WHITE FLASH OPEN:
[EXT. LAS VEGAS CITY (STOCK) - AFTERNOON]
[EXT VEGAS SUBURB (STOCK) - AFTERNOON]
[EXT. RESIDENCE -- AFTERNOON]
CUT TO:
SCENE #01:
(Outside the home, PETE'S Pluming and Piping van is parked in the driveway.
Camera moves downward below the ground level and under the house.)
[INT. CRAWLSPACE UNDER THE HOUSE]
(Under the crawlspace of the house, the plumber carries his flashlight and
crawls, examining the pipes for the leak.)
WOMAN'S VOICE: (o.s.) What's taking so long? I just wanted you to fix the
leak!
PLUMBER: (looks up) Look, lady, to fix the leak I need to find the leak.
(distracted)
(He continues to examine the pipes and crawls deeper under the house.)
(He crawls against the wall where his shirt catches on something, ripping the
material. He stops.)
PLUMBER: Hold on.
(He grunts as he shifts around to look at the wall. He turns up his flashlight)
WOMAN'S VOICE: (o.s.) Did you find the leak?
(He brings his flashlight down and finds the bony tips of a skeleton embedded
inside the foundation wall sticking out. He looks at it closely.)
PLUMBER: I found something.
CUT TO:
SCENE #02:
[EXT. RALSTON HOUSE -- NIGHT]
(NICK closes the car back door and carrying his kit, he heads for the house. He
ducks under the crime scene tape toward the side of the house.)
[EXT. RALSTON HOUSE - SIDE YARD - NIGHT - CONTINUOUS]
(NICK puts his kit down.)
NICK: Okay, I'm ready up here.
CUT TO:
SCENE #03:
[INT. CRAWLSPACE UNDER RALSTON HOUSE - NIGHT -- CONTINUOUS
(Under the house, GRISSOM makes his way to the site.)
GRISSOM: Hang on a minute.
(GRISSOM crawls up to the fingertips sticking out of the concrete.)
GRISSOM: Okay, I'm there.
NICK (over radio): Can you confirm it's human?
GRISSOM: Metacarpal, phalanges ... no question about it.
SHORT TIME CUT TO:
SCENE #04:
[EXT. RALSTON HOUSE - SIDE YARD - NIGHT -- CONTINUOUS]
(GRISSOM walks over to and around NICK.)
GRISSOM: Hold on, Nick.
NICK: (sighs) There's got to be an easier way.
GRISSOM: When a body decomposes in concrete it leaves an air pocket, vacuum-
sealed. We do this right, it'll open like a jar of pickles.
(GRISSOM starts to work on the bricks. When he breaks through into the air
pocket, we hear the seal being broken.)
(They continue to break through the cement and finally get the hole wide enough
to see the skeleton inside.)
NICK: Ten bucks says the owner sells the house.
GRISSOM: By law, you got to disclose everything -- three bedrooms, two baths,
and a skeleton.
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
SCENE #05:
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
(GRISSOM walks into the room carrying the assignment sheets.)
GRISSOM: Okay, I'm late again. Nick's going to work with me on that
unidentified body at Summercliff.
SARA: I hear it's just bones? What a rush.
GRISSOM: O.I.S. at the jockey club.
(GRISSOM holds out the assignment sheet. SARA stands up to get it from him.)
SARA: Officer-involved shooting.
WARRICK: I'll take a piece of that.
GRISSOM: Good, I want you to double up. Listen, these deals are never easy so
keep me informed, please.
WARRICK: Will do.
SARA: I drive.
WARRICK: Picture that.
(SARA and WARRICK leave the room. GRISSOM looks back down at the other
assignment sheet in his hand.)
CATHERINE: So, what do you have for me? I could use a rush.
(GRISSOM sits at the edge of the table.)
GRISSOM: Well, this qualifies: 4-26. But I can't give you the case.
CATHERINE: Because?
GRISSOM: Conflict of interest. The alleged rape victim is an exotic dancer.
CATHERINE: (offended) Because I used to be one, I'll be biased?
GRISSOM: No. Suspect's your ex-husband. (beat) He's asking for you, but you
can't take it.
(CATHERINE stands up and looks at GRISSOM.)
CATHERINE: Just let me do the prelim.
GRISSOM: All right. (He gives her the assignment sheet.) Do what you can.
But after the preliminary, you pass it off, okay?
(CATHERINE doesn't say anything. She turns and leaves the room.)
CUT TO:
SCENE #06:
[INT. POLICE DEPARTMENT - OBSERVATION ROOM - NIGHT]
(CATHERINE looks through the window at EDDIE WILLOWS, her ex-husband. He's
sitting in front of the table, a tape recorder and microphone set up in front of
him. She watches him for a long moment, then leaves the room.)
CUT TO:
SCENE #07:
[INT. POLICE DEPARTMENT - INTERVIEW ROM - NIGHT - CONTINUOUS]
(The door opens. CATHERINE walks inside.)
EDDIE WILLOWS: (relieved) Thank god you're here.
(EDDIE gets to his feet. CATHERINE closes the door behind her.)
CATHERINE: Eddie.
EDDIE WILLOWS: I didn't rape that girl.
(CATHERINE puts the open file folder on the table. She sits down.)
CATHERINE: According to the police report she's telling a different story. I
wonder what the rape kit's going to say.
EDDIE WILLOWS: We had sex, okay? But she was there with me one hundred
percent.
(CATHERINE looks down at the file.)
CATHERINE: In the parking lot behind the club.
(She looks back at EDDIE.)
EDDIE WILLOWS: Well, some women like the outdoors.
CATHERINE: Melanie know about this?
EDDIE WILLOWS: Mel and I split up a while ago.
CATHERINE: You might want to call her anyway. She can loan you the money for
an attorney.
(CATHERINE picks up her bag, turns and heads for the door.)
EDDIE WILLOWS: You're not going to help me? (yells) Cath, I am in a jam here!
CATHERINE: A detective from sex crimes has been assigned. I'm going to place
another CSI.
EDDIE WILLOWS: What about Lindsey?
(CATHERINE stops.)
CATHERINE: (puzzled) What about her?
EDDIE WILLOWS: You want her spending sunday afternoons with me at Nevada State
Prison ... or the mall?
CUT TO:
SCENE #08:
[INT. CSI - FORENSIC AUTOPSY]
(NICK and GRISSOM stand over the skeletal remains on the table between them.)
GRISSOM: Based on the auricular surface I'd say she died when she was about
twenty.
NICK: She?
GRISSOM: It's in the hips. Pelvic bone is definitely female. You know, for a
ladies' man you don't know much about bone structure.
NICK: I know all I need to know. I figure she was killed before her cement
bath.
GRISSOM: Yeah, how?
NICK: She was stabbed at least a dozen times -- a screwdriver, maybe ...
like... a spike.
GRISSOM: No. The gouges on her ribs are unusual. The instrument had to be ...
slightly curved with some kind of serrated edge. Like crocodile teeth.
Whatever killed this girl was not a traditional weapon.
NICK: Well, stabbings are personal. She knew her attacker.
GRISSOM: That's the rule.
(GRISSOM leans in close to the head of the bones. He places a gentle hand on
her skull.)
GRISSOM: Who are you?
CUT TO:
SCENE #09:
[EXT. PARKING LOT - STRIP CASINO HOTEL - NIGHT]
(WARRICK and SARA meet up with BRASS and the OFFICER, JOE TYNER.)
BRASS: Sara Sidle, Warrick Brown? Officer Joe Tyner.
SARA: Hi.
(They shake hands.)
OFFICER JOE TYNER: Hi.
WARRICK: Officer Tyner.
OFFICER JOE TYNER: How you doing?
WARRICK: Want to tell us what happened here tonight?
(BRASS answers the question.)
BRASS: He responded to shots fired. The suspect fled the scene.
(WARRICK looks at OFFICER JOE TYNER.)
WARRICK: Why don't you tell us what happened here.
(OFFICER JOE TYNER sighs.)
(Quick flashback to: A speeding jeep, Nevada License #QLF 084, turns onto the
main strip, tires screeching. The officer car right behind him.)
OFFICER JOE TYNER: (to dispatch) Unit five. In pursuit of the fleeing 413
heading southbound on the strip.
(White flash to: The jeep turns off of the road and into a parking lot. The
officer car follows. The jeep stops. The officer car stops. OFFICER JOE TYNER
gets out of his car and draws his weapon.
OFFICER JOE TYNER: Get back in the car!
(The SUSPECT gets back into his jeep and closes the door. OFFICER JOE TYNER
takes a step toward the jeep.)
OFFICER JOE TYNER: Drop your keys to the ground!
(The SUSPECT drops the keys outside the jeep.)
OFFICER JOE TYNER: Put your hands on the wheel!
(The SUSPECT puts both of his hands on the steering wheel.)
SUSPECT: I didn't do it ... whatever you think I did! I'm looking at three
strikes. I'm not going back. I'll show you my registration.
(The SUSPECT reaches for the glove compartment and opens it.)
OFFICER JOE TYNER: No, put your hands on the wheel!
(The SUSPECT grabs a gun in the glove compartment, points it at his own head and
fires.)
(End of flashback. Resume to present.)
OFFICER JOE TYNER: Then he turned the weapon on himself -- one shot -- right
through the forehead.
SARA: Where's his gun?
OFFICER JOE TYNER: I left it in the jeep.
SARA: I'm going to go bag it.
(SARA heads for the jeep.)
WARRICK: Officer, we're going to need your weapon, as well.
OFFICER JOE TYNER: I never fired.
BRASS: Drawn but not fired.
WARRICK: (shakes his head) It's just standard procedure.
(OFFICER JOE TYNER sighs.)
BRASS: It's okay. It's okay.
(OFFICER JOE TYNER takes out his weapon and hands it to WARRICK handle first.)
(SARA approaches the jeep and looks inside.)
WARRICK: (o.s.) Were there any witnesses?
(She looks down at the body inside the front seat of the jeep. She takes the
gun out of the SUSPECT'S hand.)
WARRICK: (o.s.) We're going to need to seal off this lot.
(BRASS looks at WARRICK.)
BRASS: Tyner told you what happened here. Whose side are you on?
WARRICK: The officer told me a fleeing suspect committed suicide. I'm just
verifying his account. You know how this works, Brass. Can we clear the jeep
so I can do my job?
BRASS: Well, at least test the dead guy's hands for gun residue.
(SARA steps up and joins them.)
SARA: At that proximity G.S.R.'S invalid. They'd both be covered, no matter
who fired.
WARRICK: Can we get back to work?
BRASS: Yeah.
(WARRICK turns and leaves. SARA stares at BRASS.)
CUT TO:
SCENE #10:
[INT. CSI - GARAGE - NIGHT]
(The lights flicker on. GRISSOM stands in the middle of the garage over the
large slab of rock that the skeletal remains were entombed in.)
(NICK walks in.)
NICK: You brought the foundation of the house to our lab.
GRISSOM: It's a six-by-three-foot section. When the concrete dried it
preserved a partial impression of our Jane Doe. Did you find out anything about
the house?
NICK: I pulled the permits. Summercliff was built five years ago on nothing
but desert.
GRISSOM: That would explain why the body was so desiccated.
NICK: House was sold subsequent to completion, so the homeowner isn't a
suspect. Homicide is running a missing persons check.
(NICK reaches out to touch something. GRISSOM clears his throat to stop him.
NICK stops mid-reach and looks at GRISSOM. NICK smiles and withdraws.)
GRISSOM: Well, if it wasn't for a leaky pipe she might have been down there
forever.
NICK: I think our killer was counting on that.
(GRISSOM glances up at NICK, then turns back his attention to the slab in front
of him.)
CUT TO:
SCENE #11:
[INT. CSI - LAB - NIGHT]
(WARRICK is sitting at the lab table. SARA walks into the room behind him.)
SARA: Hey.
WARRICK: Why would a guy speed it all the way down the strip just to pull over
and cap himself?
SARA: What are you getting at, Warrick?
(WARRICK puts the pen down and picks up the weapon in front of him. The one he
was studying.)
WARRICK: Officer's weapon: Smith and Wesson 5906.
SARA: Standard issue.
(WARRICK puts the gun down and lifts up the cartridge in his other hand.)
WARRICK: One bullet missing. Nothing standard about that.
(SARA takes it from WARRICK and looks at it. Camera close up of the bullets
inside the cartridge.)
SARA: Both gun's are nine millimeter automatics. Brass isn't going to like
this.
WARRICK: I don't give a damn what Brass likes.
SARA: Like I do? If Tyner's dirty, he goes down. I just know what happens
when you piss off the P.D.
WARRICK: Yeah, it's war.
CUT TO:
SCENE #12:
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
(Camera close up of GRISSOM holding a tarantula in the palm of his hand. A
woman walks up to the door and knocks on the frame lightly.)
TERI MILLER: Gil Grissom?
(GRISSOM looks up.)
TERI MILLER: Or should I call you spider-man?
GRISSOM: It's harmless.
TERI MILLER: Of course it is.
(TERI walks into the office, her eyes on the spider in GRISSOM'S hand.)
TERI MILLER: Orange-kneed tarantula. Nice specimen.
GRISSOM: The tarantula's touch is very gentle.
TERI MILLER: It leaves no prints. They move without a trace. May I?
(TER holds out her hand and to GRISSOM'S astonishment, takes the tarantula in
the palm of her hand.)
TERI MILLER: Ah ...
(TERI looks at the spider. GRISSOM stands up.)
TERI MILLER: Maybe I should introduce myself.
(She holds out her free hand to him. They shake hands.)
GRISSOM: Teri Miller does not need an introduction. (beat) I need you to make
me a face.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #13:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(SARA and WARRICK interview OFFICER JOE TYNER.)
OFFICER JOE TYNER: (annoyed) I didn't kill him. That's what I told I.A. It's
what I told my superior. It's what I'm telling you.
SARA: Officer Tyner, your gun -- there's a bullet missing from the magazine.
OFFICER JOE TYNER: I don't top off. I know it's against regulation, but the
14th bullet puts pressure on the spring, and the gun can jam.
WARRICK: Can anyone confirm your story?
OFFICER JOE TYNER: (surges to his feet) It's not a story!
SARA: Whoa.
OFFICER JOE TYNER: And no ... I don't tell people how I carry.
WARRICK: Do you?
OFFICER JOE TYNER: Check the other magazines.
(BRASS walks into the room.)
BRASS: What the hell's going on here?
WARRICK: We're just having a talk with Officer Tyner here.
BRASS: Next time, don't start without me. I'm the union rep on this one.
SARA: Then you should know. Tyner's magazine -- one bullet shy.
BRASS: Is the expended round still missing?
SARA: Yeah. It's not in the body, bullet's a round point wound was a through-
and-through.
OFFICER JOE TYNER: I did not fire a single round.
SARA: And, with a record like yours we're supposed to just take you at your
word?
WARRICK: Five civilian complaints -- three for excessive force. Two I.A.
investigations.
OFFICER JOE TYNER: I was cleared.
WARRICK: I'm sure you were.
OFFICER JOE TYNER: What is that supposed to mean? I don't have to take this
crap!
BRASS: Tyner ... sit down, sit down. What you do need is for these guys to go
out and find the missing bullet.
(BRASS turns and looks at WARRICK and SARA.)
BRASS: So what are you waiting for?
WARRICK: I guess it's a good thing I sealed off that crime scene.
(WARRICK turns to leave the room.)
CUT TO:
SCENE #14:
[INT CSI - GARAGE - NIGHT]
(TERI works on the mold on the slab of foundation in the middle of the garage.
GRISSOM watches her work.)
TERI MILLER: It's like a human jell-o mold. The impression's only a partial.
It's not going to be easy.
GRISSOM: They told me you were the top forensic artist in the country.
TERI MILLER: And Canada. I didn't say I couldn't do it.
(TERI turns and brings out a pail.)
TERI MILLER: Give me your hand. You'll enjoy this. It's as much science as
art.
(Using GRISSOM'S hand, she guides him as he takes a scoop of the molding
substance and puts it in the indentation in the foundation slab.)
(He continues to work. TERI takes the pail and lifts it to pour the rest of
molding substance into the foundation.)
(Dissolve to: The molding substance solidifies and TERI removes it. She takes
it over to the lamp and works on it. GRISSOM looks over her shoulder.)
GRISSOM: It doesn't really look like anything.
TERI MILLER: No light, no shadows -- no shadows, no perspective.
(She tilts the small sample and the impressions of a face can be seen.)
TERI MILLER: Now look.
(Dissolve to: TERI is sitting at the table with the head and half mold in front
of her. GRISSOM takes the seat next to her.)
GRISSOM: So teach me.
TERI MILLER: Okay. First, I'm finishing off the plaster mold. We can't give
her life with only half a face. Although most faces appear that way and the
thin layer of slip makes the plaster and clay appear seamless.
(TERI takes GRISSOM'S hands and guides him as he helps apply the plaster mold.)
(Dissolve to: TERI finishes "painting" the face of the head in front of them.)
TERI MILLER: Her cheekbones and nasal spine indicate nordic descent. I've seen
a few Norwegian brunettes but your girl's probably a blonde.
(TERI takes a blonde-colored wig and puts it on the head in front of them.)
(Dissolve to: TERI looks at a couple of brown eyes.)
GRISSOM: Brown eyes? I thought you decided she was nordic.
(TERI puts the eyes in the "head".)
TERI MILLER: But, in this country, brown is a dominant eye color. And, more
importantly, brown photographs better. You want to get her face out there,
don't you?
GRISSOM: Yeah. I'm sure someone needs closure and somebody else needs to go to
jail.
(TERI finishes.)
TERI MILLER: There she is.
(GRISSOM takes the camera and takes a picture of the head.)
CUT TO:
SCENE #15:
[INT. CSI - BREAK ROOM - DAY -- CONTINUOUS]
[TELEVISION MONITOR]
PAULA FRANCIS: (from tv) As we first reported yesterday, the remains of an
unidentified caucasian female were unearthed in Summercliff. The five foot four
inch woman was approximately 20 years old.
(In the break room, GRISSOM watches the news report. NICK gets his cup and
joins GRISSOM. He hands GRISSOM his cup.)
NICK: Here you go.
PAULA FRANCIS: (from tv) Authorities are asking for the public's help in
identifying the victim.
(On the monitor, they show a close up of the completed head. A phone number
appears on screen under it: (702) 555-0199.)
PAULA FRANCIS: (from tv) If you have any information please call the Las Vegas
P.D. Hotline.
(CATHERINE walks into the room.)
CATHERINE: Hotlines ... hit or miss.
GRISSOM: I don't know. In my experience people usually remember a beautiful
woman.
(CATHERINE moves to stand in front of him. She looks at him expectantly.
GRISSOM glances at NICK.)
GRISSOM: Uh, Nick, weren't you going to go and do the, uh...
(NICK turns to look at CATHERINE.)
GRISSOM: At the ... ?
(NICK gets the hint.)
NICK: Yeah. Yeah, okay, I'll do that.
(NICK leaves the break room. GRISSOM turns to look at CATHERINE.)
CATHERINE: So I saw Eddie. He actually... seemed scared.
GRISSOM: Did that make you happy?
CATHERINE: Um ... no. I'm not really sure what I ... feel.
GRISSOM: You're not still in love with Eddie? (She sighs.) Catherine, you
have to hand off the case. Warrick can just double up.
(CATHERINE doesn't say anything.)
(DAVID PHILLIPS walks into the room.)
DAVID PHILLIPS: Uh ... Grissom, Dr. Robbins wants to see you. Something about
your skeleton.
(DAVID PHILLIPS leaves the room. GRISSOM turns to look back at CATHERINE. He
stands up to head for the door, then turns around.)
GRISSOM: Okay. You have to pass off the case. If you compromise the
investigation there's no going back. You could hurt Eddie just as much as you
could help him.
(GRISSOM opens the door and leaves. CATHERINE leans back in her seat, staring
at the door.)
CUT TO:
SCENE #16:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(GRISSOM walks into the room. DR. ROBBINS stands over the skeleton.)
GRISSOM: Hey. I've already seen the marks on the ribs.
DR. ALBERT ROBBINS: Uh-huh, but did you see the hairline fracture on the
posterior skull?
GRISSOM: No.
(GRISSOM puts on his glasses and leans in closer for a look.)
(Camera moves into the skull to show the light from the fracture.)
DR. ALBERT ROBBINS: Easy to miss, but it screams blunt-force trauma. Also, the
middle ear has three bones. They're dusted with sodium and lodged against the
malleus. I found a tiny ball of earwax with grains of sand.
GRISSOM: Salt and sand. Killed at the beach?
DR. ALBERT ROBBINS: Not ruling it out.
(NICK walks into the room.)
NICK: Grissom. Hey, doc. Hotline's lit up. Five callers all I.D.'D the same
woman -- Fay Green -- and her mother just confirmed.
(Camera pushes into GRISSOM and holds. He sighs.)
CUT TO:
SCENE #17:
[INT. MRS. GREEN'S HOUSE - LIVING ROOM - DAY]
MRS. GREEN: (v.o.) I need to know what happened to my daughter.
(GRISSOM and MRS. GREEN sit at the dining room table with open photo albums
around them.)
GRISSOM We're trying to figure that out for you.
(GRISSOM looks down at the open album in front of him.)
GRISSOM: She was quite an athlete, huh?
MRS. GREEN: Mm-hmm. Yeah.
GRISSOM: Did she scuba dive?
MRS. GREEN: She had just been certified.
GRISSOM: Did, uh, Fay ... before she disappeared, go on any vacation? Go
diving or spend time at the beach?
MRS. GREEN: No, not that I recall. No.
GRISSOM: And she, uh ... lived here with you until she disappeared?
MRS. GREEN: No, she had just moved in with her boyfriend, Jason Hendler. He
still lives on Medley Place.
GRISSOM: And the, uh ... police interviewed him after she disappeared?
MRS. GREEN: A couple of times. He had nothing to do with this.
GRISSOM: Well, how do you know that?
MRS. GREEN: He loved my daughter. He was good to her.
GRISOSM: Did they... ever fight?
MRS. GREEN: The first few months of a relationship nobody fights.
(She starts to cry, then stops.)
MRS. GREEN: (whispers) She was crazy about him.
(She starts to cry.)
CUT TO:
SCENE #18:
[INT. HOSPITAL - EXAMINATION ROOM - DAY]
(DET. EVANS interviews APRIL, the woman charging EDDIE WILLOWS with rape.)
APRIL LEWIS: (o.s.) I've given Eddie Willows twenty lap dances. He never got
rough till last night.
DET. B. EVANS: In the parking lot.
APRIL LEWIS: Yeah, he asked me to go for drinks you know, but out in the
parking lot he starts kissing on me and I kind of laughed it off, but ... then
he grabbed me and he slams me against the wall and... that pig.
(CATHERINE appears in the doorway. She looks into the room and sees APRIL
talking. She steps forward and looks into the exam room.)
CATHERINE: Hi.
(DET. EVANS stands up.)
CATHERINE: Evans, I'm sorry I'm late. I'm Catherine ... (hesitates) ... just
Catherine. I'm a forensic scientist.
APRIL LEWIS: Scientist ... wow. You look so normal.
CATHERINE: Thanks.
DET. B. EVANS: (quietly) Catherine, you sure want ... ?
CATHERINE: Yeah.
(CATHERINE takes the seat in front of APRIL.)
CATHERINE: Those bruises from last night?
APRIL LEWIS: Yeah. A guy pinned me against a wall.
CATHERINE: Sexual assault nurse collect a kit yet?
DET. B. EVANS: She just finished.
CATHERINE: Why don't you see if you can catch her. I'd like her to get a
sample from under her fingernails.
(DET. EVANS leaves the room.)
APRIL LEWIS: (nervously) Uh ... what kind of sample?
CATHERINE: Anything that might, show up from a ... a struggle.
APRIL LEWIS: You'd think what that nurse took down below would be enough. The
weird thing is ... I liked the guy.
CUT TO:
SCENE #19:
[EXT. PARKING LOT - DAY]
(SARA and WARRICK work on looking for the bullet in the parking lot. SARA uses
the metal detector and WARRICK searches the edges near the fence.)
SARA: It's not here.
WARRICK: Bullets just don't disappear.
(A young man wearing a red vest approaches them at the edge of the parking lot.
SARA turns around and spots him.)
SARA: Excuse me. No one's allowed inside the tape.
VALET: I saw what happened.
(WARRICK and SARA head for the young man.)
WARRICK: Have you talked to the police?
VALET: (shakes his head) Police make me nervous. You guys aren't cops, are
you?
WARRICK: We're Crime Scene Investigators. We need to know what you saw.
VALET: I was kind of taking a break, hanging out at the P.T. Cruiser. I was
laid back in the heated driver's seat when I heard the siren.
(Quick flashback to: The VALET is sitting in the car. He turns his head to
look when he hears the police siren.)
OFFICER JOE TYNER: (o.s.) Put your hands on the wheel!
SUSPECT: (o.s.) I didn't do it ...
(JERROD leans forward to get a better look.)
SUSPECT: ... whatever you think I did! Man, I'm looking at three strikes.
(JERROD opens his car door and gets out of the car.
SUSPECT: ... I'm not going back. Just let me show you my registration.
OFFICER JOE TYNER: No! Hands on the wheel!
(Watching them, The VALET hears the gunshot and sees the smoke.)
(End of flashback. Resume to present.)
WARRICK: And, just like that, the officer fired?
VALET: Just like that.
SARA: Missing bullet, eyewitness ... we better tell Grissom we got a war.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #20:
[INT. CSI - LOCKER ROOM - DAY]
(WARRICK changes his shirt when GRISSOM walks into the locker room. He looks at
WARRICK, then heads for his locker where he opens it and takes a seat on the
bench.)
GRISSOM: I heard about your eyewitness. A valet who joyrides. He sounds
reliable. (beat) So, uh, how's the thing going on Eddie Willows?
WARRICK: What thing?
GRISSOM: The thing that I told Catherine to pass off to you.
WARRICK: (realizing and trying to cover) Oh, good. Um ... we just put some
stuff through the lab.
GRISSOM: Get ahold of the DMV?
WARRICK: I was just about to.
(GRISSOM slams his locker door shut and stands up. CATHERINE walks into the
locker room.)
GRISSOM: Warrick? Why would you call the DMV on a rape charge?
(WARRICK sighs at being busted.)
CATHERINE: Okay. I didn't hand it off.
GRISSOM: Really?
CATHERINE: I'm sorry, Warrick.
WARRICK: If you want me to suave anyone, I got to know the shot.
CATHERINE: I know.
(WARRICK leaves the locker room.)
CATHERINE: (to WARRICK) I'm sorry.
(CATHERINE walks up to GRISSOM, trying to explain it to him.)
CATHERINE: I'm doing this for Lindsey.
GRISSOM: You so much as breathe on the evidence, it's contaminated and I end up
the bad guy.
CATHERINE: Eyes, no hands.
GRISSOM: What's the status?
CATHERINE: Skin samples from under the woman's fingernails are consistent with
Ed's. I saw some bruises but Eddie's style has always been very ... involved
... vigorous.
GRISSOM: (puzzled) Vigorous?
(From the other side of the shelf, apparently WARRICK didn't leave the locker
room. He explains.)
WARRICK: She's trying to tell you Eddie likes it rough.
CATHERINE: Thank you, Warrick. Eddie said that she was into it.
GRISSOM: "He said. She said?" It's about the evidence, Catherine.
(GRISSOM steps back and heads toward the door. He turns to look at CATHERINE.)
GRISSOM: And you may not like where it takes you.
(GRISSOM walks out of the locker room. CATHERINE stands there for a moment.)
CUT TO:
SCENE #21:
[INT. CSI - DNA/TRACE LAB - DAY]
[SCOPE VIEW: GRAINS OF SAND]
(GREG is looking through the scope at the sands found in the skeleton's ear.)
GREG SANDERS: So how many grains of sand in the ocean, huh?
NICK: I don't care about the ocean, just the sand in my skeleton. Can you
pinpoint a beach?
GREG SANDERS; I don't know. I might have to do some field research. (Looks at
NICK.) Hey, you think Grissom would send me to Hawaii?
(NICK looks up and sees GRISSOM in the doorway, GREG'S back is to the door so he
doesn't see GRISSOM enter the lab.)
NICK: Why don't you ask him yourself?
GRISSOM: Ask me what?
(GREG turns around and stands up.)
GREG SANDERS: Oh, nothing. I, uh ... I was just telling Nick about your sand.
Well, it's not sand. It's not natural anyway. Here, check this out.
(GRISSOM looks through the scope.)
GREG SANDERS: Now, if this were natural sand, the surface would be smooth.
[SCOPE VIEW: GRAINS OF SAND]
GREG SANDERS: (o.s.) This looks more like Fremont Street on a Saturday night
... rough.
NICK: Could the particles be sediment from the concrete where we found her?
GREG SANDERS: No. No way. I analyzed the mineral content. It's feldspar and
quartz. That's crushed gray sandstone. It's man-made, in a rock crusher.
NICK: What does that mean?
GRISSOM: It means she wasn't killed in Hawaii.
(GREG freezes at being busted and slowly turns to look at GRISSOM.
GRISSOM: Other than that ... he has no idea.
(NICK laughs, puts a friendly arm around GREG'S shoulders and pats him lightly
on the chest.)
CUT TO:
SCENE #22:
[INT. CSI - HALLWAY - DAY]
(BRASS walks through the hallway just in time to see WARRICK turn the corner and
head his way.)
BRASS: Is this payback, Warrick? Is that what this is? I was tough on you, so
Officer Tyner takes my heat?
WARRICK: That's how you think I work?
(SARA joins them trying to diffuse the argument building.)
SARA: Brass, this has nothing to do with anything.
BRASS: D.A. is filing charges. On the testimony of a bleary-eyed car jockey
who was 40 feet from the jeep.
(Behind them, OFFICER JOE TYNER appears in the hallway. He's dressed down and
carrying a duffle bag over his shoulder. He turns and sees them arguing.)
SARA: Eyewitness is a bonus: Your cop's magazine was one bullet shy.
(He drops his bag and heads for the group, gearing up for a fight.)
OFFICER JOE TYNER: That's you CSIs, always counting bullets.
(WARRICK turns around.)
WARRICK: What's he doing here?
(BRASS moves to get between the OFFICER and the CSIs.)
BRASS: Joe, you shouldn't be here.
OFFICER JOE TYNER: You show up with your latex gloves and your little fancy
metal boxes ... your little powders ... you have no idea what it's like to put
your life on the line every day!
(OFFICER JOE TYNER'S voice gets louder as he finally shouts loud enough that
GRISSOM stands up from the scope in one of the labs to look at what the
commotion in the hallway is about.)
WARRICK: Oh, you mean dealing with punk-ass cops who hide behind their union
reps?
(OFFICER TYNER lunges for WARRICK and pushes him in the chest. WARRICK takes a
step backward.)
SARA: Wow, wow guys. Get off him.
BRASS: Hey! Hey! Joe!
(GRISSOM heads out into the hallway. NICK follows.)
(BRASS manages to get OFFICER TYNER away from WARRICK.)
WARRICK: (egging him on) You're just a psycho! You don't deserve a badge!
(OFFICER TYNER breaks from BRASS and heads for WARRICK. He reaches WARRICK and
finds GRISSOM in his face.
GRISSOM: Cut it out! Not in my lab, pal.
OFFICER TYNER: Scientists! I bet you've never even drawn your weapon.
GRISSOM: Yeah. I hope I never have to. Nick, walk this guy out the door.
NICK: Now, let's go.
(NICK walks down the hallway making sure that OFFICER TYNER leaves the
building.)
GRISSOM: Sara.
SARA: Yeah. Come on, Warrick. Come on. Let's go.
(SARA leads WARRICK away from the hallway in the other direction. GRISSOM turns
around and sees BRASS walking straight for him, angrier than ever.)
BRASS: (angry) This is your fault, Gil. Your nose is so far down a microscope
you have no idea what your people are doing.
GRISSOM: Yeah, I know one thing: My guys will not bend and they will not be
intimidated.
BRASS: Hey, I sat in your chair. Your guys have one job: To find the
evidence. So where the hell is the missing bullet? Huh?
(And with that, BRASS turns and walks away.)
(GRISSOM watches him leave and sighs.)
CUT TO:
SCENE #23:
[INT. CASINO - RESTAURANT - DAY]
(CATHERINE sits at the table with her drink. EDDIE shows up and takes the seat
on the other side of the table. CATHERINE looks up in surprise.)
CATHERINE: Eddie.
EDDIE WILLOWS: Catherine. (to the waitress) I'll take a root beer.
WAITRESS: Sure.
CATHERINE: What are you doing here?
EDDIE WILLOWS: I knew you'd be here. You got a routine: Turkey club, no
bacon.
CATHERINE: You could be a detective. Thank you.
WAITRESS: You're welcome.
CATHERINE: (sighs) Well, you obviously made bail. Did you get a lawyer?
EDDIE WILLOWS: I got you and The Truth. Who needs a lawyer?
(CATHERINE ignores him and picks up her Turkey club sandwich.)
EDDIE WILLOWS: (looks away and sighs) I came to tell you how great you are.
It always comes out wrong. When I married you, I married up. I know that.
CATHERINE: (smiles) It wasn't all bad.
(He leans back in triumph at getting her to admit that much at least. CATHERINE
smiles back at him.)
CUT TO:
SCENE #24:
[INT. CSI - GARAGE - DAY]
(SARA and WARRICK stare at the SUSPECT'S jeep, Nevada license #QLF-084.)
SARA: You think the bullet's somewhere in the jeep.
WARRICK: It's not in the body. It's not at the crime scene. I like our odds.
SARA: Let's do it.
(SARA takes off her jacket. WARRICK starts unbuttoning his shirt. The two get
ready to search the car for the missing bullet.)
(Short time cut to: The jeep is being taken apart piece by piece, the seats are
out on the garage floor.)
(Short time cut to: WARRICK and SARA take off the jeep's hood.)
(Short time cut to: SARA and WARRICK take apart the front bumper.)
SHORT TIME CUT TO:
(SARA and WARRICK stare at the body of the jeep with its parts removed.)
SARA: We have searched every single piece of metal. I think hide-and-seek is
over.
(WARRICK sighs.)
WARRICK: Yeah. We've searched every piece of metal.
(WARRICK turns and looks at the tire on the garage floor nearby.)
WARRICK: Spare tire.
(He kneels down in front of it and checks the tire. They find the bullet.)
SARA: You've got to be kidding me.
WARRICK: The tire sucked up the bullet and the treads covered its tracks.
SARA; We match the bullet to the cop's gun, the case is airtight.
CUT TO:
SCENE #25:
[INT. CSI - BALLISTICS LAB]
[SCOPE VIEW: TWO BULLETS SIDE BY SIDE]
WARRICK: (o.s.) There's a match.
(WARRICK steps away from the scope and let's SARA look. Standing off to the
side is BOBBY DAWSON.)
WARRICK: We got Tyner. One bad cop going down.
BOBBY DAWSON: Well, actually, Warrick, the evidence round wasn't from the cop's
gun. It was from the suspect's.
(SARA looks up.)
SARA: No way.
CUT TO:
SCENE #26:
[INT. STRIP BAR]
(DET. EVANS and CATHERINE walk into the strip bar. They approach the bar owner
sitting at the counter watching the girls dance.)
DET. B. EVANS: These guys never give up anything on their girls.
CATHERINE: Well, let me give it a try.
(They reach the owner, TED BENSON.)
CATHERINE: Excuse me, sir.
(He turns to look at her.)
CATHERINE: Can we see your permits?
TED BEATON: Oh, hi, Gorgeous. How are you?
(He grabs her hand and CATHERINE leans over so he can give her a kiss.)
CATHERINE: Okay, Ted.
TED BEATON: How you doing?
CATHERINE: I'm okay.
(CATHERINE sits down in the empty seat next to TED.)
TED BEATON: Hi. You should have seen this lady dance. Oh, was she good! You
still working with the cops?
(DET. EVANS watches the two and smiles at being had by CATHERINE. He takes the
empty seat next to her and sits down.)
CATHERINE: Can't seem to get off the night shift.
DET. B. EVANS: You dressed like that?
(CATHERINE turns around at his comment and laughs.)
CATHERINE: If you want to call that dressed. Yeah, Evans. Hey, Ted, you heard
about this thing with Eddie and April?
TED BEATON: Yeah, the night guy told me about it. Boy, Eddie never changes,
huh?
(As if transported to another place (another time, another life), CATHERINE
stops and watches the girl up on the counter top dance around the pole. She
watches the dance. DET. EVANS turns to watch CATHERINE. TED also turns to look
at CATHERINE.)
TED BEATON: Bring back memories?
(CATHERINE turns and looks at TED.)
CATHERINE: You mind if I look around?
TED BEATON: Help yourself.
CATHERINE: Thanks, Ted.
(CATHERINE stands up and leaves to look around.)
CUT TO:
SCENE #27:
[INT. STRIP BAR - DRESSING ROOM]
(The door opens and CATHERINE walks in. She closes the door behind her. She
looks around at the lockers and at the dressing counters.)
(She spots the locker marked, "APRIL". She opens it and looks around. Inside,
she finds a box of VCF, Vaginal Contraceptive Film --"The Dissolving
Contraceptive ... " She flips the box over and reads the back.)
CUE SOUND: (PRELAP) DOORBELL
CUT TO:
SCENE #28:
[EXT. HENDER HOME - FRONT PORCH]
(The front door opens.)
AMY HENDLER Can I help you?
GRISSOM: Ma'am, my name is Gil Grissom. This is Nick Stokes.
NICK: Hi.
JASON HENDLER: (steps out from the back of the room) Honey, who's out there?
GRISSOM: Mr. Hendler, we're criminalists from the Las Vegas police department.
AMY HENDLER: What's this about?
GRISSOM: We're investigating the disappearance of Fay Green. May we come in?
(AMY HENDLER turns around to look at her husband. He motions them inside.)
JASON HENDLER: Yes.
NICK: Thank you.
(AMY HENDLER steps aside. GRISSOM and NICK walk into the house. She closes the
door behind them.)
CUT TO:
SCENE #29:
[INT. HENDLER RESIDENCE - LIVING ROOM - CONTINUOUS]
(JASON HENDLER leads them to the living room. He turns around and looks at
GRISSOM. NICK looks around the place.)
JASON HENDLER: (quietly) Did you find her?
GRISSOM: Yes, I'm afraid we did. She'd been dead for quite a while.
JASON HENDLER: Hmm. (barely under his breath) You always hope ...
(AMY doesn't say anything.)
GRISSOM; Mr. Hendler ... would it be possible for us to look around?
JASON HENDLER: Fay only lived here for about a month, five years ago.
(GRISSOM looks at him waiting for an answer.)
JASON HENDLER: I've got nothing to hide.
GRISSOM: Thank you.
NICK: Thanks.
(NICK walks around the group and into the living room. GRISSOM stands in the
hallway, thoughtful. He walks down the hallway and into the room. That's where
he finds the large fish tank. He leans in and looks at it.)
(AMY and JASON HENDLER follow GRISSOM. NICK enters the room also.)
GRISSOM: A trigger and a lionfish.
JASON HENDLER: Yeah, that's right.
GRISSOM: Interesting choices. Violent, carnivorous predators.
(As NICK walks around the room, looking about, the floor squeaks. GRISSOM
immediately notices the sound and turns to look.)
JASON HENDLER: It's just a warped floorboard.
AMY HENDLER: It's been like that forever.
GRISSOM: Mr. Hendler, at any time, was your fish tank over here?
JASON HENDLER: Maybe, a while ago. Why?
GRISSOM: Did it ever overflow? (beat) Break?
JSON HENDLER: Not that I recall.
GRISSOM: You said I could look anywhere, right?
JASON HENDLER: Yeah.
GRISSOM: (to NICK) Got a pocket knife?
(GRISSOM kneels down and starts to pry the floorboard up and off.)
JASON HENDLER: What are you doing?
GRISSOM: (to JASON HENDLER) Pops out, pops in.
(NICK and GRISSOM look under the floorboard. He finds sand.)
GRISSOM: (to NICK) What do you find inside an hourglass?
(GRISSOM stands up.)
GRISSOM: Mr. Hendler, I think the tank was over here. I think it broke. I
think you got water and artificial sand all over the place.
JASON HENDLER: I'd like you fellows to leave now, please.
GRISSOM: Fine, we'll go. We'll be back ... with a warrant.
(GRISSOM turns and heads out the room. NICK looks over at the HENDLER, nods and
follows.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #30:
[INT. CSI - DNA LAB]
(CATHERINE walks into the lab.)
CATHERINE: So, Greg, what did the rape kit say?
GREG SANDERS: Nonoxynol-9, polyvinyl alcohol, and...
CATHERINE: Glycerin?
(GREG looks up from the results, surprised that CATHERINE got it.)
GREG SANDERS: Yeah.
(She holds up the box.)
CATHERINE: It's a contraceptive film. (She points to the mug in his hand.)
What are you drinking?
GREG SANDERS: Chamomile.
CATHERINE: May I?
GREG SANDERS: Sure.
CATHERINE: Thank you.
(CATHERINE takes the mug from GREG and removes the tea bag inside. She pours
the liquid into a glass container.)
GREG SANDERS: So you used to work at the French Palace?
CATHERINE: That's right.
GREG SANDERS: You know, my friends and I used to go there.
CATHERINE: Really?
GREG SANDERS: Payday fridays.
CATHERINE: Uh-huh.
GREG SANDERS: Maybe I saw you perform?
CATHERINE: (sighs) Oh, I doubt it.
GREG SANDERS: Why?
(CATHERINE looks at GREG.)
CATHERINE: You would have remembered.
(GREG looks absolutely stunned. CATHERINE turns her attention back to the
experiment. She removes one of the contraceptive films and dips it into the
heated liquid.)
CATHERINE: So, this film-- it's kind of hard to detect because it dissolves
with body heat. And, as you know, Greg, sex can make a body pretty hot.
(They wait for the film to dissolve.)
GREG SANDERS: This stuff has to be inserted fifteen minutes to three hours
before sex.
CATHERINE: Which means that April inserted the film while she was still at
work.
GREG SANDERS: But how could she have known to put the birth control in before
she was raped?
CATHERINE Exactly.
(CATHERINE drops the film and forceps into the glass container, stands up and
walks out of the lab.)
(GREG lifts up the VCF box and looks at the back of it.)
CUT TO:
SCENE #31:
[INT. CSI - HALLWAY]
(NICK and GRISSOM walk through the hallway)
NICK: Guess where Jason Hendler was employed five years ago.
GRISSOM: Summercliff Housing Development. A plumber, perhaps?
NICK: Close. A subcontractor. How did you know?
GRISSOM: Why else would you be so excited?
(TERI MILLER walks through the hallway pulling her bags behind her. GRISSOM
looks up and sees her.)
GRISSOM: Hey! You weren't going to say good-bye to me?
NICK: I'll meet you outside. Hi, Teri.
TERI MILLER: Thought I'd let you off easy. But I did tack up my number on your
big fish corkboard ... under "cold cases."
GRISSOM: The ones that got away.
TERI MILLER: Let's hope not.
(TERI heads out the hallway. She glances back at GRISSOM as she turns the
corner and out of his sight.)
CUT TO:
SCENE #32:
[INT. CSI - GARAGE]
(WARRICK and SARA show BRASS what they discovered.)
WARRICK: So, check it out ... the laser is the path of the bullet. If you were
Officer Tyner and you approached the suspect from the driver's side of the
vehicle ...
SARA: Vic was shot in the frontal lobe through the windshield. There's no way
I could shoot the guy from here and mimic that trajectory.
WARRICK: The laws of physics trump the eye witness. There's only one way this
could've gone down.
(Quick flashback to: That night. The SUSPECT reaches for the glove compartment
and opens it.)
SUSPECT: I'll show you my registration!
OFFICER TYNER: Put your hands on the wheel!
(The SUSPECT reaches for the gun inside. He pulls it out and shoots himself in
the forehead.)
(End of flashback. Resume to present.)
WARRICK: Officer Tyner was telling the truth.
(cc) BRASS: And that's a surprise?
(cc) SARA: Ease up. Until now, none of us knew what really happened.
BRASS: So I bet you think I owe you one, huh?
WARRICK: We work. We get paid. You don't owe me anything.
BRASS: (smirks) Fine with me.
(He turns and leaves the garage. SARA shakes her head and sighs.)
(WARRICK doesn't look too disappointed by BRASS' reaction.)
CUT TO:
SCENE #33:
[INT. STRIP BAR - DRESSING ROOM]
(CATHERINE is with APRIL in the dressing room. APRIL is getting dressed.)
APRIL LEWIS: He promised me a million things. I got tired of him lying.
CATHERINE: Like what -- marriage, kids?
APRIL LEWIS: Music videos. He kept telling me he'd put me in one but he never
delivered.
CATHERINE: And for that you set him up for rape?
(APRIL sighs.)
APRIL LEWIS: No, it wasn't supposed to go this far, okay? I got this friend
over at the trop. She got this high roller on a rape charge. He paid a ton to
make it go away.
CATHERINE: Wait a minute. You think that Eddie's got money?
APRIL LEWIS: He is in the music business.
CATHERINE: He reps some bands off-strip.
APRIL LEWIS: (disbelieving) No, I met a producer friend of his from L.A. and
he's always throwing money around this place.
(CATHERINE starts to laugh. APRIL is puzzled by CATHERINE'S behavior. She
turns to look at CATHERINE.)
APRIL LEWIS: What? What's so funny?
CATHERINE: (sighs) Nothing.
(She shakes her head.)
CUT TO:
SCENE #34:
[INT. JASON HENDLER'S RESIDENCE - LIVING ROOM - NIGHT]
(GRISSOM takes the floorboard off. The HENDLERS watch. GRISSOM looks under the
floorboard and doesn't find the sand there anymore.)
GRISSOM: I see you've cleaned house. I thought you might.
JASON HENDLER: I vacuumed up the sand. Big deal. Will you at least tell me
what you're doing here?
GRISSOM: I'm working, sir. Officer, would you hit the lights, please?
(The top light turn off. GRISSOM sprays the floors.)
JASON HENDLER You're getting my floor wet.
(NICK enters the room.)
NICK: It's luminol, sir. It dries quickly.
GRISSOM: Surface is non-reactive.
JASON HENDLER: I know what you're doing. You're looking for blood.
AMY HENDLER: My husband didn't do anything. Why are you harassing him?
GRISSOM: Let's try the ALS.
NICK: Why use the Alternate Light Source if the luminol didn't pick up
anything?
GRISSOM: Luminol works on the surface. ALS chases the protein molecules in
blood. It actually penetrates the wood. These floorboards are all made of
maple -- high-end-but they've been lacquered.
(They look at each other.)
NICK: Who lacquers maple unless they're trying to hide something?
GRISSOM: Yeah.
(NICK turns on the ALS and sweeps the floor. They find glowing spots of blood
drops and hand prints on the floorboards. GRISSOM stands up for a better look.)
GRISSOM: Turn it off, Nick. Officer, hit the lights, please.
(The top room lights turn on.)
GRISSOM: Mr. Hendler let me tell you what I think happened to Fay. On the
night of her disappearance, the two of you got in a heated argument.
(Quick flashback to: JASON HENDLER and FAY GREEN arguing and fighting.)
FAY GREEN: Don't you walk away from me!
(JASON grabs FAY. She pulls away and goes head first into the large fish tank,
water spills everywhere. FAY falls to the floor.)
(End of flashback. Resume to present.)
GRISSOM: Suffering a concussion, Fay falls to the floor. In the heat of the
moment you decide to make it final. But Fay surprises you: She fights back.
She pushes you off. She crawls a few feet away and you move in for the final
attack.
(Quick flashback to: The fish tank breaks. FAY is on the floor. JASON HENDLER
is above her, hitting her with the hand tool. End of flashback. Resume to
present.)
GRISSOM: One thing that I don't know, though. What did you use to kill her?
JASON HENDLER: I didn't kill her.
GRISSOM: Well, whatever the weapon it wasn't a knife, but it worked. You drove
her body over to Summercliff where you were employed and you buried her in wet
concrete.
JASON HENDLER: I worked the Summercliff job less than a week. Ask Amy. She
worked for the same contractor.
AMY HENDLER: That's right. He got a better job in Reno. Jason wasn't even in
Vegas when Fay disappeared.
NICK: And you painted the floors, covered your tracks for what, aesthetic
reasons?
(AMY sighs.)
GRISSOM: Five years is a long time but eventually the past catches up to
everybody.
JASON HENDLER: (insistent) I didn't kill Fay! I loved her. I STILL love her.
(JASON stops when he realizes what he just said. Everyone freezes. JASON turns
around to look at AMY, who shakes her head in denial.)
JASON HENDLER: Amy, I'm sorry. I'm sorry.
AMY HENDLER: You still love her?
(He looks at her and sighs. He doesn't deny it.)
NICK: Officer, would you please arrest Mr. Hendler?
(A couple of officers walk into the room to handcuff JASON HENDLER.)
JASON HENDLER: Call my father. He'll get a lawyer. I didn't do it. It's
okay.
GRISSOM: (to NICK) I'll ride along with the cops. Bring homicide up to speed.
This is now a fresh crime scene.
(GRISSOM heads out.)
NICK: I'll get to work.
(NICK looks over at AMY who stands in the room, stunned.)
(NICK leaves the room to get his things. In the next room, NICK reaches for his
gloves. As he puts them on, his eyes latch onto the framed photos hanging on
the wall. He looks at them absently, but something in one of the photos catches
his eyes.)
(It's a black and white photo of a couple of people wearing mountain climbing
gear. He remembers what GRISSOM told him in the autopsy room.)
GRISSOM: (v.o.) "The instrument had to be slightly curved with some kind of
serrated edge like crocodile teeth..."
(The camera moves in slowly to the climbing picks in the mountain climbers'
hands. NICK realizes what the murder weapon is.)
NICK: (eyes glued to the photo) Mrs. Hendler, do you and your husband do much
rock climbing?
(The gun cocks.)
AMY HENDLER: (o.s.) Yes.
(NICK turns to look at AMY and instead, finds himself staring down the barrel of
a gun.)
AMY HENDLER: That's what I killed her with.
CUT TO:
SCENE #35:
[EXT. HENDLER RESIDENCE - NIGHT - CONTINUOUS]
(JASON HENDLER, the OFFICERS and GRISSOM walk out of the house.)
JASON HENDLER: I can prove I was in Reno when Fay disappeared. I've got
records. You don't want to talk, fine. But I've got a question for you. Why
do you care so much about the floors? I mean, Amy paints them every spring.
It's no big deal.
(JASON shakes his head as the officers put him in the back seat of the car.
GRISSOM stands there, thinking.)
CUT TO:
SCENE #36:
[INT. HENDLER RESIDENCE - NIGHT - CONTINUOUS]
(Staring at the gun barrel, NICK backs away slowly from AMY HENDLER.)
AMY HENDLER: Jason was in Reno. I came here to tell Fay that we would be
together again one day.
NICK Mrs. Hendler, put the gun down.
AMY HENDLER: Do you know he was engaged to me when he met her?
(Quick flashback to: FAY GREEN walks away from AMY. AMY grabs FAY. FAY pulls
away; they struggle for a moment. FAY hits head first into the fish tank.)
AMY HENDLER: Where are you going?
FAY GREEN: Stop it!
(While FAY is on the floor, AMY reaches for the mountain climbing pick and beats
FAY with it.)
(End of flashback. Resume to present.)
AMY HENDLER: There was blood ... everywhere. No one else could see it ... but
I knew it was there. A dead body is so heavy.
(NICK nods his head, tears in his own eyes.)
NICK: Mrs. Hendler, I'm a good listener. (swallows) You got to give me the
gun.
AMY HENDLER: (cries) I can't! (whispers) I'm sorry.
NICK: No, wait.
AMY HENDLER: But you arrested my husband.
NICK: Wait!
GRISSOM: (o.s.) Mrs. Hendler.
(AMY HENDLER swings around to find GRISSOM pointing his own gun at her. His
focus intent on her.)
GRISSOM: Nick, don't move.
(AMY HENDLER holds the shaking gun on GRISSOM.)
GRISSOM: Please. I don't want to fire my gun any more than you do. For five
years, you've been washing the blood off your hands. (She starts crying.)
Let's put down the guns.
(AMY slowly lowers the gun. GRISSOM slowly walks toward her. NICK sees that
it's going to be all right and turns around, his back to everyone.)
(GRISSOM takes the gun from AMY.)
GRISSOM: You okay, Nick?
(NICK turns to look at GRISSOM.)
NICK: Yeah.
GRISSOM: Come on.
(GRISSOM leads AMY HENDLER out of the room. NICK takes off his gloves.)
CUT TO:
SCENE #37:
[EXT. PARK - DAY]
(CATHERINE sits on the park bench watching LINDSEY playing on the swings.)
LINDSEY WILLOWS: Hey, mom!
(EDDIE walks up from behind and stands next to CATHERINE. CATHERINE waves back
to LINDSEY.)
EDDIE WILLOWS: Morning.
(CATHERINE looks up at EDDIE.)
CATHERINE: Morning.
(EDDIE takes the seat next to CATHERINE.)
CATHERINE: Please don't tell me that you're in trouble again already.
EDDIE WILLOWS: You weren't home. I figured you'd be here. Lindsey loves this
park. So, I thought I'd take you out to breakfast. Say thank you.
CATHERINE: You're welcome.
(CATHERINE takes off her sunglasses and looks at EDDIE.)
CATHERINE: I don't think that's such a good idea, though.
(EDDIE nods.)
EDDIE WILLOWS: Cath, when are we going to talk about what happened between us?
CATHERINE: What's to talk about? You cheated on me. I caught you. I've got a
new life.
(They both turn to look at LINDSEY. He reaches for CATHERINE.)
EDDIE WILLOWS: Cath ...
(CATHERINE pulls away.)
EDDIE WILLOWS: Come on. Why do you fight the one thing we're good at?
(He reaches for her again and leans in close ... just as LINDSEY looks up from
her seat on the swing and sees him. She runs over to them.)
LINDSEY WILLOWS: Daddy! Daddy!
EDDIE WILLOWS: Hey! There's my little girl.
(He turns away from CATHERINE and stands to pick up LINDSEY. She jumps into his
arms and hugs him. Over her shoulder, EDDIE looks at CATHERINE. She sighs.)
(The camera pulls away from them.)
FADE TO BLACK.
Fait par drogba
