at Officer Davis. Sofia fires. End of flashback.)
Nestor Ortega: 100% sure?
Sofia Curtis: Yes.
Nestor Ortega: What did you do next?
(Quick flashback to: [BACK ALLEY] Officer Davis automatically picks up the g*n.)
Sofia Curtis: What are you doing? Put it down.
(He puts the g*n down.)
Officer Davis: Yeah, sorry. I was just trying to secure his g*n.
Sofia Curtis: Okay, he's not going to be using it anymore.
(End of flashback.)
Sofia Curtis: Officer Davis was acting on survival instinct, not training. It was understandable under the circumstances.
Nestor Ortega: I don't think so.
(Sofia leans back in her seat. Catherine turns and looks at Ortega.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(Brass is sitting at his desk, fiddling with his badge. Sofia appears in the doorway. They both look worn and tired.)
Brass: Want a ride?
Sofia Curtis: No, I'm just going to go home.
Brass: You sure?
Sofia Curtis: Yeah.
(Sofia leaves.)
CUT TO:
[INT. CSI - LAB]
(Nick tests the trigger pressure of the g*n.)
(He picks up the second g*n, the a*t*matic. He slides the g*n chamber and finds it a little difficult. He tries again and pauses as he thinks about it.)
[INT. CSI - LAYOUT ROOM]
(Sara puts the various top view photos of the community down on the table. She also has photos of the three d*ad suspects.)
(She finishes putting the three photos down and walks around the table to look at a particular photo. Camera pulls back and we see part of the whiteboard with a layout of Third Street with the positions of everyone marked on it.)
CUT TO:
[INT. POLICE DEPARTMENT - DISPATCH - DAY]
(Catherine goes over the calls and call order with Dispatch.)
Dispatcher (woman): Okay, the first communication I received from three- David-34 was at 06:43:37.
Officer Bell: (from recording) This is three- David-34 requesting immediate backup. New suspect vehicle Adam- Robert- Charlie-208, Nevada, dark Chevy Caprice, four suspects. Suspects are armed.
Dispatcher (woman): (from recording) Copy, three-David-34.
Catherine: What did Bell mean by "new suspect vehicle"? Can you take it back to the last communication before that call?
Officer Bell: (from recording) Control, this is three-David-34. We'll be 487, twelve thousand block of Roosevelt on David-Nora-Charlie-130, Buick Regal.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Catherine and Detective Ortega interview Sergeant Adams.)
Catherine: A 487 is a traffic stop. You were pulling over a Buick?
Sgt. Adams: That's correct.
Nestor Ortega: Why'd you leave the Buick and start following the Caprice?
Sgt. Adams: Didn't leave the Buick. The Caprice cut in.
(Quick flashback to: The dark Caprice cuts in between the officer car and the Buick they're following. End of flashback.)
Nestor Ortega: Why'd he do that?
Sgt. Adams: Don't know. The next thing I know, we were taking f*re. Forgot all about the Buick.
Catherine: Did you see where it went?
Sgt. Adams: I was kind of busy.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. STREET -- DAY]
(Greg is still processing the street, evidence markers litter the roadway. Grissom walks up to him.)
Grissom: Hey! You done yet?
(Greg turns around and stands up.)
Greg: Grissom! Am I on overtime?
Grissom: Of course.
Greg: Did everyone else go home?
Grissom: No. No.
(Grissom looks down at the road with the b*llet casings.)
Greg: Well, I finished about ten blocks so far. That's 98 cartridge cases. Let's see, double-L, 86, that's, uh, 38 b*llet impacts.
Grissom: Good. Pursuit started ten blocks farther down. You're halfway done.
Greg: I've got like three or four hours more work left. Can I have some help?
Grissom: Everybody's busy. I think you missed one.
(Greg sighs and walks away.)
(Grissom notices that on the side of the road is a shiny hubcap.)
(Quick flashback to: The dark Caprice travels down the road and loses a hubcap. End of flashback.)
(Grissom's phone rings; he answers it.)
Grissom: Grissom.
Catherine: Hey. I just interviewed Sergeant Adams. He and Bell were making a routine traffic stop when the Caprice cut in.
(Grissom walks over to the hubcap and notices the Buick logo in the center of it.)
Catherine: The initial vehicle was a ...
Grissom: (interrupts) A Buick?
Catherine: I hate it when you do that.
Grissom: Lucky guess. I'll call you back.
(Grissom hangs up and makes his way back to Greg.)
Greg: How'd you know that hubcap was connected to the case?
Grissom: I'm a trained observer, Greg.
Greg: No, really.
Grissom: How long do you think a perfectly good hubcap like this would sit around out here? There's a freeway on-ramp about two blocks away. Check and see if there's any traffic cams between here and there.
Greg: You know, you scare me sometimes. It's kind of freaky. You ever bet on the ponies?
Grissom: I prefer poker. Horses are hard to control. (Greg nods.) Make sure you document these skid marks.
Greg: (snickers) He said "skid marks."
CUT TO:
[INT. CSI - BALLISTICS LAB - DAY]
(Nick is test f*ring the g*n.)
Nick: Oh-ho-ho! Yeah! That's what I'm talking about.
Warrick: I got over f*ring AK's a long time ago.
(Warrick looks at the revolver.)
Warrick: Hey ... mustache boy, come over here and check this out.
(Nick walks over. Warrick opens the g*n and shows him the jammed b*llet.)
Warrick: Get a load of that.
Nick: Whoa. What are the chances of that happening?
Warrick: Like one in a million.
(Quick flashback to: [BACK ALLEY] Officer Davis fires. The b*llet leaves his g*n and hits Salvator Rosario's g*n right as he's about to f*re. End of flashback.)
Warrick: The b*llet jammed this cylinder. You know, I couldn't clear this g*n at the scene. I should've noticed these b*llet fragments. I guess I got distracted.
(Nick goes back to get the b*llet he test fired out of the water bin.)
Nick: Well, the b*llet had to come from Officer Davis's p*stol ... but if you're the suspect, don't you know your g*n's getting h*t?
Warrick: I think it would have felt like a normal recoil. Besides, it was like the wild west out there.
Nick: You don't have to tell me; I know it was crazy out there. You know, I pulled 78 b*ll*ts out of one car. Davis just got lucky.
Warrick: This suspect had one live round left. It saved Davis's life.
Nick: Well, there you go. Proves he was pointing the g*n at the officer. See you in court; stroke one up for the good guys.
Warrick: We still have to place it in Rosario's hand.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Grissom walks out of forensic autopsy and down the hallway. He walks past Salvator "Stuckey" Rosario's mother and brother sitting in the hallway. Mrs. Rosario looks up as he walks by, but Grissom doesn't notice her. Undersheriff McKeen and Tracy Bell walk up to Grissom.)
Undersheriff McKeen: This is, uh, Gil Grissom from the Crime Lab. This is Officer Bell's wife.
Grissom: Mrs. Bell, I'm so sorry about the loss of your husband -- he was a fine man.
(Mrs. Rosario sobs loudly.)
Tracy Bell: Why are they crying?
Undersheriff McKeen: Um, why don't I drive you home.
Tracy Bell: They're crying for the man that k*lled my husband.
Mrs. Rosario: What did you say?
Tracy Bell: You heard me. (McKeen leads Mrs. Bell toward the door.) If you did a better job of raising your son, I wouldn't be here.
(Mrs. Rosario surges to her feet. Her son holds her back.)
Mrs. Rosario: Don't you tell me how to raise my children!
Tracy Bell: You should be ashamed!
Man: (shouts) (in Spanish)
Mrs. Rosario: How dare you! (screams) How dare you!
(McKeen leads Tracy Bell out of the hallway.)
CUT TO:
[INT. CSI - LAB - DAY]
(Catherine is examining Officer Bell's vest. She finds a b*llet hole.)
(Quick flashback to: Officer Bell is sh*t. End of flashback.)
(Catherine feels around in the vest and finds the b*llet.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Grissom walks in putting on a pair of gloves. Warrick is already inside.)
Warrick: You run the gauntlet?
Grissom: Yeah. Ferro-tracing his hands?
Warrick: Yeah. I'm trying to prove Rosario here held the g*n.
Grissom: Good old pyridyiphenyl triazine.
Warrick: I'm hoping this stuff reacts to the traces of iron that may have been left on his skin. It'll further refute any argument that the g*n was a plant.
(Warrick sprays the sh**t's right hand.)
(Quick CGI to: The spray reacts to something on the hand and a black mark appears on his palm. End of CGI.)
Grissom: That could be the back strap of a g*n.
Warrick: Yeah. That would do it.
(Warrick snaps a photo of the mark on the hand.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Det. Cavaliere walks through the hallway when he's stopped by an officer.)
Officer: Detective, do you have a moment?
Chris Cavaliere: Uh, yeah, I'm kind of busy -- what is it?
Officer: I picked up a junkie for possession, outside a fleabag motel off Fremont.
Chris Cavaliere: And what?
Officer: And ... last night, he spotted your sh**t.
(Cavaliere turns and looks at the handcuffed man sitting on the waiting room chairs.)
Chris Cavaliere: Let's talk to him.
(He walks up to the junkie and shows him the photo of the suspect, Jose Fausto.)
Chris Cavaliere: You know this guy?
Junkie: What if I do? What'll it get me?
Chris Cavaliere: He's a cop k*ller. Gets you nothing.
Junkie: Hey, no need to get hostile.
Chris Cavaliere: Hey, man, you don't know what hostile is.
Junkie: Will it at least get me a ride home?
Chris Cavaliere: Come on ...
Junkie: Okay, okay. I-I do a lot of business at the Lucky Seven Motel. And that guy checked in last night. He scored a little something to help get him some sleep. But he didn't pay. He just flashed his piece.
Chris Cavaliere: Nine-millimeter?
Junkie: Yeah. He wanted a ... a girl, and I gave him a number. That dude's bad news. I want to give him to you.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Grissom walks in as Robbins finishes Officer Bell.)
Robbins: Glad you're here. I'd like to get this one off my table. Found a rather large contusion the left chest just below the nipple.
Grissom: Well, that location is consistent with the b*llet Catherine found embedded in his vest.
Robbins: It's like getting kicked by a mule. You'll want to see this. Through-and-through. (He sticks a rod through the b*llet hole in Officer Bell's neck.) Entrance wound just below his left ear, exited below and to the front of his right ear, severing the right common carotid.
(Quick flash to: Officer Bell is sh*t in the neck. The b*llet goes through the flesh, severs the artery and out through the other side. End of flash.)
Robbins: That's your COD. Fortunately, he never felt a thing.
(Grissom stops as he thinks about it.)
Grissom: Left to right, back to front.
Robbins: Mm-hmm.
Grissom: Only cops were sh**ting in that direction.
Robbins: Are you saying Bell was h*t by friendly f*re?
Grissom: Maybe not so friendly.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT MOTEL - DAY]
(The hooker exits the motel room and shuts the door behind her. She leaves the room with money in her hand.)
(As she nears the end of the walkway, she's grabbed and pulled off to the side.)
Chris Cavaliere: Who's in the room?
Hooker: Some john, I don't know.
Chris Cavaliere: Shh!
(He shows her a photo of Jose Fausto.)
Chris Cavaliere: Is that him?
Hooker: Mm-hmm. I couldn't wait to get out of there. He was acting real nervous. (She sees SWAT coming up the stairs.) Now I know why. I took care of him; he's asleep. So you're not gonna bust me, right?
Vartann: Get her out of here.
(The hooker is led down the stairs.)
[INT. MOTEL ROOM - DAY - CONTINUOUS]
(The door bursts open. Jose Fausto is on the bed. He jumps to his feet.)
SWAT: Police! Let me see your hands! Do it now! Get on the floor! Down!
(Jose Fausto gets down on his knees, his hands behind his head. Vartann cuffs him.)
(The SWAT officer checks to see that they have the right man.)
SWAT: That's our guy.
(Warrick walks into the room. He pockets his g*n and picks up the g*n on the counter. He checks it.)
Warrick: He's carrying a nine.
Officer: (o.s.) All clear, sir.
(Warrick looks at the b*llet from the g*n.)
Warrick: We'll run this g*n against the cartridge case from that poor kid on the bike.
(He notices the bike in the room.)
Warrick: I'm guessing you didn't save up for that one, huh?
(Quick flashback to: Fausto runs out into the street, sees Geraldo on his bike and sh**t him twice in the back. End of flashback.)
Vartann: You sh**t an innocent kid in the back just to take his bike? You piece of crap! Get up!
(Vartann pulls Fausto to his feet.)
Chris Cavaliere: Hey, you're gonna wish you kept running. They hate cop K*llers in Vegas, you hear me? Huh?
Jose Fausto: Come on, let me get dressed up first, huh?
Chris Cavaliere: We got a jumpsuit just your size, don't worry.
(They lead him out of the room.)
[EXT. MOTEL - DAY - CONTINUOUS]
(The officers lead Jose Fausto out of the room and down the stairs. There's a small crowd gathered out front the motel.)
Voice: Suspect coming through.
(As they lead him to the car, a sh*t rings out. The b*llet hits Fausto square in the chest.)
(A woman screams.)
Chris Cavaliere: (shouts) Down! Everybody down! Down!
(Officers scramble, their g*n raised and looking around for the sh**t.)
Warrick: Where did that come from?
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x07 - A b*llet Runs Through It (1)"} | foreverdreaming |
FADE IN.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]
Reporter (woman): (V.O.) This is Channel 8 news ...
[EXT. LAS VEGAS CITY (STOCK) - DAY]
(A news helicopter flies overhead.)
Reporter (woman): (V.O.) ... reporting with an update to yesterday's wild police pursuit and sh**t where three suspects and one police officer were k*lled by g*n at Third and Jefferson ...
[EXT. MOTEL - PARKING LOT - DAY]
(Camera close-up of the long, thin line of blood on the asphalt. Camera follows the blood trail straight to Jose Fausto, d*ad on the ground.)
Reporter (woman): (V.O.) ... Shortly after being taken into custody, Jose Fausto, the last suspect, was g*n down by an unknown ...
[EARLIER]
[Scene from 6X07: A b*llet Runs Through It (1)]
(A g*n rings out. A woman screams. Warrick is spattered with blood from Jose Fausto.)
Cavaliere: Down! Everybody down! Down!
(Officers scramble, their g*n raised and looking around for the sh**t.)
(Camera lingers on Jose Fausto, d*ad on the parking lot ground.)
[EXT. MOTEL - PARKING LOT - DAY -- PRESENT]
(Officers tape up the parking lot crime scene. Warrick and Cavaliere kneel down next to the body.)
Cavaliere: Somebody sh*t this guy in front of all these cops? They did not want him talking to us.
Warrick: This was not some doped up drive-by. The sh**t had skill. Just one sh*t went through the ten ring.
Cavaliere: How'd they know Fausto was here?
Warrick: I don't know.
Cavaliere: I bet you he tried to reach out for help, you know? Maybe money or a ticket out of here.
Warrick: I'll check the phone records and see if there was any calls in or out.
Cavaliere: Glad I'm not Vartann. He's got to tell the undersheriff.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY]
(Vartann and Undersheriff McKeen are walking through the hallway as Vartann delivers the bad news.)
Undersheriff McKeen: Are you seriously telling me our only live suspect, a cop k*ller, was g*n down in your custody?
Vartann: I'm sorry to say yes, sir.
Undersheriff McKeen: And you didn't catch the sh**t?
Vartann: That's also correct, sir.
Undersheriff McKeen: Stop calling me sir, you worthless ... (He sighs.)
(They turn and walk into the room.)
Undersheriff McKeen: Where's Grissom?
Conrad Ecklie: He's on his way.
Undersheriff McKeen: All right, let's start without him.
(On the wall monitor are large photos of Jose Fausto, d*ad on the parking lot ground.)
[INT. POLICE DEPARTMENT - CONFERENCE ROOM - DAY - CONTINUOUS]
(Inside the conference room, Nestor Ortega presents his findings to Undersherrif McKeen, Ecklie and Vartann.)
Nestor Ortega: Sergeant Adams and Officer Bell were making a routine traffic stop on a Buick. Before they were able to effect the stop, a stolen Caprice intervened.
(Quick flashback to: [EXT. STREET - DAY]
[All flashbacks are scenes from 6X07: A b*llet Runs Through It (1)]
(A dark Caprice turns in front of the officers.)
Nestor Ortega: (V.O.) Adams said they just cut him off and started f*ring.
(g*n erupts from the dark Caprice.)
(Additional officer cars join behind them.)
Nestor Ortega: (V.O.) They were followed in pursuit by Officers Davis and Carroll and Detectives Brass and Curtis.
(End of flashback.)
Nestor Ortega: The, uh, Caprice TC'd during the pursuit.
(Quick flashback to: The dark Caprice flips over.)
Nestor Ortega: (V.O.) And they just kept f*ring.
(The g*n crawl out of the car and continue f*ring at the officers.)
(End of flashback.)
Vartann: We got three of them off of prints. Priors for narcotics and connections to the Mexican mafia.
Conrad Ecklie: And additional set of prints from the Caprice came back to Jose Fausto, the guy sh*t at the motel.
Undersheriff McKeen: I've heard enough about him. Why would these knuckleheads pull in front of a police car making a traffic stop and engage us in a g*n?
Nestor Ortega: If the Buick was moving drugs, maybe the Caprice was providing security, keeping the cops and rival g*ng members away.
Conrad Ecklie: We don't have the Buick, so there's no evidence to confirm that.
Undersheriff McKeen: Well, if these guys were a bunch of drug-dealing thugs, why on the news were they unarmed and we sh*t 'em in the back?
Conrad Ecklie: Because that's what the eyewitnesses are saying.
Undersheriff McKeen: Oh. And that we sh*t an innocent high school kid riding his bike.
Conrad Ecklie: Uh, Ricardo Estevez, male Hispanic, 22, sh*t in the alley east of Third.
(Ecklie circles the area on the map on the table.)
(Quick flashback to: [ALLEY BACK OF THIRD (EAST) - DAY] The g*n in a white t-shirt is sh*t.)
Conrad Ecklie: (V.O.) Three entrance wounds to the front torso, none to the back.
(End of flashback.)
Conrad Ecklie: Ballistics matched the b*ll*ts to Sergeant Carroll's g*n. Recovered a .45 auto next to the body.
(The overhead shows evidence marker #14 next to a g*n by the body.)
Nestor Ortega: Captain Brass states the suspect had it pointed at the sergeant when he came around the corner.
Vartann: Now, we have eyewitnesses who claim that they saw the suspect with his hands raised just before he was sh*t.
Undersheriff McKeen: Can we resolve this?
Nestor Ortega: Sergeant Carroll partially confirms eyewitness accounts. When Captain Brass approached, he momentarily took his eyes off the suspect. When he looked back, the suspect was holding a g*n.
Vartann: Probably pulled it from his waistband.
Conrad Ecklie: There's no evidence to place the g*n in the suspect's hand at that point.
Undersheriff McKeen: What about the guy in the other alley?
(He circles the area on the satellite surveillance photos.)
(Camera zooms into the photo for a flashback: The g*n in the black t*nk is sh*t.)
Conrad Ecklie: (V.O.) Salvador Rosario, 19, also sh*t in the front.
(End of flashback.)
Conrad Ecklie: Autopsy's pending. Chemical tests show that he held a g*n. You're not going to believe this. A b*llet from Officer Davis' g*n h*t the suspect's revolver, jamming the cylinder.
Undersheriff McKeen: That would mean the revolver had to be pointing at Officer Davis.
Vartann: There are several eyewitnesses who claim that they saw him plant the g*n on the body.
Nestor Ortega: It wasn't planted. It was mishandled.
Undersheriff McKeen: Mishandled by who?
Nestor Ortega: Contrary to policy, Officer Davis prematurely picked up the g*n.
(Quick flashback to: [ALLEY BACK OF THIRD (WEST) - DAY]
(Officer David picks up the g*n.)
Nestor Ortega: (V.O.) Detective Curtis instructed him to set it back down, which he did.
Sofia Curtis: What are you doing? Put it down.
Officer Davis: Sorry, I was just trying to secure his g*n.
(End of flashback.)
Conrad Ecklie: An eyewitness seeing that certainly could misinterpret it as planting a g*n.
(Grissom walks in.)
Undersheriff McKeen: : Please tell me you've got some good news.
Grissom: I have the autopsy findings on Leandro Chavez. He died of survivable wounds. Bled out at the crime scene waiting for transport.
(Quick flashback to: Leandro Chavez is sh*t in the thigh. He talks to the officer watching him.)
Leandro Chavez: Dame una ambulanica quey.
Officer: I don't speak Spanish.
(End of flashback.)
Vartann: There's justification for this.
Undersheriff McKeen: I can't wait to hear what that is.
Vartann: Paramedics prioritized transport of the injured. Downed officer first, civilians next. By the time they got to the suspect, he'd passed on. You know, just a little retroactive birth control.
Conrad Ecklie: See, this is the problem that the community has with us. You don't speak Spanish, so you think they don't speak English and then when you run your mouth ...
Undersheriff McKeen: All right, keep on point here. Which one of these buttheads sh*t Officer Bell?
Grissom: We have reason to believe that Officer Bell was k*lled by friendly f*re.
(Quick flashback to: Officer Bell is sh*t and falls to the ground. End of flashback.)
(Various photos of Officer Bell on the ground at the crime scene are shown overhead.)
Grissom: It was a through-and-through, and we haven't recovered the b*llet yet. It's a big crime scene.
Undersheriff McKeen: Unacceptable. Get back out there and find that b*llet. I don't care if it takes everybody you got working around the clock.
Grissom: I said we haven't found it yet. I didn't say we weren't looking.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(Grissom and Undersheriff McKeen are walking through the hallway.)
Undersheriff McKeen: Just do whatever it takes to find that b*llet. Don't worry about the overtime. (He glances at his watch.) As soon as day shift comes in, I'll send them out, too.
(Undersherrif McKeen leaves down the hallway. Grissom meets up with Bobby Dawson and they continue down the hallway.)
Bobby Dawson: Hey, Grissom. So Warrick recovered a nine-millimeter p*stol from Fausto's motel room, and I matched it to the cartridge case from the kid in the hospital. I also found the kid's bike there.
(Bobby Dawson turns the corner and leaves. Grissom walks into his office.)
[INT. CSI - GRISSOM'S OFFICE - DAY - CONTINUOUS]
(Grissom mutters to himself.)
Grissom: sh*t him in the back for his bike. Great.
(Grissom moves behind his desk.)
Sofia Curtis: (o.s.) Hey.
(Grissom looks up and sees Sofia in his office.)
Sofia Curtis: I left you a couple of messages.
Grissom: Oh, yeah ... I haven't gotten to them yet. Sorry. You're on administrative leave, though. You should be home getting some rest.
Sofia Curtis: Yeah, I tried. But I ... can't stop thinking about this ... this Bell sh**ting.
Grissom: It's understandable.
Sofia Curtis: Grissom, I think there may be a possibility that maybe ... I sh*t him.
Grissom: Sofia ... we can't discuss the investigation.
Sofia Curtis: (interrupts) It's, it's something I remember when I was giving my statement.
Grissom: Then it's already on the record.
Sofia Curtis: No, something I didn't mention.
Grissom: Sofia ...
Sofia Curtis: (interrupts) Please listen to me. Bell was between me and the suspect. I was sh**ting over his cover, which is a violation of policy.
(Quick flashback to: [g*n] Sofia is f*ring her g*n. Officer Bell falls to the ground. End of flashback.)
Sofia Curtis: I was, I was just trying to stay alive. But if I did it, I ...
(Sara walks into Grissom's office.)
Sara: Hey, Grissom, I have a question.
(She stops when she sees Sofia.)
Sara: Sofia? You're on administrative leave.
Sofia Curtis: I know.
Sara: You should not be in this building.
Sofia Curtis: I was just talking to a friend. If I can't talk to a friend, who the hell am I supposed to talk to?
Sara: Any friend outside the department.
Sofia Curtis: And how many friends outside of work do you have, Sara? Maybe I should go talk to my mother. Oh, no, sorry. I forgot. She's a cop, too.
Sara: I can recommend a departmental psychologist.
Sofia Curtis: All right, then. This was a really bad idea. I'm sorry.
(Sofia turns and leaves the office.)
(Sara turns and looks at Grissom.)
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]
[EXT. MOTEL - PARKING LOT -- DAY]
(Detective Cavaliere walks over to Warrick.)
Chris Cavaliere: Hey, listen. One of the officers searching for the sh**t found an expended cartridge up there on the seventh floor.
(He points to a building across the street. Warrick looks down at the bloodstain on the ground, then back up at the building.)
Warrick: That would put him in the right position.
(Cavaliere is already moving in that direction. Warrick follows him.)
Chris Cavaliere: Freemont Street's not far. It makes for an easy escape.
CUT TO:
[INT. MOTEL ACROSS THE STREET -- HALLWAY / ROOM -- DAY]
(Detective Cavaliere and Warrick walk through the hallway. They pass by the officer standing outside the door of the room where the cartridge was found.)
Warrick: (to the officer) Good job.
(They walk through the main room and into the bedroom. There, on the floor is the cartridge.)
(Warrick looks at the cartridge, then out the window. It's an unobstructed view to the parking lot.)
Warrick: Nice.
(He puts a ruler down next to the cartridge and snaps some photos of it before picking it up.)
Warrick: .223 Remington. Most likely from a semi-auto.
Chris Cavaliere: Didn't even bother to pick it up.
Warrick: Yeah. Wasn't afraid of getting caught. I'll give it to Bobby. Have him run it through IBIS. See if the g*n was used before.
CUT TO:
[EXT. MOTEL - PARKING LOT -- DAY]
(Out in the parking lot, the area is bustling with observers and officers.)
Cavaliere: (over radio) Vartann, this is Cavaliere. We've recovered an expended .223 cartridge case from a building overlooking the motel. It's on its way to the lab now. Scene here is secure. Patrol just called. They found a 411-a behind 5203 Maryland Parkway. Sounds like it might be the Buick Regal. I'm going to head over there now.
(Inside the car, Brass is listening to the police band radio.)
CUT TO:
[EXT. ALLEYWAY -- DAY]
(Officer cars block the alleyway. In the center is a smoking car b*rned to a crisp.)
Chris Cavaliere: Buick Regal, no plates. You run the VIN?
Patrol Officer: Yeah. It came up stolen.
Chris Cavaliere: Yeah. It's a good chance this is the car we're looking for.
(He looks inside.)
Chris Cavaliere: Yep. Torched it to destroy any evidence. Let's get this thing towed back to the lab, okay?
Patrol Officer: You got it.
CUT TO:
[EXT. STREET - DAY]
(Sergeant Adams is with Nestor Ortega and Catherine. They're walking through the EASY AUTO PARTS parking lot as Sergeant Adams shows them what happened.)
Nestor Ortega: Sergeant Adams, this is your standard after-sh**ting walk through, okay? Now I want you to describe to us exactly what happened yesterday morning.
Sgt. Adams: We were southbound on Roosevelt. Bell observed a male and female Hispanic having a domestic dispute.
Catherine: Where were they?
Sgt. Adams: Over in that last spot.
(Quick flashback to: A man grabs a pregnant woman by her hair and pushes her into he car.)
Sgt. Adams: (V.O.) They got out of a green Geo Metro. Walked this way. By the time we'd turned around, they'd gotten into the Buick Regal.
(End of flashback.)
Sgt. Adams: They were driving away. She was pregnant, about to pop, just like Bell's wife. He said we should pull 'em over.
Nestor Ortega: Which way'd they go?
Sgt. Adams: Southbound on Roosevelt. As soon as we turned on Desert Springs, the Caprice cut us off.
Nestor Ortega: Okay, thanks. Hey, hang around for about a minute or two, okay? I'll give you a ride home.
(Sgt. Adams steps aside as Ortega turns to Catherine.)
Nestor Ortega: Your thoughts?
Catherine: I wonder if that camera works.
(Catherine points to the security camera nearby. Ortega turns to look.)
Nestor Ortega: Well, it's worth checking out. Come on. I'll even let you buy me a donut.
(Ortega walks out of camera frame.)
CUT TO:
[INT. CSI - LAB -- DAY]
(The b*ll*ts gathered from the crime scenes are lined up on the table and labeled. Also on the table is a clipboard and photos of the crime scene area.)
(Greg writes down something on one of the photos.)
CUT TO:
(Grissom walks into the lab from the hallway. Greg reports.)
Greg: I got to the end of my road.
Grissom: And?
Greg: Well, the suspect started sh**ting near the intersection of Jefferson and Desert Springs. That's nearly 20 blocks north of the crime scene. All a*mo evidence was 7.62-millimeter casings and b*ll*ts.
Grissom: Only AK a*mo? No police cartridge cases or b*ll*ts?
Greg: Not one out of 233 items. But cops don't get to sh**t car-to-car, only bad guys do, right?
(Hodges walks into the room.)
Hodges: Oh, hey, Greg. Been on vacation? (to Grissom) Look, I know the undersheriff's on your back, so I figured I better get to you quick.
(He shows Grissom the file folder.)
Grissom: Okay, you got to me.
Hodges: Found red clay chips and dust in the gouges on Ricardo Estevez's .45.
(He hands the report to Grissom. The report reads:
RED 7.5 NONE 1.5mn None
9 mm N/A N/A SYNTH
RED CLAY, CONSISTENT OF ROOF TILES, POTTERY
Hodges: He was the guy that was in the east alley with Brass.
Grissom: Red clay chips?
Hodges: Traces consistent with roof tiles and clay pots.
Greg: Who keeps their g*n in a clay pot?
Hodges: That would be no one. Trace evidence is fresh, so it definitely came from the alley. In a crisis, you can always count on me.
(Hodges leaves.)
Greg: Doesn't he bug you?
Grissom: No more so than anyone else around here.
(Grissom leaves.)
CUT TO:
[EXT. MAIN CRIME SCENE -- DAY]
(Various members of Forensics are removing b*ll*ts embedded in walls and other areas. Officers are there looking around and gathering anything that may be a part of the investigation.)
(Sara is sitting in the back of the SUV. Grissom walks up to her. He's got a ladder slung over his shoulder.)
Grissom: Sara? Will you come with me to the east alley, please?
Sara: I thought my top priority as per the undersheriff was finding the b*llet that went through Bell.
Grissom: Well, this is per me. Come on. It'll be fun.
Sara: (shrugs) Okay.
CUT TO:
[EXT. ALLEY BEHIND THIRD (EAST) - DAY]
(Grissom uses a ladder to climb up to examine a roof of a nearby building. He sees some clay roof tiles.)
(Quick flashback to: [LAB - DAY] Hodges scrapes the clay off the g*n handle. End of flashback.)
Grissom: Sara?
Sara: Yeah?
Grissom: Call Hodges at the lab. Have him bring two exemplar .45s out here. I'll get Ortega to bring Brass and Sergeant Carroll.
Sara: Are ... you gonna tell me what's going on?
Grissom: What goes up ... must come down.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. ALLEY BEHIND THIRD (EAST) - DAY]
(Ortega, Brass, Officer Carroll and Hodges are in the alley with Grissom and Sara.)
Grissom: So, where exactly was Estevez standing when you guys saw him?
Brass: Right there, facing this way.
Officer Carroll: That's right.
Grissom: And he had a g*n in his hand.
Brass: He had a g*n in his hand.
Officer Carroll: And I sh*t a, uh, armed suspect who'd been sh**ting at the police, sir.
Grissom: I believe you. But the witnesses may also be right.
Brass: Look, don't make this some intellectual exercise for your own personal amusement.
Grissom: Check it out. Hodges, stand over here.
Hodges: Yes, sir. (Hodges moves to position.) Right here.
Grissom: See that roof?
Hodges: It's red clay.
Grissom: Toss one of the g*n up there.
Hodges: Actually, they're Bobby Dawson's g*n. He made me sign for them -- I'm sure he wouldn't appreciate if we brought them back damaged.
Grissom: Technically, they're my g*n -- so toss one up there.
Hodges: Just for the record, I've never really been good at sports.
Grissom: Sara?
Sara: Yeah.
(Sara moves into position. Hodges gives her one of the g*n. She tosses the g*n up onto the roof.)
(Quick flashback to: Ricardo Estevez partially climbs the fence and tosses the g*n up onto the roof. It stops there. End of flashback.)
Nestor Ortega: How does that prove the guy tossed the g*n up there? You recovered it from the ground.
Grissom: There's a cracked tile up on the roof. I found a series of scratches stretching from the cracked tile to the end of the roof.
Hodges: I found scratches and red clay dust in the suspect's 5.
Grissom: It explains how the witnesses could see Estevez with his hands up, and Sergeant Carroll then saw him with a g*n in his hand.
Nestor Ortega: The g*n's still up there.
Grissom: Sara ...
(Hodges hands Grissom the second g*n.)
Grissom: Try it again.
(Sara tosses the g*n up onto the roof.)
(Quick flashback to: Officer Carroll turns into the alley and runs toward Ricardo Estevez, who is partially up the fence.)
Officer Carroll: Stop! Police! Get down!
(Ricardo Estevez climbs down the fence.)
Officer Carroll: Don't move.
(Officer Carroll hears a sound and turns to see Brass enter the alley behind him. The g*n slides down the roof and Ricardo catches it.)
(Officer Carroll turns back to see Ricardo holding the g*n. He's sh*t several times.)
(End of flashback.)
(Just then, the g*n Sara threw up the roof slides down. She catches it.)
(Brass and Officer Carroll both sigh.)
Grissom: There you have it.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Catherine and Ecklie are reviewing the donut shop security video.)
(On the video, the Buick Regal enters the parking lot and parks.)
Catherine: There's the Geo Metro. There's the Buick Regal.
(The man and the pregnant woman get out of the car.)
Conrad Ecklie: Oh, she's pregnant, all right. Doesn't look like she wants to go with him.
Catherine: He's not giving her much choice. So, just how bad was the meeting with the undersheriff?
Conrad Ecklie: Worse than the dentist. Better than the proctologist.
Catherine: Mm.
(On the video, the man checks the back tire rim.)
Conrad Ecklie: What's he doing?
Catherine: Looks like he's pulling out a hide-a-key.
(Catherine enhances the portion of video.)
Conrad Ecklie: Means the car was waiting for them.
Catherine: Whatever they were about to do, they weren't going to do it in the Metro.
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Nick is looking through the b*rned Buick. Catherine walks in.)
Catherine: Hey, Nick?
Nick: Hey.
Catherine: Have you checked the inside of the wheel wells?
Nick: No. I was having too much fun in here.
Catherine: Oh, yeah, I can see that. Um, well ... since you're already dirty, would you mind checking out the left rear one for me?
Nick: Yeah, sure.
Catherine: Thank you.
Nick: What are you looking for?
Catherine: I am looking for something to hide a key in.
Nick: Okay. Although, most hide-a-keys are held on with a magnet, which would've been demagnetized by the heat of the gasoline f*re.
Catherine: Right.
(He checks and doesn't find anything.)
Nick: Nope.
Catherine: Well, it probably fell off at the location.
Nick: Maybe. Auto transport usually sweeps up the debris. Good luck with that.
CUT TO:
[INT. CSI - HALLWAY / LAB -- DAY]
(Catherine carries the paint pail bucket labeled AUTO DETAIL into the lab.)
(She empties the bucket and goes through the debris from the site.)
(She finds the key holder.)
(She opens it and removes the cover.)
(She puts on some goggles and scans it under the ALS. She finds a print.)
(Quick flashback to: [EXT. PARKING LOT -- DAY] The man puts the key holder back under the tire rim. End of flashback.)
(Camera holds on Catherine.)
CUT TO:
[EXT. SIDEWALK -- DAY]
(Sofia jogs down the sidewalk and is haunted by the memory of the sh**ting.)
INTERCUT WITH:
(Quick flashbacks of: [sh**t] From Sofia's POV, we see Officer Bell's back as he stands up and is h*t by the b*llet. He turns around and looks at her.)
(Officer Bell falls.)
(Sofia continues running.)
Danilo Zamesca: (V.O.) My son was riding his bike to school.
CUT TO:
[INT. HOSPITAL - GERALDO'S ROOM]
(Mrs. Zamesca sits next to her son's bed.)
Danilo Zamesca: (V.O.) Today he's in a coma. But ...
[INT. POLICE DEPARTMENT -- DAY]
(Danilo Zamesca is on tv during a press conference. The officers watch. )
Danilo Zamesca: ... when he wakes up, when he ... opens his eyes again and smiles at his mother, he will see all the ... flowers and cards that he's been sent from total strangers wishing him well and ... praying for his recovery. Sheriff Burdick h-hasn't called. I've left so many messages I've lost count. It's inconvenient, I know, but I have questions. Who did this to my son? Why did they do it? No one wants to answer me? If the cops didn't sh**t him, why won't they talk to me? If I have to go to court to find out, if I have to sue each and every officer involved, I'll do it. I will put the sheriff in front of a jury and get my answers there.
(Out in the hallway, Undersheriff McKeen watches the news report. His phone rings; he answers it.)
Undersheriff McKeen: (to phone) McKeen. Yes, sir. I saw the news. I still think we should wait to issue a statement, at least until the lab has something concrete.
CUT TO:
[INT. CSI - BALLISTICS LAB - DAY]
(Hodges, Bobby Dawson and Sara are in the lab.)
Bobby Dawson: Hodges, it's not so much that these g*n are my babies, okay? It's just that in order to replace them, I got to go to property, got to locate another g*n, fill out all that paperwork, so all I'm saying is, I would appreciate not being left out of the loop, okay?
Hodges: I'm only a soldier in this w*r. The general gave me an order, and I followed it.
Bobby Dawson: Whatever.
Hodges: I've finished checking this batch for trace.
(Warrick steps into the lab.)
Warrick: Bobby, police said they entered my cartridge case from the sn*per into IBIS.
Bobby Dawson: It has become my priority, or so I was informed by Undersheriff McKeen -- give me about an hour?
Warrick: Okay.
(Warrick leaves.)
(Hodges takes a swab from a b*llet. He tests it.)
Hodges: I got blood.
Sara: Where's it from?
Hodges: Expended b*llet, Torres house, candle in the living room.
Sara: That's our through-and-through.
Bobby Dawson: Looks like a copper-jacketed nine-millimeter, consistent with cop a*mo.
(Quick flashback of: [sh**t] Various cuts of the officers sh**ting. Officer Bell is h*t. He grunts from the impact.)
(CGI EFX: The b*llet zooms through Officer Bell and across the street and into the Torres' window. It smashes through the glass, goes through the living room and hits the candle on the shelf, embedding in the wax.)
(End of flash.)
Sara: Brass, Sofia, Adams, Davis and Carroll were all sh**ting nines. Compare it with their firearms ASAP. I'm gonna go tell Grissom.
(Bobby nods.)
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Grissom walks up to the b*rned Buick and looks at it. Nick notices him.)
Nick: Looking for something?
(Grissom holds up the bagged hubcap.)
Grissom: At least this car still has a nice hubcap.
Nick: Where'd you find that?
Grissom: On the pursuit route, Jefferson, about ten blocks north of Third.
Nick: (nods) Well, I've been through this car twice. There's no evidence of cartridge casings, blood, drugs of any kind. So there was nothing here to begin with, they cleaned it out pretty good before they torched it.
(Sara enters the room.)
Sara: Hey, Nick, Grissom. We found the through-and-through b*llet. Bobby's doing a comparison. I sent a sample of blood to DNA.
(Grissom sighs.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. DINER -- DAY]
(Sofia sits at a table staring out at nothing.)
Brass: (o.s.) Hey.
(She looks up as Brass joins her.)
Brass: I'm glad you called. I've been thinking about you.
Sofia Curtis: Good. Yeah, I wasn't sure.
Brass: How you doing?
Sofia Curtis: I've gone a little crazy.
Brass: Yeah. It's the waiting.
Sofia Curtis: Yeah.
Brass: You know, I've beensuspended or disciplined like six or seven times, and it's always the same, the waiting. What you never forget is that you know a police officer lost his life.
(Quick flashbacks of: [sh**t] From Sofia's POV, we see Officer Bell's back as he stands up and is h*t by the b*llet. He turns around and looks at her.)
(End of flashback.)
Sofia Curtis: I have seen it so many times, I don't know if it's real or not.
(Quick flashback of: Officer Bell falls. End of flashback.)
Sofia Curtis: Jim, it's like he's looking at me -- like as if he ... as if he knew.
(Quick flashback of: Officer Bell falls. End of flashback.)
Brass: Sofia, you got to get it out of your head; that's poison.
Sofia Curtis: You telling me you're not thinking about it?
Brass: Oh, I'm thinking; I'm thinking about a lot of stuff.
(On the television monitor over the counter, the coroners remove a body on a gurney. The body is covered with a white sheet.)
(Sofia can't take her eyes off the TV. Brass turns to see what she's looking at.)
Reporter: (from tv) ... an officer k*lled in the cross-f*re ...
(Brass takes a sip from his cup.)
Brass: Let me tell you something. You know, when I was a young cop in Jersey, there was this kid -- responded to an all sh*ts fired. Never got a radio call, never knew what h*t him. I was the first officer on the scene -- a patrolman, too. You know, it tore up the department pretty good. Everybody was all twisted and ... but we managed somehow to ... I don't know, get through it, some way.
Sofia Curtis: Who sh*t him?
Brass: It really doesn't matter.
Sofia Curtis: It does matter. I could see Bell's face when I was sh**ting him, which means I was ... I was sh**ting near him. I made a mistake. I shouldn't have fired.
Brass: No, come on. It was chaos. You were just responding to a situation. It was instinct, it was training.
(As Brass talks, two officers walk into the diner. Sofia imagines they're talking about them.)
Brass: No. Don't, don't think that way.
(The officer looks up straight at Sofia. Brass turns to see what she's looking at. The two officers take their order and leave the diner.)
Sofia Curtis: I'm always going to be the cop who sh*t a cop.
CUT TO:
[EXT. NEIGHBORHOOD - DAY]
(Nestor Ortega, Catherine and several officers approach the driveway with the green Metro.)
Nestor Ortega: There's the green Geo Metro. (to the officers) Okay, you come with me. You two cover the back. Stay with her.
(The officers head for the front door.)
Nestor Ortega: Police! We have a search warrant! Open up!
(The side window smashes and someone crawls out. Catherine sees him and shouts to the officers.)
Catherine: Hey!
(The officer with Catherine chases the suspect.)
Catherine: Suspect on the run!
(The suspect runs to the back and starts climbing the fence. The officer reaches him, grabs him and pulls him down.)
(A second officer arrives.)
Officer: Get him. Get him.
(They apprehend the suspect.)
SHORT TIME CUT TO:
(The two officers walk out with the suspect in handcuffs between them.)
(Another officer escorts the girlfriend out of the house. She, too, is in handcuffs and she's no longer pregnant.)
Officer: Okay, come on. We have her, Detective.
Catherine: Wow. You had the baby and got your figure back in one day.
Nestor Ortega: That's impossible. Believe me, I know. My wife's had five kids.
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(Warrick checks his sandwich as Sara quietly watches.)
Warrick: (groans) Oh, Tina, baby -- no. Peanut butter without the jelly? She's trying to get me to cut down on sugar. But this is ridiculous.
(Sara gives him half of her sandwich.)
Sara: Here.
Warrick: Thanks.
Sara: Do you ever want to be a cop?
Warrick: Every time I get a speeding ticket, yeah.
Sara: No, I mean like g*n and car chases and "put your back against the wall," that kind of stuff.
Warrick: No, I prefer the scientific side of law enforcement.
Sara: Me, too.
(Warrick's phone rings; he answers it.)
Warrick: (to phone) Brown. Hey, Catherine.
INTERCUT WITH:
[EXT. NEIGHBORHOOD -- DAY]
(Catherine is holding the 'pregnant woman' padding.)
Catherine: We got the couple driving the Buick. Female wasn't pregnant. She was a mule.
Warrick: Really.
Catherine: Found her rig for transporting narco inside the house, and unless these guys were in the mail order business, I think they were being shipped drugs.
(She looks at the box #834662324880 with the label that reads:
FROM: ETHAN KEISO 702-555-0160
32 POINT VIEW
LAS VEGAS NV 89120
TO: BIANCA GUERRO 702-555-????
Warrick: And delivering them to the guys up the food chain.
Catherine: Yeah.
Warrick: You think these are the same guys who whacked Fausto?
Catherine: It's the best lead we've got.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Nestor Ortega questions Bianca Guerro. Her lawyer and Catherine are there.)
Nestor Ortega: You were a passenger in a stolen vehicle that failed to yield to the police. We've also connected you to a drug ring which was responsible for the death of a police officer. Miss Guerro? You're looking at prison time, so think about it. Whatever you could tell us about these guys will be in your best interest.
Catherine: Surveillance footage from Angie's Donut Shop shows you carrying drugs and getting into the delivery car. That alone gets you ten years.
Nestor Ortega: Okay, this is your last chance for your client to help herself out.
(Bianca Guerro confers with her lawyer.)
Bianca Guerro: You don't understand. We had no choice. They would have k*lled us.
Nestor Ortega: Who would've k*lled you?
Bianca Guerro: There is nothing that you can do to me that is worse than what they can do. I'm done. I'm not talking no more.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM 2 - DAY]
(Cavaliere interviews Carlos Contranos with his lawyer. Warrick is there.)
Chris Cavaliere: Mr. Contranos has served time for narcotics possession. He's been deported three times for entering the country illegally. This time, we're going to throw away the key.
Lawyer: Mr. Contranos has no interest in speaking to you.
Warrick: We're talking about the difference between life without parole and the needle, here.
Lawyer: He's prepared to do his time.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - DAY]
(Warrick walks into Grissom's office.)
Warrick: Grissom, I managed to get a h*t off of that sn*per's cartridge case. Links up to a drug rip-off in L.A. last year -- unsolved.
Grissom: What about the phone records from the motel?
Warrick: Fausto made one call about an hour before he died. We ran it down to a disposable mobile phone.
(Ecklie walks in.)
Conrad Ecklie: So is there anything I can tell the undersheriff?
Grissom: Yeah. d*ad end on Fausto.
Conrad Ecklie: You tell him.
CUT TO:
[INT. CSI - HALLWAY TO DNA LAB -- DAY]
(Grissom walks through the hallway and heads to the DNA Lab where Wendy Simms reports her findings.)
Wendy Simms: I got your results from the blood on the b*llet. It definitely belongs to Officer Bell.
(She hands the results to Grissom.)
Wendy Simms: This is my first deceased police officer. I heard that his wife is pregnant.
Grissom: Wendy, you understand that this is confidential.
Wendy Simms: Yes, sir.
Grissom: And you can't discuss it, even with your coworkers.
Wendy Simms: I understand what this means.
(He nods.)
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(Bobby Dawson reports his findings to Grissom.)
Bobby Dawson: Hey. Warrick tell you about the IBIS h*t?
Grissom: Yeah. How are you doing with Bell's b*llet?
Bobby Dawson: I was confirming my findings. Don't want to make any mistakes.
Grissom: Does that mean you have results?
Bobby Dawson: The b*llet has the right GRC's for a Sig-sauer. Sergeant Adams carries a Beretta. Carroll, too. Davis has a Glock, so that rules him out. However, both detectives Brass and Curtis carry Sigs. But take a look.
(He turns the monitor toward Grissom to look at a close-up of the b*llet.)
Grissom: There's hardly any jacket left.
Bobby Dawson: Means there's almost no chance of identifying that to a specific g*n.
Grissom: What if you had more time? Could you do it?
Bobby Dawson: Sorry, boss. I mean, there's just no way I can tell you who sh*t Officer Bell.
CUT TO:
[INT. CSI - LAB -- DAY]
(Catherine looks at the delivery box. Ecklie is in the lab with her.)
Catherine: You know, based on the dates of these address labels, it appears that Carlos and Bianca were receiving two to three drug shipments a day.
Conrad Ecklie: So the dogs h*t on the boxes?
Catherine: Yes, and Narco found trace amounts of cocaine, for whatever that's worth. Well, the return addresses are all bogus, the couple is not talking, and all four suspects are d*ad. There's nothing more we can do.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[EXT. MAIN CRIME SCENE -- DAY]
(Grissom and the team are back at the crime scene.)
Grissom: Okay, Nick, the Cruiser's right front tire is 19 feet, 5 inches from the south curb.
(Nick measures the distance. He motions for the car to move forward and to stop.)
Grissom: Sara, the detective unit's left front tire is five feet two inches from the south curb.
(Sara measures the distance and the second car moves into position.)
Grissom: All right. Nick, you be Brass. Sara, you be Sofia.
Sara: Good.
Grissom: I'll be Bell. Officer Bell was crouched down behind his door.
(Grissom kneels down behind the door.)
(Quick flashback to: The sh**t begins. The g*n f*re. Officer Bell, kneeling behind his car door, fires.)
(End of flashback.)
(Grissom is behind his door.)
(Sara positions herself behind her door. She can't see Grissom.)
Sara: Griss -- ? I can't see you from here. You're blocked by both cars.
Nick: Yeah, me either. I'd have to sh**t through both cars to get to you. I processed them both -- no sh*ts entered from the back.
(Grissom thinks about it, then stands up.)
Grissom: Can you see me here?
Sara: Yeah, I can see you.
Nick: Yeah, now.
Sara: What would make Bell stand up in the middle of a g*n?
Grissom: Maybe he had to change positions. We know that the suspects were starting to run, right?
Nick: Okay, he popped up, took one in the vest.
Grissom: Let's assume that. We'll line up the exit trajectories with the apartment window, and we'll use lasers, but we may have to wait until it's dark.
DISSOLVE TO:
[EXT. MAIN CRIME SCENE -- DAY]
(It's dark. Grissom has a dummy positioned where Officer Bell stood behind his car door. In the dummy's neck is a laser rod.)
Sara: (to phone) We're turning on the lasers. Is the candle in position?
(Inside the Torres' residence, Greg is in the living room and on the phone.)
Greg: (to phone) I'm ready on this end.
Sara: (to phone) Let me know when the beam hits the candle. (to Grissom)
Good to go!
(Down on the street, Grissom turns the laser light on.)
(In the Torres' apartment, Greg keeps his eye on the beam.)
Greg: (to phone) Uh ... good height. Move it six inches to the left.
Sara: (to Grissom) Six inches to the left.
(Grissom moves the beam. Greg turns and sees the light going in the wrong direction, away from the candle.)
Greg: (to phone) Oh, no, no. My left.
Sara: (to Grissom) He meant the other left.
Greg: A little more. Little more. (The beam hits the candle.) Right there.
Sara: Perfect. (to phone) I'll call you back.
Grissom: Okay, we got the exit. Now we need the entrance. Sara, turn your laser on.
(Sara turns her laser on. Grissom can't find the beam. He holds up his hand and sees the beam is completely off.)
Sara: The path of my laser is off.
Grissom: Yeah, it's a bad angle. Move it to the left.
(Sara tries, but can't.)
Sara: Gris ...
Grissom: Hmm?
Sara: It's blocked by the car. It's not possible.
Grissom: Turn it off. Nick, turn yours on.
Nick: Mine's been on the whole time. It's still blocked.
Grissom: Raise it up.
(Nick raises the laser. It hits the dummy perfectly. Grissom and Nick both look at the path of the beams.)
Nick: He stood up.
(Quick flashback to: [sh**t] Brass fires. As the suspect runs, Brass stands. He follows the line of sight of the suspect running.)
(He fires.)
(And hits Officer Bell in the neck.)
(End of flashback. Resume to present.)
(Everyone is silent.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. BRASS' RESIDENCE -- DAY]
(Grissom sits in his car waiting for Brass. Brass steps out and gets into the car.)
Brass: Hey. Well, your call was a little cryptic. Must've got the results from the ballistics test.
Grissom: We did, but it was inconclusive, so I went back to the intersection and ran a reconstruction.
Brass: Well, I don't know how you reconstruct a w*r zone. You have no idea what it was like. I mean, it was a firefight. Have you talked to Sofia?
Grissom: It wasn't Sofia. You must have stood up ... fired at the suspects over the black and whites. Officer Bell stood up at the same time, right into your line of f*re. Fausto sh*t him in the vest, which spun him a little. At the same time, you h*t him in the neck.
Brass: (sighs) Oh, I-I swear, I was behind the car, I ... I-I stood up?
Grissom: Sheriff wants me to present our findings at a community meeting in an hour.
(Brass sighs.)
Brass: Don't keep 'em waiting.
(Brass gets out of the car and leaves. He slams the car door behind him.)
CUT TO:
[INT. POLICE DEPARTMENT - OFFICE -- DAY]
(Nestor Ortega talks with Sofia.)
Nestor Ortega: I just received a report from the sh**ting review board. You've been cleared. (He gives her back her g*n and her badge.) You can go back to work.
Sofia Curtis: Thank you.
(She takes her g*n and her badge off the desk.)
CUT TO:
[EXT. COMMUNITY CHURCH (STOCK) - DAY]
[INT. COMMUNITY CHURCH -- DAY]
(The church is filled with every seat taken. Reporters line the back. Grissom is standing up front to deliver his report.)
Grissom: Hello. My name is Dr. Gil Grissom. I'm the night shift supervisor for the Las Vegas Police Department's Crime Lab. I'm not a police officer; I'm a scientist.
Man: You work for the cops. That makes you a cop. You're not on our side.
(The audience clamors. Grissom waits for them to quiet down.)
Grissom: Actually, I'm a forensics expert. My job is to identify, collect, and examine physical evidence from a crime scene, to determine who did what to whom and how did they do it. I've been asked to come here today by the mayor and Sheriff Burdick to present our analysis of the evidence in this case to your community.
Woman: Why aren't they here? Why should we believe your evidence?
Grissom: Physical evidence cannot be wrong. It doesn't lie. It's not influenced by emotion or prejudice. It's ... it's not confused by the excitement of the moment. I'm here, in God's house, to explain to you the truth about exactly what happened the other day. I'd like to start by showing you some photos. (Grissom shows the b*llet on screen.) This is a b*llet that was recovered from the Kevlar vest of Officer Daniel Bell, now deceased.
(Danilo Zamesca stands up.)
Danilo Zamesca: (interrupts) What about my son? What-what does the evidence say about my son?
Grissom: Okay, if you like, we can start there.
Danilo Zamesca: Please.
(Grissom moves over to the second display.)
Grissom: This photo is a comparison of two cartridge cases. The one on the right was found next to your son. The one on the left was test-fired from Jose Fausto's p*stol. As you can see, there are corresponding individual marks on both cartridges. These are unique, like fingerprints. It means that they were fired from the same g*n. It proves that while attempting to escape from the police ... Jose Fausto sh*t your son Geraldo in the back.
Danilo Zamesca: Why would he do that?
Grissom: We recovered your son's bicycle from Jose Fausto's motel room. Your son was on his way to football practice.
(Quick flashback to: [EXT. SIDEWALK - DAY] Geraldo Zamesca is on his bike and riding down the sidewalk. Jose Fausto sh**t him in the back. End of flashback.)
Grissom: It appears that Jose Fausto sh*t your son so he could use his bike.
(Danilo Zamesca is quiet. He sits down.)
DISSOLVE TO:
[EXT. NEVADA MOUNTAINS (STOCK) -- DAY]
[EXT. COMMUNITY (STOCK) - DAY]
[INT. BELL RESIDENCE - DAY]
(The side table is filled with framed family photos. The house is filled with family and friends there to support Tracy Bell and her family.)
(In the foyer is a large framed photo of Officer Bell in uniform.)
(Brass walks in. He's dressed in uniform as well.)
(Undersheriff McKeen is talking with Nestor Ortega. They both notice Brass. Brass removes his hat.)
(Sofia walks up to him.)
Sofia Curtis: Jim, I was just on my way out, but if you want me to stay ...
Brass: No, I-I think I can handle it. I think. Thanks.
Sofia Curtis: Okay.
(Sofia leaves. Brass walks in. The officers there clear away from him as he makes his way around the room. No one approaches him.)
(Brass sits down and puts his hand down on the seat next to him. The other officers stare at him. Brass fiddles nervously with his fingers.)
(Nestor Ortega takes the seat next to Brass.)
Nestor Ortega: The sh**ting review board wants to talk to you. You're going to have to explain your tactical decision for sh**ting in the direction of a fellow officer.
Brass: I'm ready when they are.
Nestor Ortega: As far as I'm concerned, there's no question ... it was a bad sh**t.
Brass: I'll have to live with that.
(Nestor Ortega stands up and leaves.)
(Brass looks over and sees Tracy Bell in the next room drying her tears. She steps out and heads into the main room.)
(Just then, Jeannie Bell skips and trips in front of Brass. He quickly reaches out and catches her from falling.)
Brass: Oh, whoa! Hey. What's your name?
Jeannie Bell: Jeannie.
Brass: Well, that's a pretty name. (Tracy sees Brass with Jeannie and smiles.)
Is that your mom over there?
(Jeannie nods.)
Brass: Huh? Okay, be careful, Jeannie ...
(The officer standing next to Tracy leans over and whispers into her ear. Tracy looks over at Brass. Brass stands up and walks over to her.)
(The room gets quiet as everyone watches them. Tracy walks up to Brass.)
Brass: Mrs. Bell ... I'm Jim Brass.
Tracy Bell: I know.
Brass: (voice breaking) I want you to know ... if there's, um ... if there's any, um ...
(She holds up her hand and stops him.)
(She reaches out and holds him as she cries.)
Tracy Bell: (whispers) I know it wasn't your fault.
Brass: (crying) I ... I'm ... I'm so sorry.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x08 - A b*llet Runs Through It (2)"} | foreverdreaming |
FADE IN.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
[CU: BUFFET PLATE]
(FAST FORWARD: Food is placed on a plate, paid for and carried to the table. It's eaten and put in the tray when the table is bussed.)
(The bin is carried into the kitchens. Someone picks up the plate and accidentally drops it on the floor. The place cracks. Someone sweeps the pieces into a dust bin and carries it outside where it's thrown into the garbage.)
(Inside the garbage is a d*ad body.)
CUT TO:
[PHOTO FLASHES]
(Grissom takes photos of the d*ad body in the garbage bin.)
[EXT. - NIGHT]
(Brass walks up to Grissom.)
Brass: Hey.
Grissom: I was happy to hear the review board cleared you.
Brass: Well, it's been a rough time, but I'm dealing with it. Anyway, a kitchen worker found him. Says a lot of homeless people hang out here. Says the vic was unfamiliar to him.
Grissom: Creased khakis, oxford shirt, new shoes. This guy had a home.
Brass: Well, I checked the front pockets, no ID.
Grissom: Back pockets?
Brass: I was leaving that for you.
(Grissom turns and looks at the body.)
Brass: Looks like some blood around his lips. Maybe somebody punched him in the mouth. What do you think?
(Grissom reaches into the garbage bin and takes a swab of the red substance around the d*ad man's smiling lips. He looks at it and smells it.)
Grissom: Cranberry sauce.
(Brass chuckles.)
Brass: I know. Happy Thanksgiving.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. -- NIGHT]
(Grissom and Catherine are near the body waiting for David Phillips to finish.)
Catherine: This place used to make a hell of a meatloaf sandwich. (to Grissom)
You ever eat here?
Grissom: Not since the chef blew his brains all over the kitchen.
David Phillips: I eat here all the time. I like the chili.
Grissom: TOD, David?
David Phillips: Based on liver temp, he's been d*ad around two hours.
Catherine: Well, it looks like he was knocked out and thrown out. And there's some metallic silver residue on his cheek.
(Grissom snaps a photo of a white sticky substance on the d*ad body's hand.)
Grissom: What's this g*n in his hands?
(David pries the stiff hand open.)
David Phillips: Mashed potatoes.
Grissom: There were mashed potatoes in the dumpster.
(He notices the man's nails.)
David Phillips: No fingernails ... on either hand.
Catherine: Maybe he was alive inside there. Digging to get out.
Grissom: Or he had really bad table manners.
Catherine: There's some scarring on his wrist, but not on the other.
David Phillips: Look what I found in his pocket. "Aunt Jackpot's Pretzels."
(David shows them the napkin.)
Catherine: Oh, now, they make a great pretzel.
Grissom: Maybe that's why he's got that smile on his face.
(Camera lingers on the smile on the man's face.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAWN]
[EXT. RESIDENCE -- MORNING]
(A crowd of curious onlookers have gathered outside the taped-off area just outside the residence.)
(Sofia Curtis, Sara and Nick walk up the driveway toward the house.)
Sofia Curtis: 419 times two.
Nick: Double m*rder?
Sofia Curtis: Husband and wife.
(They notice a car with Nevada plates, 656-DHL.)
Sara: b*at-up car in a Lexus neighborhood.
Sofia Curtis: We ran the plates. RO doesn't live here. We're tracking her down.
(Nick reads the bumper sticker as they walk past the car.)
Nick: "Bitch on wheels." Can't wait to meet her.
CUT TO:
[INT. RESIDENCE - MORNING]
(Sofia opens the door and they walk inside.)
Sofia Curtis: Alarm was triggered at 11:45 P.M. The monitoring company notified PD when the homeowners didn't return their call. Patrol finally arrived at 3:32 A.M.
Nick: Residentials are a low priority. They're usually false alarms.
(On the floor are two d*ad bodies.)
Sofia Curtis: Not this one. Michael and Lori Tinsley. Kitchen door was open when we arrived. His wallet was in his pocket. Her purse was on the counter. Cards, cash, TV, stereo, it's all still here.
Nick: If this was a robbery, they missed all the good stuff.
(Sofia glances at her watch.)
Sofia Curtis: The coroner should be here right now. So, uh, I'm gonna go see what's happened to him.
(Sofia leaves. Sara kneels down and looks at the woman.)
Sara: Well, looks like she exsanguinated out her jugular.
Nick: Abrasion on his forehead. No visible blood. Blonde hairs on his shirt. Both victims are brunette.
Sara: Blonde hairs on the wife, too. And possible skin scrapings under her fingernails. Maybe she got a piece of her attacker.
(Quick flashback to: Lori Tinsley struggles against her attacker. End of flashback.)
Nick: If her neck was sliced with a Kn*fe, it was probably serrated. The wound's too jagged for a straight one.
(Sara looks around and sees the open cabinet.)
Sara: Check out that record collection. The cabinet door's open.
(She walks over to look. She opens the cabinet door and looks at the record collection. Nick leans forward to look at a blood drop on the ground.)
Sara: Alphabetized. Classic rock. Looks like several records have been removed recently.
(Quick flashback to: Someone opens the cabinet door and removes several records. End of flashback.)
Sara: I'll dust for prints.
Nick: Smudges in the blood trail. Ovoid shapes suggest directionality. Satellite stains also suggest suspect moved this direction.
(Nick heads in the direction of the blood trail.)
Sara: Judging by these gaps, I'd say entire catalogs are missing.
Nick: There is good money in vinyl. Especially if it's rare and well-preserved. Who would k*ll somebody over a bunch of records?
(He turns on the flashlight and looks at the open back door. The sprinklers are on.)
Sara: Something's missing between the Beach Boys and Billy Joel.
Sara/Nick: (both) The Beatles.
(Nick walks outside.)
(He checks the door latch.)
Nick: Loose strike. Would have been pretty easy to get in from back here.
(From the kitchen, Sara sees the dog bowl.)
Sara: They have a dog.
Nick: (calls out) Sofia said the door was open; maybe he took off. Bloodstains stop at the grass. Sprinklers are on now, kissing the evidence good-bye.
Sara: Hey, Nick.
Nick: Yeah?
Sara: There was some blood on these dog bowls.
(Nick steps back into the house.)
Sara: Considerable.
(Nick kneels and looks at the blood on Kahlua's dog bowls.)
(They hear a thud. Sara looks around, then at Nick. They hear another thud.)
(They both get up and reach for their g*n. They make their way down the hallway. At the end of the hallway is a partially opened door.)
(They push the door open and find a dog sitting inside an open kennel box.)
(The dog growls.)
(On the dog's muzzle is dried blood. The dog's paws are also bloodied.)
Nick: I'll call Animal Control.
(Nick puts his g*n away.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins shares his findings with Catherine.)
Dr. Robbins: Stomach is massively distended. Human stomachs have a volume of about one liter, a little more than a quart. But they have the ability to expand and hold up to four liters. But looking at this guy, I'd say he was packing around six. And that's your COD.
(Quick flashback to: The victim is in the garbage bin gasping for breath.)
(Camera zooms down toward his chest and into his chest.)
Robbins: (V.O.) Asphyxia due to mechanical compression of the lungs due to gastric dilatation.
(End of flashback. Resume to present.)
Robbins: His stomach expanded, leaving no room for the organs. It's going to keep me on my diet for a couple more weeks. Let's take a look.
(Robbins takes a scalpel and cuts the stomach open.)
Robbins: Ooh, the guy was a walking buffet.
Catherine: Multiple contusions. He's got a band of d*ad tissue on his wrist. No fingernails.
Robbins: Cuticle's are inflamed and still intact. They weren't pulled off. They were bitten down ... At first I thought tortured and force-fed, but the usual signs of force feeding are absent. No abrasions on the mucosal surface of the lips. No aspirated food in the airways.
Catherine: So what are you thinking now?
Robbins: He ate himself to death.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. AUNT JACKPOT'S PRETZELS VENDOR STAND -- DAY]
(Catherine shows a worker a photo of the d*ad man found in the garbage bin.)
Catherine: Do you recognize this face?
Pretzel Vendor: I know exactly who that is. Man, dude's crazy.
Catherine: Dude got a name?
Pretzel Vendor: No name. Oh, but I got a wallet.
Catherine: What, he left it behind?
Pretzel Vendor: More like he threw it.
(Quick flashback to: The man rushes up to the pretzel stand, pushing the other customers waiting out of the way.)
Jerry Gable: Pretzel, thank you, please.
Pretzel Vendor: Hey, pal. Where's your manners?
Jerry Gable: Just one pretzel, please.
Pretzel Vendor: Oh, no, no, no, no.
Jerry Gable: Just a quick, fast one.
(He pulls out his wallet.)
Jerry Gable: Come on.
Pretzel Vendor: No, no.
(He grabs a pretzel and leaves his wallet behind.)
Pretzel Vendor: Hey, hey, hey, hey! I said no! Excuse me.
(End of flashback. Resume to present.)
(Catherine looks inside the empty wallet.)
Pretzel Vendor: See, salty pretzel's $1.50. Only a dollar in the wallet. Jerk.
(Inside the wallet, Catherine also finds a photo of Jerry with his sister, Sophie and another man.)
Pretzel Vendor: Hey, and I took the money, by the way.
(Catherine finds the following in the wallet:
* a bus pass for DEC 2005;
* a business card for
DIGGER JAMES, Sport Promoter, EXTREME EATING FEDERATION
Phone: (702) 555-0198
Fax: (702) 555-0199 )
Pretzel Vendor: I didn't care. Oh, I saw that. Sports promotions. Man, I seen his gut, man. He don't look like he no athlete.
Catherine: They're calling poker players athletes these days. Seen the guts on them? Hey, can I get a pineapple cinnamon?
Pretzel Vendor: Oh, okay, good choice.
Catherine: Thank you.
(The pretzel vendor turns to get her order. Catherine takes out the phone and dials the number on the card.)
Voice (woman): (recording) O198. Please leave your message after the tone.
(Catherine hangs up.)
CUT TO:
[INT. CSI - LAB -- DAY]
(The dog kennel box is at the lab. It's tagged and labeled.)
Jesse Menken: All right, let's take a look at our Cujo.
(She opens the box and pulls out the muzzled dog. The dog whines softly.)
Jesse Menken: Yeah, she's ferocious.
Nick: Yeah, yeah, I'm petrified. So what's the outside chance of rabies?
Jesse Menken: She's not salivating excessively or showing any signs of hydrophobia, but rabies doesn't present immediately. She'll be quarantined for the next ten days.
Nick: Well, other than rabies, what would make a dog att*ck its owner? Abuse?
Jesse Menken: Abused animals may turn violent. Head traumas may induce unprovoked aggression. And there's always springer rage.
Nick: Yeah, yeah, I hate that show, too.
(She chuckles.)
(She clips a sample of the dog's hair and puts it in a bindle.)
Jesse Menken: It's a form of epilepsy associated with several breeds, including springers and retrievers. Man's best friend will back you corner and att*ck. Five minutes later, she's licking your face as if nothing ever happened. I'll suppose you want bite impressions?
Nick: Yeah, I'll prep the microsil, if you prep the pooch.
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(Sara interviews Missy Halter.)
(She shows her a photo of the car, license #656-DHL.)
Sara: This car is registered to you, Ms. Halter?
Missy Halter: Yeah. So?
Sara: And why was it in the Tinsleys' driveway?
Missy Halter: I lent it to Michael; his Beemer's in the shop. I want it back.
(She points to herself.) This was not meant for public transit.
Sara: And your relationship with Michael Tinsley is?
Missy Halter: Why is that any of your business? I'm his girlfriend, okay?
Sara: How does his wife feel about that?
Missy Halter: (scoffs) Not my problem. They're separated, getting divorced. Michael lives with me. I want to talk to Michael now.
Sara: Were you at Lori Tinsley's house last night?
Missy Halter: No. I've never been inside that psuedo Cape Cod dump.
Sara: If you've never been there, then how do you know it's a pseudo Cape Cod dump?
Missy Halter: I know her taste.
Sara: Well, your fingerprints were at the scene. In fact, you helped yourself to the record collection.
(She shows her an AFIS REPORT from a fingerprint found at the scene.)
Missy Halter: That's why I'm here? Because you think I stole some albums? What did Michael tell you?
Sara: Not much.
Missy Halter: Look, he said Lori was planning on selling his vinyls. So, last week, when she was out and he was at work, he gave me the keys, the alarm code and a list of albums he couldn't live without.
(Quick flashback to: [INT. TINSLEY RESIDENCE - DAY] Missy Halter walks into the house and opens the cabinet. The dog comes around her and she hits the dog. The dog yelps.)
(She goes back to removing the records from the cabinet.)
(End of flashback.)
Missy Halter: Michael's owned those records since high school. He has the white album, autographed by Paul McCartney.
Sara: And he didn't break into the house himself because ... because ...
Missy Halter: ... he needed an alibi in case Lori pressed charges. Look, I am trying to be helpful here, but I'm not saying another word until you let me talk to Michael.
Sara: You have the right to remain silent, but Michael Tinsley and Lori Tinsley are d*ad.
(Missy Halter is surprised by the news.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Hodges gets a bucket of the stomach contents. He's grossed out by it, puts his head gear down and pours it out into a flat bin. He picks out the larger pieces of whole or near-whole hot dogs and puts it in a container.)
(He picks out more pieces and puts it in a second container.)
(He sifts out some of the smaller pieces and puts it in another container.)
SHORT TIME CUT TO:
(Hodges has various containers lined up on the table and labeled.)
(Catherine walks in.)
Catherine: Oh, nice look.
(Hodges has a clothespin pinned to his nose.)
Catherine: That'll guarantee you the chicks.
Hodges: Silvery material on your vic's face was graftobian theatrical makeup. Moonlight Silver is the color.
(Catherine starts laughing. Grissom walks in.)
Hodges: Okay, look, I can't stand the smell of hot dogs. They make me sick.
Grissom: So, all this stuff was in the vic's stomach?
Hodges: Among other things. You know what the worst kind of burp is? Hot dog burp. You know, like your dad's just letting them loose, or maybe the ex-girlfriend ...
(Hodges removes the clothespin from his nose.)
Hodges: Well, as you can see, he wasn't much of a chewer, which was very lucky for us. Made it easier to identify the food. Cake, mac and cheese, pretzels, pasta, beef, shrimp, fish and, of course, hot dogs.
Grissom: Food normally takes two to four hours to digest, which means he ate all of this ...
Hodges: In two to four hours before he died.
Catherine: How many hot dogs did he eat?
Hodges: Approximately twenty.
Catherine: God, ugh. Do you think we might be able to ID the makers of the hot dogs from the ingredients?
Hodges: No. Believe it or not, most hot dog companies are very proprietary over their recipes.
Catherine: Well, how about through the griddle marks?
Hodges: Oh, yeah, sure. I'll just run it through the hot dog appliance database.
Grissom: When was the last time you saw a branded logo on a hot dog?
Catherine: Looks like those novelty chatter teeth. Weird.
Hodges: You think that's weird? Check this out.
(He puts a container in front of them.)
Hodges: This was in his stomach, too.
(Grissom takes out the piece of paper. It's an ad.)
Catherine: "Circus Town Buffet."
Grissom: "All-U-Can-Eat."
CUT TO:
[INT. CIRCUS TOWN BUFFET - DAY]
(Catherine and Brass show the buffet manager a picture of Jerry Gable.)
Buffet Manager: I know exactly who that is. How could I forget him?
(Quick flashback to: Jerry Gable is eating the buffet.)
Buffet Manager: (V.O.) He didn't even wait to sit down.
(Jerry fills his plates up and eats at the buffet table. The buffet manager stands on the side watching him eat and eat and eat.)
Buffet Manager: (to radio) Hi, we've got a problem. Hurry up before the food's gone.
(End of flashback. Resume to present.)
Buffet Manager: I called security to kick him out. When they arrived, he was gone.
Brass: Kick him out? Sign outside says, "All-U-Can-Eat."
Buffet Manager: Look, he was taking it a little too far.
Catherine: Well, he paid, didn't he?
Buffet Manager: Yeah, cash.
Catherine: So he still had his wallet. Do you have any surveillance on your register?
Buffet Manager: For the $1.99 buffet? That would be a no.
Catherine: And are those the only hot dogs that you serve?
Buffet Manager: Yeah, we're famous for our cocktail wieners. You should try one.
Brass: I think we need a couple of cocktails first.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Nick and Sara walk through the hallway and discuss the case.)
Nick: DNA confirmed all the blood at the crime scene is Lori Tinsley's.
Sara: Sofia talked to their divorce lawyers. Michael and Lori were fighting over everything -- the house, the cars, her jewelry. When she found out that he was stealing his stuff back, she had the locks and the alarm codes changed.
Nick: (chuckles) Well, Michael did send his girlfriend Missy over to retrieve his vinyl, but last night he broke in himself, not to mention she was home. That's kind of asking for trouble, isn't it?
(They enter the DNA Lab.)
Sara: Yeah, divorce is w*r, huh? Sure glad I don't have that problem.
Nick: Yeah, me either. Hodges.
(Hodges has his back to them as he looks through a scope.)
Hodges: I'm not done with your samples, okay? And I just received the fingernail scrapings.
Sara: Well, I sent the scrapings to DNA.
Hodges: DNA kicked them over to me. There were no biologicals in the sample.
Nick: Have you processed the hairs yet?
Hodges: That, I have done. All the hairs lifted off the victims' clothes were consistent with each other. There's a sample under the scope.
(Sara looks through the scope.)
Hodges: Root is shaped like a spade which is indicative of canine, and the scale pattern is consistent with a golden retriever.
Sara: Oh, yeah, the victims have a golden retriever.
Hodges: Well, if you'd cracked that mystery at the scene, you would've saved me a lot of time. (sighs) I've been working like a dog.
Nick: You know, studies have found that pet owners have lower stress levels. You should check that out.
Hodges: Well, I had hamsters growing up. My mother hated them. She said they t*nk up my room, but I just loved to watch them spinning on their little wheels. One day I came home and they were gone. Somehow they'd gotten out of their cage.
Sara: How much did your mother hate them?
Hodges: They ran away.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(David Phillips washes Lori Tinsley's neck. He walks around the body and snaps photos of the marks on her neck.)
SHORT TIME CUT TO:
(David Phillips x-rays Michael Tinsley's body.)
CUT TO:
(Robbins saws through Michael Tinsley's head to examine the brain. He removes a b*llet and puts it in a pan.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Sara is holding the b*llet. She and Nick both appear very surprised by the find. Robbins reports his findings to them.)
Nick: Michael Tinsley was sh*t?
Robbins: Yeah, the b*llet penetrated the base of the brain and lodged in the occipital lobe. The hemorrhage was intracranial.
Nick: Looks like a .22 caliber.
Robbins: Yeah, the scalp abrasion was probably incidental.
Sara: We did not check the house for GSR; we didn't know he was sh*t.
Robbins: That's understandable -- the entry wound wasn't visible -- but check this out.
(Robbins pushes the rod through the opening in the brain and it comes out through the right nostril.)
Robbins: Some people will put anything up their nose.
Sara: So, Michael Tinsley breaks into his own house, the alarm goes off, all hell breaks loose. She sh**t him, the b*llet goes up his nose, and then what? Kahlua freaks and rips out the wife's throat?
Robbins: It's possible, which is another reason I prefer cats.
Nick: The Tinsleys died at home ... alone. So, where's the g*n?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. CSI - GRISSOM'S OFFICE - DAY]
(Grissom is in his office when Greg walks in carrying two grocery bags.)
Greg: I went shopping. Bought every brand of hot dog for sale in Las Vegas.
Grissom: Who's paying for it?
Greg: You mean the lab's not going to reimburse me?
Grissom: No.
Greg: Well, I couldn't identify the chatter teeth logo, so I figured I could physically match one of these to the one found in the victim's stomach, you know? Maybe comparing that twisty thing at the end.
Grissom: Sounds like a good idea, Greg. I'm still not paying for it.
Greg: Fine -- guess I'll just eat hot dogs for the rest of the year.
Grissom: "A hot dog at the ballpark tastes better than a steak at the Ritz."
Greg: Well, I can tell when you're quoting something. (Greg sits down in the chair.) Who said it?
Grissom: Humphrey Bogart.
Greg: Mm.
Grissom: Did you know that the term "hot dog" was actually coined at a baseball game?
(Greg shakes his head.)
Grissom: New York Polo Grounds, somewhere around 1867. A German butcher was selling what he called "dachshund sausages" out of his pie wagon. He put them on a roll, so that his customers wouldn't burn their fingers. He'd yell out
"Get your dachshund sausages, they're red hot!" Soon, all the vendors at the polo grounds were selling them, too. But they were too lazy to say "dachshund sausages," so they just called them "hot dogs."
Greg: Now there's over 50 major brands.
Grissom: Good luck. I'm rooting for you.
Greg: Well, hopefully I find a wiener.
(Greg stands up and leaves. After a b*at, Grissom shakes his head.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Greg takes out the hot dog packages from the grocery bags and sets them on the table. He opens the first package and looks at the end, comparing it to the original.)
(It's not a match. He sets the hot dog aside and opens the second package. He compares it.)
(Dissolve to: He continues to compare hot dog ends to the original.)
(He continues to compare hot dogs.)
(Finally, he finds a match.)
(He looks at the package: NEL'S. He flips the package over and sees the following ad on the bottom of the flap, "Win a Trip to the Hot Dog Eating Tournament in Las Vegas", and "Details Under Label".)
CUT TO:
[EXT. EXTREME EATING FEDERATION -- DAY]
(A man in a hot dog costume holds up a sign:
NEL'S
REGIONAL
HOT DOG
EATING
TOURNAMENT
-- TODAY --
$10,000!!
IN PRIZE MONEY )
Digger James: Gut check, one, two! Gut check! Ladies and gentlemen! Time for the bib sheets.
(Close-up of: A hot dog is 'branded' with a logo.)
Digger James: Today's match will include some of the most famous gurgitators in the sport. Let's start with one of the finest: The godfather of the sport has a mouth so big he speaks in surround sound, ladies and gentlemen. Three-time lasagna-eating champion, Antonio Colletti.
(Antonio stands up.)
Antonio Colletti: Yeah!
Digger James: Patty cake, patty cake, baker's man, she can eat a cake faster than anyone can. Current cupcake champion and the most elegant eater in the sport, Patty Cake Newton.
(Patty Cake stands up and blows kisses to the crowd. Catherine and Brass are in the crowd.)
Digger James: Our most vocal gurgitator ...
Catherine: There's the chatter teeth logo.
Brass: EXEF Wasn't that the name on the business card you found in the vic's wallet?
Catherine: I think we just found our Digger James.
Digger James: ... He's said to have two stomachs! Undisputed popcorn shrimp champion, James "Spare t*nk" Patterson.
(James Patterson stands up and belches loudly.)
Digger James: And finally, known for his jaw strength, trains with his pit bulls, three-time rib champion -- today he will be wearing the EXEF Hot dog camera -- Marty Mayron, "the meat machine!"
(Marty stands up and barks to the crowd.)
Digger James: All right, gurgitators, you have twelve minutes to eat your way into history.
(The starting g*n is fired and the contestants dig in to the plate of hot dogs in front of them.)
Digger James: They're diving straight in there. Marty Mayron going with the Japanese, dipping his bun in lemonade to make it go down easier and then biting that hot dog into little pieces. Not to be outdone, Miomoto going for the double Japanese. Colletti, the old pro, double-fisting it, double-dunking it. That is a Heimlich waiting to happen.
(The clock reads 10 minutes to go ... )
DISSOLVE TO:
(The clock reads 3 minutes to go ... )
Digger James: ... Is not fooling around -- He's doing a reverse Japanese: Bun first, hot dog afterwards. Sort of a "dachshund chaser." Still pushing it, going old school, like a little kid trying to impress his grandmother at Thanksgiving dinner. Patty Cake going mostly cakey on that one. You can almost see the icing on that hot dog. Colletti having a bit of a problem. Something's slowing him down.
(Colletti stands up and throws up on the side of his chair.)
Digger James: Whoa! Antonio Colletti, a reversal of fortune. That's an immediate disqualification, and, of course, disgusting for all of us to watch.
(One of the officials pulls Colletti aside.)
Brass: Wow.
Catherine: Well, which one do you want? The guy in the silver face paint or Digger James?
Brass: I don't know -- slimy stuff is your thing. I don't want to get mustard on my suit. I'll take Digger.
Catherine: Do I have a choice?
LATER:
(The contest is over and the winner holds up his trophy. Brass interviews Digger James and shows him a photo of Jerry Gable.)
Brass: Hey, you recognize this guy?
Digger James: That's Jerry. By far, one of the best walk-on gurgitators I've ever seen.
Brass: So you gave him your business card, right?
Digger James: I'm the U.S. rep for the EXEF.
Brass: All right, EXEF. What exactly does that stand for?
Digger James: It's the Extreme Eating Federation. We're one of the most popular leagues in the sport.
Brass: Pounding down hot dogs, that's a sport?
Digger James: Since the early days of man. You got thirty Neanderthals in a cave and a rabbit walks in, you have a competitive eating situation, my friend. We have rules, records, prize money. Some of our top competitors earn up to a half a million dollars a year. We're on cable.
Brass: No kidding. Well, what does all this have to do with Jerry?
Digger James: Everything. Jerry had undeniable gastro-intestinal fortitude. He took third in yesterday's competition. That qualifies him for the finals in Atlantic City. It made the Las Vegas Post.
Brass: Hmm.
Digger James: Sports section.
(Quick flashback to: [CONTEST] Jerry is wolfing down hot dogs.)
Digger James: Jerry Gable is pounding those dogs.
(The hot dog girl changes his hot dog count from 16 to 17 ... to 22.)
Digger James: Third place goes to walk-on "An Amazing Job" Jerry Gable!
(Digger James hands Jerry his trophy.)
(End of flashback. Resume to present.)
(Brass looks at the newspaper with a photo of Jerry smiling and waving.)
Brass: Can I keep this?
Digger James: Sure.
Brass: Thanks.
Digger James: I'm telling you, with proper training, Jerry could've proudly represented the U.S. and taken back the golden weenie from the Japanese champion.
Brass: Yeah, got to get that golden weenie back.
(Digger James nods.)
Brass: Uh, so after the tournament, did you see Jerry?
Digger James: Paid him, gave him my card, left him to celebrate.
Brass: Any idea who he was celebrating with?
(Behind them, Catherine interviews Marty Mayron.)
Marty Mayron: You want a sample of my face paint?
Catherine: Yeah, it's part of my investigation.
(She reaches out and touches the silver paint on his face.)
Catherine: Oh, it's still moist. That's good for me.
Marty Mayron: I didn't do anything to Jerry Gable. Okay, in the beginning, I admit I was a little pee'd off that I lost to the guy. But then I learned what a disturbed individual he was.
(Quick flashback to: [AFTER THE CONTEST] Jerry Gable walks around searching for more food.)
Jerry Gable: Couple more! Just, just, just, just, a couple ... couple more! Has anybody got more hot dogs? Please!
Marty Mayron: What are you trying to prove, huh?
(Someone hands him something. It's not what he wants and he throws it on the floor.)
Jerry Gable: Just give me more!
Marty Mayron: Trying to be a big guy, tough guy, huh?
(Frustrated, Jerry bangs his head against the hot dog counting sign.)
Jerry Gable: Please, please!
(Jerry turns and bumps into Marty Mayron.)
(End of flashback.)
Catherine: And what happened after the friendly hug?
Marty Mayron: Some guy in a hat came by, took him out of here.
(Catherine shows him the photo found in Jerry's wallet. He looks at the third man in the photo, a man in a blue hat.)
Catherine: Is that the guy in the hat?
Marty Mayron: Sure is.
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) -- DAY]
[INT. TINSLEY RESIDENCE -- DAY]
(Sara enters the house and closes the door behind her. She looks down at the pool of blood on the floor.)
(Quick flashback to: The dog barks and Lori screams. End of flashback.)
(Sara checks the floor in front of the couch and sees a skid mark.)
(Quick flashback to: The dog barks and the g*n slides under the couch. End of flashback.)
(She checks under the couch and finds the g*n.)
CUT TO:
[INT. CSI - LAB - DAY]
(Nick takes the mold of Kahlua's teeth and makes an impression of them.)
(He takes a clear plastic and places it over the photo of the wounds on Lori's neck. He circles the bite marks with a pen. He compares the marks on the neck with the mold.)
(They don't match.)
(Sara walks in.)
Sara: So I found the m*rder w*apon. It slipped under the living room couch -- presumably when Kahlua att*cked Lori.
Nick: Well, a dog did att*ck Lori, but it wasn't Kahlua. The bite marks on Lori's neck are inconsistent with Kahlua's teeth.
Sara: Oh, which means Kahlua gets to walk.
Nick: Check out this left canine.
Sara: The tooth is chipped.
Nick: All the dog hair we found at the crime scene was consistent with a golden retriever, which suggests there was another golden retriever in the house. It could've att*cked Lori, fled out the kitchen door.
Sara: That is like saying there's a second sh**t on the grassy knoll -- they only had one dog, Nick.
Nick: I'm calling Animal Control. We're looking for another golden retriever, one with a bad tooth and rotten disposition.
(He pulls his phone out to make the call.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - BREAK ROOM -- NIGHT]
(Robbins is carrying a large package and walking down the hallway to the break room. He sees Warrick at the vending machines.)
Robbins: Little late to be going to court.
Warrick: No, I'm not going to court. I'm taking my Lady Tina to that new Cirque show at the Wynn and I forgot my tickets in my locker.
Robbins: That's nice, but if you're looking for something to tide you over, look no further.
(Robbins takes a pie out from the package.)
Robbins: Busy night. Figured the lab could use a little lovin' from the oven.
Warrick: Oh, your wife made a pie.
Robbins: I made the pie. Strawberry rhubarb.
Warrick: I'm impressed.
(Robbins slices a piece and throws it down on the plate.)
Warrick: Let's take it easy with the cutting there, doc, it's starting to look like the h*t-and-run on your table last week.
Robbins: Just try it.
Warrick: Thanks.
Robbins: You know, it's vegan. Low fat, low sugar, low carb ...
Warrick: Low taste.
(Robbins turns and catches Catherine walking down the hallway.)
Robbins: Catherine, Catherine, come here. I need your opinion on this.
(He cuts a second piece and tries to give it to her.)
Robbins: Try this.
Catherine: No, thank you, I just came from Nel's hot dog eating tournament. I'm really done with food.
Robbins: It's good.
Warrick: I was watching that on cable. Some Japanese guy ate, like, 64 hot dogs in 12 minutes.
Catherine: Yeah. He's was the most famous guy in Japan behind Yao Ming.
Robbins: Yao Ming is Chinese. Try it.
Catherine: They ought to make it an Olympic sport or something.
Catherine: Please? No, I can't go there. I can't.
Warrick: You know, if you want to cleanse your taste buds, I suggest you try Doc Robbins' pie. Really.
(Warrick turns to leave.)
Catherine: Yeah, that's why you're leaving it behind.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Grissom is reading when Catherine walks in.)
Catherine: I got an ID on dumpster guy. Brass is tracking down a current address.
Grissom: Prader-Willi.
Catherine: No, his name was Jerry Gable.
Grissom: No, Prader-Willi syndrome. A rare gentic disorder that causes ceaseless, uncontrollable excruciating hunger. It's as if your stomach was truly a bottomless pit.
(Catherine sits down.)
Catherine: That could explain why after consuming twenty-two dogs, he wanted more. Could also explain why he was found in the dumpster. He followed the food.
Grissom: Prader-Willi syndrome is characterized by short stature, hypotonia, almond-shaped eyes, and obsessive fingernail biting.
Catherine: That kind of fits the victim's description.
Grissom: Sufferers are born with a flawed hypothalamus. Normal hypothalamus receives a signal from the stomach -- "I'm full, stop eating."
(Quick flashback to: [CONTEST] Jerry eats the hot dogs during the contest. Camera follows the piece of hot dog into his mouth.)
(CGI EFX: The piece of hot dog and bun go down his throat and into his stomach.)
(Blue sparks representing the signal from the stomach travels up to the brain. The brain doesn't receive or acknowledge it.)
Grissom: (V.O.) But with Prader-Willi syndrome, the signal never reaches the brain.
(End of CGI EFX. Resume to flashback.)
(Jerry Gable scrambles through the grounds looking for more food. He goes from spot to spot, focusing on the food people eat.)
(End of flashback.)
Grissom: They're always hungry.
Catherine: Like having a full t*nk of gas, and gauge is stuck on empty.
Grissom: Guy's like Jerry are monitored their whole lives. Constant supervision 24 hours a day. You remember the scar tissue we found on his wrist?
(Quick flashback to: Jerry Gable sits in a chair with his right wrist restrained. He struggles. End of flashback.)
Grissom: I think it's possible that our vic spent most of his life in restraints.
Catherine: So either he escaped or ... someone set him free.
Grissom: In which case, they'd be responsible for his death.
CUT TO:
[INT. CSI - HALLWAY - NIGHT]
(Hodges catches Nick in the hallway.)
Hodges: I heard your case has gone to the dogs.
Nick: Oh, Hodges, heel. No, better yet, play d*ad, man.
Hodges: Play nice, I'm throwing you a bone. The fingernail scrapings from your female vic was baking grease. (He hands Nick the results.) How does that fit in the puzzle?
(Nick stops walking as he thinks about it. He walks away, handing the results back to Hodges as he leaves.)
[INT. CSI - LAB - NIGHT - CONTINUOUS]
(Nick finds Sara in one of the lab rooms.)
Nick: Hey.
Sara: According to the court records, the Tinsleys weren't just fighting over property. They were also engaged in an expensive custody battle.
Nick: Custody over what? They didn't have any kids.
Sara: They had Kahlua. And evidently, yesterday both parties agreed to let the dog decide for herself. According to Michael's girlfriend, the dog was his, but Kahlua chose Lori.
(Quick flashback to: Kahlua stands next to a man as both Lori and Michael call Kahlua over.)
Lori Tinsley: Here, Kahlua.
Michael Tinsley: Come here.
Lori Tinsley: Come on, Kahlua.
Michael Tinsley: Come here.
Lori Tinsley: Come on.
Michael Tinsley: Hey.
Lori Tinsley: Come to Mama, sweetie.
(Kahlua goes over to Lori.)
Lori Tinsley: Yeah.
(End of flashback.)
(Nick puts it together.)
Nick: I think I know why.
(Quick flashback to: Before the meeting, Lori rubs her fingers against some bacon.)
Nick: (V.O.) Lori greased up before the big face-off.
LATER:
(Lori claps her hands in front of her trying to get Kahlua to her. The scene indicated in blue grease moves from her hands ... )
Lori Tinsley: Here, Kahlua.
Michael Tinsley: Come here.
Lori Tinsley: Come on, Kahlua.
Michael Tinsley: Come here, come on.
Lori Tinsley: Come on.
Michael Tinsley: Come here.
Lori Tinsley: Kahlua, come.
(... and straight to Kahlua's nose. Kahlua smells the bacon and heads for Lori.)
Lori Tinsley: Come to Mama, sweetie. Yeah.
(End of flashback.)
Nick: A dog's sense of smell is 25 times more sensitive than humans. Bacon grease would've been pretty irresistible.
Sara: Question is ... "Did Michael know that Lori was playing dirty?"
(Nick's cell phone rings; he answers it.)
Nick: Stokes. Yeah, all right, cool. Our suspect is in custody.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK)]
[INT. CSI - LAB]
(Nick and Sara meet up with Jesse Menken and Kahlua 2.)
Jesse Menken: Animal Control picked her up near Centennial Park, called the number on the tag, left a voice mail.
Sara: d*ad people don't return calls.
Nick: New collar, new tags. Kahlua. Same name.
Jesse Menken: Spoke to Animal Control. Kahlua number two was adopted the same day as the m*rder. You want to guess the adopter's name?
Nick: Michael Tinsley. You bet.
Sara: He adopted Kahlua's doppelganger.
Nick: Left tooth is chipped. Confirm's ID. She doesn't seem very ferocious.
Jesse Menken: You want to see ferocious?
Nick: Yeah.
(Jesse puts Kahlua 2 into the kennel box and closes the door. She motions to someone down the hallway.)
(A g*n is fired.)
(Kahlua 2 barks ferociously.)
Sara: How did you know?
Jesse Menken: When the guys loaded her up into the Animal Control van, they slammed the door and she went off.
Nick: So the g*n acted as a trigger. She heard it and att*cked Lori.
Jesse Menken: Probably abused in the past. If they'd known, they never would've put her up for adoption.
Sara: Michael broke into the house intending to swap dogs, hoping that Lori wouldn't even notice the difference.
(Quick flashback to: [EXT./INT. TINSLEY RESIDENCE - NIGHT] Michael breaks into the back door with a pocket Kn*fe. The alarm goes off.)
SHORT TIME CUT TO:
(Lori and Michael are arguing in front of the two dogs.)
Michael Tinsley: You don't give a damn about Kahlua! You just don't want me to have her!
Lori Tinsley: You care more about that stupid dog than you did me!
Michael Tinsley: For once you got it right!
(Lori goes to the desk drawer and takes out a g*n.)
(They struggle for the g*n. The g*n fires and hits Michael. Michael falls to the ground. Kahlua 2 att*cks Lori.)
(Kahlua 2 runs away.)
(End of flashback. Resume to present.)
Sara: When Kahlua number two took off, Kahlua number one came out of hiding.
(Quick flashback to: Kahlua approaches Michael and nudges him. Kahlua then goes over to Lori and nudges her. He licks some of the blood getting it on him and his paws, turns, then leaves.)
(End of flashback.)
Nick: The police showed up, she got scared , went back to her closet.
Sara: Their marriage ended in a dog fight, and only the dog survived.
CUT TO:
[INT. HALLWAY OUTSIDE GABLE APARTMENT - DAY]
(Brass and Catherine walk down the hallway.)
Brass: So I called about a dozen Jerry Gables. One had an answering machine for Jerry and Suzie Gable. This apartment is listed to Jerry and Suzie Gable. Here's Suzie.
(Brass hands a copy of the NEVADA DRIVER LICENSE to Catherine. It reads:
LIC # 1800592214 EXPIRES 05-12-2006
SSN: 503-45-734
CLASS: C
BIRTHDATE: 05-12-1977
SEX: F HEIGHT: 5'4" WEIGHT: 105
EYES: BRN HAIR: BLN
SUSAN GABLE
16 S. MEADOWS LN #103
LAS VEGAS, NV 89101 )
(Brass knocks on the door.)
Brass: Las Vegas Police.
(The door opens.)
Suzie's Boyfriend: Please tell me you found Jerry.
(Catherine and Brass look at each other.)
[INT. GABLE APARTMENT - DAY - CONTINUOUS]
(Inside the apartment, there are locks on all the cabinets and refrigerator.)
Brass: Okay, so who are you?
Suzie's Boyfriend: I'm Susie's boyfriend.
Brass: All right, Susie's boyfriend, what's your name?
(As Brass questions Suzie's boyfriend, Catherine looks around the apartment.)
Suzie's Boyfriend: Look, I don't have anything else to say. Hey, that's my easiest question.
Catherine: Hey, you don't want to give us your name, fine, but you better explain why Jerry's not in this chair.
(Suzie's boyfriend doesn't say anything.)
Catherine: All right, look, I'm going to print this restraint. And when I find your fingerprints all over it, I won't need to ask you again.
Suzie's Boyfriend: Okay, okay, all right. He escaped. All right? I was supposed to be watching him, and I conked out for a second, and by the time I got up, he was gone from his chair.
Brass: He escaped? So, what, the guy's Houdini?
Suzie's Boyfriend: Trust me. He may have been slow, but he was manipulative.
Brass: Yeah.
Suzie's Boyfriend: Look, how do you deny a 30-year-old man food? I mean, I felt like I was torturing the poor guy.
(Quick flashback to: Suzie's boyfriend is on the phone. Jerry is strapped in his chair, biting his fingernails.)
Suzie's Boyfriend: (to phone) Yeah, I told you them Vikings suck. All right, I'll meet you at the Circus Town Book.
(He hangs up.)
Jerry Gable: Can I go to Circus Town with you? I heard the buffet there is yummy.
(He shows the ad in the paper to Suzie's boyfriend.)
Suzie's Boyfriend: No.
(Jerry turns in his chair, rips out the ad and eats it.)
(End of flashback. Resume to present.)
Suzie's Boyfriend: My plan was just to drop him off at the buffet while I went back to the sports book. By the time I got back ... oh, man ...
(Quick flashback to: [INT. CIRCUS TOWN BUFFET - DAY] Suzie's boyfriend returns to the buffet. Jerry is gorging himself on the food.)
(Just then, the man dressed in a hot dog costume carrying a billboard sign for NEL'S REGIONAL HOT DOG EATING TOURNAMENT walks in through the door.)
(Suzie's boyfriend focuses in on the $10,000 PRIZE MONEY.)
(He looks at Jerry.)
(End of flashback.)
Suzie's Boyfriend: I couldn't help myself. I had to sign him up.
Brass: So let me guess -- you blew his winnings at the sports book?
Suzie's Boyfriend: Well, what was he gonna do with them? He's been strapped to a damn chair his whole life.
Brass: You know, you managed to supersize a combo of two deadly sins -- greed and gluttony. Shame on you. So what's he doing in a dumpster?
Suzie's Boyfriend: I don't know. Was there food in the dumpster? 'Cause when we were on our way home, Jerry was still hungry. Wanted to h*t up Krispy Kreme. And by the time I could tell him no, he was running off down the street. I looked for him all night.
Brass: Yeah? Where's Susie?
DISSOLVE TO:
[INT. HOSPITAL - SUZIE'S ROOM - DAY]
(Catherine talks with Suzie Gable, who is in bed after surgery.)
Suzie Gable: I knew I shouldn't have left Jerry with my boyfriend. I'd been calling to check in. He wasn't answering. I could tell something was up.
Catherine: Why did you leave your brother with somebody you didn't trust?
Suzie Gable: There was no one else. I had to get this surgery today or my insurance wasn't going to cover it.
Catherine: Couldn't you have left him with a family member?
Suzie Gable: We have no family. Our parents died in a car crash years ago.
Catherine: What about some kind of professional help?
Suzie Gable: I'm a waitress, Miss. I ... I don't make much. There's a really nice institution in Summerlin, but it costs a $100,000 a year. And the last babysitter I hired, Jerry b*at up trying to get to the fridge. I swear to you, I really tried to take care of my brother. I really ... did the best I could.
(She turns away, crying. Catherine takes out the photo of Jerry in the newspaper. Jerry is holding the trophy and smiling.)
(The caption reads: Jerry Gable takes 3rd in Nel's Regional Hot Dog Eating Tournament yesterday.)
Suzie Gable: Jerry took third place?
Catherine: (smiling) Yeah.
Suzie Gable: I bet he had the time of his life.
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x09 - Dog Eat Dog"} | foreverdreaming |
FADE IN.
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[EXT. COMMUNITY (STOCK) - DAY]
[EXT. MESA VALLEY PARK - DAY]
(The park is bustling with children playing. In the center of the green grass near the pathways, Karen Matthews pulls out items from the large wicker picnic basket open near her. She's packing up, covering a juice bottle and tucking it into the picnic basket.)
(She turns and looks over at the jungle gym set, a small smile on her face. Her smile disappears when she can't locate her son, Jesse.)
(She quickly stands up and takes several steps, looking around the area for her son, Jesse.)
Karen Matthews: Jesse? Jesse?
(She doesn't see him. She looks around the area, her voice getting louder.)
Karen Matthews: Jesse ... Jesse, can you hear me? Jesse, please!
(She looks around.)
Karen Matthews: (shouts) Jesse!!
FADE TO WHITE:
FADE IN.
[EXT. MESA VALLEY PARK - DAY]
(Grissom and Warrick walk with Brass, who fills them in as they head toward the park. Brass holds out a small photo of a small dark-haired little boy.)
Brass: Jesse Matthews, six years old.
(Grissom grabs the photo from Brass and looks at it.)
Grissom: Is this an old photo?
Brass: Yeah, it's the only one the mom had. She said one minute, he's on the swing, the next minute he's gone.
Grissom: Abduction.
Brass: Well, the search radius is over a mile -- no sign of the boy.
Warrick: What about the father?
Brass: The father is, um ... Army Sergeant, uh ... (He looks at his notes.) ... Dwight Matthews. k*lled in Afghanistan four years ago.
Grissom: Any other family members? Grandparents? Boyfriends?
(An officer gives Karen Matthews a cup of something to drink.)
Brass: No, her parents are d*ad and her husband's parents -- she lost communication with them since he died.
(They walk up to Karen Matthews.)
Brass: Mrs. Matthews ... this is Gil Grissom and Warrick Brown from the Crime Lab.
Karen Matthews: I, uh ... I never bring Jesse to the park. But this afternoon, the backyard just couldn't hold him, so we came here and ... uh ... he was on the swings; I couldn't even get him off, and then I look around and he's gone; he's just ...
Brass: Mrs. Matthews, there's really nothing more you can do here. Why don't you let us give you a ride home?
(She turns and looks at Grissom.)
Karen Matthews: I'm not leaving. (She looks at Brass.) Not without Jesse.
(She gets up, turns and walks away from them. Grissom looks down at the little boy's photo.)
Warrick: I called the team.
(Warrick looks at the photo.)
Warrick: They always look so vulnerable.
Grissom: They are.
CUT TO: END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. MESA VALLEY PARK - SAND BOX -- DAY]
(Greg and Sara are in the sand box area. Greg is looking at the sand while Sara is dusting the jungle gym pipes.)
Greg: It's like trying to get an ID on swimmers from ripples in the pool. How about you?
(Sara looks at the prints.)
Sara: Lots of little fingers ... and some big ones.
Greg: Helping hands?
(Sara heads back to her kit as Greg snaps photos of shoe prints in the sand.)
(In the background, we see Nick arrive and head toward the swimming pool area. He walks through the wire gate and looks at the nearly empty pool.)
(Carrying his camera, Warrick is headed toward the restrooms. In the background, we see Brass showing Jesse's photo to a housekeeper.)
Brass: Here, ma'am. Look at this picture. Do you remember this boy? It's not a recent photo.
(The housekeeper looks at the photo and sighs apologetically. She gives the picture back to Brass.)
Housekeeper: I had my hands full. I don't take my eyes off him ever.
(She nods toward the little boy holding her hand.)
Brass: Sure. I understand.
Housekeeper: But there was this man near the swings -- he kept looking around like he was waiting for something.
Brass: What'd he look like?
Housekeeper: He was a white guy, blue baseball cap ... that's all I remember.
Brass: Did he seem interested in one of the kids?
Housekeeper: Yeah. A boy. Could be that boy. (She looks at the photo again and shakes her head as she gives the photo back to Brass.) Mm ... it's hard to tell.
Brass: Okay ... thank you. Thank you very much.
Housekeeper: You're welcome.
(Brass turns and looks over at Karen Matthews standing near an officer.)
(Brass walks over to her.)
Brass: Mrs. Matthews ... (She turns and looks at Brass.) I know this is difficult for you, but I have to ask you again -- do you remember seeing anyone hanging around near the swings? Anyone. Maybe, maybe a man in a blue baseball cap?
(Quick flashback to: [SWINGS] A little boy is swinging on the swings. Standing and watching him nearby is a man wearing a blue baseball cap.)
(End of flashback. Resume to present.)
Karen Matthews: Yes.
Brass: Can you describe him?
Karen Matthews: He was white ...
Brass: (prompts) ... white ...
Karen Matthews: Uh ... just under six feet, I think.
Brass: Six feet. Great.
Karen Matthews: Jeans.
(Quick flashback to: [SWINGS] The man wearing the baseball cap heads over to the little boy riding the swings.)
(Flash to: The swing seat is empty.)
(End of flashback. Resume to present.)
(She looks at Brass.)
Karen Matthews: Did he take Jesse?
Brass: We don't know.
CUT TO:
[EXT. MESA VALLEY PARK - PARKING LOT -- DAY --- CONTINUOUS]
(Nick walks through the parking look, looking at the cars in the stalls. He stops in front of the car and checks under the car.)
(He stands up and sees Kelly Gordon standing just a couple cars away from him. She's startled that he's noticed her. She quickly turns and leaves.)
(Nick looks around.)
[EXT. MESA VALLEY PARK - DAY -- CONTINUOUS]
(An officer's car pulls up and parks. Grissom sees the car. He turns and talks with Karen Matthews.)
Grissom: Our K-9 officers are going to need something that Jesse's worn recently.
Karen Matthews: Uh ... his jacket. It's in the car. I'll get it for you.
(Karen turns and walks out of camera frame. In the background, two officers lead two K-9 dogs out of the car.)
SHORT TIME CUT TO:
[EXT. MESA VALLEY PARK - DAY -- CONTINUOUS]
(The officers let the dogs smell a red jacket.)
Officer: Okay, man. All right? Seek!
(The dogs start to search the playground area as Grissom, Karen Matthews and the other officers watch. The dogs weave in and out through the various apparatus, searching for a scent.)
Officer: Let's go! Come on!
(The dogs turn to the side of the playground area and head toward the fence as everyone watches.)
(The dogs turn and head back toward Grissom, Karen Matthews and the other officers. Grissom takes his sunglasses off.)
(The dogs complete the circle and stop in front of Karen Matthews, jumping on her.)
(A dog barks.)
Karen Matthews: Whoa! Whoa! What are they doing?
Grissom: Pull the dogs back, please.
(The officers pull the dogs back.)
Officer: Heel!
(Grissom reaches for the red jacket the officer is holding.)
Grissom: Can I see this jacket?
(He looks at the jacket that appears barely worn.)
Grissom: (to Karen) Has Jesse ever worn this?
Karen Matthews: I just bought it for him. He's been growing so fast. I'm sorry, I ...
Grissom: That's okay; we'll get something from your house.
(She nods.)
CUT TO:
[EXT. MESA VALLEY PARK - PUBLIC BATHROOMS (STOCK) -- DAY]
[INT. MESA VALLEY PARK - PUBLIC BATHROOMS -- DAY]
(Warrick uses his flashlight to look around the dingy, dirty public bathroom. He shines the light on the bathroom floor and finds what appears to be blood spatter. He opens the stall door and looks around.)
(He finds part of the toilet tissue roll holder on the floor, its end stained red with blood. He snaps photos of it and continues looking at the stall.)
(Grissom walks into the bathroom.)
Warrick: What do you make of this?
(Grissom walks up to the stall door and looks inside.)
Warrick: Possible struggle ... that could've been used as a w*apon. (He shines his flashlight on the bloodied roll holder.) The blood drops could be castoff.
(Behind the toilet bowl, Warrick finds a little boy's white underwear. He picks it up and looks at it.)
Warrick: Maybe the poor kid had to pee while his mom was in the car.
(Quick flashback to: [STALL] The door opens and the little boy steps inside to pee into the toilet. We hear him unzip his pants but before he does anything else, a man steps into the stall behind him and picks the little boy up. The boy screams.)
(End of flashback. Resume to present.)
[EXT. MESA VALLEY PARK - PUBLIC BATHROOMS -- DAY]
(Grissom and Warrick walk away from the bathrooms and head toward Mrs. Matthews, talking with an officer.)
Warrick: Mrs. Matthews, I need you to take a look at something. Do you recognize these?
(Warrick shows her the white underwear in an evidence bag. She looks at it and gasps, her mouth moving as she struggles to find the words.)
Karen Matthews: They're ...
(Suddenly, she retches, covers her mouth and takes a few steps backward as she collapses on the seat behind her.)
FLASH TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT]
(Police sirens wail in the background.)
[INT. MATTHEWS' RESIDENCE -- NIGHT]
(Catherine walks across the street. Greg grabs his bag and slams the car door shut. He turns and joins her as they head toward the Matthews' residence.)
(Greg hands Catherine her kit as they meet up with Brass, who is waiting out front for them.)
Catherine: Mrs. Matthews inside?
Brass: Yeah. Every mother's worst nightmare.
(Catherine turns and looks inside the house through the open front door.)
Brass: (continues) I checked her answering machine: No calls.
Catherine: Well, I'll get a DNA exemplar for Jesse and let her get some sleep.
Brass: She won't sleep. (to Greg) Okay, Greg, let's do a little legwork, what do you say? You take this side of the street; I'll take the other -- find out if anybody's seen anything suspicious.
[INT. MATTHEWS' RESIDENCE - FOYER / LIVING ROOM - NIGHT -- CONTINUOUS]
(Catherine enters the house. The living room is littered with toys, clothes and other evidence of a child living there.)
(Catherine turns and notices the framed photos on the wall. On the foyer table are more framed family photos of Jesse with Karen and her husband.)
(Catherine picks up a recent photo of Jesse in an orange-striped shirt.)
Catherine: Mrs. Matthews?
(Catherine looks around. She sees Mrs. Matthews standing in the next room, looking out the window and lost in her thoughts. Catherine steps into the next room.)
Catherine: Mrs. Matthews?
(Karen puts down the toy she's carrying and turns around. She quickly makes herself busy and tries to tidy the table.)
Catherine: I'm Catherine Willows from the Crime Lab.
Karen Matthews: Sorry about the mess.
Catherine: It's okay.
Karen Matthews: Jesse was so full of energy this morning. He didn't give me time to clean up.
Catherine: I understand.
(Catherine shows Karen Matthews the photo of Jesse in the orange shirt.)
Catherine: This photo ... is it recent?
Karen Matthews: Uh, yeah, that's, uh, that's from last month.
Catherine: If it's all right with you, I'd like to borrow it. I'll get it to Nevada Child Search, and they can get it out to the media.
Karen Matthews: Sure.
Catherine: Thank you.
(Catherine looks around the living room and notices the finger painting pictures hanging on the wall.)
Karen Matthews: Jesse's home-schooled. We do art together ... music ... everything.
(Catherine leans forward and notices the penciled lines on the side wall with indications of Jesse's height and age:
6 years - 36 1/2 "
5 years - 34 "
50 months
4 years - 31 1/3"
(Karen smiles.)
Karen Matthews: Do you have children?
Catherine: I have a daughter. Thirteen.
Catherine: "Thirty-six and a half inches." I'll add it to the physical description. And, Mrs. Matthews, our K-9 unit will need something with Jesse's scent.
Karen Matthews: Oh, right, right. Um ... maybe ... maybe his stuffed dinosaur? He holds it while he's sleeping.
Catherine: That'll work. And I will need something with his DNA: A toothbrush, hairbrush, pillowcase ...
Karen Matthews: Why do you need that?
Catherine: Well, if we locate anything that could lead us to him, we want to make sure we've got the right boy.
Karen Matthews: Well, I'll get those things for you.
(Karen turns and leaves the room.)
SHORT TIME CUT TO:
[INT. MATTHEWS' RESIDENCE - GARAGE -- NIGHT]
(As Catherine steps out into the garage, Officer Ackers pulls up driving Karen Matthews' vehicle. He parks and gets out of the car.)
Catherine: Hi.
Officer Ackers: Hey. Captain Brass asked me to drive the lady's car home.
Catherine: Oh ... okay. Yeah, I'll let her know.
(He gives her the keys.)
Officer Ackers: Thanks.
Catherine: Mm-hmm.
(He turns and leaves.)
(Catherine takes a moment and looks around the garage. She notices wrapped birthday presents stacked on the wall shelf. One of the labels reads:
HAPPY BIRTHDAY
JESSE!
LOVE, GRANDMA & GRANDPA
(The next package she looks at is a Christmas present with the label:
TO: JESSE
FROM: GRANDPA & GRANDMA
(Catherine is surprised by the discovery.)
[EXT. MATTHEWS RESIDENCE -- NIGHT]
(Greg interviews Karen Matthews' next door neighbor, Ken McCracken. Ken is carrying is dog in his arms.)
Ken McCracken: Since her husband died, kid's toys always laying around. I'm always tossing balls over my fence back into her yard. They keep to themselves, which is fine by me.
Greg: Sir, have you seen any suspicious cars in the neighborhood, or strangers?
Ken McCracken: I work all day and I don't spend my nights looking at the neighbors, okay?
Greg: Well, what about the weekends?
(The dog snarls at Greg.)
Greg: Aggressive little pooch.
Ken McCracken: Oh, she's my sweetie.
(Ken buries his face in his dog's fur as he croons to his pet. Greg swallows, a little freaked by the man's behavior with his dog. The dog licks Ken's face as he continues to croon.)
Ken McCracken: Who's my good girl? Queenie's my good girl. Yes, you are. Yes, you are. (He stops and looks at Greg.) Interesting how things work out.
Greg: What do you mean?
Ken McCracken: Her kid getting k*lled. This is Queenie. My last dog, Princess ... Princess died, and she did it.
Greg: Karen Matthews?
Ken McCracken: Four years ago. I found Princess hanging off the back fence. Supposed to look like it was an accident, like she got caught on collar and choked.
Greg: Did you see her do that?
Ken McCracken: No, but I knew. See, Princess used to bark through the fence at her kid. She just wanted to play. (Ken kisses his dog.) If you ask me, you know what? The kid liked it, but Karen she just went off the deep end.
Greg: Mr. McCracken, who told you her son was k*lled?
CUT TO:
[INT. MATTHEWS' RESIDENCE - LIVING ROOM - NIGHT ]
(Camera opens on the framed family photos hanging on the wall. Catherine turns and heads into the little boy's bedroom. There are dinosaur toys on the shelf and a plastic cage with two pet hamsters.)
(Catherine leans forward and taps the side of the cage. Karen walks in.)
Catherine: Who takes care of the hamsters?
Karen Matthews: Jesse. When he remembers. Which is as about as often as he remembers to brush his teeth.
(She shows Catherine the toothbrush. Catherine opens a plastic bag and holds it out for Karen to put the toothbrush in.)
Catherine: Mrs. Matthews, has Jesse ever run away from home?
Karen Matthews: (shakes her head) He'd never do that.
(Karen walks over to the bed and picks up the stuffed dinosaur. She turns and looks at Catherine.)
Catherine: Was he upset about anything?
Karen Matthews: No. No. No. You're going to find him. If something happened, I'd know.
(She gives the stuffed dinosaur to Catherine.)
Karen Matthews: (points to her heart) I'd know here.
Catherine: Of course. I'd feel the same.
(Karen turns and makes the bed.)
Catherine: Mrs. Matthews, when the officer brought your car back, I noticed that there were gifts in the garage that were from your husband's parents.
Karen Matthews: The, um ... the colonel and his wife. We're, uh, we're not in touch anymore. Ever since Dwight was ... ever since Dwight died, my father-in-law thinks he should be raising Jesse, not me. He runs that house like an army barracks. Do you know what that does to a boy? Well, I saw what it did to Dwight, and I will not let him do that to Jesse.
Catherine: I'm still going to need some contact information.
(Karen stops and thinks about it.)
Karen Matthews: They took him.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - DNA LAB]
(Wendy Simms cuts the end of the toothbrush bristles with an electric handsaw to find a DNA sample to process.)
(She puts the piece of toothbrush into a test tube, adds the solution and puts it in a machine that rocks it back and forth gently.)
(She removes the test tube from the machine, removes the toothbrush from the test tube, takes a sample of the solution and puts it in a second smaller sample container. She caps the smaller sample container, puts it in a second machine that spins the sample. She closes the machine and turns it on.)
(The machine whirls.)
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE - DAY]
(Brass interviews Faye and Colonel Warren Matthews, Jesse's paternal grandparents.)
Warren Matthews: We haven't seen Karen or Jesse since, um ... (He falters, obviously unable to recall the information.) ... uh ... since ...
Faye Matthews: We haven't seen them in four years, since the day we buried our son.
(Quick flashback to: [EXT. CEMETERY - DAY] The funeral procession moves along. Karen holds the folded flag in her arms, her other hand is tucked in the crook of her escort's arm.)
(Behind her, Jesse is between Warren and Faye Matthews. Warren leans down and gives Jesse a plastic toy soldier.)
Warren Matthews: (to Jesse) Here. Here's your toy soldier.
(Karen overhears him. She turns around and gasps. She grabs the toy soldier from Jesse and glares at Warren. She shoves the toy soldier back at Warren.)
Faye Matthews: (quietly) Warren, not today.
Warren Matthews: (insistent) He's my grandson. It-it's, it's a toy.
Karen Matthews: (upset) I will raise my own son-- not you.
(She grabs Jesse's hand away from Faye's and leads Jesse away from them.)
(End of flashback. Resume to present.)
Warren Matthews: Jesse comes from a, from a long line of military men going all the way back to Bull Run. Were you in the service?
Brass: Yes, sir. Marine Corps.
Warren Matthews: I bet your dad was, too, right?
Brass: You know, we're here to talk about your family, not mine.
Faye Matthews: If we hadn't seen Jesse's picture last night on TV, we wouldn't know what he looked like now.
Warren Matthews: She blames me.
Faye Matthews: I do not.
Warren Matthews: Don't tell me what I know and don't know, all right?
Faye Matthews: Can I please just go to the bathroom?
Brass: Oh, absolutely. Absolutely.
Warren Matthews: Where is it?
Brass: It's. Uh ... down the hall to the right, through the door.
Faye Matthews: Excuse me.
(Faye Matthews gets up and leaves the office. Warren Matthews pulls his chair closer to Brass' desk.)
Warren Matthews: (confidentially) This is just between you and me. I saw Karen last week.
(Quick flashback to: [EXT. MATTHEWS' RESIDENCE - FRONT PORCH - DAY] Warren Matthews knocks on the front door. Karen opens the door.)
Warren Matthews: Oh, hi, Karen, uh, could I see Jesse please?
Karen Matthews: No.
(Karen starts to close the door; he pushes the door open.)
Warren Matthews: Karen, he's my only grandson.
Karen Matthews: You can't have him, okay?
Warren Matthews: I don't want to keep him, Karen. I just want to give him these. Please.
(He shows her the army tags.)
Karen Matthews: Just leave us alone.
(She again closes the door. He starts shouting.)
Warren Matthews: Jesse! It's Grandpa. Jesse!
Karen Matthews: No, please.
(She closes the door on him.)
(End of flashback. Resume to present.)
(Warren Matthews falls silent and looks down a little lost.)
Brass: (prompts) Colonel?
(Warren looks around.)
Warren Matthews: Where's my wife?
Brass: She's in the ladies' room. It's okay. Do you get these uh ... these spells often? There's some memory loss?
Warren Matthews: It's early Alzheimer's.
Brass: That's a tough one.
Warren Matthews: All I wanted was to see my grandson. Find him for me.
Brass: We'll do our best, sir. We'll do our very best.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY -- DAY]
(Warrick and Sara walk through the hallway.)
Warrick: Any luck with those prints from the swing?
Sara: Nothing on AFIS, but Brass did put out a bulletin for the guy in the blue baseball cap.
Warrick: I wouldn't get our hopes up -- it's a vague description.
Sara: What about the K-9 search?
Warrick: Nothing.
(Warrick enters the DNA Lab as Sara leaves down the hallway.)
[INT. CSI - DNA LAB - DAY -- CONTINUOUS]
Warrick: What do you got for me?
(Wendy Simms reports her findings.)
Wendy Simms: Well, I ran the exemplar toothbrush against a blood sample from the men's room. It's not a match.
Warrick: What about the underpants?
Wendy Simms: Couldn't get enough epithelials for DNA 'cause the kid probably hadn't been wearing them for very long.
(The label on the evidence bag reads:
CRIME SCENE SEARCH EVIDENCE REPORT
Name of Subject:
Offense: LVPD 051207-1165 GG
Date of Incident: 12-07-05 TIME: 11:28 AM/PM
Search Officer: W. BROWN
Evidence Description: BOYS UNDERPANTS
Location: Mesa Valley Park Men's Room
Warrick: I wonder why.
Wendy Simms: Well, I did confirm a positive result for urea in the underpants. And the quantity and distribution suggests that the kid wet himself.
Warrick: Ditched his wet tighty-whiteys and went back out to play.
(Wendy goes to the computer and pulls up an ID.)
Wendy Simms: I got a h*t on your blood. Conner Daly. Convicted of NRS
201.450. Out on parole.
(The information on the screen reads:
ADDRESS: 1204 Bonnie Brae
Las Vegas, NV 891-
CRIMINAL HISTORY:
NRS 201.450
Sexual Penetration of a d*ad Human Body
One Year State Prison
RELEASED:
November 21, 2005 )
Warrick: What's a 450?
Wendy Simms: That'd be "sex with d*ad body."
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Warrick interviews Conner Daly.)
Warrick: Mr. Daly, where were you yesterday afternoon?
Conner Daly: Playing nickel slots downtown. I, uh .... I'm not trying to win the big jackpot or anything; just passing time. It relaxes me.
(Warrick leans against the wall, looking through the open file folder in his hand.)
Warrick: Where did you go next?
Conner Daly: Walked in the park. Fresh air. I'm allergic to smoke.
(Warrick looks up and at Conner Daly.)
Warrick: Which park?
Conner Daly: One near my apartment.
(Warrick walks over to the table.)
Warrick: Would that be Mesa Valley Park?
Conner Daly: (nods) Yeah. Then I sat down on a park bench and read a copy of the RJ that I picked out of the trash. What's this about?
Warrick: Did you go to the men's room at any time?
Conner Daly: Only when nature called.
Warrick: What did you do there?
Conner Daly: I amused myself.
Warrick: What did you do next? We found your blood on the floor.
Conner Daly: I get nosebleeds. Too much cocaine back in the day.
Warrick: Yeah. I'm sure we'll find that in your medical records.
(Taking exception to the comment, Conner Daly stands up.)
Conner Daly: (seethes) My whole damn life is on record. So, why don't you look at the freakin' records, huh?
Warrick: You have anger issues, Mr. Daly?
(The officer standing in the back of the room steps forward.)
Conner Daly: Yeah.
Warrick: Would you take a seat for me, please.
(Conner nods and sits down again. Warrick sees a large gash on Conner's left hand between his thumb and index finger.)
Warrick: What's that cut on your hand from? Pick the wrong partner?
Conner Daly: (shakes his head) No.
(Quick flashback to: [INT. BATHROOM - STALL - DAY] The stall door opens and Conner quickly sits down on the toilet, his hand holding his bleeding nose while the other reaches for some toilet tissue. The tissue holder roll is empty and he gets angry, ripping the holder out of the stall wall.)
(Part of the holder falls to the floor, his blood on it.)
(End of flashback. Resume to present.)
Conner Daly: Look, I'll send the county a buck-fifty. They can buy a new one.
Warrick: You recognize this boy?
(Warrick puts Jesse's photo on the table. Conner leans forward and looks at it. He sits back in his chair.)
Conner Daly: Looks like a kid that this guy brought into the bathroom but I didn't stay to watch.
Warrick: Did you get a look at the guy?
Conner Daly: (shrugs) 51's fan.
(Warrick looks at him, not following him. Conner points to his head.)
Conner Daly: His cap.
CUT TO:
[MONITOR]
(The news report is on for an AMBER ALERT. Jesse's photo is shown as Paula Francis reports.)
Paula Francis: (from tv) Las Vegas police may have a break in the case of a missing boy. An eyewitness has come forward with a more complete description of the suspect.
(A sketch of the man's face appears on screen.)
Paula Francis: (from tv) Authorities are now seeking this man in connection with the disappearance yesterday of six-year-old Jesse Matthews.
[INT. CSI - BREAK ROOM - DAY]
(Grissom is watching the report on the television.)
Paula Francis: (from tv) Initial reports from the scene only mention a man in a blue cap, but the police artist had a lot more to work with after the eyewitness came forward.
(On the monitor, reporters interview Karen Matthews.)
Karen Matthews: (from tv) Uh, uh ... I'm ju ... I'm just trying to stay positive. And, um, you know, I know that Jesse'll be safe at home again soon.
Reporter (woman): (from tv) Do you think there's anything else the police ...
Karen Matthews: (from tv) (interrupts) So. I know he'll be safe.
(The report goes back to Paula Francis.)
Paula Francis: (from tv) The boy's mother, Karen, is holding out hope that she'll see her son again. She's seen tragedy enough. Four years ago, she lost her husband in combat in Afghanistan.
CUT TO:
[INT. LAS VEGAS CITY (STOCK) -- NIGHT]
[INT. CONVENIENCE STORE -- NIGHT]
(Victor Esposito, wearing a blue baseball cap, and his wife Valerie wait at the checkout counter as 'Jesse' looks at the displays behind them.)
Valerie Esposito: What's going on?
(Off to the side, Brass takes out the photo of 'Jesse' and compares it to the little boy looking at the displays. He tucks the photo back into his jacket pocket.)
(We hear a beep off screen from behind the counter.)
Victor Esposito: (under his breath) It's ridiculous.
(The clerk runs the credit card through the reader. It beeps again. He looks at the Espositos.)
Clerk: Sorry. Declined again. You have another card?
Victor Esposito: Aw, come on. That's the fourth time.
Valerie Esposito: Maybe we got identity theft-ed or something.
(She catches a glimpse of 'Jesse' reaching for the candy on the display.)
Valerie Esposito: (to 'Jesse') Hey, hey, leave that candy alone.
Clerk: It could be the card-reader. My manager'll be right back. If you guys want to get some coffee, it's on the house.
(Brass nods to the officers just outside the doorway.)
Brass: All right. Let's go.
(He takes out his ID and badge and holds it up as he walks over toward the Espositos.)
Brass: Las Vegas police. You're under arrest.
Victor Esposito: What? VALERIE ESPOSITO: What?
(The clerk looks at Brass.)
Clerk: That's the kid from the news, right?
Brass: Yeah. You did good.
(Officers handcuff Valerie and Victor Esposito, who are confused.)
Valerie Esposito: What?
Victor Esposito: Yeah, what the hell is going on here?
(Brass turns toward 'Jesse' as the Espositos.)
Valerie Esposito: Hey, let go of me.
Victor Esposito: What are you arresting us for? Huh?
Valerie Esposito: Let go of me, huh! What the hell is going on here?
Victor Esposito: What's going on? What are you arresting us for?!
Valerie Esposito: Get away from him. Get away from him!
(The officers lead Victor and Valerie out of the convenience store. Brass puts a hand on 'Jesse's' shoulder.)
Brass: It's all right, son. You're safe now ..
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
(Karen Matthews rushes into the building. Catherine turns the corner to meet with her.)
Karen Matthews: Oh, God, where is he?
Catherine: He's in with a social worker. He's okay.
Karen Matthews: Jesse!
(She hurries past Catherine and rushes into the waiting room.)
Karen Matthews: Jesse!
(She puts her arms around him and hugs him. He doesn't hug her back.)
Karen Matthews: Oh, Jesse, thank God. Thank God you're okay. No, no, no, it's okay. Mommy is here. You're safe now.
(Adam turns to the side and sees someone off screen.)
Adam Esposito: (shouts) Mommy!
(Warrick and Catherine, who stand on the side watch, confused by what's going on.)
Adam Esposito: Mommy!
Valerie Esposito: Adam!
Adam Esposito: Mommy!
(Just outside the waiting room windows in the hallway is Valerie Esposito.)
Valerie Esposito: Adam!
Karen Matthews: (interrupts) No, your mommy's here, honey.
Valerie Esposito: No, please. (shouts) Get away from my kid!
(The officer leads Valerie Esposito away.)
Karen Matthews: (to Adam) What did they say to you?
Victor Esposito: (o.s.) Adam! Don't say nothing!
Karen Matthews: What did they make you say, sweetheart?
Victor Esposito: (shouts) Look at me. Don't say nothing to nobody. You hear me, little man, huh? Don't say nothing!
(The officers lead Victor Esposito away as he continues to shout down the hallway.)
(Brass stops alongside Warrick and Catherine as they all look at Karen with Adam.)
Karen Matthews: Look at me. Just look at me. Don't look at those people. Just look at me. Just look right here.
(Catherine shakes her head.)
Catherine: Jim?
Warrick: What the hell's going on?
Brass: That's Victor and Valerie Esposito. Transplants from Jersey. Check this out.
(He shows Catherine the photo key chain. It's a photo of the Espositos with Adam. Victor Esposito is wearing a Santa's cap.)
Brass: It was with Mrs. Esposito's personal belongings at booking.
(Catherine looks over at Adam with Karen.)
Catherine: He's got the same scar over his eye as in Karen's photos.
Warrick: So this kid has two moms?
Brass: King Solomon thr*at to cut the baby in half. What are you going to do?
Catherine: King Solomon didn't have a DNA lab.
(Brass heads for the interview rooms while Catherine and Warrick walk into the waiting room.)
(Karen gives a plastic toy to Adam.)
Karen Matthews: Here you go, sweetie.
(He takes it from her. Karen holds Adam close to her.)
Catherine: Hey, is it all right if he goes with CSI Brown for a little while? It won't be long.
(Warrick kneels in front of Adam.)
Karen Matthews: (nods) Okay.
Warrick: Hey. My name's Warrick. You want to go for a walk?
Karen Matthews: It's okay, sweetheart. He's a friend.
(Adam gets up.)
Warrick: Come on, we'll have some fun.
(They start to leave when Karen stops them.)
Karen Matthews: Oh, wait.
(She holds out Jesse's jacket.)
Karen Matthews: He gets cold.
(Warrick takes the jacket from her.)
Warrick: Thanks.
(Warrick and Adam leave. Karen turns to look at Catherine.)
Karen Matthews: Thank you.
(Catherine smiles and nods.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB -- NIGHT]
(Clutching the plastic toy dinosaur in his hand, Adam is in the break room looking through the glass as people work in the lab next door.)
(Warrick walks over to him and kneels down next to him. He looks through the glass as well.)
Warrick: Wow, everybody's so busy in there, huh? Hey, I hear you like dinosaurs. Which one's your favorite?
(Adam doesn't say anything.)
Warrick: You know what mine is? T-rex. 'Cause he's got teeth like this big.
(Warrick hold out his hands to show the size of the teeth. Grudgingly, Adam looks sideways at Warrick, but he doesn't turn around. And he doesn't say anything.
Warrick: I bet you wouldn't want him for a pet, would you?
(Adam turns and looks at Warrick.)
Warrick: You want to see something cool? Come over here. Let's sit down.
(Warrick and Adam move over to the table where Warrick has his kit. He and Adam sit down at the table.)
Warrick: This is my special science kit.
(He pops the kit open and shows Adam the things inside.)
Warrick: Got all kinds of stuff in here. Let me see ... I got rubber gloves.
(Warrick takes out a latex glove and blows it up like a balloon. He hands the glove to Adam.)
Warrick: Here ... put that on. (Adam takes the glove from him.) What else I got in here? I got pens that turn into flashlights.
(He takes out the penlight, turns it on and shows it to Adam. He puts it down in front of Adam.)
Warrick: You want to see something invisible? Go like this.
(Warrick swipes his thumb on the side of his nose and presses it down on the paper. Adam copies the motion and presses his thumb down hard on the blank sheet of paper.)
Warrick: See, there's nothing there, right?
(Adam nods. Warrick takes out the magnetic brush from his kit and shows it to Adam.)
Warrick: But take my magic wand right here, and I put it in my special magic powder like this. (He dips the magnetic brush in the container.) Watch this.
(He brushes the paper and the fingerprints appear.)
Warrick: What appears is our fingerprints. (Interested, Adam leans forward to look.) Now shine the flashlight on it.
(Adam quickly grabs the penlight and shines the light on the print.)
Warrick: Wow ... Good job. Will you be my assistant?
(Adam doesn't say anything, but he's definitely interested.)
Warrick: See, no two people's fingerprints are alike. Just like no two people's spit is the same.
(Warrick takes out two swabs from his kit and opens one.)
Warrick: So if I took my spit like this ...
(Warrick swabs the inside of his own mouth and caps it.)
Warrick: Now you do it.
(He opens the second swab and hands it to Adam. Adam takes the swab and swabs his own mouth. He gives the swab back to Warrick.)
Warrick: See, even if I mix them up, I have a machine to tell me which one is mine and which one is yours. Now, I need you to tell me something.
(Warrick holds out the two photos.)
Warrick: Which one of these two pretty ladies is your mom?
Adam Esposito: That one.
(Adam points to Valerie Esposito.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Catherine takes a swab from Valerie Esposito.)
Catherine: Thank you.
Valerie Esposito: Yeah, whatever. Can I see Adam now?
Catherine: Adam?
Valerie Esposito: Yeah. My kid.
Catherine: Well, once our lab confirms DNA, he can go home with his mother.
Valerie Esposito: Who the hell do you think I am?
Catherine: Mrs. Esposito ... did you adopt Adam?
Valerie Esposito: (scoffs) Give me a break. Twenty-six hours in labor. Finally had a c-section.
(She stands up, lifts up her shirt and shows Catherine the scar on her abdomen. She sits back down.)
(Catherine glances over at Karen Matthews in the waiting room.)
Catherine: (reaching) Did you have twins?
(Valerie Esposito rolls her eyes.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - NIGHT -- CONTINUOUS]
(Catherine exits the room. Karen Matthews stands up as Catherine walks into the waiting room.)
Karen Matthews: Hi. Can I take Jesse home now?
Catherine: I need your help to tie up a few loose ends.
Karen Matthews: Of course, anything.
Catherine: Let's start with a sample of your DNA.
Karen Matthews: What?
Catherine: We have to follow procedure for everyone's protection. In fact, Jesse can't even be released without a positive match.
Karen Matthews: You know, he doesn't stay up this late.
Catherine: I'll make it a rush, I promise.
(Catherine takes out a swab.)
Catherine: Open your mouth, please.
(Catherine takes a swab sample.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Catherine and Warrick look at the two photos side by side, comparing the two sons.)
Catherine: It's the same kid. It's a doppelganger, with an identical scar.
Warrick: He picked Mrs. Esposito.
Catherine: I know there's cases in which the kidnappers thr*at their victims, "Tell them that I'm your mother or I'll k*ll your real mom."
Warrick: I don't think he's lying.
Catherine: I don't think that Mrs. Esposito's lying either. Karen Matthews had a house full of photos of him.
Warrick: Well, I'm sure the Espositos do, too.
(They enlarge the photo of Karen Matthews and Jesse at the beach.)
Catherine: There's something off about this picture.
Warrick: It seems kind of set up, doesn't it?
(Warrick enlarges the photo a little more and notices that Jesse's face starts to pixelate while Karen Matthews appears normal.)
Warrick: The pixel density's not the same.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Valerie and Victor Esposito look at the photo of Karen with Adam.)
Valerie Esposito: Where'd she get this picture of Adam? How'd she get it?
Victor Esposito: Maybe she's a stalker.
Valerie Esposito: No, she wouldn't have stalked us to Cape May. This isn't it. It's the only shore we've been to.
Catherine: Do you recognize anything in the picture?
Valerie Esposito: Yeah, that's the shirt his Nana gave him last summer. He only wore it that once, at our family reunion.
Catherine: Was Karen Matthews there?
Victor Esposito: No way.
Catherine: Mr. Esposito ... several witnesses saw a man matching your description at Mesa Valley Park ... (he nods) ... when Jesse disappeared.
Victor Esposito: Yeah, I'm there all the time. We live around the corner.
Valerie Esposito: We just had Adam's birthday party there last month.
Victor Esposito: Yeah.
Catherine: Were you there the day before yesterday?
Victor Esposito: Yeah, with Adam. Yeah.
(Valerie turns and looks at Victor.)
Valerie Esposito: You told me you were taking him for ice cream. What were you doing in the park?
Victor Esposito: I had to meet a guy.
Valerie Esposito: A guy? Oh, my God. You're putting money down on a game? You promised you'd quit.
Victor Esposito: I did, all right? It's for a guy at work.
(Quick flashback. [EXT. PARK - DAY] Adam is on the swings as Victor watches. A car horn honks behind him and he turns.)
(Flash to: Victor gives the guy in the car some money.)
Victor Esposito: Three-to-one, right?
Bookie: Yeah.
(Finished with his business, Victor looks at Adam.)
Victor Esposito: (shouts) Adam.
(End of flashback. Resume to present.)
Valerie Esposito: Well, you should have just took him for ice cream.
CUT TO:
[INT. CSI - A/V LAB]
(On the monitor, Archie has a photo of Adam enlarged. Warrick points to the photo.)
Warrick: So Karen took a picture of herself at the beach and Photoshopped Jesse in.
Archie Johnson: Right.
Warrick: So if that's really Adam Esposito, where did she get the pictures from?
Archie Johnson: Well, let us see.
(Archie Goggles "ADAM ESPOSITO" in the search engine.)
Warrick: Where are you going?
Archie Johnson: Image search.
(He finds the ESPOSITO FAMILY web page.)
Archie Johnson: Family home page. My mom wants me to do one of these for our family.
Warrick: Ah. Click on where it says "Adam's Birthday Party."
(Archie clicks to the page. Warrick points out a particular photo.)
Warrick: That one.
Archie Johnson: Maybe Karen found the site. Cut out the kid's picture.
Warrick: That's Mesa Valley Park.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(Warrick walks into Grissom's office to report to him.)
Warrick: Karen Matthews faked those photos that she gave Catherine.
Grissom: How?
Warrick: Cut-and-paste. The photos that she got off the Internet.
(Warrick gives Grissom a photo.)
Grissom: The Espositos told Catherine that they were at the park with their son the day Jesse Matthews disappeared. Is that a coincidence?
Warrick: No. My guess is Karen's been downloading pictures from the family website for a while -- the most recent being from Mesa Valley Park.
Grissom: Could Karen have recognized the park from the pictures on the website?
Warrick: Yeah, and she went there hoping to see him again.
Grissom: But she reported him missing. That makes no sense.
(Catherine walks in and joins them.)
Catherine: Hey, I got the DNA results. The boy is Adam Esposito. Victor and Valerie are his parents.
Warrick: There you go, she's lying. She doesn't have a son.
Catherine: Uh, not quite. She's got 13 alleles in common with the male DNA that we got from the toothbrush exemplar.
Grissom: So she does have a son.
Catherine: I was inside the house. Believe me, a kid does live there.
Grissom: And we're still looking for Jesse Matthews.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - WAITING ROOM]
(Karen Matthews is sleeping in the waiting room. Brass walks in with a female officer.)
Brass: Karen Matthews.
(Karen wakes up and stands up. She smiles at Brass.)
Karen Matthews: Can I take Jesse home now?
Brass: I'm afraid not. No. The DNA confirms the boy's not your child.
Karen Matthews: I ... that's impossible.
Brass: Your actions regarding the Espositos constitutes stalking and possible kidnapping. Please go with this officer.
Karen Matthews: No, no ... what have you done with Jesse?
Brass: Ma'am ...
Karen Matthews: No. Where is he?
(Karen turns around and heads into the building, determined to find Jesse.)
Officer: Ma'am ... Please ...
Karen Matthews: Jesse?
Officer: Ma'am ...
Karen Matthews: Jesse? Jesse, where are you?!
(The female officer takes off after her and catches up with her.)
Officer: Ma'am, please ...
(A second officer arrives to help detain Karen Matthews. Brass watches from the side.)
Karen Matthews: I need to see my son! (screams) Jesse! Jesse, where are you?!
(She struggles against them as they stop her from going any further.)
Karen Matthews: (screaming) Please! Please! Jesse! Jesse! Jesse, where are you?!
CUT TO:
[INT. CSI - LAYOUT ROOM -- DAY]
(Greg reads the information he's found about Jesse to Warrick, Catherine and Sara. The layout table in front of them has the various photos from the investigation.)
Greg: "Jesse David Matthews. Mother Karen, father Dwight. Born August 31, 1999." I also checked for a death certificate. Nothing on file.
Catherine: These are all in chronological order. Archie confirmed that all the photos taken along the top row were genuine. Up until the photo taken at the funeral in which he was two.
Sara: So, the rest of these were faked using Adam Esposito?
Catherine: Yeah.
Sara: (to Greg) You talked to the neighbors. What did they say?
Greg: Jesse and Karen kept to themselves. But he was always leaving his toys around outside.
Sara: They saw his toys -- Did they see him?
Greg: Well, when I asked, "When was the last time you saw Jesse?" No one remembered exactly.
Warrick: What about his grandparents?
Catherine: They haven't seen him since the funeral.
Warrick: Has anyone seen Jesse since he was two? His teachers or a doctor, baby-sitters ... ?
Catherine: Well, he was home-schooled. And we're looking into a doctor and a sitter.
Warrick: Well, I guess we can impound her car and find out if there's any evidence that he was even in there.
Catherine: For four years she's created an elaborate fantasy -- which collided with reality at Mesa Valley Park.
(Quick flashback to: [EXT. MESA VALLEY PARK - DAY] Karen sits on the grass. She turns around and sees Adam on the swings.)
(She stands up and smiles as she watches him.)
Karen Matthews: Jesse.
(As she watches, the man in the blue baseball cap walks up to Adam and picks him up. She imagines him calling out to her.)
Voice: Mommy!
(Suddenly worried, Karen starts shouting for her son.)
Karen Matthews: Jesse? Where are you?! Jesse?!
(End of flashback. Resume to present.)
Warrick: I suppose she thought it was her son that was gone when she looked back at that empty swing.
Catherine: When she couldn't find him, she called the police.
Sara: Jesse's been missing for four years. We're chasing a ghost.
(Camera holds on the last photo of Jesse Matthews.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Catherine interviews Karen Matthews.)
Karen Matthews: We went to the park. I-I brought Jesse's new jacket. He was on the swings and when I wasn't looking, a man in a blue cap took him.
Catherine: Karen, tell me what happened four years ago after your husband was k*lled.
Karen Matthews: I-I ... that's a ... I am not the one that should be here. You should be talking to the man that took Jesse.
Catherine: Did Jesse get sick? Was there an accident?
(Karen doesn't say anything as she stares at Catherine.)
Catherine: Karen? Did something happen to Jesse? Is Jesse d*ad?
Karen Matthews: You saw him. You were ... you were there while I held him in my arms. Why are you putting me through this? Tell me. Why?
CUT TO:
[EXT. MATTHEWS RESIDENCE - BACK YARD -- DAY]
(Warrick is putting the three soil probes together. Greg and Sara join him.)
Greg: So how do we do this?
Warrick: Old school. Soil probes. The probe goes deeper where the soil's been disturbed.
(They look around the back yard.)
Greg: And that's where we dig?
Sara: On the one hand, you really want to find the body. Give it respect, provide closure ... on the other hand ...
Warrick: Yeah.
(He hands Sara a soil probe.)
(Sara, Greg and Warrick each spread out in the back yard.)
Warrick: She would have buried the body where he would have still been close to her.
Sara: You know, I'm not finding any density changes.
Greg: Me neither.
(Warrick looks around and notices the different wood board color in the fence. In the background, we hear a dog bark.)
Warrick: Somebody replaced this fence board right here. These other ones look like they've been chewed on.
Greg: Guy said that Karen freaked out when his dog barked at her kid. Maybe the dog chewed through the fence.
(Warrick tests the soil.)
Warrick: There's definitely a change in density there.
Sara: Let's start digging.
CUT TO:
[INT. MATTHEWS RESIDENCE - JESSE'S ROOM -- DAY]
(Grissom photographs the paintings on the wall. One of the pictures is of a rainbow. Grissom puts his thumb up against the finger painting to measure the size and width of the strokes which match an adult's thumb.)
(He steps back and looks at the paint bowl on the table.)
(Catherine walks in.)
Catherine: I found this in Karen's medicine chest. Olanzapine.
(She's holding a bagged prescription bottle.)
Grissom: That's a heavy-duty antipsychotic.
Catherine: Yeah. But the prescription is over four years old. I'll have Brass subpoena her medical records.
Grissom: You know, if she was being treated for psychosis, it could explain all of this, because she didn't overlook a single detail. I think she even did the finger paintings.
Catherine: It's hard for anyone to let go of someone they love.
Grissom: Yeah. After my dad died, my mom would still get him a present every Christmas. She'd put it under the tree. Christmas morning, the wrapping paper would be all crumpled up and, uh ... the tie or the sweater, whatever it was, would be hanging in their closet.
Catherine: How old were you when he died?
(Grissom snaps photos of the play table.)
Grissom: Nine.
Catherine: Little guy. (Grissom stops and looks around, lost in his own thoughts.) I'll get started in Karen's room.
(Catherine turns to leave, but Grissom stops her.)
Grissom: (suddenly) He taught botany. He, uh ... came home from school one hot, humid day, laid down on the couch. I was watching TV. My mom brought in some cold drinks ... but she couldn't wake him up.
(They fall silent.)
Grissom: No one would tell me why.
CUT TO:
[INT. CSI - GARAGE -- DAY]
(Nick is going through Karen Matthews' car. He's examining the car trunk.)
(He removes the carpeting and tosses it aside. He examines the trunk and finds some fibers. He takes a sample of the fibers and puts it in a container.)
Receptionist: (over P.A.) Nick Stokes, you have a visitor in reception. Nick Stokes, you have a visitor in reception.
(Nick stops and listens when he hears his name.)
[INT. CSI - TRACE LAB - DAY -- CONTINUOUS]
(Nick walks into the lab.)
Nick: Hey, Hodges.
(Hodges turns around.)
Hodges: Oh, hey, Nick. Did you hear you had a visitor?
Nick: Yeah, and you have a tissue sample with adherent hairs. Examine the hairs and get the tissue sample to DNA. Priority.
Hodges: I'll just drop everything I'm doing. Priority, Nick Stokes.
Nick: You're coming around, Hodges.
(Nick leaves and heads over to Reception.)
[INT. CSI - RECEPTION - DAY -- CONTINUOUS]
(The receptionist is on the phone.)
Nick: Hey. I, uh, I have a visitor?
(She points to the side.)
(He turns and sees Kelly Gordon sitting on the chair.)
Nick: Kelly?
Kelly Gordon: Hi.
Nick: Hi. You ... you got out.
Kelly Gordon: Couple days ago.
Nick: (nods) Mm ...
Kelly Gordon: Parole Hearing Board liked my smile.
(He smiles a little.)
Nick: You know, I thought I saw you at a crime scene the other day.
Kelly Gordon: You did.
Nick: I did?
Kelly Gordon: Just checking it out. (She stands up.) You know how, when you came to see me, what you said about when I get out, not taking it with me? I've been thinking a lot about that. I wanted you to know.
Nick: You all right?
Kelly Gordon: Perfect.
(Kelly turns and leaves.)
CUT TO:
[EXT. MATTHEWS RESIDENCE - BACK YARD -- DAY]
(Warrick and Greg carefully dig out the soil in the area in front of the fence. They put it in a sifter where Sara goes through the soil.)
(They take a canister sample of the soil. On the other side of the fence, we see Queenie trying to dig through the rocks to get under it.)
(Greg puts a shovel full of dirt into a canister.)
Greg: That would be Queenie.
(Queenie growls and barks.)
Sara: Even after four years, you'd expect to find some bones. There's nothing.
(Sara and Warrick sift through the dirt as Greg digs. Warrick finds a plastic toy dinosaur in the dirt.)
Warrick: Jesse liked dinosaurs.
(Quick flashback of: Karen puts a plastic toy dinosaur in the hole with Jesse. She covers him up with dirt. End of flashback.)
(Everyone falls silent.)
Greg: Let's see what Hodges can tell us.
(Greg tightens the container cover.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Grissom, Catherine and Brass sit and share their findings.)
Grissom: The GCMS soil analysis found cadaverine, putrescine and several other organic compounds.
Brass: Yeah. English, please?
Grissom: It means there was a body buried in Karen's backyard.
Catherine: Just too long ago to get any DNA. But Hodges also found traces of olanzapine.
Brass: Well, that's interesting, because a warrant came through on Karen Matthews' medical records, and after her son was born, Karen was treated for postpartum psychosis, which her doctors treated by prescribing olanzapine.
Grissom: Even a small amount of that stuff would be lethal to a two-year-old.
Catherine: Karen is already ment*lly fragile when her husband is k*lled. She gets into a very heated argument with the in-laws at his funeral, goes over the deep end, poisons Jesse and buries him in the backyard near the fence.
INTERCUT WITH:
[INT. POLICE DEPARTMENT -- DAY]
(Karen puts her earring on the table. The officer takes it and puts it in an envelope.)
(Karen removes her wedding ring.)
Brass: (V.O.) But then she digs him up. Why?
Grissom: (V.O.) We have evidence to suggest that the neighbor's dog ...
(Karen puts her wedding ring on the table.)
[INT. CSI - GRISSOM'S OFFICE -- DAY]
Grissom: ... was digging in Karen's backyard.
Catherine: The neighbor claims that Karen k*lled his dog. If the dog detected decomp and dug near the grave, ...
[INT. POLICE DEPARTMENT -- DAY]
(An officer pats Karen down.)
Catherine: (V.O.) Karen may have moved the body to protect him.
Brass: (V.O.) So, where's Jesse's body?
[INT. CSI - GRISSOM'S OFFICE -- DAY]
Catherine: Nick found a patch of tissue and hair in trunk of Karen's car. The DNA matches the toothbrush.
Grissom: If Karen doesn't tell us where to look, I doubt we'll ever find the body.
Brass: You know, as long as I do this job, I can never understand ...
[INT. POLICE DEPARTMENT -- DAY]
(Karen puts on the red shirt on.)
Brass: (V.O.) ... how a mother can k*ll her child.
[INT. CSI - GRISSOM'S OFFICE -- DAY]
Grissom: Euripedes tried to understand it when he wrote Medea. "I will slay my children without delaying long enough to hand them over to some more savage hand."
[INT. POLICE DEPARTMENT -- DAY]
(The officer puts handcuffs on Karen's wrists.)
Grissom: (V.O.) Medea, like Karen, was a soldier's wife.
Catherine: (V.O.) His father was a soldier, his grandfather was a soldier, ...
(The officer leads Karen away.)
[INT. CSI - GRISSOM'S OFFICE -- DAY]
Catherine: ... Karen did not want that for Jesse.
Brass: Well, it's still m*rder.
(Grissom shrugs.)
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(The officers open the door as Karen walks through into the hallway. They walk her through the hallway.)
(Suddenly, Karen stops. In her mind, she hears a child's voice call out to her.)
Voice: (faintly) Mommy ... Mommy!
[OFF KAREN]
(Karen turns around, she smiles brightly as she kneels down and raises her arms out in front of her to welcome her child.)
(We see there's no one there.)
(But she sees otherwise. With arms outstretched in front of her, Karen smiles as the camera moves directly toward her.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x10 - Still Life"} | foreverdreaming |
FADE IN.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
(It's raining. Thunder rumbles; lightning flashes.)
Cue Sound: (PRE-LAP) RING TONE
[PHONE BOOTH]
(Through the smoky glass, we see the figure of someone inside the phone booth making a call.)
Officer Mularz: (over phone) LVPD. Officer Mularz. Can I help you?
(There's no response.)
Officer Mularz: (over phone) Is anybody there?
(Inside the phone booth, someone wearing a hooded jacket is on the phone. There's a prolonged pause before the person speaks.)
Whisperer: (to phone) I'd like to report a m*rder.
Officer Mularz: (over phone) Your name?
(There's another pause.)
Officer Mularz: (over phone) Hello? Is there somebody there?
(The person in the phone booth puts their gloved hand on the glass.)
Whisperer: (to phone) The body can be found at 1812 White Oak Road.
Officer Mularz: (over phone) I'd like to help you. Please identify yourself.
Whisperer: (to phone) Send someone to pick up the body.
(The camera blurs on the figure inside the phone booth.)
WHITE FLASH TO:
[EXT. BRADFORD RESIDENCE -- NIGHT]
(There's a full moon shining down on the scene. Officer cars are parked outside the residence.)
(Warrick, Grissom and Sara walk down the front drive toward the house. Brass exits the house to meet up with them.)
Brass: So an anonymous call came into metro about an hour ago. (He checks his watch.) Investigating officer found the d*ad body. The coroner's inside.
(They turn and head toward the house.)
Brass: The, uh ... the door was open. Unlocked.
[INT. BRADFORD RESIDENCE - HALLWAY - NIGHT - CONTINUOUS]
(Brass leads them through the hallway. They note the multiple tufts of hair on the floor.)
Brass: So the house is owned by the decedent, Hayden Bradford. Neighbor says he lives alone.
Grissom: The floor is covered in hair. Has he got a cat or a dog?
Brass: Nope. But as you can see our d*ad guy is ... I guess you could say he's hirsute.
(They reach the body and it's apparent that Hayden Bradford is very, very hairy.)
David Phillips: "Hirsute" is an understatement. It's like he's wearing a pelt.
(Grissom notes the hairy legs and arms. There's blood on his left shoulder where he was sh*t. Hayden's eyes are open.)
(We hear buzzing. Everyone checks their pager. Warrick motions to the pager next to the d*ad body.)
Warrick: Hey, David, would you grab that?
(David picks up the cell phone out of the victim's pocket and hands it to Warrick.
Warrick: Thanks.
(Warrick checks it. The information shows:
MISSED
MICHELLE 702-555-0194
Warrick: A missed call from a Michelle.
(Additional information of the calls missed shows:
Michelle 702-555-0194 12:08 a.m.
Michelle 702-555-0194 11:44 p.m.
Michelle 702-555-0194 10:15 p.m.
Michelle 702-555-0194 8:32 p.m.
Michelle 702-555-0194 6:02 p.m.
Michelle 702-555-0194 3:53 p.m. )
Warrick: She called six times since 3:53 p.m.
David Phillips: Liver temp's 80 degrees. Been d*ad around twelve hours.
Sara: Which makes TOD around 3:00 p.m.
(Grissom examines a tuft of fallen hair.)
David Phillips: Explains why he didn't take her calls. COD -- b*llet to the chest.
(David pulls the shirt aside to show the wound.)
Grissom: These strands are smooth, not coarse. They're human.
Sara: Are the roots intact?
Grissom: Yeah. (shrugs) Evidently, this guy was shedding.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. BRADFORD RESIDENCE - FRONT STREET -- DAY]
(David and James push the gurney out the front walk and across the road.)
(Catherine and Nick head toward them on the way into the house.)
Catherine: Hey, Dave, James.
(Just then, the gurney's back wheel gets stuck in a rut in the dirt road. David struggles with it for a moment.)
David Phillips: Aw, c'mon.
(David lifts up the gurney to get it out of the rut. Nick and Catherine walk past David.)
Catherine: Hey, Dave, you've got to pick it up.
Nick: Lift with the knees, Super Dave, lift with the knees.
Catherine: Yeah.
David Phillips: (irritated) Thanks, I ... have done this before.
(David lifts up the gurney and the victim's right arm falls out from under the sheet and hangs off the side of the gurney exposing his very, very hairy arm.)
(Sara exits the house.)
Sara: Hey.
Catherine: So, Brass gave us a quick briefing. How can we help?
Sara: Warrick and I are processing the interior, room to room.
Catherine: So that leaves the perimeter.
Sara: Thanks.
(Sara leaves.)
CUT TO:
[INT. BRADFORD RESIDENCE - LIVING ROOM - DAY]
(Warrick looks at the framed photos on the table. They are photos of Hayden with a pretty, blonde-haired woman. He picks up a photo as Sara re-enters the living room and heads for her kit.)
Warrick: Well, this victim definitely had a lady in his life.
Sara: That's odd. There is not a single feminine touch in this house.
(Sara turns her flashlight on and looks around the room as she heads over toward Warrick. Warrick flips the framed photo over and removes it from the frame. On the back is some writing:
MICHELLE
CHRISTMAS 2004 )
Sara: Michelle. Christmas, 2004.
Warrick: Probably the same Michelle that tried to reach him six times on his cell phone.
CUT TO:
[EXT. BRADFORD RESIDENCE - OUTER PERIMETER - DAY -- CONTINUOUS]
(Catherine and Nick walk around the side of the house, paying close attention to the ground and windows.)
(Catherine finds a broken window.)
Catherine: Broken window.
(She takes a photo of it.)
(She sticks her hand inside the broken pane and pushes the window open.)
Catherine: Yeah. It slides. The front door was locked. The k*ller probably broke the window and exited out the front.
(Quick flash of: The k*ller smashes the glass window. End of flash.)
Nick: I'll need to print the window, but, uh ... why don't we get to this first.
(He points to the ground. They both kneel down in front of a large rock.)
Catherine: Doesn't look big enough to have done the job.
(Catherine sees the broken shards of glass on the ground and reaches out to pick one up. Nick dusts the rock for prints.)
(He finds a print and smiles.)
Nick: We have a print.
CUT TO:
[INT. BRADFORD RESIDENCE - LIVING ROOM - DAY -- CONTINUOUS]
(Sara and Warrick enter the bedroom. They note the various pictures and color schemes on the desk. Warrick takes the printed e-mail from the printer and reads:
1/02/06
From: casinodan(a)gmail.com
To: misterbradford(a)gmail.com
Date: January 2, 2006 12:08 pm pst
Warrick: "Hey, jackass-- this is your last chance. Pay your debt or I'll hunt you down."
(Sara stands up from what she's looking at to read the e-mail.)
Warrick: Makes our job easier when the suspect prints out his motive. He has an e-mail printout from casinodan(a)gmail.com to (a)misterbradford(a)gmail.com.
(Outside, Catherine and Nick continue surveying the perimeter of the house. Near the back of the house, they find a patch of disturbed dirt.)
Catherine: Well, that ain't no anthill. That dirt's fresh. Looks like something's buried there.
(Nick kneels down next to Catherine.)
Catherine: Hang on.
(She snaps a photo of the dirt.)
(Nick brushes the dirt away and they find a g*n.)
Nick: No way.
(Catherine snaps more photos. Nick picks up the g*n.)
Nick: .32 Beretta. Victim was sh*t, right? It's going to be hard to get a print, but I'll get it to Ballistics.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins shaves the area around the b*llet hole on Hayden Bradford's chest. Grissom watches.)
Grissom: Well, we knew he was hairy. I didn't realize the full extent.
Robbins: Hypertrichosis. I've only read about it. Excessive hair growth. Genetic. Extremely rare. His case was relatively mild. In some individuals, hair grows everywhere except the eyes and the mouth.
Grissom: The human werewolf syndrome.
Robbins: In Mexico, there's a family thirty members are afflicted. Two of the teen boys were recently adopted by the National Circus.
Grissom: Great. The bearded lady, the dog-faced boy -- physical deformities as family entertainment.
Robbins: I cleared a path for the b*llet.
(Robbins extracts the b*llet and looks at it. He puts it in a bindle.)
Robbins: I figured you'd want to get this to ballistics ASAP.
Grissom: Thank you, Al.
(Robbins gives the bindle to Grissom.)
Robbins: You know, Gil, we're all intrigued by our nightmares, and when we watch freak shows, basically we're all thinking the same thing.
Grissom: Yeah, I'm glad they're not looking at me.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Greg walks into the lab. Archie is working at the computers.)
Greg: Hey, Archie.
Archie: Hey.
Greg: Please tell me you've ID.'d Casino Dan.
Archie: Yep. The ISP provider sent over the subscriber information for a casinodan(a)gmail.com. It's registered to a Dan Nobler, who runs a gambling website.
(The information pops up on screen:
Domain Name: CasinoDan.com
IP Address: 121.198.253.172 )
Greg: If I wanted to visit Dan in person, where would I go?
Archie: Well, the server for casinodan.com is in Argentina, which allows him to skirt U.S. gaming laws. However, he's got a Nevada business license. And I have the address.
(Archie holds out a slip of paper. Greg takes it and looks at it.)
Greg: Anything else I should know?
Archie: Uh, well, I don't know if it's relevant, but he recently opened an account with peopledetectors.com.
Greg: Who was he looking for?
Archie: I don't know. I'll triage the computer's hard drive.
CUT TO:
[EXT. NOBLER RESIDENCE - FRONT WALK -- DAY]
(Warrick and Greg head for the Nobler residence. A car pulls up. Dan Nobler gets out.)
Archie: (V.O.) Reconstruct the deleted e-mails. I'll get back to you on that.
Dan Nobler: Can I help you?
Greg: You Dan Nobler?
Dan Nobler: Yeah.
Warrick: We're from the Crime Lab. We need to ask you a few questions.
(Dan quickly walks past them and heads for the house. Warrick and Greg follow him.)
Dan Nobler: Look, if you're here about my business, you can save it for my attorney.
Warrick: No, actually we're inquiring about a Mr. Hayden Bradford. You sent him some thr*at e-mails.
(Dan stops and turns around to look at them.)
Dan Nobler: Bradford is a lying son of a bitch.
Greg: Care to elaborate on that?
Dan Nobler: I run an online gambling business. Bradford had an account, ran up
$10,000 in debt and refused to pay it.
Warrick: Isn't it true in online gambling you have to submit your credit card, prior to gambling, to insure your losses?
Dan Nobler: That's true. And when Brad was winning, it wasn't a problem. But when his luck changed, he called his credit card holder and said the charges were fraudulent. The credit card company issued a charge back and I got screwed.
Warrick: Is that when you decided to hunt him down?
Dan Nobler: Look, I wrote him an e-mail, hoping to scare him. Sorry. I was angry. If I write an apology, can we drop this?
Warrick: No, Mr. Nobler, I'm sorry, we can't do that. Mr. Bradford's d*ad.
(He looks at them both.)
Dan Nobler: Any other questions, contact my lawyer. We're done here.
(He turns and heads into the house. Before he enters the house, he wipes his feet on the mat. Warrick sees him.)
Warrick: You see that?
Greg: Yeah, the guy's a jerk.
(Warrick heads for the mat.)
Warrick: No, he wiped his feet on the mat. I'm hoping to get a little trace evidence here. Yeah, you see these pebbles? They look like the same ones that were found at the crime scene.
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(Bobby Dawson puts his earphonesand protective eyewear on. He picks up the g*n and puts it in the f*ring container. He cocks the w*apon.)
Bobby Dawson: f*re in the hole!
(He fires.)
(Quick CGI POV: The b*llet travels out of the g*n and into the container full of pellets. End of CGI POV.)
(Bobby removes the canister and empties out the contents into a plastic bin. He finds the b*llet and puts it under the scope to scan into the computer.)
(Catherine enters the lab.)
Catherine: Bobby.
Bobby Dawson: Hey.
(He compares the two b*ll*ts.)
Bobby Dawson: So, that, uh, buried g*n y'all recovered, wasn't used to k*ll Bradford.
(He turns the monitor to show Catherine.)
Catherine: GRCs aren't even close.
Bobby Dawson: Most b*ll*ts are copper, but take a look at the fatal b*llet. It's silver.
Catherine: How do you k*ll a werewolf?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(David Phillips is combing the body's hair, catching the trace material in a metal bin. There's a knock at the door.)
(The door opens.)
David Phillips: No one's home.
(Hodges, Archie and Henry Adams walk in.)
Hodges: We want to see the Wolfman.
David Phillips: Yeah, well, he's not available right now. I am trying to prep him for autopsy.
(They all surround the body.)
Hodges: Wow. And I thought Robin Williams had hairy arms.
Henry Adams: Can I touch him?
Archie: You mean "pet" him.
(Henry reaches out to touch him; David Phillips smacks his hand away. Archie raises a camera to snap a photo of the body.)
David Phillips: No! You may not touch or pet the decedent.
Hodges: Is it soft like fur or ... ?
(Henry Adams leans forward, turns and smiles for the camera. Archie snaps the photo.)
David Phillips: I was supposed to have him prepped hours ago. Please. Okay, you guys gotta go.
Hodges: Relax, Dave. It's not every day that Chaka ends up on a slab.
David Phillips: Yeah, I need you to leave.
Archie: Whoa.
Hodges: Fine, but if I get a Sleestak in my lab, and you want to see it, I'm gonna get cranky.
(The guys leave.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Nick interviews Brent Moyer.)
Nick: Mr. Moyer, you're here about Hayden Bradford. Do you know him?
Brent Moyer: Of course. He's one of my closest friends.
Nick: Yeah ... yeah, I'm sorry. We found his body this morning. You didn't recently try to break in his home ... did you?
Brent Moyer: Excuse me. What?
Nick: We found a rock by a broken window, with your fingerprint on it.
(He chuckles.)
Nick: Is that funny?
Brent Moyer: No. It's just. Uh ... last week we were playing toss with a ball.
(Quick flashback to: [EXT. BRADFORD RESIDENCE - FRONT - DAY] Brent and another guy are playing toss. The ball sh**t the catcher and smashes into the window. End of flash.)
Nick: That still doesn't explain to me how your fingerprint got there.
(Quick flashback to: Brent walks up to the broken window.)
Brent Moyer: (V.O.) There was glass everywhere, so I knocked out the loose pieces.
(He uses the rock to smash out the jagged edges. End of flash.)
Nick: You guys being good friends ... you were aware of his medical condition, right?
Brent Moyer: That he was a hairy SOB? Yeah. Of course. Why?
Nick: Do you know why anybody'd want to hurt him?
Brent Moyer: He's a friendly, quiet guy. I've known him since high school. He's been dating my sister. Oh, God. She doesn't know yet, does she?
Nick: Who, Michelle?
Brent Moyer: Yeah.
Nick: I tried to call her cell phone and ...
Brent Moyer: She's at my parents, in Pahrump. Her cell phone's probably out of range.
Nick: But you can get me their home number, address, all that?
Brent Moyer: Sure. But if it's okay, I'd ... I should break the news to her in person.
CUT TO:
[EXT. ROAD - PHONE BOOTH -- NIGHT]
(Sofia leans against the outside phone booth. Sara walks toward her carrying her kit.)
Sofia Curtis: I've been waiting for you.
Sara: Sorry. I headed out as soon as I got your page.
Sofia Curtis: Really? 'Cause, uh ... I left a voicemail several hours ago.
Sara: What's up?
Sofia Curtis: The anonymous call was traced to this phone booth, so I figured you'd want to process.
(Sara looks at the phone and sees the print powder on it.)
Sara: There is fingerprint powder on the phone.
Sofia Curtis: Yeah, I got bored waiting. I thought you might need some help. No usable prints, but check out the floor.
Sara: There's a lot of hair. Similar to the crime scene.
Sofia Curtis: The victim was k*lled twelve hours before this call was made. If that's his hair, what's it doing here?
CUT TO:
[INT. CSI - DNA LAB - NIGHT]
(Wendy Simms reports her findings to Sara.)
Wendy Simms: The hair isn't Hayden's. The chromosomes are XX.
Sara: Female.
Wendy Simms: Yeah. So I took the liberty of comparing the sample's DNA to the victim's DNA. There are seven alleles in common.
Sara: Brother and sister.
Wendy Simms: (nods) Mm-hmm.
Sara: She's likely our anonymous caller.
Wendy Simms: Yeah, well, given the amount of hair that you collected, she's also probably a very hairy woman.
Sara: Wendy, can you do me a favor?
Wendy Simms: Hmm?
Sara: Can you see if any of the follicles from the crime scene are a match to the hairs from the phone booth?
Wendy Simms: You want to see if the sister was in the victim's house.
Sara: If she was, she's not just the caller, she's a suspect.
CUT TO:
[INT. CSI - HALLWAY - NIGHT -- CONTINUOUS]
(Catherine and Sara walk and talk through the hallway.)
Catherine: I hear the vic has a sister.
Sara: A twin sister, in fact. I tracked down the victim's birth certificate. He was born to a Rita Bradford in Fresno, California. Ms. Bradford apparently had twins, Hayden and Allison. There's no record of any other children.
Catherine: I'm assuming you contacted Allison.
Sara: Well, that's where it gets odd. Allison Bradford has never filed with the IRS, has never had a driver's license, has never filled out a W-2. How do you go through life without a paper trail?
Catherine: She's d*ad.
Sara: There's no record of a death certificate. We found her hair in the phone booth. And DNA just confirmed that some of the hair follicles that we collected at the crime scene are hers.
Catherine: Well, other than hair, when you and Warrick processed the house, did you find any evidence of a sister?
Sara: No, but we were not looking for one.
Catherine: We are now.
CUT TO:
[EXT. BRADFORD RESIDENCE - NIGHT]
(Officer cars are parked in the front. The porch light is on.)
[INT. BRADFORD RESIDENCE - BEDROOM -- NIGHT]
(Sara steps into the bedroom and looks around, taking note of the desk area. She looks at the screen saver on the monitor.)
[INT. BRADFORD RESIDENCE - KITCHEN - NIGHT -- CONTINUOUS]
(Warrick is looking through the kitchen area. He looks around. He stops in front of the kitchen table where a chess board is set up with evidence of a game in play.)
[INT. BRADFORD RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]
(Catherine looks around the shelves in the living room. She goes through the mail for:
HAYDEN BRADFORD
1812 WHITE OAK ROAD
LAS VEGAS, NV 89147
(Warrick steps out of the kitchen.)
Warrick: Catherine, I've covered the kitchen. I've found no evidence of a sister living here.
(Sara exits the bedrooms.)
Sara: Ditto for the bedroom. I think I'm gonna take a look outside.
Warrick: I'll do the same.
(Both Sara and Warrick leave.)
Catherine: Thanks, guys.
(Catherine looks around and notices a small hole in the wall. She kneels down and looks through the hole and sees light moving behind the wall.)
(She looks down under the wall and sees the light turn off.)
(Catherine knocks on the living room wall and finds that part of the paneling is hollow. She pushes the paneling and the wall gives, moving forward.)
(There's a surprised grunt behind the paneling.)
(Catherine is shocked.)
Allison Bradford: (muffled behind wall) Please go away.
Catherine: Allison?
Allison Bradford: (muffled behind wall) This is my home. I would like you to leave.
Catherine: Allison ... (Catherine stands up.) I need to talk with you. Can you please come out?
Allison Bradford: (muffled behind wall) I'd rather not.
Catherine: Allison, my name is Catherine Willows. I'm with the Las Vegas Crime Lab. I know that you suffer from hypertrichosis. I understand why you would rather not talk with me. But we need to discuss your brother's m*rder. Would you please come out?
(The paneling opens to reveal a hidden bedroom. Catherine takes a step forward. Allison is hidden by the shadows coming from the light behind her.)
Catherine: May I ... ?
(Allison shies back, not wanting Catherine any closer.)
Catherine: Would you step out? Please?
Allison Bradford: You want to see what I look like?
Catherine: No, I ... no. I don't want you to have to hide from me. Allison ... I'm a scientist. Excess body hair does not evoke fear ... or morbid fascination. It's simply a genetic quirk, like ... blue eyes or flat feet.
(Allison steps forward. Catherine's eyes widen imperceptibly. Catherine holds her hand out.)
Catherine: It's nice to meet you, Allison.
(They shake hands. We note that Allison's entire hand and arm are covered with hair.)
Allison Bradford: How can I help you, Ms. Willows?
(Allison steps forward and we see that her entire face is covered with hair.)
Catherine: What can you tell me about your brother's m*rder?
Allison Bradford: No one knows I live here, so when we get a visitor, I go to my room.
(Catherine notes the yarn quilt on Allison's bed over the duvet.)
Allison Bradford: Yesterday, around 3:30, the doorbell rang.
(Quick flashback to: [INT. BRADFORD RESIDENCE - LIVING ROOM - DAY] The doorbell rings. Bradford turns.)
Hayden Bradford: (shouts) Just a sec!
(Allison goes into her room and shuts the door.)
(End of flashback. Resume to present.)
Allison Bradford: And when I came out of my room, Hayden was d*ad.
Catherine: Why did you wait twelve hours to call the police?
Allison Bradford: Because I didn't want the call traced to the house, back to me, so ... I waited till midnight, and then I walked to a pay phone. You weren't supposed to find me.
Catherine: Do you have any idea why someone would want to hurt your brother?
(She shakes her head.)
Allison Bradford: He was my only friend. (cries) He was my connection to the outside world.
Catherine: What about your parents?
Allison Bradford: I never knew my father. My mother died when we were teenagers.
Catherine: No one else knows that you exist?
Allison Bradford: I hope ... I hope you'll help me.
Catherine: Help you-- with what?
Allison Bradford: Staying secret. It's best for everyone.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Grissom is going through the Internet and is looking at a page with a GERMAN WEREWOLF WOODCUT, 1722, picture.)
(Nick walks into the office.)
Nick: Hey, Grissom, you got a second?
Grissom: Did you know the word "werewolf" was derived from the old English word
"Wargwolf," which is a synonym for "serial k*ller"?
Nick: No, I didn't.
Grissom: Imagine if you had some deep, dark secret ... something that brought you tremendous shame. But instead of being able to hide it away, you had to wear it out on your skin, so that the first time anyone saw you, they saw your secret.
Nick: You talking about Allison?
Grissom: Yeah. Catherine said she's scared to death of people and what they'll think of her.
Nick: Well, if that's the case, why not try electrolysis or depilatory lasers?
Grissom: With that much hair -- be a lot of scarring, and a great deal of pain. Plus, imagine how expensive it would be. What have you got?
Nick: Well, I just ran into Archie. The decedent used a company called peopledetectors.com to try to locate his mother.
Grissom: Catherine spoke to Allison. Their mother's d*ad.
Nick: Apparently not. She's alive and well, and has an address in Henderson, so I'm gonna go out there, check it out.
(Nick turns to leave. Grissom stops him.)
Grissom: Hey, Nick.
Nick: Yeah.
Grissom: Bring her back here, will you?
Nick: Sure. Why?
Grissom: I want to talk to her. Find out why a mother would play d*ad.
CUT TO:
[INT. CSI - TRACE LAB]
(Hodges is in the lab when Greg and Warrick walk in.)
Hodges: Oh, good, you're here. I love an audience.
Greg: Well, don't expect any applause.
Warrick: What do you got?
Hodges: I compared pebbles from the crime scene to the pebbles from Dan Nobler's doormat. They're consistent with each other -- a composite commonly known as pea gravel. The pebbles weren't the only trace elements I found in that doormat. I also found several slivers of glass ... glass consistent with a broken window.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Warrick is talking with Dan Nobler and his lawyer, Duane McWane.)
Dan Nobler: I'm here about pebbles and glass. Come on.
Duane McWane: Look, this is ridiculous. I mean, we're talking about trace evidence on a doormat? Come on. Besides, I read the file. A guy named Brent Moyer already admitted to breaking the window.
Warrick: This is true; he did. But we believe that Mr. Nobler here stepped in the shards of glass. Listen, neither the glass nor the pebbles are probative on their own, but together, they put your client at the crime scene. Not to mention, his thr*at e-mail gives us motive.
Dan Nobler: Fine. I was there.
Duane McWane: Dan ...
Dan Nobler: No, look, I get ripped off by jerks all over the world. This guy was a local. I knew his address and, yeah, I wanted to shake him down. Let him know that by declaring credit card fraud, he was stealing from me.
Warrick: Okay, I'm listening.
Dan Nobler: A few days ago, I went over to his house. Then I started thinking, "What if this guy's like twice my size?" I figured I should get a look at him before I had our "conversation," so I went around back ...
(Quick flashback to: [EXT. BRADFORD RESIDENCE - BACK WINDOW - DAY] Dan Nobler quietly walks up to the back of the house. The window is already broken. He steps in the glass and peers into the window.)
(Hayden sees him, gets up and heads for the window.)
Hayden Bradford: Hey ... hey, hey!
(Dan Nobler turns and runs.)
(End of flashback. Resume to present.)
Dan Nobler: At first, I thought he was wearing a costume, but then I realized, it was ... it was real hair. Disgusting, right?
Warrick: What happened next?
Dan Nobler: Well, when the dude saw me, I took off.
Warrick: Why?
Dan Nobler: Uh, he was a freak of nature. I no longer wish to speak with him.
CUT TO:
[INT. CSI - TRACE LAB - DAY]
(Hodges pushes his chair back and rolls across the floor toward one of the machines. He opens it and puts the silver b*llet inside. He closes the machine and starts it.)
(Quick CGI POV: Inside the machine, a red laser light beams from the top straight down to the core of the b*llet. End of CGI POV.)
(Hodges fiddles with the knobs and makes adjustments as he looks at the b*llet through the computer monitor.)
(He gets a reading:
92.5% SILVER
Ag )
(Nick walks in.)
Nick: Hey, man.
Hodges: Hey.
Nick: What are you smiling about?
Hodges: Oh, I was just thinking of the Howling II: The Werewolf Bitch. I don't care what anyone says. It was much better than the first one.
Nick: Is it?
Hodges: Yeah, yeah. I got the whole anthology. Want to borrow it?
Nick: No, thanks. I would like to know about my b*llet, however. I assume it was homemade since the manufacturer doesn't sell it in silver.
Hodges: Right. Simple clamshell mold.
(Quick flash of: Someone melts silver and pours it into a mold. They then pop out the b*llet from the mold. End of flash.)
Hodges: Ninety-two point five percent pure with trace amounts of copper, nickel and chromium lead.
Nick: Elemental properties are consistent with sterling silver jewelry.
Hodges: And sterling silver has a high melting point. Someone went through a lot of trouble to make it.
CUT TO:
[INT. POLICE DEPARTMENT - WAITING ROOM -- DAY]
(Catherine and Sofia Curtis interview Michelle Moyer.)
Michelle Moyer: Sorry I didn't get here sooner. I was pretty upset.
Catherine: Michelle, your relationship with Hayden, was it serious?
Michelle Moyer: We were engaged. I can't believe he's gone.
Sofia Curtis: The day he died, you called him six times.
Michelle Moyer: There was a golf tournament on ESPN that night. He wanted me to tape it for him. I was trying to reach him because I was at my folks' place and the VCR was broken. Sounds so silly now. I'd like to see him ... to say good-bye.
(Catherine looks at Sofia.)
Sofia Curtis: He's with the coroner.
Catherine: Michelle, I understand that you were at your folks and you were trying to get a hold of Hayden on your cell, but we were unable to reach you on it. Can you explain?
Michelle Moyer: I called Hayden so many times that my battery died. (sniffs)
I'm sorry.
Catherine: Do you have any idea who could have done this?
(She looks at them.)
Michelle Moyer: You know about his condition, right? It made him really sweet. I mean, it was like he was constantly trying to make up for his physical imperfections by doing everything perfectly. He was the perfect boyfriend, the perfect lover, my best friend. I don't know what I'm going to do without him.
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Grissom meets with Rita Bradford. She stirs her cup of coffee.)
Rita Bradford: I was in labor for 27 hours. They didn't want to come out. Who could blame 'em.
Grissom: Mrs. Bradford, why does Allison think you're d*ad?
Rita Bradford: I thought it would be easier.
Grissom: Easier than what?
Rita Bradford: I did the best I could, Mr. Grissom. Their father couldn't look at 'em. Took off when they were a few weeks old. Babies are supposed to be cute.
(She takes a sip of coffee.)
Grissom: Mrs. Bradford ... ?
Rita Bradford: At the time, we were living in Fresno. Family, friends stopped visiting. They were scared of my children. Especially Allison. She ... she looked like ... when she started nursery school, the kids teased her, called her names, made her cry.
Grissom: So you moved to Vegas and decided to keep her a secret?
Rita Bradford: It was best for everyone but she became completely dependent on me, and for eighteen years, I took care of her.
Grissom: I'm sorry, but I still don't understand why she believes you're d*ad.
Rita Bradford: One day, Allison wanted to take a walk ... outside. I didn't want anyone to see her. We had a fight. I locked her in her room -- my own child - because she wanted fresh air. At that moment, I knew I needed to leave. I told Hayden to tell her I was in a car accident. Two days later, he put on a black suit, told her he was going to my funeral.
Grissom: And she didn't go because she couldn't leave the house.
(Rita Bradford nods.)
Grissom: You thought it would be easier for her to accept your death than your abandonment?
Rita Bradford: Please don't judge me. I spend enough time doing that.
Grissom: I'm just trying to find out who k*lled your son.
Rita Bradford: I haven't seen either of them for seven years. I wouldn't have any idea.
Grissom: You know, Mrs. Bradford, your daughter's all alone now. It's not too late for you to go back to her.
Rita Bradford: And tell her what? That I faked my death to escape from her? How do you say that to your own flesh and blood?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins is looking at the body completely devoid of hair. He's shaved it all off; the hair on the table around the body.)
(Catherine walks in.)
Catherine: What's up with the 911?
Robbins: David didn't notice the victim's lividity at the crime scene because it was obscured by his body hair. But when we shaved him ... well, check out his left side.
Catherine: So it was on his side where the blood settled.
Robbins: Correct, but he was found face up.
(Robbins hands her the file.)
Catherine: So, uh, somebody moved him several hours postmortem.
Robbins: There's more. Vic was found on a hardwood floor, but when David brushed his body hair for trace, he found blue carpet fibers.
(He hands the tape sample to Catherine.)
Catherine: Well, there was blue carpet in the sister's room.
(Quick flashback to: Catherine notices the blue carpet in Allison's bedroom as she talks with her. End of flashback.)
Robbins: Hayden was sh*t through the chest; it would have exsanguinated on impact. Any blood in the sister's room?
Catherine: I'll get back to you on that one.
CUT TO:
[INT. BRADFORD RESIDENCE - LIVING ROOM -- DAY]
(Catherine and Sofia Curtis walk through the living room and head toward Allison's bedroom door. Catherine knocks.)
Catherine: Allison, it's Catherine. I need you to step out.
Allison Bradford: (muffled through door) Who else is there?
Catherine: There's another woman with me.
Sofia Curtis: Allison, I'm Detective Curtis.
(The door opens. Sofia sees Allison and is a little startled. Allison clutches a doll to her.)
Catherine: (softly) I need to get inside your room.
(Allison steps aside. Catherine enters the room.)
Catherine: Thank you.
(Catherine moves to close the bedroom door, shutting Allison out in the living room with Sofia.)
(An awkward silence falls between the two women.)
[INT. BRADFORD RESIDENCE - ALLISON'S BEDROOM - DAY - CONTINUOUS]
(Catherine uses the hand-held ALS in Allison's room, looking for blood.)
(The far wall is covered with various porcelain dolls. In front of the wall is an elaborate miniature dollhouse. Catherine steps closer to it for a better look.)
(She turns around and notices a stain on the carpet in the center of the room. She looks under the bed and sees another stain.)
SHORT TIME CUT TO:
(Catherine and Sofia Curtis question Allison. Allison has her doll clutched tightly to her.)
Allison Bradford: I don't know anything about it.
Catherine: You can't expect us to believe that you live in a secret room that only you go into, yet you can't explain why your bed is covering up blood.
(Allison's very quiet.)
Catherine: Did you k*ll him?
Allison Bradford: What?!
Catherine: Did you?
Allison Bradford: (distressed) Hayden's all I had. He's the only one that knew about me. Why would I k*ll him?
Catherine: Because he was going to leave you ... for Michelle. That had to have been scary for you.
Allison Bradford: You think I'm some sort of animal? I wanted him to be happy. I loved Hayden, I wanted him to be happy.
Sofia Curtis: Did Michelle know about you?
(She starts to pet her doll.)
Allison Bradford: (rambles) No, but he said that he was going to tell her and that she was going to move in here and she would accept me -- Hayden promised.
Catherine: Allison ... if you didn't k*ll him, who did?
(Allison doesn't answer her.)
Sofia Curtis: (bursts out) Okay, I'm sorry. We can do this here or we can take this downtown.
Allison Bradford: No, please. Please.
Catherine: Okay, okay. I know that you're scared ... but you have got to tell us what happened.
Allison Bradford: The doorbell rang. I went into my room.
(Quick flashback to: [ALLISON'S BEDROOM - DAY] The door opens and Hayden rushes in.)
Hayden Bradford: Allison, where's the g*n?
Allison Bradford: I ... I ...
Hayden Bradford: Damn it, Allison, where's the g*n?
(He opens a drawer, looking for the g*n. He turns and faces the living room. A g*n fires and Hayden is h*t in the chest. He falls to the floor.)
(End of flashback.)
Catherine: And when he was sh*t, what did you do?
Allison Bradford: I hid. Behind the door.
(Catherine moves behind the door. She looks at Allison, who nods, that's where she was. Catherine looks around and sees Sofia in the reflection of the small television set.)
Catherine: Was the television on?
Allison Bradford: No. It's busted. It hasn't worked in years.
Catherine: So you had a pretty good view of the living room through the reflection in the tube. What did you see?
(Quick flashback to: [ALLISON'S BEDROOM - DAY] The door bursts open. Hayden turns around. A g*n fires and Hayden falls to the ground. In front of him is Brent Moyer.)
(Allison hides behind the door as Brent steps forward to check on Hayden. Allison looks at the television set and sees Brent Moyer's reflection in the monitor.)
(Brent walks up to Hayden and looks at him.)
Brent Moyer: Freak.
(Brent turns and leaves.)
(End of flashback. Resume to present.)
Catherine: You're sure that it was Brent?
Allison Bradford: I've seen him through the peephole. They were best friends.
Catherine: Okay, um ... let's just go back to the g*n.
Allison Bradford: A couple of days ago, Hayden said he saw a guy sneaking around the back. So he bought me a g*n for safety. But I don't like g*n so ... I just buried it in the backyard.
Catherine: (nods) Yes, we found it.
Sofia Curtis: Allison ... why was it so difficult for you to tell us the truth?
Allison Bradford: I think you're going to make me testify and I won't do that. I want Brent to go to jail, but I won't be the sideshow freak.
Catherine: Well, we can try to build a case without you.
(Allison nods.)
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Catherine talks with Grissom.)
Grissom: You can't get a warrant unless she goes on record.
Catherine: Well, just hear me out. We have a rock with Brent Moyer's fingerprints on it.
Grissom: Yeah, but Allison told you that Brent entered through the front door. The rock is extraneous evidence, isn't it?
Catherine: Well, let's just leave Allison's testimony out of it. We simply inform the judge that our suspect's fingerprints were on a rock that may have been used to break a window at the m*rder scene.
Grissom: If you have no qualms about filing the petition, then file it.
Catherine: Oh, no, I don't have any qualms. It's just that my moral compass doesn't always point in the same direction as yours.
Grissom: So if I tell you not to file it, you won't?
Catherine: (carefully) I'd take it under advisement. Why, is that what you're recommending?
Grissom: How many times have we been prevented from getting a warrant when we knew we had the right guy?
Catherine: Way too many.
Grissom: Right. So rock and roll.
(They continue walking out of camera frame.)
CUT TO:
[EXT. MOYER RESIDENCE - FRONT YARD -- DAY]
(Sofia Curtis and several officers walk up to Brent Moyer's front door. She knocks.)
Sofia Curtis: Las Vegas PD. We have a search warrant.
(The door opens.)
Brent Moyer: What's going on?
Sofia Curtis: Please step outside.
(Brent steps outside.)
[INT. MOYER RESIDENCE - LIVING ROOM - DAY - CONTINUOUS]
(Sofia and the officers look around the living room. She sees the r*fle rack and four r*fles on the wall. The television set is on.)
(They continue into the kitchen.)
(In the room, Sofia finds the mold and slivers of silver on the worktable.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Catherine and Sofia Curtis question Brent Moyer with his lawyer, Margaret Finn.)
Brent Moyer: Why would I k*ll my best friend?
Sofia Curtis: That's a very good question.
Margaret Finn: A b*llet clamshell isn't enough for the DA to file. What am I missing here?
Catherine: Our Trace Lab analyzed the silver found in the b*llet mold. It's identical composition to the b*llet in the victim. DA says it's a slam dunk.
Brent Moyer: Hayden was going to marry my sister.
Margaret Finn: (interrupts) Brent, I recommend that ...
(He looks at her. She stops. He continues.)
Brent Moyer: I couldn't let that happen. He was diseased. Wasn't a problem for me. But my sister deserved better.
Sofia Curtis: So you k*lled him?
Brent Moyer: Did you see his body? Hayden was a monster passing for a regular Joe. My parents blamed me for introducing them. You know, the werewolf disease, it's hereditary. It means my sister could've given birth to freaks.
Catherine: And the silver b*llet?
Brent Moyer: Figured it was appropriate.
Catherine: So you left your parents', you went back to your place to make the b*llet and then you went over to Hayden's.
Brent Moyer: Yeah.
Catherine: So it was premeditated. I guess you can forget heat of the moment as a mitigating factor here.
Brent Moyer: I did the right thing. My sister's out there waiting. Since I confessed, can I at least go out and talk to her? Explain why I did it.
Sofia Curtis: Why don't I do that for you.
(Sofia stands up and leaves.)
[INT. POLICE DEPARTMENT - HALLWAY - DAY - CONTINUOUS]
(Sofia exits the interview room and walks over to Michelle, sitting in the hallway.)
Sofia Curtis: Ms. Moyer ... your brother confessed to k*lling Hayden.
(Sofia sits down next to Michelle.)
Sofia Curtis: After our last conversation, I checked the TV listings. There was no golf tournament that night. I think you were calling Hayden to warn him about Brent.
(She nods.)
Michelle Moyer: I had just announced our engagement to my family. Brent flipped out. I was upset. Everyone was yelling at me. I went for a long walk to clear my head. And when I got back, Brent was gone. He told my parents that he was going to "speak" with Hayden.
Sofia Curtis: But you had your doubts.
Michelle Moyer: My brother has a temper.
Sofia Curtis: Why didn't you tell us this before?
Michelle Moyer: When Brent called and told me that Hayden was d*ad, he said that if I told you guys ... if I implicated him ...
Sofia Curtis: He thr*at you. (She nods and cries.) It's okay. (She puts a comforting hand on Michelle's leg.) You're safe now.
CUT TO:
[INT. BRADFORD RESIDENCE - LIVING ROOM -- NIGHT]
(Allison holds a cup in her hand.)
Catherine: Allison ... what are you going to do now?
Allison Bradford: I'll be okay. It's not like when I was a kid. I can pretty much get anything I need off the Internet.
INTERCUT WITH:
[EXT. BRADFORD RESIDENCE - FRONT - NIGHT]
(A car pulls up.)
Catherine: (V.O.) And you're set with money?
Allison Bradford: (V.O.) I'll manage.
Catherine: (V.O.) Allison, I have every confidence that you're going to be just fine here, but ...
(The car parks and the door opens. Rita Bradford steps out of the car.)
[INT. BRADFORD RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]
Catherine: If you ever need anything, would you please give me a call?
Allison Bradford: I-I will, Ms. Willows.
Catherine: Catherine.
Allison Bradford: Catherine. I haven't been completely honest with you. I told you my mother was d*ad, but that's not true.
Catherine: I'm not sure I follow.
Allison Bradford: Hayden told me she was in a car wreck ...
[EXT. BRADFORD RESIDENCE - FRONT - NIGHT -- CONTINUOUS]
(Rita Bradford walks toward the front door.)
Allison Bradford: (V.O.) ... and I called the funeral home to send flowers and they had never heard of her, so I called the local hospitals. Same thing.
(Rita stops before she reaches the front porch. She stares at the door.)
[INT. BRADFORD RESIDENCE - LIVING ROOM -- NIGHT -- CONTINUOUS]
(Allison plays with the rim of her cup.)
Allison Bradford: Recently, I contacted peopledetectors.com and, apparently, she lives in Las Vegas. She just couldn't live with me.
[EXT. BRADFORD RESIDENCE - FRONT - NIGHT -- CONTINUOUS]
(Outside, Rita turns and heads back to her car.)
Catherine: (V.O.) So you were the one that contacted peopledetectors.
(Rita walks back to the car and reaches for the door handle. She stops and suddenly turns around.)
Allison Bradford: (V.O.) Yeah. When my brother was out, I used his computer.
(She heads back to the front door. She walks up the front steps and stops in front of the door.)
(She takes a deep breath.)
(She raises her hand and knocks.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x11 - Werewolves"} | foreverdreaming |
FADE IN.
[INT. VARIOUS DANCE CLUB - NIGHT]
(People in a dance club party, the music blaring.)
(Two girls and a guy hurry into one of the rooms.)
(In one of the darkened private rooms, a man and a woman are in bed.)
[INT. DESMOND RESIDENCE - BEDROOM - NIGHT]
(Bianca Desmond enters the bedroom. Chelsea Wannamaker is in bed sleeping. Bianca climbs into bed with Chelsea and lies down, staring at her. She brushes the hair from her face, waking her.)
Chelsea Wannamaker: Hey, lady. Hey.
Bianca Desmond: I can't sleep.
Chelsea Wannamaker: You want to try to eat something?
Bianca Desmond: Yeah.
Chelsea Wannamaker: All right. I'll go get Ahren. You get dressed.
(Chelsea climbs out of bed. She picks up her robe and puts it on.)
Chelsea Wannamaker: Ahren?
(She heads out of the bedroom.)
[INT. DESMOND RESIDENCE - STAIRS / GARAGE - NIGHT -- CONTINUOUS]
(Chelsea goes down the stairs.)
Chelsea Wannamaker: Ahren?
(She walks through the house looking for Ahren.)
Chelsea Wannamaker: Ahren?
(She heads for the garage. She opens the garage door and gasps.)
Chelsea Wannamaker: Ahren...
(She finds Ahren d*ad in the center of the floor in a large pool of blood. She goes down the garage steps.)
Chelsea Wannamaker: (gasps) Ahren ... Ahren ...
FLASH TO:
[INT. DESMOND RESIDENCE - GARAGE - NIGHT]
(David Phillips is in the garage with the body. Brass stands near the tape just outside the open garage door. He holds up the tape as Grissom and Warrick both duck into the garage.)
Brass: Okay, Ahren Green, 29 years old, lives here with Bianca Desmond, that's the brunette. The blonde is Chelsea Wannamaker. She was just spending the night. One was asleep, one was in the bathroom. They said Ahren was probably working on his bike.
(Warrick snaps photos of the body - the blood on his hands, the blood near his groin, the body's face.)
(David checks the body's pupils.)
David Phillips: His pupils are dilated. Lividity is consistent with body position. Looks like he bled out from a s*ab wound to his upper leg or pelvic area.
Grissom: Well, in my experience, I found that most threesomes end up being one too many. So, David, uh ... check and make sure that they didn't pull a Lorena Bobbitt.
(David glances at Grissom.)
Grissom: Take a look.
(David pulls the pants waist up and sticks his hand inside to check.)
David Phillips: No, we're good. My man's all there. We're ... good.
Warrick: Something must be wrong with his gear. He could be partying with two hot chicks inside, but he's out here working on his bike at 4:00 in the morning?
Grissom: Maybe he wasn't invited.
FADE TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[EXT. DESMOND RESIDENCE - FRONT - NIGHT]
[INT. DESMOND RESIDENCE - LIVING ROOM - NIGHT]
Sara: Hold out your hands, please?
(Sara shines the ALS on Bianca's hands while Brass watches. There are splotches all over the back of her hands.)
Sara: And the other side.
(Bianca flips her hands over to show the splotches on the palms as well. Sara removes her goggles.)
Sara: What were you doing right before Ahren was k*lled?
Bianca Desmond: Cleaning.
Sara: With what?
Bianca Desmond: Bleach. It's the only thing that works.
Sara: Okay.
Brass: You know, you could put some clothes on if you want, if you're cold.
Bianca Desmond: She won't let me back in my room.
CUT TO:
[EXT. DESMOND RESIDENCE - GARAGE - NIGHT -- CONTINUOUS]
(Warrick snaps photos of the tools on the work area.)
(Grissom examines the scratches on the concrete floor.)
(Warrick continues to snap photos of the tools.)
(Grissom takes a tape lift of the particles in the gouges.)
(Camera zooms in to show the particles lifting off the concrete and sticking onto the tape.)
(Grissom presses the tape lift closed.)
Warrick: Man, I give this guy an "A" for organization. He's got a spot for everything. Why is that helmet over there?
(He points to the helmet on the floor.)
Grissom: Maybe he threw it, defending himself.
(Quick flash to: The attacker flips open a Kn*fe and fights with Ahren Green. The attacker s*ab Ahren in the upper leg. End of flash.)
Warrick: Yeah, but he looked like he was in pretty good shape. It'd be kind of hard for one of those women to wrestle him down.
Grissom: Not if she walks softly and carried a big Kn*fe.
CUT TO:
[INT. DESMOND RESIDENCE - LIVING ROOM - NIGHT]
(Brass questions Bianca Desmond:
Brass: How long have you known Ahren?
Bianca Desmond: Six months.
Brass: Did, uh, did he have any enemies that you know of?
Bianca Desmond: No, I mean ... I don't know.
Brass: You don't know ... I mean, you two lived together right?
Bianca Desmond: Yeah, but we were still getting to know each other.
Brass: I see.
Bianca Desmond: We met one night at Light. He was in town for a motocross race. It was love at first sight. I asked him to come back here, and he never left. We actually just decided tonight to move to Colorado together.
Brass: What, just pick up and leave all this?
Bianca Desmond: My father has a cabin where we could stay.
Brass: Did Ahren have a job?
Bianca Desmond: Yeah. Motocross racing.
Brass: Right. You said that.
Bianca Desmond: He's a professional athlete.
Brass: And you, what about you? What do you do?
Bianca Desmond: I'm in fashion.
Brass: Mm-hm. What's the matter?
Bianca Desmond: I have the worst luck with men.
Brass: What do you mean?
Bianca Desmond: They're either jerks or they leave me, or they get k*lled. What's wrong with me?
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. GARAGE -- NIGHT]
(Nick and Catherine exit their vehicle. They meet up with Sofia Curtis and head over to the d*ad body in the garage.)
Nick: What do you got?
Sofia Curtis: Well, I wasn't sure if I should call it in as a 419 or a 401a.
Catherine: h*t and run?
Sofia Curtis: You tell me.
(They walk over to the car that's smashed up against the concrete garage wall. The victim is pinned up against the car and the wall.)
Nick: Mm, I don't know. When you run, you usually take the car.
Sofia Curtis: The vic's Sylvia Mullins. Works in one of the offices upstairs. The security guard found her.
Catherine: Did you run the plates?
Sofia Curtis: That's why I went with the 419. RO's the vic.
(Sofia walks away to leave the scene to them. Nick sighs.)
Nick: h*t with her own car in her own spot.
(Sofia talks with the guard.)
Guard: Ms. Mullins must have been working all night. You know, tax season.
Sofia Curtis: She's an accountant?
Guard: Has her own firm up on 11.
Sofia Curtis: Did you see anything on your monitors?
(He turns and looks at the security video.)
Guard: Uh, no. But I heard the crash. I sort of fell asleep.
Sofia Curtis: We're going to need to see your tapes.
(He nods.)
(Catherine and Nick examine the car and the items around the victim.)
Catherine: Cell phone, a shoe and a briefcase. Probably lost them all on impact.
Nick: Looks like she saw the car coming. Impact's pretty evenly distributed. The car h*t her straight on.
Catherine: Most cars have to be going at least 14 miles an hour to trigger the airbag.
(Catherine opens the car door and looks inside. She notices the ignition missing.)
Catherine: Well, I can't be sure, but it looks like somebody popped the ignition.
(Quick flash to: The carjacker uses a screwdriver and pops the ignition. End of flash.)
Catherine: Carjacking gone bad? Vic gets off the elevator, walks to her spot ...
(Quick flash to: Sylvia Mullins walks out into the garage and automatically heads to her parking space. She's on the phone and doesn't notice the car missing till she's standing in the parking space.)
Catherine: (V.O.) ...on the phone, distracted, catches the guy stealing her ride ...
(She turns around. The car starts and heads straight for her.)
Sylvia Mullins: No!
(The car hits her in the abdomen and pins her to the wall. The carjacker runs.)
(End of flash. Resume to present.)
Catherine: He runs her over and splits.
Nick: Pedal to the metal.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. DESMOND RESIDENCE - BATHROOM - NIGHT]
(Greg is in the bathroom using the ALS on the walls. There are splotches everywhere. Sara walks in.)
Sara: Hey.
Greg: ALS is lighting up everywhere.
Sara: Evidently she bleaches everything. So there could be some false positives.
Greg: Yeah, including her teeth. Check out the cabinet.
(Sara opens the cabinet and looks inside.)
Sara: Lots of teeth whitener and acne cream. (She turns to look at Greg.) Are you thinking what I'm thinking?
Greg: Speed freak.
Sara: Definitely.
Greg: Maybe she k*lled Ahren in the garage, then came up here to take a Silkwood shower.
(Quick flash to: Bianca is in the shower washing the blood down the drain. End of flash.)
Sara: Okay, but she's claiming she loved him. What's her motive?
CUT TO:
[INT. DESMOND RESIDENCE - LIVING ROOM - DAY]
(Brass talks with Chelsea Wannamaker.)
Chelsea Wannamaker: Uh, we started out at Light and then we went to Road Runner, and from there we were at Double Down, and then Copper K, and then we ended up at Drai's.
Brass: Drai's, that's a good place to end. So what are you on besides meth?
Chelsea Wannamaker: Not meth. Glass.
Brass: Uh-huh.
Chelsea Wannamaker: We did some coke at the club, had a couple of drinks. There was this guy that gave us these, uh, these blue pills, but I had to come home and lie down.
Brass: Ecstasy.
Chelsea Wannamaker: We only do this when we're, when we're clubbing. I mean, it's just a hobby, it's not a habit. We have it under control.
Brass: Well, the d*ad guy from the garage might beg to differ.
CUT TO:
[INT. DESMOND RESIDENCE - BEDROOM - DAY]
(Sara and Gregg ALS the sheets. There are splotches on the sheets.)
Sara: Eww, busy.
Greg: If Bianca k*lled him, and then came up here to take a shower, wouldn't she have left a trail?
Sara: Maybe.
(Greg ALS's the carpet. He finds something.)
Greg: It appears she missed a spot.
CUT TO:
[INT. DESMOND RESIDENCE - GARAGE - DAY]
(Warrick moves the evidence bags to the counter. He finds some sticky liquid on the ground next to a stack of soft drinks. The cardboard containers are soaked. He looks it over and finds a can with a b*llet hold in it.)
(He looks out of the garage and visualizes the sh**t.)
(CGI EFX: The sh**t stands just outside the garage. He raises his g*n and fires. The b*llet hits the soft drink can. End of CGI EFX.)
(Warrick shakes the can and hears something metal inside. He pops the can open and drains out the liquid into a red plastic bucket. The b*llet falls out. He picks up the b*llet and looks at it.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(David Phillips is washing the d*ad body. The phone rings.)
David Phillips: (to phone) Las Vegas Coroner's office.
INTERCUT WITH:
(Warrick is at the garage.)
Warrick: David, it's Warrick. Have you washed the body yet?
David Phillips: I just got started, but I can be done by the time you get here.
Warrick: No, stop. I uh, just found a b*llet. I have no idea who fired it. Do me a favor: Test his hands for GSR and run it through the fluoroscope.
David Phillips: No problem.
Warrick: Thanks.
(Warrick hangs up. Grissom ducks under the crime scene tape and enter the garage. Warrick holds the b*llet up for him to see.)
Warrick: Who brings a g*n to a Kn*fe fight?
Grissom: The winner?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(Nick and Catherine walk through the hallway.)
Nick: The k*ller knew how to steal a car.
Catherine: No prints?
Nick: No. No, it's wiped clean.
(They walk into the A/V Lab.)
[INT. CSI - A/V LAB - DAY - CONTINUOUS]
Catherine: Hey, Arch. You get anything off the parking garage camera?
Archie: Um, sort of.
(He shows the video.)
Nick: What's up with the focus?
Archie: That's what I was wondering, too. Check out what happened about an hour earlier.
(He goes an hour back and shows that someone reaches up and changes the focus on the camera.)
Archie: It's an old security cam. Adjustable focus ring.
Catherine: k*ller was camera shy.
Nick: For good reason.
Catherine: This wasn't a carjacking gone bad. It was premeditated.
Nick: If he touched the camera, maybe I can get some prints off it.
Catherine: Keep working the video, Arch. See if you can get us a face.
Archie: Yeah.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins reports his findings to Grissom. Behind him, David Phillips works on something.)
Robbins: Fluoroscope detected no b*ll*ts. But there are peri-mortem bruises on his wrists and forearms, look like defensive wounds.
Grissom: COD?
Robbins: The w*apon went pretty deep. Punctured the femoral artery. I'd say he bled out in a matter of minutes, if his dilated pupils are an indication of amphetamines in his system. The faster the heart rate, the faster the blood pumps. Now, for the details. The fatal blow. w*apon appears to have a triangular shape. Angle of entry was upwards.
Grissom: Like a cornada.
Robbins: I'm sorry.
Grissom: A cornada-occupational hazard for matadors during a bullfight. The bull rears up and gores them.
David Phillips: (absently interrupts the conversation) So just find a bull with a bloody horn, and you've got your k*ller.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Bobby Dawson walks through the hallway as he reports his findings to Warrick.)
Bobby Dawson: So your "soda-can k*ller" was a copper-washed .22. Now I could only get general rifling characteristics -- six lands and grooves with a right-hand twist, um, but ...
Warrick: But not enough individual characteristics to run it through IBIS.
Bobby Dawson: Exactly. Sorry, man.
Warrick: That's all right.
(Bobby Dawson turns and leaves. Warrick continues on through to the Trace Lab.)
[INT. CSI - TRACE LAB - DAY - CONTINUOUS]
(Hodges turns around.)
Warrick: Hodges.
Hodges: Your victim did not have GSR on his hands.
Warrick: Okay, what about metallic trace from the garage floor?
Hodges: Thank you, Hodges, for performing that incredibly elaborate test requiring copious concentration and an advanced degree.
Warrick: So you don't have any results from the metallic trace on the garage floor?
Hodges: But I will. That's the beauty of me.
CUT TO:
[INT. CSI - LAB - DAY]
(Nick goes through the contents in Sylvia Mullins' bag. He takes out a tape recorder, camera and other items.)
(He turns the tape recorder on.)
Sylvia Mullins: (from tape) Well, Mr. Miller, what I would recommend is adding some tax-deferred investments to your portfolio. Like a Roth IRA. That'd be perfect for you.
Mr. Miller: (from tape) I never got what that Roth stood for.
(Nick turns the tape recorder off.)
(He opens Sylvia Mullins' planner and finds an entry for Kelly Gordon and Walter Gordon. Surprised by the find, Nick checks the tape recorder again.)
(He fast forwards the tape.)
Sylvia Mullins: (from tape) Hey, Kelly. Have a seat.
Kelly Gordon: (from tape) Thanks for seeing me. I know you said we didn't have to do this in person.
Sylvia Mullins: (from tape) No, I'm really glad you came. Kelly, your father loved you very much.
Kelly Gordon: (from tape) A little too much. I just wanted to talk about his estate. Is what he did going to affect it?
Sylvia Mullins: (from tape) Well, it's kind of complicated.
(He shuts the tape off, then picks up the cell phone to make a call.)
Parole Officer (man): District four, Parole and Probation.
Nick: (to phone) Yeah, this is Nick Stokes with the Las Vegas Crime Lab. We're trying to reach Kelly Gordon's parole officer.
Parole Officer (man): (from phone) That's me.
Nick: (to phone) Great. I need Kelly's contact information.
Parole Officer (man): (from phone) Sure, but I gave her permission to go out of town. Her bus left a couple hours ago.
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Greg walks into the DNA Lab.)
Wendy Simms: Oh, hey, I'm glad you're here. I got the results back from the blood on Bianca's bedroom floor.
Greg: The d*ad guy?
Wendy Simms: Uh, no. It's a male, but it's not a match to Ahren Green. Then I ran it through CODIS and I actually got a h*t. Justin Cole. He's in the system for statutory r*pe a couple years back. Among other things.
(The monitor shows him in for:
STATUTE: NRS 453.3385
ARREST: DRUG POSSESSION (METHAMPHETAMINE)
CUT TO:
[INT POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass and Greg interview Justin Cole.)
Justin Cole: So, why am I here?
Brass: What, you getting homesick for the train tracks behind Union Plaza already? Bianca Desmond.
Justin Cole: Girl's like an oven in there. Used to love it in there.
Brass: How long ago was that?
Justin Cole: A few months.
Greg: Did you stop by recently to check out the competition?
Justin Cole: No. We lost touch.
Brass: So it wouldn't bother you to know Bianca's moved on, and she's living with another guy.
Justin Cole: It was good while it lasted.
Greg: We found your blood in her bedroom. And her d*ad boyfriend in the garage.
(Justin chuckles.)
Brass: That's funny?
Justin Cole: Nah. Just ... Bianca's all fun and games until someone sh**t you in the leg.
Brass: When was that?
Justin Cole: Six months ago.
(Quick flashback to: [DESMOND RESIDENCE - DAY] Justin Cole walks in. He checks the answering machine.)
Bianca Desmond: (answering machine) Hey, sweetie, I went shopping with my mom.
(He sees the small plastic container.) I'll be home late. There's some candy for you on the table. See you then, lover.
(He snorts some coke from the container.)
(He walks into the bedroom while taking his shirt off. He's sh*t in the leg.)
(Someone with a g*n walks up to him and holds a g*n on him.)
Man (voice): Stay away from Bianca.
(End of flashback. Resume to present.)
Justin Cole: So I packed my stuff and left.
Brass: Did you report it?
Justin Cole: Nah. Still on probation for that "she-looked-18" incident.
Greg: This the guy who sh*t you?
Justin Cole: (shakes his head) Didn't really get a good look. I was too busy bleeding.
Brass: You go to the hospital?
Justin Cole: Sort of had my own anesthesia thing going on.
Greg: So whatever happened to the b*llet?
(He stands up and rolls up his pants leg to show them the scar.)
(Quick CGI EFX: Inside the leg, the b*llet is still there covered with tissue. A forceps reaches in and removes the b*llet.)
(End of CGI EFX. Resume to present.)
[INT. CSI - BALLISTICS LAB - DAY]
(Bobby takes the b*llet from the bindle and looks at it.)
Bobby Dawson: Yeah, see, human tissue sticks pretty darn good. And I can't scalpel it off, because I might damage the b*llet's characteristics. So, uh ...
(Bobby puts the b*llet in a pan.)
Greg: So I guess we wait.
CUT TO:
[INT. CSI - LAB - DAY]
(Warrick has all the tools from the garage in the lab, tagged and spread out on the table. He talks with Grissom.)
Warrick: Half of these tools don't match the size and the shape of the wound. And the ones that do don't have blood on them.
Grissom: The k*ller could have wiped it off.
Warrick: I don't see why the k*ller would have used a tool anyway, when he had a g*n.
Grissom: Maybe Ahern disarmed him and he grabbed whatever was handy.
(Quick flashback to: The two men fight in the garage. End of flashback.)
(Warrick shows Grissom a photo of the tool board from the garage.)
Warrick: Take a look at this. This guy was tweaker organized. There's a place for everything. Except for this.
(Warrick picks up a red screwdriver.)
Warrick: It's got no space in the pegboard and it doesn't match any of the sets.
Grissom: How about that?
(Warrick looks at the handle under the magnifying glass.)
Grissom: Got anything else?
Warrick: Nope.
Grissom: Print it.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(Mandy runs the print from the screwdriver through the database. She finds a match to a TOM HARPER.)
CUT TO:
[EXT. NEIGHBORHOOD -- DAY]
(Tom Harper has the NEVADA CONNECT VAN parked on the side of the road. Brass exits his car and walks over to him.)
Brass: Hey, Tom Harper? Detective Jim Brass, Las Vegas Police. May I ask you a couple questions? Do you know a Bianca Desmond?
Tom Harper: Sounds familiar.
Brass: You know she's at 1330 Wildflower Lane.
Tom Harper: Oh, yeah, right. Her. I installed some DSL lines there a few days ago. She answered the door in her panties.
Brass: So you've got that hard hat/tool belt thing working for you, huh?
Tom Harper: I wish. Kind of girl that makes you happy to be a man, know what I'm saying?
Brass: Yeah, I kind of remember. Anyway, we found a tool with your prints on it in a garage, next to a d*ad guy.
Tom Harper: Whoa. I-I lost an awl at a job recently. It must have been there.
Brass: Well, we're going to need to confirm that. Could you get me a work order?
Tom Harper: Yeah, sure. Um, I'll pull one from the office. I'll run it right over.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - EVENING]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Nick talks with Kelly Gordon.)
Nick: Kelly, where you going in such a hurry?
Kelly Gordon: I have relatives in Provo. I was going to visit them. I cleared it with my PO. You gonna tell me why a state trooper pulled over my bus and yanked me off?
Nick: You know a lady named Sylvia Mullins?
Kelly Gordon: Yeah.
Nick: Did you have a meeting with her yesterday?
Kelly Gordon: Yeah. So ... ?
Nick: So why did you have a meeting with her?
Kelly Gordon: Sylvia's handling my dad's estate.
Nick: Hmm.
Kelly Gordon: She's the trustee. What's going on here?
Nick: Ms. Mullins was found in her parking garage ... crushed by her own car.
Kelly Gordon: And you think I have something to do with it.
Nick: When you worked in the prison garage, did you just learn how to fix cars or did you learn how to steal them?
Kelly Gordon: Are you kidding me?
Nick: Does it look like I'm kidding you? You waited for her to get out of work so you could let her know how you felt about her.
(Quick flashback to: [GARAGE - NIGHT] Kelly is behind the steering wheel. She sees Sylvia Mullins in the parking stall. She starts the engine and g*n the car toward her.)
(End of flashback. Resume to present.)
Kelly Gordon: Sylvia was my dad's friend. She was helping me get back on my feet. How I felt was grateful. CSI puts me in jail for something I didn't do. Do you really think I'm going to k*ll somebody the minute I get out?
Nick: Hold out your hands.
(He picks up a swab.)
Nick: Hold out your hands. Ms. Mullins' air bag deployed on impact. Air bag dust gets everywhere.
(Quick flash of: [AIRBAG] The air bag opens. End of flash.)
Nick: It's really hard to get rid of.
Kelly Gordon: Not if it isn't there.
(She holds out both her hands. On her left palm is a tattoo. Nick swabs under her fingernails.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Sara, Greg and Warrick gather in the lab.)
Sara: So the soda can b*llet and the leg b*llet are from the same g*n?
Greg: Yeah. Bobby was able to pull more stria off the leg b*llet, but still no IBIS hits. So what about the phone guy, huh? The utility man's always a shade-ball.
(Hodges and Wendy Simms walk in.)
Hodges: As much as I love your generalizations, actually, this time you're wrong. The metallic scrapes on the garage floor were titanium. The phone guy's tool was carbon steel.
Warrick: Remember we thought that they might be dealing meth? Brass went ahead and subpoenaed the phone and bank records. Guess who's paying Bianca's mortgage?
(Warrick pulls up the records.)
Warrick: A Mr. Harry Desmond.
Sara: Happy Harry? Gas n' Sip Harry Desmond?
Wendy Simms: Who's your daddy?
Greg: No wonder she didn't work. He owns fifty Gas n' Sips in Vegas.
Warrick: Well, Harry was nice enough to leave us a voice message that was listened to and saved the night of the m*rder.
(He finds the voice message and plays it.)
Harry Desmond: (recording) Bianca, sweetie, it's Daddy. I got your message about moving to Colorado with Ahren. You can borrow the cabin, but we need to talk about this move. Call me, princess. I love you.
(The message ends. Warrick shows Sara and Greg a picture of the cabin.)
Warrick: And this is the Desmond cabin in Telluride.
Sara: Oh, maybe Mr. Desmond is trying to protect the family fortune.
Wendy Simms: Or the family jewels. I got the results back from all those sex stains on the sheets. Three donors: Ahren, Bianca and Chelsea.
Warrick: I guess they were having a little threesome.
Wendy Simms: Yeah, I just really hope he was only doing one woman at a time. Chelsea is Bianca's mother.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - BRASS'S OFFICE -- NIGHT]
(Brass talks with 'Happy' Harry Desmond.)
Brass: Look, I know what it's like to want to k*ll your daughter's boyfriend.
Harry Desmond: I don't pick fights that I can't win. I k*ll this one, I got five more dipsticks waiting to take his place. I'd just be pushing the rock up the hill. Besides, I was in New York yesterday.
Brass: Yeah, but you didn't want them to move away together.
Harry Desmond: I wanted Bianca to get a job. My biggest mistake in life? Giving my baby everything she ever wanted.
Brass: Your wife doesn't seem to mind your lifestyle.
Harry Desmond: When Bianca was a teenager, they fought like cats in a sack. It's good they've been spending time together.
Brass: Do you know what they're doing?
Harry Desmond: Well ... they're shopping, dancing ... you know, girl stuff.
Brass: They're sleeping with the same man.
(That surprises Harry.)
Harry Desmond: Look ... there was no good reason for Chelsea to marry me back in the day. I had a little money. Nothing like what we have now. She was half my age and ten times better looking. I thought if I kept her on a long leash ... maybe she'd never stray that far.
Brass: You the kind of guy that likes to keep g*n in the house?
Harry Desmond: Yeah, of course.
Brass: I'm going to need to see them.
CUT TO:
[INT. CSI - LAYOUT ROOM]
(Nick finds Catherine in the layout room.)
Nick: Hey, Catherine, I just got back trace on Kelly Gordon's fingernails. I was looking for air bag dust, but all Hodges found was air.
Catherine: Well, join the club. No usable prints on the parking garage camera either.
Nick: Okay, I'll have Sofia release her from holding. Those the vic's phone records?
Catherine: Yeah. From her office. Lots of international calls.
Nick: A lot of 345s.
Catherine: Mm-hmm.
Nick: Where's that?
Catherine: Cayman Islands. Popular with scuba divers and money launderers. I called a few of the numbers; all banks.
Nick: Suggests offshore accounts. It's not illegal, but it is very anonymous.
Catherine: It's also a good way to siphon money away from your clients.
Nick: Well, that's a leap.
Catherine: Hey, somebody wanted this woman d*ad.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Nick is in an empty room. He pulls up the computer files on SYLVIA MULLINS:
CASE NUMBER 06 01 18 1738-CW
CASE CREATED: 1/19/06
CASE MODIFIED ON: 1/19/06
VICTIM: SYLVIA MULLINS
PRIORITY ACTIVE
REQUESTED ANALYSIS: DNA, TRACE, FINGERPRINTS
DEPARTMENT: LVPD
AGENCY INCIDENT #: 627300-23
SCENE LOCATION: 8223 KOVAL LANE, LAS VEGAS 89134
ADJUCATION: NO SELECTION
CASE PLAYERS - TYPE - STATUS - ALIAS - STATE ID KELLY GORDON - SUSPECT - ALIVE - N/A - 792-3
WALTER GORDON - SUSPECT - DECEASED - NA - 312-5
(He brings up a photo of Kelly Gordon.)
(He clicks on her photo and on "RELATED CASES".)
(He pulls up his own case file:
CASE CREATED ON: MAY 19 2005
CASE MODIFIED ON: SEPT 23 2005
-- VOICE ANALYSIS
-- 84938-47-R9
921 DESERT WAY, LAS VEGAS 89109
(He clicks on "CASE MODIFIED ON" and finds NEW EVIDENCE LOGGED.)
(Puzzled, Nick goes over all the photos of the evidence logged and finds a recording. He clicks on the recording.)
Walter Gordon: (from tape) Hi, CSI guy. You wondering why you're here?
(Quick flashback to: Nick is listening to the tape recorder in the coffin. Various flashes of Nick's time in the glass coffin.)
Walter Gordon: (from tape) Because you followed the evidence. Because that's what CSIs do.
(End of flashback. Resume to present.)
Walter Gordon: (from tape) So breathe quick, breathe slow, put your g*n in your mouth and pull the trigger. Any way you like, you're going to die here.
(softer) Okay. Perfect.
(He plays the last part again.)
Walter Gordon: (from tape) You're going to die here. (softer) Okay. Perfect.
(Nick notes the evidence was logged in by GRISSOM.)
CUT TO:
[INT. CSI - A/V LAB]
(Nick walks into the lab with the cassette tape.)
Nick: Hey, Archie.
Archie: Hey, I did my best to enhance the parking garage footage, but I just can't get an image on the k*ller's face.
Nick: If you got a couple of minutes, I need a voice comparison.
Archie: Yeah, what do you got?
Nick: Kelly Gordon's voice on tape. I want to see if it's the other voice on the Walter Gordon audio file.
Archie: Grissom told you.
Nick: No, but he obviously told you.
(busted.)
Archie: Nick, uh, ...
Nick: You know what? Forget about it. If this girl's involved, that means she's capable of m*rder. It's all cued up for you. Her voice is first.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERVIEW ROOM -- DAY]
(Warrick is walking through the hallway. He's on the phone.)
Warrick: (to phone) Grissom, it's Warrick. None of the g*n Bobby test-fired were a match to the b*ll*ts, but Chelsea Wannamaker purchased a .22 in her name that was not picked up with the warrant for Harry's g*n. Okay. I'm on it.
(Warrick hangs up and enters the interview room.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY - CONTINUOUS]
(Chelsea Wannamaker is in the room.)
Warrick: Mrs. Wannamaker. Wow, that's a hell of a rock. I'm surprised I didn't see that the other night.
Chelsea Wannamaker: Well, I don't feel safe wearing this to a club.
Warrick: Is that why you own a g*n?
Chelsea Wannamaker: Well, I used to. But my g*n was stolen out of my purse one night when we went out. Is there something you want to say to me?
Warrick: You trying to buy back some time there, Mrs. Wannamaker?
Chelsea Wannamaker: Life's short, but it doesn't end at forty.
Warrick: Oh, I agree with you. But it must be tough for Bianca to have the kind of mother that'd sleep with her boyfriend.
Chelsea Wannamaker: The thing with Ahren the other night shouldn't have happened. We were on ecstasy ... and a line got crossed.
(Quick flashback to: [INT. DESMOND RESIDENCE - BEDROOM - NIGHT] Bianca and Chelsea enter the bedroom. Chelsea lies on the bed.)
Bianca Desmond: Oh, yeah. Lay down.
Chelsea Wannamaker: Okay.
Bianca Desmond: I'll come back.
Chelsea Wannamaker: All right, you come right back.
(Cut to: Ahren exits the bathroom and joins Chelsea on the bed. He kisses her back and she moans. He rolls her over and realizes it's Chelsea.)
Ahren Green: Oh, Chelsea, I'm ... I'm sorry. I totally thought you were Bianca.
Chelsea Wannamaker: That felt so good.
(They kiss.)
(End of flashback. Resume to present.)
Chelsea Wannamaker: Bianca came in and found us. (Shakes her head.) I wish it never would have happened.
Warrick: What's that, getting busy with her boyfriend or getting caught?
Chelsea Wannamaker: I went into the living room and I let the two of them talk it out. Next thing I know, she announced that they were moving to Colorado, so it seemed to me like they worked it out.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT./INT. DESMOND RESIDENCE - DAY]
(Warrick and Sara walk up the front toward the door.)
Sara: Freud would have a field day with this family.
Warrick: Dad loves his daughter, but mom only sees the daughter as competition.
Sara: And everyone wonders why Bianca can't meet a nice boy.
Warrick: Bianca eats nice boys for brunch.
(They find the door unlocked. Warrick and Sara take their g*n out before entering.)
Warrick: (loud) Las Vegas Crime Lab.
(They enter the house and check the living room. Warrick finds Bianca out on the sofa.)
Warrick: Oh. Sara.
(Sara walks up to her and checks her.)
Sara: Bianca, can you hear me? We need an ambulance.
Warrick: (to radio) Dispatch, this is CSI Brown. We have a woman down. We need a paramedic.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. HOSPITAL - BIANCA'S ROOM -- DAY]
(Sara walks into Bianca's room. Both her parents - Harry Desmond and Chelsea Wannamaker - are sitting in chairs beside her bed.)
Sara: Hey, Bianca. How you feeling? Mr. and Mrs. Desmond ...
Harry Desmond: It's Wannamaker. She's never changed her name.
Sara: Ms. Wannamaker, I'm going to need a few moments alone with Bianca.
(Chelsea gets up and leaves. Harry leaves.)
Bianca Desmond: You never should've told him. My father's an optimist. How do you think they stayed married for twenty years?
Sara: Bianca, I'm going to assume that whoever did this to you also k*lled Ahren. And I'm also going to assume that you know who that is. I think you need to stop protecting everyone from themselves.
Bianca Desmond: I can't.
(She turns her head away from Sara. Sara notices bruising on her neck. The nurse walks in.)
Nurse: Excuse me. I just need to check the swelling. (to Bianca) How's the tenderness?
Bianca Desmond: It's fine.
(The nurse finishes and exits the room. Sara quickly makes her exit.)
Sara: (to Bianca) I hope you feel better.
(She rushes through the hallway to catch up with the nurse.)
Sara: Nurse ... nurse?
(The nurse stops.)
Sara: Can I get that glove you were just using? I'm Sara Sidle, I'm with the Las Vegas Crime Lab.
(Sara holds out an envelope. The nurse puts the glove in the envelope.)
Nurse: Here you go.
Sara: Thanks. Uh, I'm also going to wait around for the SAE kit.
Nurse: She refused.
(Surprised, Sara turns and looks back at the room.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Nick finds Grissom in his office.)
Nick: Hey, Grissom ... You want to talk to me?
Grissom: Yeah, sit down.
(Nick sits down.)
Grissom: I heard that Kelly Gordon may be a suspect in your m*rder case.
Nick: Yeah.
Grissom: Is that a problem?
Nick: No. No, it's not a problem. And by the way, I heard the tape. I did a voice comparison.
(Quick flash to: Nick turns the tape recorder on.)
Sylvia Mullins: (from tape) Like a Roth IRA, that'd be perfect for you.
(End of flash. Resume to present.)
Nick: Sylvia Mullins is the other voice on that tape. She's Walter Gordon's ex-business manager, so ... I'm pretty sure she had something to do with my kidnapping.
Grissom: But now she's d*ad.
Nick: Yeah.
Grissom: So ... it's over.
Nick: (nods) Yep.
Grissom: Good.
Nick: Good.
(Nick stands up and leaves.)
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(Sara, Warrick, and Greg meet in the break room to discuss the case.)
Sara: Look. Bianca is covering for her father.
Warrick: Well, we figured out the sticky stuff on Bianca's neck was creosote. It's a timber preservative found on fences, telephone poles and railroad ties.
Greg: Justin lives on the train tracks. And he's pretty tweaked out.
Sara: Yeah, but he didn't sh**t himself. And I think that if he had done it, Bianca would've told us.
(Warrick looks for something.)
Greg: What is it?
Warrick: Telephone poles. Tom Harper's work order for Bianca's DSL line was dated December 18. December 18 ... fell on a Sunday. How many workers you know work on a Sunday?
Sara: Is this the original document?
Warrick: Yeah.
Sara: I'm on it.
(Sara takes the work order and gets up to leave.)
Greg: Always the utility guy.
CUT TO:
[INT. CSI - QD -- DAY]
(Sara processes the work order. She cuts off the date, then cuts each number and puts it in its own dimple. She adds liquid to each sample and lets it soak for a little while.)
(Sara continues to process the ink.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Sara reports her findings to Warrick and Grissom.)
Sara: There were two different inks on the work order, which means the date on the work order was compromised. Tom Harper made a service call to Bianca's house not in December, but ten months earlier, in February.
Warrick: Why would the guy lie?
Sara: It appears that he was a lot more to her than just the phone guy. Our bachelorette was a very busy girl.
(Sara turns and points to the phone logs she has highlighted and posted on the walls.)
Sara: Phone calls from Bianca to Tom are in yellow, from Bianca to Justin are in blue, and from Bianca to Ahren are in pink. There was always overlap. Bachelor number one: Tom, phone guy -- strong showing from February 18 until June-ish. She called him two, three times a day. And then around June 5, bachelor number two enters the picture -- Justin. Ten days of overlap and then all the calls to Tom stopped until ...
Grissom: The week Justin was sh*t and moved out.
Sara: Exactly. Ahren entered the picture about five days later in mid-
September. At that point, all the phone calls to the other guys stopped until just about a week ago.
Grissom: When she started calling Tom again.
Warrick: Every time this chick calls Tom, somebody gets sh*t.
Grissom: It's like thermite.
Sara: Thermite?
Grissom: When you combine two seemingly harmless elements -- aluminum and rust -- press them together, add heat ... it creates an expl*si*n so hot it'll burn through steel. Powerful but uncontrollable. It burns and burns until it burns itself out, finally consuming both elements.
Sara: I guess some people just shouldn't be together.
CUT TO:
[EXT. NEIGHBORHOOD -- DAY]
(Tom Harper is climbing down a telephone pole when officer cars pull up below. Brass and Sara exit the car.)
Brass: Tom Harper! Come on down!
(Tom steps down from the pole.)
Brass: You made me find you twice, Tom. That's a drag.
Tom Harper: What's the problem?
Brass: You know, I think you saw Bianca in her panties more than once.
(Sara notices Tom's climbing spikes attached to his shoes. She kneels down for a closer look.)
Sara: Now those could change a man. (Camera zooms in for a close-up to show the blood still on them.) And it looks like they did.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass interviews Tom Harper.)
Brass: You know, it's fill in the blank. If it walks like a stalker, talks like a stalker ...
Tom Harper: I'm not a stalker.
Brass: Then what's this? Excellent service? Here's the top of the telephone pole near Bianca's house.
(Brass shows Tom a photo of the cut wires.)
Brass: Ahren was tapping your girl, so you started tapping her phone.
Tom Harper: I only listened when I thought she was in trouble.
Brass: Look, her father called her at 7:00 A.M. New York time, that's 4:00 in the morning in Vegas. You had to be on the pole to hear it because we were on the scene an hour later.
(Quick flashback to: [NIGHT] Tom Harper is on the top of the telephone pole and hears the phone message to Bianca.)
Harry Desmond: (from phone) Bianca, honey, it's Daddy. I got your message about moving to Colorado with Ahren.
(Cut to: Ahren is in the garage. He turns around and finds Tom behind him.)
Tom Harper: Stay away from Bianca.
(Tom takes out a g*n and points it at Ahren.)
Ahren Green: Who are you?
Tom Harper: You're not taking her to Colorado.
Ahren Green: The hell I'm not.
(He throws the helmet at him and the two men fight. The g*n goes off and they continue to fight.)
(Ahren punches Tom back to the ground. He goes after him. Tom s*ab him in the upper leg with the spikes in his boots. Tom grabs his things and leaves.)
(End of flashback. Resume to present.)
Tom Harper: I just wanted her to be happy.
Brass: With you and no one else.
Tom Harper: No. Those other guys were jerks. I only wanted to scare him off.
Brass: Oh, like you did with Justin?
Tom Harper: That worked.
Brass: Yeah, but Bianca didn't come running back to you, so I guess you had to scare her, too.
(Quick flashback to: [INT. DESMOND RESIDENCE - DAY] Bianca Desmond is sitting on the sofa when Tom walks in. She turns around and sees him.)
Bianca Desmond: What are you doing here?
Tom Harper: I came to see you.
Bianca Desmond: I think you should leave.
Tom Harper: Your mom wants us to be together.
Bianca Desmond: My mom?! Let go!
(They two struggle.)
(End of flashback. Resume to present.)
Tom Harper: Her mother and I weren't always going to be around to clean up her messes.
Brass: Wait a minute. Are you telling me that Chelsea asked you to hurt these guys?
(He nods.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass interviews Chelsea Wannamaker.)
Chelsea Wannamaker: So you have some lunatic stalker telephone repairman claiming that I told him to k*ll my daughter's boyfriends? Give me a break.
Warrick: We have multiple calls to him from Bianca's house and it was not her. We also have on the record that you called him from your cell.
Brass: Coincidentally, right around the time Justin was sh*t and Ahren was k*lled. We call that 'solicitation for m*rder.'
Warrick: But you'd probably call it, what, good mother?
Chelsea Wannamaker: I love my daughter.
Warrick: Yeah, apparently, a lot of her boyfriends, too.
Chelsea Wannamaker: I called Tom. I asked him to scare Justin away. He was after Bianca for her money. I mean, we have to protect ourselves.
Brass: Yeah, but Ahren didn't love her for her money. What was wrong with him?
Warrick: So he was good enough for you, but too good for your daughter, was that it?
Brass: I mean, finding a soul mate is hard enough, but competing with your mother, that shouldn't be an issue. That goes against ... I don't know, nature.
Chelsea Wannamaker: I was attracted to Ahren ... and I was just trying to keep him away from Bianca and me.
Warrick: Lady, you unleashed an unstable man that you knew was in love with your daughter. You had to know that that was not going to end well.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Catherine catches Nick in the hallway.)
Catherine: Oh, hey, Nick. Nick.
Nick: Yeah?
Catherine: We caught a break.
Nick: The security guard confessed.
Catherine: No. Archie isolated a frame of the k*ller turning the focus ring.
(She shows him the photos of the k*ller's hand. On the center of the hand is a tattoo.)
Nick: She did it.
CUT TO:
[INT. HALLWAY OUTSIDE KELLY'S APARTMENT -- DAY]
(Sofia Curtis, a couple of officers and Nick approach the door with g*n drawn.)
(Sofia pounds on the door.)
Sofia Curtis: Las Vegas Police! Open up!
(There's no answers. Sofia nods and an officer smashes the door open.)
(Sofia and the officers enter.)
[INT. KELLY'S APARTMENT -- DAY]
(Sofia finds Kelly sitting on the bed.)
Sofia Curtis: Kelly Gordon, you're under arrest for the m*rder of Sylvia Mullins. Stand up.
(She doesn't move.)
Sofia Curtis: Stand up!
(Kelly stands up. She's very lethargic. Sofia has a hard time keeping her hands up to pat her down. Kelly looks at Nick.)
Kelly Gordon: (quietly) Care why I did it?
Nick: Doesn't really matter now.
Kelly Gordon: She told me my dad didn't leave me anything. He never would've done that. He loved me.
(Sofia cuffs her.)
Sofia Curtis: So you k*lled her?
(Nick looks at the bottle on the bedside table.)
Kelly Gordon: The ransom was her idea. She didn't get the money. She took it from me.
(Kelly falls back to the bed and convulses.)
Nick: She's OD'ing. She's OD'ing right now.
Sofia Curtis: Call a paramedic.
(In the background, we hear an officer making the call.)
Nick: Vicodine, INH, methadone. Kelly!
(Nick leans over her.)
Nick: Kelly! Kelly!
(Kelly stops convulsing.)
(Nick looks at Sofia. Sofia checks for breath, then starts chest compressions.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x12 - Daddy's Little Girl"} | foreverdreaming |
FADE IN.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. ALLEYWAY -- NIGHT]
(A man walks through the alleyway. He stops midway and drops the cigarette he's smoking down on the concrete pavement. He smashes the butt out with the toe of his right foot.)
(He takes a couple of steps, turns, then reaches down to pick up the cigarette butt. He pockets the butt, then continues walking quickly through the alleyway.)
CUT TO:
[EXT. BUILDING -- NIGHT]
(The man in the jacket climbs up the f*re escape stairs to a building behind a large screen billboard.)
(He reaches the room he's looking for and stops. He slips a thin, long piece of metal through the crack in the window and pushes the latch open.)
[EXT. APARTMENT BUILDING - NASH'S ROOM - NIGHT - CONTINUOUS]
(The man climbs through the open window and into the bedroom where a man is sleeping. The lamp on the bedside table is on.)
(Karl Cooper shuts the window closed, picks up a chair and puts it down near the bed. He sits down, places his foot on the bed and unmercifully shakes it, waking the sleeping man.)
Clayton Nash: Red. Hey. (He chuckles nervously.) You look good, man. It's been a while, hasn't it? Haven't seen you forever. Of course, you know that better than anybody.
("Red" doesn't say anything.)
Clayton Nash: I'm ... surprised to see you here. Actually, you know what, I'm not that surprised. Listen, I'm glad you dropped by, 'cause there's something I've been meaning to talk to you about.
("Red" raises his g*n and points it at Nash.)
Clayton Nash: You know, I-I just wanted to say ...
(He fires twice and hits Nash in the chest.)
("Red" gets up and walks close to Nash. He fires again.)
CUT TO:
[EXT. ALLEY - NIGHT - 2:36 A.M.]
("Red" heads for his parked car. He gets inside and fastens his seat belt. He adjusts the rearview mirror. It's 2:36 A.M. He flips the radio on to FM1 station 87.9.)
(He starts the car engine and drives out of the alleyway.)
[INT. CAR (MOVING) - LATE NIGHT]
(The light a the end of the alley is red. "Red" stops. The light turns green. As he drives across the intersection, a second car zooms out of nowhere and hits him on the side.)
(The two cars stop.)
(Ally Sullivan gasps as her airbag inflates upon impact.)
Ally Sullivan: Oh, my God! Oh, my God!
(She gets out of the car to check on the other driver. She stumbles out of her car, obviously a little drunk.)
Ally Sullivan: Oh, my God. Oh, my God.
("Red" groans.)
Ally Sullivan: Are you ... are you okay?
Karl Cooper: Huh? (He looks at her.) Yeah, yeah, I'm ... I'm okay. I'm okay.
(He opens the car door and groans as he gets out.)
Ally Sullivan: I-I am so sorry. I was on the phone, and I was going too fast, and I just ...
("Red" stands up and doesn't look too good.)
Ally Sullivan: Oh, God, um ... I'm going to call 911, and I'm going get you an ambulance.
Karl Cooper: I'm fine, honest, I am.
Ally Sullivan: Okay.
Karl Cooper: Really, it's nothing.
Ally Sullivan: At least, can I just ... I'm going to call the police and make a police report.
Karl Cooper: I'd really rather you not do that. I'll tell you why. I don't, uh, I don't have any insurance.
Ally Sullivan: No, no, no. That's okay. I do. Look, it was my fault; I know that. And that is exactly what I will tell them. My dad just said, if I ever got into an accident that I had to make a police report.
Karl Cooper: Can I tell you something, sweetheart? You're drunk right now, okay? And you h*t me. Now, that's a DUI, and if you call the police, they're going to take your license away, and they're going to throw you in jail. Now, what I'd like you to do is get in your car, drive yourself home and forget that this ever happened. Can you do that?
(She hesitates.)
Karl Cooper: I'm fine. Go on. I'm fine, honest, I promise. You go.
Ally Sullivan: Okay.
(Ally Sullivan turns and heads back to her car. Karl Cooper turns, groans as he heads back to his car.)
(Through the side view mirror, he sees Ally take out her cell phone and dial.)
(He closes his eyes and shakes his head. He turns around as he makes a decision.)
WHITE FLASH TO:
[EXT. ROADWAY - NIGHT]
(Cameras flash as photos are taken of Ally Sullivan's d*ad body.)
(Grissom and Sara stand nearby as David Phillips kneels down next to the body, writing on a clipboard. Brass stands just behind David Phillips.)
Brass: Her name is Ally Sullivan. She's the registered owner. Patrol unit investigating the wreck found the body. So far, we have nothing on the other car.
(Grissom turns and notes the deflated air bag.)
Sara: Where's the nearest traffic camera?
Brass: Four blocks north. We've been pulling bodies out of this neighborhood twice a month, it seems like.
Grissom: I think that's actually an improvement.
Brass: Yeah. Well, it's a cold night. I'm going to get you some coffee and donuts.
(Brass leaves. Grissom and Sara both kneel down near the body. They note the open cell phone in her left hand.)
(Grissom picks up the cell phone.)
Grissom: Nine-nine-nine ... five-five-two.
Sara: Most people would have called 911.
(David pulls away Ally's collar and notes the bruising underneath.)
David Phillips: Well, there's a seat-belt contusion on her shoulder.
Sara: So ... She survives the crash. She gets out of the car, she dies on the street?
Grissom: Internal injuries maybe.
Sara: Maybe.
Grissom: How'd the car end up in this position? It looks like she caused the wreck.
[INT. COOPER RESIDENCE - BATHROOM -- NIGHT]
(Karl Cooper wipes the steam off the bathroom mirror with the palm of his hand and looks at his reflection in the mirror.)
Sara: (V.O.) Usually, the guy who hits is the guy who runs.
(He leans over the sink and splashes water on his clean-shaven face.)
Grissom: (V.O.) Well, either way, they left the scene, so it's still a h*t-and-run. And this girl's d*ad. So, we may have a m*rder.
(He turns the water off and dabs his face dry with a towel.)
[INT. COOPER RESIDENCE - BEDROOM - NIGHT -- CONTINUOUS]
(He puts the towel on the sink, turns and heads back into the bedroom. His wife, Janice is sleeping.)
(He slips into bed behind her. She sighs.)
Janice Cooper: It's late. I was worried.
Karl Cooper: Sorry.
(She grabs his hand and pulls his arm around her.)
Janice Cooper: Love you.
(Camera rises up and we see that Karl Cooper is "Red" without the beard.)
Karl Cooper: I love you, too.
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- NIGHT]
(Brass speaks with Mr. Sullivan, Ally's father.)
Jack Sullivan: Ally was out late all the time. I never worried about her.
Brass: She liked nightclubs?
(The conversation continues in voice over.)
INTERCUT WITH:
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Grissom examines Ally's hands while using an ALS.)
Jack Sullivan: (V.O.) She liked the club business. She wasn't a party girl.
INTERCUT WITH:
[INT. CSI - GARAGE - NIGHT]
(Sara pus on a pair of latex gloves and heads over to the car.)
Jack Sullivan: (V.O.) She wanted to be a VIP hostess.
(We hear a camera shutter snapping.)
(Mr. Sullivan continues.)
Jack Sullivan: Way you do that in this town is you ... get your face out there, ...
(In Forensic Autopsy, Grissom is using the ALS while examining Ally Sullivan's clothes.)
Jack Sullivan: (V.O.) ... meet the right people, ...
(Grissom leans in close and examines her magnate necklace.)
Jack Sullivan: (V.O.) ... be seen.
(He sees some fibers caught on her necklace.)
(In the garage, Sara dusts the windshield. She takes a tape lift of the prints.)
Jack Sullivan: (V.O.) I taught her to be responsible. If there was an accident, call the police. Help anyone who needed it.
(Sara looks at the print she just lifted.)
(Mr. Sullivan continues.)
Jack Sullivan: I'd say to her all the time, no matter how pretty you are today, someday, all that will be gone. She knew that.
(In the garage, Sara scrapes samples and puts it in a bindle.)
Jack Sullivan: (V.O.) She knew she had to treat people with respect.
(Sara takes a photo of the clear plastic cup in the front seat.)
Jack Sullivan: (V.O.) She always did the right thing; that's why I don't get it.
(Sara puts the camera aside and dusts the side of the plastic cup for prints.)
(Mr. Sullivan finishes.)
Jack Sullivan: Whoever was in the other car ... I don't care why they left. All they had to do was call an ambulance instead of leaving her there to die.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(Robbins goes over the findings with Grissom.)
Robbins: C.O.D. was hyper-extension of the neck with a rotational snap, resulting in a ruptured vertebral artery, mid-cervical.
Grissom: (surprised) Mid?
Robbins: Yeah.
Grissom: Most MVA's break down low or up high, don't they?
Robbins: That's why I don't think the accident did it. The injury was more consistent with a stranglehold.
(Quick flashback to: [NIGHT] Karl Cooper has his arm around Ally Sullivan's neck. She struggles against him.)
(Camera zooms in through Ally's mouth for a CGI POV of: Her spinal column is twisted around and snaps.)
Robbins: (V.O.) The head was rapidly twisted relative to the spinal column.
(End of CGI. Ally passes out.)
(End of flashback. Resume to present.)
Robbins: She would have been d*ad within a minute. Whoever k*lled this poor kid knew what they were doing.
CUT TO:
[INT. COOPER RESIDENCE - KITCHEN -- DAY]
(Kyle Cooper chops bell peppers on the cutting board. He glances at the article in the paper with the headline, "Local Party Girl Slain", by Ruben Munoz, Review-Journal. He stops and stares at the photo of the covered body beside the smashed car.)
(A portion of the article reads:
... survived by her father Jack ...
... anyone with information ...
... can call LVPD at 800 ...
... car dealers have ...
(Karl's daughter,Maddy sits on the counter and is stirring the bowl of eggs with a whisk.)
Maddy Cooper: I don't like gruyere, daddy.
Karl Cooper: No gruyere in it, sweetie; I promise. All right, egg me.
(Maddy laughs, picks up the egg and cracks it on the side of the bowl. Janice walks in.)
Maddy Cooper: Hello, Mommy. I'm cooking.
Janice Cooper: I see that. Good morning, honey.
(She kisses Maddy, then walks over to the counter to fill her cup with coffee.)
Karl Cooper: Morning.
Janice Cooper: Yeah, well, the jury's still out on that as far you're concerned. You must have had quite a night.
Karl Cooper: Yeah. I guess I lost track of time.
(Janice yawns.)
Janice Cooper: That Joey's a dog. If you don't watch out, he's going to get you into trouble.
Karl Cooper: I kind of doubt that. I wouldn't worry, though. It won't happen again. These days I'm all about you, baby.
Maddy Cooper: I'm the baby.
Karl Cooper: I know. I know, but daddies can have more than one baby.
Janice Cooper: Yeah, pretty talk, talk, talk.
(Janice reaches to sample breakfast from the platter. Karl grabs a different plate and offers her the food on it.)
Karl Cooper: Here, wait, wait. Try this, try this. Maddy made them.
(Janice samples a piece.)
Janice Cooper: Mm, it's delicious. Very good.
(Maddy beams at the praise. She reaches over and touches Karl's cleanly shaved cheek.)
Janice Cooper: I'm glad you shaved. I barely recognized you under all that scruff. (Janice picks up part of the paper.)
Karl Cooper: Hadn't quite finished that.
(Janice takes the paper and leaves the kitchen.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Camera pans over a photo of the print on the plastic cup and of the ID from the print for HALL, TRENT.)
(Brass interviews Trent Hall.)
Brass: Hello, r*pist.
Trent Hall: Man, I'm not a r*pist. I was a date r*pist, which is not even the same thing. And besides, back then, roofies were in.
Brass: So you miss the action of the good old days, huh?
Trent Hall: It's not like that. It's not like that at all.
(In the observation room, Grissom watches the interview.)
Brass: What's it like?
Trent Hall: What -- ?
(Brass picks up the soda can and takes a sip from it. Trent Hall watches him, obviously wanting a drink. Brass deliberately puts the soda can down on the table in front of Trent.)
Trent Hall: Can I get a soda, too? I'm, like, parched.
Brass: You want to tell me what your fingerprints are doing on a cup in a d*ad girl's car?
Trent Hall: Uh, yeah, yeah. I was out at Jet ... I was kind of faded, I guess. Um, I bumped into Ally, and she offered me a ride home. I needed it.
Brass: So that's what you were doing on Harmon Road?
Trent Hall: Yeah, Ally don't care where I live; she's a cool girl.
Brass: You were close?
Trent Hall: Oh, yeah.
Brass: Were you banging her?
Trent Hall: Nah.
Brass: So, what, are you like, pen pals? Girlfriends? What?
Trent Hall: No, look, we really didn't talk that much. But we would text all the time. That's, like, when you use your cell phone to send, like, you know, words.
(He motions with his hands as if texting on the phone.)
Brass: Yeah. I know what text messaging is.
Trent Hall: Fine.
(Brass picks up the can of soda and takes a sip from it. Trent watches him longingly.)
Trent Hall: Sorry. Look, I'm telling you the truth, you really couldn't get Ally on the phone, it's all texting with her. Well, what do you want my DNA? You want me to pee into a cup? You want my underwear?
(Grissom listens, then flips open the file folder and looks at the notes. It reads:
CELL PHONE, OPEN WITH
NUMBER ENTERED 999552
Trent Hall: Whatever you want, you got it, cause I didn't k*ll Ally.
(The voices fade into the background.)
(Grissom takes out his cell phone.)
Brass: (over speaker) I'll tell you what I want. I want you to write down exactly where you were last night and when. Think you can handle that?
Trent Hall: Can I get a soda?
Brass: Shut up and write.
(Grissom flips open the cell phone, selects TEXT MESSAGING. He types in
"999552" and comes out with: yka.)
CUT TO:
[INT. CSI - DNA LAB -- DAY]
(Hodges goes over his findings with Sara.)
Hodges: Paint scrapings from your vic's bumper are consistent with a '91 to '96 blue Ford.
Sara: So that narrows it down to a few thousand cars in the greater Las Vegas area.
Hodges: Yeah, but the car you're looking for is also a piece of crap.
Sara: Make and model I get, but unless you have a new test that quantifies
"crappiness" ...
Hodges: Actually, take a look.
(Sara looks through the microscope.)
Sara: Firebird's on the left, blue Ford on the right. What's the gray-blue in the middle?
Hodges: A mixture of rustoleum and house paint. The k*ller's car had exposed primer. Swanky.
(Grissom walks in and holds up his phone.)
Grissom: Might have found a few letters from the license plate. "Y-K-A."
Sara: You found a witness?
Grissom: No. Just behavior. But according to Ally Sullivan's father, she was the type of girl that might have noticed the license plate of the car that h*t her. And according to her good friend, she preferred text messaging to leaving voice messages. She was dying, right? Disoriented? I don't know, but maybe she thought she was texting when in fact she was just dialing her phone.
(Quick flashback to: [NIGHT] Ally Sullivan has her phone out. She looks at the license plate of the car as it drives away and dials her phone.)
(End of flashback. Resume to present.)
Sara: That's a bit of a long sh*t.
Grissom: Yeah. It's still a sh*t.
CUT TO:
[EXT. GOLDEN NUGGET (STOCK) - NIGHT]
[INT. CASINO - BAR -- NIGHT]
(Karl Cooper is having a drink. In the background, we hear the news report from the nearby tv.)
Paula Francis: (from tv) Good evening, I'm Paula Francis. A weekend of sordid crimes has Las Vegas police working double-time. At the same time, the police are doing all they can to protect residents from the ...
(Sitting next to him is a man, Joey, who is hitting on the pretty, blonde cocktail waitress.)
Joey: Come on, admit it. Come on. That's a little smile. Come on ... Huh? You know you're crazy about me. I want you to come back. As soon as you're done, come back.
(The waitress leaves as Karl tries to catch Joey's attention.)
Karl Cooper: Joey? Joey? Hey.
(Joey turns and looks at Karl.)
Karl Cooper: You don't h*t on a cocktail waitress at the bar. Go sit at a table, then she's got a reason to come over and serve you, and it's less obvious.
Joey: Hold on. Wait, wait. The house-husband's giving me tips on women?
Karl Cooper: I married a cocktail waitress.
Joey: (surprised) Janice -- cocktail?
(Karl nods.)
Karl Cooper: This crappy little joint in Cleveland.
Joey: Really?
Karl Cooper: Mm-hmm.
Joey: I'm not looking to marry this broad. Although, she might think so. At least for tonight.
(He laughs.)
Karl Cooper: Joe, you're, like, 40-something, right? Shouldn't you be toning it down a little?
Joey: Tone it down? Karl, I'm looking to take it up a notch. I got, like, ten more years of fun left and my wingman's got a curfew. No? Why'd you bail out so early last night?
(Karl is quiet and not just a little surprised that Joey noticed his disappearance.)
Karl Cooper: I missed my family.
Joey: You're so sweet. You should work for Hallmark.
Karl Cooper: I'll send them my resume.
CUT TO:
[INT. NASH'S APARTMENT -- NIGHT]
(Clayton Nash is d*ad on his bed, sh*t in the chest, his eyes wide open. The manager talks with Sofia as she looks over the scene.)
Manager: It wasn't the smell that got my attention, you know? Usually when I find a body, it's, uh ... it's very, uhm ... raunchy.
Sofia Curtis: It's called "decomp," in case you're interested.
(On the floor, Sofia notices the discarded g*n and b*llet casing next to it. The g*n isn't too far away from the victims bloodied hand.)
Manager: I'll remember that for next time.
Sofia Curtis: If it wasn't the smell, why did you check the room?
Manager: Rent is due every week.
Sofia Curtis: What's his name?
Manager: We ask for cash, not names.
(Sofia turns and glances back at him.)
Manager: (sheepishly) We take who the casinos won't. Someone's got to do it.
Sofia Curtis: You touch or move anything?
Manager: First thing I did was call you guys. Got you on speed dial.
CUT TO:
[INT. CASINO - BAR -- NIGHT]
(The news report on the television set in the bar continues.)
Paula Francis (newscaster): (from tv) And finally, in local crime, an update on yesterday's tragic death of Vegas party girl Ally Sullivan. Police are still examining all the evidence from the gruesome crime scene.
(We see that Joey has turned his attention once again to the cocktail waitress. Karl is watching the news report.)
Paula Francis (newscaster): (from tv) Detectives tell eyewitness news they have little to work with. And something that stumps them: What was the motive for the k*ller in this violent end to a young and beautiful life?
(On the tv, footage changes to a small crowd of reporters gathered around Jack Sullivan's front porch. Jack Sullivan turns around to look at the cameras.)
Reporter: (from tv) (o.s.) Mr. Sullivan, when was the last time you saw her alive?
Jack Sullivan: (from tv) What are you people thinking? Think I'm going to say something magical, to bring Ally back to me? I'm not talking to you people.
(Karl Cooper watches as Jack Sullivan turns and heads back inside. The reporters continue to shout question at his back.)
Reporter: (from tv) (o.s.) Mr. Sullivan, what was your daughter doing in that section of town? You think it was drug-related?
(Karl looks down regretfully at his drink. Footage cuts back to the newsroom.)
Paula Francis (newscaster): (from tv) Police are hoping that passersby or other eyewitnesses will come forward to help the investigation of this terrible m*rder.
(A number appears on the bottom of the TV screen: 1-800-555-0199.)
Paula Francis (newscaster): (from tv) If you have information that might help police, you are urged to call LVPD at the toll-free number on the screen.
(Karl looks around the bar, then nervously drinks from his glass.)
CUT TO:
[INT. NASH'S APARTMENT -- NIGHT]
(Sofia puts on a pair of gloves and picks up the wallet on the bedside table. The NEVADA DRIVER LICENSE READS:
... 800592214 EXPIRES: 02-17-2007
NASH, CLAYTON
217 EAGLE DRIVE ...
(She takes out her handset and makes the call.)
Sofia Curtis: (to radio) Control, this is Detective Curtis. I'm at 1773
Twain, Riviera Suites. I got a 4-19. I need CSI.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. NASH'S APARTMENT -- NIGHT]
(Catherine snaps a couple of photos before she stops and looks around the apartment.)
Catherine: You know, I think I've been called out to this place before.
(Warrick looks around the room.)
Warrick: I think I've processed this very room before.
(David removes the thermometer from the body.)
David Phillips: Liver temp is close to ambient.
(David turns the body over to check.)
David Phillips: But lividity is fixed. (He opens the victim's mouth.) And rigidity starting to pass.
Catherine: So he's been d*ad for at least twenty hours.
(David circles the b*llet hole on the body. Catherine continues to snap photos. Warrick looks around and sees the b*llet casing on the floor. He picks it up and checks it.)
Warrick: ".380 auto." That's federal a*mo.
(Catherine picks up the g*n and checks it.)
Catherine: .380s make a lot of noise. It's odd that no one heard anything, even in a dump like this. "Walther PPK." Two sh*ts in the body, one to the head.
Warrick: Sounds like a professional h*t to me.
(Catherine notices the scratches on the g*n's barrel.)
Catherine: Looks like the k*ller used Armorall. The g*n is clean.
Warrick: Looks like the victim was doing a little cleaning of his own. He was a 12 stepper. Trying to make amends. He was on step number nine.
Catherine: Apparently not enough.
Warrick: Well, it's pretty obvious he came in through the window.
(Warrick sees a large shoe stain on the carpet near the window.)
Warrick: Whew. One thing's for sure, this k*ller's lugging around some pretty big dogs.
CUT TO:
[EXT. LAS VEGAS (STOCK) - DAY]
[EXT. COMMUNITY - FRONT CURBSIDE -- DAY]
(A man puts the package he's carrying on the car, license # 139-VGO. He turns and checks the mail for house #299. He goes through the mail, then sees a package in the mailbox. He opens the package and finds four stacks of bills. He turns and glances around the area.)
(The scene goes out of focus and we see Karl Cooper's reflection through a side-view mirror from the nearby parked car as he watches the man.)
(Karl takes a puff from his cigarette.)
(The man turns, picks up his package and heads into the house.)
(Camera holds on Karl Cooper.)
CUT TO:
[INT. CSI - HALLWAY/GARAGE -- DAY]
(Hodges catches Grissom walking through the hallway.)
Hodges: Oh. Hey, Grissom, I just ID'd those fibers you found on Ally Sullivan's necklace.
(He hands Grissom the report and they continue walking through the hallway.)
Hodges: They were not from her jacket or her dress. They're made of lambskin and rabbit fur. You know, just between you and me, I used to carry a rabbit's foot. I mean, I'm not superstitious. It's just, I figure why take the chance?
Grissom: You know, as a kid, my grandfather used to have a rabbit farm.
(They enter the garage where Sara is receiving the crushed vehicle.)
Grissom: Is this our Ford Taurus?
Sara: Once upon a time.
Hodges: Told you it was a piece of crap.
(Hodges leaves.)
Sara: The vehicle was abandoned near a junkyard off Boulder Highway. By the time they checked the plates, it was already in the crusher.
(Sara pulls the license plate and shows it to Grissom, YKA 646.)
Sara: Plates and paint are a match to your BOLO.
Grissom: Did Brass run those tags?
Sara: Yeah, it was last registered to a Betty Grinly in Henderson. She passed away last month.
(She leans forward and smells the car.)
Sara: Gasoline. They torched it.
(Quick flashback of: Karl Cooper lights the fuse with his cigarette lighter. He stands aside as the car burns. He turns and walks away. End of flashback. Resume to present.)
Grissom: So he burns the evidence near a junkyard so that they'll find it and dispose of it. Clever.
Sara: Looks like we're dealing with a professional.
Grissom: Professional what, though? Ally Sullivan was k*lled over a fender bender.
Sara: You're right. He probably just loved his car and has a really bad temper.
(Grissom shines his flashlight on a metal strip on the car. It has the image of a yellow pineapple and the letters A-L.)
Grissom: And he likes pineapples.
CUT TO:
[EXT. ALOHA AUTO SALES - DAY]
(Sara interviews the salesman of the used car lot. The salesman is wearing a mustard-colored jacket and thick black-rimmed glasses.)
Salesman: Ah, yeah, I remember that Taurus. Cheap and reliable. That combo always sells.
Sara: Could you give me a description of the person who bought it?
Salesman: Honey, I'm not even sure I can tell what you look like. All I remember is he came off the bus ...
(Quick flashback to: [DAY] A man walks up to the salesman and holds out a thick stack of folded bills.)
Salesman: (V.O.) ... he walked right up with a big wad of cash.
(End of flashback. Resume to present.)
Salesman: I put him in that Taurus, and fifteen minutes later, he drove off the lot.
Sara: Did you get a transaction record?
LATER:
[INT. ALOHA AUTO SALES --- OFFICE - DAY - CONTINUOUS]
(The salesman shuffles through the folders on his desk as Sara patiently waits for him to find the folder.)
Salesman: Let's see. Taurus, Taurus, Taurus, Taurus ... ah, here you go.
(He finds a folder and hands it to Sara. Sara opens the folder.)
Sara: This is for a '99 Jeep Cherokee .
(She hands the folder back to the salesman. He puts the folder label up close to his eyes to read the label. Obviously the thick glasses aren't helping a bit.)
Salesman: It sure is.
(He shuffles through the folders on the desk again and hands Sara another folder.)
Salesman: Um, hold it. It's over here.
(Sara opens the folder to find a copy of the driver's license, the photo and information obscured and blurred.)
Salesman: How's that one look?
Sara: (shakes her head) Not so great.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins goes over Clayton Nash's body. He removes a b*llet from the torso. He washes the b*llet and puts it in a bindle.)
[INT. CSI - BALLISTICS LAB - DAY]
(Bobby takes the b*llet out of the bindle and looks at its markings under the scope.)
(Bobby picks up the g*n found at the crime scene and examines the barrel with a scope.)
CUT TO:
[INT. CSI - LAYOUT ROOM - DAY]
(Catherine shares her findings with Warrick.)
Catherine: The coroner's b*ll*ts matched the Walther, but Bobby found an additional striated mark on the o-jive, so he went back to the g*n. There was threading inside the muzzle.
(Warrick picks up a photo and looks at it.)
Warrick: k*ller used a sil*ncer.
(Quick flash of: The k*ller puts the cartridge in the g*n. Camera zooms into the g*n. The g*n is fired; the b*llet is fired. It passes through the g*n and through the sil*ncer. End of flash.)
(Catherine and Warrick both stand in front of the layout table where all the photos of the w*apon and b*llet are spread out.)
Warrick: Slightest imperfection in the barrel of a sil*ncer could explain these scratches on the b*llet.
(Warrick picks up a photo of the b*llet and points to the scratches.)
Catherine: (nods) Oh. Also explains why no one heard anything. But leave the g*n, take the sil*ncer?
Warrick: Well, you can't legally buy a sil*ncer, and those things are hard to make.
Catherine: If the sil*ncer was homemade, we might have been able to match the k*ller's tool marks. Assuming we ever find this guy.
Warrick: I don't know who would go through this much trouble to k*ll a nobody like Nash.
CUT TO:
[INT. COOPER RESIDENCE - GARAGE -- NIGHT]
(Karl Cooper sits at his worktable.)
Catherine: (V.O.) Well, he was a somebody to the k*ller.
(He's typing on the computer, a framed photo of Maddy on the countertop next to him. He's on GOOGLE and enters "CLAYTON NASH")
(He looks through the listing and finds:
Rocketboom.com
... the body of CLAYTON NASH was
... the site of Ally Sullivan's m*rder ... www.rocketboom.com - Cached
(He clicks on the site and finds the page:
ROCKETBOOM
Daily with Amanda Congdon
"... the body of Clayton Nash was found just two blocks away from the site of Ally Sullivan's m*rder ... "
(The streaming video starts playing.)
Amanda Congdon (reporter): Hey, people, Amanda Congdon from rocketboom.com with this week's creep report. If you were planning on checking out that new club, Bubbles, down near Harmon and Twain, you might want to think twice, because the corpses are really piling up down there. The body of Clayton Nash was found just two blocks away from the site of Ally Sullivan's m*rder, and the k*ller's still at large. Is this just another crime spree, or the work of one deranged maniac? Don't ask the cops. They don't have a clue. Remember, Amanda warned you.
(The garage door opens.)
Janice: Karl?
(Karl immediately shuts the page down. A photo of Mandy appears on the screen.)
Karl Cooper: Mm.
(Janice, who is carrying Maddy, walks into the garage. Karl gets to his feet.)
Janice Cooper: What are you doing?
Karl Cooper: Oh.
Janice Cooper: Not even ready for dinner.
Karl Cooper: I was checking our stocks.
Janice Cooper: Well, you're not wearing that to the Eiffel Tower.
Karl Cooper: I'll throw some clothes on.
Janice Cooper: Hurry up. My mom's waiting for Maddy. I don't want to lose that table.
Karl Cooper: Two seconds.
(Karl leaves. Janice walks up to the computer and moves the mouse.)
Janice Cooper: Okay. Well, now, who's that beautiful girl, huh?
(She chuckles as the login appears. She types in a password. The computer beeps and shows, "INCORRECT PASSWORD". She tries again. Still, she gets
"INCORRECT PASSWORD".)
CUT TO:
[INT. CSI - A/V LAB]
(Archie scans the blurry copy of the DMV license into the computer.)
(He works on clearing up the license photo.)
CUT TO:
[INT. CSI - LAYOUT ROOM]
(Sara opens the MAY 2005 TRANSIT GUIDE to page 107 for Boulder Highway. She uses the guide to mark the large map on the table.)
(She locates the times and marks the map with a red pen. She follows the route down the map.)
(She looks at Invoice #459465, for Customer Order No. 08769542, dated 1-27-06, made out at 4:46 pm for
1 1995 Ford Taurus
VIN # 0155554UT598741.
AMOUNT: $1,500.00
(She marks the area on the map and looks at it.)
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Brass interviews the bus driver.)
Brass: So, you drive route 107 southbound during the week, is that right?
Bus Driver: 6:00 A.M. to 6:00 P.M. Yeah, I'm a morning person.
Brass: Now, is there any chance, any chance at all, that you remember this guy? I know it's not the best picture.
(Brass shows the bus driver the blurry DMV photo.)
Bus Driver: Oh, yeah. I let him out on stop "E" around 4:30 day before yesterday.
Brass: Oh, you know, you get hundreds of people on and off your bus every day. We got to be sure -- are you sure you remember him?
Bus Driver: I look at every face that steps on my ride. I saw the movie
'Speed' -- I'm not gonna be hijacked.
Brass: Well, you know, actually 'Speed', it ... it wasn't hijacked, it was wired to explode.
Bus Driver: Whatever.
Brass: Well, all right. What exactly do you remember about him?
Bus Driver: He paid in cash, told me to keep the change -- everybody else uses a bus pass. He was a real gentleman -- tucked-in shirt, new shoes ... nice smell. Kind of stands out on my route.
Brass: So I guess you remember where you picked him up, then?
Bus Driver: He came walking out of the desert like Moses himself.
CUT TO:
[EXT. DESERT (ROUTE SIGN 201) -- DAY]
(Nick, Greg and Sara stand in front of CAT Busline's Route 201 stop sign.)
Greg: So the bus driver said the guy got on here? You sure this is a working stop?
Sara: You know, the CAT bus stops here 59 times a day.
Greg: For what?
(They look around and sees ATV riders in the distance.)
Sara: Construction workers, hikers, migrants. The name on the driver's license was fake, but the picture's got to be real. I'm gonna go ... wave it around the neighborhood.
(Sara turns and leaves.)
Nick: Okay.
(Greg and Nick walk down the road where they pass more ATV riders.)
Greg: Assuming our guy's not from around here, how'd he get here?
Nick: (indicates the ATV vehicles) The same way they did.
(Nick finds a set of motorcycle tire tracks.)
Greg: Every time I come to the desert, I see p*rn mags. Who brings spankables out here?
(Nick sees discarded magazines.)
Nick: It's probably just trash blown in from off the street.
Greg: Nobody throws away p*rn. They're like heirlooms. Passed on down the family tree.
(Nick follows the tire tracks as Greg's rambling becomes more and more distant.)
(At the end of the tire tracks, Nick finds a large pile of black ash and b*rned items.)
Nick: Hey, Greg. Come here and check this out.
(Greg joins Nick.)
Nick: A single set of ATV tracks goes off the trail back there into here -- k*ller could've dumped the ATV and then got on the bus.
(Greg snaps photos of the pile. Greg and Nick sift through the items in the pile. He finds a shoe.)
Greg: Whoever was here had some big shoes.
(He finds some socks.)
Greg: Not necessarily big feet. Multiple socks.
Nick: Another precaution to cover your tracks.
(Quick flashback to: [NIGHT] The k*ller drops the items into the large f*re. End of flashback.)
Greg: Assuming it's our guy.
(Greg snaps another photo of the b*rned items.)
Nick: I'd say it's our guy.
(Nick finds a b*rned rubber glove with its middle finger pointed high in the air. He shows the glove to Greg.)
Nick: And I think he just gave us the finger.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - LAB]
(Grissom goes through the items from the pile of ashes in the desert. Hodges walks in.)
Hodges: I have an update for you. The b*rned gloves that Nick submitted are lambskin lined with rabbit's fur. They're consistent with the fibers found in Ally Sullivan's necklace.
Grissom: Good.
(Hodges turns and leaves.)
Grissom: Thanks.
Hodges: Mm-hmm.
(Grissom continues to sift through the pile of ashes. He finds an item that looks like a sil*ncer.)
CUT TO:
[INT. POLICE DEPARTMENT - SOFIA'S DESK]
(Catherine talks with Sofia.)
Catherine: I'm guessing that Clayton Nash had a record.
Sofia Curtis: 1985, aiding and abetting, extortion in '87, armed robbery in
'92, as*ault in '95, uh, loan sharking the same year.
Catherine: I get the drift.
Sofia Curtis: But, uh, take a look at this -- it's FBI surveillance.
(She hands Catherine a photo of a group of men in baseball caps and mitts sitting on the park tables under a pavilion. The figure of a man sitting on the table is highlighted.)
Catherine: What is this, summer camp?
Sofia Curtis: Well, not the kind you want to send your kid to -- they're bank robbers.
Catherine: All of them?
Sofia Curtis: Apparently, Nash and his buddies would get together every year, talk shop, hire hookers, play flag football. Nash did mostly grunt work -- driver, lookout. Never handled the cash. He got busted in an armored car heist in Ohio ten years ago. Testified against practically everyone he'd ever worked with.
Catherine: Well, that certainly explains why someone would want to k*ll him.
Sofia Curtis: Most of those people in the picture are either d*ad or in prison.
Catherine: Who isn't?
CUT TO:
[INT. GOLDEN NUGGET - BAR]
(Joey walks up to the Bar toward Karl Cooper, who is already there nursing his drink.)
Joey: (to bartender) Give me a Heine, please. (to Karl) What is that? Anybody should be drinking water, it's me, let me tell ya. Really blasted my quads. Let's do sh**t. Wanna?
Karl Cooper: Let's pretend ... that you're wearing a suit, and let's pretend we're in your office, and let's pretend I just cut you a big check for your services because you are still my damn lawyer.
Joey: (suddenly serious) All right, man, all right, I'm listening.
Karl Cooper: There's some stuff I need. No particular order.
(He gives Joey a list. Joey looks at it.)
Joey: Credit card blanks? DMV license blanks? What is this?
Karl Cooper: No questions.
Joey: Laminating machine, blank bar code labels. What are you doing? What makes you think I can even get this stuff?
Karl Cooper: I know the guys you represent. I'm one of 'em. I need the stuff fast. Don't let me down.
CUT TO:
[INT. CSI - BALLISTICS LAB]
(Bobby works on the sil*ncer Grissom found in the pile of ashes.)
(He attaches the sil*ncer to the g*n and tests it. He examines the b*llet under a scope and finds the match.)
CUT TO:
[INT. CSI - BREAK ROOM]
(Grissom, Catherine, Warrick and Sara meet and discuss the case.)
Grissom: There was no reason to connect the two m*rder until ballistics matched the sil*ncer we found in the desert with the g*n you found at the Riviera Suites.
Catherine: Two m*rder, same k*ller.
Sara: Here's how we think things went down. The k*ller drove his ATV into the desert, concealed it in the brush, takes a bus to a used car lot and buys a blue Taurus.
Warrick: Then he drives to the apartment, puts a cap in Clayton Nash, gets into his car and drives away, free and clear.
Catherine: It's a good plan, well ex*cuted.
Grissom: Yeah, right up until the point that Ally Sullivan smashed into his car.
Sara: Collateral damage -- he k*lled her so she couldn't identify him.
Warrick: Okay, that all sounds great. How do we find the guy?
Catherine: We know his original target, Clayton Nash. Small-time hood who gave up a lot of his big-time cronies. He's got a list of enemies.
Grissom: How many guys got convicted off Nash's testimony?
Catherine: Seven. Three of them are still in prison. One is d*ad, one is out on parole, and two served their time and are now out.
Warrick: So we have three potential K*llers and nothing to tie them to either crime scene.
Sara: Not quite. I ruled out most of the prints from Ally Sullivan's car -- the vic, the father, her boyfriend -- but there were a few unidentified partials.
(Sara hands the print cards to Grissom, who looks through it.)
Catherine: It's not enough detail to run through AFIS?
Grissom: Well, if this guy is a major case felon, then his prints are definitely in the system.
Warrick: I dusted every inch of that apartment window. He never took off his gloves.
(Grissom again looks at the print cards.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(Grissom looks at a print card for:
LVPD 06 02 01 - 1158B GG
1995 FIREBIRD DRIVER SIDE WINDOW
(Quick flash of: The k*ller and Ally Sullivan struggle. The k*ller puts his hand on the car window to brace himself. The part of the base of his palm not covered by the glove hits the window. End of flash.)
(Grissom looks through the print cards of the suspects:
LYLE, PETER
#6587-7438-73698F
(He visually compares the prints.)
(He looks at the second suspect's print card:
COOPER, KARL
#4569-8741-56998A
(He finds a visual match.)
CUT TO:
[INT. COOPER RESIDENCE - GARAGE]
(Janice finds the card machine and a fake driver's license and several credit cards for a JORDAN DEAN. She finds more fake cards on Karl's worktable in the garage.)
(Karl opens the garage door.)
Janice Cooper: You going somewhere?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. COOPER RESIDENCE - GARAGE]
(Janice and Karl talk.)
Janice Cooper: (upset) The fake ID cards?! The staying out all night, and then this mysterious ATV ride in the desert.
Karl Cooper: You gave me the ATV for my birthday. I ride it because I love you.
Janice Cooper: Yeah, at three o'clock in the morning?
Karl Cooper: Yeah.
Janice Cooper: Uh-uh. You're planning a job.
Karl Cooper: I'm not planning a job! You know I don't do that anymore.
Janice Cooper: You're a liar, Karl. You're lying!
Karl Cooper: Honey, listen -- honey! Janice, look ... I had to take care of something.
Janice Cooper: And what's that supposed to mean?
Karl Cooper: I k*lled Clayton Nash.
Janice Cooper: You even think about Maddy? Your daughter? You promised ... on her life, you promised! (She hits him.) No more robberies!
Karl Cooper: I don't do robberies anymore.
Janice Cooper: Now you just k*ll people.
Karl Cooper: He was a rat.
Janice Cooper: Oh, Karl. All the waiting. All the maneuvering, the lying. I did it. And I did it for us, for this family. I kept money in our wallets. I invested it, so all you had to do was watch football on TV.
Karl Cooper: And Nash was the reason. The reason that you had to hide the money and live on the run. I never got caught! And I never would've got caught, except for that ... that lousy junkie who gave me up. I only had one rule: You never talk! And he talked.
Janice Cooper: And you jeopardized everything we have for some scumbag that nobody gives a damn about.
Karl Cooper: Janice, he called me four weeks ago. He said, "I'm in town for a while. Maybe we could we get together." He had something to tell me. Tell me what? "I'm sorry? I'm sorry I stole seven years of your life." I-I couldn't let it go.
Janice Cooper: Oh, God, he had it coming. And you were careful, right? So what's with the fake IDs? Karl? You don't make mistakes.
Karl Cooper: I didn't. Somebody else did. A girl named Ally Sullivan.
Janice Cooper: The ... the girl on the tv? Oh, Karl! Oh, God, she was just a kid!
Karl Cooper: She crashed into my car right after I did Nash. She was gonna call the cops. I had to do it. I had to.
Janice Cooper: I want you to go up the stairs. I want you to kiss Maddy. I want you to tell her that you love her ... and I want you to get out of this house.
(Janice turns and leaves.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE]
(Catherine is talking with Grissom.)
Catherine: Karl Cooper. At age 19, he was an Army Ranger. By 42, he was one of the most successful bank robbers in U.S. History. He pulled off dozens of heists, going back two decades, all without k*lling a single person, and he was known to his bank-robbing buddies as "Red."
Grissom: He doesn't have red hair.
Catherine: Well, he got the nickname because he was always in debt ... "in the red."
Grissom: Do we have 'In The Red's address?
Catherine: Last known was the U.S. Federal Penitentiary in Marion, Illinois. When Nash gave him up, Cooper plead guilty. He served the full seven years' term. He got out, dropped off the face of the earth.
CUT TO:
[INT. CSI - A/V LAB]
(Nick is on the computer working on the tire print from the desert. He runs it through the database and finds a match to a:
Brand: DUNLOP
Tyle: KT577A
PATTERN: BLOCK
DROOVE: 3
ATV MODELS CONSISTENT WITH DUNLOP KT577A
VEHICLE MODEL 1: KAWASAKI, ATV 04552F
VEHICLE MODEL 2: HONDA, ATV 0157FS
VEHICLE MODEL 3: YAMAHA, ATV 01254SE
VEHICLE MODEL 4: TOYOTA, ATV 01452SFS )
CUT TO:
[INT. CSI - HALLWAY]
(Nick reports his findings to Catherine and Grissom.)
Nick: The tire model is a Dunlop KT-345. I checked with the local dealers. The only ATV that uses that particular type of tire has only been on the market for about a year. It's called the Yamaha Raptor. So I got the list of the names of everybody in Las Vegas who's recently bought one. The only Cooper on the list is female -- Janice.
Catherine: Well, Karl Cooper had a girlfriend back in Ohio, a Janice Hanford. I mean, she could be Cooper now.
Grissom: Do we have her address?
Nick: Yeah. It's, uh, second page.
(Nick hands the list to Grissom, who looks at it.)
Grissom: I think you broke the case, Nick.
CUT TO:
[EXT. LAS VEGAS COMMUNITY ( STOCK) - DAY]
[EXT. COMMUNITY - STREET -- DAY]
(Sirens blaring, officer cars speed down the street toward the Cooper's house.)
(The cars stop in front of the house, tires screeching.)
[INT./EXT. COOPER RESIDENCE -- DAY]
(Inside the house, Janice Cooper sits at the small wicker table with her daughter Maddy. Through the closed sheer curtains, she sees the cars outside.)
Janice Cooper: Maddy ... sweetie, come with me, okay?
(She picks Maddy up.)
(Officers rush toward the door. Someone pounds on the door.)
Officer: Las Vegas police. Open up!
(Janice Cooper opens the door. The officers with their g*n in hand enter the residence. Brass enters last.)
Brass: Janice Cooper?
Janice Cooper: Yeah.
Brass: We're looking for your husband.
Janice Cooper: He's not here.
(He looks around.)
Brass: Don't take it personally, but I'm not going to take your word for that.
Janice Cooper: You guys never do. Look around all you like.
Brass: Please step outside with the child. It's for your own safety.
Janice Cooper: Like I said, he's not here.
(Janice steps outside.)
INTERCUT WITH:
[EXT. BUS - SIDEWALK - DAY]
(Karl Cooper reaches the bus station. He's carrying a heavy overnight bag. He puts the bag down as he puts a cigarette in his mouth.)
(He lights his cigarette.)
[INT. COOPER RESIDENCE - GARAGE - DAY]
(Nick enters the garage and sees the ATV. He snaps a photo of the vehicle.)
(He walks up to Karl's workstation and snaps a photo of the items on the counter, including a homemade sil*ncer.)
(He takes out a glove and uses it to pick up the sil*ncer. He looks at it.)
(Inside the house, Maddy looks at Brass.)
Maddy Cooper: Mommy doesn't like you.
Brass: Really? Well, that's too bad. She hardly even knows me.
Janice Cooper: Maddy, you be nice, baby, okay?
Brass: Definitely. Let's all be nice.
Nick: Jim ... ATV has the right tires and there are plenty of machine tools and parts back there to build a sil*ncer.
Brass: (to Janice) Where's Karl?
Janice Cooper: Go to hell.
Brass: All right. Here's the way it is. You're going to jail, she's going to Child Services. End of story.
Janice Cooper: I've had cops in my face for half my life. You don't scare me.
(The phone rings.)
Brass: Well, maybe that's your lawyer now.
(Janice answers it.)
Janice Cooper: (to phone) Hello?
INTERCUT WITH:
[EXT. BUS STATION - SIDEWALK - DAY]
(Karl is on the phone.)
Karl Cooper: (to phone) Just answer yes or no -- are the cops there?
Janice Cooper: (to phone) Yes.
Karl Cooper: (to phone) Are they thr*at to take Maddy?
Janice Cooper: (to phone) Yes.
Karl Cooper: (to phone) That's what happens when you marry a crook.
Janice Cooper: (to phone) (whispers) I think they're tracing this call.
Brass: I'll take that phone.
(Brass takes the phone from Janice.)
(Karl hangs up. He looks in front of him and sees an officer near the bus.)
(He takes a drag from his cigarette, exhales and drops it on the sidewalk. He smashes the butt with his shoe and leaves it there.)
(Karl walks up to the officer, whose back it to him.)
Karl Cooper: Hey, officer.
(The officer turns around as Karl puts his bag down.)
Officer: Yup?
Karl Cooper: I'm going to make your day.
CUT TO:
[INT. POLICE DEPARTMENT - BULLPEN - DAY]
(The officers in the bullpen congratulate the officer at the bus station.)
(In the hallway, an officer escorts Karl Cooper into an interview room where Grissom is. Grissom puts on a pair of gloves.)
Grissom: Uncuff him, will you, Mitch?
(Officer Mitchell removes the handcuffs.)
Officer Mitchell: Karl. Don't do anything stupid.
Grissom: Palms out, please.
(Karl holds his hands out in front of him, palms up.)
Karl Cooper: I know the drill.
(Grissom rolls some ink on his right hand. Karl puts his hand and palm print down on the card in front of him.)
(Grissom inks Karl's left hand. Karl looks at Grissom.)
Karl Cooper: So, tell me ... where'd I go wrong?
(Grissom looks at him.)
Grissom: You k*lled two people.
(Karl puts his left palm print down on the card.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x14 - k*ller"} | foreverdreaming |
DUE TO MATURE THEME, VIEWER DISCRETION IS ADVISED
COLD OPEN.
[EXT. VARIOUS LAS VEGAS DESERT (STOCK) -- DAY]
(Heavy winds blow sand across the desert, making it difficult to see.)
(A car travels along the road through the sight-obscured desert.)
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - DAY]
(Grissom arrives at the site and parks near the other officers' cars. In front of them, Brass is talking with a man in a heavy jacket. Brass has his hand over his nose and mouth to keep the dust and sand out.)
(Grissom gets out of the car and joins Brass.)
Brass: Guy was on his way to a landscaping job in Palm Springs. Saw a body sticking out of the sand.
Grissom: Well, out this far, it's probably a body dump.
(They reach the body. Nick is already there.)
Nick: Looks like they starved her to death first.
(They get a good look at the body. A bald, thin woman in her underwear partially covered by the bl*wing sand.)
Brass: Well, Jesus fasted in the desert.
Grissom: Yeah, but he had a choice.
Nick: No clothes, no shoes, no hair.
(The coroner's van arrives and backs up to the spot.)
Brass: Maybe her dome was shaved 'cause she spent time in the pen.
Nick: No right hand either. Could have been disarticulated by a wild animal.
Brass: The only wild animal was the one who left her out here.
(David Phillips gets out of the van and joins them.)
David Phillips: Hey, Grissom.
(Grissom turns and looks at David Phillips.)
David Phillips: Conditions are less than ideal. Is it okay if we just do a scoop and run?
Grissom: Yeah, David, shoe prints, tire treads -- all they are is ...
Brass: ... Dust in the wind.
(David smiles, turns and heads back to the truck to get his things. Grissom leans forward and notices the brand on the victim's upper left arm: 19.)
Grissom: Looks like she was branded.
Brass: Emaciated, bald, and numbered. What does that remind you of?
(Grissom turns and looks at him.)
SMASH CUT TO END OF TEASER ROLL TITLE CREDITS
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins, Nick and David Phillips are around the victim on the morgue table. Nick sits on the seat to the left of Robbins as he looks at the #19 branded on the victim's upper arm.)
Nick: Branding.
Robbins: A brand is a kind of contract.
(Phillips takes a swab from the victim's right wrist.)
Nick: Tell that to a bull when he gets stuck on his rear with a hot iron.
Robbins: In that case, it signifies ownership. To a Maori tribesman, or a marine, it signifies belonging. (to Phillips) Did you get a liver temp?
David Phillips: Couldn't get an accurate reading. You want me to pull vitreous from the eye?
Robbins: Yeah. One eye is much more desiccated than the other.
Nick: Could be an infection.
Robbins: Take samples from both.
(Phillips sticks a needle in the victim's left eye to take a sample of the fluids inside as Nick watches.)
Robbins: The eye is sequestered space. Changes that happen in the blood after death happen more slowly in the vitreous. Could give us more accurate levels.
(Phillips gets a second needle and sticks it in the victim's right eye to get a sample. He pulls the needle and the entire eye pops out of the victim's eye socket.)
(Nick closes his eyes at the sight.)
(Phillips is at a loss as to what to do next.)
Phillips: Um ... Dr. Robbins ...
(Robbins turns around and looks at the eye.)
Robbins: The optic nerve's been severed.
Nick: (swallows hard) That kind of defeats the purpose of an eye transplant, doesn't it?
(David puts the eye aside.)
Robbins: An eye transplant's just the cornea; it's not the whole eye. David, check the other eye.
(David sticks his fingers in the left eye to see whether it comes out easily. It doesn't.)
Phillips: This one's still connected.
Robbins: Well, clip it. Nick, send both eyes to DNA.
(Nick raises his hand and looks away. He gets it.)
Nick: Yeah.
CUT TO:
[INT. CSI - DNA LAB]
(Wendy Simms puts on a fresh pair of latex gloves. In the specimen containers in front of her are the two eyes taken from the victim.)
(She grabs the container with the right eye and opens it. She removes the eye and sticks a needle inside to get a sample of the fluid. She dispenses the fluid in a test tube.)
(She grabs the second container with the left eye and opens it. The label on the container reads:
LEFT EYE 427872-GG
Date Found, Located or Developed; 2/6/06 ROUTE 17 ETV
Where this article was found: Removed from Victim #872
G. Grissom )
(She opens the container and takes a sample of the fluid with a needle. She empties the liquid into a test tube.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins is in the middle of his autopsy. He pulls out a metal bit from the victim's mouth. He looks at it, then puts it in a container. He tightens the container cover and puts it aside.)
(Grissom enters the room. He's putting his gloves on.)
Robbins: Pull up a chair. It's been a long, strange trip for this poor girl. I found puncture wounds around her glandular areas, from large-gauge needles commonly used to draw out fluids.
Grissom: Maybe she was undergoing some kind of medical treatment.
(Grissom picks up the container with the metal bits in it. He looks at it.)
Grissom: What's in this?
Robbins: I'm not sure. I found it in her teeth. Could be from her last meal. Also, another surprise: She had a D & C.
Grissom: Abortion?
Robbins: Well, maybe polyps, hyperplasia.
Grissom: Infection?
Robbins: And how. Starvation shrinks a lot of things, but not your organs.
(Robbins points to the victim's organs. Grissom leans forward to look.)
Grissom: They're all abscessed.
Robbins: Which explains why I couldn't find the liver. There's not much left.
Grissom: What, some kind of flesh-eating disease?
Robbins: (nods) Necrotizing faciitis. I've never seen anything like this.
(Quick CGI POV to: Camera zooms quickly toward an open wound on the arm and into the flesh inside. Green bits of bacteria eat the flesh inside.)
Robbins: (V.O.) Typically streptococcus enters through an open wound and starts eating through the skin, then uses the blood stream as a conduit to reach the internal organs.
(The bacteria flow through the bloodstream, pass through the walls and penetrates the organs.)
(Camera zooms, out focusing on the organs which quickly deteriorate.)
(End of CGI POV. Resume to present.)
Robbins: In her case, the bacteria started in her blood stream. Means her skin is fine.
Grissom: Maybe the puncture wounds were used to put something in, rather than take something out.
CUT TO:
[INT. CSI - HALLWAY TO DNA LAB -- DAY]
(On their way back to the DNA lab, Wendy Simms shares her findings with Sara.)
Wendy Simms: So Henry found oxycodone and chlorpromazine in both the right and left eye. Now, one kills pain and the other puts a lid on panic.
Sara: Chlorpromazine-- they give that to mental patients.
(They enter the DNA Lab.)
Wendy Simms: Yeah, but this gets so much weirder. Because that d*ad up eyeball -- it actually belongs to somebody else.
Sara: What?
Wendy Simms: See, the vitreous fluid from her eyeball showed that she'd only been d*ad for a day; but the DNA from the other eyeball, well, it was male, and it seems to have been separated from its owner for about a week. So, I ran it through CODIS. And the eyeball belonged to a Jack Landers, who is a convicted sex offender.
Sara: Would sticking your eyeball in a woman's eye socket constitute a sex offense?
Wendy Simms: Well, r*pe is legally defined as putting an unwanted foreign object into a genital opening. So sexual ... no ...
Sara: But offensive ... yeah.
CUT TO:
[EXT. STREET -- NIGHT]
(Brass and Sara walk with Parole Officer Ruben Caster.)
Ruben Caster: Look, guy got out of jail six weeks ago. A weenie wagger with two eyes. As a parolee, he has to check in with me once a month. Missed our last appointment, but before I could file the paperwork, he showed up here, across from his halfway house, thinking he's Captain Crunch.
(They stop. In front of them is Jack Landers, dressed like a bum, his back turned toward them. He's mumbling under his breath.)
Ruben Caster: They thought he was piped up on something, but his urine was clean and his high hasn't faded.
(He hands the folder to Sara to look at.)
Ruben Caster: Hey, Jack.
(Jack Landers turns to look at them. He's wearing an eye patch over his right eye.)
'CAPT' JACK LANDERS: Captain Jack to you. Ahoy, mateys.
Ruben Caster: Captain Jack, these people want to ask you some questions.
'CAPT' JACK LANDERS: (mumbles) Orphaned at the age of five. Stowed away on the Good Ship Lollipop. The sea ... is an evil mistress. Spit me out and fed me to the beast.
(He leans in close to Brass.)
'CAPT' JACK LANDERS: A puppet I am.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. HOSPITAL - HALLWAY/ EXAM ROOM -- NIGHT]
(Nick enters the hallway and finds Sara waiting for him.)
Nick: Hey, Sara, got your message. No AFIS hits on my Jane Doe. So I put a bulletin out to surrounding agencies and the media. Maybe somebody will recognize her from the photo. Where you at right now?
Sara: On the train to crazyville.
(They head for the exam room.)
Nick: Did you get a peek under the patch?
Sara: No, no, no. I left that for the doctor.
(They enter the exam room where the doctor is trying to check Jack, who is sitting on the bed.)
Dr. Mulligan: Jack, look this way.
(Jack mumbles loudly to himself.)
Dr. Mulligan: I need you to sit still for me.
'CAPT' JACK LANDERS: Where's my patch?
(The doctor lifts Jack's head and shines his penlight into Jack's right eye socket.)
Dr. Mulligan: Come on, look this way.
'CAPT' JACK LANDERS: (mumbles) Draw my sword ... make you walk the plank.
(Dr. Mulligan looks into Jack's eye socket and finds it empty.)
Dr. Mulligan: Jack, were you in an accident or a recent fight?
'CAPT' JACK LANDERS: Captain Jack don't do much recallin'.
Dr. Mulligan: Did he have an ocular tumor, or recent surgery?
Sara: I have no idea. He's a suspect in a m*rder investigation. Do you think he's crazy, or ... ?
(Dr. Mulligan picks up a patient robe for Jack.)
Dr. Mulligan: I think he's been lobotomized. (to Jack) Jack, I want you to undress and put this on for me. I want to do a CT scan to confirm, but in the
'30s and '40s lobotomies were often done via the eye socket.
Nick: Right, right, but lobotomies -- they're not common practice today?
(Jack removes his shirt and we see the branding on his upper arm: 13.)
Dr. Mulligan: Hardly.
Sara: Nick ... take a look at his arm.
Nick: He's not a suspect; he's a victim.
(He looks at Sara.)
Nick: Jane Doe is #19.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(Brass is in his office.)
Brass: I know it's tough, but we're going to need you to identify the body.
(A woman sits in front of his desk. Her back is to us. She has long, dark hair.)
Lady Heather: Fine.
Brass: Someone from the coroner's office will get in touch with you.
(Around her neck, the woman wears a black and silver crucifix on a matching chain. She grabs it.)
Lady Heather: For reasons I think we both understand, I would appreciate some level of anonymity.
Brass: Sure, I'll do my best.
(The woman stands up. Still we see only her back.)
Lady Heather: Thank you, Captain Brass.
Brass: Thanks for coming in.
(The woman turns and heads for the door.)
[INT. POLICE DEPARTMENT - HALLWAY - DAY - CONTINUOUS]
(Lady Heather exits Brass' office.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Grissom is in his office looking through a book. He has the page on eye-socket lobotomies tabbed. The picture in the book is graphic.)
(He turns the page to show two more photos of the procedure.)
Brass: (o.s.) The, uh ...
(Grissom looks up as Brass walks in his office.)
Brass: The Jane Doe is Zoe Kessler. Her mother saw her picture on the news and identified her as her estranged daughter. I did a DMV check, and I have the victim's last known address.
(Grissom puts the book down on his desk.)
Grissom: Good. I'll come with you.
Brass: There's something you should know. The mother's a friend of yours.
(Grissom takes his glasses off.)
Grissom: (distracted) Who's that?
Brass: Lady Heather.
(Surprised, Grissom looks straight at Brass.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. ZOE'S APARTMENT -- DAY]
(Brass opens the apartment door.)
Brass: Apartment 106.
(Brass, Grissom and Catherine enter Zoe's apartment.)
Brass: The landlord was getting ready to evict her.
(Catherine snaps several photos of the mail on the floor behind the door. Grissom and Brass look around; Catherine picks up the mail to look through it. There's an officer posted in the hallway outside the door.)
(Grissom shines his flashlight through the closet and sees nothing but clothes on hangers and shoes on the floor. He moves over to the desk and looks at the book titles on her shelf.)
Grissom: Freud, Goethe ...
(He picks up a book and looks at the cover.)
Grissom: (surprised) Rilke ... in German. Briefe an einen jungen Dichter.
(Brass returns to the room.)
Brass: Nothing sounds good in German.
(Catherine continues to sort through the mail.)
Catherine: How did she get from Harvard to here?
Brass: Practice, practice, practice.
Grissom: How do you know she was at Harvard?
Catherine: Lady Heather told me. She was very proud of her.
(She finds the date of the mail from NOV 12 2005.)
Catherine: Well, it looks as though she hasn't checked her mail in ten weeks. The postmark dates back to November 12th.
Brass: She died yesterday. Where's she been all this time?
(Grissom sees a note reminder on the desk.)
Grissom: This looks like an appointment. "Betz, 11-12, 7:00 P.M."
(Grissom checks the answering machine.)
Answering Machine: First message:
Audrey: (from answering machine) Hi, this is Audrey at the Betz Clinic. We're just calling to see how you're feeling. Give us a call.
Answering Machine: Second message:
Audrey: (from answering machine) Hi, this is Audrey at the Betz Clinic. We didn't hear from you, and we have some follow-up questions about your tests. Please call us.
Answering Machine: Third message:
Woman 2 (citibank): (from answering machine) This is Citibank. We're trying to reach Zoe Kessler.
(Grissom opens the desk drawer.)
Catherine: Betz Clinic?
Brass: (sighs) Yeah. I'll check it out.
Woman 2 (citibank): (from answering machine) ... At 1-800-555-01 ...
(Grissom takes out a photo of a young, blonde-haired woman standing next to an older, dark-haired man with glasses. Grissom notices Zoe's eyes.)
Grissom: Heterochromia. It appears Zoe had one blue eye and one brown eye.
Brass: The pirate had one blue eye.
(He looks at the second photo of Zoe with Lady Heather.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Lady Heather and Robbins stand aside the open morgue table with Zoe's body. There's an eerie moment of silence as Lady Heather stares at her daughter on the table.)
Lady Heather: What happened to her?
Robbins: We're trying to find out.
Lady Heather: May I touch her?
Robbins: Go ahead.
(She reaches out and gently places the palm of her hand against her daughter's cheek. She slowly runs her hand down her daughter's face to her shoulders to her upper arm. She finds the branding.)
Lady Heather: This required skill ... and the infliction of pain. Did you shave her head?
(She doesn't look at Robbins; her eyes are on her daughter.)
Robbins: No, she was found like this.
Lady Heather: Can you tell if she's ever given birth?
Robbins: There was some scarring on her pelvic bones, but given the condition of the body, it's hard to say for sure.
Lady Heather: She always wore her grandmother's ring on her right hand. (She looks at Robbins.) Did you find it?
(Robbins doesn't answer her.)
CUT TO:
[INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY]
(Grissom waits outside the hallway, a file folder in his hands. Lady Heather exits the morgue and stops abruptly when she sees Grissom there.)
Grissom: Hi. I'm so sorry about your loss.
Lady Heather: But you need to ask me some questions.
Grissom: I'd like to know some things about your daughter. When was the last time you saw her?
Lady Heather: She dropped out of school about a year ago. I didn't even know she was in town.
Grissom: So you weren't in contact with her?
Lady Heather: No.
Grissom: Can you tell me why?
Lady Heather: What difference does it make now?
Grissom: Did she have any medical conditions?
Lady Heather: Not that I know of.
Grissom: Because in November, she participated in a medical study at the Betz Clinic. Right after that, she went missing.
Lady Heather: Where was she found?
Grissom: In the desert.
Lady Heather: Just out in the middle of nowhere?
Grissom: Off highway 55, near Sparks.
(She's quiet. A grim look of determination crosses her face.)
Lady Heather: I have to go.
(Lady Heather brushes past Grissom and leaves. He turns around and watches her go.)
CUT TO:
[INT. BETZ PHARMACEUTICAL -- DAY]
(The receptionist is busy answering the phones.)
Receptionist: Betz Pharmaceutical. Can you hold, please? Betz Pharmaceutical. Can you hold, please? Thank you. Betz Pharmaceutical. Can I help you? He's on the line right now. May I take a message? And your phone number?
(Dr. Jacob Wolfowitz walks out behind the reception area. He walks over to Catherine and Greg. He hands Catherine the file folder.)
Jacob Wolfowitz: Here are the files on Zoe Kessler that you asked for in the warrant along with a list of everyone who was here on November 12th.
Catherine: Including the employees?
Jacob Wolfowitz: Yeah. The nighttime staff's pretty minimal. I was supervising that night.
Greg: What brought Zoe in?
Jacob Wolfowitz: Chronic insomnia. She came in for an overnight sleep study but left early.
Greg: Was there a problem?
Jacob Wolfowitz: No. Some people just get freaked out spending a night in a strange place. Happens all the time.
Catherine: We'll need to see those testing rooms.
(They turn and head to the back.)
SHORT TIME CUT TO:
[INT. BETZ PHARMACEUTICAL - TESTING ROOM HALLWAY - DAY - CONTINUOUS]
(Catherine peers into the small window in the door of a testing room. Inside, it appears to be like a normal bedroom - a single bed and night table with lamp.)
Jacob Wolfowitz: As you can see, we try to make the facility as normal as possible.
Greg: Put a TV in there, it wouldn't be half bad.
Jacob Wolfowitz: But that would defeat the purpose. We can't have anything in there that would reveal the actual time.
Catherine: How do you monitor your patients?
Jacob Wolfowitz: Our monitoring process is twofold.
(He walks down the hallway.)
Jacob Wolfowitz: Electrodes measure EKG and REM sleep, and we have a vid cam in the room to help insure the patients actually stay in bed.
Greg: You worried about hanky-panky?
Jacob Wolfowitz: Sleepwalking. After the meds are distributed, we ask that the patients assume a sleep-ready position. Many people assume they have insomnia simply because they don't get in bed.
Catherine: What is your screening process?
Jacob Wolfowitz: It's intensive. There's a written application, a personal interview, physical exam. We only take people in the normal range. You'd be surprised how many people just want a pharmaceutical lullaby these days.
Catherine: No, I wouldn't.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY -- DAY]
(Greg reports back to Grissom.)
Greg: This clinic is like Hotel California: You can check in any time you like, but you might never leave. Zoe Kessler and Captain Jack were part of the same sleep study.
Grissom: How many other people in the sleep study?
Greg: A dozen. I have called all of them on the list. They're intact, and none of them are numbered.
Grissom: Zoe's car was found at an impound lot downtown. It was towed from Betz's parking lot on November 15th.
Greg: Wolfowitz said Zoe left in the middle of the night on the 13th.
Grissom: With Captain Jack?
Greg: I don't know, but according to their records, he also left early.
Grissom: "Left early" seems to be a euphemism.
(Grissom and Greg continue down the hallway past the DNA Lab. Camera stops in the DNA Lab.)
[INT. CSI - DNA LAB - DAY - CONTINUOUS]
(Wendy Simms reports her findings to Nick.)
Wendy Simms: I got the results for the sinew in the girl's teeth, and in this case, the hand that feeds ... was her own.
(She hands the file folder results to Nick.)
Nick: She chewed off her own hand?
Wendy Simms: Yeah. Now, I don't know about you, but I would rather die of starvation than to eat my own hand.
Nick: Animals in traps do it all the time.
Wendy Simms: You think she was trapped?
Nick: Like a rat.
CUT TO:
[EXT. DESERT (STOCK) - DAY]
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - DAY]
(Warrick and Nick walk down the unpaved road. They're each carrying their own camera.)
Warrick: A hand in the desert is worth two in the bush.
Nick: Right now, the hand's all we have to go on.
Warrick: Okay, "Grissom". Come on. What are we doing here? What are the odds that this hand is not being eaten right now by a coyote?
(The guys walk up to a group of cadets already there waiting for them.)
Nick: Hey, look, the condition she was in, she couldn't have gotten very far. Maybe if we find the hand, we find the t*rture chamber.
Warrick: t*rture chamber?
(Nick turns to address the group of cadets.)
Nick: All right, everybody gather around. Let me have your attention. We're going to proceed forward covering the immediate area bordering the road to the south, the rocks to the west and the dry creek bed to the east.
SHORT TIME CUT TO:
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - DAY -- CONTINUOUS]
(The group of cadets are spread out and searching the ground for the missing right hand.)
(Warrick and Nick watch from behind.)
(Dissolve to: Warrick and Nick proceed down the unpaved road.)
(Cut to: Cadets carrying a metal detector search the grounds. Other cadets walk around the area, looking down at the ground.)
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - DAY -- CONTINUOUS]
(Warrick and Nick continue down the unpaved road toward the top of the hill.)
(They look down the hill below and find the rooftop of a residence.)
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - RESIDENCE - DAY -- CONTINUOUS]
(Warrick and Nick reach the bottom of the hill as they make their way to the residence. As they approach, we hear flies buzzing.)
(Nick stops Warrick.)
Nick: Woah, you smell decomp?
Warrick: I do.
(They both reach for their g*n as they approach the house. Nick puts his camera down on the ground.)
(On the side is a large pile of dirt with a lot of flies buzzing around it.)
(Nick stops in front of the large pile of dirt and looks at it. Warrick stops and looks at Nick.)
Warrick: You think the hand is in that pile?
Nick: Maybe. Let's get a sample.
(Nick reaches out and grabs a handful of dirt from the pile and smells it. He doesn't react to the smell.)
(Warrick approaches the garage and moves closer to some potted plants.)
Warrick: Whoo!
(He leans forward and smells the potted plants.)
Warrick: Whew! The smell's coming from these plants.
(He reaches out and reads the tag on the plant: Titan Arum, "Corpse Flower".)
Warrick: "Amorphophallus titanum, corpse flower." Now who's going to have a plant that smells like decomposing flesh?
Nick: Somebody who's trying to cover up the real deal.
(They head into the garage. In the front of the garage, there are tables with various plants on it.)
Nick: (calls out) LVPD!
Warrick: You smell a warrant?
(In the back of the garage, there is a large storage freezer.)
Nick: We can look, but not touch.
Warrick: I'm in if you're in.
(Nick smiles.)
Nick: All right, here's the real catch-22. If we open it up, find something probative, we can't use it. But we can't find something probative ...
Warrick: ... unless we got the warrant to open it.
Nick: Yeah.
Warrick: That's funny. You don't strike me as the delayed gratification type.
Nick: I'm not. Grissom is.
(Warrick turns away from the freezer and continues looking around the garage.)
Warrick: Right. There are some freaky-looking plants in here.
Nick: Yeah, it's all about genetic modification.
Warrick: Well, if this is where they genetically modify the plants, there's got to be a house around here somewhere.
(Warrick and Nick leave the garage and head toward the main house.)
(They approach the front door. They pick up a delivery package on the box and look at the delivery label that reads:
Resident's Name: Jacob Wolfowitz
Phone: 702-555-0166
Company: Betz Pharmaceutical
Address: 5 Diablo Rock Dr.
City: Las Vegas State: NV Zip: 89170 )
Warrick: "Jacob Wolfowitz."
Nick: Isn't that the same guy from the Betz Clinic?
Warrick: Yeah.
(They hear something clanging from inside the house. Warrick puts the box down. They each have their g*n in their hands.)
Nick: (shouts) Mr. Wolfowitz?
(Warrick moves to the side of the front door.)
Nick: Mr. Wolfowitz, come out of there now. We're from the Crime Lab. We need to speak with you.
Warrick: We can hear you, sir. Just open the door.
(The front door opens. It's Lady Heather.)
(Warrick removes his glasses. Nick looks surprised.)
Lady Heather: He's not home.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- EVENING]
(Grissom talks with Lady Heather.)
Grissom: Are you and Mr. Wolfowitz acquainted?
Lady Heather: No.
Grissom: Why were you at his house?
Lady Heather: Breaking and entering.
Grissom: Is that why we found this etching in your handbag? You were stealing it?
(He shows her the page from the book.)
Lady Heather: Yes.
Grissom: Why?
Lady Heather: Multiple reasons.
Grissom: Which are?
Lady Heather: You told me Zoe was having tests done at Betz. I found out who oversaw the tests -- Mr. Wolfowitz. He lives close to where you found Zoe. If I'm caught stealing, he may want the police to investigate.
INTERCUT WITH:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- EVENING]
(Brass interviews Jacob Wolfowitz.)
Brass: We know the woman who broke into your house, and you don't want to press charges?
Jacob Wolfowitz: She's clearly disturbed. She just lost her daughter, and I was one of the last people to see Zoe Kessler alive. I'm sure she was just looking for a connection.
Brass: You don't want us to look around, see if anything else was stolen?
Jacob Wolfowitz: I live pretty simply. I don't have anything worth taking. But I appreciate your concern.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- EVENING]
(Grissom continues to talk with Lady Heather.)
Grissom: However, if he refuses to press charges ...
Lady Heather: I'd have to ask myself what kind of person would do that.
Grissom: Someone with something to hide.
Lady Heather: Precisely.
(He nods.)
Grissom: Why, uh, steal this?
Lady Heather: It's one of the earliest illustrations of the Romulus and Remus myth. It's printed from a plate. Must be worth thousands.
Grissom: So?
Lady Heather: Well, it looks like a page from a book. I find that people who don't respect books have a general disregard for keeping things whole.
Grissom: So you think he stole it?
Lady Heather: I think a pencil pusher in a pharmaceutical lab couldn't afford it.
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- EVENING]
(Brass continues to talk with Jacob Wolfowitz. )
Brass: How long have you worked at Betz?
Jacob Wolfowitz: Eighteen ... 18 years.
Brass: Eighteen years. Oh. But that's a long way from your home to your office, isn't it?
Jacob Wolfowitz: I like the solitude and, uh, space for my plants.
(Brass stares at Jacob Wolfowitz.)
Jacob Wolfowitz: Did I do something wrong, Captain?
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- EVENING]
Grissom: Even if all this is true, we still don't know if he k*lled your daughter.
Lady Heather: Too many coincidences.
Grissom: You have to stay away from him.
Lady Heather: You forfeited the right to give me advice some time ago. But thank you.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - EVENING]
(Lady Heather leaves the interview room and is escorted out by an officer. As she passes Brass' office, she notices that Jacob Wolfowitz is there.)
CUT TO:
[INT. CSI - QD -- EVENING]
(Professor Rambar examines the Romulus and Remus print. He shares his findings with Grissom.)
Professor Rambar: Ah, I believe this is authentic. Iron-gall ink from the 16th century tends to turn a brownish color. Especially when it's been sitting around for a few centuries.
(He hands the magnifying glass to Grissom, who looks at the print.)
Professor Rambar: See how the ink bites into the parchment of the page.
Grissom: Is that an acidic compound?
Professor Rambar: Gall inks are often made with wine or vinegar. Recipes were specific to the manuscript illuminator.
Grissom: So it is from a manuscript? (Grissom continues to look at the print.)
The edge appears fairly pristine. How could he remove it from the book so cleanly?
Professor Rambar: My guess? Classic spit and string.
(Quick flash of: [UNLV -- LIBRARY] Jacob Wolfowitz glances around to see that no one's watching. He opens the book to the page he wants. He moves a long piece of string from his mouth and lines at the binding on the page.)
Professor Rambar: You use saliva. It's absorbed into the fabric of the paper and softens its fibers.
(He closes the book on the string, then gently pulls the page out from the binding of the book.)
(End of flash. Resume to present.)
(Grissom takes a swab and swabs the edge of the print page.)
Grissom: Even if this tests positive for DNA, I'm gonna need the book to match it.
CUT TO:
[INT. CSI - A/V LAB -- NIGHT]
(Catherine and Greg review the video tapes from the sleep sessions. On the monitor, we see Zoe Kessler sleeping in bed.)
Catherine: Here's Zoe Kessler at the start of her session.
(The time on the bottom of the monitor of the tape with Zoe sleeping reads:
01:03:37.)
Catherine: And here she is at hour number four.
(Catherine presses the remote and the time on the bottom of the monitor jumps ahead: 04:02:41.)
Greg: Well, she doesn't look freaked out. Looks like she's sleeping like a baby.
Catherine: Except ... check it out.
(On the monitor, Zoe gets out of bed.)
Greg: Okay, so she gets up ... gets out.
Catherine: Look at the bottom right hand corner.
(Catherine rewinds the tape and pauses it at 04:03:04:14. On the bottom right hand corner of the monitor, through the shadow of the light from the window in the doorway, there's the shadow of someone standing there.)
Catherine: See that shadow? Somebody opened the door.
(The shadow moves and leaves.)
Greg: Well, she didn't just pop out of bed, she was woken up by someone. How much you want to bet that's Wolfowitz in the doorway?
(Catherine changes tapes and shows Jack Landers' sleep room.)
Catherine: Here's Jack Landers.
(Jack Landers gets up and out of bed.)
Greg: A trip to the bathroom, maybe?
Catherine: Except he never returned. Wolfowitz works at the clinic. He has access to both victims. One victim was found less than mile from his house, which smells like human decomp.
(Grissom steps into the lab holding the book in his hand.)
Catherine: How do we get to him?
Grissom: Rambar checked the rare book collections. This guy likes to steal in his own backyard. UNLV library is missing plate 62. It's enough for us to get a warrant.
(Catherine smiles.)
CUT TO:
[INT. BETZ PHARMACEUTICALS - GARAGE -- NIGHT]
(Grissom steps out of the garage elevator, his kit in his hand. We can see that officer car lights are flashing and we hear background police radio chatter off screen. Something is going on.)
(Grissom walks past an officer, who is listening to a woman talk.)
Receptionist: I left him a couple of messages at home. And when I left for the day, I just saw him like this.
(Grissom walks toward Brass, who is leaning against the car in question. David Phillips is looking at the body inside the car.)
(Grissom leans forward and sees that the d*ad body is Jacob Wolfowitz.)
Grissom: I guess I didn't need a warrant.
(Grissom uses his flashlight and looks around the body and driver's area.)
Grissom: No signs of trauma or blood.
Brass: The seat's wet.
(Grissom sees that the body is dripping onto the car seat.)
Grissom: He's wet.
(He notes that the chair back is also filled with condensation, the body stiff.)
Grissom: Looks like he's in rigor, which means he's been d*ad for at least six hours.
Brass: You mean this guy's been down here in the parking lot d*ad all that time and no one noticed? That's weird.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins starts the Y-incision on the body as he cuts through the skin with a Kn*fe.)
(Cut to: Robbins pulls the skin apart to expose the front.)
(Robbins reaches for the handsaw. He turns the saw on and cuts through the rib cage.)
(Finished, he turns the saw off and puts it aside. He grunts as he cracks the rib cage open.)
(He picks up a scalpel and tries to cut through one of the inner organs.)
(The scalpel snaps. Robbins lifts the scalpel up and we see that the tip has broken off.)
(Grissom enters the room.)
Grissom: Still frozen?
Robbins: I'm not gonna be able to determine COD until he's completely defrosted, and that could take a while.
Grissom: How long does it take to freeze an entire body?
Robbins: To the core? Two solid days. His heart's completely frozen. Before the Y, I found bruises and puncture wounds all over his body.
Grissom: Over the glands, too?
Robbins: Yep. Same as Zoe. So is this.
(Robbins rolls the body to show Grissom the branding on the victim's upper left arm: 1.)
Grissom: Test subject #1.
CUT TO:
[INT. CSI - HALLWAY]
(Grissom and Catherine walk through the hallway.)
Catherine: Gil, I saw him. Yesterday. He wasn't frozen. I mean, maybe he knew too much, and someone at Betz sensed that we were getting to close and ...
Grissom: So what? They dunked him in liquid nitrogen? Cryogenically froze him?
Catherine: Well, I know what I saw.
Grissom: You've got to find some explanation.
Catherine: I'm on it.
(Catherine turns and heads out the door. Grissom walks down the opposite hallway.)
CUT TO:
[INT. CSI - GARAGE (LEVEL 5) -- DAY]
(The elevator bell dings and the doors open. Grissom exits and heads for his car. He stops when he sees Lady Heather waiting for him.)
Grissom: What are you doing here?
Lady Heather: I think I might be able to help you.
Grissom: I'm listening.
Lady Heather: You would have liked Zoe. She was a lot like you. Thoughtful, pragmatic, patient. She was studying psychology. I appreciate that it would have been difficult to have someone like me as a mother. But if I stressed anything, it was empowerment and independence. So when she called me from Boston last year to tell me that she was pregnant with her therapist's baby, I got angry. Not with her, with him. He violated an oath. Not only was he married, she was a patient. A junior in college with her whole life in front of her.
Grissom: And you didn't want him to screw it up.
Lady Heather: (nods) I called the AMA, filed a complaint. They revoked his license. Zoe stopped speaking to me.
Grissom: Did she have her baby?
Lady Heather: Your coroner couldn't confirm. I assumed you might need a DNA sample from Mr. Wolfowitz.
(She reaches into her bag and takes out a rolled ziplog baggie. She gives the baggie to Grissom.)
(He looks at the used condom inside.)
Grissom: How did you get this?
Lady Heather: The rage was stronger than the repulsion. People have used sex for much less worthy causes.
Grissom: When did you ...
Lady Heather: Last night. You may not approve, Grissom, but you can't arrest me for sleeping with him. He was consenting. I am playing by your rules. But if I had it my way, this man would die the same way, my daughter died.
Grissom: He's already d*ad.
Lady Heather: What?
Grissom: He's been d*ad for two days.
Lady Heather: That's not possible.
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. CSI - GARAGE -- DAY]
(Catherine sits in Jacob Wolfowitz's car and dusts the driver's steering wheel.)
INTERCUT WITH:
[INT. CSI - DNA LAB]
(Wendy Simms processes the condom. She takes a swab from inside the condom.)
(In the garage, Catherine takes a tape lift from a print on the steering wheel.)
(Wendy Simms snips the end of the swab. She adds it to a container and adds some solution to it.)
(Catherine takes a tape lift and sticks it on the rear view mirror.)
(Wendy Simms adds solution to the container, caps it and places it in the machine. She caps the machine and turns it on.)
(Catherine looks around the driver's seat area in the car. She finds a pill stuck in the passenger seat folds.)
CUT TO:
[INT. CSI - DNA LAB]
(Wendy Simms reports her findings to Grissom.)
Wendy Simms: The dirt from outside the barn tested positive for human DNA. And I mean a lot of it, over a dozen profiles. And one of them matched Zoe Kessler.
(She hands the print out to Grissom, who looks at it.)
Grissom: Her hand.
Wendy Simms: And although chain of custody is a bit problematic, 'cause a plastic lunch bag isn't department issue bindle, the DNA from the condom, it matches both the saliva from the book page and the d*ad guy, Jacob Wolfowitz.
(She hands those results to Grissom.)
Grissom: Thanks.
Wendy Simms: I have a question. How do you have sex with a guy who k*lled your daughter?
Grissom: Revenge is an act of passion.
(Grissom shakes his head, turns and leaves.)
CUT TO:
[INT. CSI - LAB -- CONTINUOUS]
(Grissom takes the results and walks through the hallway to the lab to join Catherine, who reports her findings.)
Catherine: So, none of the fingerprints from the car belong to Jacob Wolfowitz. They're all a match to a Leon Sneller.
Grissom: Who?
(On the monitor are the MATCH RESULTS:
NAME: LEON SNELLER
DOB: 02.16.1964
AGE: 42
HEIGHT: 5'10"
WEIGHT: 167 LBS
EYES: HAZEL
RACE: CAUCASIAN
SEX: MALE
HAIR: BROWN
WORK HISTORY
ENLISTED IN THE ARMY (JUNE, 1985)
STATIONED IN BERLIN
FIELD HOSPITAL WORK (SEPT 1985 - 2005)
CRIMINAL HISTORY: NONE )
(She indicates the photo on file.)
Catherine: That's John Sneller.
Grissom: Looks like Wolfowitz, only younger.
Catherine: Which explains how I saw and how Lady Heather ... did a d*ad guy.
Grissom: Identical twins.
Catherine: I thought that she k*lled him, too. I would've. I mean, I wouldn't have slept with him first, but ...
Grissom: Same DNA, different prints. So all the DNA that we attributed to Wolfowitz, could be Sneller's.
Catherine: Which makes you wonder who's on the autopsy table. Sneller joined the army in 1985. He was stationed at a field hospital near Berlin until about a year ago.
(Quick flashback to: [WOLFOWITZ'S RESIDENCE - NIGHT] Sneller knocks on the door. The door opens. Wolfowitz and Sneller look at each other.)
Catherine: (V.O.) At which point, I think that he came to Vegas, ...
(Cut to: Sneller puts Wolfowitz's d*ad body in the large freezer chest in the garage and closes it.)
Catherine: (V.O.) ... put his brother on ice, started impersonating him.
(Cut to: [BETZ PHARMACEUTICALS - DAY] Sneller walks into the Betz Pharmaceuticals lobby past the receptionist.)
Receptionist: Good morning, Mr. Wolfowitz.
Sneller (as Wolfowitz): (mumbles) Good morning.
(End of flash. Resume to present.)
Catherine: I mean, I know this theory's a little out there, but given the evidence ... it's the only conclusion that makes any sense.
Grissom: Occam's razor, principle of parsimony. If you hear hoofbeats, think horses, not zebras.
Catherine: Given twins ... go with twins.
CUT TO:
[EXT. WOLFOWITZ RESIDENCE - FRONT DOOR -- NIGHT]
(Officers line up next to the front door ready to burst in. Brass, Catherine and Grissom trail behind. The first officer smashes the door in. He quickly moves to the side as the other officers rush in, their g*n raised.)
[INT. WOLFOWITZ RESIDENCE - MAIN ROOM -- NIGHT]
(The officers burst into the residence to clear the place.)
[EXT. WOLFOWITZ RESIDENCE - FRONT DOOR -- NIGHT]
(Officer Metcalf steps out of the house.
Officer Metcalf: Everything is code four.
(Brass, Catherine and Grissom enter the residence.)
[INT. WOLFOWITZ RESIDENCE - MAIN ROOM - NIGHT -- CONTINUOUS]
(They look around the place.)
Grissom: Well, this isn't a t*rture chamber, it's a time capsule.
Brass: Wolfowitz inherited this place from his parents. Took over the deed about ten years ago.
Catherine: Love what he's done with the place.
(Catherine picks up the prescription bottle on the table and looks at the pills inside.)
Catherine: I found a blue pill in the car. Tox came back, didn't match any known pharmaceutical.
Brass: Sampling the company candy.
(Grissom looks around at the far end of the living room.)
(Catherine walks over to the hutch and opens the drawer. Inside she finds a silver menorah.)
(Grissom turns and heads back across the living room. As he crosses, he comes to a place in the center of the room where the floor creaks.)
(Grissom stops.)
(He looks down and bounces up and down on the creaky floorboards.)
(Catherine removes the menorah from the hutch drawer.)
Catherine: Shabbat shalom.
Brass: Jewish?
(Grissom continues to bounce up and down on the creaky floorboards. He turns around in a complete circle, the floorboards creaking under him.)
(He steps aside and lifts the throw carpet. Under it, he finds a trap door.)
Grissom: Well.
(Catherine and Brass join him.)
(He opens the trap door and they find a flight of stairs leading downward to a door at the bottom.)
[INT. WOLFOWITZ RESIDENCE - BASEMENT - NIGHT -- CONTINUOUS]
(Brass opens the door, his g*n raised and his flashlight in hand. He steps into the room. Grissom and Catherine follow him.)
(Inside this secret room is what appears to be a lab. There are barred open windows at the top of the room, shelves with books, and experiment apparatus.)
(On the counter is what appears to be an organ on a foiled plate under a glass dome. The organ has black spots and gray pus on it.)
(There are anatomy posters of the human brain and other body parts on the wall and large archaic looking machines in the corner.)
(On the other counters are more glass tubes, apparatus and sketched notes. There are large petri dishes with appendages in them.)
(Brass walks into the room and sees the machines, scalpels, hand saws and other surgical instruments.)
(Grissom walks up to the desk and finds large journals open to sketches and notes.)
Grissom: It appears he was meticulously documenting experiments. This one looks like it deals with craniometry. I think he was measuring skulls to determine intelligence.
(Catherine walks up to one of the machines.)
Catherine: I think this is a gynecological device from a hundred years ago.
(On the wall, Grissom finds a n*zi swastika and eagle on a plaque with words on the top.)
Grissom: (reads) "Arbeit macht frei." (interprets) Work will set you free. These words hung over the gates at Auschwitz.
Catherine: Zoe Kessler would've made the perfect uber-woman except for her one brown eye.
(Brass reaches out and picks up the hand saw from the tray of surgical instruments.)
Brass: So I guess, uh, what nature couldn't fix, our Dr. Mengele could, is that it?
(Catherine notes the clock on the nearby wall. It has no numbers on it.)
Catherine: Hey, check out the face of the clock.
(Grissom and Brass step closer to look at the clock.)
Grissom: No numbers.
(In the eerie silence, they hear faint groaning.)
(Grissom and Brass look at each other. They both step forward to examine the clock.)
(The groaning continues.)
(They push the clock aside to reveal an open door into a small hidden room. In the center of the room, a bald, naked man is lying unconscious on the floor. He appears to be naked and a blanket barely covers his backside.)
(Grissom, Brass and Catherine enter the small chamber to check on the man.)
(Catherine kneels in front of the man as Grissom walks around to his other side.)
Catherine: (softly) Sir ...
(The number branded in the man's upper arm is 21. Catherine reaches out to put her hand on the side of the man's face.)
(Grissom looks at the blood-spattered sheet barely covering the man and lifts it.)
(He finds a second body horrifically attached back-to-back to the first body.)
(Catherine's eyes widen at the sight.)
Brass: I'll call a paramedic.
(Brass quickly leaves the room.)
(Grissom checks for a pulse on the second body and doesn't find any.)
Grissom: This one's d*ad.
(Catherine looks down at the first body. The man's eyes are open and looking back at her.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. HOSPITAL - NURSE'S STATION - NIGHT]
(Catherine talks with the nurse.)
Catherine: Massive blood loss was the cause of death.
(The nurse behind the counter nods.)
(Nick walks up to Catherine.)
Nick: Hey, Catherine.
(Catherine turns around as Nick fills her in.)
Nick: So Brass has put the lockdown on the airport, bus depot and train station. But so far, no Sneller.
Catherine: Well, the other twin didn't make it.
Nick: Well, speaking of twin we got a call from Social Services. Sneller was their birth name. But they were adopted by a Jewish couple named Wolfowitz.
Catherine: That explains Judaica. I guess Jacob went nurture and Leon went nature.
Nick: Maybe he went n*zi, trying to k*ll the Jewish half of himself.
CUT TO:
[EXT. DESERT (STOCK) - NIGHT]
[INT. WOLFOWITZ RESIDENCE - BASEMENT - NIGHT]
(Grissom settles at the desk and puts his glasses on, the open journals in front of him.)
(He flips through the pages, reading through the notes.)
Leon Sneller: (V.O.) "Those who want to live, let them fight, and those who do not want to fight in this world of eternal struggle, do not deserve to live."
(The quote is signed. A.H. (193- )
(Grissom continues to look through the journal.)
Leon Sneller: (V.O.) "The only difference between my research and that of the government is funding. See: Tuskegee, US Naval Hospital. See: Pesticide testing done by U.S. Government."
(Grissom stops and looks at the sketches and notes on the experiments done on the human brain.)
(The notes read:
Comments:
Physically pure -
Solution:
Frontal lobotomy
DISSOLVE TO:
(The notes read:
Patient No. 19
Zoe Susan Kessler
21 year old white female
Daughter of Heather
Father unknown
Birth mother of infant -
Born August 3, 200-
DISSOLVE TO:
(The notes read:
Comments:
Physically pure
Exception of right
Solution:
Dye injections
Eye transplant
(Grissom snaps photos of the chamber. There's a metal pipe running across the lower half of the wall with several handcuffs hanging in intervals along the pipe. Some of the handcuffs are open; some are still closed.)
(Grissom turns and looks at the set-up inside the room. He visualizes Zoe kneeling on the ground, her right wrist handcuffed to the pipe. The visualization ends.)
(Grissom stops taking photos. He leans forward and takes a step closer toward the pipe. He visualizes Zoe handcuffed to the pipe. Zoe turns and looks out the open door. She sees Jack Landers on the table face-up and Leon Sneller above him. Landers screams.)
(Beyond scared, Zoe looks at her bound wrist, then makes a decision as she starts gnawing at her own wrist near the handcuff to get herself free.)
(White flash to end of visualization. Resume to present.)
(Grissom turns his attention to the other side of the small chamber where he finds the branding iron with interchangeable number plates next to a metal pit with charcoal and burnt wood chips inside.)
(Grissom picks up one of the iron rods and looks at the numbered tip. b*rned flesh is stuck to the end of the rod.)
CUT TO:
[INT. WOLFOWITZ RESIDENCE - MAIN ROOM - NIGHT -- CONTINUOUS]
(Grissom climbs up the stairs out of the basement and into the main part of the house. Officer Metcalf waits in the living room. Grissom unlatches the trap door and closes it.)
(From his position close to the ground, he sees a familiar item under the far couch.)
(He shines his flashlight on it and walks over to see what it is.)
(Grissom picks up Lady Heather's black and silver cross.)
Grissom: Have you guys secured the entire perimeter? The house and the barn?
Officer Metcalf: Yes, sir. All clear.
(He looks at the cross.)
CUT TO:
[INT. CAR (MOVING) -- NIGHT]
(Grissom drives, the car speeding down the road. He hurries to get back to the spot where they found Zoe's body.)
(He drives past the sign for, SPARKS 2.)
(He continues to drive.)
(Off the side of the highway, he sees Lady Heather standing in front of her SUV, the lights from her vehicle shining on her as she moves her arm in wide arcs.)
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - NIGHT]
(Grissom takes the turn onto the dirty road and drives toward Lady Heather's car.)
(In the spot where her daughter's body was found, Lady Heather unleashes her rage and grief on Leon Sneller. Sneller is bound to the front of her car as she whips him. His face and chest are cut and bloodied. He cries out with pain at every crack of her whip.)
(Behind her, Grissom parks and gets out of his car.)
(Lady Heather doesn't let up.)
Grissom: (shouts) Heather! Stop it!
Lady Heather: No. Let me finish.
(Beyond reasoning and out of control, she continues to whip Sneller. She pulls her whip back to continue, but Grissom steps forward and catches the end of the whip.)
(She whirls around and tugs her whip, trying to get it out from Grissom's grasp.)
Grissom: (shouts) You cannot do this!
Lady Heather: No! Let go! Let ... !
Grissom: No!
Lady Heather: (begs) Please ...
(The whip between them, she continues to struggle to get it free from his grasp.)
Grissom: Stop. (firmly) Heather.
Lady Heather: (begging) Please ...
Grissom: I'm saying stop.
(Lady Heather stops and looks at Grissom. She gasps deep, heaving sobs. Grissom pulls the whip closer, bringing him closer to her.)
(Dissolving into tears, Heather cries as Grissom holds her.)
FADE TO BLACK.
End | {"type": "series", "show": "CSI: Crime Scene Investigation", "episode": "06x15 - Pirates of the Third Reich"} | foreverdreaming |
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