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#118 : Un poignard et tout s'effondre

Une pluie battante tombe sur les rues sombres de la ville. Un homme assiste, impuissant, à un double homicide. Unique témoin de l'affaire, il relate à l'équipe ce qu'il a vu. Un vol de voiture qui aurait mal tourné. Mais l'intervention d'une troisième personne remet en cause l'hypothèse du simple braquage. Un brin confus, le témoin ne fournit pas de véritable explication. L'équipe doit maintenant déterminer si les meurtres sont le fruit du hasard ou le résultat d'une préméditation. Leur tâche est rendue plus complexe par la pluie, qui a effacé certaines traces. Pendant ce temps, Catherine enquête sur la mort de trois femmes âgées. 


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Un poignard et tout s'effondre

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Ecrit par : Eli Talbert
Réalisé par : Roy H. Wagner

Avec : Eric Szmanda (Greg Sanders), Robert David Hall (Docteur Al Robbins), David Berman (David Phillips), Skip O'Brien (Sergent Ray O'Riley), Eric Stonestreet (Ronnie Litre)

Guests :

  • Shelli Bergh ..... Jessica Hall 
  • Reynaldo Christian ..... Justin Green 
  • Jonathan Fraser ..... Kevin Shepherd 
  • Brad Johnson ..... Paul Newsome 
  • Elizabeth Keener ..... Amy Shepherd 
  • Louis Mustillo ..... Expert en couteau 
  • Charley Rossman ..... Officier 




(The restaurant door opens and a guest walks in.  He politely greets KEVIN and
AMY SHEPHERD who are just walking out the restaurant.) 

DINING GUEST:  Good evening.


(Arms around each other, they walk down the sidewalk.)

AMY SHEPHERD:  That was nice.  I had such a beautiful time tonight.  Eight

KEVIN SHEPHERD:  People said we wouldn't last.  (she laughs)  Happy anniversary,

AMY SHEPHERD:  Happy anniversary.

(They kiss and continue walking.)

(As they walk by, the camera focuses on the sidewalk where a lit cigarette rolls

(The Shepherds reach their parked car.  KEVIN walks AMY to the passenger door,
then walks around the car to the driver's side.  He pauses and they look at each
other.  She smiles.)

(Someone masked and dressed in black grabs her from behind.  With a knife in his
hand, he slices her neck.)

(KEVIN SHEPHERD stands frozen in shock.  AMY is on the ground, dead in a pool of



(A camera flashes.  SARA kneels near AMY SHEPHERD and takes pictures of the

WARRICK:  Two victims.  She's on the sidewalk, a foot from the curb and he's in
the middle of the street.

(WARRICK turns to look at SARA who stands up.  She looks at WARRICK and
indicates the body on the sidewalk.)

SARA:  What's missing here?

WARRICK:  No car.

NICK:  No mercy. 

(NICK is kneeling down next to the second body out on the road:  KEVIN

NICK:  This guy's stabbed at least five times.  Got some reddish hair.  Vic's
hair is brown.

(GRISSOM and BRASS walk up to the scene.)

GRISSOM:  What do we got?

BRASS:  They had dinner at Andre's.  Coroner's assistant has his wallet with the
credit card receipt.

(GRISSOM puts down his kit and kneels to look at KEVIN SHEPHERD'S body.)

GRISSOM:  They didn't bother to valet.

BRASS:  Saved five bucks, cost them their lives.  Carjacking gone bad.

GRISSOM:  Carjackers don't use knives.

BRASS:  Never?

GRISSOM:  They used to say, "Never on Sunday."  Then Pearl Harbor happened.  I
never say, "Never." 

(GRISSOM turns to look back at the body.)


(A drop of water falls into a pool of blood.  Another drop of water falls on
someone's jacket.)

(GRISSOM looks up at the sky.  A rain drop falls on his forehead.)


BRASS:  Oh, man ...

(It starts pouring.)

(GRISSOM stands and starts yelling out instructions.)

GRISSOM:  We got three minutes to process this crime scene!  

(Everyone moves to process the scene.  SARA takes pictures as fast as she can.)

GRISSOM:  After that, we lose it all to the gutters!  Sara, take overalls! 
Warrick, put a cone down on everything you bag!  Nick, we got to get these
bodies into the van!

(Everyone rushes around to preserve and collect whatever they can.  It is
complete chaos as people run into each other trying to process the crime scene.)

NICK:  Now!  Let's go guys!  Go!
SARA:  Pick the jacket up!

(SARA finishes taking pictures of AMY SHEPHERD and moves to take pictures of
KEVIN SHEPHERD.  The Coroners, Officers and other personnel move quickly.)

NICK:  Let's go!
BRASS:  Bring me a body bag.  I want to cover this woman!
NICK:  Get a bag, hurry up!

(The Coroners move to get the body bags.  WARRICK rushes to open bags to gather
evidence on the sidewalk.)

SARA:  Can we get another gurney?
GRISSOM:  I need another gurney.

(The Coroners move quickly to prep the gurney to get the body out of the rain.)

CORONERS:  Load this up! 

(WARRICK grabs the bags of evidence and runs toward the cars.)

NICK:  Let's go, let's go!  Okay, I've got it.

(The gurney is pushed next to one of the bodies and NICK instructs the

NICK:  All right, let's get him out.

(SARA takes more pictures.)

SARA:  Come on, come on!  Hurry up!
NICK:  Let's go, hurry up!  Get the plastic on!

(SARA finishes with the pictures and stands next to GRISSOM.)

SARA:  We're losing everything!

(GRISSOM turns and looks up at the sky.)

GRISSOM:  Yeah ... our killer got lucky tonight.

(The camera pulls backward up to the sky as GRISSOM looks down at the ground,
then all around him.  Everyone continues to work to save what they can.)




(Camera opens on a cigarette butt in the middle of the sidewalk.  It's stopped
raining for the moment.  WARRICK kneels down next to it shining his flashlight
down at it.)

WARRICK:  Well, rain screwed up all our chances of a good DNA profile.

NICK:  Don't even bother bagging it.

(NICK walks away continuing to look for whatever evidence the rain may have left

(Thunder rumbles.)

(Out on the street, GRISSOM slams the Coroner's back door shut as it leaves.  He
and SARA walk around the side to meet up with BRASS.)

GRISSOM:  Do we have any eyeballs at all?

BRASS:  It's a quiet street, weeknight.  Neighbors heard the commotion.  Kid
over here, he had the only view.

(GRISSOM and SARA both turn around to look at the young man sitting on the curb. 
They head off in that direction.)

GRISSOM:  What's your name, son?

(JUSTIN GREEN stands up.)

JUSTIN GREEN:  Justin Green.

GRISSOM:  Well, Justin, my name's Gil Grissom.  This is Sara Sidle.  We're with
the Crime Lab.  Is, uh, is that your blood?

(GRISSOM shines the light on JUSTIN'S bloodied jacket.)

JUSTIN GREEN:  No, I-it's his, the one you took away.  I tried to help him.  I
thought I was doing everything right.  I think I might have killed him.

GRISSOM:  Whoa.  Slow down.

SARA:  What did you do exactly?

(Quick flashback to:  Earlier that night.  JUSTIN is walking on the street when
a speeding SUV almost hits him.)

JUSTIN GREEN:  (v.o.)  I was crossing the street.  This SUV came out of nowhere
-- almost clipped me.  I turned and there was this body lying in the street.

(From where he stands, he turns and sees something.)

JUSTIN GREEN:  Oh, my god. 

(He immediately starts shouting for help.)

JUSTIN GREEN:  Help! Help!  Somebody call 9-1-1!

(He runs over toward the body.)

JUSTIN GREEN:   (v.o.)  I freaked. 

(He kneels down next to the body and starts to perform CPR.0)

JUSTIN GREEN:  (v.o.)  I did everything wrong.  I didn't tilt his head back.  I-
I- ...

(End of flashback.  Resume to present.)

JUSTIN GREEN:  I didn't clear his airway.

GRISSOM:  If it makes you feel any better, that's not what killed him.

SARA:  Justin ... we're going to need to take your clothes.


SARA:  Because there's blood all over them.

(JUSTIN looks down at his clothes.)




(Firefighters and other Rescue Personnel walk into the collapsed building to
look for survivors.  Camera moves out from inside the building out into the
sidewalk and street where the rescue vehicles are and where other personnel are
busy working.)

(Injured people on gurneys being helped.  There are fire and rescue crews,
ambulance and other officers all parked along the street.)

(CATHERINE parks her Tahoe and gets out.  She takes her kit and closes the car
door, then makes her way toward the collapsed building.)

SGT. O'RILEY:  Catherine?

(CATHERINE turns to see SGT. O'RILEY walking toward her.)


SGT. O'RILEY:  I like the hair.


(They make their way toward the collapsed building.)

SGT.  O'RILEY:  What are you doing here?

CATHERINE:  I was assigned.  This is my case.

SGT. O'RILEY:  Case?  The building collapsed.  There's nothing criminal here.

CATHERINE:  Right.  That's why you were assigned -- a homicide detective.  What

SGT. O'RILEY:  Well, part of the basement caved in.  Brought the rest down with

CATHERINE:  Body count?

SGT. O'RILEY:  Three old women.  Sisters.  One minute you're watching wheel of
fortune -- next thing, game over.

CATHERINE:  And you're not calling this a crime scene?

SGT. O'RILEY:  Catherine, it's a building.

CATHERINE:  O'Riley ... it's a suspect.



(GREG is in the lab looking through the scope.  NICK walks in.) 

NICK:  Hey, Greg.

GREG SANDERS:  (holds up a hand)  Shh.  I might be looking at the mother of my
children here.

(NICK puts on a pair of latex gloves.)

NICK:  Somebody's been putting in way too much overtime.

GREG SANDERS:  No, man, this is serious.  I had a date last night and this girl
has the most impossible green eyes.  Just ... bamm.  Shoulder-length blonde hair
... intelligent ... and she smells so good.

NICK:  Cute toes?

GREG SANDERS:  Oh ... ideal.

NICK:  Mmm.

GREG SANDERS:  And none are longer than the big toe.

NICK:  Mmm.

GREG SANDERS:  Both feet.  But, you know, what I need to know is what's on the

NICK:  Oh, what's in her heart?

GREG SANDERS:  No ... her DNA ... and let me tell you -- this girl has got some
fine epithelials.

(GREG turns back to look through the scope.  NICK watches GREG and smiles.  They
both laugh.)

NICK:  Dude, you're sick.  Man, you've officially lost it.

(NICK works on prepping his evidence.)

GREG SANDERS:  No, no.  There is this guy in Louisville.  He charges 300 clams
to test your spouse's underwear for foreign DNA.  Now, that guy is sick.  I'm
just a romantic.

NICK:  But whatever happened to getting to know someone over coffee ... letting
the relationship evolve?  Romantic is sending flowers not bogarting her skin

(NICK takes the hair sample and puts it on the slide.  GREG looks from his scope
and notices NICK.)

GREG SANDERS:  Ahh, that's boring.  What are you doing?  What have you got?

NICK:  Um, pulled some hair off a male stabbing vic.

(GREG takes over.  He puts the slide under the scope.)

GREG SANDERS:  Okay.  Baby.  Uh-huh.

NICK:  What?

GREG SANDERS:  Nine lives.

NICK:  Cat hair?

GREG SANDERS:  (nods)  Meow.

(NICK sighs, disappointed.)



(DR. ROBBINS goes over the findings with GRISSOM.  They stand between the two

DR. ALBERT ROBBINS:  Kevin Shepherd.  Six stab wounds to the upper torso -- one
to the back, five to the front.

GRISSOM:  And his wife?

(GRISSOM turns to look at AMY SHEPHERD.)

DR. ALBERT ROBBINS:  Amy Shepherd.  One slice across the neck, right to left.

GRISSOM:  Work of a lefty?

DR. ALBERT ROBBINS:  Well, the blade transected the jugular vein and both

GRISSOM:  Hard to scream when your throat's been cut.


GRISSOM:  Defensive wounds.

DR. ALBERT ROBBINS:  This guy put up one hell of a fight.  Attacked with two

GRISSOM:  (surprised)  Two?

DR. ALBERT ROBBINS:  Two types of stab wounds.  First a long, sharp double-edged
blade.  The blade went in smooth ...

(He makes a stabbing downward motion with his hands.)

(Quick CGI POV to:  The camera pushes down toward wound #5 and pierces through
the flesh.  It reverses back up and out.  End of CGI POV.  Resume to present.)

DR. ALBERT ROBBINS:  ... left a little collateral bruising to the skin.  Weapon
number two was blunt. 

(With both hands, DR. ROBBINS makes a stabbing downward motion.)

(Quick CGI POV to:  The camera pushes down toward wound #3 and pierces through
the flesh.  It reverse back up and out.  End of CGI POV.  Resume to present.)

DR. ALBERT ROBBINS:  Weapon number two caused extensive bruising around the
points of entry.

(He points out the damage to GRISSOM.)

GRISSOM:  Two weapons ... two attackers.



(CATHERINE walks into the damaged room.  She walks up to a FIREMAN.) 

CATHERINE:  Hi.  District Engineer?

FIREMAN:  Over there.

(He points to a man with a large piece of drywall in his hand kneeling near the

CATHERINE:  Ah.  Follow the tie. 

(She walks up to him and stands behind him.  She shines the light of her
flashlight on the torn wall while she looks over his shoulder.)

CATHERINE:  Is that from the rain?

PAUL NEWSOME:  (turns around)  Depends on who's asking.

CATHERINE:  Are you hiding something, or am I not worth your time?

PAUL NEWSOME:  Excuse me?

CATHERINE:  Well, you are the District Engineer of the city, right?  You're
responsible for the structural safety of this building.

PAUL NEWSOME:  (stands up)  I'm sorry. I didn't catch your name.

CATHERINE:  Catherine Willows, Las Vegas Crime Lab.


CATHERINE:  Yeah.  The building fell down.  Three people were crushed to death. 

(CATHERINE steps up to the wall.)

CATHERINE:  Why is the wood wet?

PAUL NEWSOME:  It's a flat-roofed structure.  Leaks aren't uncommon.  Maybe that
explains the dry rot.

CATHEIRNE:  Then what am I looking at?

PAUL NEWSOME:  That would be sheetrock.

CATHERINE:  Drywall.  But what about this layer right here?

(Camera zooms in for a close up of the wall.)

PAUL NEWSOME:  When they installed the original drywall they used half-inch and
then, when they came back and repaired it, they used quarter of an inch.

CATHERINE:  (turns around)  What, was quarter inch on sale that day?

PAUL NEWSOME:  Look, Lady, I don't know what it is ...

CATHERINE:  Catherine.


CATHERINE:  Don't say, "sorry" just know who you're talking to.

PAUL NEWSOME:  When they applied the second layer and then they spackled it and
they painted it the difference wasn't noticeable.

CATHERINE:  It's noticeable now.  Which District Engineer conducted the last

PAUL NEWSOME:  There's only one District Engineer.

CATHERINE:  Then it looks bad for you.

PAUL NEWSOME:  (he laughs)  Okay.  Look, uh, Catherine, ...

(He puts his hand on her shoulder and leads her away from the wall.)

PAUL NEWSOME:  ... why don't I write a report and then I'll e-mail it to you. 
How would that be?

(CATHERINE looks up at the ceiling and around the room.)

CATHERINE:  Where's the point of origin of the collapse? 

(PAUL NEWSOME doesn't say anything.)

CATHERINE:  Look, this is my crime scene.  I can find it myself but that might
mean lots of question to lots of people.

PAUL NEWSOME:  (nods)  Well, it's just my, uh, expert opinion but I'd say right
below us -- in the basement ... the laundry room.

CATHERINE:  Then that's where I want to be.

(CATHERINE turns to head there.)



(GRISSOM walks in to the hallway.  SARA rounds the corner and finds him.) 

SARA:  Hey, Gris.  Kevin Shepherd, chiropractor.  Amy Shepherd, Dentist.  House
in the lakes.  Married eight years.  Perfect credit.  You know, I'm lost. 
There's nothing jumping off the page, here.

(SARA hands the file to GRISSOM.)

GRISSOM:  What about the eyewitness?

SARA:  Justin Green.  First witness, first suspect but he hung around, waiting
for us.

GRISSOM:  Covered in blood.

SARA:  But his story jibes.  Several eyewitness saw him performing CPR on Kevin
Shepherd. But if-if-if it is a carjacking, I don't get it.  Why fight to the
death?  It's four wheels and a chassis.

GRISSOM:  In the heat of the moment, it's not a car, it's a possession and
people will fight without realizing what they're risking.

SARA:  So, you are thinking the Shepherds lost their lives for their SUV?

GRISSOM:  I'm speaking in generalities.  Regarding the Shepherds ... I'm in the
dark, too, just like you.



(WARRICK is mixing a bowl full of mold mixture.  BRASS walks into the room.)

BRASS:  Hey, Warrick.  Is Grissom around?

WARRICK:  You see him?

(He chuckles and steps forward.)

BRASS:  You know between you and me, as long as I've been on the job I still
don't like touching dead bodies.

WARRICK:  Well, that's why you got the badge and I got the syringe. 

BRASS:  (softly)  wow.

(WARRICK sticks the syringe into the first wound, #3, and injects the mixture in
to make a cast.)

(Quick CGI POV of inside the wound and the mixture filling it up.  End of CGI
POV.  Resume to present.)

(WARRICK moves on to wound #1 and fills that wound up with the mixture.  He
glances over at BRASS who is unusually silent and watching.)

WARRICK:  (explains)  I'm casting the stab wounds.  From the molds, we can
identify the murder weapons.

BRASS:  You're getting more like Grissom every day, man.

WARRICK:  Did you want me to give Gris a message?

BRASS:  Yeah.  A patrol car located the Shepherds' SUV.



(The SHEPHERDS' SUV is off the road.  BRASS and GRISSOM exit their cars and meet
up outside on the road.) 

BRASS:  The car is registered to our dead couple.

GRISSOM:  When you carjack a car, you keep the car.  You don't dump it.

BRASS:  Unless you're joyriding.

GRISSOM:  Well, who kills for a joyride?

BRASS:  Wouldn't be the first time.

GRISSOM:  Has anybody else touched this vehicle?

OFFICER:  No, sir.  And I'm the one who found it.

BRASS:  Just the rain.  The evidence on the outside of the vehicle will be

GRISSOM:  Well, maybe there'll be some evidence on the inside.

(GRISSOM opens the door and the body of a dead woman tumbles out.  GRISSOM grabs
the body.)

GRISSOM:  (surprised)  Whoa.  Whoa.

(Breathing hard, he puts the body back into the car.)

GRISSOM:  Well, I haven't felt that in a while.

BRASS:  What's that?

GRISSOM:  The element of surprise.





(BRASS opens the passenger door and sighs.  He watches as GRISSOM checks the
body out.)

BRASS:  What's she doing here?

GRISSOM:  Good question.  Better question, who is she?

BRASS:  Hmm.

(BRASS reaches out to check the woman's bag.  GRISSOM stops him.)

GRISSOM:  Uh.  Put some gloves on.

(GRISSOM tosses BRASS some gloves for him to put on.)

BRASS:  Yeah, I know.  You know, I ... I can't believe you messed up the crime

GRISSOM:  The body fell out when I opened the door.  It happens. We move on.

BRASS:  Mmm. Going to bother you all day.

(BRASS opens the woman's bag and checks her wallet.  He takes out her NEVADA

BRASS:  (reading)  Jessica Hall.  Date of birth -- 8-5-73.

(He takes out her cell phone.)

BRASS:  Cell phone, power's off.  Didn't call 9-1-1.  They would've instructed
her to leave it on.

GRISSOM:  Seat belt's unbuckled.  That's why she fell out.

BRASS:  Yeah, so?

GRISSOM:  Well, she's in the driver's seat.  Was she driving?  Or could she have
been placed in here?

BRASS:  Maybe she's like 28% of Americans -- she doesn't buckle up.

GRISSOM:  I think it's 29%, actually.

(BRASS looks at GRISSOM and doesn't comment.)

BRASS:  (sighs)  I'll go radio the 4-19.

(BRASS leaves the car.  NICK drives up, parks and exits his vehicle.  He walks
over to the open passenger side.)

(GRISSOM, meanwhile, looks under JESSICA HALL'S coat lapel and finds some hair.)

NICK:  Hope you're not allergic there, boss.


NICK:  Cat hair. Found similar hair on Kevin Shepherd's clothing.

GRISSOM:  How about Amy Shepherd?

NICK:  Nope.  No hairs on the wife.

GRISSOM:  Shepherd's SUV.  Stab wound. Cat hair.  She's linked to the first
crime scene.  But how?

NICK:  Victim number three.  Wrong place, wrong time.  Saw something she

GRISSOM:  Well, finally.

NICK:  What?

GRISSOM:  Someone has a theory.

(NICK nods.)



(PAUL NEWSOME kneels inside the back of the van.  CATHERINE stands just outside
the open van securing her head gear.)

PAUL NEWSOME:  Look, I-I've got guys that are trained to do this.  Why don't you
let me call them?  You're going to go in there, you're going to get that snappy
little jumpsuit dirty, and ...

CATHERINE:  No offense, but they work for you.


CATHERINE:  Well, so the victims' family deserves answers.

(He doesn't say anything.)

CATHERINE:  Somebody's responsible.

PAUL NEWSOME:  Hey, I didn't do anything wrong.

CATHERINE:  Well, maybe not intentionally, but if a ship sinks, the last person
who checked for leaks is negligent.

PAUL NEWSOME:  You're not married, are you?

(CATHERINE looks at him.)

PAUL NEWSOM:  (nods and stands up)  Divorced.

(CATHERINE finishes putting on her gear.  PAUL NEWSOME settles in the van behind
the monitors.)

PAUL NEWSOME:  Okay.  All right.  What you see, I'll see but I just want to go
on the record.  This is a bad idea.

CATHERINE:  Thanks for your input.

PAUL NEWSOME:  All right.  We got a hot feed.

CATHERINE:  I'm going in.

PAUL NEWSOME:  I'll be right here.

(He sighs.)

(Cut to:  SGT. O'RILEY stands up as CATHERINE

SGT. O'RILEY:  Catherine?  You sure you want to do this?

CATHEIRNE:  Why is everybody asking me if I want to do my job?

SGT. O'RILEY:  Because we care.


SGT. O'RILEY:  The mayor ran on a platform of urban renewal.  Clean out the
slumlords, create habitable, low-cost housing maintained by the city.  If you
find so much as a scratch on an aspirin in there you know who it's going to come
back to.

CATHERINE:  I know I have a job to do.  Excuse me.

(CATHERINE turns and leaves.  She heads for the building.)



(SARA and GRISSOM walk into the observation room off of the fluoroscope room
where DR. ROBBINS watching DAVID PHILLIPS work on the body.)

SARA:  Hey, Doc.  What's with the fluoroscope?

DR. ALBERT ROBBINS:  When we brought the body into the lab she set off the metal

GRISSOM:  Did you check in her pockets?

DR. ALBERT ROBBINS:  :  Nothing in the pockets.

SARA:  What about a pin or a plate -- something metallic on the inside?

DR. ALBERT ROBBINS:  I had the same thought, but that's not what we've found. 
David, take her down.


(DAVID looks up at sees SARA in the observation room.  He smiles at her.)

DR. ALBERT ROBBINS:  Cause of death, laceration of the liver.

SARA:  Exsanguination.

DR. ALBERT ROBBINS  Once you nick the liver it's almost impossible to stop the
bleeding without immediate medical intervention.

(While watching the monitor, GRISSOM sees something.)

GRISSOM:  Whoa, David.  Go back up to the 12th rib, please.

DR. ALBERT ROBBINS:  I was just getting to that.

GRISSOM:  Our killer leave us a souvenir?

SARA:  What is that?

GRISSOM:  What do you leave your waiter?

SARA:  A tip ... of a knife.

GRISSOM:  How soon can we get that out of the body?



(Crawling, CATHERINE makes her way slowly toward the laundry room down in the
basement.  The building creaks around her.)

CATHERINE:  Am I almost at ground zero?



PAUL NEWSOME  Almost. About ten more feet.  Uh, then you should be in the
laundry room.  You should have more headroom, too.

CATHERINE:  I feel like I'm crawling through a straw.

(CATHERINE crawls more and comes to a complete halt in front of a wood beam. 
She smiles as she watches a bug crawl across the wood.)


PAUL NEWSOME:  What? What is it?

CATHERINE:  Are you getting this?

PAUL NEWSOME:  What is that?  A roach?

CATHERINE:  I'm not an entomologist, but I know one.  He can tell us.

(The building creaks and something flies overhead causing the building to
tremble.  Concrete dust and bits of rock fall on CATHERINE.  She covers her

CATHERINE:  I thought this building was secure.

PAUL NEWSOME:  It is secure. Just hang on.  The daily sorties.  I think that was
an F-16.

CATHERINE:  (realizes)  Nellis Air Force Base.

PAUL NEWSOME:  About a mile south of here.

(CATHERINE puts a bug into a container.)

CATHERINE:  Anything else I should, uh be aware of?

PAUL NEWSOME:  You're in the clear.

(She pockets the container and then continues.)


(CATHERINE continues crawling through the rubble.  She comes up to a traveling
chest blocking her path and pushes it aside.  She continues.)

CATHERINE:  Okay.  I'm in the laundry room ... what's left of it.  You want to
talk me through this?

(She stands up and looks around the laundry room.)

PAUL NEWSOME:  Okay, look up.  You should be able to see the beam now.

(CATHERINE looks up and finds the beam.)


PAUL NEWSOME:  All right, connected to the beam running vertically to the
concrete foundation are the support columns.  Now, in a perfect world, they
should be steel but given the age of the building, they might be wood.

CATHERINE:  Yeah, it's wood, all right. 

(CATHERINE looks at the damage to the beam.)

CATHERINE:  And it looks like somebody took a sledgehammer to it.



(ALAN RICH looks at the tip of the knife extracted from JESSICA HALL.  He
explains the knife to SARA and BRASS.) 

ALAN RICH:  So you really pulled this out of a corpse?

SARA:  Yeah ... but I cleaned it for you.

BRASS:  We need to know the make of that knife.

ALAN RICH:  Well, it's not a knife.  The tip's double-edged.  Bevels on both
sides, downward slope.  This came from a dagger which means it's either carbon
steel or stainless steel.  I get asked this question more than you think.

(He pulls out a lemon juice squirt container and puts a few drops on the tip of
the knife.)

SARA:  Acid in the lemon juice should react to carbon steel, but not stainless

ALAN RICH:  How's a cop know all this?

SARA:  (smiles)  He's the cop.  I'm the scientist.

BRASS:  I got a cop question.  What are we looking for here?

ALAN RICH:  Dark spots.

(The tip has dark spots on it.)

SARA:  Carbon steel.  What's next?

ALAN RICH:  Length.

(ALAN turns and looks for something behind the counter.  He comes back with a
piece of paper and a ruler.)

ALAN RICH:  Daggers are rarely more than an inch at the base.  We got the tip. 
So, we can fill in the rest.  It's basic geometry.

(Placing the tip on the piece of paper, he extends the tip of the dagger to
estimate how long the weapon used was.)

ALAN RICH:  It's five inches.  Top row-- five-inch daggers, carbon steel. 

(He reaches into the display case and takes out a dagger to show them.)

ALAN RICH:  This is the one you want.  $24.99. We don't take credit cards.

BRASS:  Yeah.



(GRISSOM looks at one of the casts of the knife taken from the knife wound
WARRICK made.)

WARRICK:  Forget Shepherd's wife. I can't match the slash marks.  It's all about
these stab wounds.  So I concentrated on Kevin Shepherd.

GRISSOM:  This is a nice job, Warrick.  You know, casting is an art.

(SARA walks into the room holding the dagger.)

SARA:  And while the artist was at work, Brass and I identified Jessica Hall's
murder weapon from the tip we found lodged in her ribs.  It's a dagger.  Fugasi
model 502.


(She hands the dagger to GRISSOM.)

GRISSOM:  So we've identified the weapon used on Jessica Hall.
Was it also used on Kevin Shepherd?

(GRISSOM hands the dagger to WARRICK.)

WARRICK:  Well, I measured all the sharp points of entry on Kevin's body.

WARRICK:  They're all identical.  They're all made from the same murder weapon.

(WARRICK draws the outline of the dagger onto a piece of paper.)

SARA:  So, if this dagger matches your mold ...

(He reaches for one of the molds to compare it.)

SARA:  Okay.  We just put the sharp wounds to bed.

WARRICK:  Identified murder weapon number one.  Now we just need that second
murder weapon.

SARA:  Points of impact on these two are blunt, right?

WARRICK:  Yeah, who stabs someone with a blunt instrument?

GRISSOM:  Sara, you still have the dagger tip from the body?

SARA:  Yeah.

(SARA reaches to get the dagger tip out.)

GRISSOM:  And you have the cast of the unidentified murder weapon.


(WARRICK reaches for the cast of the unidentified murder weapon.)

GRISSOM:  A dagger's not a diamond.  It doesn't last forever.

(WARRICK then matches the unidentified weapon to the tip.  They match.)

GRISSOM:  We don't have two weapons.

WARRICK:  So he started with Kevin and then he went after Jessica and then the
tip broke off.

SARA:  And then he went back to Kevin to finish the job.

GRISSOM:  One weapon, one killer.





(GRISSOM examines the bug CATHERINE took from the collapsed building.  GRISSOM
looks at the bug in the container while CATHERINE looks through the camera
footage taken earlier on the computer monitor.) 

GRISSOM:  An anobiid powder-post beetle.  Very nice specimen.

CATHERINE:  He likes you, too.  Now, tell me about him.

GRISSOM:  Your building collapsed.

CATHERINE:  You assigned me the case.  You already know that.

GRISSOM:  Well, this little guy confirms it.  This species of beetle eats
softwood.  Tell me about the building.

CATHERINE:  The frame's made of Douglas Fir.

GRISSOM:  A delicacy.

CATHERINE:  I did find more than a bug.  Dry rot, questionable repairs, a
jittery Engineer.  And check this out.

(She turns the monitor to the side to show GRISSOM.)

GRISSOM:  Forget the beetle; this damage was intentional.  You're looking for a

CATHERINE:  I know. Gives new meaning to "home wrecker."

GRISSOM:  Catherine, there's a reason I assigned you this case.  You're good
with people, both the dead and the living.

CATHERINE:  Translation: We're opening a political can of worms.  The mayor's
involved, an election's around the corner and you could've clued me in a little

(GRISSOM looks back at the beetle in the container.  He turns eagerly to

GRISSOM:  Can I keep it?

CATHERINE:  Sorry. It's evidence.

GRISSOM:  Don't forget to feed him.

(He hands the container back to CATHERINE.)

CATHERINE:  I know-- wood.



(WARRICK and SARA go over the SUV.  WARRICK finds some prints.) 

WARRICK:  Oh, yeah.  I got three prints on this gearshift and they are beauties.

SARA:  Sweaty palms make the best prints.

(GRISSOM walks into the room.)

GRISSOM:  The coroner just sent over a ten card of Jessica hall's fingerprints. 
Evidently, I'm the new delivery boy.

(GRISSOM watches WARRICK take picture of the gearshift.)

GRISSOM:  Are you doing what I think you're doing?

SARA:  If we find what we're looking for the answer is yes. 

(SARA reaches up and turns the light on.)

SARA:  (to GRISSOM)  Can I see those prints?

WARRICK:  The images are printing.

(SARA moves over to the table and GRISSOM walks around the car to give her the

SARA:  Thanks. 

(From the printer, SARA picks up the photos that WARRICK just took of the prints
off of the gearshift.  She visually compares the two.)

SARA:  No need for AFIS.  We got a visual match.  All three prints belong to
victim number three.

WARRICK:  So Jessica Hall was the last person to drive the shepherds' suv.

(In the back of the room, NICK walks in.)

SARA:  What does that give us?  We know she was stabbed at the crime scene, but
then what?  Was she driving herself to the hospital?  Was she under duress?

NICK:  None of the above.

(Everyone turns to look at NICK.)

NICK:  Hey, Grissom, you know that theory I had?


NICK:  I'd like to revise it.

GRISSOM:  It's a scientist's right to re-examine his theory with each new piece
of evidence, Nick.

NICK:  My evidence is in the layout room.



(Everyone stands around the table with the photos spread out in front of them as
they listen to NICK'S theory.) 

NICK:  All the wounds sustained by Kevin Shepherd were to his torso.  Now, look
at this. 

(NICK takes out a shoe from the evidence bag and puts it on a piece of paper
that he hands across the table to GRISSOM and SARA to look at.)

NICK:  Blood flow on the left instep of Kevin Shepherd's shoe.

WARRICK:  Lucky for us the rain missed that.

GRISSOM:  When death is not immediate a victim will instinctively curl up into a
fetal position.  Which may have protected this from the rain.

SARA:  Preserving the blood pattern.

GRISSOM:  You expect blood on a victim but let's ask the question:  Could the
normal action and behavior of our victim have put his blood there?

SARA:  The victim was lying on the ground, wounds above the waist.  It's not
Kevin's blood.

WARRICK:  Who else had a flowing wound?

NICK:  Amy Shepherd was too far away but Jessica Hall was alive and bleeding.

GRISSOM:  Okay.  How did her blood get on his shoe?

NICK:  Gravity.  Warrick, please, on the floor our back.

(NICK heads to the space on the floor in front of the door.)

WARRICK:  Man, why are you always trying to put me down?

(SARA smiles.)

NICK:  Sara, you're Jessica.

(SARA stops smiling.)

NICK:  Come on, now. 

SARA:  (sighs)  Okay.

(SARA and WARRICK get into position.  WARRICK lies down on his back on the
ground.  SARA stands over him.)

WARRICK:  All right, I'm bleeding from my abdomen.

SARA:  Standing here, I'm not going to get that much blood on Warrick.

GRISSOM:  Get closer.

SARA:  Well, I can't without ... stepping on him.

GRISSOM:  You can if you kneel down.

WARRICK:  Why would she do that?

(SARA kneels down on the ground near WARRICK'S feet.)

GRISSOM:  Possibly to help or to hinder.

(NICK kneels down.)

NICK:  I say hinder.

(Quick flashback to:  That night, KEVIN SHEPHERD fights with his assailant. 
JESSICA HALL helps hold him down.  As the assailant hits KEVIN SHEPHERD to
subdue him, he stabs JESSICA.)

ASSAILANT (MAN):  Grab his legs!

(She turns and holds down KEVIN SHEPHERD'S feet, her blood spilling onto his

(End of flashback.  Resume to present.)

NICK:  She was in on it.  She held him down while someone else stabbed him.

WARRICK:  By the positioning of her wound, I'd say it looked like her stabbing
was an accident.

SARA:  Stabbing's are messy and inexact.  So victim number three becomes suspect
number two.

GRISSOM:  Nick, get a warrant for Jessica Hall's apartment.  We'll see if
suspect number two leads us to suspect number one.  And bring a scorecard with



(CATHERINE stands on top of the ladder in the evidence vault getting a package
down from the top shelf.)

PAUL NEWSOME:  Can, uh, can I give you a hand with that?


(CATHERINE steps down the ladder and notices PAUL NEWSOME standing there.)

CATHERINE:  How did you get in here?

PAUL NEWSOME:  Well, I flashed my city I.D.  And, uh, my smile.

(He smiles up at her.  She is unimpressed.  Unaided, she walks down the rest of
the ladder and puts the package she's carrying on the table.)

PAUL NEWSOME:  What are we looking for?

CATHERINE:  A lot of factors contributed to the collapse.  I'm focusing on the
human element.

(Inside the package, she takes out the wood beam.  PAUL NEWSOME puts the package

CATHERINE:  Now... if a sledgehammer was taken to this column recently there'd
be evidence of discoloration.  The damaged part would be lighter.

(CATHERINE uses a hand scope to look at the beam.)

PAUL NEWSOME:  (holds out his hand)  May I?

(CATHERINE straightens and hands PAUL NEWSOME the scope.  He leans in and looks
at the wood.  He reaches out a hand to touch the wood, but CATHERINE stops him.)

CATHERINE:  Hands off.

PAUL NEWSOME:  Oh, right. Sorry.  (after a moment)  No. No discoloration.

(He straightens and hands CATHERINE the scope back.  CATHERINE leans down to
look for herself when he stops her.)

PAUL NEWSOME:  Would you like to know why?

(She looks at him.)


PAUL NEWSOME:  Five years ago, the building was apartment Vietnam.  The facility
was substandard.  The city turned its back on it.  The tenants revolted.  Blake
Neferson, apartment 204 took a sledgehammer to that column.  It's public record
-- he was arrested.

(He hands the file to CATHERINE.)

CATHERINE:  Public record?  And you failed to indicate the damage in your
inspection report?

PAUL NEWSOME:  There wasn't enough damage to cause concern.

CATHERINE:  Tell that to the women who were crushed to death.

(CATHERINE leans in to look at the wood herself.)




(The door opens.  BRASS walks in and turns on the nearest lamp light.  GRISSOM
and NICK walk into the apartment.) 

NICK:  I heard the lab matched the blood on Kevin Shepherd's shoe to Jessica. 
My theory's getting better and better.

(GRISSOM takes note of the various post-its hanging on her vanity mirror.)

BRASS:  Not so fast, Nicholas.  P.D. traced a call Shepherd made to Jessica from
Andre's restaurant.

NICK:  What's he doing calling the woman who helped kill him?

GRISSOM:  It's your theory, pal. 

(GRISSOM walks into the apartment.  He walks into the kitchen and turns on the
light where he finds more post-it note reminders.)

(GRISSOM walks into the office area and turns on the lamp.  He finds more post-
it reminders around her monitor.)

GRISSOM:  Our little Jessica was a prolific note-taker.  "Be a good person

BRASS:  Yeah, right.  Try not to kill too many people.

GRISSOM:  "Cancel water cooler delivery."  "Plan girl's night out."  "Light
bulbs for porch."

(GRISSOM finds a letter sized notepad on top of the computer mouse.  He puts it
into an envelope.)

NICK:  I think I found a keypiece of evidence. 

CAT:  Mrrrow.

(NICK walks into the room holding a red tabby cat.)

NICK:  The redhead we've been looking for.

GRISSOM:  Red hairs on Jessica.  She owns a tabby cat.  Red hairs on Shepherd.

NICK:  Chances are Shepherd was here without his wife.

BRASS:  Yeah. I'm going to run Jessica's cell phone records and Shepherd's.  If
anything was between those two we'll find out.

(BRASS turns to leave the room.  He passes the OFFICER at the door on his way

BRASS:  (to OFFICER)  Stay here, fella.

(NICK puts the cat down.)

(GRISSOM looks at the different post-it notes on the monitor.)


NICK:  (reading)  "To access Achex, double-click icon. User name: Jessica. 
Password: Money."

(They look at each other.)

GRISSOM:  Try it.

NICK:  Yeah. 

(NICK takes a seat behind the computer and powers it on.)

NICK:  Achex.  Personal on-line banking.  Deposits, checking, money transfers
everything under the sun. 

(NICK puts in the password and clicks.  He gets a ledger screen.)

NICK:  Okay, I'm in.  Direct deposit from Beaumont's department store$500 a week
-- probably her weekly paycheck.

(He looks around and clicks on more screens.)

GRISSOM:  And then a $35,000 day?

NICK:  What, she win the lottery?

GRISSOM:  How does a girl who makes $2,000 a month pull in $35,000 ... only to
give it away on the same day?

NICK:  Let's see who she gave it to.

GRISSOM:  It hasn't posted yet.

(NICK sighs and shakes his head disappointed.)

NICK:  No luck.

GRISSOM:  Wait. Go back. 

(NICK goes back and the following screen appears:

[We have initiated a deposit of Achex payment into your bank checking account. 
Time of deposit:  10:02 AM

Deposit Confirmation  174976
MARCH 28, 2001
Pay to the Order of:  JESSICA HALL
Transfer from:  KEVIN SHEPHERD 17568932

If you should like to keep a paper copy of this transaction, simply click on the
PRINT button in your browser.

Please note:  As with checks that you deposit, Achex payments must still be
cleared by your bank before the money becomes available for spending.  Typically
it take two days for deposited funds to become available.  Your bank can tell
you more precisely the time it will take for your Achex payment to clear.]

GRISSOM:  Well, we know who she got it from -- Kevin Shepherd.

NICK:  Wait a minute -- Shepherd paid Jessica to murder him and his wife?

GRISSOM:  Maybe.  (beat)  Maybe not. 

(NICK looks up at GRISSOM.)

GRISSOM:  We can't speak from the evidence, Nick and everybody else is dead.





(NICK hands the notepad to RONNIE LITRE who gets to work on it immediately.) 

NICK:  I took this from our suspect's apartment.

RONNIE LITRE:  Husband and wife carjacking.  I heard about the case.  My friend
and I eat at Andre's.  Creepy.

NICK:  Don't cancel your next reservation.  It wasn't a carjacking.

RONNIE LITRE:  Well, it's a fresh pad.  Only a couple of pages missing.  Let's
see what she wrote on those missing pages.

(Various cuts of RONNIE LITRE prepping the paper.  When he's done, he and NICK
read what was written on the sheets above it.)

NICK:  "Quarters for laundry."  Not incriminating.  "Pay parking ticket." 
"Andre's at 9:00 P.M."? 

(NICK grabs the paper and leaves.)

NICK:  Whoa!



(GRISSOM puts his glasses on and looks a the paper.) 

GRISSOM:  Andre's, nine p.m.  Green SUV.  "Corner of sixth.  Sunday, K's office,
8:00 A.M."  This is a blueprint for murder.

NICK:  Assuming "K" is Kevin they were planning to meet three days after he was

GRISSOM:  He paid Jessica $35,000.  He called her as he was leaving the
restaurant.  He wasn't supposed to die.

NICK:  No. Neither was Jessica.

GRISSOM:  Kevin shepherd took a hit out on his wife and something went wrong. 
And we may have the proof.



(They're back in Q.D.) 

RONNIE LITRE:  Okay, we've got the blueprint and Kevin Shepherd's credit card
receipt from Andre's.  Okay.  Now, normally, a signature wouldn't give us much.

(RONNIE points to the restaurant receipt that reads:
TOTAL:  $97.40
GRATUITY:  $20.00
TOTAL:  $117.40

RONNIE LITRE:  But look at the "K" on the receipt.  now look at the K in Kay's
office.  Okay?  Also, look at the "S" in "SUV" and "Sunday."  Now, look at the
"S" in Shepherd.  Both letters are identical.  He wrote both these documents.

GRISSOM:  I think Shepherd planned the murder of his wife.

NICK:  I'm with you.  Why'd he end up dead?

BRASS:  Bad karma.  Jessica and this Shepherd guy had been phoning each other
day and night for the past two years.  What does that tell you?

GRISSOM:  They had a very healthy relationship.

NICK:  He was cheating on his wife, Amy.

BRASS:  And there's more.  On the night of the murder, after Jessica got off the
phone with shepherd, she made a call.

GRISSOM:  To who?




(SARA opens the door and walks inside.  WARRICK is close behind her.) 

SARA:  Grissom didn't say what he was looking for, huh?


(SARA starts checking the tags, looking for something specific.)

WARRICK:  He just said check his clothes.  Drying room.  Six years in the job
and it still freaks me out in here.

SARA:  I think it's peaceful.

(He stops and looks at her.)


(They both resume their search.  WARRICK flips the tag and finds it.  The tag
reads:  145348-3212 / EVIDENCE / SUBJECT/ GREEN, JUSTIN".)

WARRICK:  Here we go.  Here we go.  Justin Green.  The eyewitness.

(WARRICK takes out the jacket and holds it up.)

SARA:  He's a suspect?  When did that happen?

WARRICK:  Here's another thing the rain ruined -- the blood pattern on Justin's

SARA:  Not the t-shirt. 

(SARA looks at the blood on the clothes and finds something strange.)

SARA:  Warrick ... what does that look like to you?

WARRICK:  That looks like a handprint.

(SARA puts her hand on her waist in an awkward position, her eyes on the t-
shirt.  WARRICK holds out his hand over the print.)

WARRICK:  Right hand.  Justin's?

SARA:  Wrist doesn't bend that way.

WARRICK:  So, it's not Justin's.

SARA:  We know where Jessica's hands were. 

WARRICK:  Holding down Kevin's feet.

SARA:  And Amy Shepherd died instantly.

WARRICK:  So, whose handprint is that?



(GRISSOM holds up a transparency of a bloodied hand.) 

GRISSOM:  Kevin Shepherd's.  This is a transparency of Kevin Shepherd's defense

(GRISSOM places the transparence directly over the shirt.)

GRISSOM:  They fit perfectly over the handprint on Justin's shirt.

SARA:  Justin's story was that he performed CPR on Kevin Shepherd.

WARRRICK:  Yeah, but Kevin grabbed Justin's shirt so that means he was still

NICK:  Which means he didn't need CPR.

GRISSOM:  We just put the dagger in Justin Green's hand.

(Quick flashback to:  That night.  KEVIN SHEPHERD is on the ground struggling
with JUSTIN GREEN.  JUSTIN hits KEVIN a couple of times, KEVIN grabs JUSTIN'S
shirt.  JUSTIN stabs KEVIN.  End of flashback.  Resume to present.)

SARA:  Damn it.  Justin sold me a lie and I bought it.



(CATHERINE walks out of the building and under the crime scene tape.  She stops
and looks at the candles, flowers and other gifts left near the sidewalk in
front of the building in a make-shift memorial.)

(Above, another aircraft passes by.)

(She stops and thinks.)



(Camera opens on an experiment being set up.  PAUL NEWSOME leans down through
the glass of the experiment and looks at it.)

PAUL NEWSOME:  What are you doing?

CATHERINE:  Proving that you're not responsible for what happened to that

(CATHERINE continues to set up the experiment.  PAUL walks toward her and

PAUL NEWSOME:  I'm growing on you.  Aren't I?

(CATHERINE doesn't comment on that remark.  She explains the experiment.)

CATHERINE:  The damaged support column buckled.  Why?

PAUL NEWSOME:  The weight of the building wasn't evenly distributed out to the
load-bearing walls by the joists ...

CATHERINE:  Good.  We're on the same page.  Now, I put a section of the floor
assembly in the tank.  I added a dozen or so of my daughter's rubber balls two
sub-woofers ...

PAUL NEWSOME:  You put the whole thing on vibration isolators.

CATHERINE:  Exactly.  Because I suspect that sound vibrations may be the
ultimate cause of the collapse.

(CATHERINE turns on the player and Beethoven's Symphony No. 5 in C minor, Op.
67, First Movement, allegro con brio, starts playing over the speakers.)

PAUL NEWSOME:  Are you saying Beethoven brought down the building? 

CATHERINE:  No, but, uh, maybe F-16s and whatever else they're flying out of
Nellis Air Force Base.

(CATHERINE turns around and turns the volume up.)

CATHERINE:  Now, I ramped up the decibels on the stereo to maximize the

PAUL NEWSOME:  Now you've lost me.

(The speakers vibrate causing the experiment to vibrate.  The rubber balls in
the tank vibrate also.)

CATHERINE:  Watch the bouncing balls. 

(Quick Camera close up of the nails in the wooden beam as they start vibrating
and rotating.)

CATHERINE:  The nails are rotating.  Like screws.  Righty, tighty.  Lefty,

PAUL NEWSOME:  Of course.  Loose nails, bounce in the joists.

CATHERINE:  Multiply that by 50 years of flybys.

(CATHERINE turns around to the player.)

(Quick flashback to:  An old sepia colored view of the apartment room that
segues into a black and white colored view of the apartment that dissolves into
a colored view of the apartment that dissolves into another colored, more modern
view of the apartment room.)

(In the background, we hear Beethoven's Symphony playing and we hear various
aircraft flying above.  The room continues to change and age into the present
till finally the entire room collapses.)

(The ceiling falls; the walls crumble. End of flashback.  Resume to present.)

(CATHERINE turns the volume down.)

PAUL NEWSOME:  (loudly)  So you're pointing the...

(The music stops.)

PAUL NEWSOME:  (normally)  So you're pointing the finger at the Air force?

CATHERINE:  No.  You point one finger there's always going to be four pointing
back at you.  Beetles, sabotage, dry rot and time.

PAUL NEWSOME:  Am I off the hook?


(PAUL NEWSOME smiles and turns to look at the experiment.)

CATHERINE:  Anything you want to say to me?

PAUL NEWSOME:  As a matter of fact, yes. 

(He turns to look at CATHERINE.)

PAUL NEWSOME:  Could've saved yourself a lot of trouble by not making me a
suspect in the first place.

(He smiles knowingly, then walks away.)

CATHERINE:  You're welcome.



(GRISSOM, BRASS and the rest of the crew sit around the table.) 

GRISSOM:  Okay.  Jim got us a court order for production of documents.  On the
left, the phone records of Kevin Shepherd, Amy Shepherd, Jessica Hall and Justin
Green.  On the right, their banking records.

(SARA hits the computer highlighting the transaction on the following sheet.  It
reads: 03/28/01 $35,000 from 17568932.)

(The Deposit Confirmation screen pops up.  It's the same as shown previously.)

SARA:  Wednesday.  10:02 ... Kevin transferred $35,000 to his mistress, Jessica. 
Wednesday 2:16 p.m. ...

GRISSOM:  Jessica transferred the money out of her account.  To Justin Green?

(Another Deposit Confirmation screen pops up.  It reads:

We have initiated a deposit of Achex payment into your bank checking account. 
Time of deposit:  2:16 PM

Deposit Confirmation   9721
MARCH 28, 2001
Pay to the Order of:  JUSTIN GREEN $35,000.00
Transfer from:  JESSICA HALL 17362551            )

SARA:  Yes.  Deposit for $35,000. 

GRISSOM:  Well, if it was a straight-on hit for hire Jessica would've steered
clear of the crime scene.

NICK:  Maybe not.  In 1997, Jessica and Justin had a joint account.  And they
shared the same last name.

WARRICK:  Whew. Curveball.

(Quick flashback to:  The night of the murders.  JESSICA HALL and JUSTIN GREEN
watch The SHEPHERDS have dinner.)

BRASS:  (v.o.)  So Jessica hired her ex-husband to kill her boyfriend's wife.

(End of flashback.  Resume to present.)

GRISSOM:  All in the family.

SARA:  I can trump that.  Sorry, Nick.  Thursday, 11:09 A.M.  $70,000 was
transferred to Justin Green's account.


SARA:  Not Jessica.  Not Kevin.

GRISSOM:  Only one left is Amy.

WARRICK:  Yes, that's affirmative.  I can trump that.  Wednesday, 3:00 P.M. 
Justin called Amy Shepherd.

BRASS:  Oh, I bet I can tell you that conversation.

(Quick flashback to:  AMY SHEPHERD is standing in a parking lot on her cell
phone with JUSTIN GREEN.)

AMY SHEPHERD:  Do you really expect me to believe that?

JUSTIN GREEN:  Yeah. Look, you've got to know about the affair.  Check his bank
account.  He paid out 35.  You want to counter?

(End of flashback.  Resume to present.)

SARA:  Amy Shepherd does the unthinkable.  She doubles it.

GRISSOM:  Why kill one when you and collect over 100 grand?

BRASS:  Makes financial sense.

GRISSOM:  And Justin secures his double cross with an insurance policy.  He
eliminates the person that hired him.  Jessica wasn't stabbed by accident.  She
was a loose end.

(Quick flashback to:  The night of the murder.  JUSTIN GREEN stands out on the
sidewalk smoking a cigarette waiting for the SHEPHERDS.  He inhales and sees
them walk by.)

KEVIN SHEPHERD:  Eight years.  People said we wouldn't last.  Happy anniversary.

AMY SHEPHERD:  Happy anniversary.

(JUSTIN sees them and flicks his cigarette away.)

(Cut to:  AMY SHEPHERD stands at the car when JUSTIN comes up behind her and
kills her.)

(He stands up holding the bloodied knife and walks over to KEVIN and JESSICA.)

JUSTIN GREEN:  It's over, man.

(JUSTIN looks at JESSICA and smiles.)

JUSTIN GREEN:  It's over.  Look, you better split.  Go call 9-1-1.

(KEVIN and JESSICA both turn around.  The moment KEVIN'S back is turned, JUSTIN
attacks him and stabs him in the back.  KEVIN falls to the road.  JESSICA gasps
and tries to stop him.)

JESSICA HALL:  Stop! What are you doing?

(JUSTIN turns around and stabs JESSICA.)

JUSTIN GREEN:  Shut up, you slut!

(She falls to the road.  JUSTIN turns back to KEVIN.)

JUSTIN GREEN:  She's always going to be my wife.  You're never going to have

(JESSICA gets up and grabs JUSTIN.  He pushes her back down again.)

JUSTIN GREEN:  Get away from me!

(JUSTIN turns back to finish off KEVIN.  JESSICA gets up and makes her way to
the SUV.  She picks up her bag and gets into the car.)

(As the car engine starts, JUSTIN turns to see JESSICA drive off.)

(Cut to:  The knife is thrown down the gutter.  JUSTIN looks around as he hears
a dog barking.  He sees the dog and the dog's owner standing there.)

JUSTIN GREEN:  (to the owner)  Call an ambulance!

(JUSTIN rushes back to KEVIN and fakes giving CPR.)

(End of flashback.)



(BRASS and GRISSOM stand around the table in the interview room.) 

BRASS:  Jessica took the car.  You hid in plain sight, offering aid to the

GRISSOM:  Normally, when they pay to have someone killed they do it so they're
not connected to the crime.  Why was Jessica even there?

(JUSTIN doesn't say anything.)



(BRASS and GRISSOM walk out of the interview room.) 

BRASS:  (to the officer by the doorway)  Timmy. 

(TIMMY goes inside the room.)

BRASS:  The Shepherds -- to the world they looked like the perfect couple.

GRISSOM:  You know what they say about looks.

BRASS:  They can be deceiving?

GRISSOM:  They can kill.

(They both walk off camera frame.)


Ecrit par loveangel

Kikavu ?

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