[미드대본] CSI 라스베가스 시즌1(CSI Lasvegas Season1) 1x16~1x20

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[미드대본] CSI 라스베가스 시즌1(CSI Lasvegas Season1) 1x16~1x20 

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CSI:  CRIME SCENE INVESTIGATION

1X16:  TOO TOUGH TO DIE

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COLD OPEN:

[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]

[EXT. SHOPPING MALL (STOCK) -- NIGHT] 

[EXT SHOPPING MALL PARKING GARAGE (STOCK) - NIGHT]

SCENE #01:

[INT. CITRUS CANYON MALL - PARKING GARAGE - NIGHT]

(In the parking garage, the security guards gather around the television set and

watch the game.)

(A woman walks up to the elevators and presses the button.  The doors open and

she walks inside.)

(Cut to:  The elevator takes the woman up to the floor.  The elevators open and

she walks out.  She walks across the parking lot toward her car.)

(She reaches for her keys and disables the car alarm.  As she reaches the car to

unlock the car door.  Someone sticks a gun in her back.  She screams.)

(He pushes her against the car window and instructs her.)

MALE VOICE:  Give me your keys and get in the car.

(She drops the keys and it falls to the floor.)

CUT TO:

SCENE #02:

[EXT. DESERTED ROAD - NIGHT]

(A car drives down the deserted roadway.  Off to the side of the road lying on

the dirt is the WOMAN from the shopping mall.)

(Cut to:  Inside the car, as they take the bend, the lights from the car fall

upon the WOMAN on the side of the road.)

ROSALYN DUDEK:  What is that?

(It starts to rain.  The car pulls over to check it out.  HANK and ROSALYN DUDEK

both step out of the car.)

HANK DUDEK:  Is that a body?

(They shut the car doors and step in for a closer look.)

(The WOMAN moves.)

ROSALYN DUDEK:  Oh, my god. She's alive.

CUT TO:

SCENE #03:

[EXT. DESERTED ROAD - NIGHT - LATER]

(POLICE CARS pull over.  The CSI Tahoe also pulls over as they arrive at the

site.)

(SARA, GRISSOM and NICK get out of the car to meet up with BRASS.)

SARA:  Hey.

BRASS:  Here's what I know so far.  Victim was a well-dressed woman, young,

black.  She's at Desert Palm Hospital multiple gunshots to the head possible

sexual assault.  Doctor has her as "death imminent."

GRISSOM:  Sara, I'm going to need you to go to the hospital process the victim--

sexual assault kit, hairs, fibers, the works.

SARA:  Right now?  I thought I would help you two with the scene.

GRISSOM:  The evidence won't stay on the body long at the E.R.

SARA:  Walk in the park, guys.

(SARA leaves.)

(NICK and GRISSOM cross under the crime scene table.  They look around the area

where the body was found.  NICK finds some shoe prints.  He takes pictures of

it.)

NICK:  It looks like a high heel print.  Maybe abducted. 

(He takes more pictures.)

NICK:  Did she know the guy?  Did he use his car or hers?

GRISSOM:  Locard's principle:  He took a piece of her away with him and he left

a piece of himself here.  (beat)  We get to find it.

HARD CUT TO

END OF TEASER

ROLL TITLE CREDITS

(COMMERCIAL SET)

FADE IN.

SCENE #04:

[INT. CSI - HALLWAY -- NIGHT] 

(CATHERINE, WARRICK and GRISSOM walk into the lab carrying boxes of evidence for

a case.)

GRISSOM:  Thank you, my sherpas.

CATHERINE:  Surely.  (They put the boxes down on the table.)  So, you got our

assignments?

GRISSOM:  You're looking at it.  Murder case.

CATHERINE:  This mess?  You're not serious.

GRISSOM:  DA is.  Guy named McCall shot and killed his neighbor over a

motorcycle.  D.A. Can't make heads or tails of the evidence for the preliminary

hearing.

WARRICK:  Where's McCall now?  He's being held?

GRISSOM:  He ran from the arresting officers so the Judge refused him bail.

CATHERINE:  And why isn't the case CSI dealing with this?

GRISSOM:  Franovich from days?  He quit yesterday.  Burnout.

CATHERINE:  And what did the DA charge?

GRISSOM:  Murder one.  The case has changed hands so many times that the D.A. 

Can't make any sense of it.  It gets better.  The prelim's in four days.

(At that, CATHERINE drops the file she's looking at back on the table.)

CATHERINE:  Well, no pressure here.

WARRICK:  Great.

GRISSOM:  Cath, can I see you outside for a sec?

(CATHERINE looks at GRISSOM, puzzled by the request, then follows him outside.)

SHORT TIME CUT TO:

SCENE #05:

[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]

(GRISSOM and CATHERINE talk in the hallway.) 

CATHERINE:   Why would my bank be asking you about my employment record?

GRISSOM:  Well, technically, I'm your supervisor.  They said that Eddie took a

second mortgage out on your house.  They said that you still own it together

until the divorce is final.

(CATHERINE sighs.)

CATHERINE:  We didn't want to sell it until the market went back up and then we

were going to split the profits.  I can't believe he took a second out on the

house.  How can he do that without my signature?

GRISSOM:  It's Eddie.  I just thought you should know.  I gotta get back out to

Nick.

(GRISSOM leaves.)

CUT TO:

SCENE #06:

[INT. DESERT PALM HOSPITAL - HALLWAY -- DAY]

(SARA walks into the busy hospital emergency area and heads for DETECTIVE EVANS

who leans against the door.)

SARA:  Hey.

DET. EVANS:  Hey.

SARA:  You get any I.D. On her?

DET. EVANS:  No. She's a Jane Doe.  She's got two bullets lodged in her brain. 

Docs can't remove them without killing her.

SARA:  All right. 

(SARA turns to enter the room.  The NURSE who is leaving lets her inside.)

NURSE:  Come in.

SARA:  Hi.

[EMERGENCY EXAM ROOM - CONTINUOUS]

(The NURSE closes her door on her way out.  DET. EVANS helps SARA with her kit.)

SARA:  Thanks.

(He puts it on the counter in the back of the room.   SARA turns and looks at

JANE DOE in bed.)

(SARA notes the missing ring on her finger.)

SARA:  Make a note she's married.  Or recently divorced. 

(DET. EVANS takes a notebook out from his pocket.  SARA reaches out and picks up

JANE DOE'S hand.)

SARA:  She's warm.

DET. EVANS:  Feels different, huh?

(SARA looks at JANE DOE, then calls back out to EVANS.)

SARA:  Uh, Evans ... we're going to need a little privacy here.

(DET. EVANS turns and leaves the room.  SARA pushes the table forward, then

takes off her jacket.  She opens her kit and puts on a pair of gloves.)

(On the side table, SARA takes a package off the Sexual Assault Evidence

Collection Kit box.  She sits down.  She looks at JANE DOE, then starts with

scraping under her fingernails into the envelope.)

(Dissolve to:  SARA leans over and reaches out to take a swab of her mouth.)

(Dissolve to:  SARA is at the foot of the bed and rolls up the blanket above

JANE DOE'S knees.  She positions her legs, then reaches for a speculum.)

SARA:  I never really liked this part of my yearly exam.  These things are

always freezing.

(SARA tries to warm the speculum up a moment.)

SARA:  Okay.

(She places the instrument and reaches for a swab, her eyes constantly rising to

look at JANE DOE on the bed.)

CUT TO:

SCENE #07

[EXT. DESERTED ROAD - DAY

(Camera snaps a photo of evidence marker #2.  Cut to:  The camera snaps another

photo of evidence marker #1, an empty bullet casing.)

(NICK is taking photographs.)

NICK:  Cartridge casings.  They don't look like hunters' either.

(GRISSOM sees something and kneels down to look at it.)

(Camera zooms in for a close up of a piece of denim partially covered by a rock)

GRISSOM:  Nick, get a shot of this.

(GRISSOM removes the rock.)

GRISSOM:  Looks like a belt loop. 

(NICK walks over to look at it.)

NICK:  We couldn't have been there long.  No elements.

(He takes a picture.)

GRISSOM:  Brass, was the victim wearing denim?

BRASS:  Silk or lace, something like that.  Definitely not denim.

(He takes another photo.)

GRISSOM:  Good chance this is our suspect's.  I'm going to use scent pads.

(GRISSOM stands up.  NICK glances over at BRASS, then stands up also.)

NICK:  Scent pads?

BRASS:  Canine voodoo.

(GRISSOM is at the back of the car opening a kit as he explains it further to

NICK.)

GRISSOM:  A dog's sense of smell is about 40 times more acute than a human's.  A

dog's nose is packed with dense rolls of membranes that absorb odor.  Stretched

out, these membranes extend about a third the length of a dog's body.  The

membranes of the human nose about the size of a postage stamp.

(GRISSOM puts the Sirchie scent pad machine together.)

NICK:  Looks like a giant dustbuster.

GRISSOM;  Similar.  You place absorbent pads into the chamber then run the

machine over the suspected item.  Then you take the pad seal it in an envelope

and freeze it.

(GRISSOM picks up the scent pad machine and heads back to the area.)

NICK:  Yeah. Yeah, then we pull them out when we know enough about this denim

guy to find a proximal location.

GRISSOM:  Except there's a caveat.

(GRISSOM turns the machine on and holds it over the small piece of denim.)

BRASS:  You want to explain that caveat?

(Quick CGI POV through the nozzle of the scent pad machine as it "gathers" the

"scent" from the denim piece and is sucked into the scent pad.)

GRISSOM:  (v.o.)  Later. 

(End of CGI POV.  Resume to present.

GRISSOM:  Hopefully, Sara's making some progress.

CUT TO:

SCENE #08:

[INT. CSI - LAB -- DAY] 

(CATHERINE and WARRICK go over the files for the case.)

WARRICK:  Hey, are you just going to ignore my question?

CATHERINE:  I called Eddie about the loan.  I got his voicemail.  The guy's like

ether.  You going to answer my question?

WARRICK:  All right, here's what we know from the arresting officer: 

(WARRICK picks up the file and reads.)

WARRICK:  Two 25-year-old guys Chuckie Hastings and Roy McCall, lifelong

neighbors one step up from a trailer park got into a beef over a motorcycle in

the owner's backyard.

CATHERINE:  All right, here's McCall's statement.  If you can believe a guy

who's looking at murder.  Mccall says that he returned Hastings' motorcycle to

him with the front end smashed up.  They were standing in Hastings' backyard...

(Quick flashback to:  HASTINGS is looking at the damage to the motorcycle. 

McCALL stands next to him.)

ROY MCCALL:  I told you I'd pay for it.

CHUCKIE HASTINGS:  Yeah, you said that last time.

(ROY McCALL turns away.)

ROY McCALL:  Whatever.

(CHUCKIE HASTINGS gets to his feet.)

CHUCKIE HASTINGS:  Yeah, whatever.  You bastard.

(HASTINGS slaps McCALL.)

ROY MCCALL:  Hey, back off, man, back off.

(HASTINGS picks up a screwdriver.)

CHUCKIE HASTINGS:  You're going to pay for all of it.

(HASTINGS swings the screwdriver and attacks MCCALL with it.  He swipes MCCALL

in the arm before MCCALL pushes him away.  MCCALL looks down at the wound in his

arm, then reaches for his gun.)

CATHERINE:  (v.o.)  Mccall defends himself with an automatic that was down his

pants.

(MCCALL pulls out an automatic, aims and shoots.  Once, twice.)

(End of flashback.  Resume to present.)

WARRICK:  All right, now, Hastings' wife said that McCall shot Hastings in the

back. 

CATHERINE:  Mm-hmm.

WARRICK:  And the coroner's report substantiates that.

(Quick flashback to:  CHUCKIE HASTINGS has his back to ROY MCCALL when MCCALL

shoots him twice.  LAURIANE HASTINGS watches on the side and screams.)

(End of flashback.  Resume to present.)

CATHERINE:  So, what?  McCall lied.  He really said that Hastings cam at him

with a screwdriver so he can plead self-defense?

WARRICK:  Well, we would need the screwdriver with McCall's blood on it to prove

that, now, wouldn't we?

(CATHERINE stands up ready to search through the boxes.)

CATHERINE:  All right, which box?

WARRICK:  I have been through all these boxes twice.  It's not there.

CATHERINE:  The evidence is lost?  In a murder case?

WARRICK:  The gun is here, but there's no screwdriver.  They even have crime

scene photos of it.  But no tests were run on it before it was misplaced.

CATHERINE:  So, we know why Franovich left.  He quit before we could fire his

ass. 

WARRICK:  Right.

CATHERINE:  So, you know who the DA will blame for this?

WARRICK:  Yeah, the same people homicide'll blame.

CATHERINE:  Well, now that we've exhausted all of our options let's start over.

CUT TO:

SCENE #09:

[INT. CSI - BALLISTICS LAB]

(BOBBY DAWSON looks at the monitor running the cartridge comparison through the

database.)

BOBBY DAWSON:  So this lady's expected to die.  Is that the story?

GRISSOM:  Somebody raped her, shot her and left her for dead.

NICK:  And left two cartridge casings behind for us.  Thank you very much.

(Quick CGI POV to:  A Camera close up of a gun being fired and the two empty

cartridge casings falling to the ground.  End of CGI POV.  Resume to present.)

BOBBY DAWSON:  That kind of oversight tells you he's stupid.

GRISSOM:  Or true to form.  People are usually meticulous in planning up to a

murder.  They rarely plan the aftermath.

NICK:  Still, you'd think the bad guys would figure we'd eventually start a

database on cartridge casings, huh?

(GRISSOM looks up when the computer starts to beep.  The monitor indicates two

matches.)

BOBBY DAWSON:  Gentlemen, we've got ourselves a bull's-eye.

NICK:  Well, well, well.  Looks like this gun was used before in a case we've

handled. 

(The monitor splices the bullets in half and matches the two sides together to

each other.)

NICK:  North Vegas shooting.

BOBBY DAWSON:  You gotta do a side-by-side comparison to be sure.

GRISSOM:  Well, listen, if you get a confirmation, page me.  I gotta go see

Sara.

(GRISSOM stands and leaves the lab.)

BOBBY DAWSON:  Okay.

(BOBBY takes a seat in front of the monitor.)

CUT TO:

SCENE #10:

[INT. HOSPITAL - EMERGENCY EXAM ROOM - NIGHT]

(SARA finishes the exam and puts the envelopes on the box on her kit.  She moves

to the side to pick up the packages of victim clothing.  As she lifts it,

something falls out of the package and onto the floor.  The metal hits the floor

with a clink.) 

(SARA picks it up and looks at it under the lamp.)

SARA:  Saint Catherine.  She studied science. 

(SARA sits down in the seat next to the bed continuing to talk with JANE DOE.)

SARA:  She was touch and very outspoken.  Went against the Emperor himself. 

Chewed him out for persecuting Christians.  Took him two or three tries to

execute her. 

(She pauses and thinks about it ... about the similarities.)

SARA:  She never gave up.  She was brave.

(SARA puts the medallion in JANE DOE'S hand.)

SARA:  You hold on to this.

(Through the window in the door, GRISSOM walks up to the door.  He watches as

SARA pulls her seat closer to JANE DOE.  He pushes the door open and hears what

SARA says.)

SARA:  (quietly)  This shouldn't have happened to you.  But, I promise I will

find out who did this.  I promise.

(SARA sits back in her seat and notices GRISSOM standing in the doorway.)

GRISSOM:  Hey.

SARA:  Hey. 

(GRISSOM doesn't say anything.  SARA stands up.)

SARA:  Sexual assault kit's ready to process.

GRISSOM:  How's it look?

(SARA stands in front of GRISSOM, a little off-balance by his question.)

SARA:  We'll see.  She's, um ... (she nods, gathering her composure) ...

breathing.

GRISSOM:  She's evidence.

(Not liking his response, SARA doesn't say anything and turns around back to the

bed.)

GRISSOM:  Sara?

SARA:  Yeah?

GRISSOM:  If you try and chase two rabbits you end up losing them both.

(SARA stares at GRISSOM.  He slowly backs away from the door letting it close

between them.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #11:

[EXT. HASTINGS RESIDENCE  - DAY]

(CATHERINE and WARRICK walk toward the HASTINGS' house.  A dog barks as they

walk up the front.) 

(CATHERINE knocks on the door.  A woman answers.)

CATHERINE:  Hi.  Laurieane Hastings?  We're with the Las Vegas Crime Lab.

LAURIANE HASTINGS:  Cops.  I have talked to enough of you already.

WARRICK:  Ma'am, we're not cops.  We're crime scene investigators.  We've come

to ask you a few questions about the day that your husband was killed.  Maybe

acquaint ourselves with the actual crime scene.

LAURIEANE HASTINGS:  Is this going to let Roy McCall out of jail which is where

he belongs?

CATHERINE:  We're simply reviewing the evidence for the preliminary hearing.

[INT. HASTINGS' RESIDENCE - DAY - CONTINUOUS]

(She leads them into the garage where the motorcycle is.)

LAURIEANE HASTINGS:  McCall was always borrowing this motorcycle and Chuckie was

mad at him 'cause he returned it wrecked again.  He was yelling at him and out

of the blue mccall pulled his gun.

CATHERINE:  You were home.

LAURIEANE HASTINGS:  Yes, I was.

CATHERINE:  And you saw the shooting?

LAURIEANE HASTINGS:  I most certainly did. I was doing laundry here ...

(Quick flashback to:  On the day of the shooting, LAURIEANE HASTINGS is standing

at the washing machine when she hears voices.)

ROY MCCALL:  (o.s.)  Get your hands off me.

CHUCKIE HASTINGS:  (o.s.)  I'm sick of you, man.

ROY MCCALL:  (o.s.)  Whatever.

(White flash to:  LAURIEANE HASTINGS walks out of the house and sees HASTINGS

AND MCCALL in a shoving match in the back yard.

LAURIANE HASTINGS:  (v.o.)  I went to see and try to break it up.

CHUCKIE HASTINGS:  Back off, man.  Back off.

(She watches as CHUCKIE turns around to walk toward her.)

CHUCKIE HASTINGS:  Get your sorry ass off my property.

(MCCALL takes out his gun and shoots him in the back.)

(CHUCKIE HASTINGS looks at LAURIEANE, then falls to the ground.  She starts

screaming.)

(End of flashback.  Resume to present.)

WARRICK:  Out back here?

LAURIEANE HASTINGS:  Yes.

(WARRICK opens the back door and walks outside.)

CATHERINE:  How long did you say they had been arguing before you heard the

first shot?

LAURIEANE HASTINGS:  (shrugs)  Couple minutes.

CATHERINE:  And then you went out back?

LAURIEANE HASTINGS:  That's right.

CATHERINE:  Okay, thank you.  This won't take very long.

(CATHERINE reaches into her pocket and takes out a stopwatch.  She clicks it on,

then runs out the back door.)

CUT TO:

SCENE #12:

[EXT. HASTINGS RESIDENCE - BACKYARD - DAY - CONTINUOUS]

(CATHERINE runs out the back door into the yard.  WARRICK sees her.) 

WARRICK:  What's up?

(CATHERINE clicks off the stopwatch and explains.

CATHERINE:  She did a "fill-in" back there in the garage.  First, she said she

saw both shots, but I just asked her and she said she heard the first shot and

then came running out here.

WARRICK:  Heard the first shot and then came running out here.

CATHERINE:  Yeah.

WARRICK:  McCall had a semiautomatic.  I mean, you could pull off a shot in two-

tenths of a second.

CATHERINE:  Right.  It took me 3.8 seconds to get out here.  She didn't see any

shot.

WARRICK:  So she just filled in what she thought happened -- that McCall shot

her husband in cold blood.

CATHERINE:  Right.

WARRICK:  Typical eyewitness.

CATHERINE:  So, there's a good chance that McCall was telling the truth -- that

he shot Hastings in self-defense.

WARRICK:  Well, if we had the screwdriver that someone lost

CATHERINE:  Right.

WARRICK:  We'd be able to check for blood.

CATHERINE:  Right.  Let's go see McCall.  No one lost him.

(They both leave the backyard.)

CUT TO:

SCENE #13:

[INT. CSI - EVIDENCE LOCKER - DAY]

(GRISSOM, NICK and SARA go through the evidence from the case.) 

NICK:  Hey, you guys, this North Vegas shooting with the same casings as our

Jane Doe's?

GRISSOM:  Mm-hmm.

NICK:  It was gang-related.  And homicide never found the shooter.

GRISSOM:  It's almost impossible in gang neighborhoods.  Nobody wants to talk. 

People are afraid.  Listen, let's see if we have any evidence that's not

attributed to the victim.

(They look at the paper bags.  SARA finds something.)

SARA:  Here you go.

(She takes out a cap with a snake logo sewn on the front.)

NICK:  Snakebacks.

GRISSOM:  Gang shooters mark their kills by tossing down their hats. 

(Quick flashback to:  A dead body on the ground.  The person throws their hat

with the snake logo on it over the body.  End of flashback. Resume to present.)

GRISSOM:  Some sort of anthropological quirk of territoriality.  Like cats

spraying on a bush.

(NICK laughs.  SARA takes the hat.)

NICK:  Lets the opposition know who was responsible.

(She looks at it and notices something.)

SARA:  Somebody wore this hat a lot.

(Quick Close up of a sweaty head, the inside of the hat, and the sweat marks on

the inside of the hat.  Resume to present.)

SARA:  This sweatband might give us DNA and I could compare it to the samples I

collected off of Jane at the hospital.

(GRISSOM looks at SARA, surprised.)

GRISSOM:  Jane?

SARA:  Our ... Jane Doe.  My "death imminent."

NICK:  First-name basis, Sara?

(SARA looks at NICK.)

SARA:  I'll be in DNA.

CUT TO:

SCENE #14:

[EXT. NEIGHBORHOOD - DAY]

(BRASS walks around the corner.  GRISSOM and NICK get out of the car.)

BRASS:  Hey.  This is, uh, Detective Sam Vega from the gang detail.  He's here

to give us information on 23rd street.  This is Gil Grissom and Nick Stokes from

the crime lab.

(They shake hands.)

GRISSOM:  We're looking for a shooter.  Guy abducted, raped and shot a young

black woman the other night.

DET. SAM VEGA:  We get a couple of shootings a week here from the snakebacks,

out of a four-block radius from this point here.  Usually at the pepper street

gang.  Your guy might have left the neighborhood as part of a gang initiation. 

It means more when the victim's a civilian.

NICK:  Our ball cap belongs to somebody in this neighborhood.  These houses are

full of people who know the guy who wears it.

BRASS:  Okay, Nick, ready to burn some shoe leather?  Some old-fashioned police

work?  What do you say, huh?

(BRASS leads them away.)

NICK:  Why can't we just use those scent pads?

GRISSOM:  The dogs?  Constitutional issue.  We can't get a warrant for the

evidence we find off the dogs' search.

NICK:  Great, great.  Why'd you even suggest it?

GRISSOM:  You're a grown man, Nick.  Stop whining.

(Camera cuts to an above the neighborhood shot showing just how large an area

they need to cover.)

CUT TO:

SCENE #15:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]

(CATHERINE and WARRICK question ROY MCCALL with his lawyer, MARGARET FINN.) 

WARRICK:  Mr. McCall, according to your statement you went over to your neighbor

Hastings' house to return his motorcycle.  You got into a dispute over a wrecked

fender and he attacked you with a screwdriver.

(MCCALL looks at MARGARET FINN who nods to him.)

ROY MCCALL:  He stabbed me in the arm.

(Quick flashback to:  CHUCKIE HASTINGS grabs a screwdriver as they argue.)

CHUCKIE HASTINGS:  Hey, back off, man.

ROY MCCALL:  You're gonna pay for this.

(HASTINGS stabs MCCALL in the arm.  The two struggle.)

(End of flashback.  Resume to present.)

CATHERINE:  Can you circle the area in which the screwdriver entered your arm

when Hastings attacked you? 

(MCCALL grabs the pen with his right hand and marks the paper.  He puts the pen

down.)

CATHERINE:  May I exam your client's wound?

MARGARET FINN:  Yes, anything to clear my client.

(CATHERINE stands up.  MCCALL pulls up his sleeve to show the mark on his arm.)

CATHERINE:  Thanks. 

(CATHERINE turns to WARRICK.  MCCALL and MARGARET FINN speak softly to each

other.)

CATHERINE:  (softly to WARRICK)  I think he's telling the truth.  He's right-

handed.  I could tell when he took the pen.

WARRICK:  So you're saying that if he'd inflicted the wound on himself he would

have stabbed his left arm.

CATHERINE:  And even if he'd tried to fool us and stabbed his right arm the

entry scar would have been upward, not down.

WARRICK:  Mr. McCall, which direction was Hastings facing when you shot him?

MARGARET FINN:  He was facing my client.  End of story.

CATHERINE:  Well, the coroner disagrees.

MARGARET FINN:  Well, that's the coroner's problem.  And I after I tell any jury

how your side managed to lose a piece of evidence as important as the

screwdriver ... (WARRICK sighs.)  really, how much weight will the coroner's

findings have?

(MARGARET FINN reaches for her bag.)

CUT TO:

SCENE #16:

[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]

(CATHERINE and WARRICK walk out of the interview room and into the hallway.))

CATHERINE:  People don't realize just how many sets of hands a piece of evidence

passes through.  Losing evidence isn't about anything sneaky.  It's just human

error.

(CATHERINE'S phone rings.)

WARRICK:  Defense attorneys have made a whole career off that human error.

CATHERINE:  Yeah, tell me about it.

(She takes out her phone and answers it.)

CATHERINE:  (to phone)  Hello.  Eddie ... (to WARRICK)  I-I'll meet you at the

coroner's.  (to phone)  So, you took a second out on the house and, uh, didn't

tell me about it?  No, I would have remembered you telling me something as big

as... oh, a studio.  Are you out of your mind?  So, now I'm going to be making

house payments which you never had money for when we lived together  and a

second mortgage?  No, we don't have time to talk about this.  (angry)  You get

that loan canceled, and you do it now, Ed.  Now! 

(CATHERINE hangs up and sighs.)

CUT TO:

SCENE #17:

[INT. CSI - FORENSIC AUTOPSY]

(WARRICK talks with DR. ROBBINS.) 

WARRICK:  Doc, are you sure McCall shot Hastings in the back?

DR. ALBERT ROBBINS:  Back to front, both times.

WARRICK:  This guy McCall swears that he shot him straight ahead in self-

defense.

DR. ALBERT ROBBINS:  Look at my notes.

(DR. ROBBINS walks over to the desk where the file is.)

DR. ALBERT ROBBINS:  Right here.  "Entry wounds piercing the back, both small,

regular with evidence of carbonaceous material typical of having just emerged

from a gun ... "

WARRICK:  (nods)  Right. 

DR. ALBERT ROBBINS:  "...And they exited out the front with a classic keyhole

effect-- irregular.  First bullet entered Hastings'

(Quick CGI POV:   The gun fires.  The bullet shoots out of the barrel, through

the cloth and into flesh.  It passes through the necessary organs and muscles,

then pierces back out.)

DR. ALBERT ROBBINS:  (v.o.)  ... "lattissimus dorsi passed through the lower

intestine exited out the intercostal muscle. 

(End of quick CGI POV.  Resume to WARRICK.)

(Quick CGI POV of the second shot.  The sound of a gun firing, the bullet

pierces through the cloth, through the flesh and out the back.)

DR. ALBERT ROBBINS:  (v.o.)  The second bullet passed through Hastings' C-7

thoracic nerve exited out the pectoralis major."

(End of flashback.  Resume to present.)

(DR. ROBBINS looks at WARRICK who closes the file.)

WARRICK:  All right, look, I'm not doubting your findings.  But when guys go at

it they're not like gingerbread men, you know?  They're, like, bobbing and

weaving.  It's like W.W.F. Smackdown.  You know?  All of these things could have

changed what went down when Hastings and McCall tangled.

DR. ALBERT ROBBINS:  Anatomically speaking, it's open-and-shut.  You guys are

the ones to put perspective on it.

WARRICK:  No doubt.  When Catherine gets here can you tell her I went over to

evidence to check out the victim's t-shirt?

DR. ALBERT ROBBINS:  Mm-hmm.

(WARRICK heads out the room.)

CUT TO:

SCENE #18:

[INT. CSI - COMPUTER LAB]

(SARA sits in front of the computer going file by file through the missing

persons list.  She hums softly to herself and continues to patiently go through

the listing.)

(GRISSOM walks through the hallway and notices SARA in the room.  He stops by

the doorway and lingers.)

(He watches her for a moment, then steps inside the room.)

GRISSOM:  Hey.

(SARA glances up at him, then continues to look through the listings.)

SARA:  Any luck on 23rd street?

GRISSOM:  I, uh, broke in my new shoes.  That's about it.  What'd the lab say?

SARA:  The DNA from the ball cap is a match to the semen we found on our Jane

Doe.  But ... CODIS hasn't kicked out a name.

GRISSOM:  So you're just ... looking at missing persons reports?

SARA:  We're not having any luck finding the shooter from his DNA with a belt

loop so I thought I would at least try and identify the poor woman before she

dies.

(GRISSOM takes a step forward and leans in close to SARA.)

GRISSOM:  Sara.  Do you have any diversions?

SARA:  Do I what?

GRISSOM:  You max out on overtime every month.  You go home and listen to your

police scanner. 

(SARA turns to look at GRISSOM.)

GRISSOM:  You read forensic textbooks ...

SARA:  Yeah.

(She turns back to the computer.  GRISSOM sits down in the chair next to her.)

GRISSOM:  Look, every day we meet people on the worst day of their lives.  It's

a lot to deal with.  Everyone who's had any time on this job knows that you have

to have a diversion in order to cope with what we see.  What do you do for fun?

SARA:  I chase rabbits.  And ... I read crime books.  And I listen to the

scanner.

GRISSOM:  You need something outside of law enforcement.  Catherine has her kid,

you know?  I sometimes ... ride roller coasters. 

(SARA again turns to look at GRISSOM.)

GRISSOM:  What do you do?

(She turns back to the computer.)

SARA:  Nothing.

GRISSOM:  Okay.  What do you like?

SARA:  I don't like anything.

GRISSOM:  You've got to find something to like.  You can't get too close to the

victims.

SARA:  She's special ... to me.  I can't help it.

GRISSOM:  If you don't find something they'll all become special and you'll burn

out.

(For the moment, SARA stops looking through the list.  GRISSOM stands up and

heads for the door.  When he reaches the doorway, he turns around.)

GRISSOM:  Sara.

SARA:  Okay.  I'm almost done.  I just got to log off.

(GRISSOM nods and walks out.  SARA turns back to the computer and continues

searching through the listings.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

[EXT. LAS VEGAS CITY (STOCK) - DAY]

SCENE #19:

[INT. CSI - LAYOUT ROOM - NIGHT]

(CATHERINE and WARRICK go back over the evidence.  CATHERINE picks up the

bloodied shirt.) 

CATHERINE:  Well, this is progress.  The shirt confirm‎s what the coroner said: 

That the shots were fired back to front.  Look at those entry holes.

WARRICK:  Yeah, but look at that gunpowder.  Unburned gunpowder.

CATHERINE:  Which happens when a gun is fired less than three feet from a

victim.

WARRICK:  Right.

CATHERINE:  McCall says that they were standing five paces apart. 

(CATHERINE looks at the file with LAURIEANE HASTINGS' statement.)

CATHERINE:  Mrs. Hastings says the exact same thing.  So we have two

eyewitnesses on opposite sides of the case ... saying the same thing.

WARRICK:  In direct contradiction to our evidence.

CATHERINE:  Well, the DA's on my beeper.  Would you, uh, explain this to him

because I can't.

WARRICK:  Yeah, right.

(CATHERINE heads for the door.  WARRICK follows her.)

WARRICK:  Hey ... when's the last time you took target practice?

(He holds up the box.  CATHERINE takes her gloves off.)

CATHERINE:  Figures. I just had a manicure.

CUT TO:

SCENE #20:

[EXT. POLICE DEPARTMENT - FIRING RANGE]

(WARRICK and CATHERINE set up various shirt targets at measured distances

apart.) 

WARRICK:  Okay, so we're doing this reconstruction and the best way is to

measure the distance between the victim and the assailant during the time of the

altercation, right?

CATHERINE:  Right.

(CATHERINE snaps the gun chamber shut.)

CATHERINE:  Using the same firearm and ammo that McCall used in his backyard on

Hastings. 

WARRICK:  Right.

(CATHERINE puts on her gear and checks the gun.  WARRICK also puts on his head

gear.)

(CATHERINE puts the gun in the holder and fires it against the target shirt that

reads "6 INCHES".)

(WARRICK moves the gun placehold over to the next shirt with the note "1 FOOT". 

CATHERINE fires.)

(They move over to the next shirt target, "1 1/2 FEET".  CATHERINE fires.)

(And finally, she shoots into the shirt with the tag "2 FEET".)

(They take their head gear off and compare the shirt with the targets.  WARRICK

holds the bloodied shirt up to compare it with the target.)

WARRICK:  Circumference of the gunpowder is the same. 

(Camera zooms in for a close up of the target's bullet hole.)

WARRICK:  Looks like two feet for shot number one ...

(He moves the shirt over to the next target.  Camera zooms in for a close up of

the target's bullet hole.)

WARRICK:  ...and one foot for shot number two.

CATHERINE:  And according to Lauriane Hastings' statement he was running away. 

How can the second shot be closer than the first?

WARRICK:  It can't. It's not possible.

(Quick flashback to:  The day of the shooting, from LAURIEANE HASTINGS' POV,

CHUCKIE HASTINGS walks away from ROY MCCALL as he fires twice.  End of

flashback.  Resume to present.)

WARRICK:  We just disproved their statement.

CATHERINE  And then we've got McCall's statement. 

(Quick flashback to:  The day of the shooting, from ROY MCCALL'S POV, he pushes

CHUCKIE HASTINGS away from him after being stabbed with the screwdriver.  He

reaches for the gun as HASTINGS comes toward him.  He fires.)

CATHERINE:  Can't happen when someone's facing you.

(WARRICK sighs.)

WARRICK:  The truth is somewhere in the middle.  How long do we have till the

prelim?

CATHERINE:  I think I know how we can figure this out.  I saw this thing in my

forensics catalog.

WARRICK:  What kind of "thing"?

CUT TO:

SCENE #21:

[INT. CSI -- HALLWAY-- DAY]

NICK:  Now you want to use the dogs to track down the Jane Doe shooter?

(NICK and GRISSOM walk through the hallway.)

GRISSOM:  K-9 unit's going to meet us there.

NICK:  Yeah, but I spoke to Brass.  He said we can't get a warrant on anything

we need from the suspect's house-- gun, jeans, nothing.

GRISSOM:  That's if we find him inside his house.  In which case, we'll figure

out another way to get a warrant.

NICK:  You're rushing this for Sara.

GRISSOM:  My priority is the case, Nick.  Release the hounds.

CUT TO:

SCENE #22:

[INT. CSI - COMPUTER ROOM - DAY]

(Meanwhile, back in the computer room, SARA continues to go through the missing

persons listings.  With her eyes glued on to the monitor, she opens a pack of

sugar with her teeth and pours it into her coffee cup - just one of many on the

table beside her.  She stirs the coffee.)

(She picks up her cup and sighs.)

(The monitor scrolls through a couple of listings.  Then she stops on something

familiar.  It reads:

     MISING PERSON

     PAMELA ADLER:  26 YEAR OLD BLACK FEMALE,

     MISSING SINCE 1730 TUESDAY. WEARING

     LAVENDER BUSINESS SUIT. REPORTED MISSING

     BY THOMAS ADLER, HUSBAND. LAST

     SEEN AT LAS VEGAS SHOPPING

     CAR 1992 ACURA LEGEND. LA

     360-RYD.

(SARA reads the report and stops.)

SARA:  You were shopping.

(She pauses and reads the name.  Finally.)

SARA:  Pamela ... (sighs) ... Pamela Adler.

CUT TO:

SCENE #23:

[EXT. NEIGHBORHOOD -- DAY]

(The OFFICER leads the dog over to the back of the car where GRISSOM and NICK

are.  GRISSOM opens the cooler with the scent pack inside.)

OFFICER:  Here we go.  Come on.

(GRISSOM opens the bag and takes out the container.)

GRISSOM:  Hey, lady.  You ready for a scent pad?

(GRISSOM takes out the pad and lets the two dogs smell it.)

GRISSOM:  Breathe deep. Girls.

(They bark and head off.)

OFFICER:  Here we go!

(The OFFICERS run along side the dogs.  NICK watches them run.)

NICK:  Whoa!  (to GRISSOM)  Are we supposed to be able to keep up with those

guys?

(GRISSOM looks at NICK and motions after the dogs.)

GRISSOM:  Yeah!

(NICK takes off after them.  GRISSOM stands behind him with a smile on his face

and slowly shakes his head.  He laughs as he watches NICK run to catch up to the

dogs.)

(He turns back to the car.)

(Cut to:  The dogs track the scent along the sidewalk.)

(Various cuts of the dogs tracking the scent.)

OFFICER:  Here we go.

OFFICER:  Come on.

OFFICER:  Come on.  Good girl.

(GRISSOM and NICK walk behind the dogs, watching them.)

(The dogs start barking, then run along the street toward a particular house.)

(The dogs run up the driveway toward a young man playing basketball out in

front.)

TONY THORPE:  Hey, hey, yo, yo.  Back off, snoop.  What'd you raggedy mutts want

with me anyway?

(NICK runs up the driveway after the dogs.)

TONY THORPE:  Hey, you two, don't be hassling me.

(NICK takes off his glasses when he sees it.)

(Camera zooms in for a close up of the missing belt loop on the boy's jeans.)

(GRISSOM catches up.)

NICK:  Guy's wearing the evidence in plain sight.  We just got lucky.

SHANDRA THORPE:  Tony! 

(The front door slams and a woman walks out of the house.)

SHANDRA THORPE:  What are you doing?!  (to the OFFICERS)  You got a problem?

GRISSOM:  Ma'am, is-is this your son?

SHANDRA THORPE:  Yes.

GRISSOM:  Well, we're going to have to talk to him for a minute.

SHANDRA THORPE:  You police -- coming here with your attack dogs.

GRISSOM:  Actually, they're scent dogs, and I'm not a police officer.  I'm a

Forensic Scientist with the Las Vegas Police Department.

SHANDRA THORPE:  What do I got to say to a scientist?

GRISSOM:  (shrugs)  You could say "hello."

CUT TO:

SCENE #24:

[INT. CSI - GARAGE]

(CATHERINE stands over by the counter going through the files.  WARRICK stands

in front of a dummy marking the holes with a pen.)

WARRICK:  This dummy cost over $500?

CATHERINE:  Oh, yeah.  He's worth it.

(CATHERINE picks up the second stick and walks toward the dummy.)

WARRICK:  Why?

CATHERINE:  Well, look at him.  He's lifelike, he doesn't talk, and he's self-

healing.

WARRICK:  He's "self-healing"?

CATHERINE:  Yeah.  We make a mistake in our calculations we just start over.

(CATHERINE puts the first stick into the dummy.)

WARRICK:  Cool.  Um, the wound track is off.  Do it two centimeters higher.

CATHERINE:  All right.  How's that?

WARRICK:  Good.

CATHERINE:  All right.

(She gets the second stick and marks the second shot.)

WARRICK:  Now, the second shot was fired like so.  Now, the coroner says that

Hastings was shot just like this, from back to front and Hastings' wife says the

same thing -- that her husband was running away.

CATHERINE:  And McCcall says that Hastings was facing him shot him in self-

defense and he's got the wound ... to prove it.

(She moves the right arm into position.)

WARRICK:  Just like I said before, guys don't go at it and fight like

gingerbread men, you know?

CATHERINE:  Mm-hmm.

WARRICK:  Check it out.

(Thinking about the case, WARRICK moves CATHERINE away from behind the dummy and

takes her place there.  CATHERINE steps aside.)

WARRICK:  What if, um ... he was lunged ...

(WARRICK bends the body over at the waist.  CATHERINE sees her opportunity and

quietly grabs the camera.)

WARRICK:  ...just kind of like this?

(CATHERINE snaps a photo.  WARRICK turns to look at CATHERINE.)

WARRICK:  Oh, you are wrong!

(Laughing, CATHERINE takes the photo and waves it in front of him.  She looks

over at the dummy and her face freezes.  She sees it.)

CATHERINE:  Warrick ... ?

(WARRICK turns around to look at the dummy.  He sees it, too.)

CATHERINE:  I think maybe they were both telling the truth. 

WARRICK:  Yeah.  I'm calling the DA.

(He turns and grabs the photo from CATHERINE as he walks out of the garage.)

CUT TO:

SCENE #25:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]

[OBSERVATION ROOM]

(Through the observation room glass, SARA watches BRASS and GRISSOM interview

TONY THORPE with his mother, SHANDRA there.) 

BRASS:  So, Tony, where were you two nights ago?

TONY THORPE:  I was nowhere special.  I was just hanging.

SARA:  (to NICK)  Grissom told you to keep me out, didn't he?

(SARA turns to look at NICK who is standing beside her.)

NICK:  (nods)  Yeah.

[INTERVIEW ROOM]

GRISSOM:  Were you wearing those pants the other night?

TONY THORPE:  Oh, these jeans?  What's it to you?

GRISSOM:  They're missing a belt loop. 

(TONY looks down at his jeans.)

GRISSOM:  I find that interesting.

BRASS:  You mind if we look at those?  We got some scrubs for you to wear.

(BRASS throws some clothes on the table in front of TONY.  SHANDRA pushes the

scrubs back toward BRASS.)

SHANDRA THORPE:  I know the law.  He doesn't have to do anything unless a judge

says to.

BRASS:  That's why we're asking Tony to volunteer ... with your permission ...

(BRASS throws the scrubs back toward TONY.)

[OBSERVATION ROOM]

(Through the room glass, SARA watches as TONY casually stands up.)

TONY THORPE:  Chill, moms. 

[INTERVIEW ROOM]

(He takes off his jeans.)

TONY THORPE:  (smugly)  I got nothing to hide.  It's no big thing.  Cop said

lady isn't even dead.

(And throws them on the table in front of GRISSOM.)

GRISSOM:  That's true, she isn't ... but if she dies within a year and a day of

the shooting ... then it's murder.

SHAUNDA THORPE:  Is this some kind of a trick?

BRASS:  No, ma'am, it's the law.  We're working this case as a murder.

TONY THORPE:  At least for the next year and a day and even then, I'm still a

juvie. 

GRISSOM:  Well, then I guess the law is on your side, Tony, isn't it?  For now.

CUT TO:

SCENE #26:

[INT. CSI - HALLWAY - DAY]

(EDDIE WILLOWS sits in the chair in the hallway making faces with LINDSEY as she

giggles and laughs.) 

(CATHERINE and WARRICK walk into the hallway.)

EDDIE WILLOWS:  Hi, Catherine.  Somebody wanted to see you.

CATHERINE:  Hey, baby.

LINDSEY WILLOWS:  Hi, mommy. 

(CATHERINE kneels down and they hug.)

LINDSEY WILLOWS:  (excited)  Daddy's taking me to dinner tonight.

CATHERINE:  He is?

EDDIE WILLOWS:  Main room at the Orpheus.

LINDSEY WILLOWS:  They have lions and tigers at the restaurant and daddy said I

can go to a show after.

CATHERINE WILLOWS:  Well, uh ... you know, honey, it's a school night so I need

to discuss that with daddy first.

LINDSEY WILLOWS:  Come on, mom.  It's just this one night.

(CATHERINE smiles at LINDSEY and stands up.)

CATHERINE:  Ed ...

(WARRICK leans over to look at LINDSEY.)

WARRICK:  Hey, Lindsey, I got some games on my computer.  You want to see?

LINDSEY WILLOWS:  Sure.

WARRICK:  Let's play one. 

(WARRICK takes LINDSEY out of the hallway.)

CATHERINE:  (to LINDSEY)  Uh, I'll see you in a bit, honey. 

(EDDIE stands up.)

CATHERINE:  (to EDDIE)  You set me up.  Again.

EDDIE WILLOWS:  How, by taking out daughter to dinner?

CATHERINE:  Get over here.

(CATHERINE leads EDDIE into the next hallway to continue to conversation.)

EDDIE WILLOWS:  Oh, come on now!  What?!

CATHERINE:  You are so pathetic.

EDDIE WILLOWS:  What?!  What?!

CATHERINE:  Just so pathetic.

EDDIE WILLOWS:  Watch it, Cath.

CATHERINE:  Sucking up to our daughter  'cause I caught you robbing me.

EDDIE WILLOWS:  The only thing I ever robbed you of was good sex.

(EDDIE takes a step closer to CATHERINE.  She scoffs at him.)

CATHERINE:   No sex is worth you, and you are not taking my daughter to a club

with one of your music whores.

EDDIE WILLOWS:  Oh, they're whores?  When I met you, you were taking your

clothes off in a strip club.

CATHERINE:  It was a job, Ed and it supported you, just like every job I've had

including this one!

(In the hallway, GRISSOM turns the corner and sees them.  He watches them.)

EDDIE WILLOWS:  Yeah? And who paid to close up your nose?

CATHERINE:  You're such a bast...!

(CATHERINE steps up and swings.  EDDIE grabs her hand.  She struggles.)

CATHERINE:  Let go of me.

(He grabs her other hand and has CATHERINE up against the glass wall.)

EDDIE WILLOWS:  What?! 

(GRISSOM heads for them.)

EDDIE WILLOWS:  (mutters)  I'll let go of you when I'm damn good and ...

GRISSOM:  Let go of her, Ed!

(GRISSOM grabs EDDIE'S arm and pushes him off of CATHERINE.)

GRISSOM:  Catherine?

CATHERINE:  (upset)  Just get him out of here.

(CATHERINE walks away.)

GRISSOM:  I don't want to ever see you in this building again.  This is our

place of business.  You understand that?

EDDIE WILLOWS:  I always knew you two had a thing.

GRISSOM:  Go home, Eddie.

EDDIE WILLOWS:  Sure.

(EDDIE walks out of the hallway.  GRISSOM turns to watch him go.  Then he turns

to look back in the other direction.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #27:

[INT. CSI -- LAB] 

(SARA and NICK work in the lab.  SARA sings quietly to herself.) 

SARA:  (singing softly)  One way or another / I'm going to see you / ( hums ) /

one day, maybe next week / I'm going to meet you, meet you / I will ...

(NICK stops working on the jeans to look up and listen to SARA.)

NICK:  Hey, Sara, did anyone ever tell you, you have a pretty good singing

voice?

SARA:  (retorts)  If you like chalk on a board.

NICK:  Come on.  I've heard you around here.  People never tell you that?

(SARA turns around and looks at NICK.)

SARA:  It's a-a habit.  I don't even realize I'm doing it.  Did you get that

belt loop from the crime scene lined up yet?

NICK:  Yeah.  Yeah. Take a look.

(NICK steps aside to let SARA look through the magnifying glass.  She matches

the loop with the jeans.  Camera zooms in for a close up.)

SARA:  Fits like a glove.

NICK:  Okay, let's go tell the boss. 

(SARA moves back to her table.)

SARA:  You go.  I have something to do first.

NICK:  (worried)  Hey, if you go near that Thorpe kid...

(SARA turns around to look at NICK.)

SARA:  Excuse me?

(NICK doesn't back down.  He's still concerned.)

NICK:  I'm just saying ...

SARA:  (appreciative)  It's something else.  Promise.

(SARA gathers her things and leaves the room.  NICK watches her leave.)

CUT TO:

SCENE #28:

[INT. CSI - GARAGE - DAY]

(CATHERINE and WARRICK report their findings to D.A. SAM GENTRY.  He reads the

report.) 

D.A. SAM GENTRY:  Wait a minute.  Hastings was facing McCall, and McCall shot

him in the back?  You can't have it both ways, guys.  A judge will laugh me out

of court.

(CATHERINE steps forward and stands behind the dummy.)

CATHERINE:  Well ... bear with us.

(WARRICK steps forward to help CATHERINE illustrate what they've learned about

the shooting.)

WARRICK:  All right. I'm McCall.  I have a gun.

CATHERINE:  I'm Hastings.  I stab McCall in the right arm.

(CATHERINE grabs the dummy's arm and moves it.)

(Quick flashback to:  The day of the shooting, CHUCKIE HASTINGS swings the

screwdriver and stabs ROY MCCALL in the arm.)

(Cut to:  ROY MCCALL pushes HASTINGS off of him.  HASTINGS falls backward to the

ground.)

WARRICK:  (v.o.)  I push him back off.

(End of flashback.  Resume to present.)

CATHERINE:  And Hastings charges again.  This time he lunges at his midsection.

(CATHERINE bends the dummy over to illustrate.)

(Quick flashback to:  HASTINGS charges MCCALL, butting his head into MCCALL'S

stomach, pushing him back.  End of flashback.  Resume to present.)

(WARRICK lifts his hands as if he's holding a gun and points it downward.)

WARRICK:  I shoot.

(Quick flashback to:  MCCALL fires the first shot.  HASTINGS goes down.  End of

flashback.  Resume to present.)

(D.A. SAM GENTRY takes a step forward.)

CATHERINE: He shoots from two feet according to our firearms range test and the

unburned powder on the victim's clothes.

WARRICK:  And the bullet enters through the back even though we are facing each

other and exits ... out the front.

CATHEIRNE:  The first shot is fired in self-defense.  But then McCall shoots

Hastings a second time.  Now that shot ...

(WARRICK illustrates by bringing his fingers downward toward the dummy.)

WARRICK:  Boom.

CATHERINE:  ... Was not in self-defense.

(Quick flashback to:  HASTINGS is down on his knees and clutching his stomach. 

He's breathing hard.  MCCALL fires a second time.  HASTINGS falls to the

ground.)

(Cut to:  MCCALL looks up and around.  LAURIEANE HASTINGS walks out of the house

and sees CHUCKIE on the ground.  She starts screaming.)

LAURIEANE HASTINGS:   No!

(End of flashback.  Resume to present.)

WARRICK:  Chalk it up to adrenaline or revenge, but Hastings was already going

down.  There was no reason to shoot him a second time.

D.A. SAM GENTRY:  I've got to say, I'm impressed.  You two just put on quite a

show.  Think you can do it again at trial?

WARRICK:  That's our job.

CATHERINE:  We'll see you in court, Sam.

(The D.A. walks out of the garage.)

WARRICK:  Hey, how's Linds?

CATHERINE:  Um, well, uh, she's with my sister.  Hey, thanks for helping me out

there. 

WARRICK:  Right.

CATHERINE:  I appreciate it. I ...

WARRICK:  Catherine, you've got to get that divorce finalized, huh?

(CATHERINE doesn't say anything.  WARRICK picks up the dummy and leaves the

garage.)

CUT TO:

SCENE #29:

[INT. HOSPITAL - EMERGENCY ROOM - DAY]

(SARA walks into PAMELA ADLER'S room.  She walks up to the bed, looking at PAM

and sits down.  She doesn't notice the man sitting in the chair in the darkened

corner.) 

SARA:  We caught him.  If you hadn't pulled that belt loop we might never have

found him, but ... you did good.

(The man in the chair leans forward into the light.)

THOMAS ADLER:  You must be Sara. 

(SARA turns around.)

THOMAS ADLER:  The CSI who called me?

(They stand up and shake hands.)

SARA:  Hi.

THOMAS ADLER:  I'm Tom. Uh ... Pam's husband.  Thanks, uh, for all you've done.

SARA:  Sure.  Oh, I wanted to give you this.  I've been keeping it ... for Jane

-- Pam, uh, until I found her family.

(SARA gives THOMAS the medallion.)

THOMAS ADLER:  Thanks.

(He looks over at PAM.)

SARA:  How are you doing?

THOMAS ADLER: Okay, uh ... good.  The doctor says Pammie's condition is

stabilized.  He was in an hour ago.  He expects her to live.  (SARA nods.)  Says

she's not going to die.

SARA:  (her smile freezes)  That's great.  That's-that's great.  She's a real

fighter, huh?

THOMAS ADLER:  Well, we're moving her to Haven View Center later this week.  Do-

do you know that facility?

SARA:  Yeah, I do ... know people who've gone there.  They'll take real good

care of her.

THOMAS ADLER:  Yeah.  That's what the doctor said.

(THOMAS wipes a tear away from his eye and sniffles.)

SARA:  I got to go.

(SARA turns and heads for the door.)

THOMAS ADLER:  Well, um, uh ... come see us sometime.

SARA:  Definitely.  Haven View.  I'll be there.  (he nods)  Good luck.

(SARA opens the door.)

THOMAS ADLER:  Good luck to you.

(She leaves the room.  The door shuts behind her.  THOMAS turns back to look at

PAM.)

CUT TO:

[INT. HOSPITAL HALLWAY - DAY - CONTINUOUS]

(SARA walks out of the room and into the hallway.  About mid-way through, she

stops.)

(After a moment, with tears in her eyes, she continues walking through the

hallway and out of camera frame.)

CUT TO:

SCENE #30:

[INT. CSI - GRISSOM'S OFFICE - DAY]

(SARA sits in GRISSOM'S office across the desk from him.  She's quiet.  He

listens intently to her.) 

SARA:  The husband doesn't get it. 

(She shakes her head and brushes a tear from her eye.)

SARA:  He's so happy she's going to live.  He doesn't realize she's going to be

in a vegetative state for the rest of her life.  (her voice breaks)  And that

kid Thorpe ... is going to be out of juvie in 48 months.  (whispers)  It's not

fair.

(She wipes her eyes.)

(GRISSOM takes a breath.)

GRISSOM:  It's the system.

SARA:  What kind of system rewards the suspect when the victim is too tough to

die?

(GRISSOM has no answer for her.  SARA gets up from the chair, turns and heads

for the door.  GRISSOM stops her.)

GRISSOM:  Sara ... you got to learn to let this go or you're going to spend all

your time in hospitals trying to help the people you couldn't save.

SARA:  I wish I was like you, Grissom.  I wish I didn't feel anything.

(SARA turns and leaves the office.  The door closes behind her.)

(GRISSOM turns away from the door and  takes a deep breath.)

GRISSOM: (exhales)  Oh.

FADE TO BLACK.

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

THE END

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

--------------------------------------------------------------------------------------------------------------------------------

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

CSI:  CRIME SCENE INVESTIGATION

1X17:  FACE LIFT

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

COLD OPEN:

[EXT. LAS VEGAS CITY (STOCK) -- DAY]

[EXT. VARIOUS LAS VEGAS COMMUNITY (STOCK) - DAY]

FLASH TO:

SCENE #01:

[EXT. THE CRACKED KILN - PARKING LOT - DAY]

(The SUV turns into the parking lot and parks.) 

(MARC and ANN, each carrying a cup of coffee walk up to the front door.  MARC

tries to unlock the door but drops the keys.  ANN hands him her cup of coffee.)

ANN:  Oh ... honey, here.  Take this.

(ANN kneels down to pick up the key and unlocks the door.  They walk inside and

find the place a mess.  Cracked pottery is on the floor.)

MARC:  Not again.

ANN:  We are buying that alarm system.

MARC:  No argument from me.

(They make their way to the back to check the register.)

ANN:  I'm serious.  They got the cash.  Why did they have to be such a mess?

(ANN looks around.  MARC looks behind the counter and sees something.)

MARC:  Oh, my god...

ANN:  What? What's wrong?

MARC:  Call 911.

(On the floor is a dead body with blood on the floor near his head.)

CUT TO:

SCENE #02:

[EXT./INT. THE CRACKED KILN - DAY]

(NICK drives the SUV into the parking lot.  He, CATHERINE and GRISSOM get out of

the car and make their way into the store.)

(They gingerly walk over the cracked pottery on the floor and walk over toward

the back where the body is.)

GRISSOM:  Introductions?

BRASS:  Joseph Felton, 44.  Not an employee; no reason to be here.

GRISSOM:  Mind if he and I have a moment together?

BRASS:  No. 

(GRISSOM steps forward toward the body.  He kneels down to look it over.)

(Cut to:  CATHERINE dusts the cash register.)

(Cut to:  NICK snaps a photo of the back door.  He turns around and snaps

another photo.)

(Cut to:  CATHERINE dusts the garden gnomes on the shelf.)

(Cut to:  GRISSOM looks down at the body, then picks up his sketch pad and pen. 

He stands up.)

(Cut to:  NICK snaps a photo of the safe.)

BRASS:  Burn marks?

NICK:  Unusual way to penetrate a safe.

(NICK snaps another photo.)

BRASS:  Hmm ...

NICK:  (looks up at BRASS)  How much was taken? 

BRASS:  Three hundred and something, small bills.

GRISSOM:  (o.s.)  Multiple contusions to the back of the skull.  Might've been

taken by surprise.

CATHERINE:  Robbery interruptus?

GRISSOM:  Yeah, I think our robbery suspect is a homicide victim.

CATHERINE:  One way to beat the rap.

HARD CUT TO

END OF TEASER

ROLL TITLE CREDITS

(COMMERCIAL SET)

FADE IN.

SCENE #03:

[INT. CSI - FORENSIC AUTOPSY - DAY]

(DR. ROBBINS goes over the findings with CATHERINE and NICK.) 

DR. ALBERT ROBBINS:  This is an easy one.  The guy from the pottery store has

got three hits to the head.  Trauma to the brain stem was fatal.  Death was

instantaneous.

CATHERINE:  Can you tell us anything about the murder weapon?

DR. ALBERT ROBBINS:  Nothing definite.  But I swabbed the points of impact. 

Slide's under the microscope.

(He nods toward the scope.  NICK heads over to check it out.)

[SCOPE VIEW of the swab]

NICK:  Yellow looks like transfer from the murder weapon but what's with the

glitter?

(NICK looks up and back at DR. ROBBINS.)

DR. ALBERT ROBBINS:  Unidentified mineral.  I sent a sample to trace for

analysis.

CATHERINE:  Hey, Doc, you have a comb?

(DR. ROBBINS looks up at CATHERINE.  NICK also looks at her.)

NICK:  Your hair looks great, Cath.

CATHERINE:  Gee, thanks, Nick.

(DR. ROBBINS hands CATHERINE a comb.  She steps forward with a piece of paper.)

DR. ALBERT ROBBINS:  Guy's still dirty.  They don't get a bath till evidence is

collected.

CATHERINE:  That's what I'm doing although I don't think this is dirt. 

(CATHERINE takes a sample of the stuff in the body's hair.)

CATHERINE:  He's covered in spores. 

(She takes out a magnifying glass to look at the spores under it.)

CATHERINE:  I think these are from a fern.

NICK:  Well, the back entrance was overgrown with them.

(Quick flashback to:  JOSEPH FELTON walking up to the back door through the

ferns.  The top leaves of the fern brush the top of his head.  End of flashback. 

Resume to present.)

CATHERINE:  A fern plant deposits billions of spores in its lifetime.  Most are

just dust in the wind.  In our case they're evidence.  As good as fingerprints

or fibers in placing a suspect at a crime scene.

CUT TO:

SCENE #04:

[INT. CSI - PRINT LAB - DAY]

(CATHERINE walks up to GRISSOM who is in the print lab sitting behind the

computer.) 

CATHERINE:  Hey, you forget about the coroner?

GRISSOM:  Melissa Marlowe.

CATHERINE:  Excuse me?

(GRISSOM looks up at CATHERINE.)

GRISSOM:  You lifted 38 prints from the pottery store.  I scanned them through

AFIS.  One came back.  Melissa Marlowe.

(GRISSOM points to the prints on the monitor.)

CATHERINE:  Why do I know that name?

GRISSOM:  Kidnapping - Colorado -- 21 years ago ... the little girl.

CATHERINE:  Oh, that Melissa Marlowe.  Wasn't she presumed dead?

GRISSOM:  Well, not anymore on the left is Melissa Marlowe's print, age four --

preschool fingerprinting initiative.  On the right is a print that you lifted

from the crime scene.

CATHERINE:  I don't see a match.

GRISSOM:  Neither did I but since fingerprints are set for life during the

fourth month of fetal development I looked beyond the size differential. 

(GRISSOM hits a key on the keyboard.  The computer beeps and three red dots

appear on the blue print on the left.  The same three reference dots appear on

the yellow print on the right.)

GRISSOM:  Now, both prints are ulnar loops.  Bifurcation, recurve and ridge

endings are identical. 

(GRISSOM puts the blue print over the yellow print.)

GRISSOM:  I've aligned the prints along the delta.

(The two prints match up exactly.  The computer reads:  FORENSIC RIDGE ANALYSIS

MATCH: 100%.)

CATHERINE:  You've got a perfect match.  Wait. Is she a suspect in the homicide?

GRISSOM:  No. Her print wasn't fresh.  There was dust on it.  Has to be a few

weeks old.  I think we have two separate cases.  So I'm going to take the new

lead in the old kidnapping case.

CATHERINE:  And Nick and I will cover the homicide.

(GRISSOM nods.)

CUT TO:

[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]

[EXT. WINSTON RESIDENCE - DAY]

SCENE #05:

[INT. WINSTON RESIDENCE -- SEVEN HILLS - MIDDLE CLASS HOME - DAY]

(A camera flashes.  A picture is taken of the remains of a burned out chair.) 

SARA:  Nadine Winston falls asleep in that chair and incinerates.  We can make

history.

(SARA and WARRICK stand looking at the hole in the burned chair's upholstery.)

WARRICK:  Oh, come on, now. Don't tell me you believe in that bs.

(SARA reaches for the pack of cigarettes on the coffee table.)

SARA:  No. Of course not.  I'm a scientist. I just ...

(SARA looks from the cigarettes back to the chair.)

SARA:  She has been reduced to ashes.

(Quick flashback to:  NADINE WINSTON burning in the chair.)

WARRICK:   (v.o.)  Come on, Sara. 

(End of flashback.  Resume to present.)

WARRICK:  Spontaneous human combustion is science fiction.

SARA:  I know.

WARRICK:  There's no such thing as a human torch.

SARA:  What if it is real, and we've uncovered it?

WARRICK:  Sara, this is a crime scene.  Stay with me here, okay?  Don't lose it.

SARA:  I'm not.  I'm just open to all theories.

WARRICK:  What's that?

SARA:  Looks like cotton fiber ... possibly from a nightgown.  It's barely

scorched.  Weird.  It's like the body burned, but ... the clothing was fire

retardant.

(Some ash falls on WARRICK.  He brushes it aside and looks up to see where it's

coming from.)

WARRICK:  Wow.  Check that out.

(In the ceiling, there's a hole burned directly above the chair.  SARA stands up

and looks at the hole in the ceiling.)

SARA:  Fire practically burned a hole in the roof but it's isolated in one spot.

WARRICK:  It's as if the fire created a chimney for itself.

SARA:  The victim -- she live alone?

OFFICER ARVINGTON:  Husband's already at the station.

(WARRICK raises the camera and takes a picture of the hole in the ceiling.)

CUT TO:

SCENE #06:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]

(SGT. O'RILEY interviews LARRY WINSTON.) 

LARRY WINSTON:  I am telling you, I have no idea what happened to my wife.

[OBSERVATION ROOM]

(WARRICK and SARA watch the interview.)

SGT. O'RILEY:  Were you having marital problems?

[INTERVIEW ROOM]

LARRY WINSTON:  No.  We were like newlyweds.

SGT. O'RILEY:  If I understand you correctly you went to bed.  Nadine fell

asleep in the easy chair.  Ten hours later, you woke up, walked into the living

room and she was a pile of ash.

(SARA looks at WARRICK.)

SARA:  A human torch.

WARRICK:  (retorts)  Yeah, right.

SGT. O'RILEY:  You say you were like newlyweds?

LARRY WINSTON:  Yeah.

SGT. O'RILEY:  But the two of you weren't sleeping in the same bed.

WARRICK:  Good question.

LARRY WINSTON:  She snored.  It was a problem, but ... A small one.

SGT. O'RILEY:  Mr. Winston ... do you know how to use a blowtorch?

WARRICK:  Another good question.

LARRY WINSTON:  (angry)  Look, I came down to this station on my own.  If I can

be helpful, let me know!

(He takes the visitor pass on his jacket off and slams it on the table in front

of O'RILEY.  He stands up and storms out of the interview room.)

WARRICK:  So do you still think it's spontaneous combustion?

SARA:  Theories give way to conclusions once all the evidence is in.  I am

merely thinking about the next piece of evidence.

WARRICK:  (not buying it)  Yeah.

CUT TO:

SCENE #07:

[INT. CSI -- LAB] 

(BRASS walks into the lab.  NICK is going through some old case files.) 

BRASS:  Yeah.  Hey, Nicky, you paged me?

NICK:  Yeah. Yeah, Jim, hi.  I took these photos at the crime scene. 

(NICK puts a stack of photos down on the table in front of BRASS.)

NICK:  Safe was cracked with a plasma lance.

BRASS  Okay, I'll bite.

NICK:  It's a high-powered electric blaster.  It could cut through that hard

plate with extreme precision.  It's not common, but effective. 

BRASS:  Yeah.

NICK:  Crime scene photo from a robbery case in '99. 

(NICK puts another photo on the table in front of BRASS from a different crime

scene.)

NICK:  Joseph Felton our dead guy, was arrested but granted immunity in exchange

for his testimony against his partner, Darin Hanson who used a plasma lance to

crack that safe.  Darin Hanson ...

(NICK hands BRASS the photo of DARIN HANSON.)

NICK: ... was released from prison last month.  His last known address -Vegas.

BRASS:  I see where you're going.  So Hanson gets out of jail, hooks up with our

dead guy.

NICK:  Yeah, they hook it up.

(Quick flashback to:  DARIN HANSON and JOSEPH FELTON break into the back of THE

CRACKED KILN.)

NICK:  (v.o.)  ...  break through  the rear entrance of the pottery store.

(Cut to:  They get the door open.  Flash to:  HANSON uses the plasma lance to

cut through the safe.)

NICK:  (v.o.)  Hanson lances the safe ...

(Cut to:  The safe is opened and HANSON allows FELTON to get the cash box

inside.)

NICK:  (v.o.)  Once the safe is cracked, Hanson steps back allowing Felton to

collect the cash.

(Cut to:  FELTON takes the cash box and opens it.  HANSON grabs something and

knocks him on the back of the head with it.  FELTON falls to the floor.  Dead.)

NICK:  (v.o.)   With Felton's attention diverted Hanson seizes the moment ...

kills him.

(End of flashback.  Resume to present.)

NICK:  Revenge for testifying against him and putting him in prison.

BRASS:  That's not bad.  Any chance you guys found the murder weapon?

NICK:  No, no ... but I think we know who to ask.

CUT TO:

SCENE #08:

[INT. POLICE DEPARTMENT - BRASS' OFFICE]

(BRASS, NICK and CATHERINE interview DARIN HANSON) 

DARIN HANSON:  I haven't seen Joseph Felton since the trial two years ago.

NICK:  So it's a coincidence that he was killed shortly after you were released

from prison.

DARIN HANSON:  Yeah. Guy put me in jail. I had no reason to see him again.

CATHERINE:  He put you in the "gray bar"?  Sounds like motive to me.

BRASS:  Darin ... you and Felton, you go back, huh?

DARIN HANSON:  Mm-hmm.  Knew the guy fifteen years.  My folks lived across the

street from him.  We'd barbecue together with his wife and daughter.

CATHEIRNE:  He must have really pissed you off when he turned on you.

NICK:  The transcript from your trial says that you used a plasma lance in that

'99 burglary, and there it is again, Darin.

DARIN HANSON:  Joe was the lance guy.  He taught me how to break into safes. 

That's why the M.O.'S the same.

BRASS:  Where were you this morning early A.M.?

DARIN HANSON:  I was in Barstow all week.  Just got back this afternoon. 

(DARIN looks at NICK who stares at him doubtfully.  He sighs and pulls out his

wallet.)

DARIN HANSON:  Okay ... here you go ... receipts from the trip.  Go ahead.

(CATHERINE looks at the receipts.  She hands them to BRASS.)

CATHERINE:  Looks authentic.  Cactus Pine Cafe, Barstow, noon today.

(BRASS looks at DARIN HANSON, then turns to look at CATHERINE.)

BRASS:  We can't hold him.

CUT TO:

SCENE #09:

[INT. CSI - CONFERENCE ROOM] 

(GRISSOM talks with HANK and MRS. MARLOWE as he looks through photographs of

MELISSA MARLOWE as a child.) 

MRS. MARLOWE:  21 years ago, the chief of police sat in our living room told us

our daughter was dead.

HANK MARLOWE:  After all this time, she's in Vegas?  That's a hundred miles from

our home.

GRISSOM:  Well, we still don't know where she is.  Her prints in the pottery

store tell us that she was here possibly a few weeks ago, but Vegas is a tourist

town.

HANK MARLOWE:  But you know she's alive.

GRISSOM:  I'm still not sure we can find her.

MRS. MARLOWE:  She's our only child.  We never gave up hope.  We're not giving

up now.

TERI MILLER:  (o.s.)  Excuse me.

(GRISSOM looks up and sees TERI MILLER at the door.)

GRISSOM:  Teri ... come in.

TERI MILLER:  Hi.

(GRISSOM stands and makes the introductions.)

GRISSOM:  Teri Miller, Mr. and Mrs. Marlowe.

TERI MILLER:  Hello.

MRS. MARLOWE:  Hi.

GRISSOM:  Teri is a forensic artist.  I called her to help us.

TERI MILLER:  Did you bring the photographs of Melissa?

MRS. MARLOWE:  Yes, but I don't see how they can help.  In some of those, she's

just an infant.

TERI MILLER:  It doesn't matter.  Do you remember her eyes?

MRS. MARLOWE:  I could never forget.

TERI MILLER:  As we age, our eyes don't change.  That's where we'll start.

GRISOM:  Using computer software Teri can age Melissa's picture so that we can

determine what she looks like today at age 25.  Then we send it off to every law

enforcement agency in the state.

HANK MARLOWE:  It's been so long.  Tell us the truth.  What are our chances?

GRISSOM:  Well, 21 years ago, they told you that your daughter was dead.  Now

we're moving in the right direction.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #10:

[INT. CSI - MORGUE] 

(CATHERINE leads TAMMY FELTON into the morgue to ID JOSEPH FELTON'S body.) 

TAMMY FELTON:  Where did you find him?

CATHERINE:  At a pottery store on Stansberry Street.  Tammy, we've already

I.D.'D your father.  If you don't want to see him, I'd understand.

TAMMY FELTON:  No. I want to say good-bye.

CATHERINE:  Well, don't be surprised by some swelling and discoloration. 

(CATHERINE opens the unit and takes out the table with JOSEPH FELTON'S body on

it.  TAMMY stares at the body and starts to cry.)

CATHERINE:  You have any other family?

TAMMY FELTON:  No.

CATHERINE:  I can put you in touch with a counselor if you need to talk.

TAMMY FELTON:  No, thank you.

(TAMMY turns away and steps aside.)

CATHERINE:  Is there anything you need?

(CATHERINE puts the body back and closes the door.  She turns to look at TAMMY

and notices the spores on her jacket lapel.)

CATHERINE:  Tammy ... were you at the pottery store with your father?

TAMMY FELTON:  What are you talking about?

(CATHERINE picks up a magnifying glass to look at the spores.)

CATHERINE:  There's some plant spores on your sweater.  We found them on your

father, too, and matched them to some ferns behind the pottery store.

TAMMY FELTON:  I don't understand. 

(CATHERINE takes a tape to lift the spores off of the jacket.)

TAMMY FELTON:  What are you doing?

CATHERINE:  I'm taking these spores into evidence.  They place you at the crime

scene.  Is there anything you want to tell me?

TAMMY FELTON:  Okay, I was there.

(Quick flashback to:  At the Cracked Kiln's back door, JOSEPH FELTON tries to

unlock it.  TAMMY FELTON walks up to him, the tall ferns brushing her as she

walks by.  She stops in front of her father.)

TAMMY FELTON:  Dad!  Dad, don't do this.  I'll get a job.  We don't need the

money.  Not like this.

JOSEPH FELTON:  Tammy, go home.

(Flash to:  As she leaves, the ferns brush her jacket lapel.)

(End of flashback.  Resume to present.)

TAMMY FELTON:  And I don't know what happened after that.

CATHERINE:  Why didn't you just tell me that?

TAMMY FELTON:  I wanted to preserve the good memories not remember my dad as a

thief.  (she starts crying)  I didn't kill him.  I loved him.  I need a release

from your office ... so I can bury my father.

(TAMMY walks past CATHERINE and out the door.)

CUT TO:

SCENE #11:

[INT. CSI - FORESNIC AUTOPSY]

(DAVID PHILLIPS explains the foot to WARRICK and SARA.)

WARRICK:  Okay, tell me everything you can about this foot.

DAVID PHILLIPS:  Where's the rest of the body?

SARA:  Incinerated.  Lab results from the ashes came back negative for

accelerant.  Nothing flammable but sebaceous glutamate.

DAVID PHILLIPS:  Human fat.  Well ... I can tell you that the malleolus -- the

ankle bone -- is completely hollowed out.

(Quick CGI POV to:  The camera swings upward to the ankle part of the foot, then

downward to show that the foot is hollow.)

DAVID PHILLIPS:  (v.o.)  Bone marrow was reduced to ash.

(End of CGI POV.)

DAVID PHILLIPS:  Which means that the foot was burned off the body, not severed. 

That's consistent with your theory of spontaneous combustion.

WARRICK:  How do you know about Sara's theory?

DAVID PHILLIPS:  Word gets around.

WARRICK:  No. You're just siding with Sara 'cause you got a crush on her.

DAVID PHILLIPS:  (smiling)  No, that's why I wore a clean coat.  I'm just

reporting my observations.  If the foot had been severed, the marrow would still

be intact.

WARRICK:  So your official "observation" is spontaneous combustion?

DAVID PHILLIPS:  Not yet.  I want to send a scraping down to toxicology.

(DAVID turns to get the around the table, but SARA'S in his way.)

DAVID PHILLIPS:  Excuse me. 

(SARA smiles and moves.  She also turns and smiles at WARRICK.) 

DAVID PHILLIPS:  I want to check for any flammable compounds in the blood. 

Don't expect much.

(DAVID takes a sample and puts it on a slide.)

DAVID PHILLIPS:  The quality of the sample may have been compromised by the

heat.

SARA:  I'm going to go talk to Grissom -- see what he thinks.

WARRICK:  No, no. We're a team.  The only place we're going is back down to that

crime scene.

CUT TO:

SCENE #12:

[INT. CSI - GRISSOM'S OFFICE]

(TERI sits in front of the computer working on the aging composite while GRISSOM

stands behind her watching over her shoulder.) 

TERI MILLER:  Okay, software's loaded.

GRISSOM:  It's preprogrammed with developmental averages?

TERI MILLER:  Exactly.  Aging is about predictable craniofacial growth.  Faces

grow down and out.  So the first step is to stretch the bottom half of the face.

(TERI adjusts the bottom half of the face.)

TERI MILLER:  You try.

(TERI looks up at GRISSOM who looks back down at her.)

TERI MILLER:  (urging)  Go ahead.

(GRISSOM adjusts the bottom half of the face and puts the line too low.  The

faces adjusts abnormally.  They laugh.)

GRISSOM:  No, no.  Maybe you should drive.

TERI MILLER:  Good idea.  Here we go.  So, at age four, the bridge of the nose

is taking shape and the interorbital distance is established.  And baby teeth

are visible.

(She makes the adjustment.  GRISSOM leans in to whisper to her.)

GRISSOM:  I have a question.

TERI MILLER:  Okay.

GRISSOM:  Since I screwed up our last date, will we ever have dinner again?

TERI MILLER:  (smiles)  Oh, we'll have dinner ... just not together.  So the

ears are low and large in proportion to the head.

(She adjusts the photo.)

GRISSOM:  You know, I did apologize.

TERI MILLER:  And you're forgiven. 

(GRISSOM straightens to watch from behind TERI.)

TERI MILLER:  So over the next ten years, the face elongates the skin thickens,

the hair pattern is set and the small deciduous teeth are replaced by the

secondary dentition.

(She makes the final adjustment to the photo.)

TERI MILLER:  Once the face is aged I look to the mother to fill in the blanks.

(The screen splits into two.  The picture of MELISSA moves to the left and a

second picture of MRS. MARLOWE appears on the right.)

GRISSOM:  Is that Mrs. Marlowe?

TERI MILLER:  Uh-huh.  Most daughters at age 25 age quite similar to their

mothers.

(TERI uses the mouse to cut and copy the forehead and chin portion from the

mother to the daughter.)

TERI MILLER:  A network of grids allows me to fine-tune the tiniest facial

characteristics one section at a time.  I'm just softening a few edges, growing

the hair ... and we're done.

(TERI makes the adjustments.)

GRISSOM:  Wow.  Hello, Melissa.

(CATHERINE walks in to the doorway.)

CATHERINE:  Am I interrupting?

TERI MILLER:  Not at all.  You're just in time.

GRISSOM:  Catherine, say hello to Melissa Marlowe.

(GRISSOM turns the monitor toward CATHERINE.  She looks at the photo composite

and her eyes widen.)

CATHERINE:  Oh, my god.

GRISSOM:  What?

CATHERINE:  That's Tammy Felton and we've already met.

(Camera holds on GRISSOM'S surprised look.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #13:

[INT. CSI - HALLWAY -- DAY] 

(GRISSOM, CATHERINE and NICK walk down the hallway as they fill each other in.)

NICK:  Tammy Felton's our murder suspect?

CATHERINE:  She was kidnapped 21 years ago and may have killed the man who

raised her -- possibly the same man who kidnapped her.

NICK:  Whoa, wait. I thought her prints from the crime scene -- they weren't

fresh.

GRISSOM:  Yeah, well, she could've cased the place weeks ago and then remembered

to wear gloves on the big night.

CATHERINE:  Hey, Nick.  So what's the word on the murder weapon?

NICK:  Well, the swab from the head wound's at trace.

GRISSOM:  And?

NICK:  I'm on it.

(NICK leaves as GRISSOM turns to CATHERINE.)

GRISSOM:  You and I have an appointment with our shrink.

CUT TO:

SCENE #14:

[INT. DR. KANE'S OFFICE -- DAY]

(GRISSOM and CATHERINE sit behind DR. PHILLIP KANE'S desk.  DR. KANE fiddles

with a baseball bat.  He holds it out to GRISSOM to help him.)

DR. PHILLIP KANE:  Here. You twirl, I'll talk.

(GRISSOM stands up as he holds the bat so that DR. KANE can tape up the handle.)

DR. PHILLIP KANE:  My son has little league in an hour.  He's scared of the

ball.

GRISSOM:  You think this new bat's going to do the trick?

(DR. KANE chuckles.)

CATHERINE:  Why don't you just talk with him?

(DR. KANE silently chuckles at the thought.)

CATHERINE:  Dr. Kane, this girl was kidnapped at age four.  Would she have any

recollection of her prior life?

DR. PHILLIP KANE:  The theory of infantile amnesia suggests that we have no

cognitive memory before the age of three but since Tammy -- or Melissa -- was

taken from her biological parents at age four she may remember something of her

former life.

GRISSOM:  But these memories would be ... tenuous?

DR. PHILLIP KANE:  A sound or a smell might awaken some latent image or feeling

but she'd have difficulty contextualizing these sensations.

CATHERINE:  That's got to be frustrating.

(DR. KANE finishes wrapping the bat and takes it from GRISSOM.)

DR. PHILLIP KANE:  And it's precisely that frustration which dominates this

woman's present state of mind.  Kidnapped children at that age tend to exhibit

some degree of sociopathy as adults.

CATHERINE:  Such as?

GRISSOM:  Inability to feel guilt, compassion or love, right?

DR. PHILLIP KANE:  Correct. But the most defining characteristic is their

instinct for survival.  There's nothing that they won't do.

CATHERINE:  Tammy Felton needs help.  She may be a suspect, but she's also a

victim.

GRISSOM:  Cath, meet with her again.  Ask open questions. 

(GRISSOM turns to shake DR. KANE'S hand.  CATHERINE stands up to leave.)

GRISSOM:  Thanks for your insights, Philip.  I'll let you know how this unfolds.

DR. PHILLIP KANE:  Gil ... be careful.  Sociopaths are dangerous because they

don't function by the same... moral code as the rest of us.

GRISSOM:  Welcome to my world.

CUT TO:

SCENE #15:

[INT. WINSTON RESIDENCE -- DAY] 

(WARRICK and SARA go back to the house.) 

SARA:  I checked with homicide again. They found no evidence of foul play.

WARRICK:  What about the husband -- is he still a suspect?

SARA:  No motive.  O'Riley spoke with friends and relatives.  They were a loving

couple.

WARRICK:  What about, uh ... life insurance policies?

SARA:  No, and you're reaching.

WARRICK:  I'm not the one who's reaching here. 

SARA:  We're scientists, right?  We want answers, the satisfaction of certainty. 

I'm not ignoring scientific method.  I'm just keeping an open mind.  If we

eliminate all the alternatives we're left with spontaneous combustion.  That's

exciting!

WARRICK:  That would be cool, but you've been jumping to conclusions from minute

one.

SARA:  She's a pile of ash.

(WARRICK stands up with an instrument in his hand.)

WARRICK  Well, I brought the ion detector.  This will pick up even the smallest

traces of hydrocarbon fumes.

SARA:  Great.

WARRICK:  I don't care what the lab says.  This puppy will reveal exactly what

accelerant was used to start the fire.

(He turns the detector on and it beeps steadily.  He finds nothing.)

SARA:  Well?

(WARRICK keeps at it.  Then turns it off.)

WARRICK:  Nothing.

CUT TO:

SCENE #16:

[INT. CSI - DNA LAB -- DAY]

(GREG is on the phone with his back to the door.  He doesn't notice NICK walk

into the lab.)

GREG SANDERS:  (to phone)  You know I love you.  Yes ... no, I love you more. 

No, I love you more.

(NICK clears his throat.)

(GREG turns around and sees NICK standing there.  He finishes up his phone

call.)

GREG SANDERS:  (to phone)  Bye, baby.

(GREG stands and hangs up the phone.)

NICK:  Do you have the results on the swab yet?

GREG SANDERS:  Uh ...

NICK:  Uh... from the dead guy at the pottery store?  The coroner sent over a

sample.  You were supposed to analyze the mineral content.

GREG SANDERS:  Oh, yeah, I'm sorry.  Grissom has just been running me around

like a lapdog.  I haven't had a chance.

NICK:  Grissom's on a missing persons-- he hasn't sent you anything.

GREG SANDERS:  Did I say Grissom?  No, I meant Catherine.

NICK:  Oh, yeah.  Catherine's working with me.

GREG SANDERS:  Oh.  Well, what do you say we check out that swab then, huh?

NICK:  Great.

(GREG laughs and opens the refrigeration unit to get the sample out.)

GREG SANDERS:  Don't you ever goof off, huh?  Do you ever get a little lost in

life?

NICK:  No.

GREG SANDERS:  Well, you should.

(GREG puts the slide under the scope.)

GREG SANDERS:  Okay...

(He looks under the scope.)

[SCOPE VIEW of slide.]

NICK:  Do you see the sparkly bits?

GREG SANDERS:  Fluorescent minerals.  Interesting.

(He pulls back and thinks a moment.)

GREG SANDERS:  Here, do me a favor, will you? 

(GREG hands NICK a pair of goggles, then steps to the side while NICK moves

around the table to get behind the scope.)

GREG SANDERS:  Put your nose down the scope.  And, when you see the sparkling

bits glow give a shout. 

(GREG turns the Rofin device on and attaches the nozzle to it.  He turns the

lights on as NICK puts on his goggles.)

(GREG adjusts the machine to P2 / 505.)

GREG SANDERS:  Okay, ready?

NICK:  Yeah, ready.

(GREG puts the light on the metal as NICK looks through the scope.)

[SCOPE VIEW of slide]

GREG SANDERS:  Lead.

(GREG adjusts the light machine.)

GREG SANDERS:  Zinc.

[SCOPE VIEW of the slide]

(He adjusts the light machine.)

GREG SANDERS:  Lithium.  Anything?

NICK:  Nothing yet.

(GREG adjusts the machine to P2 / 650.)

[SCOPE VIEW of the slide]

GREG SANDERS:  Manganese.

(GREG adjusts the machine again.)

GREG SANDERS:  Petroleum.

(He makes one final adjustment and the pieces glow.)

[SCOPE VIEW of the slide]

GREG SANDERS:  All right, how about this?

NICK:  Whoa, whoa, whoa ... stop.

GREG SANDERS:  It's uranium.

(GREG and NICK take off their goggles.)

NICK:  Are you serious?

GREG SANDERS:  Simple quantum mechanics.  When the molecule is bombarded with

energy at a specific level the electrons excite, causing the mineral to glow. 

And, at this wavelength, it's definitely uranium.

NICK:  Which is radioactive.  Do we need to evacuate the building or anything?

GREG SANDERS:  The amount is trace.  We should be fine.

NICK:  You sure?

GREG SANDERS:  No.

(NICK looks worriedly at his hands.)

GREG SANDERS:  But I can tell you one thing for sure -- there is definitely

uranium on your murder weapon.

CUT TO:

SCENE #17:

[INT. CSI - BREAK ROOM -- DAY] 

(NICK is busy scrubbing his hands when GRISSOM walks into the room.) 

GRISSOM:  I hear that, uh, Greg found uranium on the swab from Felton's skull.

NICK:  Yeah. He says I'm okay, but you know Greg.  Tell me, am I radiating a

green glow?

GRISOM:  You'll be fine, silkwood.

NICK:  What's uranium doing on a murder weapon anyway?

GRISSOM:  Well, before Peter Parker was bit by that radioactive spider and

became spider-man back in the '50s oxidized uranium flecks were used as color

enhancers.

NICK:  Color enhancers?

GRISSOM:  Like paint?  Paints, dyes, glazes... since our guy was killed in a

pottery store...

NICK:  Say no more.

(NICK throws the towel away and walks out of the room.)

CUT TO:

SCENE #18:

[INT. THE CRACKED KILN -- DAY] 

(NICK uses the geiger counter in the store.  He goes from product to product

looking at the counter.  Finally, the counter starts ticking wildly as he points

to the gnome figurine.) 

(NICK picks up the figurine and sees the pieces of hair and blood on the chipped

backside.)

NICK:  (chuckles)  You got to be kidding me.

CUT TO:

SCENE #19:

[INT. CSI - BREAK ROOM -- DAY] 

(GRISSOM interviews HANK and MRS. MARLOWE.) 

MRS. MARLOWE:  You found Melissa?

GRISSOM:  Yes.

MRS. MARLOWE:  When can we see her?

GRISSOM:  It's not quite that simple.

HANK MARLOWE:  What do you mean?

GRISSOM:  Well, I don't want to be evasive.  It's just that, uh ... we suspect

she might have committed a crime.

MRS. MARLOWE:  What kind of crime?

GRISSOM:  A homicide.

MRS. MARLOWE:  This can't be happening.

HANK MARLOWE:  Mr. Grissom, we want to see our daughter-- now.

CUT TO:

SCENE #20:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(CATHERINE interviews MELISSA MARLOWE/TAMMY FELTON.) 

CATHERINE:  Tell me about your mother.

MELISSA MARLOWE/TAMMY FELTON:  What's she got to do with this?

CATHERINE:  Tammy, if you've got nothing to hide and you want me to find out who

killed your father why don't you just answer my questions?

MELISSA MARLOWE/TAMMY FELTON:  Mara, my mother ... died a few years ago.

CUT TO:

SCENE #21:

[INT. POLICE DEPARTMENT - HALLWAY -- DAY]

(GRISSOM leads the MARLOWES down the hallway.)

GRISSOM:  I can let you see her, but I can't allow you to talk to her -- not

right now -- and not under these circumstances.

(They turn the corner and walk into the OBSERVATION ROOM.)

[OBSERVATION ROOM]

(Through the glass, they watch as CATHERINE interviews MELISSA / TAMMY.)

CATHERINE:  Your parents, were they close?

MELISSA MARLOWE/TAMMY FELTON:  They loved each other.

CATHERINE:  Do you have any siblings?

MELISSA MARLOWE/TAMMY FELTON:  Only child.

CATHERINE:   How was your childhood?  Were you a happy child?  Did you have any

friends?

MELISSA MARLOWE/TAMMY FELTON:  Look, I don't see how these questions are going

to help you.  May I go?

CATHERINE:  Sure.

(MELISSA/TAMMY stands up and leaves the room.  The door closes behind her.)

(MRS. MARLOWE watches, then runs out of the observation room and into the

hallway to catch up with her.)

(GRISSOM sees her run and chases after her.)

CUT TO:

SCENE #22:

[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS

(MRS. MARLOWE turns the corner and sees MELISSA/TAMMY walking.  She runs to her,

calling her daughter's name.)

MRS. MARLOWE:  Melissa? ... Melissa?!

(She reaches MELISSA/TAMMY and pulls her around.)

MELISSA MARLOWE/TAMMY FELTON:  Excuse me?

MRS. MARLOWE:  It's mom ...

(MRS. MARLOWE hugs MELISSA/TAMMY warmly.)

(GRISSOM and HANK MARLOWE catch up with them.)

MRS. MARLOWE:  ... baby...

(MELISSA/TAMMY looks confused, then pushes MRS. MARLOWE away from her.)

MELISSA MARLOWE/TAMMY FELTON:  (hard)  Lady ... I'm not your daughter.

(MELISSA/TAMMY turns around and walks down the hallway toward the door.  MRS.

MARLOWE starts to cry.)

MRS. MARLOWE:  Who is she?  Her name?  Who is she now?

CATHERINE:  Tammy -- Tammy Felton.

MRS. MARLOWE:  Oh, my god.

CATHERINE:  What?

(MRS. MARLOWE cries.)

HANK MARLOWE:  Mara Felton was our baby-sitter.  The police questioned Mara when

Melissa disappeared.

CATHERINE:  Tammy referred to her mother as Mara, now deceased.

MRS. MARLOWE:  I am her mother.

CATHERINE:  Of course. I didn't mean ...

HANK MARLOWE:  We need a lawyer.

GRISSOM:  Why would you need a lawyer?

HANK MARLOWE:  Not for us; for our daughter.

(The MARLOWES turn and leave.  CATHERINE watches them go.  She shakes her head

then turns to GRISSOM.)

CATHERINE:  What were you thinking?

GRISSOM:  (sighs)  I don't know.  I wanted to observe them, I guess.

CATHERINE:  That woman hasn't seen her daughter in 21 years.  You actually

thought a glass wall would keep them apart?

GRISSOM:  I never thought about that.

CATHERINE:  I know.  You're not good with people.

GRISSOM:  Yeah.

CUT TO:

SCENE #23:

[INT. POLICE DEPARTMENT - PARKING LOT -- DAY] 

(SARA walks up to WARRICK.) 

SARA:  Interesting voice mail you left me.

WARRICK:  What's that?

SARA:  "Meet me behind CSI and bring a cotton nightgown."  I'd wear it for you

but, uh, I prefer pajamas.

WARRICK:  Really? It was actually for my girlfriend here -

(WARRICK uncovers the cloth around a pig.)

WARRICK:  Miss Piggy.

(SARA grimaces and takes a step backward.)

SARA:  We're experimenting on a pig again?

WARRICK:  Yeah.

(WARRICK puts the pig in the rocking chair similar to the one at the WINSTON'S

house.)

SARA:  (swallows)  You know, I-I-I haven't eaten meat since Grissom used one to

estimate postmortem insect growth.

WARRICK:  Well, I tried for human volunteers, but no takers.

SARA:  What are you going to do,  exactly?

(WARRICK takes the cotton nightgown from SARA and starts dressing the pig.)

WARRICK:  What are we going to do?  We're disproving the existence of

spontaneous human combustion.

SARA:  (smiles)  You do not give up.

WARRICK:  Well, we're recreating the death of Nadine Winston, right?  She was

wearing a cotton nightgown -- thank you -- and she had a half a pack of smokes

on her end table, which means she was probably smoking a cigarette.

SARA:  If she burned herself with the cigarette, she would've woken up, not

burned up.

WARRICK:  Best part:  Toxicology sample came back.  Nadine had a high

concentration of seconal in her blood.

SARA:  Sleeping pills.

WARRICK:  Enough to knock out a horse.

(WARRICK finishes dressing the pig.)

WARRICK:  All right.

(He takes out a cigarette and sticks it in his mouth and starts patting himself

looking for matches.)

SARA:  Care for a light?

(SARA takes out a lighter from her jacket pocket and lights WARRICK'S

cigarette.)

(WARRICK makes sure that the cigarette it lit, then places it on the edge of

Miss Piggy's cotton nightdress.)

SARA:  Now what?

WARRICK:  We wait.

(The cigarette starts to burn the nightdress.)

CUE SOUND:  (PRELAP)  DOOR BUZZER

CUT TO:

SCENE #24:

[EXT. FELTON RESIDENCE - LATE DAY]

(MELISSA/TAMMY opens the door to CATHERINE, NICK and GRISSOM.)

CATHERINE:  Hi, Tammy.  We just, uh, want to look around.

(NICK takes out the warrant from his pocket.)

NICK:  We have a warrant.

(MELISSA/TAMMY opens the front door.

MELISSA MARLOWE/TAMMY FELTON:  A warrant for what?

GRISSOM:  Any evidence relating to the murder of your father.

CATHERINE:  Tammy, could you step outside?  This officer will keep you company.

(MELISSA/TAMMY steps outside the house.)

CATHERINE:  Thanks.

(CATHERINE walks into the house.)

CUT TO:

SCENE #25:

[INT. FELTON RESIDENCE - DAY -- CONTINUOUS

(GRISSOM and CATHERINE look through the clothing.  NICK walks into the room.  He

stops in front of them and clears his throat to get their attention.)

GRISSOM:  What?

NICK:  I should get a finder's fee. 

(NICK holds up a pair of gloves.  GRISSOM stares at them and stands up.)

NICK:  (laughs)  Here.  One for each of you.

(NICK ands them each a glove.  GRISSOM looks at it under the magnifying glass. 

CATHERINE does the same.)

CATHERINE:  Yellow paint.

GRISSOM:  Shall we test for uranium?

NICK:  I need a darkroom.

(CATHERINE hands the glove to NICK.  GRISSOM clears a spot off of the table. 

CATHERINE takes off her jacket and hands it to GRISSOM.)

NICK:  Now, if uranium is present the photons should react with the film. 

(NICK takes out the unexposed film and holds it with the glove under the

jacket.)

NICK:  Okay, I'm exposing it ...

(Under the jacket, he exposes the film to the glove.  He takes out the film and

waits for it to develop.)

(Fast motion time development to:  The film shows the yellow flecks.)

CATHERINE:  Well, that's affirmative for uranium.

(NICK nods as he hands the photo to GRISSOM.)

GRISSOM:  Nicely done, Nick.

NICK:  Thanks.

(GRISSOM cuts open the gloves at the seams into two flat hand-shaped halves.)

(CATHERINE walks back into the room with MELISSA/TAMMY and the OFFICER.)

GRISSOM:  Miss, have you ever worn these gloves?

MELISSA MARLOWE/TAMMY FELTON:  No. They belonged to my mother.

GRISSOM:  Really?  Well, we'll see.

(GRISSOM dusts the inside of the gloves.)

CATHERINE:  Tammy, I need your right index finger.

(MELISSA/TAMMY watches GRISSOM and holds out her finger for CATHERINE to print. 

CATHERINE takes the print, then sits down on the couch next to GRISSOM waiting

for him to lift the print from the glove.)

(GRISSOM tape lifts the print off of the gloves then compares it to TAMMY'S

print.  He goes from print to print.)

GRISSOM:  (looks up)  It's a perfect match.

(Quick flashback to:  At the back of The Cracked Kiln, TAMMY and JOE FELTON both

enter the pottery store.)

(Cut to:  JOE cracks the safe.)

GRISSOM:  (v.o.)  Joe lanced the safe.

(Cut to:  JOE takes out the cash box from the safe and moves to the side to get

the money.  TAMMY looks around and sees the gnome figurine on the counter.  She

hits JOE on the back of the head.)

GRISSOM:  (v.o.)   Once the safe was cracked you seized the moment and bashed

his head in -- three blows.

(End of flashback.  Resume to present.)

(MELISSA/TAMMY doesn't say anything.)

GRISSOM:  Nick, call Brass.  Tell him it's time to make an arrest.

NICK:  Done.

(NICK stands up and leaves the room.)

MELISSA MARLOWE/TAMMY FELTON:  You're making a mistake.  I didn't kill my

father.  We weren't alone.

GRISSOM:  I'm sorry, but there's no evidence to indicate that there was a third

person present at the crime scene.

CATHERINE:  Who else was there?

MELISSA MARLOWE/TAMMY FELTON:  I tried to stop her, I swear.

CATHEIRNE:  Tammy ...

(CATHERINE stands up.)

CATHERINE:  Who was with you?

MELISSA MARLOWE/TAMMY FELTON:  Melissa Marlowe.  But that bitch wouldn't listen.

CUT TO:

SCENE #26:

[INT. POLICE DEPARTMENT - OBSERVATION ROOM]

(DR. PHILLIP KANE explains the condition to GRISSOM, CATHERINE and BRASS while

MELISSA/TAMMY sits in the interview room beyond the mirror.) 

BRASS:  So we're looking at a split personality?

DR. PHILLIP KANE:  Quite possible.  Two personalities in one.

BRASS:  Is there any scientific evidence that supports this disorder?

GRISSOM:  Brain scans have documented changes in the hippocampus of individuals

shifting from one personality to another.  But would these two personalities be

aware of each other?

DR. PHILLIP KANE:  Well, usually the dominant personality is aware of

everything.  The subjugated personality is only aware of itself.

GRISSOM:  Tammy's the dominant personality.

CATHERINE:  But Melissa killed Joseph Felton -- Tammy's father.

GRISSOM:  Who was also Melissa's kidnapper.

BRASS:  Revenge for a kidnapping 21 years after the fact?

DR. PHILLIP KANE:  Well, it is possible.  It may have taken that long for the

subjugated personality to break free.

BRASS:  Maybe, uh, Miss Mirror-has-two-faces is playing us for fools.  We corner

her with the evidence, she goes nuts sets the groundwork for an insanity plea.

CATHERINE:  Forensic psychology is a science.

GRISSOM:  We have to stay open to all the possibilities.

(There's a light knocking on the door and an OFFICER walks in.)

UNIFORM OFFICER:  Captain?

BRASS:  Yeah?

UNIFORM OFFICER:  The girl's parents are here with her attorney.

BRASS:  Well, this ought to be interesting.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #27:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]

(MRS. MARLOWE sits across from MELISSA/TAMMY.)

MRS. MARLOWE:  Melissa ...

(MELISSA/TAMMY looks up.)

MELISSA MARLOWE/TAMMY FELTON:  Lady, I'm sorry, but I don't know who you are. 

I'm not Melissa; I'm Tammy.  Tammy Felton.

RANDY PAINTER:  Tammy, my name is Randy Painter.  I'm a defense attorney.  The

Marlowes have hired me to defend you.

TAMMY FELTON:  (nods)  I didn't kill my father.

HANK MARLOWE:  Melissa, I don't know what you've been told but you're our

daughter.  You were taken from us.  We've spent the last 21 years looking for

you.

(MELISSA/TAMMY shakes her head.)

TAMMY FELTON:  My father was Joseph, my mother was Mara and they're both dead.

RANDY PAINTER:  Bail's been set at half a million dollars.

(MELISSA/TAMMY looks at RANDY PAINTER and shakes her head in disbelief.  MRS.

MARLOWE reaches out and covers MELISSA'S hand with her own.  MELISSA pulls her

hand away.)

(She looks up and stares at the locket around MRS. MARLOWE'S neck.  She notices

MELISSA looking at it.)

MRS. MARLOWE:  You looking at my necklace?  Your father bought this for me when

you were born and you used to play with it. 

(MELISSA looks as if she might be remembering it.)

MRS. MARLOWE:  We're not going to let you go to jail.  Right?  Right, Hank?

HANK MARLOWE:  Raising even ten percent won't be easy.

(MRS. MARLOWE starts crying.)

MRS. MARLOWE:  Hank, she's not spending another night away from us.  Whatever it

takes.

HANK MARLOWE:  When are we due in court?

RANDY PAINTER:  The prelim's tomorrow morning, 9:00 A.M.

HANK MARLOWE:  Then I'd better hurry with bail.

[OBSERVATION ROOM]

(GRISSOM and CATHERINE watch as MRS. MARLOWE tries to reach out her hand to

MELISSA from across the table, only to pull it back.)

CUT TO:

SCENE #28:

[EXT. POLICE DEPARTMENT - PARKING LOT -- NIGHT] 

(SARA and WARRICK play chess next to the smoking chair.  WARRICK takes a sip

from his mug while SARA makes her move.) 

(GRISSOM walks up to them.)

GRISSOM:  I just got back to the lab, saw the smoke. What's up?

SARA:  We're just working the case.

WARRICK:  Yeah, we're disproving spontaneous human combustion.  We dressed the

pig up in a cotton dress and torched it with a cigarette.

GRISSOM:  And what happened?

WARRICK:  The pig's been reduced to ash.  The fat acted like candle wax; burned

hot, slow and intense. 

(GRISSOM looks down at the chess board and makes the next move.  WARRICK slows

down his explanation when he notices that GRISSOM'S not that interested in it.)

WARRICK:  Nothing spontaneous about it.

GRISSOM:  You both knew that there'd be a scientific explanation for the human

torch though, right?

(SARA doesn't say anything and looks down at the board.  WARRICK quickly

covers.)

WARRICK:  Of course.

(SARA looks at WARRICK who glances over at her also.  GRISSOM pipes up.)

GRISSOM:  Did you find the wick?

(GRISSOM doesn't say anything and walks around SARA toward the chair.)

SARA:  The wick?

WARRICK:  The what?

GRISSOM:  A piece of fabric that's scorched but not completely burned ... like

possibly from the nightgown.

(GRISSOM picks up a piece of unburned fabric stuck in the chair.)

SARA:  We found the same thing at the crime scene.

GRISOM:  It's called the wick effect.  It's like an inside-out candle.  The

fabric acts like a wick, and the body burns inward explaining the high

temperatures which destroy the bone.  The fabric ends up scorched, but not

completely burned.

SARA:  You knew about the ashes?  Why didn't you say something when you gave us

the case?

GRISSOM:  Well, in science we learn through experimentation, right?  Sometimes

we need to see it to believe it.  You guys did a nice job.  Now you have to

clean it up.

(GRISSOM puts the piece of cloth down and walks away.  SARA moves to stand in

front of WARRICK.)

SARA:  Well, I would've looked like an idiot.  Thanks for covering.

WARRICK:  Well, you can show your appreciation by, uh, cleaning up.

(She scrunches her face, then smiles.)

SARA:  Done.

CUT TO:

SCENE #29:

[INT. POLICE DEPARTMENT - JAIL -- NIGHT]

(The doors slide open and CATHERINE walks in.  She walks up to the cell and

looks at MELISSA/TAMMY.)

CATHERINE:  Thank you.  I got a call that Melissa wanted to see me.

MELISSA MARLOWE/TAMMY FELTON:  Thanks for coming.

CATHERINE:  Am I speaking to Melissa ... or Tammy?

MELISSA MARLOWE/TAMMY FELTON:  Melissa.  I know who I am now ...  after spending

time with my real parents.

CATHERINE:  (shakes her head)  I'm not an attorney.  There are no privileges

here.  Whatever you say ...

MELISSA MARLOWE/TAMMY FELTON:  (interrupts)  What are my chances ... in court?

CATHERINE:  The evidence is damaging.

(She stands up and walks up to the bars to look at CATHERINE.)

MELISSA MARLOWE/TAMMY FELTON:  If I plead insanity ... ?

CATHERINE:  You have a lawyer.  Why are you asking me?

MELISSA MARLOWE/TAMMY FELTON:  You wanted to help me.  When I I.D.'d Joe, you

were kind.  I need you to testify that I was not sane at the time that I killed

Joe.  My lawyer says that would go a really long way with a jury.

CATHERINE:  (shakes her head)  I'm not an expert.

MELISSA MARLOWE/TAMMY FELTON:  But it doesn't matter.  You spent time with me. 

You could answer questions the right way.  I can't explain what happened in that

room today but it's like ... the only memories I have are of being a little kid. 

The last 21 years are blank -- like they never happened.

CATHERINE:  Then you shouldn't have any memories of me ... Tammy. 

(The game's up.)

CATHERINE:  There is no Melissa, is there?

MELISSA MARLOWE/TAMMY FELTON:  (hard)  Get the hell out of here.

CATHERINE:  I'm gone.

(CATHERINE turns to leave.)

MELISSA MARLOWE/TAMMY FELTON: (little girl voice)  Don't go! 

(CATHERINE stops and turns to look at MELISSA/TAMMY.)

MELISSA MARLOWE/TAMMY FELTON:  (little girl voice)  Don't leave me here with

her. 

(CATHERINE does say anything.)

MELISSA MARLOWE/TAMMY FELTON: (normal voice)  Just practicing for court.  Not

bad, huh?

(CATHERINE turns.)

CATHERINE:  Guard.

(She leaves the jail area.)

CUT TO:

[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]

SCENE #30:

[INT. CSI - HALLWAY -- DAY] 

(CATHERINE walks into the hallway and into GRISSOM'S office.) 

CATHEIRNE:  Hey, come on. We're going to be late for the prelim.

(GRISSOM is sitting at his desk.)

GRISSOM:  Tammy Felton's prelim has been postponed indefinitely.

CATHERINE:  What? Why?

GRISSOM:  She left town. Skipped bail.

CATHEIRNE:  (realizes)  How much did the parents lose?

GRISSOM:  Their house and their life savings. 

(CATHERINE sighs.)

GRISSOM:  It's over.  Case closed.  We move on.

(GRISSOM takes off his glasses.)

CATHERINE:  Right.

(CATHERINE'S not about to give up on this.  She turns and heads out the office

door.)

CUT TO:

SCENE #31:

[INT. CSI - HALLWAY - DAY -- CONTINUOUS] 

(CATHERINE walks down the hallway.  She's on the phone with BRASS.) 

CATHEIRNE:  Brass, it's Catherine.  I need a credit card purchase report on the

Marlowes.  The last 24 hours.  Based on what?  Based on the fact that the

Marlowes are blind when it comes to their daughter and would do anything for

her.

(CATHERINE walks out of camera frame.)

CUT TO:

SCENE #32:

[INT. MARLOWE RESIDENCE - LIVING ROOM -- DAY]

(CATHERINE and BRASS question the MARLOWES.)

HANK MARLOWE:  We have no idea where she is.

CATHERINE:  Look, you're here, she's not and we know that you helped her flee

the jurisdiction.

MRS. MARLOWE:  What?

BRASS:  22 bus tickets bought with your credit card to 22 different states?  You

made sure that we couldn't track her.  Now, that's aiding and abetting the

flight of a suspected felon.

CATHERINE:  Wherever you think she is -- wherever you're planning on meeting her

-- she's not there.  She played you.  Now, if you'll just tell us where she is,

we won't file charges, right?

BRASS:  Well, if she's apprehended, yes.  Otherwise it's a felony.  You're going

to jail.

(MRS. MARLOWE stands up.  HANK MARLOWE stands up also.)

MRS. MARLOWE:  Arrest us.

CATHERINE:  Think about what you're doing.

HANKMARLOWE:  We know exactly what we're doing.

MRS. MARLOWE:  Melissa's free.  That's all that matters.

(CATHERINE sighs.  BRASS calls over the OFFICERS standing on the side.) 

BRASS:  Frankie? 

(The OFFICERS move forward.  BRASS reads the MARLOWES their rights.)

BRASS:  You have the right to remain silent.  Anything you say can and will be

used against you in a court of law.

CUT TO:

SCENE #33:

[EXT. LAS VEGAS HIGHWAY - BUS STOP -- DAY]

(The ALL LAND TRAILS bus pulls over to the side of the road.  A single figure

disembarks.  The bus leaves.)

(MELISSA MARLOWE/TAMMY FELTON stands there and waits.  She takes off her

kerchief and fluffs up her hair.  She removes her jacket as she waits for the

car to stop.)

(DARIN HANSON gets out of the car and closes the door.)

DARIN HANSON:  Am I late?

MELISSA MARLOWE/TAMMY FELTON:  Oh, you're worth waiting for.  

(DARIN HANSON opens the door for her.)

MELISSA MARLOWE/TAMMY FELTON:  You owe me one, Darin.

DARIN HANSON:  Owe you?  I'm the one that told you the truth about your father.

MELISSA MARLOWE/TAMMY FELTON:  And you knew exactly what I'd do about it.

(MELISSA MARLOWE/TAMMY FELTON gets into the car (license #RLH 320).  He closes

the door for her.  She pulls down the visor mirror and looks at herself while

DARIN HANSON drives off.)

DARIN HANSON:  Where to?

MELISSA MARLOWE/TAMMY FELTON:  Does it matter?

DARIN HANSON:  Not in the least.

FADE TO BLACK.

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

THE END

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

--------------------------------------------------------------------------------------------------------------------------------------

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

CSI:  CRIME SCENE INVESTIGATION

1X18:  $35K O.B.O.

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

COLD OPEN:

[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]

SCENE #01:

[EXT. ANDRE'S RESTAURANT - SIXTH STREET - NIGHT]

(The restaurant door opens and a guest walks in.  He politely greets KEVIN and

AMY SHEPHERD who are just walking out the restaurant.) 

DINING GUEST:  Good evening.

KEVIN SHEPHERD:  Hi.

(Arms around each other, they walk down the sidewalk.)

AMY SHEPHERD:  That was nice.  I had such a beautiful time tonight.  Eight

years.

KEVIN SHEPHERD:  People said we wouldn't last.  (she laughs)  Happy anniversary,

baby.

AMY SHEPHERD:  Happy anniversary.

(They kiss and continue walking.)

(As they walk by, the camera focuses on the sidewalk where a lit cigarette rolls

discarded.)

(The Shepherds reach their parked car.  KEVIN walks AMY to the passenger door,

then walks around the car to the driver's side.  He pauses and they look at each

other.  She smiles.)

(Someone masked and dressed in black grabs her from behind.  With a knife in his

hand, he slices her neck.)

(KEVIN SHEPHERD stands frozen in shock.  AMY is on the ground, dead in a pool of

blood.)

SHORT TIME CUT TO:

SCENE #02:

[EXT. ANDRE'S RESTAURANT - SIXTH STREET - NIGHT]

(A camera flashes.  SARA kneels near AMY SHEPHERD and takes pictures of the

victim.) 

WARRICK:  Two victims.  She's on the sidewalk, a foot from the curb and he's in

the middle of the street.

(WARRICK turns to look at SARA who stands up.  She looks at WARRICK and

indicates the body on the sidewalk.)

SARA:  What's missing here?

WARRICK:  No car.

NICK:  No mercy. 

(NICK is kneeling down next to the second body out on the road:  KEVIN

SHEPHERD.)

NICK:  This guy's stabbed at least five times.  Got some reddish hair.  Vic's

hair is brown.

(GRISSOM and BRASS walk up to the scene.)

GRISSOM:  What do we got?

BRASS:  They had dinner at Andre's.  Coroner's assistant has his wallet with the

credit card receipt.

(GRISSOM puts down his kit and kneels to look at KEVIN SHEPHERD'S body.)

GRISSOM:  They didn't bother to valet.

BRASS:  Saved five bucks, cost them their lives.  Carjacking gone bad.

GRISSOM:  Carjackers don't use knives.

BRASS:  Never?

GRISSOM:  They used to say, "Never on Sunday."  Then Pearl Harbor happened.  I

never say, "Never." 

(GRISSOM turns to look back at the body.)

[CAMERA SLOW MOTION]

(A drop of water falls into a pool of blood.  Another drop of water falls on

someone's jacket.)

(GRISSOM looks up at the sky.  A rain drop falls on his forehead.)

[RESUME CAMERA MOTION]

BRASS:  Oh, man ...

(It starts pouring.)

(GRISSOM stands and starts yelling out instructions.)

GRISSOM:  We got three minutes to process this crime scene!  

(Everyone moves to process the scene.  SARA takes pictures as fast as she can.)

GRISSOM:  After that, we lose it all to the gutters!  Sara, take overalls! 

Warrick, put a cone down on everything you bag!  Nick, we got to get these

bodies into the van!

(Everyone rushes around to preserve and collect whatever they can.  It is

complete chaos as people run into each other trying to process the crime scene.)

NICK:  Now!  Let's go guys!  Go!

SARA:  Pick the jacket up!

(SARA finishes taking pictures of AMY SHEPHERD and moves to take pictures of

KEVIN SHEPHERD.  The Coroners, Officers and other personnel move quickly.)

NICK:  Let's go!

BRASS:  Bring me a body bag.  I want to cover this woman!

NICK:  Get a bag, hurry up!

(The Coroners move to get the body bags.  WARRICK rushes to open bags to gather

evidence on the sidewalk.)

SARA:  Can we get another gurney?

GRISSOM:  I need another gurney.

(The Coroners move quickly to prep the gurney to get the body out of the rain.)

CORONERS:  Load this up! 

(WARRICK grabs the bags of evidence and runs toward the cars.)

NICK:  Let's go, let's go!  Okay, I've got it.

(The gurney is pushed next to one of the bodies and NICK instructs the

Coroners.)

NICK:  All right, let's get him out.

(SARA takes more pictures.)

SARA:  Come on, come on!  Hurry up!

NICK:  Let's go, hurry up!  Get the plastic on!

(SARA finishes with the pictures and stands next to GRISSOM.)

SARA:  We're losing everything!

(GRISSOM turns and looks up at the sky.)

GRISSOM:  Yeah ... our killer got lucky tonight.

(The camera pulls backward up to the sky as GRISSOM looks down at the ground,

then all around him.  Everyone continues to work to save what they can.)

HARD CUT TO

END OF TEASER

ROLL TITLE CREDITS

(COMMERCIAL SET)

FADE IN.

SCENE #03:

[EXT. SIXTH STREET - CRIME SCENE - NIGHT]

(Camera opens on a cigarette butt in the middle of the sidewalk.  It's stopped

raining for the moment.  WARRICK kneels down next to it shining his flashlight

down at it.)

WARRICK:  Well, rain screwed up all our chances of a good DNA profile.

NICK:  Don't even bother bagging it.

(NICK walks away continuing to look for whatever evidence the rain may have left

behind.)

(Thunder rumbles.)

(Out on the street, GRISSOM slams the Coroner's back door shut as it leaves.  He

and SARA walk around the side to meet up with BRASS.)

GRISSOM:  Do we have any eyeballs at all?

BRASS:  It's a quiet street, weeknight.  Neighbors heard the commotion.  Kid

over here, he had the only view.

(GRISSOM and SARA both turn around to look at the young man sitting on the curb. 

They head off in that direction.)

GRISSOM:  What's your name, son?

(JUSTIN GREEN stands up.)

JUSTIN GREEN:  Justin Green.

GRISSOM:  Well, Justin, my name's Gil Grissom.  This is Sara Sidle.  We're with

the Crime Lab.  Is, uh, is that your blood?

(GRISSOM shines the light on JUSTIN'S bloodied jacket.)

JUSTIN GREEN:  No, I-it's his, the one you took away.  I tried to help him.  I

thought I was doing everything right.  I think I might have killed him.

GRISSOM:  Whoa.  Slow down.

SARA:  What did you do exactly?

(Quick flashback to:  Earlier that night.  JUSTIN is walking on the street when

a speeding SUV almost hits him.)

JUSTIN GREEN:  (v.o.)  I was crossing the street.  This SUV came out of nowhere

-- almost clipped me.  I turned and there was this body lying in the street.

(From where he stands, he turns and sees something.)

JUSTIN GREEN:  Oh, my god. 

(He immediately starts shouting for help.)

JUSTIN GREEN:  Help! Help!  Somebody call 9-1-1!

(He runs over toward the body.)

JUSTIN GREEN:   (v.o.)  I freaked. 

(He kneels down next to the body and starts to perform CPR.0)

JUSTIN GREEN:  (v.o.)  I did everything wrong.  I didn't tilt his head back.  I-

I- ...

(End of flashback.  Resume to present.)

JUSTIN GREEN:  I didn't clear his airway.

GRISSOM:  If it makes you feel any better, that's not what killed him.

SARA:  Justin ... we're going to need to take your clothes.

JUSTIN GREEN:  Why?

SARA:  Because there's blood all over them.

(JUSTIN looks down at his clothes.)

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) - NIGHT]

SCENE #04:

[EXT. COLLAPSED APARTMENT BUILDING - NIGHT]

(Firefighters and other Rescue Personnel walk into the collapsed building to

look for survivors.  Camera moves out from inside the building out into the

sidewalk and street where the rescue vehicles are and where other personnel are

busy working.)

(Injured people on gurneys being helped.  There are fire and rescue crews,

ambulance and other officers all parked along the street.)

(CATHERINE parks her Tahoe and gets out.  She takes her kit and closes the car

door, then makes her way toward the collapsed building.)

SGT. O'RILEY:  Catherine?

(CATHERINE turns to see SGT. O'RILEY walking toward her.)

CATHERINE:  Hey.

SGT. O'RILEY:  I like the hair.

CATHERINE:  Thanks.

(They make their way toward the collapsed building.)

SGT.  O'RILEY:  What are you doing here?

CATHERINE:  I was assigned.  This is my case.

SGT. O'RILEY:  Case?  The building collapsed.  There's nothing criminal here.

CATHERINE:  Right.  That's why you were assigned -- a homicide detective.  What

happened?

SGT. O'RILEY:  Well, part of the basement caved in.  Brought the rest down with

it.

CATHERINE:  Body count?

SGT. O'RILEY:  Three old women.  Sisters.  One minute you're watching wheel of

fortune -- next thing, game over.

CATHERINE:  And you're not calling this a crime scene?

SGT. O'RILEY:  Catherine, it's a building.

CATHERINE:  O'Riley ... it's a suspect.

CUT TO:

SCENE #05:

[INT. CSI - DNA LAB - NIGHT]

(GREG is in the lab looking through the scope.  NICK walks in.) 

NICK:  Hey, Greg.

GREG SANDERS:  (holds up a hand)  Shh.  I might be looking at the mother of my

children here.

(NICK puts on a pair of latex gloves.)

NICK:  Somebody's been putting in way too much overtime.

GREG SANDERS:  No, man, this is serious.  I had a date last night and this girl

has the most impossible green eyes.  Just ... bamm.  Shoulder-length blonde hair

... intelligent ... and she smells so good.

NICK:  Cute toes?

GREG SANDERS:  Oh ... ideal.

NICK:  Mmm.

GREG SANDERS:  And none are longer than the big toe.

NICK:  Mmm.

GREG SANDERS:  Both feet.  But, you know, what I need to know is what's on the

inside?

NICK:  Oh, what's in her heart?

GREG SANDERS:  No ... her DNA ... and let me tell you -- this girl has got some

fine epithelials.

(GREG turns back to look through the scope.  NICK watches GREG and smiles.  They

both laugh.)

NICK:  Dude, you're sick.  Man, you've officially lost it.

(NICK works on prepping his evidence.)

GREG SANDERS:  No, no.  There is this guy in Louisville.  He charges 300 clams

to test your spouse's underwear for foreign DNA.  Now, that guy is sick.  I'm

just a romantic.

NICK:  But whatever happened to getting to know someone over coffee ... letting

the relationship evolve?  Romantic is sending flowers not bogarting her skin

cells. 

(NICK takes the hair sample and puts it on the slide.  GREG looks from his scope

and notices NICK.)

GREG SANDERS:  Ahh, that's boring.  What are you doing?  What have you got?

NICK:  Um, pulled some hair off a male stabbing vic.

(GREG takes over.  He puts the slide under the scope.)

GREG SANDERS:  Okay.  Baby.  Uh-huh.

NICK:  What?

GREG SANDERS:  Nine lives.

NICK:  Cat hair?

GREG SANDERS:  (nods)  Meow.

(NICK sighs, disappointed.)

CUT TO:

SCENE #06:

[INT. CSI - FORENSIC AUTOPSY - NIGHT]

(DR. ROBBINS goes over the findings with GRISSOM.  They stand between the two

bodies.)

DR. ALBERT ROBBINS:  Kevin Shepherd.  Six stab wounds to the upper torso -- one

to the back, five to the front.

GRISSOM:  And his wife?

(GRISSOM turns to look at AMY SHEPHERD.)

DR. ALBERT ROBBINS:  Amy Shepherd.  One slice across the neck, right to left.

GRISSOM:  Work of a lefty?

DR. ALBERT ROBBINS:  Well, the blade transected the jugular vein and both

carotids.

GRISSOM:  Hard to scream when your throat's been cut.

(GRISSOM turns back to KEVIN SHEPHERD.)

GRISSOM:  Defensive wounds.

DR. ALBERT ROBBINS:  This guy put up one hell of a fight.  Attacked with two

weapons.

GRISSOM:  (surprised)  Two?

DR. ALBERT ROBBINS:  Two types of stab wounds.  First a long, sharp double-edged

blade.  The blade went in smooth ...

(He makes a stabbing downward motion with his hands.)

(Quick CGI POV to:  The camera pushes down toward wound #5 and pierces through

the flesh.  It reverses back up and out.  End of CGI POV.  Resume to present.)

DR. ALBERT ROBBINS:  ... left a little collateral bruising to the skin.  Weapon

number two was blunt. 

(With both hands, DR. ROBBINS makes a stabbing downward motion.)

(Quick CGI POV to:  The camera pushes down toward wound #3 and pierces through

the flesh.  It reverse back up and out.  End of CGI POV.  Resume to present.)

DR. ALBERT ROBBINS:  Weapon number two caused extensive bruising around the

points of entry.

(He points out the damage to GRISSOM.)

GRISSOM:  Two weapons ... two attackers.

CUT TO:

SCENE #07:

[INT. COLLAPSED BUILDING - WRECKED ROOM - NIGHT]

(CATHERINE walks into the damaged room.  She walks up to a FIREMAN.) 

CATHERINE:  Hi.  District Engineer?

FIREMAN:  Over there.

(He points to a man with a large piece of drywall in his hand kneeling near the

window.)

CATHERINE:  Ah.  Follow the tie. 

(She walks up to him and stands behind him.  She shines the light of her

flashlight on the torn wall while she looks over his shoulder.)

CATHERINE:  Is that from the rain?

PAUL NEWSOME:  (turns around)  Depends on who's asking.

CATHERINE:  Are you hiding something, or am I not worth your time?

PAUL NEWSOME:  Excuse me?

CATHERINE:  Well, you are the District Engineer of the city, right?  You're

responsible for the structural safety of this building.

PAUL NEWSOME:  (stands up)  I'm sorry. I didn't catch your name.

CATHERINE:  Catherine Willows, Las Vegas Crime Lab.

PAUL NEWSOME:  Crime Lab?

CATHERINE:  Yeah.  The building fell down.  Three people were crushed to death. 

(CATHERINE steps up to the wall.)

CATHERINE:  Why is the wood wet?

PAUL NEWSOME:  It's a flat-roofed structure.  Leaks aren't uncommon.  Maybe that

explains the dry rot.

CATHEIRNE:  Then what am I looking at?

PAUL NEWSOME:  That would be sheetrock.

CATHERINE:  Drywall.  But what about this layer right here?

(Camera zooms in for a close up of the wall.)

PAUL NEWSOME:  When they installed the original drywall they used half-inch and

then, when they came back and repaired it, they used quarter of an inch.

CATHERINE:  (turns around)  What, was quarter inch on sale that day?

PAUL NEWSOME:  Look, Lady, I don't know what it is ...

CATHERINE:  Catherine.

PAUL NEWSOME:  Sorry.

CATHERINE:  Don't say, "sorry" just know who you're talking to.

PAUL NEWSOME:  When they applied the second layer and then they spackled it and

they painted it the difference wasn't noticeable.

CATHERINE:  It's noticeable now.  Which District Engineer conducted the last

inspection?

PAUL NEWSOME:  There's only one District Engineer.

CATHERINE:  Then it looks bad for you.

PAUL NEWSOME:  (he laughs)  Okay.  Look, uh, Catherine, ...

(He puts his hand on her shoulder and leads her away from the wall.)

PAUL NEWSOME:  ... why don't I write a report and then I'll e-mail it to you. 

How would that be?

(CATHERINE looks up at the ceiling and around the room.)

CATHERINE:  Where's the point of origin of the collapse? 

(PAUL NEWSOME doesn't say anything.)

CATHERINE:  Look, this is my crime scene.  I can find it myself but that might

mean lots of question to lots of people.

PAUL NEWSOME:  (nods)  Well, it's just my, uh, expert opinion but I'd say right

below us -- in the basement ... the laundry room.

CATHERINE:  Then that's where I want to be.

(CATHERINE turns to head there.)

CUT TO:

SCENE #08:

[INT. CSI - HALLWAY - EARLY MORNING]

(GRISSOM walks in to the hallway.  SARA rounds the corner and finds him.) 

SARA:  Hey, Gris.  Kevin Shepherd, chiropractor.  Amy Shepherd, Dentist.  House

in the lakes.  Married eight years.  Perfect credit.  You know, I'm lost. 

There's nothing jumping off the page, here.

(SARA hands the file to GRISSOM.)

GRISSOM:  What about the eyewitness?

SARA:  Justin Green.  First witness, first suspect but he hung around, waiting

for us.

GRISSOM:  Covered in blood.

SARA:  But his story jibes.  Several eyewitness saw him performing CPR on Kevin

Shepherd. But if-if-if it is a carjacking, I don't get it.  Why fight to the

death?  It's four wheels and a chassis.

GRISSOM:  In the heat of the moment, it's not a car, it's a possession and

people will fight without realizing what they're risking.

SARA:  So, you are thinking the Shepherds lost their lives for their SUV?

GRISSOM:  I'm speaking in generalities.  Regarding the Shepherds ... I'm in the

dark, too, just like you.

CUT TO:

SCENE #09:

[INT. CSI - FORENSIC AUTOPSY - EARLY MORNING]

(WARRICK is mixing a bowl full of mold mixture.  BRASS walks into the room.)

BRASS:  Hey, Warrick.  Is Grissom around?

WARRICK:  You see him?

(He chuckles and steps forward.)

BRASS:  You know between you and me, as long as I've been on the job I still

don't like touching dead bodies.

WARRICK:  Well, that's why you got the badge and I got the syringe. 

BRASS:  (softly)  wow.

(WARRICK sticks the syringe into the first wound, #3, and injects the mixture in

to make a cast.)

(Quick CGI POV of inside the wound and the mixture filling it up.  End of CGI

POV.  Resume to present.)

(WARRICK moves on to wound #1 and fills that wound up with the mixture.  He

glances over at BRASS who is unusually silent and watching.)

WARRICK:  (explains)  I'm casting the stab wounds.  From the molds, we can

identify the murder weapons.

BRASS:  You're getting more like Grissom every day, man.

WARRICK:  Did you want me to give Gris a message?

BRASS:  Yeah.  A patrol car located the Shepherds' SUV.

CUT TO:

SCENE #10:

[EXT. SUNSET ROAD - STREET - MORNING]

(The SHEPHERDS' SUV is off the road.  BRASS and GRISSOM exit their cars and meet

up outside on the road.) 

BRASS:  The car is registered to our dead couple.

GRISSOM:  When you carjack a car, you keep the car.  You don't dump it.

BRASS:  Unless you're joyriding.

GRISSOM:  Well, who kills for a joyride?

BRASS:  Wouldn't be the first time.

GRISSOM:  Has anybody else touched this vehicle?

OFFICER:  No, sir.  And I'm the one who found it.

BRASS:  Just the rain.  The evidence on the outside of the vehicle will be

compromised.

GRISSOM:  Well, maybe there'll be some evidence on the inside.

(GRISSOM opens the door and the body of a dead woman tumbles out.  GRISSOM grabs

the body.)

GRISSOM:  (surprised)  Whoa.  Whoa.

(Breathing hard, he puts the body back into the car.)

GRISSOM:  Well, I haven't felt that in a while.

BRASS:  What's that?

GRISSOM:  The element of surprise.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #11:

[EXT. SUNSET ROAD - STREET - MORNING]

(BRASS opens the passenger door and sighs.  He watches as GRISSOM checks the

body out.)

BRASS:  What's she doing here?

GRISSOM:  Good question.  Better question, who is she?

BRASS:  Hmm.

(BRASS reaches out to check the woman's bag.  GRISSOM stops him.)

GRISSOM:  Uh.  Put some gloves on.

(GRISSOM tosses BRASS some gloves for him to put on.)

BRASS:  Yeah, I know.  You know, I ... I can't believe you messed up the crime

scene.

GRISSOM:  The body fell out when I opened the door.  It happens. We move on.

BRASS:  Mmm. Going to bother you all day.

(BRASS opens the woman's bag and checks her wallet.  He takes out her NEVADA

DRIVER'S LICENSE.)

BRASS:  (reading)  Jessica Hall.  Date of birth -- 8-5-73.

(He takes out her cell phone.)

BRASS:  Cell phone, power's off.  Didn't call 9-1-1.  They would've instructed

her to leave it on.

GRISSOM:  Seat belt's unbuckled.  That's why she fell out.

BRASS:  Yeah, so?

GRISSOM:  Well, she's in the driver's seat.  Was she driving?  Or could she have

been placed in here?

BRASS:  Maybe she's like 28% of Americans -- she doesn't buckle up.

GRISSOM:  I think it's 29%, actually.

(BRASS looks at GRISSOM and doesn't comment.)

BRASS:  (sighs)  I'll go radio the 4-19.

(BRASS leaves the car.  NICK drives up, parks and exits his vehicle.  He walks

over to the open passenger side.)

(GRISSOM, meanwhile, looks under JESSICA HALL'S coat lapel and finds some hair.)

NICK:  Hope you're not allergic there, boss.

GRISSOM:  What?

NICK:  Cat hair. Found similar hair on Kevin Shepherd's clothing.

GRISSOM:  How about Amy Shepherd?

NICK:  Nope.  No hairs on the wife.

GRISSOM:  Shepherd's SUV.  Stab wound. Cat hair.  She's linked to the first

crime scene.  But how?

NICK:  Victim number three.  Wrong place, wrong time.  Saw something she

shouldn't.

GRISSOM:  Well, finally.

NICK:  What?

GRISSOM:  Someone has a theory.

(NICK nods.)

CUT TO:

SCENE #12:

[EXT./INT. CITY VAN - MORNING]

(PAUL NEWSOME kneels inside the back of the van.  CATHERINE stands just outside

the open van securing her head gear.)

PAUL NEWSOME:  Look, I-I've got guys that are trained to do this.  Why don't you

let me call them?  You're going to go in there, you're going to get that snappy

little jumpsuit dirty, and ...

CATHERINE:  No offense, but they work for you.

PAUL NEWSOME:  So what?

CATHERINE:  Well, so the victims' family deserves answers.

(He doesn't say anything.)

CATHERINE:  Somebody's responsible.

PAUL NEWSOME:  Hey, I didn't do anything wrong.

CATHERINE:  Well, maybe not intentionally, but if a ship sinks, the last person

who checked for leaks is negligent.

PAUL NEWSOME:  You're not married, are you?

(CATHERINE looks at him.)

PAUL NEWSOM:  (nods and stands up)  Divorced.

(CATHERINE finishes putting on her gear.  PAUL NEWSOME settles in the van behind

the monitors.)

PAUL NEWSOME:  Okay.  All right.  What you see, I'll see but I just want to go

on the record.  This is a bad idea.

CATHERINE:  Thanks for your input.

PAUL NEWSOME:  All right.  We got a hot feed.

CATHERINE:  I'm going in.

PAUL NEWSOME:  I'll be right here.

(He sighs.)

(Cut to:  SGT. O'RILEY stands up as CATHERINE

SGT. O'RILEY:  Catherine?  You sure you want to do this?

CATHEIRNE:  Why is everybody asking me if I want to do my job?

SGT. O'RILEY:  Because we care.

CATHERINE:  And?

SGT. O'RILEY:  The mayor ran on a platform of urban renewal.  Clean out the

slumlords, create habitable, low-cost housing maintained by the city.  If you

find so much as a scratch on an aspirin in there you know who it's going to come

back to.

CATHERINE:  I know I have a job to do.  Excuse me.

(CATHERINE turns and leaves.  She heads for the building.)

CUT TO:

SCENE #13:

[INT. CSI - FLUOROSCOPE OBSERVATION ROOM -- DAY]

(SARA and GRISSOM walk into the observation room off of the fluoroscope room

where DR. ROBBINS watching DAVID PHILLIPS work on the body.)

SARA:  Hey, Doc.  What's with the fluoroscope?

DR. ALBERT ROBBINS:  When we brought the body into the lab she set off the metal

detector.

GRISSOM:  Did you check in her pockets?

DR. ALBERT ROBBINS:  :  Nothing in the pockets.

SARA:  What about a pin or a plate -- something metallic on the inside?

DR. ALBERT ROBBINS:  I had the same thought, but that's not what we've found. 

David, take her down.

DAVID PHILLIPS:  Yes, sir.

(DAVID looks up at sees SARA in the observation room.  He smiles at her.)

DR. ALBERT ROBBINS:  Cause of death, laceration of the liver.

SARA:  Exsanguination.

DR. ALBERT ROBBINS  Once you nick the liver it's almost impossible to stop the

bleeding without immediate medical intervention.

(While watching the monitor, GRISSOM sees something.)

GRISSOM:  Whoa, David.  Go back up to the 12th rib, please.

DR. ALBERT ROBBINS:  I was just getting to that.

GRISSOM:  Our killer leave us a souvenir?

SARA:  What is that?

GRISSOM:  What do you leave your waiter?

SARA:  A tip ... of a knife.

GRISSOM:  How soon can we get that out of the body?

CUT TO:

SCENE #14:

[INT. BUILDING -- DAY]

(Crawling, CATHERINE makes her way slowly toward the laundry room down in the

basement.  The building creaks around her.)

CATHERINE:  Am I almost at ground zero?

INTERCUT WITH:

[INT. VAN (PARKED OUTSIDE) - DAY - CONTINUOUS]

PAUL NEWSOME  Almost. About ten more feet.  Uh, then you should be in the

laundry room.  You should have more headroom, too.

CATHERINE:  I feel like I'm crawling through a straw.

(CATHERINE crawls more and comes to a complete halt in front of a wood beam. 

She smiles as she watches a bug crawl across the wood.)

CATHERINE:  Sweet!

PAUL NEWSOME:  What? What is it?

CATHERINE:  Are you getting this?

PAUL NEWSOME:  What is that?  A roach?

CATHERINE:  I'm not an entomologist, but I know one.  He can tell us.

(The building creaks and something flies overhead causing the building to

tremble.  Concrete dust and bits of rock fall on CATHERINE.  She covers her

head.)

CATHERINE:  I thought this building was secure.

PAUL NEWSOME:  It is secure. Just hang on.  The daily sorties.  I think that was

an F-16.

CATHERINE:  (realizes)  Nellis Air Force Base.

PAUL NEWSOME:  About a mile south of here.

(CATHERINE puts a bug into a container.)

CATHERINE:  Anything else I should, uh be aware of?

PAUL NEWSOME:  You're in the clear.

(She pockets the container and then continues.)

CATHERINE:  Okay.

(CATHERINE continues crawling through the rubble.  She comes up to a traveling

chest blocking her path and pushes it aside.  She continues.)

CATHERINE:  Okay.  I'm in the laundry room ... what's left of it.  You want to

talk me through this?

(She stands up and looks around the laundry room.)

PAUL NEWSOME:  Okay, look up.  You should be able to see the beam now.

(CATHERINE looks up and finds the beam.)

CATHERINE:  Got it.

PAUL NEWSOME:  All right, connected to the beam running vertically to the

concrete foundation are the support columns.  Now, in a perfect world, they

should be steel but given the age of the building, they might be wood.

CATHERINE:  Yeah, it's wood, all right. 

(CATHERINE looks at the damage to the beam.)

CATHERINE:  And it looks like somebody took a sledgehammer to it.

CUT TO:

SCENE #15:

[INT. ALAN RICH CUTLERY - DAY]

(ALAN RICH looks at the tip of the knife extracted from JESSICA HALL.  He

explains the knife to SARA and BRASS.) 

ALAN RICH:  So you really pulled this out of a corpse?

SARA:  Yeah ... but I cleaned it for you.

BRASS:  We need to know the make of that knife.

ALAN RICH:  Well, it's not a knife.  The tip's double-edged.  Bevels on both

sides, downward slope.  This came from a dagger which means it's either carbon

steel or stainless steel.  I get asked this question more than you think.

(He pulls out a lemon juice squirt container and puts a few drops on the tip of

the knife.)

SARA:  Acid in the lemon juice should react to carbon steel, but not stainless

steel.

ALAN RICH:  How's a cop know all this?

SARA:  (smiles)  He's the cop.  I'm the scientist.

BRASS:  I got a cop question.  What are we looking for here?

ALAN RICH:  Dark spots.

(The tip has dark spots on it.)

SARA:  Carbon steel.  What's next?

ALAN RICH:  Length.

(ALAN turns and looks for something behind the counter.  He comes back with a

piece of paper and a ruler.)

ALAN RICH:  Daggers are rarely more than an inch at the base.  We got the tip. 

So, we can fill in the rest.  It's basic geometry.

(Placing the tip on the piece of paper, he extends the tip of the dagger to

estimate how long the weapon used was.)

ALAN RICH:  It's five inches.  Top row-- five-inch daggers, carbon steel. 

(He reaches into the display case and takes out a dagger to show them.)

ALAN RICH:  This is the one you want.  $24.99. We don't take credit cards.

BRASS:  Yeah.

CUT TO:

SCENE #16:

[INT. CSI - LAYOUT ROOM - DAY]

(GRISSOM looks at one of the casts of the knife taken from the knife wound

WARRICK made.)

WARRICK:  Forget Shepherd's wife. I can't match the slash marks.  It's all about

these stab wounds.  So I concentrated on Kevin Shepherd.

GRISSOM:  This is a nice job, Warrick.  You know, casting is an art.

(SARA walks into the room holding the dagger.)

SARA:  And while the artist was at work, Brass and I identified Jessica Hall's

murder weapon from the tip we found lodged in her ribs.  It's a dagger.  Fugasi

model 502.

WARRICK:  Cool.

(She hands the dagger to GRISSOM.)

GRISSOM:  So we've identified the weapon used on Jessica Hall.

Was it also used on Kevin Shepherd?

(GRISSOM hands the dagger to WARRICK.)

WARRICK:  Well, I measured all the sharp points of entry on Kevin's body.

WARRICK:  They're all identical.  They're all made from the same murder weapon.

(WARRICK draws the outline of the dagger onto a piece of paper.)

SARA:  So, if this dagger matches your mold ...

(He reaches for one of the molds to compare it.)

SARA:  Okay.  We just put the sharp wounds to bed.

WARRICK:  Identified murder weapon number one.  Now we just need that second

murder weapon.

SARA:  Points of impact on these two are blunt, right?

WARRICK:  Yeah, who stabs someone with a blunt instrument?

GRISSOM:  Sara, you still have the dagger tip from the body?

SARA:  Yeah.

(SARA reaches to get the dagger tip out.)

GRISSOM:  And you have the cast of the unidentified murder weapon.

WARRICK:  Yeah.

(WARRICK reaches for the cast of the unidentified murder weapon.)

GRISSOM:  A dagger's not a diamond.  It doesn't last forever.

(WARRICK then matches the unidentified weapon to the tip.  They match.)

GRISSOM:  We don't have two weapons.

WARRICK:  So he started with Kevin and then he went after Jessica and then the

tip broke off.

SARA:  And then he went back to Kevin to finish the job.

GRISSOM:  One weapon, one killer.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #17:

[INT. CSI - GRISSOM'S OFFICE - DAY]

(GRISSOM examines the bug CATHERINE took from the collapsed building.  GRISSOM

looks at the bug in the container while CATHERINE looks through the camera

footage taken earlier on the computer monitor.) 

GRISSOM:  An anobiid powder-post beetle.  Very nice specimen.

CATHERINE:  He likes you, too.  Now, tell me about him.

GRISSOM:  Your building collapsed.

CATHERINE:  You assigned me the case.  You already know that.

GRISSOM:  Well, this little guy confirm‎s it.  This species of beetle eats

softwood.  Tell me about the building.

CATHERINE:  The frame's made of Douglas Fir.

GRISSOM:  A delicacy.

CATHERINE:  I did find more than a bug.  Dry rot, questionable repairs, a

jittery Engineer.  And check this out.

(She turns the monitor to the side to show GRISSOM.)

GRISSOM:  Forget the beetle; this damage was intentional.  You're looking for a

homosapien.

CATHERINE:  I know. Gives new meaning to "home wrecker."

GRISSOM:  Catherine, there's a reason I assigned you this case.  You're good

with people, both the dead and the living.

CATHERINE:  Translation: We're opening a political can of worms.  The mayor's

involved, an election's around the corner and you could've clued me in a little

earlier.

(GRISSOM looks back at the beetle in the container.  He turns eagerly to

CATHERINE.)

GRISSOM:  Can I keep it?

CATHERINE:  Sorry. It's evidence.

GRISSOM:  Don't forget to feed him.

(He hands the container back to CATHERINE.)

CATHERINE:  I know-- wood.

CUT TO:

SCENE #18:

[INT. CSI - GARAGE]

(WARRICK and SARA go over the SUV.  WARRICK finds some prints.) 

WARRICK:  Oh, yeah.  I got three prints on this gearshift and they are beauties.

SARA:  Sweaty palms make the best prints.

(GRISSOM walks into the room.)

GRISSOM:  The coroner just sent over a ten card of Jessica hall's fingerprints. 

Evidently, I'm the new delivery boy.

(GRISSOM watches WARRICK take picture of the gearshift.)

GRISSOM:  Are you doing what I think you're doing?

SARA:  If we find what we're looking for the answer is yes. 

(SARA reaches up and turns the light on.)

SARA:  (to GRISSOM)  Can I see those prints?

WARRICK:  The images are printing.

(SARA moves over to the table and GRISSOM walks around the car to give her the

prints.)

SARA:  Thanks. 

(From the printer, SARA picks up the photos that WARRICK just took of the prints

off of the gearshift.  She visually compares the two.)

SARA:  No need for AFIS.  We got a visual match.  All three prints belong to

victim number three.

WARRICK:  So Jessica Hall was the last person to drive the shepherds' suv.

(In the back of the room, NICK walks in.)

SARA:  What does that give us?  We know she was stabbed at the crime scene, but

then what?  Was she driving herself to the hospital?  Was she under duress?

NICK:  None of the above.

(Everyone turns to look at NICK.)

NICK:  Hey, Grissom, you know that theory I had?

GRISSOM:  Yeah.

NICK:  I'd like to revise it.

GRISSOM:  It's a scientist's right to re-examine his theory with each new piece

of evidence, Nick.

NICK:  My evidence is in the layout room.

CUT TO:

SCENE #19:

[INT. CSI - LAYOUT ROOM - DAY]

(Everyone stands around the table with the photos spread out in front of them as

they listen to NICK'S theory.) 

NICK:  All the wounds sustained by Kevin Shepherd were to his torso.  Now, look

at this. 

(NICK takes out a shoe from the evidence bag and puts it on a piece of paper

that he hands across the table to GRISSOM and SARA to look at.)

NICK:  Blood flow on the left instep of Kevin Shepherd's shoe.

WARRICK:  Lucky for us the rain missed that.

GRISSOM:  When death is not immediate a victim will instinctively curl up into a

fetal position.  Which may have protected this from the rain.

SARA:  Preserving the blood pattern.

GRISSOM:  You expect blood on a victim but let's ask the question:  Could the

normal action and behavior of our victim have put his blood there?

SARA:  The victim was lying on the ground, wounds above the waist.  It's not

Kevin's blood.

WARRICK:  Who else had a flowing wound?

NICK:  Amy Shepherd was too far away but Jessica Hall was alive and bleeding.

GRISSOM:  Okay.  How did her blood get on his shoe?

NICK:  Gravity.  Warrick, please, on the floor our back.

(NICK heads to the space on the floor in front of the door.)

WARRICK:  Man, why are you always trying to put me down?

(SARA smiles.)

NICK:  Sara, you're Jessica.

(SARA stops smiling.)

NICK:  Come on, now. 

SARA:  (sighs)  Okay.

(SARA and WARRICK get into position.  WARRICK lies down on his back on the

ground.  SARA stands over him.)

WARRICK:  All right, I'm bleeding from my abdomen.

SARA:  Standing here, I'm not going to get that much blood on Warrick.

GRISSOM:  Get closer.

SARA:  Well, I can't without ... stepping on him.

GRISSOM:  You can if you kneel down.

WARRICK:  Why would she do that?

(SARA kneels down on the ground near WARRICK'S feet.)

GRISSOM:  Possibly to help or to hinder.

(NICK kneels down.)

NICK:  I say hinder.

(Quick flashback to:  That night, KEVIN SHEPHERD fights with his assailant. 

JESSICA HALL helps hold him down.  As the assailant hits KEVIN SHEPHERD to

subdue him, he stabs JESSICA.)

ASSAILANT (MAN):  Grab his legs!

(She turns and holds down KEVIN SHEPHERD'S feet, her blood spilling onto his

shoes.)

(End of flashback.  Resume to present.)

NICK:  She was in on it.  She held him down while someone else stabbed him.

WARRICK:  By the positioning of her wound, I'd say it looked like her stabbing

was an accident.

SARA:  Stabbing's are messy and inexact.  So victim number three becomes suspect

number two.

GRISSOM:  Nick, get a warrant for Jessica Hall's apartment.  We'll see if

suspect number two leads us to suspect number one.  And bring a scorecard with

you.

CUT TO:

SCENE #20:

[INT. CSI - TEMPORARY EVIDENCE VAULT - DAY]

(CATHERINE stands on top of the ladder in the evidence vault getting a package

down from the top shelf.)

PAUL NEWSOME:  Can, uh, can I give you a hand with that?

CATHERINE:  Nope.

(CATHERINE steps down the ladder and notices PAUL NEWSOME standing there.)

CATHERINE:  How did you get in here?

PAUL NEWSOME:  Well, I flashed my city I.D.  And, uh, my smile.

(He smiles up at her.  She is unimpressed.  Unaided, she walks down the rest of

the ladder and puts the package she's carrying on the table.)

PAUL NEWSOME:  What are we looking for?

CATHERINE:  A lot of factors contributed to the collapse.  I'm focusing on the

human element.

(Inside the package, she takes out the wood beam.  PAUL NEWSOME puts the package

aside.)

CATHERINE:  Now... if a sledgehammer was taken to this column recently there'd

be evidence of discoloration.  The damaged part would be lighter.

(CATHERINE uses a hand scope to look at the beam.)

PAUL NEWSOME:  (holds out his hand)  May I?

(CATHERINE straightens and hands PAUL NEWSOME the scope.  He leans in and looks

at the wood.  He reaches out a hand to touch the wood, but CATHERINE stops him.)

CATHERINE:  Hands off.

PAUL NEWSOME:  Oh, right. Sorry.  (after a moment)  No. No discoloration.

(He straightens and hands CATHERINE the scope back.  CATHERINE leans down to

look for herself when he stops her.)

PAUL NEWSOME:  Would you like to know why?

(She looks at him.)

CATHERINE:  Yeah.

PAUL NEWSOME:  Five years ago, the building was apartment Vietnam.  The facility

was substandard.  The city turned its back on it.  The tenants revolted.  Blake

Neferson, apartment 204 took a sledgehammer to that column.  It's public record

-- he was arrested.

(He hands the file to CATHERINE.)

CATHERINE:  Public record?  And you failed to indicate the damage in your

inspection report?

PAUL NEWSOME:  There wasn't enough damage to cause concern.

CATHERINE:  Tell that to the women who were crushed to death.

(CATHERINE leans in to look at the wood herself.)

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) - NIGHT]

SCENE #21:

[INT. JESSICA HALL'S APARTMENT - NIGHT]

(The door opens.  BRASS walks in and turns on the nearest lamp light.  GRISSOM

and NICK walk into the apartment.) 

NICK:  I heard the lab matched the blood on Kevin Shepherd's shoe to Jessica. 

My theory's getting better and better.

(GRISSOM takes note of the various post-its hanging on her vanity mirror.)

BRASS:  Not so fast, Nicholas.  P.D. traced a call Shepherd made to Jessica from

Andre's restaurant.

NICK:  What's he doing calling the woman who helped kill him?

GRISSOM:  It's your theory, pal. 

(GRISSOM walks into the apartment.  He walks into the kitchen and turns on the

light where he finds more post-it note reminders.)

(GRISSOM walks into the office area and turns on the lamp.  He finds more post-

it reminders around her monitor.)

GRISSOM:  Our little Jessica was a prolific note-taker.  "Be a good person

today."

BRASS:  Yeah, right.  Try not to kill too many people.

GRISSOM:  "Cancel water cooler delivery."  "Plan girl's night out."  "Light

bulbs for porch."

(GRISSOM finds a letter sized notepad on top of the computer mouse.  He puts it

into an envelope.)

NICK:  I think I found a keypiece of evidence. 

CAT:  Mrrrow.

(NICK walks into the room holding a red tabby cat.)

NICK:  The redhead we've been looking for.

GRISSOM:  Red hairs on Jessica.  She owns a tabby cat.  Red hairs on Shepherd.

NICK:  Chances are Shepherd was here without his wife.

BRASS:  Yeah. I'm going to run Jessica's cell phone records and Shepherd's.  If

anything was between those two we'll find out.

(BRASS turns to leave the room.  He passes the OFFICER at the door on his way

out.)

BRASS:  (to OFFICER)  Stay here, fella.

(NICK puts the cat down.)

(GRISSOM looks at the different post-it notes on the monitor.)

[GRISSOM'S POV - PANS THE POST-ITS ON MONITOR]

NICK:  (reading)  "To access Achex, double-click icon. User name: Jessica. 

Password: Money."

(They look at each other.)

GRISSOM:  Try it.

NICK:  Yeah. 

(NICK takes a seat behind the computer and powers it on.)

NICK:  Achex.  Personal on-line banking.  Deposits, checking, money transfers

everything under the sun. 

(NICK puts in the password and clicks.  He gets a ledger screen.)

NICK:  Okay, I'm in.  Direct deposit from Beaumont's department store$500 a week

-- probably her weekly paycheck.

(He looks around and clicks on more screens.)

GRISSOM:  And then a $35,000 day?

NICK:  What, she win the lottery?

GRISSOM:  How does a girl who makes $2,000 a month pull in $35,000 ... only to

give it away on the same day?

NICK:  Let's see who she gave it to.

GRISSOM:  It hasn't posted yet.

(NICK sighs and shakes his head disappointed.)

NICK:  No luck.

GRISSOM:  Wait. Go back. 

(NICK goes back and the following screen appears:

[We have initiated a deposit of Achex payment into your bank checking account. 

Time of deposit:  10:02 AM

Deposit Confirmation  174976

MARCH 28, 2001

Pay to the Order of:  JESSICA HALL

$35,000.00

Transfer from:  KEVIN SHEPHERD 17568932

If you should like to keep a paper copy of this transaction, simply click on the

PRINT button in your browser.

Please note:  As with checks that you deposit, Achex payments must still be

cleared by your bank before the money becomes available for spending.  Typically

it take two days for deposited funds to become available.  Your bank can tell

you more precisely the time it will take for your Achex payment to clear.]

GRISSOM:  Well, we know who she got it from -- Kevin Shepherd.

NICK:  Wait a minute -- Shepherd paid Jessica to murder him and his wife?

GRISSOM:  Maybe.  (beat)  Maybe not. 

(NICK looks up at GRISSOM.)

GRISSOM:  We can't speak from the evidence, Nick and everybody else is dead.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #22:

[INT. CSI - DOCUMENTS LAB]

(NICK hands the notepad to RONNIE LITRE who gets to work on it immediately.) 

NICK:  I took this from our suspect's apartment.

RONNIE LITRE:  Husband and wife carjacking.  I heard about the case.  My friend

and I eat at Andre's.  Creepy.

NICK:  Don't cancel your next reservation.  It wasn't a carjacking.

RONNIE LITRE:  Well, it's a fresh pad.  Only a couple of pages missing.  Let's

see what she wrote on those missing pages.

(Various cuts of RONNIE LITRE prepping the paper.  When he's done, he and NICK

read what was written on the sheets above it.)

NICK:  "Quarters for laundry."  Not incriminating.  "Pay parking ticket." 

"Andre's at 9:00 P.M."? 

(NICK grabs the paper and leaves.)

NICK:  Whoa!

CUT TO:

SCENE #23:

[INT. CSI - GRISSOM'S OFFICE - DAY]

(GRISSOM puts his glasses on and looks a the paper.) 

GRISSOM:  Andre's, nine p.m.  Green SUV.  "Corner of sixth.  Sunday, K's office,

8:00 A.M."  This is a blueprint for murder.

NICK:  Assuming "K" is Kevin they were planning to meet three days after he was

murdered.

GRISSOM:  He paid Jessica $35,000.  He called her as he was leaving the

restaurant.  He wasn't supposed to die.

NICK:  No. Neither was Jessica.

GRISSOM:  Kevin shepherd took a hit out on his wife and something went wrong. 

And we may have the proof.

CUT TO:

SCENE #24:

[INT. CSI - DOCUMENTS LAB -- DAY

(They're back in Q.D.) 

RONNIE LITRE:  Okay, we've got the blueprint and Kevin Shepherd's credit card

receipt from Andre's.  Okay.  Now, normally, a signature wouldn't give us much.

(RONNIE points to the restaurant receipt that reads:

05159087654359

TOTAL:  $97.40

GRATUITY:  $20.00

TOTAL:  $117.40

SIGN: {SIGNATURE K. SHEPHERD}

SHEPHERD, KEVIN

THANK YOU!

PLEAES COME AGAIN!          )

RONNIE LITRE:  But look at the "K" on the receipt.  now look at the K in Kay's

office.  Okay?  Also, look at the "S" in "SUV" and "Sunday."  Now, look at the

"S" in Shepherd.  Both letters are identical.  He wrote both these documents.

GRISSOM:  I think Shepherd planned the murder of his wife.

NICK:  I'm with you.  Why'd he end up dead?

BRASS:  Bad karma.  Jessica and this Shepherd guy had been phoning each other

day and night for the past two years.  What does that tell you?

GRISSOM:  They had a very healthy relationship.

NICK:  He was cheating on his wife, Amy.

BRASS:  And there's more.  On the night of the murder, after Jessica got off the

phone with shepherd, she made a call.

GRISSOM:  To who?

CUE SOUND:  (PRELAP)  BUZZARD

CUT TO:

SCENE #25:

[INT. CSI - DRYING ROOM - DAY]

(SARA opens the door and walks inside.  WARRICK is close behind her.) 

SARA:  Grissom didn't say what he was looking for, huh?

WARRICK:  No. 

(SARA starts checking the tags, looking for something specific.)

WARRICK:  He just said check his clothes.  Drying room.  Six years in the job

and it still freaks me out in here.

SARA:  I think it's peaceful.

(He stops and looks at her.)

WARRICK:  Yeah.

(They both resume their search.  WARRICK flips the tag and finds it.  The tag

reads:  145348-3212 / EVIDENCE / SUBJECT/ GREEN, JUSTIN".)

WARRICK:  Here we go.  Here we go.  Justin Green.  The eyewitness.

(WARRICK takes out the jacket and holds it up.)

SARA:  He's a suspect?  When did that happen?

WARRICK:  Here's another thing the rain ruined -- the blood pattern on Justin's

jacket.

SARA:  Not the t-shirt. 

(SARA looks at the blood on the clothes and finds something strange.)

SARA:  Warrick ... what does that look like to you?

WARRICK:  That looks like a handprint.

(SARA puts her hand on her waist in an awkward position, her eyes on the t-

shirt.  WARRICK holds out his hand over the print.)

WARRICK:  Right hand.  Justin's?

SARA:  Wrist doesn't bend that way.

WARRICK:  So, it's not Justin's.

SARA:  We know where Jessica's hands were. 

WARRICK:  Holding down Kevin's feet.

SARA:  And Amy Shepherd died instantly.

WARRICK:  So, whose handprint is that?

CUT TO:

SCENE #26:

[INT. CSI - LAYOUT ROOM - DAY]

(GRISSOM holds up a transparency of a bloodied hand.) 

GRISSOM:  Kevin Shepherd's.  This is a transparency of Kevin Shepherd's defense

wounds.

(GRISSOM places the transparence directly over the shirt.)

GRISSOM:  They fit perfectly over the handprint on Justin's shirt.

SARA:  Justin's story was that he performed CPR on Kevin Shepherd.

WARRRICK:  Yeah, but Kevin grabbed Justin's shirt so that means he was still

breathing.

NICK:  Which means he didn't need CPR.

GRISSOM:  We just put the dagger in Justin Green's hand.

(Quick flashback to:  That night.  KEVIN SHEPHERD is on the ground struggling

with JUSTIN GREEN.  JUSTIN hits KEVIN a couple of times, KEVIN grabs JUSTIN'S

shirt.  JUSTIN stabs KEVIN.  End of flashback.  Resume to present.)

SARA:  Damn it.  Justin sold me a lie and I bought it.

CUT TO:

SCENE #27:

[EXT. COLLAPSED BUILDING - DAY]

(CATHERINE walks out of the building and under the crime scene tape.  She stops

and looks at the candles, flowers and other gifts left near the sidewalk in

front of the building in a make-shift memorial.)

(Above, another aircraft passes by.)

(She stops and thinks.)

CUT TO:

SCENE #28: 

[INT. CSI - GARAGE - DAY]

(Camera opens on an experiment being set up.  PAUL NEWSOME leans down through

the glass of the experiment and looks at it.)

PAUL NEWSOME:  What are you doing?

CATHERINE:  Proving that you're not responsible for what happened to that

building.

(CATHERINE continues to set up the experiment.  PAUL walks toward her and

smiles.)

PAUL NEWSOME:  I'm growing on you.  Aren't I?

(CATHERINE doesn't comment on that remark.  She explains the experiment.)

CATHERINE:  The damaged support column buckled.  Why?

PAUL NEWSOME:  The weight of the building wasn't evenly distributed out to the

load-bearing walls by the joists ...

CATHERINE:  Good.  We're on the same page.  Now, I put a section of the floor

assembly in the tank.  I added a dozen or so of my daughter's rubber balls two

sub-woofers ...

PAUL NEWSOME:  You put the whole thing on vibration isolators.

CATHERINE:  Exactly.  Because I suspect that sound vibrations may be the

ultimate cause of the collapse.

(CATHERINE turns on the player and Beethoven's Symphony No. 5 in C minor, Op.

67, First Movement, allegro con brio, starts playing over the speakers.)

PAUL NEWSOME:  Are you saying Beethoven brought down the building? 

CATHERINE:  No, but, uh, maybe F-16s and whatever else they're flying out of

Nellis Air Force Base.

(CATHERINE turns around and turns the volume up.)

CATHERINE:  Now, I ramped up the decibels on the stereo to maximize the

vibrations.

PAUL NEWSOME:  Now you've lost me.

(The speakers vibrate causing the experiment to vibrate.  The rubber balls in

the tank vibrate also.)

CATHERINE:  Watch the bouncing balls. 

(Quick Camera close up of the nails in the wooden beam as they start vibrating

and rotating.)

CATHERINE:  The nails are rotating.  Like screws.  Righty, tighty.  Lefty,

loosey.

PAUL NEWSOME:  Of course.  Loose nails, bounce in the joists.

CATHERINE:  Multiply that by 50 years of flybys.

(CATHERINE turns around to the player.)

(Quick flashback to:  An old sepia colored view of the apartment room that

segues into a black and white colored view of the apartment that dissolves into

a colored view of the apartment that dissolves into another colored, more modern

view of the apartment room.)

(In the background, we hear Beethoven's Symphony playing and we hear various

aircraft flying above.  The room continues to change and age into the present

till finally the entire room collapses.)

(The ceiling falls; the walls crumble. End of flashback.  Resume to present.)

(CATHERINE turns the volume down.)

PAUL NEWSOME:  (loudly)  So you're pointing the...

(The music stops.)

PAUL NEWSOME:  (normally)  So you're pointing the finger at the Air force?

CATHERINE:  No.  You point one finger there's always going to be four pointing

back at you.  Beetles, sabotage, dry rot and time.

PAUL NEWSOME:  Am I off the hook?

CATHERINE:  Yes. 

(PAUL NEWSOME smiles and turns to look at the experiment.)

CATHERINE:  Anything you want to say to me?

PAUL NEWSOME:  As a matter of fact, yes. 

(He turns to look at CATHERINE.)

PAUL NEWSOME:  Could've saved yourself a lot of trouble by not making me a

suspect in the first place.

(He smiles knowingly, then walks away.)

CATHERINE:  You're welcome.

CUT TO:

SCENE #29:

[INT. CSI - LAYOUT ROOM]

(GRISSOM, BRASS and the rest of the crew sit around the table.) 

GRISSOM:  Okay.  Jim got us a court order for production of documents.  On the

left, the phone records of Kevin Shepherd, Amy Shepherd, Jessica Hall and Justin

Green.  On the right, their banking records.

(SARA hits the computer highlighting the transaction on the following sheet.  It

reads: 03/28/01 $35,000 from 17568932.)

(The Deposit Confirmation screen pops up.  It's the same as shown previously.)

SARA:  Wednesday.  10:02 ... Kevin transferred $35,000 to his mistress, Jessica. 

Wednesday 2:16 p.m. ...

GRISSOM:  Jessica transferred the money out of her account.  To Justin Green?

(Another Deposit Confirmation screen pops up.  It reads:

DEPOSIT CONFIRMATION:

We have initiated a deposit of Achex payment into your bank checking account. 

Time of deposit:  2:16 PM

Deposit Confirmation   9721

MARCH 28, 2001

Pay to the Order of:  JUSTIN GREEN $35,000.00

Transfer from:  JESSICA HALL 17362551            )

SARA:  Yes.  Deposit for $35,000. 

GRISSOM:  Well, if it was a straight-on hit for hire Jessica would've steered

clear of the crime scene.

NICK:  Maybe not.  In 1997, Jessica and Justin had a joint account.  And they

shared the same last name.

WARRICK:  Whew. Curveball.

(Quick flashback to:  The night of the murders.  JESSICA HALL and JUSTIN GREEN

watch The SHEPHERDS have dinner.)

BRASS:  (v.o.)  So Jessica hired her ex-husband to kill her boyfriend's wife.

(End of flashback.  Resume to present.)

GRISSOM:  All in the family.

SARA:  I can trump that.  Sorry, Nick.  Thursday, 11:09 A.M.  $70,000 was

transferred to Justin Green's account.

WARRICK:  From?

SARA:  Not Jessica.  Not Kevin.

GRISSOM:  Only one left is Amy.

WARRICK:  Yes, that's affirmative.  I can trump that.  Wednesday, 3:00 P.M. 

Justin called Amy Shepherd.

BRASS:  Oh, I bet I can tell you that conversation.

(Quick flashback to:  AMY SHEPHERD is standing in a parking lot on her cell

phone with JUSTIN GREEN.)

AMY SHEPHERD:  Do you really expect me to believe that?

JUSTIN GREEN:  Yeah. Look, you've got to know about the affair.  Check his bank

account.  He paid out 35.  You want to counter?

(End of flashback.  Resume to present.)

SARA:  Amy Shepherd does the unthinkable.  She doubles it.

GRISSOM:  Why kill one when you and collect over 100 grand?

BRASS:  Makes financial sense.

GRISSOM:  And Justin secures his double cross with an insurance policy.  He

eliminates the person that hired him.  Jessica wasn't stabbed by accident.  She

was a loose end.

(Quick flashback to:  The night of the murder.  JUSTIN GREEN stands out on the

sidewalk smoking a cigarette waiting for the SHEPHERDS.  He inhales and sees

them walk by.)

KEVIN SHEPHERD:  Eight years.  People said we wouldn't last.  Happy anniversary.

AMY SHEPHERD:  Happy anniversary.

(JUSTIN sees them and flicks his cigarette away.)

(Cut to:  AMY SHEPHERD stands at the car when JUSTIN comes up behind her and

kills her.)

(He stands up holding the bloodied knife and walks over to KEVIN and JESSICA.)

JUSTIN GREEN:  It's over, man.

(JUSTIN looks at JESSICA and smiles.)

JUSTIN GREEN:  It's over.  Look, you better split.  Go call 9-1-1.

(KEVIN and JESSICA both turn around.  The moment KEVIN'S back is turned, JUSTIN

attacks him and stabs him in the back.  KEVIN falls to the road.  JESSICA gasps

and tries to stop him.)

JESSICA HALL:  Stop! What are you doing?

(JUSTIN turns around and stabs JESSICA.)

JUSTIN GREEN:  Shut up, you slut!

(She falls to the road.  JUSTIN turns back to KEVIN.)

JUSTIN GREEN:  She's always going to be my wife.  You're never going to have

her!

(JESSICA gets up and grabs JUSTIN.  He pushes her back down again.)

JUSTIN GREEN:  Get away from me!

(JUSTIN turns back to finish off KEVIN.  JESSICA gets up and makes her way to

the SUV.  She picks up her bag and gets into the car.)

(As the car engine starts, JUSTIN turns to see JESSICA drive off.)

(Cut to:  The knife is thrown down the gutter.  JUSTIN looks around as he hears

a dog barking.  He sees the dog and the dog's owner standing there.)

JUSTIN GREEN:  (to the owner)  Call an ambulance!

(JUSTIN rushes back to KEVIN and fakes giving CPR.)

(End of flashback.)

CUT TO:

SCENE #30:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM]

(BRASS and GRISSOM stand around the table in the interview room.) 

BRASS:  Jessica took the car.  You hid in plain sight, offering aid to the

victim.

GRISSOM:  Normally, when they pay to have someone killed they do it so they're

not connected to the crime.  Why was Jessica even there?

(JUSTIN doesn't say anything.)

CUT TO:

SCENE #31:

[EXT. POLICE DEPARTMENT - HALLWAY - CONTINUOUS]

(BRASS and GRISSOM walk out of the interview room.) 

BRASS:  (to the officer by the doorway)  Timmy. 

(TIMMY goes inside the room.)

BRASS:  The Shepherds -- to the world they looked like the perfect couple.

GRISSOM:  You know what they say about looks.

BRASS:  They can be deceiving?

GRISSOM:  They can kill.

(They both walk off camera frame.)

FADE TO BLACK.

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

THE END

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

---------------------------------------------------------------------------------------------------------------------------------------

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

CSI:  CRIME SCENE INVESTIGATION

1X19:  GENTLE, GENTLE

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

COLD OPEN:

[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT] 

[EXT. ANDERSON RESIDENCE - NIGHT]

WHITE FLASH TO:

SCENE #01:

[INT. ANDERSON HOUSE - NIGHT]

(Camera starts on the bottom of the first floor at the base of the stairway,

then slowly moves upward toward the second floor.) 

(White flash to:  On the second floor, the camera travels slowly down the

hallway toward the bedrooms.  It rounds the cover into the master bedroom where

the ANDERSONS are sleeping.)

(Suddenly GWEN ANDERSON gets up.  She looks out the doorway into her son's room. 

She gets out of bed and walks down the hallway to the nursery.)

(All the windows are open.  There's a ladder set against the window frame.  The

wind blows the curtains.)

(GWEN ANDERSON walks up to the crib and looks inside.  She finds nothing.  She

touches the baby sheets with both hands as if not believing her eyes.  She

frantically searches the tiny crib, removing the sheets where she finds a sheet

of paper.)

(She picks it up and gasps as she reads it.  The paper slips from her fingers

back into the crib.)

(She walks over to the open window, looks out side and screams.)

GWEN ANDERSON:  No!

(The camera pulls back downward to show the ladder leaning against the window

frame.)

(STEVEN ANDERSON rushes into the nursery.  He looks at his wife, then turns to

look down into the crib where he finds the typewritten note.  He picks it up.)

CUT TO:

SCENE #02:

[EXT. ANDERSON RESIDENCE -- NIGHT] 

(OFFICER cars are parked in the driveway.  GRISSOM walks up the drive and checks

in with the OFFICER at the door before walking inside.  He sees The ANDERSONS in

the foyer.)

GRISSOM:  Excuse me.  My name's Gil Grissom.  I'm with the Las Vegas Crime Lab.

GWEN ANDERSON:  Please help us.

GRISSOM:  I'll certainly try.

(He puts his kit down on the ground.)

GRISSOM:  Is that the ransom note?

STEVE ANDERSON:  Yeah. They don't even say how much money they want.  They just

say that they'll call us in six hours.

(STEVEN hands GRISSOM the note.)

GRISSOM:  Have you let anyone else touch this note? 

(GRISSOM reads the note:

     I have your son.

     I don't want to harm him.

     Don't make me.

     I'll call in six hours with instructions.

     I advise you not to call the police.   )

GRISSOM:  Police, a relative, anyone?

STEVE ANDERSON:  N-no, just us. Why?

GRISSOM:  Well, because the person who touched it before you has your son ...

and he's just left us the first piece of the puzzle.

HARD CUT TO

END OF TEASER.

ROLL TITLE CREDITS.

(COMMERCIAL SET)

FADE IN.

SCENE #03:

[EXT. ANDERSON HOUSE - MORNING]

(CATHERINE closes the car door and makes her way toward the house.  She meets up

with BRASS who fills her in.)

CATHERINE:  Jim, dispatch said this is a kidnapping?  Divorce situation?

BRASS:  No papers filed.  College sweethearts.  Neighbors say they're the salt

of the earth.

CATHERINE:  So this could have been legitimate?

BRASS  They have a security system.  But they never put it on.

CATHERINE:  They say how come?

BRASS:  They feel safe in the neighborhood.

CATHERINE:  Check the premises?

BRASS:  Attic, wine cellar, crawl space.  No four-month-old baby.

(They turn and head toward the house.)

CATHERINE:  Nice digs.

BRASS:  Yeah, guy got rich off some dot-com outfit.  Moved here from Oregon two

years ago.

CATHERINE:  Bet they wished they hadn't today.

CUT TO:

SCENE #04:

[INT. ANDERSON HOUSE - DAY - CONTINUOUS]

(In the kitchen, the FBI fills STEVE ANDERSON in on what he's to do when he gets

the ransom call.)

STEVE ANDERSON:  Are you sure he won't hear a click or something?

FBI MAN:  He won't.  And if he asks, you and your wife are alone.  Question him

about your son.  Ask to hear him breathing.  Anything to keep the guy talking. 

Understood?

(GRISSOM walks into the kitchen and listens.  He looks around the place.)

STEVE ANDERSON:  I don't know.  (nods)  Yeah, yeah.

(GRISSOM sees an open bottle of soda out on the counter.)

STEVE ANDERSON:  Okay.  Built my own business.  I can handle any kind of

pressure.

(GRISSOM walks over to the bottle.)

GRISSOM:  Was this yours?

STEVE ANDERSON:  Yeah.

GRISSOM:  May I ask when you opened it?

STEVE ANDERSON:  I don't know.  Um, sometime after we called 911.

(STEVE turns back to the FBI MAN.  GRISSOM looks at the bottle, then calls his

attention back.)

GRISSOM:  You mind if I, uh...?

STEVE ANDERSON:  No. Go ahead.

(GRISSOM picks up the bottle and puts his gloved hand over the mouth of the

bottle.  He looks around.  He walks over to the temperature gauge and checks

it.)

(STEVE ANDERSON watches GRISSOM.)

GRISSOM:  You have any more of these?

STEVE ANDERSON:  In the fridge.

GRISSOM:  Thanks.

(With his hand over the bottle, GRISSOM leaves the kitchen.)

CUT TO:

SCENE #05:

[INT. ANDERSON HOUSE - LIVING ROOM - DAY - CONTINUOUS]

(BRASS questions GWEN ANDERSON and her two sons who sit close to each other on

the couch.  TYLER, the older son, holds on to ROBBIE, who is quietly playing

with a phone.)

GWEN ANDERSON:  Do my boys have to be here?  I think this is hard enough for

them without having to hear the facts.

BRASS:  I understand, but it's best for our investigation if we keep the whole

family together.

TYLER ANDERSON:  (quietly)  It's okay, mom.

BRASS:  You were saying, Mrs. Anderson?

GWEN ANDERSON:  Um ... I got up at 4:30, like I usually do to feed Zack.  I'm

still breast-feeding.  And I went down to Zacky's room.  I looked in his crib

and he was gone.  He wasn't there. 

(STEVE walks into the room and takes a seat next to GWEN.  GRISSOM follows into

the room behind him.)

GWEN ANDERSON:  And I felt around for him and that's when I found the letter

saying that he had been taken and I ... I don't know.  I-I think I screamed ...

TYLER ANDERSON:  You screamed, mom.

STEVE ANDERSON:  I jumped out of bed and I went to her, and that's when we

called 9-1-1 from the upstairs hallway.

(ROBBIE pressing the buttons of the phone he's holding.)

ROBBIE ANDERSON:  Nine-1-1-1.

TYLER ANDERSON:  Give me the phone, Robbie.  Give me the phone.

GRISSOM:  We're going to need a piece of the baby's clothing.  Something from

his hamper, if possible.  We're going to use scent dogs throughout the

neighborhood.

STEVE ANDERSON:  I'll go see what I can find.

GWEN ANDERSON:  No, I know what he wears.

(GWEN ANDERSON stands up.)

CATHERINE:  I'll go with you.

(CATHERINE also stands up.  They leave the room.)

GRISSOM:  I'd also like to get blood samples from each family member.

STEVE ANDERSON:  Why?

GRISSOM:  Well, the sooner we can eliminate the expected hairs and fibers from

within the household, we can begin looking for outsiders.

TYLER ANDERSON:  Is it going to hurt?

GRISSOM:  I hope not.

CUT TO:

SCENE #06:

[EXT. ANDERSON HOUSE - DAY - CONTINUOUS]

(OFFICERS open the back of the car to let the scent dogs out.  SARA is near by

putting on a pair of gloves.  The OFFICERS with the dogs head toward the house. 

GRISSOM walks out of the house.  He's carrying the ransom note and two bottles

of soda pop.) 

GRISSOM:  Sara.

SARA:  Yeah?

GRISSOM:  Take this ransom note to Q.D.

(GRISSOM hands the note to SARA.)

SARA:  Typewritten ransom note?  Kidnapper was organized.

GRISSOM:  I think it's ink-jet not typewriter.

SARA:  I'll get it to questioned documents check for origination prints, the

works.

GRISSOM:  Take every computer and printer from the Anderson house with you.

SARA:  You think the suspect printed the ransom note from inside the house while

they were sleeping?

GRISSOM:  I'm not thinking anything yet.

(GRISSOM takes the two soda bottles and heads for NICK.)

GRISSOM:  Nick.

NICK:  (turns around)  Yo.  (sees the soda bottles)  No, thanks, I'm an iced tea

man.

GRISSOM:  It's not a refreshment.  It's an experiment.  Take this to the lab in

a controlled space, 72 degrees Fahrenheit and open it.  Keep this in the same

room-temp space.

NICK:  Okay, then what?

GRISSOM:  Process, Nick. Process.

(GRISSOM gives the bottles to NICK, then walks past him toward WARRICK.)

GRISSOM:  Baby's bedroom window is open and the ladder's still out there.  So

canvass the whole grounds from outside to in.

WARRICK:  I'm all over it like a cheap suit.

(WARRICK leaves to head over there.  GRISSOM turns around and heads back to the

house.)

OFFICER:  (o.s.)  Hey, Grissom!  We have the smell dogs set up for you.

(He nods.)

(Cut to:  WARRICK is near the ladder under the Nursery with a camera in his

hand.  He finds a shoe print in the dirt.  He snaps a picture of it.)

CUT TO:

SCENE #07:

[INT. ANDERSON HOUSE - BABY ZACK'S ROOM - DAY]

(GRISSOM takes his kit and walks into the nursery.  He looks into crib and puts

his kit down.  He leans over to look into the crib.) 

WARRICK:  You see this spiderweb?

(GRISSOM starts.)

GRISSOM:  Damn, Warrick!

(WARRICK is on the ladder outside the nursery window and apologizes.)

WARRICK:  I'm sorry.  Your ticker okay?

GRISSOM:  What spiderweb?

WARRICK:  Right here.

(They push the curtain aside to show GRISSOM the spiderweb in the corner of the

window frame.)

WARRICK:  Kind of hard to get a baby out of a window climb onto a ladder without

messing up this web, don't you think?

GRISSOM:  Well, it could have happened after the abduction.  Spiders can build

one of these things in a few hours.

(WARRICK takes a picture of the spiderweb.  GRISSOM turns to head back to the

crib.  WARRICK steps up the ladder intending to climb through the window. 

GRISSOM looks up and sees WARRICK.)

GRISSOM:  Warrick?  What are you doing?  (He motions with his finger.)  Go

around.

(WARRICK heads back down the ladder.)

(GRISSOM checks the crib out and finds a strand of hair.  Camera zooms in for an

extreme close up.)

CUT TO:

SCENE #08:

[INT. ANDERSON HOUSE - LAUNDRY ROOM - DAY -- CONTINUOUS]

(CATHERINE and GWEN ANDERSON walk into the laundry room.  GWEN starts going

through the laundry basket.)

CATHERINE:  Oh, you're right on the golf course.  That must be nice.

GWEN ANDERSON:  Steve likes it.  I never cared for the game.

(GWEN finds a jumper and pulls it out of the basket.  She sighs.)

GWEN ANDERSON:  That one's my favorite but Zacky, he, uh ... he liked another

one.  Here it is.

(She takes it out and shows it to CATHERINE.  She chuckles.)

GWEN ANDERSON:  There's a little spit-up on it.  He liked the way the fabric

felt on his skin. 

(She puts the outfit to her face and inhales.  She stops, then looks down at her

shirt to see her milk leaking.)

GWEN ANDERSON:  Oh, god.

CATHERINE:  It's okay. It used to happen to me with my daughter if I didn't get

to her right on time.

(GWEN tries to wipe up the mess as she cries.)

GWEN ANDERSON:  I can't believe this is happening to us.

(CATHERINE puts a supporting hand on her shoulder.)

CATHERINE:  I'll get this to our guys.

(CATHERINE leaves the laundry room.)

CUT TO:

SCENE #09:

[INT. ANDERSON HOUSE - NURSERY - DAY -- CONTINUOUS]

(GRISSOM finds another strand of hair in the crib.  He puts it in a bindle.)

(WARRICK walks into the room.)

WARRICK:  What you got?

GRISSOM:  Two hairs, separate and distinctive.

(GRISSOM hands the bindles to WARRICK.)

WARRICK:  Ah. The plot thickens.

(GRISSOM walks around the room.  He notices something.)

GRISSOM:  You smell something?

(WARRICK smells and sees something.)

WARRICK:  I smell these dirty diapers over here.

(GRISSOM kneels down in front of the window.)

GRISSOM:  It's like a household cleanser.  There's a pine smell.

WARRICK:  Probably used to clean that diaper pail.

GRISSOM:  No, it's stronger than that. 

(GRISSOM puts his nose to the carpet.)

GRISSOM:  It's emanating from this specific spot.

(GRISSOM opens his kit and tests for blood.  It shows positive.)

WARRICK:  Baby was killed before it even left the house.  Guy tried to cover his

tracks.

(GRISSOM and WARRICK both look at the open window.)

CUT TO:

SCENE #10:

[INT. CSI - QUESTIONED DOCUMENTS LAB - DAY]

(SARA leans over the table, arguing with RONNIE LITRE.)

SARA:  What do you mean you haven't checked for prints?  It's a ransom letter.

RONNIE LITRE:  Everything in the proper order.  You know that.  I got five other

tests I got to run on this paper before I try to isolate prints.

SARA:  You got anything for me?

RONNIE LITRE:  Yeah. The paper's expensive.  High rag count.

SARA:  I could have told you that.

RONNIE LITRE:  Can you explain these three small vertical dots?

(On the overhead, he shows SARA what he's talking about.)

SARA:  What?  Where?

RONNIE LITRE:  The printer that emitted this letter has a spot on the drum.

SARA:  A drum goes around three times to print one page. 

(Quick flash to:  Close up of the drum of a printer turning as the paper goes

through leaving behind three small dots on the sheet.)

SARA:  So if the Andersons' printer was used ...

RONNIE LITRE:  There'd be three small dots on any paper that comes out.

SARA:  No vertical dots.

RONNIE LITRE:  And different paper than the ransom letter F.Y.I.

(SARA makes a face at RONNIE.)

CUT TO:

SCENE #11:

[EXT. ANDERSON HOUSE - BACKYARD - DAY]

(GRISSOM and WARRICK stand outside the nursery window.) 

WARRICK:  Yeah, this mold I made of that shoe print matches the gardener's boot

that I found in the shed over there.

GRISSOM:  Yeah, well, we need to look for what's out of place.

WARRICK:  And a gardener's boot in a garden is not out of place.  Well, the

Andersons did say the guy's been out of town on vacation for the last three

days.

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

GRISSOM:  (to phone)  Grissom.

INTERCUT WITH:

[INT. CSI - HALLWAY]

(SARA walks through the hallway.) 

SARA:  Ransom note's not from the Anderson's printer or paper supply.

GRISSOM:  You're breaking up.

SARA:  The Andersons are clear.  Whoever wrote the letter did it from a

different location and brought it with them.

GRISSOM:  Are you standing next to the copy machine outside ballistics?

SARA:  You want me to check ballistics?

GRISSOM:  No. I want you to move away from that machine.  Look, check all the

printers at Steve Anderson's company.

(In the background out on the golf course, the dogs bark loudly.  WARRICK looks

up at the commotion.)

GRISSOM:  (to phone)  Get Q.D. To help you with a warrant.  Target all immediate

coworkers and disgruntled employees first.

(WARRICK motions for GRISSOM to follow him as he heads toward the sound of the

dogs.  GRISSOM puts the phone down, his attention on the dogs.)

(Even SARA can hear the dogs barking over the phone.)

SARA:  Are those our dogs?  Grissom?  Grissom!

(GRISSOM and WARRICK start running toward the commotion.  GRISSOM tucks the

phone into his pocket.)

CUT TO:

SCENE #12:

[EXT. GOLF COURSE - CONTINUOUS]

(Out on the golf course, the dogs bark frantically.  They lead the OFFICERS to a

cluster of bushes under the tree.  WARRICK and GRISSOM run to the bushes.) 

WARRICK:  Get those dogs back.  Get them back!

(WARRICK and GRISSOM find the baby dead in the center of the bushes, his body

wrapped carefully in a blanket.  The officers also reach the site.)

(The TECH takes a step forward to start taking picture of the scene.  GRISSOM

stops him.)

GRISSOM:  Stand back.

CSI TECH:  We got to have pictures.  The coroner will be all over us.

GRISSOM:  (angry)  I'll get the pictures!

(GRISSOM grabs the camera and takes the pictures ... of his foot, of his face. 

He kneels down and takes more pictures.)

(WARRICK starts to put on his gloves.  Finished, he hands the camera back to the

CSI TECH.  The CORONER steps forward to take the body.  GRISSOM immediately

stops him.)

GRISSOM:  I'm going to take him.

(Everyone doesn't say anything.)

[CAMERA IN SLOW MOTION]

(Over the hill, CATHERINE runs toward the scene.  Behind her are GWEN and STEVE

ANDERSON.)

(Cut to:  GRISSOM picks up the baby.)

GWEN ANDERSON:  (o.s.)  My baby! Oh, my god!

(CATHERINE turns around and stops GWEN ANDERSON from running toward the scene.)

(With the baby in his arms, GRISSOM takes a couple steps forward.  He looks up

and sees GWEN ANDERSON beside herself while CATHERINE and STEVE try to calm her

down.)

GWEN ANDERSON:  It's my baby!  My baby! My baby!

(Camera holds on GRISSOM.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #13:

[INT. CSI - LAB - DAY]

(WARRICK takes the sample of hair from the nursery and checks it under the

scope.  While he works, he listens to the news report on the television set.)

PAULA FRANCIS:  (on television set)  The Andersons, who own a profitable

internet company in Las Vegas, are said to be devastated by the death of little

Zachary.  As for leads, the police will only say they have widened the

investigation to include employees of Steve Anderson's company.  Immediate

coworkers are being asked to give DNA samples.  By all accounts, the employees

are complying voluntarily.  One of them is quoted as saying "anything to help

Mr. and Mrs. Anderson in their time of grief."

CUT TO:

SCENE #14:

[INT. CSI - FORENSIC AUTOPSY - DAY]

(DR. ROBBINS goes over his findings with GRISSOM.) 

DR. ALBERT ROBBINS: I can't give you exact time of death, but I do know cause of

death was asphyxiation.

GRISSOM:  He was smothered.

DR. ALBERT ROBBINS:  (nods)  The retinal hemorrhages are the result of

intercranial pressure from an edema.  The edema was caused by an acute lack of

oxygen.

GRISSOM:  Smothered how?  Did you find hand marks?  Trauma around the mouth or

nose?

DR. ALBERT ROBBINS:  No.

GRISSOM:  He was in a blanket when I found him ... wrapped pretty tight.

DR. ALBERT ROBBINS:  Positional asphyxiation?  Maybe.  Abductor might've tried

to protect him from the cold.  Suffocated him by mistake.  I'm going to run

tests on a microscopic fiber I found in his throat.

(DR. ROBBINS picks up a fiber from the side to show to GRISSOM.  Camera zooms in

for a close up.)

DR. ALBERT ROBBINS:  But I don't think his death was benign, Gil.  Or

accidental.  Sternum was cracked.  X rays say the fracture is fresh.  Manhandled

and suffocated.  This little guy didn't have a chance.

(ROBBINS turns to look at GRISSOM after he doesn't get a response from him.)

CUT TO:

SCENE #15:

[INT. CSI - HALLWAY - DAY]

(GRISSOM walks rapidly through the hallway.  He sees SARA with a tech helping

her carry the prints into the lab.)

GRISSOM:  Are those from Anderson's company?

SARA:  Yeah. There's like 200 of them in that place.  I'm going to test them

against the ransom note, one by one.

GRISSOM:  You got homicide's list of disgruntled employees?

SARA:  Not yet.  They're still working on it.

GRISSOM:  (angry)  You call homicide back and tell them to get us that list now. 

(GRISSOM turns and continues down the hallway leaving a stunned SARA behind.  He

sees WARRICK walking by with a file folder in his hand.)

GRISSOM:  Hey.

(WARRICK stops to talk with GRISSOM.)

WARRICK:  Hey.

GRISSOM:  Where are we on those DNA samples?

WARRICK:  I got the hair samples from the baby's crib ready for comparison.

GRISSOM:  Yeah?  So answer my question.

WARRICK:  Well, DNA's jammed.  Sanders says he'll get to the blood comparisons

...

(GRISSOM heads for the DNA LAB leaving WARRICK mid sentence.)

WARRICK: ... as soon as ...

CUT TO:

SCENE #16:

[INT. CSI - DNA LAB - DAY -- CONTINUOUS]

(GREG is in the quiet lab sitting at the table working.)

GRISSOM:  I hear you're backlogged.

GREG SANDERS:  Twenty "unknowns" from some drug shoot-out.  FBI special request. 

Sheriff told me to clear it off my counter before I do anything else.

GRISSOM:  These?

GREG SANDERS:  Yeah. You can almost smell Quantico, you know?

(GRISSOM grabs the paperwork in front of GREG and puts it aside on the cart with

all the samples on it.  He then pushes the car out the door and into the hallway

where it stops when it hits the wall.)

(Everyone stops as they see the cart.)

(NICK steps out into the hallway to see what's up.)

GRISSOM:  (to GREG)  There.  Now they're off your counter. 

(GREG doesn't say anything.  He nods.  GRISSOM takes out a file folder and the

samples.)

GRISSOM:  Zachary Anderson, DOB 01-23-01.  Date of death, three hours ago. 

Until we find out how and why ...

(GRISSOM puts the tray full of blood samples from the ANDERSON case in front of

GREG.)

GRISSOM:  ... this is the only case you work on.

GREG SANDERS:  Yes, sir.

(GRISSOM steps out of the lab.  In the Hallway, NICK and SARA watch.)

NICK:  Never seen him like this before.

(NICK heads in one direction.  Concerned, SARA heads to go find GRISSOM.)

(She turns the corner and sees him walking through the hallway.)

SARA:  Grissom?

(He turns around, still angry.)

GRISSOM:  What?

(SARA walks right up to him and talks softly.)

SARA:  You told me a few weeks ago that nothing is personal.  No victim should

be special.

(GRISSOM stops as he definitely remembers telling SARA that back in 1X16: Too

Tough to Die.  SARA pauses.)

SARA:  Everyone follows your lead.

GRISSOM:  Everyone didn't find that baby. I did.  And that little boy is dead

because someone lost their temper or screwed up, or god knows what.  So, excuse

me, but this victim is special.

(GRISSOM turns to leave and finds himself facing CATHERINE.)

CATHERINE:  (quietly)  Mr. and Mrs. Anderson are calling.  They want to know why

you refuse to release the body for burial.  They said that you gave the coroner

strict instructions.

(He sighs.)

GRISSOM:  You better drive.

(GRISSOM leaves.)

CATHERINE:  Sure.

(CATHERINE looks up at SARA.  The two share a look.  She then turns to follow

GRISSOM.  Camera holds on SARA.)

CUT TO:

SCENE #17:

[INT. ANDERSON HOUSE - DAY]

(GRISSOM and CATHERINE explain the situation to The ANDERSONS.) 

GRISSOM:  I'm very sorry, but we have to preserve the evidence in a case like

this.  And, as difficult as this sounds, Zachary is evidence.

CATHERINE:  We need to refer to him as the case unfolds.

GWEN ANDERSON:  Well, do you have any leads?  Any idea who did this?

GRISSOM:  Your child was found five hundred yards from your back door, in clean

clothes wrapped in a white blanket, laid carefully under a statuary.

CATHERINE:  A stranger wouldn't treat a victim like that.

STEVE ANDERSON:  You think we had something to do with this?

GRISSOM:  The FBI tells us that you never received a call from the abductor. 

What kind of a kidnapper forgets to call the family?

CATHERINE:  A wealthy family.

STEVE ANDERSON:  My lawyer warned me that you were going to try this.  (angrily

shouts)  You don't have a suspect so now you're going to come after us.

GRISSOM:  But you have nothing to hide.

STEVE ANDERSON:  (yells)  You're damn right we don't!

(There's a light knock on the door.  WARRICK walks into the house carrying an

envelope.)

WARRICK:  I thought I'd deliver this in person.  DNA came back on the entire

family.

(GRISSOM looks at the results.)

GRISSOM:  The blood we found in the baby's room ... It belongs to your son

Tyler.

CUT TO:

SCENE #18:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]

(GRISSOM and CATHERINE interview TYLER ANDERSON with his parents sitting beside

him.) 

TYLER ANDERSON:  I was playing ball in the backyard and I cracked Zacky's

window.  Dad had told me not to hit the ball towards the house.  So I went up

and replaced the window before anyone got home and I cut my finger on the glass.

GRISSOM:  And you wiped up the blood with some type of pine cleanser.

TYLER ANDERSON:  I thought I got it all.

GRISSOM:  Let's go back a second, Tyler.  You said that you baby-sat for Robbie

and Zack last night, right?

TYLER ANDERSON:  I told the police that this morning.

(BRASS walks into the room and closes the door.)

STEVE ANDERSON:  We had a homeowner's association vote meeting.  It was just

five doors up from our house.

GWEN ANDERSON:  I had, uh ... I had made dinner and then Steve and I walked up

to the clubhouse.  We were gone maybe 30 minutes, until 9:00.

BRASS:  We contacted the Association.  The story checks out.  I also did a

background search.  Tyler has quite a temper on him, don't you, Ty?

TYLER ANDERSON:  What?

BRASS:  You were expelled from school twice last year for physical altercation.

STEVE ANDERSON:  That was schoolyard stuff.

CATHERINE:  Beat up a 12-year-old in the school stairwell.

TYLER ANDERSON:  He made fun of my mother.  I wasn't going to let him get away

with that.

BRASS:  Your brother Zack say something you didn't like you weren't going to let

him get away with either?

(TYLER surges to his feet.)

TYLER ANDERSON:  (shouts angrily)  Don't talk about my brother that way, you

bastard!

(STEVE gets to his feet.)

STEVE ANDERSON:  Sit down! Now.

GWEN ANDERSON:  He's, uh ... he's upset.  He is not usually like this.

TYLER ANDERSON:  (whispers)  People are calling us killers.  And I miss my

little brother.

GRISSOM:  That still doesn't mean you didn't kill him.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #19:

[INT. ANDERSON HOUSE - DAY]

(The front door opens.  CATHERINE and GRISSOM walk into the foyer.) 

CATHERINE:  So what are we looking for?

GRISSOM:  I don't know.

CATHERINE:  Well, let's start up and work our way down.

(CATHERINE heads up the stairs.  GRISSOM follows her.

(Cut to:  [TYLER'S BEDROOM]  CATHERINE looks through the shelves.  She finishes

and looks around.)

(Cut to:  [MASTER BEDROOM]  GRISSOM opens the closet door and looks inside.)

(Cut to:  [TYLER'S BEDROOM]  CATHERINE checks the bedside table and under the

bed where she finds several magazines for PLAYPEN, BOUDOIR.)

(Cut to:  [MASTER BEDROOM] GRISSOM finds a pair of stockings on the shelf in

STEVE'S closet.  The stockings has green stains on them.)

(Cut to:  CATHERINE opens the cabinet doors and looks inside.  She finds an

empty plastic storage wrapper for a white Baby Blanket, 100% Egyptian Cotton. 

Made in the U.S.A.)

(Cut to:  [KITCHEN]  GRISSOM opens the various cabinets.  He looks and finds a

roll of white plastic trash bags.  He looks at the ripped edges.  Camera zooms

in for a close up of the edges.  He reaches for a bag to put the roll into.)

CUT TO:

SCENE #20:

[INT. CSI - LAB - DAY]

(NICK explains his experiment findings to GRISSOM.) 

NICK:  Here's the father's bottle of cola -- here's the unknown.  I duplicated

conditions and monitored the pressure that escaped from the father's bottle

which he told you had been open two hours against one I know was open two hours. 

Kept this log.  Pressure released every quarter hour.

(GRISSOM looks at NICK'S notes.)

GRISSOM:  Good, Nick. 

(NICK nods.)

GRISSOM:  Did you find any ethanol on the lip of that bottle?

NICK:  Well, I've got trace running tests now, but I did an unscientific whiff

test. 

(NICK passes the bottle under his nose to illustrate.)

NICK:  Picked up a hint of some kind of booze.

GRISSOM:  Call me when you get the results.

(GRISSOM hands NICK the bag with the nylons inside.)

GRISSOM:  See if they can find out what this green substance is on these nylons

I found in Mr. Anderson's closet.

NICK:  I'll take a swatch, get it back to you ASAP.

(GRISSOM leaves the room.)

CUT TO:

SCENE #21:

[INT. CSI - LAB -- DAY]

(GRISSOM is looking at the prints under the magnifying glass.  He's in the lab

with SARA.)

GRISSOM:  The mother's prints ... the father's prints ... and a set of unknowns.

SARA:  They're not unknown.

(Surprised, GRISSOM turns to look at SARA.)

SARA:  I ran them against the employees of Steve Anderson's computer company

disgruntled and otherwise.  They belong to a Needra Fenway.

GRISSOM:  And who is Needra Fenway?

SARA:  Steve's secretary.

(SARA turns around and points to the printer on the counter behind them.)

SARA:  So, of course,  I checked out her printer.  As I'm sure you know, all

printers have their own unique signature.

(She shows GRISSOM the marks on the paper.)

SARA:  These three ... tiny vertical dots from Needra's printer match the ransom

note perfectly.

(GRISSOM turns to look at SARA who smiles.  She looks at GRISSOM.)

CUT TO:

SCENE #22:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]

(GRISSOM sits down across from NEEDRA FENWAY.  She pulls the coffee cup closer

to her.)

NEEDRA FENWAY:  Thank you.

GRISSOM:  Thank you for coming in.

NEEDRA FENWAY:  Anything I can do to help.  You know, it's ... it's just

terrible what happened.

BRASS:  Maybe you can explain why your printer was used to create the ransom

note found in the Anderson home.

NEEDRA FENWAY:  What?

GRISSOM:  We have evidence that this came from your printer.

(GRISSOM puts piece of paper on the table in front of her.)

NEEDRA FENWAY:  There are 500 people who work in that office.  Anyone could have

used my printer.

GRISSOM:  We also found a strand of hair.  Our lab has matched it to you. 

BRASS:  From the Anderson home.

NEEDRA FENWAY:  I'm Steven's secretary.  I go there.

GRISSOM:  Do you go upstairs?  'Cause that's where we found this particular

hair.

(She doesn't say anything.  But CATHERINE knows.)

CATHERINE:  You two were having an affair.

NEEDRA FENWAY:  We ended it.

CATHERINE:  Because his wife got pregnant?

NEEDRA FENWAY:  I'm not going down this road.

CATHERINE:  What?  A new baby screw up the office romance?

NEEDRA FENWAY:  It was more than just an office romance, okay?  Much more.

CATHERINE:  Yeah.  Well, a lot of women would understand if you went over there

and ... got rid of that baby.

BRASS:  Sure.  Quickest way to end a guy's marriage.

NEEDRA FENWAY:  Okay, I need a lawyer.  Is that it?  Is that what you're saying

here?

(No one says anything.  NEEDRA sighs, then grabs her bag.  She stands up to

leave.  GRISSOM stops her.  He takes out the bag with the nylons in it.)

GRISSOM:  Are these your nylons?  I found these hidden in the back of Mr.

Anderson's closet.  So, did you come to him after you disposed of the baby and

ask him to hide them for you?

NEEDRA FENWAY:  Talk to Steve.

(NEEDRA walks out of the room.)

CATHERINE:  Steve asked her to get out from underneath the obligation of a

newborn?

BRASS:  Geez.  Haven't these people ever heard of divorce?

(GRISSOM doesn't say anything.)

CUT TO:

SCENE #23:

[EXT. HOTEL - NEAR THE POOL - DAY]

(GRISSOM questions STEVE ANDERSON near the side of the pool.) 

STEVE ANDERSON:  Needra didn't kill Zack any more than I did.

GRISSOM:  How do you explain her hair in the baby's crib?

(STEVE looks across the other side of the pool where GWEN and the children are. 

He turns back to GRISSOM.)

STEVE ANDERSON:  We broke up the day that I learned that Gwen was pregnant with

Zack.  I love Needra but I love my family more.  Needra asked if she could see

Zack after he was born to help her kind of accept the reality.  So, I had her in

last Saturday to watch him sleep.

(Quick flashback to:  In the nursery, NEEDRA stands over the crib.  End of

flashback.  Resume to present.)

STEVE ANDERSON:  Gwen had the kids at skating.  Needra was out of the house in

15 minutes.  You don't believe me.

GRISSOM:  You've lied to me before.

STEVE ANDERSON:  About what?

GRISSOM:  You told me that you opened that cola bottle the morning you reported

Zack missing.  We had a test done.  You opened that bottle six hours before you

said you did -- the night before -- somewhere around 11:00 P.M.  The lab is

still testing it.  I also believe that you cut it with alcohol.

STEVE:  Rum and cola.  What does that prove?

GRISSOM:  Was Needra Fenway in your house that night?  Did you catch her

suffocating your son?

(Quick flashback to:  In the nursery, NEEDRA stands over the crib smothering the

baby as he cries.  STEVE and GWEN both rush into the room.)

STEVE ANDERSON:  What are you doing?

(STEVE pulls NEEDRA off of ZACK.  GWEN checks up on him.)

GWEN ANDERSON:  What have you done?

(End of flashback.  Resume to present.)

STEVE ANDERSON:  That's not how it happened.

GRISSOM:  Well, why don't you tell me how it happened.

(Across the pool, a glass shatters.)

GWEN ANDERSON:  Robbie, what did you do?

ROBBIE ANDERSON:  (crying)  I'm sorry, I'm sorry.

GWEN ANDERSON:  All right, I heard you.

(GWEN cleans up the mess.)

STEVE ANDERSON:  Do we have to have this conversation right now?

(A woman reporter walks up to them.)

LAS VEGAS POST REPORTER (WOMAN):  Mr. Anderson?

STEVE ANDERSON:  What? Yeah?

LAS VEGAS POST REPORTER (WOMAN):  I'm from the Las Vegas Post.  How do you feel

about these pictures your secretary sold to the Midnight Informer this

afternoon?

(She hands STEVE ANDERSON some photographs of him with NEEDRA FENWAY.)

STEVE ANDERSON:  Where did you get these?

LAS VEGAS POST REPORTER (WOMAN):  The tabloid's web site.  Needra sold them to

pay for her legal fees. 

(STEVE looks across the pool over at GWEN.)

LAS VEGAS POST REPORTER (WOMAN):  Mr. Anderson?

STEVE ANDERSON:  (after a long moment)  My only comment is that I love my wife

very much.

(GRISSOM puts his head down and rubs his forehead.)

(The LAS VEGAS POST REPORTER walks away.  She heads for GWEN ANDERSON.)

LAS VEGAS POST REPORTER (WOMAN):  Excuse me.  I'm from the Las Vegas Post.  Can

I ask you a few questions?

(She holds out the photos in front of GWEN.  GWEN barely glances at it, her eyes

on STEVE sitting across the pool.)

GWEN:  No.

(The Reporter walks away.)

CUT TO:

SCENE #24:

[INT. CSI - BREAKROOM - DAY]

(In the breakroom, GRISSOM and CATHERINE discuss the case with DR. PHILLIP

KANE.)

CATHERINE:  A wife kills her baby to get back at her husband over his affair. 

Come on.  Any woman would go after the husband, not the baby.

DR. PHILLIP KANE:  True. But, in some instances women have been known to kill

their children as a way to pay back a spouse.  Particularly if it's over an

affair and particularly if the child was a male child.

CATHERINE:  Well, I don't buy it.  I just don't buy it, doctor.  She really

loved that baby.

DR. PHILLIP KANE:  Well, Catherine that's why she's in this much pain now.

CATHERINE:  A guy cheats, but the wife commits murder.  How come moms always end

up the bad guy with you Freud types?

BRASS:  That's because this mother is the bad guy. 

(Everyone turns to listen to BRASS, who just walked into the room.)

BRASS:  CNN just dug up a 13-year-old charge against Gwen Anderson.  I heard it

on the car radio.

GRISSOM:  What kind of charge?

BRASS:  It's called shaken baby syndrome.  The oldest boy-- Tyler?  When he was

a newborn she shook him so hard they had to go to the hospital.  She shook the

kid unconscious.

CATHERINE:  Is this authentic?

BRASS:  Yeah. They were on the phone with the arresting officer from Oregon.  He

faxed me this report.  Our grieving mother ... her record for child abuse.

(BRASS hands the file to GRISSOM in front of a shocked CATHERINE.)

CUT TO:

SCENE #25:

[EXT. POLICE DEPARTMENT -- NIGHT] 

(The car door opens and BRAD LEWIS exits the car before GWEN ANDERSON.  There's

a large crowd in front of the entrance consisting of various reporters and

curious onlookers.  Cameras flash as they make their way toward the front door.)

(GRISSOM exits the front of the building to help.)

(People push their way toward her.  GRISSOM pushes out and grabs GWEN ANDERSON

and guides her toward the front door.)

REPORTER (MAN):  Baby killer!

FEMALE PARENT:  You should die! 

FEMALE PARENT:  You call yourself a mother? 

FEMALE PARENT:  You're the worst!

MALE PARENT:  Baby killer!

MALE PARENT:  Someone should take  those other kids from you!

(On the way to the door, Someone pushing toward them knocks into GRISSOM and

hits him in the eye.)

MALE MEDIA:  Did you kill Zachary over your husband's affair?

Did you act alone or did Tyler help?

FEMALE PARENT:  Baby killer!  Bitch!  Killer!  You deserve to die!

(GWEN ANDERSON and BRAD LEWIS make it to the front door.  A reporter stops

GRISSOM.)

REPORTER (MAN):  Gil Grissom!

(GRISSOM turns around.)

REPORTER (MAN):  You found the baby.  How hard is it for you to look at Gwen

Anderson?

GRISSOM:  (upset)  Let me tell you something.  People are presumed innocent ...

innocent until a court of law can examine all the evidence and prove otherwise. 

Until then everything else is ... gossip.

(Done, GRISSOM heads into the building.)

WOMAN IN CROWD:  She deserves to be put in jail!

REPORTER:  Gil Grissom.  Gil Grissom!

CUT TO:

SCENE #26:

[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT -- CONTINUOUS]

(CATHERINE presses an ice pack to GRISSOM'S bruised eye.)

CATHERINE:  Ice.

GRISSOM:  (grumbling)  I don't need this.

(GRISSOM and CATHERINE sit in the hallway.  GRISSOM takes off the ice pack from

his eye.)

CATHERINE:  Just do it.

(GRISSOM puts the pack back against his eye.)

CATHERINE:  That was quite a speech you made out there, but between you me and

the water fountain ... you think that Gwen Anderson's innocent?

(GRISSOM puts the pack down, surprised by CATHERINE'S question.)

GRISSOM:  What? Are you changing teams now?  You've been her biggest supporter.

CATHERINE:  I still am.  I'm just ... taking your temperature.

(GRISSOM puts the pack back against his eye.  The door opens and BRASS walks

out.)

BRASS:  Hey.  We're up.

(They stand up and head to the interview room.)

CATHERINE:  You didn't answer my question.

GRISSOM:  You're right. I didn't.

(GRISSOM throws ice bag in trash can.)

CUT TO:

SCENE #27:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]

GWEN ANDERSON:  I never meant to hurt Tyler.  You have to understand.

GRISSOM:  You shook him unconscious.

GWEN ANDERSON:  He was choking.

BRASS:  All on his own?

BRAD LEWIS:  Change your tone or I'll end this right now.

BRASS:  Well, it's a legitimate question.  But I have to work on my tone. 

You're right.  (clears his throat)  I'll try again.  All on his own?

CATHERINE:  Go ahead, Mrs. Anderson.

GWEN ANDERSON:  He had gotten food in his windpipe.  His face was ... turning

red.  Steve was at work.  So, I, I patted him on his back and-and on ... and on

his stomach and finally, I turned him upside down and I started shaking him to

get the food out ... to ... to dislodge it, and I did.  But I realized that I

had hurt him, so I called 911.

BRAD LEWIS:  She was a new mother -- 23 years old.  If she'd meant to harm her

son why would she call 911?

GRISSOM:  Did the E.R. find proof that there was food lodged in Tyler's throat?

BRAD LEWIS:  No. That's why the police were called in.  And by the time my

client went home and found the chewed food on the kitchen floor it was all too

late.  She was branded.

GWEN ANDERSON:  It was a french fry.  He'd grabbed it from my plate.

BRAD LEWIS:  As for the death of little Zachary, my client categorically denies

any involvement. She's a victim of an intruder who entered her home and abducted

and killed her child.  Thank you all for your continued efforts to find the real

killer.

(BRAD LEWIS moves to stand up.  GRISSOM stops them.)

GRISSOM:  Did you know that your golf course paints its grass?

GWEN ANDERSON:  Excuse me?

GRISSOM:  It's actually a vegetable dye.  Biodegradable.  They've been using

green dye on television tournaments for several years.

BRAD LEWIS:  What's your point?

GRISSOM:  I found a pair of nylons in the back of your husband's closet.

BRASS:  We, uh we have a receipt that links them to your client.

GRISSOM:  The exact same dye from the golf course where Zachary was laid to rest

is on your nylons.

BRAD LEWIS:  She belongs to the club.  Grass stains.

CATHERINE:  But she doesn't play golf.  Remember our conversation, Mrs.

Anderson?  It's not your game?

(GWEN ANDERSON doesn't say anything.)

BRAD LEWIS:  If you arrest her now ... you have 48 hours to charge her.  You

really want to show your hand at the arraignment?

BRASS:  (stands up)  We'll be in touch.

CUT TO:

SCENE #28:

[EXT. POLICE DEPARTMENT - NIGHT]

(GWEN ANDERSON walks up to the car where STEVE is carrying ROBBIE who has his

arms out for mommy.  TYLER stands behind them.)

STEVE ANDERSON:  Look.

ROBBIE ANDERSON:  Mommy, I want my mommy.

(GWEN walks up to them and instead of taking ROBBIE from STEVE, she walks around

them to the car.)

GWEN ANDERSON:  Hey.  Can we just go, please?

TYLER ANDERSON:  What's going on?

(Standing near the window watching them, CATHERINE and GRISSOM are both

surprised by what they just saw.)

CATHERINE:  Did you see that?

GRISSOM:  A mother repelled by her young.

CATHERINE:  She didn't seem like that type to me.

(Outside, GWEN is in the car.  STEVE hands ROBBIE over to TYLER.)

STEVE ANDERSON:  All right, okay.  Here, go to your brother.

(CATHERINE turns to leave the window.)

CATHERINE:  I'll catch you later.  I want to hear that 911 tape.

(GRISSOM remains by the window watching.  On her way out, CATHERINE passes SARA

who walks toward GRISSOM.)

SARA:  Hi.

CATHERINE:  Hey.

SARA:  Grissom? 

(GRISSOM turns around.)

SARA:  The coroner's been trying to reach you.

GRISSOM:  Did he nail time of death?

SARA:  9:00 P.M., But, uh, there's something else.  He isolated the fiber found

in Zachary Anderson's throat.  It's a flame-retardant material -- generic name's

metaramid.

GRISSOM:  From the baby's clothes?

SARA:  Fire-retardant infant's clothes are made out of vinyon.  The fiber found

in Zack's throat is a stronger chemical treatment.  It's found in things that

are made to be near fire and flames. 

(Something occurs to GRISSOM and he quickly turns and heads out the hallway. 

SARA sees him leave and quickly follows.)

SARA:  (eagerly)  Hey, can I go with you?

CUT TO:

[EXT. ANDERSON RESIDENCE - NIGHT]

SCENE #29:

[INT. ANDERSON RESIDENCE - KITCHEN -- NIGHT] 

(GRISSOM opens the door and heads into the kitchen.  SARA follows.  GRISSOM

checks the drawers looking for something.  SARA also starts checking the

drawers.)

(GRISSOM pulls out a towel, then tosses it on the counter.)

(He opens the next drawer and stops.  He's found it.  The pot holders.  SARA

looks at them.)

SARA:  Same color as the fiber in Zack's throat.

(GRISSOM looks at SARA.)

CUT TO:

SCENE #30:

[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]

(CATHERINE and WARRICK work on the 911 tapes.) 

WARRICK:  Okay, this is the 911 call from the Anderson house at 4:30 A.M.

STEVE ANDERSON:  (from tape)  Our baby has been kidnapped.  493 Fairmark. 

Please hurry.

CATHERINE:  Mrs. Anderson wasn't there?

WARRICK:  You wouldn't think so but I went ahead and separated out any

underlying voices.

GWEN ANDERSON:  (hysterical)  What are we going to do?!

WARRICK:  She was standing, like, two meters from the phone.

CATHERINE:  Yeah, well, it's a legitimate comment.  Doesn't make her guilty of

anything.

WARRICK:  I know, so I checked to see if she was, like, faking her concern. 

This program measures the stress level of the speakers.

GWEN ANDERSON:  (from tape)  Oh, god, what are we going to do?!

(WARRICK points to the results on the monitor of the 911 call from:  Las Vegas,

NV 89109 for (702) 555-0133.)

WARRICK:  The stress is real.

CATHERINE:  Are you familiar with the JonBenet case?

WARRICK:  A little.

CATHERINE:  Well, the police went back, and they found an earlier call that was

placed from the home to 911 and the audio tests separated out the son's voice. 

Now, I'm not saying that Tyler's our guy, but ... we need to check into every

avenue.

WARRICK:  Well, I did backtrack and there were no other calls that night from

the Anderson house-- from the land line, or from the cell phone.

CATHERINE:  In the parents' name, but did you look under Tyler's?  I mean, a

rich kid like that's probably got a cell phone.

WARRICK:  Yeah. All right,  I'll get into it.

(CATHERINE'S phone rings.  She answers it.)

CATHERINE:  Hello.

GRISSOM:  (from phone)  Anderson's attorney.  Seven a.m.

CATHERINE:  7:00 A.M.?  I'll be there.

GRISSOM:  (from phone)  Bring all the evidence.

CATHERINE:  Yeah. I'll bring it all.  Thanks.

(CATHERINE stands up and leaves the room.  She waves to WARRICK as she goes.)

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) - MORNING]

SCENE #31:

[INT. CONFERENCE ROOM -- MORNING]

(CATHERINE and GRISSOM walk into the large conference room.) 

BRAD LEWIS:  My colleagues, Messrs. Landry and Frank are representing Steve and

Tyler Anderson respectively.  Although we're not co-counsel in the strictest

sense we've agreed the authorities should have no more than three questions to

put to our clients each.  After that, we'll accept written submissions only.

CATHERINE:  Nice ... what money can buy.

STEVE ANDERSON:  My family is done being railroaded by you people so just ask

your questions, and let's go.

GRISSOM:  I don't have any questions.  We know what happened in your house the

night Zachary died.  We've interpreted the evidence.

CATHERINE:  All right, let's work backwards starting with the cover-up. 

Sometime around 11:00 P.M. the night of the kidnapping you and Mr. Anderson had

a drink -- rum and cola ...

(Quick flashback to:  That night.  STEVE ANDERSON pours himself a drink.  He

drinks and rests his elbows on the counter top trying to think.)

CATHERINE: (v.o.)  ... and decided what to do  with the body of Zachary.

(End of flashback.  Resume to present.)

CATHERINE:  We have yet to determine whether or not his death was accidental or

intentional.

GRISSOM:  The question documents lab thinks that a parent wrote the ransom note

because there's no money amount. 

(He shows them a photocopy of the ransom note.)

GRISSOM:  Too hard to put a price on your own son?

CATHERINE:  Mrs. Anderson, while your husband was writing the ransom note, you

wrapped Zachary's body in a blanket that you got from the upstairs linen closet.

(Quick flashback to:  GWEN ANDERSON opens the linen closet door and gets a

blanket out.  End of flashback.  Resume to present.)

CATHERINE:  You then laid his body to rest near a statue on the golf course.

(Quick flashback to:  GWEN ANDERSON carries the baby to the statue on the golf

course.  She kneels down in the grass.  Camera close up of her knee on the

grass.  She puts the baby down, placing him carefully on the grass.  She cries

and slowly backs away.  She leaves.  End of flashback.  Resume to present.)

GRISSOM:  That's how you got the grass stains on your nylons.

(GRISSOM hands over a photo to BRAD LEWIS to look at.)

CATHERINE:  You put down a plastic bag from the pantry so that he'd remain dry. 

Evidence of genuine care and concern. 

(TYLER turns to look at his mom who is slowly falling apart at hearing the story

recounted for them.)

CATHERINE:  And Mr. Anderson you put up a ladder outside the window.

GRISSOM:  The only shoe prints we found were yours and the gardener's and the

gardener has been out of town.  You then drove over to your office and cranked

off a ransom note on the first available printer ...

(Quick flashback to:  STEVE ANDERSON is in the office printing out the ransom

note.)

GRISSOM:  (v.o.)  ... possibly thinking that if you used a printer from outside

your house, we wouldn't be able to trace it. 

(End of flashback.  Resume to present.)

GRISSOM:  But these three dots ... have given you away.

(GRISSOM hands over the photo to BRAD LEWIS.)

BRAD LEWIS:  This may prove cover-up.  None of it proves they killed Zachary.

GRISSOM:  You're right, counselor.  Zachary's life was taken much earlier in the

evening.  The coroner estimated time of death at 9:00 P.M.

BRAD LEWIS:  Estimated.  It could be 8:30.

GRISSOM:  Yes.  While Robbie and Zachary were in Tyler's care. 

(GRISSOM turns to look at TYLER.  GWEN sees where this is heading.)

GRISSOM:  You said that we could ask three questions each.  Am I right?

GWEN ANDERSON:  Stop.  Ty didn't do this.

BRAD LEWIS:  Don't give them anything.

GWEN:  No, no. It doesn't matter.  We're already ruined.  Look, they're just ...

they're just trying to protect me, all right? 

BRAD LEWIS:  Please. 

GWEN ANDERSON:  And I can't go on.

BRAD LEWIS:  (warning)  Mrs. Anderson.

GWEN ANDERSON:  I killed him.  I came home.  Tyler h-h-hadn't put Zachary to bed

because he ... he was crying, and I wanted to hush him up and, and I just ... I

went too far.

BRAD LEWIS:  For the record my client made this statement against legal counsel.

GRISSOM:   Would you tell us ... how you killed him.

GWEN ANDERSON:  I smothered him with a pot holder.  And that's when Steve and I

came up with the kidnap story.

STEVE ANDERSON:  It was the longest night of our lives.

CATHERINE:  You had to wait till morning to report him missing.

GWEN ANDERSON:  So that it wouldn't look suspicious.  And you may not believe

me, but I loved him.  I loved him very, very much.

GRISSOM:  We're going to have to have them both arrested.

(BRAD LEWIS nods.)

(GWEN and STEVE look at each other.)

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) - DAY]

SCENE #32:

[INT. CSI -HALLWAY - DAY]

(CATHERINE and GRISSOM walk into the hallway  WARRICK walks out and is surprised

to see them back so soon.)

WARRICK:  I was just coming to meet you guys.  I thought you were at the

Andersons.

GRISSOM:  We're done.  She copped.

WARRICK:  What?

CATHERINE:  Guilty people do that when you corner them with evidence.

WARRICK:  Guys, the mother didn't do it.

GRISSOM:  What?

WARRICK:  Listen.

(WARRICK hands GRISSOM the earphones.  GRISSOM puts them on and listens to the

tape.)

TYLER ANDERSON:  (from tape)  What did you do, Robbie?!  What did you do?!

(GRISSOM looks at WARRICK, surprised.  WARRICK nods his head.)

CUT TO:

SCENE #33:

[INT. BRASS' OFFICE -- DAY]

(They re-question TYLER ANDERSON with STEVE ANDERSON sitting next to him.)

TYLER:  I was watching the boys.  I had my eye on them; I did.

(Quick flashback to:  ROBBIE is leaning over the crib.  He has the pot holder in

his hand and holds it over ZACHARY.  End of flashback.  Resume to present.)

(GRISSOM flips through the file.)

GRISSOM:  Yeah. But then you called your girlfriend.

TYLER ANDERSON:  And we got to talking. 

(Quick flashback to:  TYLER ANDERSON on the phone.  End of flashback.)

TYLER ANDERSON:  And I was kind of ignoring Zack and Robbie. 

(BRASS glances over at ROBBIE who is playing with a toy and under the watchful

eye of the OFFICER.)

TYLER ANDERSON:  They were being quiet.  They were behaving.  I turned around,

and I saw how still he was. 

(Quick flashback to:  TYLER turns around and looks over at the crib where ROBBIE

is playing.  He walks over to the crib to check up on the kids.)

TYLER ANDERSON:  (v.o.)  I ran to him, and he was dead.

(He looks inside the crib and finds that ZACH isn't moving.  End of flashback. 

Resume to present.)

GRISSOM:  And that's when you called 911.

(TYLER nods.  STEVE turns to look at TYLER.)

(Quick flashback to:  TYLER dialing the phone frantically.  ROBBIE stands in

front of TYLER, unaware of what's going on.  End of flashback.  Resume to

present.)

GRISSOM:  But you must have dropped the phone to tend to Zack.

(GRISSOM reaches for the tape player.)

(Quick flashback to the phone falling to the floor.)

OPERATOR:  (v.o.)  911.

TYLER ANDERSON:  (on tape)  What did you do, Robbie?! 

(End of flashback.  Resume to present.)

(Quick flashback to:  TYLER looks into the crib, down at ZACH.  He turns and

yells at ROBBIE.)

TYLER ANDERSON:  What did you do? 

(End of flashback.  Resume to present.)

GRISSOM:  And I guess somewhere in the chaos you got disconnected.  Soon after

that, your parents arrived.

(Quick flashback to:  GWEN and STEVE walk into the house and find TYLER trying

to revive ZACH.)

GWEN ANDERSON:  Oh, my god.  What happened?

(GWEN rushes over.  End of flashback.  Resume to present.)

GRISSOM:  One of you worked on him so hard that you cracked his sternum.

(STEVE sighs.)

TYLER ANDERSON:  He was already blue.  I pushed.  I tried to breathe air into

him, but he was gone.

STEVE ANDERSON:  We did everything that we could.

BRASS:  Why didn't you just tell the truth? 

STEVE ANDERSON:  We wanted to protect Robbie.  (his voice breaks)  We didn't

want him to grow up with the stigma of ... "the boy who killed his brother."

GRISSOM:  He's three.  He's clinically unaware of his actions.  No court would

hold him accountable for that.

STEVE ANDERSON:  But everybody else would know.  It would follow him the rest of

his life.  And my wife ... would rather go to prison than to have anybody know

what Robbie did.

GRISSOM:  Mr. Anderson, we won't let that happen.

(STEVE looks at TYLER who turns to look over at ROBBIE playing quietly in the

hallway.)

CUT TO:

SCENE #34:

[INT. POLICE DEPARTMENT -- JAIL -- DAY]

(The doors slide open.  GWEN ANDERSON walks out of the cell and waits for the

main gate to open.  CATHERINE stands there waiting for her.  The doors open and

they hand GWEN her things.)

CATHERINE:  Now I know why you didn't want to hold Robbie when your husband

handed him to you outside the police department. 

(GWEN puts her jacket on.)

CATHERINE:  I'm very sorry.

GWEN ANDERSON:  (sniffles)  I always, uh ... I always tell them, "gentle,

gentle."

(CATHERINE nods.)

GWEN ANDERSON:  He didn't mean it.  I know he didn't mean it.

CATHERINE:  (shakes her head)  Of course he didn't.

(GWEN walks past CATHERINE, then turns around.)

GWEN ANDERSON:  You must think that we are awful people -- all this stuff that's

come out.

CATHERINE:  You're an average family burdened with a tragedy that put you under

a microscope.  That close, nobody can look good.

(GWEN nods and turns to leave.)

CUT TO:

[HALLWAY - CONTINUOUS]

(CATHERINE and GWEN ANDERSON turn the corner and meet up with GRISSOM who stands

there waiting for them.)

(Just outside near the windows, the shadow of the crowd in the front of the

building can be seen.  Camera lights flash.)

GRISSOM:  Your family's waiting for you.  You ready?

[SLOW MOTION CAMERA]

(Flanked with both GRISSOM and CATHERINE on either side of her, GWEN ANDERSON

heads for the front door.)

HARD CUT TO BLACK.

REPORTER (MAN):  (v.o.)  Will the family be moving? 

REPORTER (MAN):  (v.o.)  Will you make any statements?

REPORTER (MAN):  (v.o.)  Comments?

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

THE END

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

---------------------------------------------------------------------------------------------------------------------------

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

CSI:  CRIME SCENE INVESTIGATION

1X20:  SOUNDS OF SILENCE

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

COLD OPEN:

[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]

SCENE #01:

[EXT. ROADWAY -- NIGHT] 

(Women are laughing.  A car, Nevada license #OVK 195, drives by.  There are two

women inside the car.)

CHARLOTTE:  That club was hot!

LISA:  We're just warming up, my girl.

(LISA turns the car and CHARLOTTE doesn't recognize where they are.)

CHARLOTTE:  Wait, wait, wait.  I don't think this is the right way.

LISA:  (turns to look at CHARLOTTE)  It's a shortcut.

(She laughs.)

CHARLOTTE:  A shortcut to where?

(The car hits over something.)

CHARLOTTE:  Stop.  Stop the car.

LISA:  It was just a pothole.

(CHARLOTTE looks back.  LISA looks in the mirror.)

CHARLOTTE:  I think you hit someone.

(The tires screech as she stops the car.)

CUT TO:

SCENE #02:

[EXT. ROADWAY -- NIGHT] 

(The ambulance drives off.  The road has been taped off and OFFICERS and other

Emergency Personnel walk around.)

(GRISSOM and SARA get out of the vehicle and make their way toward SGT. O'RILEY

who fills them in.)

SGT. O'RILEY:  Blonde behind the wheel.  Girlfriend in the passenger seat called

it in.  Vehicular manslaughter.

(GRISSOM looks at the body down on the roadway.  WARRICK snaps a photo.  SARA

leans over to look at what he's photographing.  There are three evidence markers

on the roadway, #2-#4, marking pieces of a car taillight.)

SARA:  Taillight?

WARRICK:  Yeah.

(GRISSOM shines the flashlight in the plastic bag to show the beer inside.)

GRISSOM:  You been drinking, Warrick?

WARRICK:  No. I'm having a block party.  I marked it where I found it -- over on

the sidewalk over there.

(WARRICK points to the side.  GRISSOM and SARA both turn to look at the body. 

They put their kits down.)

(GRISSOM lifts the boy's shirt to expose his chest.  SARA takes photos of the

chest.)

GRISSOM:  Two distinct tire treads -- one wide ... one narrow.

SARA:  Given the extensive bruising from the wide tread mark, victim was killed

by a larger vehicle.  Not that compact.

(GRISSOM takes off his glasses and looks over at SGT. O'RILEY who is walking

toward the car with the two girls.  He stops and turns around when GRISSOM calls

to him.)

GRISSOM:  Hey, O'Riley, I wouldn't book those suspects just yet.  I think they

ran over a corpse.

HARD CUT TO

END OF TEASER

ROLL TITLE CREDITS

(COMMERCIAL SET)

FADE IN.

SCENE #03:

[EXT. ROADWAY -- NIGHT]

(NICK flashes the siren on and off to get SARA and GRISSOM'S attention.  SARA

and GRISSOM head toward the car where NICK and CATHERINE are inside.)

SARA:  What's up?

NICK:  We got a call about ten minutes ago-- a shooting at Vegas Grounds Coffee

Shop, eighth and main.  Multiple fatalities.

CATHERINE:  We want this one.

GRISSOM:  You guys get over there.  Keep me in the loop.  Keep the media out of

it.

CATHERINE:  Right. 

(CATHERINE shifts in her seat and coughs to get GRISSOM'S attention.)

CATHERINE:  Hey, remember about three months ago I applied to the American

Academy meeting in Chicago?  Well, the deadline for your approval is end of

shift today.

GRISSOM:  It's not a problem.

CATHERINE:  There's important papers to be presented ...

GRISSOM:  You don't have to explain -- Consider it done.

CATHERINE:  Thank you.

GRISSOM:  Good luck.

(GRISSOM turns to let them leave.)

CUT TO:

SCENE #04:

[INT. CSI - FORENSIC AUTOPSY -- NIGHT] 

(DR. ROBBINS goes over his findings with GRISSOM, SARA and WARRICK.)

DR. ALBERT ROBBINS:  Printed your hit-and-run.  AFIS found a match -- Brian

Clemonds, 22, born in Vegas, and he's deaf.

SARA:  You can tell he's deaf by his fingerprints?

DR. ALBERT ROBBINS:  Actually, yes -- he was printed as part of a state aid

program in '81.  To confirm‎, I examined his ear canal.

(Quick CGI POV to:  Inside the ear to the malleus.)

DR. ALBERT ROBBINS:   (v.o.)  Normally, the malleus is shaped like a hammer -- a

long, smooth handle connecting to a blunt head -- but Brian's malleus is

knotted, both of them-- birth defect.

(The malleus morphs from normal to deformed.  End of CGI POV.  Resume to

present.)

GRISSOM:  There's a college for the deaf about a mile from where we found him.

WARRICK:  So, Brian takes a walk crosses the street, doesn't hear the car, gets

creamed.

SARA:  The vehicle -- probably a truck or an SUV, based on the width of the tire

tread-- takes off.  Later, along comes a compact - thump -- runs over his dead

body.

DR. ALBERT ROBBINS:  Maybe, maybe not.

(DR. ROBBINS lifts up the sheet to show them the right hand.)

DR. ALBERT ROBBINS:  See the dried blood on his knuckles?  No associated

wounding.  Blood's probably not his.

WARRICK:  You know what that means -- smackdown -- the kid was in a fight.

SARA:  That ended in murder.

GRISSOM:  Did you send a sample of his blood to DNA?

DR. ALBERT ROBBINS:  When you find the suspect you'll nail him with his own body

fluid.

GRISSOM:  Has his family been notified?

DR. ALBERT ROBBINS:  Not yet.

CUT TO:

SCENE #05:

[EXT. VEGAS GROUNDS COFFEE SHOP -- NIGHT]

(The ambulance drives away.  CATHERINE and NICK walks up the sidewalk to the

coffee shop.) 

NICK:  One person dead, it's a shame; more than one's a party.

CATHERINE:  Get ready to pull a double.

NICK:  Thank you.

(CATHERINE and NICK sign in with the OFFICER near the door.  They walk into the

crime scene and look around.)

(NICK heads for one of the bodies.  He notices the CD player and picks up the

earphones to listen.)

NICK:  Speed metal. Couldn't hear a bomb go off over this.

(BRASS walks up to them.)

BRASS:  Welcome to the caffeine wars.  I got four dead, one on the way to the

hospital.  The kid who belonged to those headphones.

CATHERINE:  I count two -- where are the others?

BRASS:  One behind the counter.  One in the back room.

NICK:  Guy wasn't light with the ammo.  This place is raining shell casings.

(CATHERINE walks up to one of the bodies and recognizes him.)

CATHERINE:  Hey, I know this guy.

BRASS:  I bet you do.  Who doesn't know Frankie Flynn?  Used to own the Orpheus. 

Lost his gaming license a couple of years ago.

CATHERINE:  Oh, yeah.  Too many dips in the chips.

BRASS:  Yeah, you got that r

NICK:  Who's the muscle?

BRASS:  This is Al Robson -- Frankie Flynn's bodyguard.

NICK:  Cash taken?

BRASS:  Till's full, and all the wallets are accounted for.  I don't think

anyone was interested in the, uh, cash ... or the coffee.

(NICK and CATHERINE both head for the back of the counter.)

NICK:  You're thinking hit?

(BRASS looks around.)

BRASS:  Maybe. Frankie drives a bulletproof car.  What does that tell you?

(CATHERINE sees the dead girl behind the counter and closes her eyes for a

moment.  She sighs.)

NICK:  She's probably still in high school.

(CATHERINE turns and heads for the back of the shop.  She pushes the door open. 

She and NICK both see the other girl dead at the back of the room.  NICK groans

at the sight.)

(CATHERINE closes her eyes.  NICK walks past CATHERINE to check on the body.)

NICK:  Bless her heart.

(He kneels down.  BRASS walks into the back.)

CATHERINE:  Assuming Flynn was the target, and it was a hit  the shooter

followed Flynn ...

(Quick flashback to:  [SHOOTER'S POV] of FRANKIE FLYNN and AL ROBSON as they

walk into the coffee shop.)

CATHERINE:  (v.o.)  ... in the front door ... shot the muscle first ...

(The SHOOTER raises his gun and points at AL ROBSON first.  ROBSON reaches for

his gun, but the SHOOTER fires.  ROBSON goes down.)

CATHERINE:  (v.o.)  ...  then Flynn ...

(The SHOOTER turns and fires at FLYNN.)

(Cut to:  The BOY with the ear phones on senses someone approach him from

behind.  He turns.)

CATHERINE:  (v.o.) ...  and some poor kid minding his own business.

(He stands and the SHOOTER fires.)

(End of flashback.  Resume to present.)

CATHERINE:  The girls were last.

(Quick flashback to:  THE SHOOTER walks around the counter to the first girl

hiding behind the counter.  He fires.)

(The final girl hears the gunfire and tries to run out through the back.)

CATHERINE:  (v.o.)  ... four dead.  One is still alive.

(End of flashback.  Resume to present.)

(BRASS' beeper goes off.  He checks it and reads the message.)

BRASS:  Make that five.  Guy died on the way to the hospital.

(CATHERINE turns around to look at BRASS.)

CUT TO:

SCENE #06:

[EXT. /INT. CLEMONDS RESIDENCE -- NIGHT]

(GRISSOM and an OFFICER walk up to the door.  GRISSOM rings the door bell.  The

light goes on inside.)

(The porch light goes on outside and the door opens.)

GRISSOM:  Mrs. Clemonds?

MRS. CLEMONDS:  Yes?

GRISSOM:  My name is Gil Grissom.  I'm with the Las Vegas Crime Lab.

(He holds up his ID for her to look at.)

MRS. CLEMONDS:  Crime lab?

GRISSOM:  May I come in for a minute?

MRS. CLEMONDS:  Okay.

(She steps aside and GRISSOM walks into the house.  The officer waits outside. 

She closes the door.  GRISSOM steps inside and looks around.  He notices the

bell near the floorboards.)

MRS. CLEMONDS:  My son is deaf.  That bell is connected to the doorbell.

GRISSOM:  The bell sets off vibrations which reverberate on the floorboards so

that he knows someone's at the door.

MRS. CLEMONDS:  Yes.

GRISSOM:  Mrs. Clemonds, I'm here about your son Brian.  There's no easy way to

say this.

(She starts to cry.)

MRS. CLEMONDS:  Oh, god, please, no.

GRISSOM:  Brian was killed tonight.

MRS. CLEMONDS: No, no, no. 

(She slowly sits down on the couch, crying.)

MRS. CLEMONDS:  This is my fault.

GRISSOM:  No. No, it's not.

MRS. CLEMONDS:  When I was pregnant, I had the German measles and the virus took

away his hearing.  It's my fault.

GRISSOM:  No, Mrs. Clemonds... we think he might have been murdered.

MRS. CLEMONDS:  (shakes her head)  Murdered?

GRISSOM:  Would you like to talk to a Family Services Counselor?

MRS. CLEMONDS:  (she laughs weakly)  Talking is overrated, Mr. Grissom.  Just

find out who did this to my boy.  Please.

(He nods slightly.)

CUT TO:

SCENE #07:

[INT. CSI - FORENSIC AUTOPSY -- NIGHT]

(DAVID PHILLIPS assists while DR. ROBBINS goes over the bodies with CATHEIRNE.)

DR. ALBERT ROBBINS:  It's been a hell of a night.  First the deaf kid, now a

hit.  It's going to take a while to process all the bodies.

CATHERINE:  What do you know about Flynn?

DR. ALBERT ROBBINS:  I always start with the celebrities.  Frankie Flynn, 38

gunshot wounds to the head and the abdomen.

CATHERINE:  Any bullets recovered?

DR. ALBERT ROBBINS:  Only one -- out of the head -- nine-millimeter .357.  I

deal with the pin cushions.  Ballistics deals with the pins.  Shooter could have

saved himself a lot of trouble if he'd waited a month or two.

CATHERINE:  Why?

DR. ALBERT ROBBINS:  Invasive colon cancer.  On his way out.

CATHERINE:  Guess he got off easy.

DR. ALBERT ROBBINS:  Hmmm.

(CATHERINE turns to the next body.)

CATHERINE:  I.D.?

DAVID PHILLIPS:  Erin McCarty, 20.

DR. ALBERT ROBBINS:  Wonder if she even knew she was pregnant.

CATHERINE:  Just keeps getting better.  Someone notify the husband?

DAVID PHILLIPS:  Cop said she's single -- she lives at home with her mother.

CATHERINE:  How far along was she?

DAVID PHILLIPS:  About six weeks.

CATHERINE:  She knew.

(She shakes her head.)

CUT TO:

SCENE #08:

[INT. VEGAS GROUNDS COFFEE SHOP -- NIGHT] 

(NICK takes a picture of evidence markers #3 and #4.  He reaches down to get a

swab of the blood on the floor.  NICK puts the swab in the box and closes it.)

(Cut to:  NICK takes out a bullet casing from the wall.  The marker on the wall

reads:  NS-12.)

NICK:  Another nine-millimeter, just like our casings.

BRASS:  Yeah. Nine bullets, all the same caliber.  Looks like Robson never got a

shot off.  I wouldn't want him as my bodyguard.

(CATHERINE walks in.)

CATHERINE:  Need help with the measurements?

BRASS:  Sure.

(OFFICER METCALF walks in.)

OFFICER METCALF:  Captain, I got the manager outside.

(BRASS walks out to meet with the MANAGER.)

CUT TO:

SCENE #09:

[EXT. VEGAS GROUND COFFEE SHOP - NIGHT -- CONTINUOUS] 

(OFFICER METCALF points out the MANAGER to BRASS.)

BRASS:  Okay.

OFFICER:  That's the guy right there.

BRASS:  This one?

OFFICER:  Yep. That's the one.

(BRASS clears his throat to get the MANAGER'S attention.  CATHERINE and NICK

follow.)

BRASS:  I'm Detective Brass.  Catherine Willows.  Nick Stokes from the crime

lab.

BRAD KENDALL:  Brad Kendall.  I heard it on the news.  They're saying it was

some kind of a hit.  Where are Erin and Alice?

BRASS:  They didn't make it.

(BRAD KENDALL sighs.)

BRAD KENDALL:  Did you call their parents?

NICK:  Once the coroner makes a positive I.D.  Their families will be notified.

CATHERINE:  Shooting occurred around closing time.  Is it customary for your

employees to close up?

BRAD KENDALL:  (upset)  Erin locked up twice a week -- 10:00 on the nose.  She

was training Alice - moving on at the end of the month.  I can't believe they're

gone.

CUT TO:

[EXT. GILBERT COLLEGE OF THE DEAF - DAY]

SCENE #10:

[INT. GILBERT COLLEGE OF THE DEAF - DR. GILBERT'S OFFICE -- DAY] 

(SARA and WARRICK try to talk with DR. GILBERT with the use of an interpreter. 

Neither SARA nor WARRICK have much experience in this area and don't fare very

well.) 

SARA:  (loudly)  Dr. Gilbert ...

(SARA turns around to look at the interpreter who stands behind them.)

SARA:  (looking at the interpreter)  We need your help.  Brian Clemonds was

murdered.

(DR. GILBERT can't see what SARA'S saying.)

WARRICK:  Was he having any difficulties?

(WARRICK turns around to look at the interpreter "talk" to DR. GILBERT.)

(SARA turns to look at the interpreter.)

SARA:  Anyone have a grudge against him? 

(DR. GILBERT watches them, then shakes her head.  SARA misinterprets the motion

and then continues her questioning, but she's again looking at the interpreter.)

SARA:  We understand you don't want a homicide investigation upsetting your

students.

JANE GILBERT:  I'm severely deaf, and I can communicate fine.  I'd appreciate it

if you'd look at me when you speak to me.  I wear a hearing aid and I can read

lips.  You could have asked if I needed an interpreter.

SARA:  I'm sorry.  I didn't mean to offend you.

JANE GILBERT:  There are 152 students at my school.  We live together, we study

together, we eat together.  We're a family.  And Brian is dead.

WARRICK:  Dr. Gilbert, we're just following protocol.  We need to speak with

Brian's friends; his roommates.

SARA:  We'll also need access to his records.

JANE GILBERT:  The crime didn't happen here -- it happened out there.

SARA:  I'm not accusing anybody of anything.

JANE GILBERT:  Neither am I, but there are more of you, right?  Send someone

else - someone with more understanding of this school of my students.

WARRICK:  But we're here now, and evidence is time-sensitive.

JANE GILBERT:  How can you solve a crime without understanding the victim?

(Frustrated, DR. GILBERT signs to the interpreter.  SARA turns to look back at

HALLEY.)

HALLEY:  Um ... she's kicking us out.

(WARRICK and SARA both leave the office.)

(HALLEY looks at DR. GILBERT and apologizes to her.)

CUT TO:

SCENE #11:

[EXT. POLICE DEPARTMENT - PARKING LOT -- DAY] 

(SARA and WARRICK drive in to the parking lot and park the car.  GRISSOM is just

getting out of his car.)

WARRICK:  Hey.

GRISSOM:  How'd it go at the college?

SARA:  They're not cooperating.

WARRICK:  Yeah, we didn't have a warrant, so she kicked us out.

GRISSOM:  What did you do?

SARA:  What did we do?  We met with the president, asked a few questions.

WARRICK:  She was kind of hostile.

SARA:  Like it's our fault we can hear.

GRISSOM:  All right. Let's go.

CUT TO:

SCENE #12:

[EXT. GILBERT COLLEGE OF THE DEAF -- DAY] 

(Back at the college, GRISSOM, WARRICK and SARA make their way across campus.)

[INT. DR. GILBERT'S OFFICE - DAY]

(GRISSOM walks into the office.)

GRISSOM:  Dr. Gilbert?  I'm Gil Grissom, with the Crime lab.  You kicked my

people out of your office.

JANE GILBERT:  Well, I'm kicking you out, too.

(She stands up and indicates the door.)

(GRISSOM stops her and signs as he speaks.)

GRISSOM:  (speaks & signs)  Look, your student is dead. Don't you want to know

who's responsible? I do.

(SARA and WARRICK turn to look at each other, surprised to learn this new aspect

of GRISSOM.)

JANE GILBERT:  Your people can't solve this crime.

GRISSOM:  (speaks & signs)  Why? 'Cause they don't understand the victim?  Help

them understand.

JANE GILBERT:  When a deaf person meets a hearing person the hearing person so

much as says, "I'm normal, you're not."

GRISSOM:  (speaks & signs)  Is that what you think I'm saying?  A student is

dead.  Maybe you feel responsible.  Maybe you're angry.  But don't be angry with

us.  We want to help you.

JANE GILBERT:  If I agree to cooperate you will include me in your

investigation?

GRISSOM:  Yes, I will.  I welcome your involvement.  Now, may I see Brian

Clemonds' file?  Please?

CUT TO:

[FILE ROOM]

(GRISSOM looks through the file.)

JANE GILBERT:  I did nothing wrong.

GRISSOM:  Brian filed six complaints against his roommate -- Paul Arrington.

JANE GILBERT:  Paul lost his hearing less than a year ago-- a tumor.  He hasn't

adjusted.  He's angry.

GRISSOM:  And he took it out on Brian.  Assaulted him.  Brian requested a new

roommate.  Request denied?

JANE GILBERT:  There were no other available beds.

GRISSOM:  I want to speak to Paul.

JANE GILBERT:  He doesn't read lips or sign.

GRISSOM:  (speaks & signs)  You don't need to hear or speak to communicate.  Or

... commit murder.

FADE OUT.

(COMERCIAL SET)

FADE IN.

SCENE #13:

[INT. HALLWAY -- DAY]

(GRISSOM, SARA and WARRICK wait to see PAUL ARRINGTON.)

SARA:  So, you going to tell us how you learned to sign?

GRISSOM:  No.

(SARA looks at WARRICK.  He doesn't say anything.)

SARA:  Well, the president of the college is a real whack job.

GRISSOM:  Sara, you see deafness as a pathology.  For Dr. Gilbert, her deafness

is not her handicap -- it's her way of life.

SARA:  You know, I think you might be siding with her.

GRISSOM:  As long as you see this as us versus them, you're going to have

problems on this case.

(WARRICK turns and sees DR. GILBERT and PAUL ARRINGTON walk down the hallway

toward them.)

WARRICK:  The roommate's here.

(GRISSOM goes to meet them.)

(SARA turns to look at WARRICK.)

CUT TO:

SCENE #14:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] 

(GRISSOM hands a sheet of paper to DR. GILBERT.)

GRISSOM:  This explains what we're doing. 

[OBSERVATION ROOM]

(WARRICK and SARA walk in to the observation room to watch.)

GRISSOM:  (through speakers)  I need for Paul to read it.

SARA:  What was that all about?  Grissom signs.

(SARA shuts the door.)

WARRICK:  Do you know what Grissom drinks when he goes out at night?

SARA:  He goes out?

WARRICK:  Exactly. Who knows anything about that guy?  Hey, check that out. 

(They watch as GRISSOM puts a head band on PAUL ARRINGTON'S head.)

SARA:  Oh, I've read about this machine.  Very Frankenstein.

WARRICK:  Brain printing.  They call it a visual polygraph.

SARA:  You've used one of these before?

WARRICK:  Yeah, back in '97 Grissom and I used one to interview this rapist. 

The guy was mute but his brain waves spoke loud and clear.

SARA:  So, you show the suspect slides of the crime scene and if he's our guy

...

WARRICK: ... then the oscillator will give him away.

[INTERVIEW ROOM]

(GRISSOM sets the machine up and starts with the first slide.  It's of DR.

GILBERT.)

(GRISSOM looks at the monitor.)

GRISSOM:  Good. He recollects you.

(DR. GILBERT nods.  The next slide goes up of the "LIBRARY AND LEARNING RESOURCE

CENTER".)

GRISSOM:  He recollects the college.

(The third slide of BRIAN CLEMONDS goes up on the screen.)

GRISSOM:  He recollects Brian.

(The next slide is of the crime scene where BRIAN is on the roadway.)

GRISSOM:  This is a shot of the crime scene.

(GRISSOM looks at the monitor.)

GRISSOM:  No recollection.

(The next slide goes up.  It's a close up of BRIAN on the ground, dead.  DR.

GILBERT is mortified by the picture.  PAUL tries not to show it, but he's upset

by the picture.  DR. GILBERT watches PAUL carefully and sees it.  GRISSOM

watches the monitor.)

(She reaches out and rubs his shoulder in comfort.)

GRISSOM:  No recollection of the crime scene or of Brian under these conditions.

JANE GILBERT:  May we go now? 

(GRISSOM notices that the pictures are upsetting to them.  He turns the monitor

off.  He removes the head band from PAUL.)

(GRISSOM leans over the table and writes something on the pad in front of PAUL. 

When he's done, he pushes the pad in front of PAUL so he can see it:  I'm sorry

Paul.)

(GRISSOM steps back.  PAUL looks at the message, shakes his head, then pushes

the pad away.)

(In the observation room, SARA and WARRICK watch as they all head for the door. 

Before she leaves, DR. GILBERT turns to GRISSOM.)

JANE GILBERT:  If you want to find the killer look outside the school.

(DR. GILBERT leaves the room.)

(After a moment, GRISSOM turns to look at the observation room.)

CUT TO:

SCENE #15:

[INT. CSI - GRISSOM'S OFFICE -- DAY]

(The clock reads 5:17.  Although the second hands moves, we hear nothing. 

GRISSOM stares at the clock.  The camera swings down to show that GRISSOM is

tapping the tip of his pen down on the table.  Again, we hear nothing.) 

(The camera moves over to the tank where GRISSOM keeps his pet spider.  He looks

down at the spider.  We hear nothing.)

(CATHERINE walks into the room.  GRISSOM doesn't notice her.)

CATHERINE:  (no audio)  Grissom!

(GRISSOM doesn't look up.  CATHERINE takes a step closer to his desk.)

CATHERINE:  (no audio)  Grissom!

(Again, GRISSOM doesn't turn around.  CATHERINE starts to look worried at his

non-response.)

(Finally she yells.)

CATHERINE:  (muffled)  Grissom!

(He starts and turns around.)

(GRISSOM sees CATHERINE and takes out the ear plugs.)

(Immediately, the usual sounds of the office bustle is heard.  He places the ear

plugs on the table.)

GRISSOM:  Sorry.  I was thinking.

CATHERINE:  About what it's like to be deaf?

GRISSOM:  About what it's like to hear.

CATHERINE:  Sara told me that you spoke in sign and now you're putting plugs in

your ears.

GRISSOM:  I'm on a case.

CATHERINE:  Mm-hmm.  Is that why you forgot about the conference?

GRISSOM:  (confused)  The what?

CATHERINE:  You missed the deadline.  No Chicago for me.

GRISSOM:  (remembers)  Oh, Catherine ...

CATHERINE:  This is the one meeting I needed to attend.  I don't always want to

be second banana.  I can probably do your job.  I know that I can do Ecklie's.

GRISSOM:  I forgot.  I'm so sorry.

(CATHERINE looks at GRISSOM.)

CATHERINE:  Make sure to submit the paperwork by the end of the day.

GRISSOM:  I thought you said that it was too late.

CATHERINE:  Well, I knew you'd forget so I upped the deadline -- gave you a

buffer.  Don't forget again.

(CATHERINE leaves the office.)

(GRISSOM sighs, then looks for the paperwork on his desk to get it done.)

CUT TO:

SCENE #16:

[INT. CSI - LAB -- DAY]

(SARA runs the tire treads from the body through the database looking for a

match.  WARRICK walks into the room carrying an evidence box.  He puts the box

down.)

WARRICK:  Those the tire treads from the crime scene?

SARA:  (nods)  I photo'ed the victim's torso and imaged the tread mark-- scanned

it -- got it running through a tread assistance CD ROM.

WARRICK:  Any hits?

SARA:  Not yet.  CD database-- 11,033 patterns.

(WARRICK exhales at the number as he takes out a shirt.)

SARA:  Could take a while.

WARRICK:  Yeah.

SARA:  What are you doing?

WARRICK:  Checking out the dead guy's clothes.

(WARRICK looks at the clothes and finds something unusual.)

WARRICK:  Whoa.  What are these?

(Camera zooms in for an extreme close up of some bugs on the shirt.)

(Curious by his reaction, SARA walks over to take a look.  She leans in close.)

SARA:  What?

WARRICK:  They look like lice.

(SARA straightens up and tucks her hair back.)

SARA:  Lice?

WARRICK:  Wasn't our dead guy clean?

SARA:  Yeah, he was.  Lice adhere to hair follicles.  I didn't find any stray

hairs on him.

WARRICK:  Well, he was in a fight, right?  Maybe his attacker had lice and they

crawled off on his sweater and they got comfy and the stray hair blew away.

(GRISSOM walks by the doorway.  He sees them inside and stops.)

GRISSOM:  (to SARA)  Hey.  Any luck on the tire treads?

SARA:  Computer's still processing but Warrick found something pretty

interesting.

(GRISSOM steps into the lab.)

WARRICK:  You know anything about lice?

GRISSOM:  Yeah. They make your head itch.  And, after head colds the most common

medical problem affecting children.

WARRICK:  Little problem no one talks about, huh?

(GREG rushes into the lab for GRISSOM.)

GREG SANDERS:  Hey, Grissom, can I see you a second, Stat.

(He looks up and sees SARA.  GREG waves to her.  SARA smiles back.  GREG leaves

the lab.)

(GRISSOM turns around and tells SARA.)

GRISSOM:  Stay on the tire treads.  (SARA nods.)  Warrick?

(GRISSOM leaves the lab.  WARRICK rushes to get a sample of the lice.)

WARRICK:  Yeah. Right behind you.

(SARA looks at the evidence package on the table.  She reads the label, then

opens it up.  She pours its contents out onto the table.  The three pieces of

tail light fall onto the table.)

(She takes the flashlight and looks at the numbers, SAE(2)AIP2 ... )

SARA:  A few more numbers and this could have been cake.

CUT TO:

SCENE #17:

[INT. POLICE DEPARTMENT - BRASS' OFFICE]

(BRASS holds up the LAS VEGAS CHRONICLE with the headline:  "IT'S A HIT, FRANKIE

FLYNN MURDERED!") 

BRASS:  Guess who used to sign Brad Kendall's paychecks six years ago?

CATHERINE:  Frankie Flynn.

BRASS:  Oh, yeah.

(CATHERINE grabs the paper just as BRAD KENDALL turns and walks into the

office.)

BRASS:  Hey, Brad, thanks for coming in.  We just got a few more questions.

(CATHERINE sits down.  The door closes behind him.)

BRAD KENDALL:  Sure.

BRASS:  So you used to work for Frankie Flynn?

BRAD KENDALL:  Yeah. At the Orpheus.  I was a waiter in the coffee shop.  He

came in all the time.

BRASS:  Sit down.  Sit down.

(BRAD KENDALL sits down.)

BRASS:  Did you see him outside the coffee shop?

BRAD KENDALL:  (sighs)  Once in a while.  He owned the place.  He was

everywhere.

CATHERINE:  Why don't you tell us  about your CCW permit.

BRAD KENDALL:  I made cash deposits.  I carry a concealed weapon.

CATHERINE:  What kind?

BRAD KENDALL:  Glock, nine millimeter.

BRASS:  We'll need to see the weapon and any spare ammo.

BRAD KENDALL:  Yeah, of course, I'll bring it in.

CUT TO:

SCENE #18:

[INT. CSI - DNA LAB]

(GRISSOM and WARRICK follow GREG who walks through the hallway, then stops and

turns around to look at them.)

GREG SANDERS:  I am the man.

WARRICK:  Why? What did you do?  Let me guess.  You ran a DNA profile on the

blood from the dead guy's knuckles and you got a match.

GREG SANDERS:  No.

GRISSOM:  You ran a DNA profile and something very distinctive popped up?

GREG SANDERS:  Not quite.

WARRICK:  You made it out of bed and you dressed yourself?

GREG SANDERS:  No.

GRISSOM:  What is it, Greg?

(GREG turns around and points to the scope.  GRISSOM puts his things down and

looks.)

GREG SANDERS:  Just put your nose down the scope.

[SCOPE VIEW]

GRISSOM:  Dots of blue light on a red sea.

GREG SANDERS:  Pyoverdin.

GRISSOM:  Pyoverdin.  A pigment excreted from pseudomonas aeruginosa which is a

bacteria occasionally found in the bloodstream.

WARRICK:  So what does that give us?

GREG SANDERS:  Your killer has fluorescent blue dots in his blood.

WARRICK:  So the guy's a glow-stick.  How does that help us track him down?

GREG SANDERS:  (laughs)  Haven't I done enough for one day?

(SARA walks into the lab.)

SARA:  We have a lead -- I found a partial serial number on the broken

taillight.

GRISSOM:  I saw it.  It's missing six digits.  It's useless.

SARA:  Maybe on its own but the tire tread database kicked out a match.  The

tire belongs to a ford explorer.  A p235-75, manufactured specifically for their

SUVs.  Only one with the same partial serial number is registered in Vegas.

GRISSOM:  What do you call a guy with blue-dotted blood, lice and keys to a ford

explorer?

(SARA smiles.)

WARRICK:  A suspect?

(GRISSOM turns to look at WARRICK.)

GRISSOM:  A killer.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #19:

[INT. POLICE DEPARTMENT - PARKING LOT -- DAY]

(GRISSOM waits outside as JANE GILBERT'S car (Nevada License #213 OAT) stops and

she exits the vehicle.  He holds the car door open for her.)

JANE GILBERT:  You found the car that ran over Brian?

GRISSOM:  Yes. 

(He closes the car door and they head for the building.)

GRISSOM:  The SUV's registered to Adam Walkey.  He's 18 years old; no prior

complaints.  We're processing it now.  I promised to keep you informed.

JANE GILBERT:  (smiling)  You kept your word.

CUT TO:

SCENE #20:

[INT. CSI - GARAGE -- DAY]

[SCOPE VIEW of the lice]

(WARRICK looks a the lice on the driver's seat.) 

WARRICK:  Hmm.

(SARA stands on the passenger side shining her flashlight into the car at

WARRICK.)

SARA:  Lice?

WARRICK:  Creepy critters in the driver's seat.

(SARA looks up and sees GRISSOM walking in to the garage with JANE GILBERT.)

SARA:  So ... that's why Grissom's late.

WARRICK:  You just don't like other women in his life.

SARA:  I'm going to pretend I didn't hear that.

WARRICK:  Affirmative on the head lice.

SARA:  Taillights match.

GRISSOM:  We have a suspect.

CUT TO:

SCENE #21:

[INT. CSI - LAB -- DAY]

(ADAM WALKEY and his LAWYER RANDY PAINTER are in the lab with GRISSOM and SGT.

O'RILEY.)

RANDY PAINTER:  I'm advising Adam to invoke his fifth amendment rights.

SGT. O'RILEY:  No charges have been filed and I haven't asked a question.

RANDY PAINTER:  Go ahead and ask.  He won't answer. 

GRISSOM:  Well, that's why I suggested we meet here.  I don't need him to talk. 

I just want his blood. 

RANDY PAINTER:  Well, for that, you're going to need a warrant. 

(GRISSOM turns to look at SGT. O'RILEY who takes out a sheet of paper from his

jacket pocket.  He hands it to RANDY PAINTER who takes a moment to read it.)

RANDY PAINTER:  This warrant is for blood ...

(He looks up confused.)

RANDY PAINTER:  ... and a scalp search.

(GRISSOM holds up a lice comb.)

GRISSOM:  It's a licemeister.  (and smiles)  We're going to comb your hair.

(RANDY PAINTER and ADAM WALKEY look at each other.)

CUT TO:

SCENE #22:

[INT. CSI - BALLISTICS LAB - DAY]

(CATHERINE turns the corner and walks into the lab where NICK is already there

looking through a scope.)

CATHERINE:  Talk to me.

NICK:  Good news, bad news.  Same caliber, different gun.

(CATHERINE looks over at BOBBY DAWSON standing inside the lab.)

CATHERINE:  Bobby?

BOBBY DAWSON:  Striations don't match. 

(BOBBY points the monitor.)

BOBBY DAWSON:  The gun that killed those five people at the coffee house isn't

your store manager's.  The good news is -- all of the nine millimeter bullets

fired at the scene ... from the same gun. 

(Quick CGI POV:  Camera moves down and inside the barrel of a gun.  The gun

fires and the bullet exits the barrel.  End of CGI POV.  Resume to present.)

BOBBY DAWSON:  You're looking for only one guy.

CATHERINE:  Well, what about the breach-face marks on the casings?

BOBBY DAWSON:  (shakes his head)  Indeterminate.

CATHERINE:  Hmm. 

(CATHERINE turns to look at NICK and she sees BRASS walk toward them into the

room.)

CATHERINE:  Well, well ... looks like you got zip.

BRASS:  I got a ton of people out interviewing every two-bit stiff that ever had

a beef against Flynn.  They're all doing the smart thing -- keeping their mouth

shut.

CATHERINE:  So we have no statements or physical evidence indicating it was a

hit on Flynn.

NICK:  What we have is five dead bodies.

CATHERINE:  Yeah ... why?

BRASS:  You know something I don't know?

CATHERINE:  Not yet. 

(BRASS looks past CATHERINE toward NICK.  CATHERINE turns around to look at

NICK.)

CATHERINE:  Nick?

NICK:  (shrugs)  Smoke and mirrors.

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) - NIGHT]

SCENE #23:

[INT. VEGAS GROUNDS COFFEE HOUSE - NIGHT]

(NICK and CATHERINE are back inside the Coffee Shop.)

NICK:  If it was a hit, the guy came to the front door took out Al and Frankie,

and got the witnesses.  Bullets will confirm‎ it.  Shooter was standing here when

he shot Al ...

(NICK uses the red laser light to point it toward the "X" on the cardboard cut

out representing "AL".)

NICK:  ... bamm. Once in the chest.  This is Flynn. 

(NICK moves over to the next light set up on a tripod and turns it on toward the

wall where they found the bullet.)

NICK:  One miss ...

(He moves to the next light on the tripod and turns it on so the light hits the

cardboard cut out representing "FLYNN".)

NICK:  ... One hit ... one through and through.

(The next light goes on and is pointed through the hole in the cardboard cut

out.)

(CATHERINE moves to the other lights set up.)

CATHERINE:  Headphones.

(She turns on the lights pointing them at the witness with the headphones who

was killed.)

CATHERINE:  Ricochet.  Through and through.

(NICK walks around the room looking at the ray of lights.  CATHERINE walks up

close to the cardboard cut out of the witness.  She stops and thinks about it.)

(Camera cuts to a slow pan around the room at the various cardboard cut outs and

lights indicating the shots fired.  It stops on the laptop monitor of the room

layout.)

(Cut to:  NICK and CATHERINE work on the computer laptop.)

NICK:  Each victim gets a different color.  Blue beams are isolated.  The kid

with the cd player was alone.

(Quick flashback to:  The night of the shooting, the kid with the CD player has

his back to the action.  The camera moves slowly toward him and he turns around. 

End of flashback.  Resume to present.)

CATHERINE:  Flynn was closest to the door.

(Quick flashback to:  The night of the shooting.  FLYNN and AL ROBSON walk into

the coffee shop and up to the counter.  End of flashback.  Resume to present.)

NICK:  Shooter was positioned between Flynn and the front door.  Flynn eats it

... ? Nah.

NICK:  I would have taken out big Al ... bodyguard first.

CATHERINE:  Me, too.

NICK:  Ident found both of the bodyguards' paws on the counter.

(NICK walks up to the counter and puts both his hands down flat on the

countertop.)

(Quick flashback to:  The night of the shooting.  AL ROBSON and FLYNN walk into

the coffee shop.  ROBSON walks up to the counter and puts both hands flat on

top.  End of flashback.  Resume to present.)

(NICK looks up at CATHERINE who's behind the counter.)

CATHERINE:  What if the shooter was here when he shot big Al?

NICK:  Big Al would already be dead.  It doesn't make any sense.

CATHERINE:  If the shooter walked through the front door.

NICK:  What if he came through the back?

(CATHERINE turns around and heads for the back.)

(Cut to:  CATHERINE opens the door.  She and NICK walk inside.  CATHERINE walks

in toward the cardboard cut out that represents ERIN.)

CATHERINE:  Erin McCarty-- the employee who was supposed to close up.

NICK:  Yeah.  Yeah.  Shot twice in the back while headed for the rear exit.

(CATHERINE and NICK start looking around the area.)

(CATHERINE searches the shelves, then notices something behind the keys hanging

on the hooks on the side of the shelves.  It appears to be a small dent.)

CATHEIRNE:  If she was headed towards the parking lot, how do you explain this

ricochet?

NICK:  What?

(NICK walks over to see what CATHERINE'S found.  He looks at the small dent in

the shelf and thinks.)

NICK:  Like this.

(NICK turns off the back room light and heads for the light on the tripod. 

CATHERINE gets the small mirror and puts it on the shelf to reflect the light. 

Together, they work to find the missing bullet.)

(NICK moves the light until it hits the mirror.  CATHERINE moves the mirror to

show where the bullet could've possibly gone.  The light winds up on a bag of

100% COLUMBIAN.)

(NICK checks the bag..  He picks it up and opens it.  He pours the beans out and

finds the missing bullet.  He looks back at CATHERINE and smiles.)

NICK:  I love this job.

CATHERINE:  The ricochet went out into the store.  (thinking)  There's no hole

in the door.  There's no hole in the door 'cause the door had to have been open.

NICK:  Assuming Erin was running for her life the shooter follows her in the

back room shoots her twice -- he would have been shooting toward the parking

lot.

CATHERINE:  He shot toward the parking lot first and then toward the front of

the store.

NICK:  He'd only shoot toward the front if there's somebody there.

CATHERINE:  So who was in the line of fire?  What if we have it backwards?  What

if ... the shooting began back here ... with Erin?

NICK:  Yeah, and somebody else saw.  Frankie Flynn was an innocent bystander. 

Wrong place, wrong time.

CATHERINE:  The target was Erin ... the pregnant girl and the rest was damage

control.

CUT TO:

SCENE #24:

[INT. CSI - HALLWAY / DNA LAB -- NIGHT]

(WARRICK, SARA and GRISSOM walk through the hallway.) 

WARRICK:  Adam Walkey doesn't have lice?

GRISSOM:  Not even lice eggs.

SARA;  Maybe he got rid of them since the other night.

GRISSOM:  Delousing agents take time to kick in.  There would have been evidence

of the infestation.

(They walk into the DNA LAB where GREG is waiting for them.)

GREG SANDERS:  Hey... got good news.  Walkey's blood sample ...

GRISSOM:   Pseudomonas aeruginosa?

GREG SANDERS:  Fluorescent blue.

(GRISSOM leans in to look through the scope.)

[SCOPE VIEW]

WARRICK:  Same as the blood we found on Brian's knuckle.

GRISSOM:  Greg, start a DNA comparison.  This gives us enough to hold Walkey.

(GRISSOM walks out of the lab.  WARRICK and SARA follow.)

WARRICK:  It's just like Dr. Gilbert said ... the killer came from out here.

GRISSOM:  Dr. Gilbert can afford her personal bias.  We can't. 

(GRISSOM stops and turns around to look at them.)

GRISSOM:  And we need a lot more than day-glo bacteria to get a conviction.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

SCENE #25:

[INT. CSI - HALLWAY]

(NICK and CATHERINE walk through the hallway on their way to forensic

pathology.) 

NICK:  You really think Erin knew she was pregnant?  I mean, six weeks?

CATHERINE:  Twenty-year-old girl, living at home?  She would have taken a test

if she was five seconds late -- panic city.

NICK:  Yeah. Brass talked to her parents.  There was no guy in her life.

CATHERINE:  Well, it's not immaculate conception.  If the guy was Mr. Right she

would have told her folks.  Which means he was Mr. Wrong.  Maybe Mr. Married.

[INT. CSI - FORENSIC PATHOLOGY - CONTINUOUS]

(NICK and CATHERINE walk into pathology.  DR. ROBBINS looks up from the counter

he's working at.)

DR. ALBERT ROBBINS:  Back for more?

CATHERINE:  You still have the pregnant girl?

DR. ALBERT ROBBINS:  Mortuary is going to pick her up later this afternoon.

NICK:  Stall them. We want a paternity test.

DR. ALBERT ROBBINS:  At six weeks?

CATHERINE:  Six weeks with half of someone else's DNA in her body.

(NICK turns and opens the door for CATHERINE.)

CUT TO:

SCENE #26:

[INT. CSI - GARAGE -- DAY] 

(SARA and WARRICK check under ADAM WALKEY'S SUV.  They look around.  SARA sees

something, a tear in the muffler.  There's a piece of cloth caught in the tear.)

SARA:  Check this out. 

(SARA reaches up and takes the sample.)

SARA:  This fabric matches the victim's sweater.

WARRICK:  That's the muffler.  And this is the back of the car.

SARA:  And the taillight was smashed.

WARRICK:  There's no way this car was moving forward when it ran over Brian

Clemonds' body.

SARA:  Who drives backwards on a downtown street?

CUT TO:

SCENE #27:

[INT. CSI - BREAK ROOM -- DAY]

(SGT. O'RILEY and GRISSOM interview ADAM WALKEY and RANDY PAINTER.)

SGT. O'RILEY:  First degree murder.  That's how we see it.

(RANDY PAINTER looks at ADAM WALKEY and nods.)

RANDY PAINTER:  It's okay.  (to O'RILEY)  In that case, my client is now

prepared to make a statement.  Tell him, Adam.

ADAM WALKEY:  I may have hit the guy.

SGT O'RILEY:  That's some statement.

ADAM WALKEY:  Okay. I remember hitting something.  It was dark.  I-I just kept

driving.  Didn't look back.

GRISSOM:  Adam ... we found lice in the driver's seat of your vehicle but your

scalp was clean.  Was there anyone else there?  A witness who might support your

account?

(ADAM WALKEY turns to look at RANDY PAINTER who clears his throat and nods.)

ADAM WALKEY:  (sighs)  Yeah, someone was with me.  Mark.  Mark Rucker.  He can

confirm‎ everything I told you.

(In the hallway, JANE GILBERT walk past the glass walls and heads toward the

door.  She angrily walks into the break room.)

JANE GILBERT:  I want to see him. 

(GRISSOM looks up.)

JANE GILBERT:  Is that the coward who killed Brian?

(ADAM WALKEY looks up.  DR. GILBERT speaks and signs as she walks slowly toward

ADAM WALKEY.)

JANE GILBERT:  (upset)  What happened?  He scare you?  Talk a little funny? 

Make a lot of noises? Screamed?  Or maybe he just looked at you the wrong way?

ADAM GILBERT:  Get away from me!

(GRISSOM appears next to DR. GILBERT.)

JANE GILBERT:  (speaks & signs)  You make me sick.

(GRISSOM takes DR. GILBERT out into the hallway.)

CUT TO:

SCENE #28:

[INT. CSI - HALLWAY - DAY -- CONTINUOUS] 

(DR. GILBERT storms out of the hallway with GRISSOM behind her.  She stops and

turns around.)

JANE GILBERT:  (accusing)  You said you'd include me.

GRISSOM:  You offered to help with my investigation and now you're compromising

it.

JANE GILBERT:  You found the killer.

GRISSOM:  (speaks and signs)  Who says it was a hit-and-run.  Not murder.  He

has a witness.

JANE GILBERT:  Who will lie for him.

GRISSOM:  The witness can say whatever he wants.  The important thing is that

Adam Walkey was not alone when he killed Brian.

(The anger leaves DR. GILBERT as she realizes what GRISSOM is saying.)

GRISSOM:  Until now, I did not know who was with him.

JANE GILBERT:  And now you do.

GRISSOM:  His witness is our other suspect.

CUT TO:

SCENE #29:

[INT. CSI - BALLISTICS LAB]

(NICK walks into the lab toward BOBBY DAWSON.) 

NICK:  911 page?

(BOBBY DAWSON looks up.)

NICK:  What's up?

BOBBY DAWSON:  Right gun, wrong barrel.

NICK:  Son of a bitch swapped the gun barrel out.

BOBBY DAWSON:  Check this out.

(BOBBY puts in the barrel and shows it to NICK.  Camera zooms in for a close up

to show the dent.)

NICK:  Could be an incomplete tool mark.  Maybe the guy dropped his gun.  Either

way, we still don't have the barrel.

BOBBY DAWSON:  This is true.

NICK:  But we've got Kendall's ammo.  What about bullet batching?

BOBBY DAWSON:  Match the bunter marks?

NICK:  Every casing's got two pieces of information on it:  Manufacturer and

caliber.

BOBBY DAWSON:  Etched in by an electrodischarge machine. 

(Quick CGI POV of:  The etching on the bottom of the casing.  End of CGI POV. 

Resume to present.)

BOBBY DAWSON:  Every casing from a given batch of ammo has the same markings.

NICK:  So if you compared the casings we collected at the crime scene with the

casings from Brad Kendall's gun...

BOBBY DAWSON:  ... on a microscopic level, we should find similar

characteristics ...

NICK:  Which would link Brad's ammo to the crime even though we can't link his

gun.

BOBBY DAWSON:  Not as airtight as matching the barrel.

NICK:  But still enough to build a case.

BOBBY DAWSON:  What about motive?

NICK:  Well, Catherine's working on a hunch.

CUT TO:

SCENE #30:

[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]

(BRASS and CATHERINE question BRAD KENDALL.)

BRAD KENDALL:  Me?  The father?  No way. I'm married.  I don't fool around.

BRASS:  Would you like us to explain the mechanics of sex in the workplace?

CATHERINE:  You're the manager.  Erin was the employee.

BRASS:  You had the power.  Happens all the time.

BRAD KENDALL:  You got it all wrong.

CATHERINE:  Maybe we do-- we all make mistakes-- but, just to be sure why don't

you give us a sample of your DNA and you'll be on your way.

BRAD KENDALL:  I don't believe this.  Talk to anyone.  I'm not like that.

BRASS:  I've got a court order.

(BRASS puts the piece of paper on the desk.  BRAD KENDALL looks at it, then

admits it.)

BRAD KENDALL:  It was a one-time thing.  I didn't even know she was pregnant.

CUT TO:

SCENE #31:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY] 

(SGT. O'RILEY and GRISSOM question MARK RUCKER.) 

SGT. O'RILEY:  I read him his rights.  Last chance for a lawyer.

MARK RUCKER:  I didn't do anything.  Why would I need a lawyer?

SGT. O'RILEY:  (to GRISSOM)  Fire away.

GRISSOM:  I have just one question:  Does your head itch?

MARK RUCKER:  (laughs)  Do I have to answer that?

GRISSOM:  I'm going to just, uh ... rearrange your part a little.  Hmm. 

According to Adam Walkey you were with him in his SUV the other night and your

head lice ... confirmed his statement.  They also tell me that you were driving.

MARK RUCKER:  Yeah, yeah, I was with him.  And, like he told you, we didn't know

he hit the guy.

SGT. O'RILEY:  How do you know what Adam told us?

(GRISSOM takes off his gloves and sits down.)

GRISSOM:  Now, why don't you tell us what really happened.

MARK RUCKER:  Well, it was around midnight ...

(Quick flashback to:  That night.  MARK RUCKER is driving.)

MARK RUCKER:  (v.o.)  ... and we were listening to the radio.  I changed the

station. Adam got pissed.

ADAM WALKEY:  Dude, what are you doing?  That song is a classic.

MARK RUCKER:  It's not a classic.  It's crap.  It's always been crap.  Now, this

... this is tight.

(They run over something with a loud thud.)

MARK RUCKER:  Wh-what was that?

ADAM WALKEY:  Probably a dog.  Let's get out of here.

(End of flashback.  Resume to present.)

MARK RUCKER:  We just kept driving.  It's the truth.

GRISSOM:  The evidence says otherwise.

MARK RUCKER:  What are you talking about?

GRISSOM:  Well, there weren't just lice in the SUV.  There were lice on the

victim's sweater.

MARK RUCKER:  So who cares about lice?

GRISSOM:  Do you know what lice eat? 

(MARK RUCKER doesn't know.)

GRISSOM:  Blood.  I'm pretty sure I can prove that the lice on Brian Clemonds

came from your head.

MARK:  We got out of the car.

(Quick flashback to:  That night.  The SUV stops and both men get out of the

car.  They look at the body in the street.)

MARK RUCKER:  We got to call the paramedics.

ADAM WALKEY:  We tell anybody, we are in trouble.  We could go to jail.

(End of flashback.  Resume to present.)

MARK RUCKER:  But I didn't want to leave him like that.  Adam talked me into it. 

He had a scholarship to duke next year, you know.  He couldn't risk it.

(GRISSOM sighs.)

GRISSOM:  Let me tell you what I think happened.

(Quick flashback to:  Earlier that night.  As they're driving past the liquor

store, they see BRAIN.)

GRISSOM:  (v.o.)  You and Adam saw Brian walking out of a liquor store carrying

a six-pack.  You're underage.  Maybe you wanted him to front you some beer.

(They lean out the open car window and yell out to him.)

ADAM WALKEY:  Hey, man, can you do us a favor?

GRISSOM:  (v.o.)  Brian doesn't respond.

ADAM WALKEY:  Hey!  (to MARK)  What's his problem?

MARK RUCKER:  Let's find out.

(The SUV stops in front of BRIAN and the men get out of the car.)

GRISSOM:   (v.o.)  ... Then you got out of the car.

(They circle BRIAN and continue to talk to him.)

ADAM WALKEY:  Hey, moron, we just want you to buy us some beer.

MARK RUCKER:  How about we just grab yours, huh?

ADAM WALKEY:  What do you want?

MARK RUCKER:  What do you say? You going to give it up?

GRISSOM: (v.o.)  You started taunting him.  And then everything escalated.

(They beat BRIAN up and leave BRIAN on the road.)

GRISSOM:  (v.o.)  The blood on the victim's knuckles led us to Adam.

(Camera moves from the bloodied knuckles on BRIAN'S hands to ADAM'S bloodied

nose.)

GRISSOM:  (v.o.)  The average male loses 80 hairs a day.  A stray hair left

behind lice, which brings us to you.

(ADAM brushes his hand through his hair.  Slow motion camera follows the single

strand of hair as it falls onto BRIAN'S sweater.)

(The two men leave BRIAN and get back into the SUV.)

(End of flashback.  Resume to present.)

GRISSOM:  It would have ended there but, as you were about to drive away,

something caught your attention.

(Quick flashback to:  That night.  Both men are in the SUV and slam their doors

shut.  They start the car and move forward when they notice BRIAN get up.)

GRISSOM:  (v.o.)  Something in your rearview mirror.

(In the rearview mirror, they see BRIAN get up and start yelling.  MARK puts the

car in reverse and hits BRIAN.  BRIAN flies backward.  MARK continues and runs

the car over BRIAN.)

(Camera close up of the piece of sweater caught in the muffler.)

(End of flashback.  Resume to present.)

GRISSOM:  And you took off.

MARK RUCKER:  I want a lawyer.

GRISSOM:  Let me tell you something, son.

SGT. O'RILEY:  Gil, the interrogation is over.  He's requested counsel.

(MARK RUCKER looks at GRISSOM smugly.)

GRISSOM:  Fine.  No more questions.

(GRISSOM slowly gets to his feet.)

GRISSOM:  Just this.  You want to know why Brian Clemonds ran away from you?  It

was dark, you were shouting at him and he didn't understand what you were

saying.  Brian Clemonds was deaf. 

(MARK RUCKER looks up at GRISSOM.)

GRISSOM:  He was afraid of you.  But you were more afraid of him ... weren't

you?

(GRISSOM turns to leave the room.)

CUT TO:

[EXT. LAS VEGAS CITY (STOCK) - DAY]

SCENE #32:

[INT. VEGAS GROUNDS COFFEE SHOP -- DAY] 

(The door opens and BRASS walks inside.  CATHERINE and NICK talk with BRAD

KENDALL.  They show the pictures on the monitor to BRAD.)

BRAD KENDALL:  What am I looking at?

NICK: Microscopic surface analysis. This ought to make things more clear.

CATHERINE:  A bunter tool makes a unique mark.

(Quick CGI POV to:  The etchings on the bottom bullet casing at close up as the

tool burns in the mark.  Camera pulls back to show the two "R" from the bullet

casings side-by-side.  End of CGI POV.  Resume to present.)

NICK:  Casings from your gun are on the right.  Casings collected from the crime

scene are on the left.

CATHERINE:  They're identical.  You came here that night ... to kill Erin.

(Quick flashback to:  That night.  ERIN takes off her smock when the back door

opens.  BRAD KENDALL walks in.)

CATHERINE:   You came in through the back.  Erin was in the office.

BRAD KENDALL:  We got to talk.

ERIN MCCARTY:  I'm tired of talking to you.

BRAD KENDALL:  Listen to me!

ERIN MCCARTY:  I'm tired of listening to you.

BRAD:  I will take care of this.

ERIN MCCARTY:  All you take care of is yourself.

BRAD KENDAL:  Erin, think!  Use your head for once.  I'm not going to let you

ruin my life!

(The back door opens and ALICE NEELY peeks inside.)

ERIN MCCARTY:  I already have thought about it.  I'm going to have this baby and

you are going to support it. 

(ERIN walks past BRAD toward the back door.)

ERIN MCCARTY:  I'll let you know if it's a boy or a girl.

(BRAD takes out his gun and shoot her in the back.  ALICE NEELY gasps.  BRAD

turns around seeing ALICE standing there.  He shoots at her and misses.  The

bullet ricochets off the shelf.)

(ALICE quickly closes the door and heads back into the main shop.  BRAD

follows.)

CATHERINE:  But Alice saw so you shot her.

(BRAD fires and shoots ALICE.)

CATHERINE:  (v.o.)  You thought that Erin had locked up but there was a kid

drinking coffee

(BRAD looks up and sees the customer at the table.  The door opens and FLYNN and

AL ROBSON walk into the shop. 

CATHERINE:  ... and then things got out of hand.

(AL ROBSON walks up to the counter and sees BRAD KENDALL standing there.  He

puts both hands on the counter and looks over the top where he sees ALICE on the

floor.)

(He looks back at BRAD and reaches for his gun.  BRAD fires.  He walks around

the counter and finishes killing everyone in the shop.)

(End of flashback.  Resume to present.)

BRASS:  Brad Kendall, you're under arrest for the murder of Frankie Flynn, Al

Robson, Roy Hinton, Alice Neely and Erin McCarty.

NICK:  Six weeks pregnant with your child.

(BRAD looks down.)

BRAD KENDALL:  I didn't mean for it to happen like that.  I just wanted to talk.

CATHERINE:  Is that why you brought your gun?

CUT TO:

SCENE #33:

[EXT. GILBERT COLLEGE OF THE DEAF -- DAY]

(GRISSOM and DR. GILBERT sit outside the front of the college.)

GRISSOM:  Some people are just afraid. 

JANE GILBERT:  And that's why they killed Brian.  Because he was different.  You

don't see us as different.

(Shakes his head.)

GRISSOM:  You're not.

JANE GILBERT:  (speaks & signs)  Who taught you to sign?

GRISSOM:  (speaks & signs)  My mother.

JANE GILBERT: (speaks & signs)  Tell me about her.  And use your hands.  You're

a little rusty.

(GRISSOM smiles sheepishly at her.)

[Note:  Very loose translation.  I'm no expert.]

GRISSOM:  (signs)  She lost her hearing when she was eight.

(Off of GRISSOM, camera shot of DR. GILBERT.)

GRISSOM:  (signs)  ... loved to swim.  I asked her what it was like to be deaf. 

She told me to stick my head under the water ...

JANE GILBERT:  (laughs and signs)  True.

GRISSOM:  (signs)  She taught me not to make fun of "she" ... "you" ...

"everyone" ... "the same".

(Camera is behind DR. GILBERT, off her shoulder at GRISSOM then slowly pulls

back.)

JANE GILBERT:  (signs)  ...

GRISSOM:  (signs)  ...

JANE GILBERT:  (signs)  ...

(Conversation continues ... The only sounds we hear are the water fountain and

birds chirping.)

FADE TO BLACK.

(Sounds continues ... then fades ... )

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

THE END

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