COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[EXT. VARIOUS LAS VEGAS COMMUNITY (STOCK) - DAY]
FLASH TO:
[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:
[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.
[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:
[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]
[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:
[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:
[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:
[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:
[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.
[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:
[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:
[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.
[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:
[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:
[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:
[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:
[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:
[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:
[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:
[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:
[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:
[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:
[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:
[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:
[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:
[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.
[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:
[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:
[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]
[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:
[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:
[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:
[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.
