COLD OPEN:
[EXT. LAST VEGAS CITY (STOCK) - DAY]
CUT TO:
SCENE #01:
[INT. BANK - DAY]
(ROY LOGAN walks into the bank. He takes off his sunglasses and looks around. He's carrying a metal briefcase and appears to be very nervous. He glances up at the security camera, then approaches the bank teller.)
TELLER: Good afternoon.
(ROY LOGAN puts his metal briefcase down.)
ROY LOGAN: I need to ... uh ... make a withdrawal.
(He places a withdrawal slip on the counter. It's dated 1-30-02 and for the amount of one million dollars ($1,000,000). There's a red smudge of blood on the bottom right corner of the slip.)
(The teller takes the withdrawal slip.)
TELLER: I'll need to see some identification.
(ROY LOGAN nervously clears his throat and reaches for his wallet. He takes out a Nevada Driver's License and puts it on the counter. The teller glances down at the license. She picks it up and turns to her monitor.)
ROY LOGAN: There's sufficient funds in my account.
TELLER: Just have to clear it with my manager.
(He picks up his metal briefcase and drops it flat on the counter, startling the teller.)
ROY LOGAN: Is that going to take long?
TELLER: I'll be right back.
(The teller leaves ROY LOGAN and meets with her manager. She interrupts him while he meets with another client where they have an indistinct conversation in the back. The client walks away. The TELLER and the MANAGER glance over at ROY LOGAN. The conversation in the back continues. ROY LOGAN looks nervous and impatient.)
ROY LOGAN: (yells) Is there a problem here?!
MANAGER: It's a lot of money, Mr. Logan. It's going to take some time.
(ROY LOGAN nods his head and looks down at the ground. He's trying to be patient. He glances up at the bank's clock. 4:50 p.m. He breathes out. He glances at the security camera again.)
(Cut to Security Camera black and white POV of ROY LOGAN at the counter with a time stamp on the bottom right corner: 4:50 PM.)
(Dissolve to same Security Camera POV with time stamp reading: 5:14 PM. ROY LOGAN hands the metal briefcase to the manager over the counter.)
(Dissolve to time stamp reading: 5:22 PM. ROY LOGAN impatiently glances at his watch.)
(Dissolve to time stamp reading: 5:36 PM. ROY LOGAN is still waiting for the briefcase.)
(Dissolve to time stamp reading: 5:49 PM.)
RESUME TO REGULAR CAMERA VIEW:
(Cut to Close up of the MANAGER'S hands stacking the bills into the briefcase. He finishes and closes the case. ROY LOGAN sighs with relief. The MANAGER puts the case on the counter in front of ROY LOGAN.)
MANAGER: Mr. Logan, would you like an escort to your car?
(ROY LOGAN doesn't say anything. He takes the case off the counter and leaves.)
(Cut to top view of ROY LOGAN walking toward the front door. The security guard opens the doors for him.)
CUT TO:
SCENE #02:
[EXT. PARKING LOT OUTSIDE BANK - NIGHT -- CONTINUOUS]
(ROY LOGAN walks out along the sidewalk and to his car. He's just about to get
into his car when he turns and sees a police car in the background. We can hear
the indistinct sounds of the police radio transmissions.)
(ROY LOGAN pauses for a moment, then opens his car door and gets inside. He
puts the metal briefcase on the passenger seat next to him. He closes the door
and starts his engine. The tires screech as he reverses out of the parking
stall.)
(As he exits the parking lot, the police car in the background turns into the
bank's parking lot. The sirens and lights turned on, the police car follows.)
(ROY LOGAN goes out the other exit and is blocked by a parked car in front of
him. Sandwiched between the cars, one in front and the other behind him, he
slams on the breaks. He hits his steering wheel with his hands in frustration.)
(The POLICE OFFICER gets out of his car and cautiously approaches ROY LOGAN.)
POLICE OFFICER: Everything all right, sir?
(ROY LOGAN'S cell phone starts to ring. The POLICE OFFICER glances at the phone
in the car.)
POLICE OFFICER: Do you want to get that?
(ROY LOGAN doesn't move to answer the phone. The POLICE OFFICER looks inside
the car and notices the blood on ROY LOGAN'S hands.)
POLICE OFFICER: I think you should step out of the car. Keep your hands where
I can see them. Let's go.
(The POLICE OFFICER opens ROY LOGAN'S car door. ROY LOGAN gets out of the car
with his hands raised. He doesn't say anything and stands against the wire
fence.)
POLICE OFFICER: Up.
(Camera focuses briefly on ROY LOGAN'S frustrated look and then to the dried
blood stains on the palms of his hands.)
CUT TO:
SCENE #03:
[INT. POLICE DEPARTMENT -- HALLWAY]
(CATHERINE and GRISSOM walk through the hallway to the interrogation room.
They're both carrying their kits.)
CATHERINE: So how rich is this guy?
GRISSOM: Well, he had a million dollars in his checking account.
CATHERINE: Who doesn't?
GRISSOM: He's a real estate developer. On the mayor's committee to revitalize
downtown.
CATHERINE: And he hasn't said a word to anyone?
GRISSOM: Nope. That's why we're here.
(They open the door to the room.)
CUT TO:
SCENE #04:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - NIGHT - CONTINUOUS]
(ROY LOGAN sits at the table. He looks up when the door opens. GRISSOM and
CATHERINE walk in. They set their kits down at the back of the room.)
ROY LOGAN: No... I'm not saying anything without my lawyer.
(GRISSOM turns around and continues to get ready.)
GRISSOM: You don't have to say anything.
(They both put on their latex gloves.)
CATHERINE: Mr. Logan ... would you please put your hands out? Palms up.
(CATHERINE opens a bottle. ROY LOGAN puts the glasses that he was fiddling with
down on the table. He nervously looks up at the wall clock. It reads 6:20 pm.
He holds out his hands. Palms up.)
(CATHERINE swabs his left palm then caps the swab tip.)
CATHERINE: I'm also going to need you to strip.
ROY LOGAN: What?
(CATHERINE looks down at ROY LOGAN. ROY LOGAN looks over at GRISSOM. GRISSOM
shrugs.)
GRISSOM: Vegas.
(Camera holds on ROY LOGAN'S confused look.)
HARD CUT TO:
END OF TEASER.
ROLL TITLE CREDITS.
(COMMERCIAL BREAK)
SCENE #05:
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM - NIGHT]
(CATHERINE snaps a photo of MR. LOGAN'S bare back.)
CATHERINE: Thank you, Mr. Logan. You can put your shirt down. Left arm out,
please.
(ROY LOGAN sighs. He holds out his left arm. CATHERINE looks at it. She take
a picture of it. Behind them, GRISSOM is looking through ROY LOGAN'S clothes.)
CATHERINE: Right arm.
(ROY LOGAN drops his left arm and holds out his right arm. CATHERINE again
looks at it then takes a picture.)
CATHERINE: No visible injuries.
GRISSOM: No blood on his clothes.
ROY LOGAN: How long is this going to take?
(GRISSOM holds out ROY LOGAN'S clothes. ROY LOGAN takes them from him. The
clock on the back wall reads: 6:30 PM.)
GRISSOM: Sorry for the inconvenience.
(ROY LOGAN puts his clothes down on the table intending to put them back on.
The door opens and PAUL, ROY LOGAN'S ATTORNEY, walks in.)
PAUL: What the hell is going on here?
ROY LOGAN: Paul, get me out of here, now.
PAUL: Roy, put your clothes back on. Don't say another word to these people.
(to the CSIs) I'm taking my complaint directly to the District Attorney. You
had no grounds to detain Mr. Logan let alone disrobe him.
(PAUL hands GRISSOM a business card. ROY LOGAN hurriedly puts on his clothes.
GRISSOM looks at the card.)
GRISSOM: His hands were covered in blood and he had a million dollars in his
briefcase.
PAUL: It's not a crime to be rich.
ROY LOGAN: Where's my car?
PAUL: It's right up front. My secretary drove it here.
(ROY LOGAN grabs his cell phone, picks up the metal briefcase and follows PAUL
out the door.)
PAUL: (to GRISSOM) You're going to be hearing from us.
(The two men leave.)
CATHERINE: Didn't Shakespeare say "let's kill all the lawyers"?
GRISSOM: Yeah. Henry VI. Where is he when we need him?
[Quote Note: William Shakespeare's, The Second Part of King Henry the Sixth,
Act IV, Scene 2: Dick the Butcher: The first thing we do, let's kill all the
lawyers. ]
(CATHERINE puts on her coat. She hands something to GRISSOM.)
CATHERINE: Yeah. Hey, can you do me a favor and drop this off at the lab? I'm
due at a nursery rhyme recital. Lindsey's going to play the girl in the moon.
GRISSOM: What happen to the man in the moon?
CATHERINE: He got the mumps.
(CATHERINE picks up her case and heads toward the door. She glances back at the
room and notices that ROY LOGAN left his sunglasses on the table.)
(She sighs and heads to pick them up.)
CUT TO:
SCENE #06:
[EXT. POLICE DEPARTMENT - PARKING LOT -- NIGHT]
(CATHERINE exits the building. She sees ROY LOGAN unlocking his car door and
heads toward him.)
CATHERINE: Mr. Logan!
(His car alarm chirps and he has his car door open. He puts his case down and
turns around. CATHERINE waves his sunglasses at him.)
CATHERINE: You forgot your sunglasses.
(She walks over to him and holds it out.)
CATHERINE: Service-oriented policing.
(ROY LOGAN shuts the car door closed and turns angrily to CATHERINE.)
ROY LOGAN: You don't understand. Get away from me.
(CATHERINE doesn't say anything. She puts the sunglasses in his left breast
pocket and turns to leave. His cell phone rings. CATHERINE lingers.)
(ROY LOGAN reaches into his jacket and answers it.)
ROY LOGAN: Hello.
(He pauses and listens. CATHERINE still hasn't moved. He turns to her and
looks at her. He holds the phone out to her.)
ROY LOGAN: It's for you.
CATHERINE: What?
(CATHERINE takes the phone from ROY LOGAN.)
CATHERINE: (on phone) Hello
VOICE: (high-pitched and altered) Who are you?
CATHERINE: (to phone) CSI three Willows. Who are you?
VOICE: (over phone) Are you a cop?
CATHERINE: (to phone) Criminalist.
VOICE: (over phone) Good. Because if you had been a cop she'd already be dead.
CATHERINE: (to phone) Who would be dead?
VOICE: (over phone) Do you have a weapon?
CATHERINE: (to phone) Yes.
VOICE: (over phone) Then put it on the ground, along with your pager, cell
phone and that case you're holding.
CATHERINE: (to phone) Who is this?
VOICE: (over phone) Do it! We're watching you, CSI three Willows. Attempt to
go back into the police station and we'll kill her.
(CATHERINE looks around and doesn't see anything or anyone. She slowly puts her
kit down on the ground.)
VOICE: (over phone) Attempt to contact any coworkers and we'll kill her. Any
false moves at all, and Amanda is dead.
(CATHERINE reaches into her coat pocket and takes out her cell phone and puts it
on the case. She looks around again.)
VOICE: (over phone) Now get back in the car. You drive, anywhere but here and
await my next call.
(The person on the other end hangs up. CATHERINE pulls the cell phone away from
her ear and closes it.)
ROY LOGAN: What did he say? Is Amanda all right?
(CATHERINE grabs the keys from ROY LOGAN.)
CATHERINE: Let's talk in the car.
(ROY LOGAN looks at CATHERINE for a very brief moment, then grabs his metal
briefcase and heads for the passenger side of the car. CATHERINE opens the
driver door. She gets in, starts the engine, then drives off.)
(GRISSOM exits the building. He's surprised to see CATHERINE driving ROY
LOGAN'S car. He watches the car exit the parking lot. He puts his kit down and
pulls out his cell phone. He dials and listens as it rings.)
(From somewhere to the left of him, he hears the chirp of a cell phone. He
turns and sees CATHERINE'S stuff on the parking lot ground. He pulls the phone
away from his ear, thoroughly concerned.)
FLASH TO WHITE.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
SCENE #07:
[INT. CSI -- LAB]
(GRISSOM grabs his file from the reception area in the hallway and heads toward
GREG. Through the glass, GREG sees GRISSOM and motions for him to come talk to
him.)
GRISSOM: What'd you find?
GREG: The blood's female. Definitely not Logan's.
CUT TO:
SCENE #08:
[INT. CSI - HALLWAY]
(BRASS and GRISSOM walk through the hallway.)
BRASS: I ran Roy Logan. No criminal record; no wants; no warrants.
GRISSOM: The blood on his hand was female.
BRASS: The guy's married. He lives in Summerlin. He bucks up; got a seven
year-old son. But I'll check him out.
GRISSOM: What about the car?
BRASS: Code five: Keep vehicle under surveillance; do not make contact with
occupants. You know, Catherine had a gun. She could've used it.
(GRISSOM doesn't respond to this. He turns and walks away.)
CUT TO:
SCENE #09:
[INT. ROY LOGAN'S CAR -- NIGHT]
(The car speeds down the street.)
CATHERINE: You never answered my question. Who's Amanda?
ROY LOGAN: Amanda's my girlfriend.
(CATHERINE turns and looks over at ROY LOGAN, disapproval written all over her
face.)
ROY LOGAN: Yeah. I know, I know. My, uh, my wife doesn't know.
CATHERINE: Somebody does. How did they make contact?
(ROY LOGAN opens something. CATHERINE watches.)
ROY LOGAN: I, uh, I probably left a dozen messages for her and, um, she, uh,
never called me back so I went over to the condo ... to the condo and, uh ...
this was waiting for me on the bed. I ... uh ...
(ROY LOGAN holds out a small Altoid's shaped metal container with a severed
index finger in it. CATHERINE looks at the finger for a long moment. A car
horn beeps drawing CATHERINE'S attention back to driving.)
CATHERINE: Got your attention.
ROY LOGAN: My cell phone rang; it was the kidnapper. He said, uh, he wanted a
million dollars in cash by the end of the day, or he would ... he would send me
the rest of her. He said if I ... talked to he cops ...
CATHERINE: Yeah, I heard that part. I need a drink.
CUT TO:
SCENE #10:
[INT. DINER -- NIGHT]
HANK PEDDIGREW: I can't believe you called. I actually got you outside of
work.
(SARA smiles.)
SARA: This is nice.
HANK PEDDIGREW: I don't normally date women from work but there was ...
something about you. And it definitely wasn't your perfume.
(SARA laughs and coughs.)
SARA: I cannot believe you brought that up.
(Cut to CATHERINE and ROY LOGAN getting out of the car just outside the diner.)
(Cut back to SARA.)
SARA: Yeah, that-that-that, uh, day we met that-that was, that was very gross.
(Cut to CATHERINE and ROY LOGAN crossing the street toward the diner.)
SARA: Um... I mean, not for me but for everyone else ... for you ...
(The door to the diner opens. CATHERINE and ROY LOGAN walk in. SARA and HANK
occupy the first booth closest to the door. SARA definitely notices that it's
CATHERINE.)
(CATHERINE doesn't acknowledge SARA. She and ROY LOGAN take two seats at the
counter. SARA watches them walk by.)
HANK PEDDIGREW: Isn't that one of your coworkers?
SARA: Yeah.
CUT TO:
[INT. DINER - COUNTER - NIGHT -- CONTINUOUS]
(CATHERINE grabs a menu off the counter.)
CATHERINE: We don't know how long it's going to be before he calls. Why don't
you order something?
ROY LOGAN: You expect me to eat? We should be in the car, waiting by the
phone.
CATHERINE: I have the phone. Do us both a favor: Relax.
WAITRESS: What can I get you?
CATHERINE: Um, two glasses: One with ice; one without. Roy?
ROY LOGAN: Uh, coffee. Black.
CATHERINE: So, let's get to know each other. You first.
(ROY LOGAN looks at CATHERINE without saying anything.)
CATHERINE: You were born; you came home from the hospital. Then what?
CUT TO:
SCENE #11:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM sits behind his desk. WARRICK and NICK stand in front of it.)
WARRICK: Maybe he wanted to confess. Take her to the body.
NICK: Catherine wouldn't have left her stuff behind.
(BRASS appears in the doorway.)
BRASS: Hey. I sent a patrolman to Logan's house. Talked to Mrs. Logan. She's
in perfect health. She's not our vic.
WARRICK: So what do we do now?
NICK: We wait. Right?
GRISSOM: Yeah. We don't have a crime yet.
CUT TO:
SCENE #12:
[INT. DINER -- NIGHT]
(CATHERINE pours some of the ice into the empty glass.
CATHERINE: Give me the finger.
(ROY LOGAN looks at CATHERINE. CATHERINE meets his look. ROY LOGAN reaches
into his pocket and takes out the case with the finger in it. He passes it to
her under the counter. CATHERINE takes one of the glasses.)
ROY LOGAN: What if somebody sees you?
CATHERINE: I got to preserve this evidence.
(She reaches for the other glass of ice. The cell phone rings. CATHERINE puts
the empty glass back on the table then reaches for the cell phone.)
CATHERINE: Hello.
VOICE: (altered) (from phone) Take Boulder Highway South till it intersects
ninety-three. Take the Yucca Exit, East, one mile. You'll see a sign:
Horseshoe Tavern. You have one hour.
(CATHERINE hangs up and puts the cell phone back down on the counter.)
ROY LOGAN: What'd he say?
(CATHERINE reaches into her pocket and pulls out some bills. She tosses the
money on the counter.)
CATHERINE: Let's go.
(ROY LOGAN takes his metal briefcase and stands up. CATHERINE also gets up to
follow. She's holding the glass of ice with the finger in it.)
(As she passes SARA'S table, she casually and deliberately puts the glass in
front of SARA.)
HANK PEDDIGREW: Is that a finger?
(SARA picks up the glass and looks at it. She then looks up at the door.
(Cut to SARA exiting out the Diner (#25861). She sees ROY LOGAN get into the
passenger side of the car, the car door close and drive off. SARA looks down at
the glass in her hand.)
HARD CUT TO BLACK.
(COMMERCIAL BREAK)
SCENE #13:
[INT. ROY LOGAN'S CAR -- NIGHT]
CATHERINE: Open the briefcase. I've got an idea.
(ROY LOGAN opens the briefcase and CATHERINE reaches inside. She takes out a
glo-paint marker.)
CATHERINE: I use this to paint my daughter's face. She was playing the moon
tonight in the school play. I missed it. Mark the edges of the money.
(CATHERINE hands the glo-paint marking tool to ROY LOGAN. He doesn't say
anything. He starts to mark the money.)
CATHERINE: Do you got any kids?
ROY LOGAN: Yeah, I've got a son. He's a soccer freak. His life's ambition is
to be Roberto Baggio.
(Up ahead, ROY LOGAN sees a cop car parked on the side of the road.)
ROY LOGAN: Hey, there's a cop. There's cop. Slow down. Come on. We don't
want to be pulled over. If we're seen with a cop, Amanda's dead.
(Cut to the officer inside the car as he notices the car passing him by.
Nothing out of the ordinary. The car continues down the road.)
CUT TO:
SCENE #14:
[INT. CSI -- HALLWAY]
NICK: (o.s.) Catherine didn't say anything?
SARA: She barely made eye contact. She dropped the finger on the table and
walked out.
GRISSOM: Where is it?
SARA: Locked up at the coroner's lab, waiting for Dr. Robbins. Unless you want
me to wake him up in Kansas City. Brother's wedding, back tomorrow ...
GRISSOM: It was the right index finger?
SARA: Top half severed just below the right inter-costal joint.
GRISSOM: Any hemorrhagic tissue?
SARA: Yeah, I couldn't tell. There was blood, though.
GRISSOM: How did Catherine seem?
SARA: Like I told Nick, she completely ignored me.
GRISSOM: And her behavior toward Logan? Was she under duress? Agitated?
SARA: No ... no, looked to me like Catherine was running the show.
GRISSOM: A severed finger, a million bucks. And Catherine's not allowed to
talk to anyone.
NICK: Kidnapping?
WARRICK: So, who's worth one mil?
GRISSOM: It's time to speak to his wife.
NICK: I'll call Brass.
(NICK pulls out his cell phone.)
SARA: (wondering) It's a bit of a coincidence, though, don't you think?
Catherine just showing up at the diner. It's not like she knew I was going to
be there.
NICK: I knew.
(NICK puts the cell phone to his ear and walks away. WARRICK looks at SARA who
in turn gives him a stern look and whacks him on his shoulder as she leaves.)
CUT TO:
SCENE #14:
[INT. ROY LOGAN'S CAR - NIGHT -- CONTINUOUS]
(The car drives up to the US 93 intersection. To the left, Yucca Ravine, to the
right, Carson City.)
ROY LOGAN: That's it-- yucca.
CATHERINE: One more mile.
(CATHERINE clears the odometer from the current reading 9762 and sets it back to
zero. She turns right and continues down the highway.)
(Cut to a close up of the odometer at 0.9. Just as soon as CATHERINE sees the
horseshoe marker, she hits the breaks sending the car into a screeching halt.
ROY LOGAN looks at CATHERINE in surprise.)
ROY LOGAN: Are you crazy?
CATHERINE: Sorry, it's been a while since I've driven a sports car.
(CATHERINE reaches over and takes the marking tool back from ROY LOGAN.)
CATHERINE: Thanks.
[EXT. HORSESHOE TAVERN - NIGHT - CONTINUOUS]
(They get out of the car. CATHERINE casually turns and looks at the skid marks
she left behind. CATHERINE shuts her car door. They both start walking toward
the meet site. CATHERINE reaches into her pocket and takes out a pair of
gloves. As she walks, she drags her feet making large impressions in the
direction she's walking.)
(She glances back at her impressions and continues.)
(They soon reach a wire fence with a "No Trespassing" sign on it blocking the
road. They pass the gate. Over on the hill, another car with its lights on is
parked. A figure wearing a rabbit outfit emerges from the car. The figure
pauses by the car door and inhales something from a tube. The figure turns and
makes its way over the hill wearing the rabbit mask, a trench coat and carrying
a rifle at its side.)
VOICE: (altered) The briefcase.
(ROY LOGAN takes a step forward. CATHERINE stops him.)
CATHERINE: First we need to see Amanda.
VOICE: (altered) Hand over the money get back in the car, and drive to a pay
phone. The gas-and-go station Highway 582, South of Henderson. I will call
you. I will tell you where she is.
CATHERINE: No. We need something more than just your word.
VOICE: (altered) Then she's dead.
(The figure turns to walk away. ROY LOGAN rushes forward.)
ROY LOGAN: No, wait!
(ROY LOGAN reaches the figure and hands over the briefcase. CATHERINE sighs.
He backs up and returns to CATHERINE.)
ROY LOGAN: The gas-and-go station, Highway 582, South of Henderson.
(CATHERINE shakes her head. ROY LOGAN hurries past CATHERINE and heads back to
the car. Up on the hill, the rabbit-figure turns and walks back to the car.)
CUT TO:
SCENE #15:
[EXT. MRS. LOGAN'S HOUSE - DRIVEWAY - DAY]
(MRS. DIANE LOGAN exits the house. She walks to the car in the driveway. BRASS
and NICK walk up the driveway.)
BRASS: Mrs. Logan?
DIANE LOGAN: Yes? Uh, one minute, please. (to her son) Oh, come on, honey,
last time you got food all over the place, your father spent a fortune detailing
the car.
(DIANE LOGAN shuts the car door.)
BRASS: Mrs. Logan, I'm Jim Brass, Las Vegas PD. This is Nick Stokes, crime
lab.
NICK: Hi.
BRASS: Have you heard from your husband?
DIANE LOGAN: No.
BRASS: When he didn't come home last night did you find that unusual? Or maybe
you're used to it.
(NICK peers into the car where he sees the little boy eating his sandwich. The
little boy looks up at NICK.)
DIANE LOGAN: Look, our lawyer has advised me not to speak to the police.
(DIANE LOGAN shuts the back door closed.)
DIANE LOGAN: And until I hear from Roy, that's exactly what I'm going to do.
NICK: How about if we just have a look around?
DIANE LOGAN: I don't think so.
CUT TO:
[EXT. LAS VEGAS DESERT (STOCK) -- DAY]
SCENE #16:
[EXT. GAS 'N GO STATION - DAY]
(The old gas station is closed and abandoned. ROY LOGAN and CATHERINE park
their car outside and squeeze through the fence to gain entrance to the gas
station.)
(They look inside the windows.)
ROY LOGAN: I don't see a phone.
(They search around the area.)
ROY LOGAN: Where's the phone?
(Out behind the gas station is an old telephone booth. ROY LOGAN spots it and
runs to it. He lifts the phone and notices that it's severed from the box.)
ROY LOGAN: (frustrated) Dammit. They set us up. She's dead. I knew it!
CATHERINE: (reasons) He had a shot gun. If all he wanted was the money, we'd
both be dead.
(ROY LOGAN steps out of the telephone booth. CATHERINE steps inside and looks
around. She notices something stuck in the yellow pages. It's a map of the
location where AMANDA FREEMAN can be found. From the I-93 through the Texas
Acres, through the Easelwood Hwy, toward the Easelwood Reservoir.)
CATHERINE: Give me the phone.
ROY LOGAN: (resists) No, no, no-- no, no! He said no phone calls. They may
be watch ...
CATHERINE: We're past that. Give me the phone!
ROY LOGAN: Listen, please. What if it was someone you loved? What if it was
your daughter?!
(CATHERINE doesn't say anything.)
CUT TO:
SCENE #17:
[INT. CSI -- LAB]
(GREG is going over the blood test results with GRISSOM and NICK.)
GREG: The blood from the finger was diluted due to the ice. But I made a
positive match.
GRISSOM: To the blood on Logan's hands.
GREG: So it was kind of like Getty's ear? They cut it off, sent it to the
house?
NICK: Wife was way too cool to have seen a severed finger. I don't think so.
GRISSOM: He's a real estate developer. Does he own any other properties?
(NICK looks down at the papers in his hand.)
NICK: Townhouse off Flamingo. Under the company name, not rented.
GRISSOM: But occupied?
NICK: I'll get a warrant. See if anybody's missing a finger over there.
(NICK leaves the room. He bumps into WARRICK who is just stepping inside.)
NICK: (to WARRICK) Hey.
WARRICK: (to NICK) Hey. (to GRISSOM) State troopers just spotted Logan's car
on the 582. Drove past him earlier this morning. Five minutes later, drove
past him again other direction.
GRISSOM: Grab Sara. We're gone.
CUT TO:
SCENE #18:
[EXT. HORSESHOE TAVERN - DAY]
(GRISSOM'S Tahoe comes to a stop. Behind him is an accompanying officer car.
GRISSOM, WARRICK and SARA exit the car. They immediately notice the tire
treadmarks on the road.)
(A camera flashes. SARA is kneeling next to the tire treadmarks and is snapping
pictures.)
(Quick CGI POV to the oil discharge in the treadmarks. End of CGI POV. Resume
to SARA.)
SARA: Thank you, Catherine.
(SARA stands and heads further inside to where WARRICK is past the wire gate.)
(SARA stops midway and looks down. She takes a picture and picks up the glo-
marker tool from the ground. SARA stands and continues on her way toward
WARRICK. WARRICK also snaps photos of the footprints in the ground.)
SARA: She was burning some serious rubber. Definitely high-end tires --
there's colored flecks on the treads and they're fresh.
(Up on the hill, GRISSOM examines the ground where the other car was. He looks
down and finds a small discarded tube. He picks it up.)
(Cut back to SARA.)
SARA: It's got to be the Lexus. Does this mean anything to you?
(SARA shows the glo-marker to WARRICK.)
(Cut to GRISSOM examining the metal tube he found.)
(Cut back to WARRICK.)
WARRICK: Looks like some kind of glow paint stick. I think Catherine dragged
her heels a little bit here.
SARA: Yeah.
(GRISSOM starts to walk back to WARRICK and SARA.)
GRISSOM: Helium canister.
WARRICK: You mean like helium for balloons? You can also use it to change the
pitch in your voice.
GRISSOM: The Lexus stopped there.
(GRISSOM points behind them.)
GRISSOM: Catherine walked up to here.
(GRISSOM points to where WARRICK and SARA are standing. He turns around to look
behind him.)
[CLOSED CAPTIONED: GRISSOM: So the second set of fresh tire treads on the
access road ... ]
GRISSOM: Could be the kidnapper's.
SARA: Looks like the drop-off went down.
WARRICK: Then why hasn't Catherine contacted us yet?
(GRISSOM shakes his head slightly and doesn't respond.)
CUT TO:
SCENE #19:
[INT. AMANDA FREEMAN'S RESIDENCE -- DAY]
(NICK walks up to the front door. He knocks on it and pushes it open.)
NICK: Criminalistics. Anybody home?
(NICK enters the house. He puts his kit down near the door. He moves in
further and pulls out a pair of gloves.)
NICK: Okay ... talk to me.
(NICK jumps as a loud squawk comes from behind him. He turns around and sees a
white cockatoo in a cage. The bird squawks softly at NICK. NICK looks around
and sees the answering machine on the counter.)
(NICK checks the messages.)
ROY LOGAN: (answering machine) Amanda, hi, it's Roy. Where are you? Call me
on the cell.
(NICK sees the purse on the table and picks up the wallet. He opens it. It's
AMANDA FREEMAN'S Nevada Driver's License. In the background the answering
machine beeps and the next message comes on.)
ROY LOGAN: (answering machine) Amanda, I thought you'd be home all day. I
wanted to swing by. Call me.
(NICK sees two wine glasses on the table next to an open bottle of wine.)
(Quick camera close up to the lipstick stains on both glasses.)
MARK: (answering machine) Amanda, it's Mark. At the gym. You missed your
session. Call to reschedule.
(The answering machine hits a dial tone. NICK is once again startled by the
cockatoo's squawk behind him. He turns around.)
NICK: Too bad you can't talk. Maybe you could tell me where she is.
(NICK walks over to the bird cage. He smiles at the bird then notices something
else ... blood on the front of the bird's feathers.)
(Camera holds on NICK.)
CUT TO:
[EXT. LAS VEGAS DESERT - DAY]
SCENE #20:
[EXT. EASELWOOD RESERVOIR -- DAY]
(ROY LOGAN'S Lexus pulls up to the old abandoned Reservoir.)
(Cut to CATHERINE and ROY LOGAN walking through the area searching for AMANDA
FREEMAN.)
CATHERINE: Well... according to the map she should be somewhere around here.
ROY LOGAN: (yells) Amanda! Amanda!
(CATHERINE looks around and sees the grill.)
CATHERINE: Why don't you give me a hand?
(They open the grill. They look inside and on the bottom, floating in some
water, is AMANDA FREEMAN. She appears to be dead.)
(ROY LOGAN gets up and staggers around, distraught.)
ROY LOGAN: Oh, god ... oh, god ...
(CATHERINE isn't happy with the discovery.)
(Cut to a view of the body floating in the water.)
(ROY LOGAN sits down some distance away. He puts his head in his hands.
CATHERINE gets up, walks over to him and puts her arm around his shoulders.)
CUT TO:
SCENE #21:
[INT. CSI - FORENSIC AUTOPSY]
ROBBINS: The finger was severed postmortem. No hemorrhagic tissue at the point
of injury. And they used a serrated blade. Jagged teeth patterns on the bone.
Not much else I can tell you. It's just a finger.
(GRISSOM'S cell phone rings.)
GRISSOM: (to phone) Grissom. (pause) Thank god.
INTERCUT WITH:
CATHERINE: There was a kidnapping.
GRISSOM: I know -- Amanda Freeman. She's dead ... and whoever touched the
money probably has glow-in-the-dark paint on their hands.
CATHERINE: You got my clues?
GRISSOM: Yeah, nicely done. I know just about everything except ... where are
you?
FADE TO BLACK.
(COMMERCIAL BREAK)
SCENE #22:
[INT. CSI - HALLWAY TO BREAK ROOM]
(CATHERINE and WARRICK walk through the hallway to the break room.)
WARRICK: She ate, but she didn't fall asleep till way late. We had her helping
Greggo out in the lab.
CATHERINE: I bet she loved that.
WARRICK: Yeah.
(They reach the break room. Through the glass window, CATHERINE sees LINDSEY
asleep on the couch. CATHERINE turns to WARRICK.)
CATHERINE: I owe you. Thank you.
(CATHERINE gives WARRICK a kiss on the cheek, then opens the door and slips
inside the room. WARRICK leaves. CATHERINE sits next to her daughter and
watches her sleep. She reaches out and touches her daughter's forehead.
LINDSEY doesn't wake up.)
CUT TO:
SCENE #23:
[INT. CSI - FORENSIC AUTOPSY]
(Just outside the doorway to the autopsy room, CATHERINE and GRISSOM are about
to enter.)
GRISSOM: So, you couldn't see what he looked like?
CATHERINE: You're assuming it was a "he." Rabbit mask. Full-beam headlights.
Truman Capote voice. Who can tell gender?
(They enter the autopsy room and walk up to the table.)
ROBBINS: Amanda Freeman.
(ROBBINS matches the finger to her right hand. It appears to be a match.)
ROBBINS: My guess is, she's been in the water about 24 hours.
(ROBBINS turns and lifts the blanket covering the feet. It's big and wrinkled.)
ROBBINS: Washerwoman effect. But no saponification.
(ROBBINS opens the deceased's mouth and lifts up her tongue. GRISSOM leans in
to get a better look. The camera moves in to show a bunch of puffy rice-shaped
eggs under her tongue.)
GRISSOM: Blowfly eggs?
ROBBINS: Mm-hmm.
GRISSOM: Unhatched ova. They're waterlogged.
ROBBINS: I found some in her nose and trachea, too. The decomposing body would
need time to attract the bugs before submersion. Well, she's been dead 48 hours
24 hours above water, 24 hours under.
CATHERINE: Bloody nose, ecchymosis. She took a beating. Cause of death?
ROBBINS: Blunt-force trauma. Back of the head.
(ROBBINS puts his hand to the back of the deceased's head.)
(Quick CGI POV camera moves from the back of her head, through the hair and to
the bloodied scalp. A pair of tweezers pick up something small stuck in the
scalp.)
ROBBINS: Look at this.
(ROBBINS holds it up.)
GRISSOM: What is it?
ROBBINS: You'll have to get it under the microscope. My guess is some form of
stone. Granite maybe.
CATHERINE: I'm going to head over to the townhouse check out those blood spots
with Nick.
(CATHERINE leaves the autopsy room.)
CUT TO:
SCENE #24:
[INT. CSI - HALLWAY JUST OUTSIDE AUTOPSY ROOM -- CONTINUOUS]
(CATHERINE steps out of the autopsy room carrying her jacket. ROY LOGAN is
leaning against the wall waiting for her. He straightens when she walks out.)
CATHERINE: Mr. Logan?
ROY LOGAN: I need to see her. Please.
(CATHERINE shakes her head.)
CATHERINE: I wouldn't advise that.
ROY LOGAN: Look, she ... was my life. I loved her. Please?
CUT TO:
SCENE #25:
[INT. CSI -- FORENSIC AUTOPSY]
(ROY LOGAN enter the autopsy room. GRISSOM and ROBBINS look up from the body.
GRISSOM looks concerned at the interruption. ROY LOGAN walks up to the side of
the table.)
ROY LOGAN: Ooh ... ooh ... it's my fault. If I'd only ... gotten to her
sooner. If I'd only paid them sooner ...
GRISSOM: It wouldn't have made any difference. She was killed long before you
could have helped her.
ROY LOGAN: When? Where?
CATHERINE: You've got to give us time. Why don't you go home, get some sleep?
ROY LOGAN: (to CATHERINE) I-I don't think I can face my wife right now.
(CATHERINE escorts ROY LOGAN out of the room.)
CATHERINE: This town is full of hotels.
ROY LOGAN: All right. You can find me at the Tangiers.
CUT TO:
SCENE #26:
[INT. AMANDA FREEMAN'S RESIDENCE -- DAY]
(NICK is in the living room spraying the rug looking for blood evidence. The
rug glows. NICK also notices the crack on the table in the area where the blood
is.)
CATHERINE: Marble.
NICK: Good to see you again. Yeah, somebody hit the table. There's obvious
signs of a struggle.
CATHERINE: Kidnapper probably broke in. She made a run for it. Got hit in the
face. Went down.
(Quick flashback to someone hitting AMANDA FREEMAN in the face. She falls to
the floor and hits to table on her way down.)
NICK: Blood pool here. Spatter all the way to the bird. Birds have blood
feathers and flight feathers. Flight feathers don't bleed. No capillaries,
just cartilage.
CATHERINE: And you know this from ... ?
NICK: Discovery channel.
CATHERINE: So, how did the killer get the body out of the house?
NICK: There's no blood trail from here to the door, so my guess is he wrapped
her in something.
CATHERINE: Bedsheets?
NICK: Checked. Bed's still made. Linen closet's full. Not to mention, a wet
sheet leaks.
CATHERINE: Plastic, maybe. If she was murdered here her finger was severed
here where are the knives?
(NICK picks up one of the wine glasses. CATHERINE checks the kitchen drawers.
Nothing. CATHERINE opens the dishwasher and finds all the knives in them washed
clean.)
CATHERINE: Clever. Kidnapper washed all the knives.
NICK: Why wash the knives and leave the wine glasses?
CATHERINE: Get those glasses to Greg.
(CATHERINE looks around the apartment. She looks at the photos on the
refrigerator. One of them shows AMANDA FREEMAN posing for the cameraman in the
shower.)
CUT TO BATHROOM:
(NICK pushes the shower curtain aside. Camera focuses on the top of the shower
hook where a piece of the liner is still attached to the hook. NICK picks off
the piece.)
NICK: Yeah, looks like someone ripped the liner out.
CATHERINE: He wrapped her in it.
NICK: Must've gotten dumped when she did.
CUT TO:
[EXT. LAS VEGAS DESERT (STOCK) - DAY]
SCENE #27:
[INT. STORM DRAINS -- DAY]
(WARRICK turns the corner. SARA'S behind him.)
WARRICK: Watch your step.
SARA: Thank you.
(They find the shower liner caught in the storm gate. WARRICK picks it up.)
WARRICK: All right.
(SARA nods.)
CUT TO:
SCENE #28:
[INT. CSI -- HALLWAY]
(BRASS and GRISSOM walk through the hallway.)
BRASS: Ran Amanda Freeman's phone records. Creature of habit. Mother, gym,
Logan, pizza. But the last call made from that house was to a cell phone we
traced to Mrs. Logan.
(They meet up with CATHERINE who stops them.)
CATHERINE: Greg got saliva off the wine glasses. Ran the DNA. One was Amanda,
and the other a woman.
GRISSOM: Mrs. Logan, maybe. They would have had a lot to talk about.
CATHERINE: Or fight about.
CUT TO:
SCENE #29:
[INT CSI - LAYOUT LAB]
(SARA and WARRICK examine the shower curtain liner they found.)
(SARA finds something.)
SARA: Looks like a small tear.
(Camera close up of the tear.)
WARRICK: Looks more like a slice. Could've happened when he cut through her
finger.
(Quick CGI POV of a finger being sliced off and blood. End of CGI POV. Resume
to present.)
(SARA looks at WARRICK.)
(WARRICK moves to another spot on the curtain.)
WARRICK: Does this look like blood to you?
SARA: If the body was wrapped with this side that's on the outside.
(SARA flips the portion of the sheet over. They put on their protective eyewear
and turn on the ALS. It doesn't glow.)
SARA: It's not blood.
WARRICK: Yeah.
(SARA takes a sample of it.)
SARA: This is a grease stain. It's got an oily residue.
CUT TO:
SCENE #30:
[INT. CSI -- LAB]
(The Agilent Technologies (tm) machine picks up the vial and starts processing
its contents. The machine prints out the results. GREG looks at it.)
GREG: Did you guys clean the table before putting the curtain on it?
SARA: Yeah.
GREG: 'Cause I think your evidence got contaminated.
WARRICK: With what?
GREG: Oleic acid. Goes well with jelly.
SARA: Peanut butter.
WARRICK: Great.
(WARRICK looks up and sees NICK walking by.)
WARRICK: Hey, Nick?
NICK: Yeah?
WARRICK: Have you been eating peanut butter in the layout room?
NICK: No, man, I hate the stuff.
WARRICK: Well, we found it on the back of that shower curtain.
(Quick flashback to ROY LOGAN'S son eating his sandwich in the car. End of
flashback. Resume to present.)
NICK: Mrs. Logan scolded her son for eating in the car. Peanut butter and
jelly. Said her husband just had the car detailed.
CUT TO:
SCENE #31:
[INT. CSI -- GARAGE]
(SARA, WARRICK and NICK are examining the LOGANS' car.)
WARRICK: I need to take my car to this detailer. Not bad.
NICK: Come on.
(Quick CGI POV to the car carpet being detailed. End of CGI POV. Resume to
present.)
NICK: (v.o.) You know that treating the surface with a carpet cleaner only
pushes the dirt further down?
(They find the stain.)
NICK: Warrick, you got those box cutters?
(NICK cuts out the carpet with the stain in it. He holds it.)
NICK: Did I mention how much I hate peanut butter?
CUT TO:
SCENE #32:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
CATHERINE: Mrs. Logan, do you know Amanda Freeman? Because she called you on
your cell phone the day she was murdered.
PAUL: Could have been a wrong number.
GRISSOM: Then, uh, what did you talk about for three minutes and fifty-five
seconds?
CATHERINE: We could compel a DNA sample which would confirm that you had a
glass of wine with her that night.
PAUL: Is it your intention to charge my client with Miss Freeman's kidnapping?
GRISSOM: I think you went to your husband's townhouse -- a townhouse you
probably didn't know he had - and a civilized drink turned into a violent brawl.
(Quick flashback to the two women fighting. AMANDA FREEMAN gets hit and falls
down. She hits her head on the table before hitting the floor. End of
flashback. Resume to present.)
CATHERINE: You tore down the shower curtain wrapped the body in it.
(Quick flashback to AMANDA FREEMAN'S body on the shower curtain and DIANE LOGAN
wrapping her up in it. End of flashback. Resume to present.)
GRISSOM: Cut off her finger, stuck it in a mint tin and left it for your
husband.
CATHERINE: You transported the body to the reservoir in the back of your SUV
where some of your son's PB and J made it onto the shower curtain.
DIANE LOGAN: Are you finished?
PAUL: Diane?
DIANE LOGAN: I had my drink with Miss Freeman. I listened to her rantings
about how she and Roy were getting married.
PAUL: That's enough, Diane.
DIANE LOGAN: And I set her straight. Roy was not going to leave me for her.
He loved his money more than both of us. I told her I was going to evict her
from that tacky little townhouse and then Roy came in. You should have seen the
look on his face.
(Quick flashback to DIANE LOGAN turning around to find ROY LOGAN in the doorway.
End of flashback. Resume to present.)
DIANE LOGAN: And I-I left them there to work it out.
PAUL: Okay ... if you don't have anything else?
CATHERINE: One more thing. Mrs. Logan, can you hold your hands out palms up?
Jim, can you hit the lights?
(BRASS turns off the room lights.)
PAUL: We don't have time for these games. Okay, you satisfied?
(PAUL reaches up to pull DIANE LOGAN'S hands away from the table when GRISSOM
immediately spots it.)
GRISSOM: Whoa!
(GRISSOM reaches over and pulls PAUL'S hand over the light where we see the glo-
stick marker all over the palms of his hands.)
PAUL: Look, I can explain.
(COMMERCIAL BREAK)
SCENE #33:
[INT. POLICE DEPARTMENT -- INTERROGATION ROOM - DAY]
(The rabbit mask hits the table. PAUL nervously takes off his glasses.)
PAUL: Look, I put on a mask I made some phone calls I took the money but I did
not break any laws.
CATHERINE: You killed Amanda Freeman.
PAUL: Oh, no. I didn't kill anybody. I didn't even know she was dead. I'm a
lawyer. I work for my client. I did what he asked me to do.
CATHERINE: Your client?
PAUL: Roy Logan.
CATHERINE: What are you saying? That Mr. Logan paid you to dress up as a bunny
rabbit?
PAUL: That was my idea.
GRISSOM: So, Roy Logan set this whole thing up?
PAUL: Yes. It started with a phone call. I just did what my client asked. I
just played a part.
(Quick flashback to PAUL in his car putting on the rabbit mask and holding a
presumably fake rifle. Flash to white. ROY LOGAN handing the metal briefcase
to PAUL. End of flashback. Resume to present.)
CATHERINE: So, basically, this was a stage play written by Mr. Logan.
PAUL: That's right. Now you got it.
GRISSOM: During this elaborate farce you never thought to ask him why he was
making you jump through these hoops?
PAUL: I don't get paid to ask. I get paid to do.
BRASS: What about the money? A million dollars cash?
PAUL: Well, Roy was having marital problems so I figured he was just hiding his
assets.
BRASS: Where's the money now?
PAUL: In a locker.
(PAUL puts the locker key on the table.)
PAUL: At his Country Club.
CUT TO:
SCENE #34:
[INT. POLICE DEPARTMENT - HALLWAY]
BRASS: Where did Logan say he was staying?
GRISSOM: The Tangiers.
CATHERINE: I'll drive.
GRISSOM: I'll follow the money.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - TANGIERS - DAY]
SCENE #35:
[INT. TANGIERS - HOTEL ROOM #1003- DAY]
(CATHERINE knocks on the door.)
CATHERINE: Mr. Logan? Open the door. Please.
(The manager with the key unlocks the door. BRASS opens the door. No one's
there. The room doesn't look like it's been used. CATHERINE checks the
bathroom. Everything's bare.)
BRASS: I'll call down, see if his car's in the parking lot.
CATHERINE: Fat chance. Son of a bitch. He had me completely fooled.
CATHERINE: I bet that locker's empty, too.
CUT TO:
SCENE #36:
[INT. LOCKER AT COUNTRY CLUB -- DAY]
(GRISSOM opens the locker door. The camera is inside the locker facing GRISSOM.
We see his unsurprised reaction at finding the locker empty. He shuts the
door.)
CUT TO:
SCENE #37:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
GRISSOM: Okay, let's run this. Amanda was tired of being number two, so she
calls up Mrs. Logan to discuss her affair with her husband.
(Quick flashback to AMANDA FREEMAN and DIANE LOGAN drinking wine from the wine
glasses. End of flashback. Resume to present.)
GRISSOM: But Mrs. Logan doesn't just discuss it she throws down the gauntlet.
(Quick flashback.)
DIANE LOGAN: He's not going to leave me for you.
AMANDA FREEMAN: He already has.
DIANE LOGAN: No, he ...
(AMANDA FREEMAN looks up past DIANE LOGAN. DIANE LOGAN turns around and sees
ROY LOGAN standing in the doorway. End of flashback. Resume to present.)
CATHERINE: Amanda broke the only rule. Don't call the missus.
(Quick flashback to ROY LOGAN fighting with AMANDA FREEMAN and knocking her
down. AMANDA FREEMAN hits the table before hitting the floor. End of
flashback. Resume to present.)
NICK: Now he really has a problem.
WARRICK: Two problems. His wife is going to leave him, take half his money and
he was going to jail.
SARA: You got to admit, his solution was ingenious.
(Quick flashback to AMANDA FREEMAN on the ground, dead. ROY LOGAN sitting on
the couch thinking about his next move.
GRISSOM: (v.o.) Most killers take their time planning a murder. He took his
time covering it up.
(ROY LOGAN looks at his watch and starts planning.)
GRISSOM: (v.o.) Forty-eight hours to be precise.
(ROY LOGAN taking down the shower curtain liner. ROY LOGAN kneeling down and
cutting AMANDA FREEMAN'S finger off. Flash to white. End of flashback. Resume
to present.)
GRISSOM: So Logan cleans up the crime scene and calls his lawyer. Asks him to
help him with his little charade. I mean, what better way to protect your
assets than to pay a kidnapper who's already on retainer?
CATHERINE: Everything from that point on was calculated.
(Quick flashback to ROY LOGAN making sure that there's blood on his hands. Flash
to white.)
CATHERINE: (v.o.) Blood on his hands ...
(Cut to ROY LOGAN looking at the security camera in the bank. Flash to white.)
CATHERINE: (v.o.) ... he's the last customer of the day at the bank Acting
suspiciously ...
(Cut to ROY LOGAN trying to get away from the police officer while leaving the
bank parking lot. Flash to white.)
CATHERINE: (v.o.) ... driving recklessly.
(End of flashback. Resume to present.
WARRICK: He knew he'd get hauled in to the cops.
(Quick flashback to ROY LOGAN picking up his cell phone off of the table and
deliberately leaving his sunglasses behind. Flash to white. Resume to
present.)
CATHERINE: You bet your ass. He didn't leave those sunglasses behind by
accident. His cell phone rang on cue. The call's for me.
(Quick flashback to CATHERINE on the cell phone with the kidnapper. Resume to
present.)
CATHERINE: He practically forced that money into his lawyer's hands.
GRISSOM: Out of one pocket into the other.
(Quick flashback to ROY LOGAN chasing after the kidnapper and handing the
briefcase to him at Horseshoe Tavern. Resume to present.)
GRISSOM: I especially liked the little show he did for us in the coroner's lab.
Trying to find out how much we knew.
(Quick flashback to ROY LOGAN asking ... )
ROY LOGAN: When? Where?
(End of flashback. Resume to present.)
NICK: Why make the map? Why lead Catherine to the body?
GRISSOM: Because without the body, Logan would always be under suspicion.
SARA: If not by the police, by his wife.
WARRICK: So, he left these wine glasses for you to find.
CATHERINE: Sure, we wanted us to suspect the wife. That's why he used her SUV
(Quick flashback to AMANDA FREEMAN'S body wrapped in the shower curtain being
dragged into the SUV'S back seat.)
CATHERINE: (v.o.) to transport the body.
(End of flashback. Resume to present.)
CATHERINE: And he let me mark the money because he knew that eventually his
lawyer would touch it.
SARA: Why though? The money was in a suitcase.
WARRICK: A million dollars. Pretty tempting.
GRISSOM: I saw the locker
(Quick flashback to inside the locker at the Country Club and to someone trying
to fit the large metal briefcase into it. PAUL taking the money out of the
briefcase and stacking it inside the locker. His hands are all over the money.)
GRISSOM: (v.o.) ... and I saw Logan's briefcase. It was too big to fit
inside. His lawyer had to remove the cash by hand.
(End of flashback. Resume to present.)
SARA: How could he possibly know that Catherine was going to mark the money?
WARRICK: He didn't. He probably thought the bank marked it.
NICK: Besides, there's always fingerprints.
CATHERINE: So I did everything in my power to help him.
NICK: Yeah, and he's probably long gone by now.
(CATHERINE'S cell phone starts ringing. She answers it.)
CATHERINE: Willows. (pause) Yeah.
INTERCUT WITH:
OFFICER: That's a beautiful car, that SC-430. Don't get to see a nice car like
that in these parts too often. So when I see one twice in two days, I notice.
Especially when the driver's exceeding the speed limit.
(The officer looks at ROY LOGAN who's sitting in the back seat of his police
car.)
CUT TO:
SCENE #38:
[INT. POLICE DEPARTMENT - HOLDING CELL -- DAY]
(The doors open. CATHERINE walks in. She walks up to the bars of the holding
cell with ROY LOGAN in it.
CATHERINE: Bravo.
(ROY LOGAN looks at CATHERINE and walks up to the bars.)
ROY LOGAN: You know, with all that money on my lap we could've driven to
Mexico.
CATHERINE: That's right. You're short one mistress. I got to hand it to you that was a brilliant performance. But then again, any man who juggles a wife and mistress and god knows what else has to be a pro.
ROY LOGAN: I don't know. You get so used to lying you figure, what's one more?
CATHERINE: Try explaining that to your son.
(CATHERINE leaves.)
FADE TO BLACK.
Fait par Loveangel
