Épisode Chasseurs de tête S04E06 - CSI: Crime Scene Investigation Saison 4

Prè-générique

L'épisode commence par un plan sur une boîte en carton se trouvant à la morgue. Le destinataire en est le docteur Robbins qui, comme n'importe qu'elle personne, ouvre le courrier et trouve… une tête à moitié décomposée conservée dans du formol. Pas de bol, remarquera Grissom, impossible de procéder à une identification génétique, le produit brouillant les pistes… mais n'oublions pas que nous sommes dans "Les Experts" et que le légiste ne va pas s'arrêter à cette simple constatation… après une petite inspection, il se trouve que le cou à été désarticulé et qu'on a tailladé la tête de la pauvre victime d'où une remarque pertinente du criminaliste.

GENERIQUE

Après ça, on assiste à l'arrivée de Catherine au labo de la police scientifique où s'affairent le Docteur Robbins et Hodges. On apprend alors que Grissom est parti pour Jackpot dans le Nevada, lieu où a été trouvée la tête et, qu'en son absence, Catherine est chargée d'assurer l'intérim.

Arrivée de Grissom dans le petit village de Jackpot, celui-ci se présente dans un petit café où il n'est pas super bien reçu. Le lieutenant n'est pas des plus accueillant et ne cherche pas vraiment à l'aider, mais, grâce aux bons arguments de Grissom, il finit par céder et l'enquête commence. Entre temps, Catherine aura appelé son patron pour le prévenir des dernières nouvelles… Hodges (le lèches bottes) a découvert la provenance des feuilles se trouvant sur le morceau de cadavre; elles sont situées "sur le versant Nord d'un terrain parce qu'humide, à une altitude de 1500 mètres au moins, en friche, et n'ayant pas brûlé récemment". Durant la conversation, Catherine découvrira la masse de travail qui l'attend et le lieutenant prendra cette dernière pour Mme Gil Grissom.

Discussion entre Grissom et la propriétaire du chien qui a découvert la tête, ce "trésor" rapporté par le pauvre animal permettra de retrouver le reste du corps. Ce denier est enfoui dans la terre jusqu'à cou à la verticale alors que la victime était encore vivante… en gros, on voulait qu'il souffre. A présent, la mission est de déterrer le corps… pas très compliqué, bien sûr, il suffit de bras costauds et de pelles, seulement, l'affaire devient très complexe quand les policiers de Jackpot risquent à tout moment de bousiller des preuves et que l'autorité compétente censée donner son accord est… le vétérinaire du village.

Alors que tout le monde est couché, après le départ de corps pour la morgue de Las Vegas, on retrouve Grissom qui, assis à un bureau, essaie tant bien que mal de déplier un bout de papier retrouvé dans les poches du mort… c'est une facture pour les livres de l'université de Las Vegas. Heureusement, la victime avait en sa possession un livre sur les techniques du clair-obscur au programme de la deuxième année des beaux-arts. Autant dire que ça réduit considérablement le cercle de recherches ce qui permet à la police criminelle d'identifier le mort: Ross Jensen, un étudiant disparu depuis 7 jours.

Dorénavant en possession du nom et de la photo de la victime, Grissom fait le tour du village histoire de voir si quelqu'un l'aurait aperçu. Heureusement pour lui, l'intégralité des habitants se trouve toujours dans le même restaurant et impossible d'avoir une conversation privée. La patronne confirme la présence de jeune homme une semaine auparavant à Jackpot, d'autres clients s'en mêlent et le patron de l'équipe de nuit apprend que Jensen était venu dans une voiture noire ou bleue. Là où ça bloque, c'est que personne n'a retrouvé de véhicule noir ou bleu suspect dans la région. Donc, conclura Grissom, si Jensen allait quitter la ville, le tueur n'a pas pu cacher la voiture bien loin. Grâce à un petit dessin, il en déduit qu'il lui faut aller chercher sur la seule route par laquelle on quitte le village. Aussitôt dit, aussitôt fait. Grissom par inspecter la route et y découvre vite des traces de pneus… ainsi qu'une grange… où se trouve évidemment la voiture. C'est alors que retentit l'alarme du 4x4 du criminaliste: quelqu'un a cassé sa vitre et a volé sa mallette. Démuni de son matériel, Grissom, tel MacGyver le patron va improviser un équipement grâce à une pile, du film plastique, des mines de plombs, des fiches cartonnées et du scotch. Tout en improvisant, il relèvera des empreintes digitales, une empreinte de pas et trouvera une thermos qui aurait contenu du café.

A la station service où il va faire réparer son carreau brisé, Grissom reçoit un appel de sa co-équipière. Grâce à Greg Sanders, elle a pu découvrir que Ross Jensen avait une liaison avec un habitant de Jackpot ce qui force à croire que quelqu'un ment.

Laissons tomber quelques temps l'affaire de Grissom et passons au cas personnel de Catherine. Après cette dernière conversation avec son patron, cette dernière reçoit une lettre recommandée qui provient de l'hôtel Rempart… elle contient un chèque de 25 000 dollars au nom de Catherine Willows. Estomaquée, elle se rend chez son père (révélation faite au cours d'un épisode précédent) afin de lui rendre son chèque, croyant qu'il lui offre ce "cadeau" pour qu'elle se taise "la prochaine fois qu'il poignardera une de ses danseuses". Mais Braun insiste et elle repart en possession des 25 000 dollars. Cependant, elle insiste et elle est à deux doigts de déchirer le chèque mais l'arrivée de Greg met fin à son plan et le chèque reste intact.

Après cet interlude, retournons à l'affaire initiale, Alors que Grissom compare des empreintes digitales, on assiste à l'arrivée du vétérinaire avec les résultats du test sanguin sur le chien qui a retrouvé le cadavre. Celui-ci présentait des traces de GHB. Rien de très étonnant, la victime en prenait. Mais, cette drogue joue le rôle d'un puissant sédatif ce qui aurait permis à l'assassin d'enfouir le corps de Jensen sans que celui-ci ne proteste. Par la suite, des poils de chat "abyssa" retrouvés sur le T-shirt de la victime mènera au frère du lieutenant, Leland. Les deux policiers se rendent par conséquent au domicile du présumé suspect, mais les choses tournent mal et Grissom manque une balle d'un cheveu. Leland, sous le choc n'est pas en état pour répondre à des questions. Grissom se remet donc à ses comparaisons, à ce moment, il reçoit un autre appel de Catherine qu'il lui révèle qu'après une étude approfondie de l'ordinateur de Jensen les criminalistes se trouvent devant des preuves contradictoires, en effet, malgré sa liaison avec un des habitants du village, il semblerait que la victime se rendait pour la première fois à Jackpot ce qui n'a pas de sens. Pourtant, lors de la perquisition à l'appartement du mort, Catherine à retrouvé des feuilles d'arbres (provenant de Jackpot). Les soupçons se tournent donc vers le colocataire de Jensen, Eric Brooks, qui se trouve être… le fils de Leland… Grissom en est ébahi.

Au tour de Brass d'entrer en scène. Lors de son interrogatoire, Eric nie tout en bloc: "mon père n'est pas gay!" et maintient le fait qu'il n'est pas allé à Jackpot ces derniers temps. Certes, on a retrouvé ses empreintes digitales sur le guidon de la voiture mais il donne une cause plausible "il me la prêtait souvent" par contre, il se trahi au moment ou il montre ses semelles de chaussures, en effet celle relevée par Grissom est très particulière: elle a une grande marque rectangulaire laissée par le marchepied d'une moto.

C'est maintenant l'heure des grandes révélations. Eric a tué Ross Jensen car d'après lui, son colocataire a entraîné son père alors que celui –ci était faible. Donc, après l'avoir drogué, il l'a mis dans un trou, recouvert de Terre, tranché le visage et après ça, il l'a laissé en proie aux animaux sauvages. Pourquoi ne pas l'avoir achevé? La réponse est simple: pour qu'il souffre comme Eric avait souffert. Catherine dira : Pour le punir d'aimer votre père ou plutôt, de ne pas être tombé amoureux de vous ? L'affaire est bouclée.

Plan sur Grissom qui s'apprête à quitter le village. Le lieutenant s'approche de lui et lui avoue qu'il lui a volontairement mis des bâtons dans les roues parce qu'il avait peur que son frère ait pu commettre un meurtre (on aura appris qu'il était au courant de la relation Ross - Leland). Grissom, très compréhensif, lui conseille de poser des questions plutôt que de rester dans l'ignorance. Nous avons alors le droit à un dernier clin d'œil à "Mme Grissom" alias Catherine Willows par le lieutenant avant que Grissom rentre dans son véhicule. La porte une fois refermée il se retourne et voit… sa précieuse mallette.

COLD OPEN:

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

[INT. CSI - FORENSIC AUTOPSY - NIGHT]

(A box is on the autopsy table. It's addressed to:
     DR. ROBBINS
     3026 WESTFALL AVENUE
     LAS VEGAS, NV 89109

(ROBBINS cuts the string and cuts the box open. Inside is a large blue plastic tub. ROBBINS takes the tub out and pushes the empty box to the side as he concentrates on the blue tub. He cuts the tape around the cover of the tub and opens the lid. Inside is a head.)

ROBBINS: Hmm.

(ROBBINS puts his glasses on to examine the head. GRISSOM walks into the room and appears at his side.)

GRISSOM: I heard you got some head.

ROBBINS: Just came in. How'd you know?

GRISSOM: I arranged house seats for David to see Celine, so he pages me the minute you get anything perishable.

ROBBINS: Sellout.

(ROBBINS reaches into the tub and removes the head. GRISSOM takes a deep breath.)

GRISSOM: Oh ... formaldehyde.

ROBBINS: Yeah, it fixes tissue, but it destroys DNA.

GRISSOM: No ID through CODIS. Quite a bit of leaf litter.

ROBBINS: Puncture wound above the orbital plate.

GRISSOM: That looks like animal activity.

ROBBBINS: Heavy decomp. It's going to be, uh ... virtually impossible to determine time of death. This neck wasn't severed. It was disarticulated. No skill involved.

(ROBBINS puts the head down on the table and turns it to the left. On the left cheek, there's a knife cut.)

ROBBINS: Oh-oh. I take that back.

GRISSOM: That took skill.

(Quick CGI POV: Camera zooms into the cut - past the skin, into the muscle and flesh. End of CGI POV. Resume to present.)

(ROBBINS turns to look at GRISSOM.)

GRISSOM: The unkindest cut of all.

ROBBINS: (nods) Hmm.

HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)

FADE IN.

[INT. CSI - FORENSIC AUTOPSY -- NIGHT]

(DAVID HODGES removes the leaf litter from the head while ROBBINS works on washing the head.)

DAVID HODGES: There's more plant material here than geological.

ROBBINS: Hair roots and scalp are relatively clean.

DAVID HODGES: So the vic wasn't buried?

ROBBINS: You tell me.

DAVID HODGES: I will. Leaves and needles and dirt -- that's good as a map.

(CATHERINE walks into the room and up to the table. She frowns when she sees HODGES and ROBBINS working on the head.)

CATHERINE: Any idea when Grissom'll be back?

ROBBINS: Nope. It's going to be a while.

(CATHERINE glances down at the paper work in her hand.)

CATHERINE: Jackpot, Nevada. Where the hell is that?

CUT TO:

[EXT. MOUNTAIN LANDSCAPE (STOCK) - DUSK]

[EXT. TOP VIEW: ROADWAY (STOCK) - DUSK]

[EXT. LAKE (STOCK) - DUSK]

[EXT. TOP VIEW: VARIOUS ROADWAY (STOCK) - EARLY MORNING]

[EXT. TOP VIEW: ROADWAY (STOCK) - DUSK]

[EXT. JACKPOT -- GAS STATION -- DAY]

(The sign says: PAY AT THE PUMP. GRISSOM'S car travels up the road, past the gas station, and parks next to the Sheriff's car in the diner parking lot.)

CUT TO:

[INT. JACKPOT -- DINER - DAY]

(GRISSOM walks into the diner.)

COOK: Order's up, sweetie.

(GRISSOM closes the door behind him. There's quite a lot of activity in the full diner. He takes off his glasses and heads for the waitress behind the counter.)

GRISSOM: Good morning. I'm with the Las Vegas Crime Lab, and I ...

GLORIA: (interrupts) Hey, Alan! 'S guy's here about the head.

(GRISSOM looks around. The Sheriff's sitting at the table and waves him over. As he heads in that direction, it appears that everyone in the diner already knows about the head.)

MAN: Bet a wolf got him.

MAN 2: There's no wolves around here dumbass. Bears.

MAN 3: Ten bucks says satanic cult.

(GRISSOM approaches the Sheriff's table.)

ALAN BROOKS: Lieutenant Alan Brooks. This is my brother Leland.

LELAND BROOKS: How do you do?

GRISSOM: Gil Grissom, Las Vegas Crime Lab. May I?

ALAN BROOKS: Have a seat. Things must be pretty slow in Vegas to get one of you guys out here so quick.

GRISSOM: Well, the Elko County Sheriff made the request. We were happy to respond. It's an interesting case.

ALAN BROOKS: Mmm, not particularly.

LELAND BROOKS: It was probably some hiker or transient who got lost, took a bad luck fall.

GRISSOM: Must have been a heck of a fall. His head's in a plastic jar.

ALAN BROOKS: Listen, I filed the report. I sent in the head. Five'll get you ten, there's not much left of that body out there but coyote turds.

(LELAND chuckles.)

ALAN BROOKS: Look, nobody from this community's been reported missing. And I just don't have the resources to go searching for what might be left.

GRISSOM: Well, you do now.

ALAN BROOKS: There'd better be a whole lot more of you out there.

(MARTY COOPERMAN gets up and heads for the door.)

ALAN BROOKS: Have a good one, Marty.

(MARTY COOPERMAN leaves without saying a word.)

GRISSOM: Lieutenant, the preliminary autopsy revealed a single, straight, two-inch cut on the victim's jaw. It was a blade mark. So, there's not just a body out there, there's also a killer.

CUT TO:

[INT. CSI - TRACE LAB]

[SCOPE VIEW]

(DAVID HODGES explains what CATHERINE'S looking at in the scope.)

DAVID HODGES: Of all the plant life gathered from the head, the conifers are the key. The one on the left -- abies zasiocarpa. The one on the right is picea engelmannii, engelmann spruce.

CATHERINE: Spruce and fir trees. Typical mountain forest.

DAVID HODGES: Typical for 9,000 feet above sea level. The wood fragments are either cottonwood or aspen. And aspens only grow in areas that have been cleared.

CATHERINE: Fire, roads or ... logging.

DAVID HODGES: After a major forest fire, manzanita bushes grow like weeds for decades.

CATHERINE: No manzanita leaves here.

DAVID HODGES: Which means that the head was on a damp north-facing slope, at least 9,000 feet up, cleared, but not recently exposed to fire.

CUT TO:

[EXT. JACKPOT - OUTSIDE DINER -- DAY]

(GRISSOM and ALAN BROOKS leave the diner. GRISSOM'S phone rings. He answers it.)

GRISSOM: (to phone) Grissom.

INTERCUT WITH:

[INT. CSI - HALLWAY ON THE WAY TO GRISSOM'S OFFICE]

CATHERINE: Is the service actually bad out there or are you just keeping your phone off?

GRISSOM: I'm sorry. I should've called.

CATHERINE: This trip wouldn't have anything to do with you ducking case reviews, now would it?

GRISSOM: How can you think that? You wouldn't mind taking care of those for me, would you?

CATHERINE: Oh, your job, my pay. Why would I care?

GRISSOM: I'll make it up to you.

CATHERINE: Yeah, you had better.

(CATHERINE reaches GRISSOM'S office and her jaw drops at the stacks of files on
his desk that he needs to review. The desk is a mess.)

CATHERINE: Hodges ID'd your leaf litter.

GRISSOM: Good. Thanks. I owe you one.

(GRISSOM hangs up.)

ALAN BROOKS: Trouble with the wife?

GRISSOM: Yeah. She hates it when we're apart.

(He shrugs.)

CUT TO:

[EXT. LAKE (STOCK) - DAY]

[EXT. SYLVIA ROGERS RESIDENCE -- DAY]

(GRISSOM interviews SYLVIA ROGERS while ALAN BROOKS watches.)

GRISSOM: So your dog found the head?

SYLVIA ROGERS: Well, Tripper's not exactly a Chihuahua. Goes where he wants,
comes back for dinner. Sometimes he brings dinner back.

(Quick flashback to: SYLVIA ROGERS walks out of the house with a dish of food
for the dog.)

SYLVIA ROGERS: Tripper! Come on, buddy, dinner.

(She puts the dish down. The dog barks and she looks. She sees he's playing
with the head.)

SYLVIA ROGERS: Oh, what is it this time, a rabbit or a possum?

(End of flashback. Resume to present.)

GRISSOM: Is he okay?

SYLVIA ROGERS: Well, he got a little lethargic after chewing on that he took
him to the vet, ran some tests. He got better. I just want to keep him that
way. Where there's a head there's got to be hands and feet, and sooner or
later, he'll dig 'em up.

ALAN BROOKS: Or what's left of 'em. No offense, Sylvia, but he's not exactly a
scent hound.

GRISSOM: All animals can smell rotting flesh. Studies have shown that when
domestic pets bring back human body parts, usually the remains are within a
half-mile radius.

SYLVIA ROGERS: They do studies on that?

GRISSOM: It occurs more than you think. Have you noticed any buzzards or
vultures around?

SYLVIA ROGERS: All the time.

GRISSOM: Thanks.

(She leaves. GRISSOM turns and looks at the hillside.)

ALAN BROOKS: So, are we done here?

GRISSOM: This slope faces north, doesn't it?

ALAN BROOKS: Yeah.

GRISSOM: You know that old expression, "heads will roll"? It's true --
especially downhill.

(GRISSOM heads for the north slope.)

ALAN BROOKS: (to radio) Barry, drop the doughnut. You're gonna earn your pay
today.

CUT TO:

[EXT. NORTH SLOPE - DAY -SHORT TIME LATER]

(A couple of OFFICERS walk up the slope. GRISSOM and ALAN BROOKS follow them.)

ALAN BROOKS: Afraid you gonna trip over something?

GRISSOM: I'm hoping. Bodies make good fertilizer. You often see fresh, green
shoots near a gravesite.

ALAN BROOKS: Must be nice to know the answer to every little thing.

GRISSOM: I prefer questions actually.

ALAN BROOKS: And I don't, I suppose. Remember that waitress, Doris? Well,
she's got an ex-husband likes to smack her around every once in a while. High
school's got a dozen meth-heads who like boosting motorcycles and then drag
racing 'em down main street, when they think nobody's watching. Fire chief's a
closet pyro, and so forth. See, I don't have a lot of time to ask questions
about buzzards and such.

(He points to the tree GRISOSM'S looking at.)

ALAN BROOKS: That's an aspen tree, in case you were wondering.

(Up on the hillside the OFFICERS call down to them.)

OFFICER: Lieutenant! Over here.

CUT TO:

[TOP OF THE HILL]

(GRISSOM reaches the top of the hill and sees the two OFFICERS standing just
over the body. One of them is gagging.)

GRISSOM: Step away from there, would you please, fellas? Don't disturb the
scene.

(They both rush aside as one of the OFFICERS throw up.)

(GRISSOM kneels next to the body.)

GRISSOM: Carabid beetles. Second instar maggots.

(GRISSOM picks up a bug.)

GRISSOM: Formica obscuripes.

(Camera zooms in for a close up.)

ALAN BROOKS: Let me guess. You like bugs?

GRISSOM: Yeah, I do. They're perfect. They always do their jobs.

(He glances at the Sheriff.)

GRISSOM: (declares) This body's been here four to seven days.

(GRISSOM stands up.)

GRISSOM: How deep would you say this hole is, Lieutenant?

ALAN BROOKS: I'd say about four feet, depending on ... how he's stuffed in
there.

GRISOSM: Takes a fair amount of dedication to dig a hole this deep up here,
don't you think?

ALAN BROOKS: Unless the killer had help.

GRISSOM: Maybe.

(GRISSOM takes a picture of the blood on the rock near the body, then kneels
down to look at the spatter.)

ALAN BROOKS: It's like you said -- he was cut.

GRISSOM: This blood's not from a cut. The drops imply directionality. The
stellated circles imply ...

(Quick CGI POV of: The blood spatters on the rock.)

GRISSOM: (v.o.) ... perpendicular impact.

(End of CGI POV. Resume to present.)

GRISSOM: This spatter is in direct line with the victim's carotid. It's
arterial spurt.

ALAN BROOKS: Are you saying he was alive when he was buried?

GRISSOM: I think that the cut we found on his jaw ... was a lure to draw
predators.

(Quick flashback to: The knife cuts into the victim's cheek as he screams. Cut
to: Growling as the animal rushes forward. The victim screams. Cut to: Blood
spattering on the rock.)

(End of flashback. Resume to present.)

(GRISSOM and gets to his feet.)

GRISSOM: This wasn't just murder. It was torture.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

[EXT. HILLSIDE -- DAY]

(GRISSOM looks out at the tree-covered mountainside, waiting. ALAN BROOKS gets
impatient.)

ALAN BROOKS: Hey, Einstein, we going to stand here all day or what?

GRISSOM: You're going to have to be patient, Lieutenant. The scene hasn't been
released yet. You know, this may be a variation on an old native American form
of punishment. The body was bound and buried up to its neck. Tree sap was
poured over the head to attract ants.

ALAN BROOKS: Punishment for what?

GRISSOM: You see? That's a good question.

(DALE STERLING appears on the hill, huffing and puffing with exertion.)

ALAN BROOKS: It's about time, Dale.

(DALE STERLING looks at the body in the ground.)

GRISSOM: You are the coroner, I presume.

DALE STERLING: Mr. Grissom. Dr. Dale Sterling. I sent you the head. How can
I help?

GRISSOM: Well, we can't touch the body until you authorize it.

DALE STERLING: Oh.

(DALE STERLING looks at ALAN BROOKS, then he looks over at the other OFFICER.
They all look puzzled by this. Game, DALE STERLING looks down at the body.)

DALE STERLING: He's dead. You're authorized.

ALAN BROOKS: Thanks, Doc. That's nice work. Can we get it out now?

GRISSOM: There may be evidence in the gravesite. We need to preserve it.

ALAN BROOKS: Okay, so what do you want to do, call your lab? Have them send
the right gear, the right guys, what?

GRISSOM: The site's already been compromised. We'll make do with what we have
here. Now, for each foot of dirt that's removed, go on a separate bag. I'll
sift through it later.

ALAND BROOKS: All right. Out of the way, Doc. Pardon me.

GRISSOM: Hold on. Make sure your shovels don't get within six inches of that
body.

ALAN BROOKS: Can we please get on with getting him out of there? We're losing
light.

(They start to dig the body out.)

CUT TO:

[EXT. LAKE - EVENING]

[INT. DALE STERLING'S OFFICE -- NIGHT]

(GRISSOM faces the wall with a degree on it from: THE UNIVERSITY OF VETERINARY
STUDIES for DALE STERLING.)

(DALE STERLING takes off his jacket and sees GRISSOM looking at the wall.)

DALE STERLING: I was in the 99th percentile on the MCATs. I could have gone to
med school. I chose to be a vet.

GRISSOM: Well, veterinary school's harder to get into than medical school.
That's not what I was looking at. This is you and that gal from the diner.

DALE STERLING: Doris. We were married. High school sweethearts. Didn't work
out.

(The body is put on the examining table.)

DALE STERLING: I know how to cut. I could ... I could do the autopsy right
here.

GRISSOM: Only a licensed pathologist can perform an autopsy. All we're allowed
to do is search for evidence on the body.

ALAN BROOKS: And then what?

GRISSOM: Then we take it to Vegas. Tonight. We'll need someone to drive the
body.

(BARRY is just about to sit down, when ALAN BROOKS looks at him.)

ALAN BROOKS: Barry, it's your lucky day. Get your car. Come on.

GRISSOM: Our medical examiner will send you his report. You'll need to sign
the death certificate as to cause and manner of death.

(GRISSOM looks around at the body. DALE reaches into the pants pocket.)

DALE STERLING: No wallet and no ID.

(GRISSOM pulls out a ball of paper from the other side pants pocket.)

DALE STERLING: What have you got there?

GRISSOM: Well, I'm not sure yet.

(ALAN BROOKS settles in and waits while they gather evidence.)

(GRISSOM checks the wrists and ankles.)

GRISSOM: No ligature marks.

DALE STERLING: Well, he wasn't tied up?

GRISSOM: Apparently not.

DALE STERLING: Well, no one just lets themselves get buried alive.

GRISSOM: Well, maybe the killer had a gun on him.

ALAN BROOKS: Well, you can't dig a hole and hold a gun on an unbound victim all
at the same time.

DALE STERLING: Well, maybe the hole was dug earlier?

GRISSOM: That would imply premeditation.

ALAN BROOKS: Or more than one killer.

DALE STERLING: Maybe the victim was drugged.

GRISSOM: Sylvia Rogers' dog got sick after chewing on the victim's head,
correct?

DALE STERLING: That's right.

GRISSOM: Did you do blood work?

DALE STERLING: I sent it off to a lab in Reno. Still waiting for the results.

GRISSOM: Call the lab. Have them do a full drug and tox panel on the blood.

(DALE leaves the room as GRISSOM takes the body's fingerprints. ALAN BROOKS
watches.)

GRISSOM: Maybe whatever was in this man's body is also in the dog's.

CUT TO:

[EXT. PARKING LOT -- NIGHT]

(The SHERIFF and his men put the body in the back seat of the car. They're
about to close the door when GRISSOM stops them.)

GRISSOM: Hold on a second, fellows.

(GRISSOM puts a tie on the zipper of the bag sealing it shut. ALAN BROOKS looks
at his watch. GRISSOM takes a picture of the tie.)

(Done, he backs out and lets them close the back door.)

GRISSOM: Okay.

(GRISSOM then takes a picture of BARRY, the driver.)

GRISSOM: Say cheese.

ALAN BROOKS: Oh, what the hell was that for?

GRISSOM: Souvenir.

ALAN BROOKS: Why, is that French for 'evidence'? Straight drive, Barry. Stay
out of the casinos.

BARRY: You got it, boss.

(BARRY heads for the driver's seat.)

ALAN BROOKS: You boys have a good night.

(ALAN BROOKS walks past DALE STERLING and GRISSOM as the car with the body moves
away.)

DALE STERLING: (murmurs) Man. It was one hell of day. You need a place to
sleep?

GRISSOM: I need a place to work.

CUT TO:

[INT. OFFICE - LATE NIGHT]

(CLOSE UP: GRISSOM sprays the wad of paper he removed from the victim's pants
pocket. He slowly and carefully pries it open.)

(He hears a door opening and closing.)

(GRISSOM looks up and slowly reaches for his gun. He puts the gun on the desk
within easy reach, then goes back to work on the paper.)

CUT TO:

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

(CATHERINE receives a fax and looks at it. WARRICK appears in the doorway and
looks at CATHERINE behind GRISSOM'S desk.)

WARRICK: Did I miss a memo or something?

CATHERINE: Oh, no. Grissom's on a safari.

WARRICK: He's got you pushing his paperwork, huh?

CATHERINE: Oh, no. I'm trying to avoid that. His headless D.B. had a Western
LVU bookstore receipt in his pocket. Grissom just unraveled it.

WARRICK: Really?

(WARRICK walks into the office.)

CATHERINE: Wow! Some of these books are a hundred bucks a pop. Tuition, plus
room and board -- that's at least another 10k.

WARRICK: You got to have money to go to college these days.

CATHERINE: Yeah, well, I missed that boat. So, most of these are freshman
textbooks. Core curriculum.

WARRICK: Well, that's at least two thousand students. Maybe you'll get lucky
with the victim's prints.

CATHERINE: Oh, wait. Hang on. "Chiaroscuro Theory and Technique". It's a
sophomore-level fine arts text.

WARRICK: Freshman in a sophomore course?

CATHERINE: Narrows the field.

CUT TO:

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

BRASS: (v.o.) Actually, we're here about your roommate,

[INT. DORMROOM -- DAY]

(BRASS and CATHERINE question ERIC BROOKS.)

BRASS: ... Ross Jenson. Do you know where we can find him?

ERIC BROOKS: Uh, I actually haven't even seen him since last Friday. I had
Wheezer tickets, and we were supposed to go, but he, uh, he blew me off.

BRASS: Gone almost a week. That normal?

ERIC BROOKS: Yeah, he's an art student, you know. He goes off a lot, and for
days sometimes.

BRASS: Huh.

ERIC BROOKS: I've been, uh, studying my ass off for this American History
midterm, but, uh, feel free to have a look around.

(BRASS finds some drugs in an ALTOID'S container.)

ERIC BROOKS: That's not mine. I don't know what that is.

BRASS: Relax, buddy. This is a homicide investigation.

(CATHERINE sees the shoes and dirt in the closet.)

CATHERINE: Are these Ross's shoes?

ERIC BROOKS: I don't know.

BRASS: What do you got?

CATHERINE: Aspen leaf. A little piece of the countryside. Has Ross spent a
lot of time up in northern Nevada?

ERIC BROOKS: Yeah, he liked the scenery up there.

BRASS: We're going to need to take that computer and a few things back to the
lab.

ERIC BROOKS: Okay.

CUT TO:

[EXT. SCENERY (STOCK) - DAY]

[INT. OFFICE -- DAY]

(GRISSOM is lying on the office couch with his jacket around him as a blanket.
The fax prints out some information.)

(GRISSOM is startled awake and he gets up. In his hand, under his jacket he has
his gun.)

(He puts the gun on the table and grabs the fax printout. It reads:

WESTERN LAS VEGAS UNIVERSITY STUDENT ID
     ROSS JENSON
     ID # JENSEN9547
     DOB: 8-25-83
     {signature}

On the bottom of the sheet, CATHERINE wrote:
     TO: GRISSOM
     A FACE FOR YOUR HEAD.

CUT TO:

[INT. DINER - MORNING]

(GRISSOM talks with GLORIA.)

GLORIA: Yeah. Came in here last week. Handsome boy. Nice clothes. Just
passing through.

(Quick flashback to: GLORIA talks with ROSS JENSON.)

GLORIA: There's, uh, fried chicken, me ...

ROSS JENSEN: Coffee's about all I can handle right now. Maybe some other time,
okay?

(End of flashback. Resume to present.)

WOMAN: (to GLORIA) Guess you weren't his type.

CUSTOMER (MAN): Wasn't he the guy driving that gutless little four-banger?

GRISSOM: What kind of car was it?

CUSTOMER (MAN): Don't know. Kid's car. Something to drive around the city.
It's no good for hills. Black, or, what, blue, maybe.

GRISSOM: Lieutenant?

ALAN BROOKS: Yeah.

GRISSOM: The victim was on his way out of town. We know he didn't get very
far. So where's his vehicle?

ALAN BROOKS: (loudly to the diner crowd) Anybody here seen a black or blue
mystery vehicle?

CUSTOMERS: No.
CUSTOMERS: Uh-uh.
CUSTOMERS: No.

ALAN BROOKS: Well, I'd say that car's long gone by now.

GRISSOM: If the killer was a local, he could have ditched the car somewhere
near here.

ALAN BROOKS: Do you have a local suspect?

GRISSOM: It's a theory.

ALAN BROOKS: Oh.

GRISSOM: And like any theory, it doesn't mean anything unless you can prove it.

ALAN BROOKS: Yeah.

GRISSOM: May I borrow this?

(GRISSOM pulls the paper place mat with a map of the area toward him.)

GRISSOM: The victim was last seen here, right?

(GRISSOM marks up the map.)

ALAN BROOKS: Yeah.

(CUSTOMERS at the counter crane their necks to see what GRISSOM'S doing.)

GRISSOM: We found his body here.

ALAN BROOKS: Mm-hmm.

GRISSOM: This is the only way out of town. The killer had to intercept him
somewhere along this road.

ALAN BROOKS: Knock yourself out.

CUT TO:

[ROAD - DAY]

(GRISSOM drives down the road. He stops when he sees something on the side of
the road. He backs his car up.)

(He sees tire tracks.)

(GRISSOM stops his car and gets out to investigate.)

(Camera lingers on the field kit in the front seat.)

(Taking his camera with him, GRISSOM closes the door. He puts the car alarm on
then follows the car tires off to the road side.)

(Just up to the right, he sees the crime scene tape and the hole where they
found the body.)

(GRISSOM continues to follow the tracks.)

(Just in front of him, a distance away from the road, he sees a barn.)

(GRISSOM climbs the fence and investigates the barn. He looks inside the barn
through a crack in the door and sees a car parked inside. He tries the door and
finds that it's barred shut with a wooden plank.)

(GRISSOM walks around the barn and finds an open window.)

(He opens the window and looks inside. On the ground, he sees an old screen.)

(Quick flashback to: The MAN steps on the screen, pushes the window open and
jumps outside. End of flashback. Resume to present.)

(In the distance, GRISSOM hears his car alarm beeping.)

(Cut to: GRISSOM reaches his car. He turns the alarm off.)

(GRISSOM opens the door and finds that the window is broken and his field kit is
missing from the front seat.)

(GRISSOM steps back and looks around the empty road.)

(Camera holds on GRISSOM.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

[INT. STERLING'S OFFICE -- DAY]

(GRISSOM walks into the office. DALE STERLING is working on a dog.)

GRISSOM: Hey, doc, I need to use some of your medical supplies and make a
telephone call. It's local.

DALE STERLING: Uh ... okay.

(GRISSOM grabs some supplies and heads for the phone. He puts the supplies on
the desk and picks the phone up. He dials. As the phone rings, he notices the
windows.)

GRISSOM: Did you tint these windows yourself?

DALE STERLING: M-m-may be not the best job in the world, but it does the trick.

GRISSOM: Do you have any tinting film left?

DALE STERLING: Think so.

GRISSOM: May I use it?

DALE STERLING: Okay. I'll have to go check.

CUT TO:

[EXT. PARKING LOT -- DAY]

(GRISSOM walks out of the office with a package of medical supplies. ALAN
BROOKS pulls up in his car.)

GRISSOM: (sarcastic) Oh, good, the police. I'd like to report a crime.

ALAN BROOKS: No kidding?

GRISSOM: Yeah, my vehicle was broken into and my field kit was stolen.

ALAN BROOKS: That's going to cramp your style.

GRISSOM: Not necessarily.

(Not pausing another moment, GRISSOM walks away and heads for the HARDWARE
STORE.)

CUT TO:

[INT. HARDWARE STORE -- DAY]

(GRISSOM walks into the store. He leaves his package with the clerk.)

GRISSOM: Would you keep an eye on this for me?

CLERK: Sure.

GRISSOM: Thanks.

(GRISSOM picks up a shopping basket.)

GRISSOM: Excuse me.

(GRISSOM walks down the aisle and picks up various supplies - a battery, a box
of storage bags, refillable pencil lead. He moves from aisle to aisle and picks
up blank index cards and clear tape off the shelves.)

(ALAN BROOKS walks into the HARDWARE STORE.)

ALAN BROOKS: Kip.

CLERK: Sheriff.

ALAN BROOKS: (to GRISSOM) Listen, why don't you come on by and fill out a
report about that kit.

GRISSOM: You think that would help?

ALAN BROOKS: It wouldn't hurt.

GRISSOM: (deliberately) I, uh, found the victim's car.

ALAN BROOKS: Well, I am impressed. Wh ... where was it?

GRISSOM: It was, uh, ditched in an old barn up in the hills.

ALAN BROOKS: Uh-huh.

GRISSOM: I know you don't have any men to spare, so I called the highway
patrol. They're sending troopers up there to secure the site.

ALAN BROOKS: Oh, well, nearest station's in Elko. Should take 'em a couple
hours to get here.

GRISSOM: Well, that should, uh, give you enough time to burn down the barn.

CUT TO:

[INT. BARN -- DAY]

(GRISSOM opens the barn doors to let in the light.)

(He takes out the battery and puts it aside. He puts on his gloves as he gets
to work on the frame in front of the window. He looks down at the frame and
smiles.)

(GRISSOM removes some wiring and attaches it to the battery. He takes out the
film and unrolls it over the frame on the floor with the print he wants to
remove. He attaches the other ends of the wires to opposite ends of the film.)

(Quick CGI POV: Particles list from the screen to the film. End of CGI POV.
Resume to present.)

(GRISSOM flips the film over and looks at the shoe print underneath.)

(Cut to: GRISSOM opens the car door and examines inside. On the floor he finds
a thermos. He shakes it.)

(Cut to: GRISSOM grabs the bag from the backseat and finds clothes inside
covered with hair. He takes a sample of the hair.)

(Cut to: GRISSOM looks at the steering wheel.)

(Cut to: He empties the pencil lead in his hand, crushes it in a container
cover and uses a soft brush to dust the steering wheel for prints.)

(He uses the clear tape to lift the print off of the steering wheel.)

(He holds the print up and looks at it.)

(As GRISSOM finishes, ALAN BROOKS walks up to the open doorway.)

GRISSOM: You going to just stand there, or are you coming in?

ALAN BROOKS: Oh, I don't want to disturb the scene. You carry on. (beat)
Shame to see so much work go to waste.

(ALAN BROOKS steps back. GRISSOM walks out of the barn and pushes the door
partially closed behind him.)

GRISSOM: What does that mean exactly?

(THE SHERIFF leans back against the fence, his hands on the rail.)

ALAN BROOKS: Well, unless you've managed to improvise yourself a warrant as
well, this is an illegal search.

GRISSOM: This barn had been broken into, which makes it a crime scene, even
without the murder victim's car inside, so I don't need a warrant. Who owns
this place?

ALAN BROOKS: Nobody. Owner died a few years ago.

GRISSOM: Well, then who's responsible for the property?

ALAN BROOKS: His nephew. Marty Cooperman.

(The SHERIFF turns and heads back to his car.)

ALAN BROOKS: Runs the gas station.

GRISSOM: Is that who you're protecting?

(The SHERIFF stops and turns around, then heads back to his car. GRISSOM looks
at the fence rail the SHERIFF was leaning against, then dusts it for his
prints.)

CUT TO:

[EXT. GAS STATION -- DAY]

(GRISSOM pulls in to the gas station. He gets out of the car and sees MARTY
COOPERMAN through the broken window.)

GRISSOM: Hey, you think you can fix this window?

(MARTY walks up to the car and looks at the window.)

MARTY COOPERMAN: Yeah, I think I can fix that.

GRISSOM: You know that kid that got murdered? We found his car up in the
hills. In your uncle's old barn.

MARTY COOPERMAN: Oh, I haven't been up there for years.

GRISSOM: That's understandable. It's hard to get to. Not too many gas
stations around here. You must do pretty good business.

MARTY COOPERMAN: Yeah, I got the only pumps for 23 miles. I do pretty good.

GRISSOM: You know, uh, the victim's car was full of gas. So you must've seen
him, right, even though you said you didn't?

(MARTY turns around to look at GRISSOM.)

MARTY COOPERMAN: I can have your window fixed in a couple hours, Mr. Grissom,
and then you can get back home. I think you should do that.

(MARTY turns and leaves.)

(GRISSOM'S phone rings. He answers it.)

GRISSOM: Grissom.

INTERCUT WITH:

[INT. CSI - HALLWAY]

CATHERINE: Everybody in Sleepy Hollow still drawing a blank on the victim?

GRISSOM: More or less.

CATHERINE: Well, then somebody's lying. Ross Jenson was having a relationship
with someone in jackpot. Greg traced a series of romantic I.M.s from your
victim's computer.

GRISSOM: Greg did?

CATHERINE: Yeah, he knows stuff. Pretty hot, too. Sounds like he was in love.
Brass is still working on a court order for the name. You ever coming back?

(GRISSOM glances over at MARTY COOPERMAN.)

GRISSOM: Hopefully.

(JUDY walks up to CATHERINE and hands her an envelope.)

JUDY: Ms. Willows, this came for you, certified mail.

CATHERINE: Oh. Thanks, Judy.

(CATHERINE hangs up and takes the envelope from JUDY. She looks at the envelope
from:
     THE RAMPART CASINO
     221 N. RAMPART BOULEVARD
     LAS VEGAS, NEVADA 89145.

(It's certified: P 247 546 410.)

(She opens it and finds a check from:

     SAM BRAUN
     1153 STONE CREEK SUITE 4159
     LAS VEGAS, CA 89101

     PAY TO THE ORDER: CATHERINE WILLOWS
     (DATED) NOV, 03 2003
     (CHECK #) 8133

(For $250,000.00.)

(CATHERINE gasps.)

CUT TO:

[EXT. LAKE - EVENING]

[INT. OFFICE -- EVENING]

(GRISSOM holds two sets of fingerprint cards and examines both of them. DALE
STERLING walks into the room.)

DALE STERLING: Just got the blood test results back from Sylvia's dog. There
were traces of GHB in his system. I thought GHB was a party drug.

GRISSOM: It is. It's also a powerful sedative. Could be what was used to
subdue him. You know anybody in town that would use this?

DALE STERLING: (chuckles) Uh, weed and speed are the drugs of choice around
here.

GRISSOM: Hey, Doc, take a look at the scope, will you?

(DALE STERLING moves around GRISSOM to take a seat at the table to look through the scope.)

GRISSOM: I found some hair in Ross Jenson's shirts.

DALE STERLING: That is cat hair.

[SCOPE VIEW: HAIR]

DALE STERLING: Tricolored. Probably ... abyssinian.

GRISSOM: You wouldn't happen to have any abyssinian patients?

DALE STERLING: One.

(DALE STERLING walks over to his wall where he has pictures of his patients. He takes a particular framed photo down.)

DALE STERLING: Uh ... ah. Here she is. Isis.

(He shows the picture to GRISSOM.)

DALE STERLING: Her owner has allergies. He needed an aggressive, shorthair
mouser.

(The picture is of LELAND BROOKS and his cat.)

CUT TO:

[EXT. PARKING LOT -- EVENING]

(GRISSOM walks over to ALAN BROOKS who is standing outside talking with one of
this OFFICERS.)

GRISSOM: Excuse me, Lieutenant. We need to talk.

ALAN BROOKS: So talk.

GRISSOM: Privately, please.

ALAN BROOKS: (to the OFFICER) Just call them.

(He stops in front of GRISSOM.)

ALAN BROOKS: What?

GRISSOM: Ross Jenson was having a romantic relationship with someone in this town.

ALAN BROOKS: And you can you prove that?

GRISSOM: Yes. I believe he was up here visiting that person. I found cat hairs on his t-shirts. From an abyssinian cat. The kind your brother owns.

ALAN BROOKS: Just what the hell are you saying?

GRISSOM: Does your brother live alone?

ALAN BROOKS: Yes.

GRISSOM: Is he gay?

ALAN BROOKS: That is nobody's business.

GRISSOM: I realize that, but it's relevant to this investigation.

ALAN BROOKS: No, he was married. He has a kid.

GRISSOM: Was married?

ALAN BROOKS: She left him flat, ten years ago. So, what?

GRISSOM: Look, whether you like it or not, Leland is a suspect. But you
already knew that. I'm giving you an opportunity, Lieutenant. So far, you're
only guilty of being a good brother.

ALAN BROOKS: Get in.

(ALAN BROOKS turns, walks around his car and gets behind the wheel. He notices
GRISSOM'S hesitation.)

ALAN BROOKS: What are you worried about? You do have a gun, don't you?

(He starts the car engine.)

CUT TO:

[EXT. TOP VIEW ROAD WAY (STOCK) - LATE EVENING]

[EXT. LELAND BROOKS RESIDENCE -- NIGHT]

(The car stops in the driveway. GRISSOM and ALAN BROOKS get out of the car.
LELAND stands in the doorway.)

ALAN BROOKS: Look, um, just give me a minute with him.

(GRISSOM nods.)

LELAND BROOKS: Hey, Bubba.

ALAN BROOKS: Leland. We need to ask you a few ...

LELAND BROOKS: What's he doing here?

ALAN BROOOKS: Never mind him. You and I need to have a talk.

(LELAND motions for ALAN to come inside with him.)

(The door closes behind them.)

(GRISSOM walks around the driveway and sees a single set of tire tracks.)

(A cat meows and GRISSOM sees the cat on the chair and walks toward it. The voices arguing in the house are closed-captioned at first, then slowly get louder as he approaches the cat.)

LELAND BROOKS: I said I don't know what you're talking about.

ALAN BROOKS: Leland, you cannot hide this anymore and I am tired of looking the other way. What are you doing? You put that ... put that down!

LELAND BROOKS: I don't know what you're talking about.

ALAN BROOKS: Put that down!

LELAND BROOKS: I don't know what you're talking about!

(The cat jumps off the chair. GRISSOM turns to follow the cat when a gun goes off and blasts through the window near GRISSOM.)

LELAND BROOKS: Let me do this!

ALAN BROOKS: Don't you...!

(GRISSOM looks inside through the broken window and sees the two brothers fighting over a gun. ALAN wrestles the gun away from LELAND.)

ALAN BROOKS: Leland!

LELAND BROOKS: Let me do this!

ALAN BROOKS: Leland!

LELAND BROOKS: Let me do this!

(ALAN BROOKS uncocks the rifle while LELAND is down on the couch crying.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

[EXT. LAKE - EVENING]

[INT. SHERIFF'S OFFICE -- DAY]

(GRISSOM talks with ALAN BROOKS.)

GRISSOM: You're going to keep Leland in there, right?

ALAN BROOKS: Yeah, until he's ready to go home.

GRISSOM: He took at shot at me, and he tried to kill himself.

ALAN BROOKS: That's not the way I saw it. FYI, Leland's always run pretty hot. Now, that's no secret. As a matter of fact, back in high school he and Marty Cooperman played football together. One Friday night, after a couple of beers, Marty started busting on Leland. And Leland just busts him back. And I helped. And we fractured Marty's leg in three places.

GRISSOM: So I should be grateful that you showed restraint with me.

ALAN BROOKS: No, I didn't do it for you. A man shouldn't go through life ashamed of who he is.

(GRISSOM looks down at LELAND BROOKS' fingerprint card.)

CUT TO:

[EXT. CORRAL -- DAY]

(CATHERINE walks up to SAM BRAUN. He leans against the fence watching a horse
being exercised. CATHERINE shows SAM the check.)

CATHERINE: What is this?

SAM BRAUN: A way to get you to talk to me.

CATHERINE: Well, I didn't come here to talk. I came to give it back.

SAM BRAUN: Not enough?

CATHERINE: You're a murderer.

SAM BRAUN: Not in the eyes of the law. You look good, Mugs. How's Lindsey?
She likes horses, right?

CATHERINE: Lindsey's none of your business. You keep her out of this.

SAM BRAUN: I'm her grandfather.

CATHERINE: Yeah, well, nothing I can do about that.

SAM BRAUN: Catherine, it's just a gift. You need the money.

CATHERINE: And the next time you stab one of your showgirls and you need CSI to cover it, I'm supposed to help you out, right?

SAM BRAUN: Take a good look at me. Plenty of fresh air, sun on my face. You think I need your help?

CATHERINE: I don't need your Charity.

SAM BRAUN: You know what your problem is? You enjoy making life hard.

CATHERINE: You're lucky Lindsey's too young to understand that.

SAM BRAUN: Cash it, or tear it up. Do whatever you want. I have one son in jail ... another in the ground. I never did right by your mother. But I'm damn sure going to try to do right by you.

CUT TO:

[INT. CSI - LOCKER ROOM]

(CATHERINE looks down at the check in her hand. She looks at it, then moves to
tear it up, but pauses. She can't do it. She looks at the check again.)

(GREG appears in the doorway.)

GREG: Hey, Catherine ...

(CATHERINE hides the check and turns around.)

CATHERINE: Hey. What's up?

GREG: A possible inconsistency.

CUT TO:

[INT. OFFICE -- DAY]

(GRISSOM looks at LELAND'S finger print card. DALE STERLING interrupts him.)

DALE STERLING: Hey ... you have a phone call. Line two. I think it's your wife.

GRISSOM: Thanks. (to phone) Hello, dear.

INTERCUT WITH:

[INT. CSI - GRISSOM'S OFFICE]

CATHERINE: The day Ross Jenson left Vegas, he used MapQuest to get directions
from his dorm to jackpot.

GRISSOM: Well, that makes sense. From what I've been able to gather, this was his first and only visit up here.

CATHERINE: Well, that doesn't make sense. He was involved with someone in jackpot for several months. There were traces of aspen leaves in his dorm room closet. I just assumed he'd been there before.

GRISSOM: Well, if I believe this was his first and only visit, how do we explain the leaves in his closet?

CATHERINE: He has a roommate.

GRISSOM: Does the roommate have a name?

CATHERINE: Yeah, his name is ... Eric Brooks.

GRISSOM: (repeats out loud to DALE STERLING) Eric Brooks?

DALE STERLING: Oh, yeah, that's Leland's boy. You guys going to tell him about his dad?

(GRISSOM looks at DALE.)

CUT TO:

[INT. POLICE DEPARTMENT - INTERVIEW ROOM]

(BRASS and CATHERINE interview ERIC BROOKS.)

BRASS: Did you know your father was having a sexual relationship with Ross
Jenson?

ERIC BROOKS: My dad's not gay.

CATHERINE: Was Ross?

ERIC BROOKS: We never talked about it.

BRASS: Were you in Jackpot, Nevada last weekend?

ERIC BROOKS: No.

BRASS: Ross Jenson was ... visiting your dad. We found his car ditched in a
barn outside town.

CATHERINE: We got your fingerprints from a former ROTC commander of yours, and
... they matched a print that we recovered from the steering wheel.

ERIC BROOKS: (shrugs and shakes his head) He let me borrow his car all the
time. We were roommates.

BRASS: That's right. You don't own a car. You ride a motorcycle.

(Quick flashback to: View of the single tire tracks in LELAND BROOKS' driveway
with sounds of a motorcycle in the background. End of flashback. Resume to
present.)

ERIC BROOKS: Yeah. So?

CATHERINE: Could I see the bottom of your shoes, please?

(ERIC BROOKS puts his foot on the table for CATHERINE to look at. She compares the shoe with the print.)

CATHERINE: Well, that's an unusual wear pattern. Matches the shoe print we recovered from the barn near the vehicle.

BRASS: Put a lot of miles on your bike. It shows.

(Quick flashback to: The shoe on the motorcycle stirrup. End of flashback. Resume to present.)

CATHERINE: You were there.

(Quick flashback to: ERIC BROOKS arriving at home and findings his dad with
ROSS JENSON.)

GRISSOM: (v.o.) Eric must've known for a while.

CUT TO:

[INT. JACKPOT - SHERIFF'S OFFICE -- DAY]

(GRISSOM and ALAN BROOKS talk with LELAND.)

GRISSOM: How did you intend to keep the relationship from your own son?

LELAND BROOKS: I've been hiding it my whole life.

(LELAND looks at his brother, ALAN.)

LELAND BROOKS: You knew.

ALAN BROOKS: Yeah ... I figured you'd tell me when you were ready. I saw you with Ross. I stopped by here last weekend. You and he were taking a walk.

LELAND BROOKS: I'm sorry.

ALAN BROOKS: You got nothing to be sorry about. Nothing.

LELAND BROOKS: Lee, it turns out Eric ...

GRISSOM: Mr. Brooks, your son killed Ross Jenson.

LELAND BROKS: That is t possible.

GRISSOM: According to the evidence, it is.

(Quick flashback to: ERIC BROOKS reaches into the car and takes out ROSS JENSON'S thermos.)

CATHERINE: (v.o.) We tested the thermos and found traces of GHB.

(ERIC pours the drugs into the thermos.)

(End of flashback. Resume to present.)

INTERCUT WITH:

[INT. POLICE DEPARTMENT - INTERVIE ROOM]

CATHERINE: You used Ross' drugs to subdue him.

BRASS: It's a long drive from Jackpot to Vegas. You knew he'd stop for a refill before he left town.

(Quick flashback to: ROSS JENSON takes a drink from his cup. Cut to: ROSS JENSON starts to get woozy. He falls asleep and his car goes off the road.)

(ERIC finds ROSS out cold in the car.)

(End of flashback. Resume to present.)

LELAND BROOKS: (crying) Eric never could deal with the fact that his mother left. And, uh, she just wanted a husband. All I wanted was a family.

CUT TO:

[INT. POLICE DEPARTMENT - INTERVIE ROOM]

ERIC BROOKS: People in town ... they said my dad was "different." But he wasn't. He was just lonely. And Ross, like, totally used that to ruin him. It was all Ross.

BRASS: That why you drugged him? Drove him into the woods? Put him in a hole ...

(Quick flashback to: ERIC walks ROSS to the hole.)

ROSS JENSON: Where are you taking me?

(End of flashback. Resume to present.)

BRASS:   ... buried him up to his neck ...

(Quick flashback to: ERIC starts to cover ROSS with dirt. End of flashback. Resume to present.)

BRASS: ... cut him ...

(Quick flashback to: ERIC takes out his knife and cuts ROSS on the cheek.)

ROSS JENSEN: What are you doing?

(He screams.)

(End of flashback. Resume to present.)

CATHERINE: Why didn't you go the distance? Why didn't you finish him off yourself?

ERIC BROOKS: Because I wanted him to suffer.

CATHERINE: Because he was in love with your father? Or because he wasn't in love with you?

CUT TO:

[EXT. LAKE - DAY]

[EXT. GAS STATION -- DAY]

(MARTY finishes the repair on GRISSOM'S car window.)

GRISSOM: I don't suppose that comes with a warranty?

MARTY COOPERMAN: Nothing around here does, Mr. Grissom. Thanks for the business.

(ALAN BROOKS walks out of the building.)

ALAN BROOKS: Hey, Marty.

(MARTY doesn't say anything and heads back to the gas station.)

GRISSOM: Does he ever talk to you?

ALAN BROOKS: Not one word since high school. Listen, when we found that torso in the hole, on the crest of that hill ... I recognized the kid's shirt, and I knew he'd been with Leland, so ...

GRISSOM: So you assumed your brother was capable of murder.

ALAN BROOKS: Didn't even ask him what happened.

GRISSOM: Questions, remember? Not asking them is what got everybody in trouble in the first place.

ALAN BROOKS: You don't keep any secrets, Mr. Grissom? Not even from your wife?

GRISSOM: (amused) I used to. I'm trying to change.

BROOKS: It's a bitch. Have a good trip.

(GRISSOM gets into his car.)

(He glances in the back seat and finds his field kit. He looks at the SHERIFF standing outside. He smiles, then starts the car and leaves heading out of Jackpot.)

FADE TO BLACK.