COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. BUDDHIST TEMPLE (STOCK) - NIGHT]
CUE SOUND: MONKS CHANTING
CUT TO:
SCENE #01:
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL -- NIGHT]
(Camera pans the room to show a group of Buddhist Monks praying and chanting. Their eyes are closed. The camera slowly moves toward the monk in the middle facing the large golden Buddha statute.)
(He raises his head and opens his eyes.)
(Someone raises a rifle and cocks the trigger. He fires.)
(Blood spatters onto the lit candle in front of him. The monk falls backward to the floor, blood seeping from the bullet hole in the middle of his forehead.)
FLASH TO WHITE:
[EXT. BUDDHIST TEMPLE (STOCK) - NIGHT]
CUE: THREE MORE GUNSHOTS IN SUCCESSION
SHORT TIME CUT TO:
SCENE #02:
[EXT. BUDDHIST TEMPLE - FRONT WALK -- NIGHT]
(GRISSOM and SARA walk toward the front of the temple. NICK is walking down the temple stairs to meet them.)
GRISSOM: "Wherever you live is your temple, if you treat it like one."
SARA: State your source.
GRISSOM: Buddha.
(They meet up with NICK.)
NICK: Paramedics just pronounced. Four dead, no witnesses. Coroner's on his way. Guy in the robe flagged down an officer.
GRISSOM: "Guy in the robe" is a monk, Nick.
NICK: Yeah? Well ...
(NICK glances back at the lone monk dressed in orange robes standing on the stairs in front of the temple. He turns back to GRISSOM and SARA.)
NICK: He's a quiet monk. Non-native, from Thailand.
(They head for the temple.)
CUT TO:
SCENE #03:
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL -- CONTINUOUS]
(GRISSOM and SARA push the curtain aside and they all view the crime scene.)
SARA: Rug's low pile, smooth. I'll try to dust-lift.
GRISSOM: (nods slightly) Okay. Let's hug the walls.
(SARA nods.)
(They enter the room )
(Grissom shines his flashlight on the monks and sighs.)
GRISSOM: Gunshot to the head. Times four.
SARA: Gold statues ... money trees ... that's a lot of loot to leave behind.
GRISSOM: This wasn't a robbery. This was a hit.
(They continue to survey the room. NICK leans down and examines the bodies. GRISSOM finds a symbol scratched into the wall.)
GRISSOM: Five years ago, West Vegas ... German tourist took a wrong turn, ended up dead. This "placa" was sprayed across the windshield of their rental car.
It's the Snakebacks.
SARA: Gangbangers? At a Buddhist Temple?
NICK: Stippling around entry.
(GRISSOM and SARA turn around to look at NICK.)
NICK: Close range. Looks like they were shot one at a time. How do you get one vic -- let alone four-- to sit still while you put a bullet between their eyes?
GRISSOM: They were praying.
NICK: Yeah, for mercy.
GRISSOM: For whoever was shooting them.
HARD CUT TO:
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
SCENE #04:
[EXT. BUDDHIST TEMPLE -- NIGHT]
(GRISSOM examines the garden out back. As he looks around, he finds the
discarded rifle.)
(Nearby, SGT. O'RILEY is questioning ANANDA, the lone monk.)
SGT. O'RILEY: What can you tell me about the victims?
ANANDA: We came from Thailand to share Buddhism here in Nevada.
SGT. O'RILEY: But you didn't share the last couple hours together. Where were
you?
ANANDA: I was at the bank. We're raising money to build a school. I was
making a deposit.
SGT. O'RILEY: Where are the other monks?
ANANDA: On a retreat. They come back tomorrow.
GRISSOM: May I ask a question? This is a high-crime area. Have you had any
problems here before? Like break-ins or burglaries?
ANANDA: The past ... is in the past.
GRISSOM: True. But sometimes, it leaves its fingerprints on the future.
(GRISSOM pulls out the rifle he found from the bag he's holding to show it to
ANANDA.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
SCENE #05:
[INT. BAR -- NIGHT]
(CATHERINE walks into a bar to talk with her former mentor, JIMMY TADERO. She smiles at the man sitting at the bar as she passes him.)
CATHERINE: (pats him on his shoulder) Aren't you on duty?
(She reaches JIMMY TADERO. He stands to meet her.)
JIMMY TADERO: Hey.
CATHERINE: Hey.
JIMMY TADERO: How you doing, kiddo?
(They give each other a warm hug.)
CATHERINE: Okay. How are you.
JIMMY TADERO: Fine. Sit.
(CATHERINE sits. She signals the bartender for a drink.)
CATHERINE: Whew. Attitude adjustment?
JIMMY TADERO: For the wife. Says she can't face me without it.
CATHERINE: Ah. How is Mrs. Tadero?
JIMMY TADERO: Counting the days till I retire. Nice job on the Logan case.
CATHERINE: Oh.
JIMMY TADERO: Hoo-hoo! Wild ride!
CATHERINE: Mm-hmm.
JIMMY TADERO: You did good.
CATHERINE: Yeah?
JIMMY TADERO: Yeah.
CATHERINE: Well ... I had a good teacher.
(They each take a sip of their drink.)
CATHERINE: So, did you see it? The confession?
JIMMY TADERO: On tv, yeah.
CATHERINE: And what do you think?
JIMMY TADERO: I always regretted the jury didn't give him the chair but I'll take cancer, long as he's gone.
(Quick flashback to: [ON TELEVISION] MARK/DWIGHT KELSO is in the hospital bed with a nasal cannula on. The caption on the bottom of the television screen reads: Prison Hospital / MARK KELSO.)
MARK/DWIGHT KELSO: (raspy) I've made a lot of mistakes. I killed that guy in Reno. But I did not kill Stephanie Watson. (gasping breath) God is my witness, I did not kill her.
(End of flashback. Resume to present.)
JIMMY TADERO: Deathbed denial. Negotiate with god for a better seat in hell.
CATHERINE: What if Kelso didn't kill Stephanie?
JIMMY TADERO: I looked him in the eyes fifteen years ago. He did it.
(Quick flashback to: STEPHANIE WATSON walks down the back stairs to the alley.
MARK/DWIGHT KELSO walks up to her and grabs her from behind. He takes the knife
and stabs her in the abdomen with it. She screams. He drops the knife and runs
away.)
(End of flashback. Resume to present.)
CATHERINE: What if he didn't? I mean ...
JIMMY TADERO: Witnesses saw him bothering her in the club that night. Uniform
picks him up a block from the alley. Knife cut on his hand. Come on, Cath!
CATHERINE: (sighs) Well ... maybe I'm just afraid that if I accept that he
killed her that it's over, and Stephanie's really dead.
(She hangs her head down.)
CATHERINE: (mutters) I ... I don't know.
(JIMMY TADERO puts his hand over CATHERINE'S on the bar.)
JIMMY TADERO: What never lies?
(CATHERINE sighs.)
CATHERINE: The evidence.
CUT TO:
SCENE #06:
[INT. CSI - EVIDENCE ROOM -- NIGHT]
(CATHERINE and WARRICK search through the darkened evidence room.)
CATHERINE: The statute says that once the convicted party is executed or dies,
the evidence can be destroyed. I-it's not here.
WARRICK: Relax. They said it'd be here.
CATHERINE: Yeah, well, people make mistakes.
WARRICK: Well, that's why we have computer tracking. Fourteen ... it was
fifteen, right?
CATHERINE: Yeah. Fifteen ...
(WARRICK finds the box.)
WARRICK: Stephanie Watson, right?
CATHERINE: Yeah.
(WARRICK pulls the box down. They look at it.)
CATHERINE: Yeah, that's it.
SHORT TIME CUT TO:
SCENE #07:
[INT. CSI - EVIDENCE ROOM - NIGHT -- CONTINUOUS]
(The contents of the evidence box are out on the table. CATHERINE and WARRICK
go through the old evidence.)
CATHERINE: This was my old life.
WARRICK: Yeah? We all have a past, huh?
(CATHERINE picks up an old crime scene photo. The label reads:
WATSON, STEPHANIE
CASE #2548713
MARCH 9, 1987 ]
CATHERINE: (sighs) Stephanie was my best friend.
(Quick flashback to: At the club, the night of the murder, STEPHANIE WATSON
meets up with CATHERINE backstage.)
STEPHANIE WATSON: Hey, we still on for tonight?
CATHERINE: (smiles apologetically) I got a gig. I promised him I'd be there.
Forgive me?
STEPHANIE WATSON: Just this once.
(End of flashback. Resume to present.)
CATHERINE: I never saw her again.
WARRICK: What exactly are we looking for?
CATHERINE: (sighs) Peace of mind that they got the killer.
(WARRICK picks up the bloodied knife and holds it out to CATHERINE.)
WARRICK: Well, I'd start with this.
(CATHERINE stares at the knife.)
CUT TO:
SCENE #08:
[INT. BUDDHIST TEMPLE - HALLWAY -- NIGHT]
(O'RILEY interviews DAVID SUDDAHARA, the cook.)
DAVID SUDDAHARA: Forgive me. English is my second language.
O'RILEY: I understand you fine. So, you're the part-time cook here? (DAVID
SUDDAHARA nods.) How many days a week do you work at the temple?
DAVID SUDDAHARA: Three.
O'RILEY: You have a key?
DAVID SUDDAHARA: No need. The door is always open. I told the monks.
O'RILEY: Too trusting. In this neighborhood, yeah. They ever have any
problems with gangs?
DAVID SUDDAHARA: Couple months ago I saw spray paints on the back wall. Gang
signs. I wanted to file a police report, but Ananda ... told me not to.
O'RILEY: Why not?
DAVID SUDDAHARA: I told you.
O'RILEY: "Monks are too trusting."
CUT TO:
SCENE #09:
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL - NIGHT -- CONTINUOUS]
(SARA takes a print off of the carpet.)
(Quick CGI to under the roller and the sheet to show between the sheet and the
flat carpet and the electricity that's being generated. End of quick CGI.)
(SARA get the tape and uses the tape to mark where the sheet has been used on
the carpet. She lifts it up carefully and sees the shoe print. She thinks
about it for a moment, the flips the sheet back over.)
(Short time cut to: The camera slowly "walks" along the carpet to show the
blocked area of masking tape markers of where SARA has already tested for shoe
prints. We see evidence marker #1 where a print has been found. Several tape
marker blocks up, we find evidence marker #2, evidence marker #3 and evidence
marker #4.)
(Sara is examining the first of four cushions the monks were found on. She
finds a stray bullet cartridge.)
CUT TO:
SCENE #10:
[INT. BUDDHIST TEMPLE - NIGHT -- CONTINUOUS]
(NICK looks around and finds the Madonna, "Ray of Light", CD next to the
portable CD player. He puts it back. He picks up another item, shakes his head
then moves along.)
CUT TO:
SCENE #11:
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL - NIGHT -- CONTINUOUS]
(SARA examines the Buddha statute in the room. She looks at the blood spatter
on the unlit candle. She examines one of the smaller Buddha statues and finds
something.)
(Camera zooms in to the black thing stuck to the statue.)
(SARA picks up the statue. She looks up at the other statue and sees a wad of
gum stuck the Buddha's forehead. She removes the soft gum.)
CUT TO:
SCENE #12:
[INT. BUDDHIST TEMPLE - NIGHT -- CONTINUOUS]
(NICK goes through the desk drawer where he finds a magazine, "Naughty Not Nice"
BIG BODACIOUS BADES.)
SHORT TIME CUT TO:
SCENE #13:
[EXT. BUDDHIST TEMPLE - FRONT STAIRS -- NIGHT]
(NICK and SARA sit on the stairs out front. NICK holds out the bagged magazine
in front of him.)
NICK: Interesting reading for a man of the cloth. That monk had it in the
bottom of his desk drawer. (He puts it aside.) And he was the guy handling the
money. You hide one thing from your brothers, then maybe he was hiding more.
SARA: Yeah, but just 'cause you're stashing trash doesn't make you a killer.
NICK: Yeah, I'm just ... talking it out, Sara. What'd you find?
SARA: I found some boot prints on the prayer room rug. Monks don't wear boots,
right, Nick?
NICK: No, no, or read porn or commit murder.
SARA: I also found a smudge with some trace material on a small statue. It was
a partial, some ridge detail, but not make-able and a wad of gum that was stuck
to the big Buddha. All of which is definitely pointing to an outside job.
NICK: Hey, whatever. Outside, inside. Why shoot four people, then leave the
murder weapon behind the temple where even a blind man could find it?
(afterthought) And I hate taking off my shoes.
(SARA smiles. NICK stands up and walks down the rest of the stairs carrying his
bagged magazine. SARA puts the sample back into her kit.)
CUT TO:
SCENE #14:
[INT. CSI - FORENSIC PATHOLOGY -- NIGHT]
(ROBBINS goes over the four autopsies with GRISSOM.)
ROBBINS: All were shot in the third eye, the sixth chakra, vortex of
consciousness. I was a gray's anatomy man, until I lost my legs. I started
getting phantom pains no drug or exercise could control. I began studying the
chakras.
GRISSOM: Well, I do know that the seven chakras correspond to the body's seven
energy centers.
ROBBINS: Each has a color and a vibration.
(Standing next to one of the bodies, ROBBINS points to the part of the monk's
body he's referencing. Quick CGI colors the area with a burst of the image of
the Chakra.)
ROBBINS: Muladhara, the root chakra, keeps us in the physical world.
Svadisthana, seat of sexual energy.
Manipura, melting pot of spiritual and earthly desires. Anahata, the loving
heart. Visuddha, where feelings are given expression. Ajna, the third eye.
Saharsrara, the crown connecting the mortal human to the timeless universe.
GRISSOM: Let's go back to the third eye.
ROBBINS: Ajna, the hub of higher consciousness.
GRISSOM: If someone were threatened by that consciousness, that would be a
logical target, yeah?
ROBBINS: Hmm, there's a very good chance your killer's a Buddhist.
CUT TO:
SCENE #15:
[INT. CSI - DNA LAB]
(GREG SANDERS goes over the blood evidence from the knife with CATHERINE.)
GREG SANDERS: Now, this is where Ecklie swabbed the blood sample from the
blade fifteen years ago. It's your friend's, Stephanie Watson. And we got the
second sample from the handle end. Perfect match to Dwight Kelso, the guy
convicted for Stephanie's murder.
(Close up of the evidence bag reads:
Place Handling Labels Here
Las Vegas Metropolitan Police Department
EVIDENCE
DATE PREPARED: 3/9/87
TIME PREPARED: 23:15
EVENT #: 2543...
[X] RECOVERED
SUSPECT: DWIGHT KELSO
ALLEY BEHIND STRIP
OFFICER'S: CE ]
(CATHERINE looks at GREG.)
CATHERINE: Thank you, Greg. Thank you.
(CATHERINE looks down at the knife.)
GREG SANDERS: Had to be hard on you. Losing a friend, someone that you ...
(CATHERINE abruptly walks out of the lab.)
CATHERINE: I'm taking this to Trace.
CUT TO:
SCENE #16:
[INT. CSI - TRACE LAB -- CONTINUOUS]
(CATHERINE examines the knife under a different color light.)
GREG SANDERS: Did I miss something?
CATHERINE: You see that?
(GREG moves to stand next to CATHERINE to look at the knife.)
GREG SANDERS: Hmm, it's blood. That's a weak sample. That's probably why
Ecklie took the thicker one.
CATHERINE: Fifteen years ago, we figured, why light up something you can't
analyze in the first place?
GREG SANDERS: Yeah, except now, we can replicate DNA a million times, even from
the most minute sample of blood.
CATHERINE: Priority.
GREG SANDERS: Let me know what you find out.
(CATHERINE leaves.)
GREG SANDERS: Yes, ma'am.
CUT TO:
SCENE #17:
[INT. CSI - BALLISTICS LAB -- NIGHT]
[SCOPE VIEW]
(Two bullets are being examined side by side.)
NICK: Bobby D. Shot the test bullet through the rifle you found behind the
temple. It's on the right.
(NICK steps aside and lets GRISSOM look through the scope.)
NICK: Bullet from vic number three on the left. Lans and grooves align
perfectly.
[SCOPE VIEW]
(The two matching bullets are side by side.)
GRISSOM: Well, we've got ourselves a murder weapon.
NICK: Well, we've got more than that. Sara and I found prints off the rifle.
GRISSOM: And?
NICK: Well, I'll give you a hint. He's bald, he wears a robe and he likes his
coeds bodacious.
GRISSOM: (sighs) One survivor, one suspect.
NICK: And a whole lot of bad karma.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
SCENE #18:
[INT. CSI - HALLWAY]
(NICK and GRISSOM interview ANANDA.)
ANANDA: I entered through the back. The rifle was on my desk. I walked into
the prayer room to ask my brothers about the gun. I returned to my office,
placed the weapon outside and went for help.
NICK: Tampering with evidence is against the law.
ANANDA: The temple is a holy place.
NICK: Maybe, but a crime had been committed there.
ANANDA: Please understand, I was obeying my teachings.
GRISSOM: Do your teachings allow you to keep pornography?
ANANDA: Someone left the magazine at the temple. I kept it in case this person
came back.
NICK: Yeah, right.
ANANDA: If you are no longer attached to seeking pleasure, pictures of naked
women mean no more than pictures of waterfalls. I abstain from erotic behavior
not because we believe sex is sinful but because preoccupation with worldly
pleasure diverts us from the path.
GRISSOM: Got to be a lot easier to be a monk in a monastery on a mountaintop
than one on Las Vegas Boulevard.
CUT TO:
SCENE #19:
[INT. CSI - HALLWAY]
(CATHERINE meets up with GREG SANDERS in the hallway where he gives her the test
results.)
GREG SANDERS: I ran that faint blood sample from the knife.
CATHERINE: Wow.
GREG SANDERS: Yeah, I know.
(CONRAD ECKLIE calls out to CATHERINE. GREG leaves. They continue to walk down
the hallway.)
CONRAD ECKLIE: Willows. Just the person I wanted to see. I just signed off on the authorization to destroy evidence in the Stephanie Watson homicides since I was the primary, and then I learned tonight that the evidence has been checked out by you and Warrick. You care to explain that?
CATHERINE: Found a third donor on the knife. Blood's from a male. Unknown.
CONRAD ECKLIE: But Kelso didn't have an accomplice.
CATHERINE: Then you know why we're looking at the file.
(CATHERINE walks into the layout room where WARRICK is examining the photos and the evidence. CONRAD ECKLIE follows her.)
[INT. CSI - LAYOUT ROOM -- CONTINUOUS]
WARRICK: Hey.
CATHERINE: Hey.
WARRICK: Here's the good news. Look at his hands. The cut on his left index finger -- it's just like the evidence log says.
(CATHERINE looks at two photos. One of a close up of a left hand with a cut on
the index finger, and the other of DWIGHT KELSO holding a sign: "DWIGHT
KELSO".)
(CATHERINE hands the photo to CONRAD ECKLIE.)
WARRICK: Kelso's glove is not in any of the crime scene photos, any of the sketches, anywhere.
ECKLIE: Pictures get lost, Warrick. I do remember that glove, though. Kelso's blood was all over it.
(CATHERINE looks at the log book.)
CATHERINE: It is in the evidence log.
WARRICK: You see who logged it in?
CATHERINE: Jimmy Tadero. Booked two days after the murder. So why no photos?
WARRICK: Want me to tag along?
CATHERINE: He's my mentor. If he screwed up, I don't think he's going to want
an audience.
(CATHERINE puts the book down and leaves.)
CUT TO:
SCENE #20:
[INT. CSI -- LAB]
(SARA types on the computer, prepping it for the simulation to test out her theory. GRISSOM sits next to her as she explains her theory.)
SARA: You know those prints that Nick and I got off the rifle?
GRISSOM: D.A. Says it's enough for a warrant. Ananda's already in custody.
SARA: Well, I better talk fast, then. The prints are only telling half the story. You know when a shooter holds a gun ...
(Quick flash to: Person demonstrating how a rifle gun is held.)
SARA: (v.o.) ... he grips the barrel and he wraps his index finger around the
trigger?
(End of quick flash. Resume to present.)
SARA: Ananda never fingered the trigger.
GRISSOM: What about the prints?
SARA: On the weapon, but definitely not where they should be.
(SARA starts the simulation. The computer beeps and the models on the monitor grip the rifle handle and calculates the grip angle. Based upon where the prints where found, SARA figures it out.)
SARA: He held the rifle by the stock, barrel pointing down.
GRISSOM: He never fired it.
SARA: No. Anticipating your next question, the rifle's not registered.
GRISSOM: Well, Nevada doesn't require rifle registration. What's my next
question?
SARA: (smiles) That chewing gum -- is with DNA.
CUT TO:
SCENE #21:
[INT. CSI - DNA LAB]
(GREG SANDERS works on the wad of chewing gum. He takes a swab and tests the sample.)
CUT TO:
SCENE #22:
[INT. CSI -- LAB]
(NICK is in the lab studying the placa carved into the temple wall. The portion of the wall is in the lab. GRISSOM stands next to NICK as he explains his finds.)
NICK: Placa was carved into the panel with a straight-edged blade.
Nondescript. Not much to work with. What's unusual is the placa itself.
GRISSOM: Bangers tag homicides all the time.
NICK: Yeah, but after those German tourists were killed the Snakebacks were
pretty much wiped out. The cops really came down hard on those guys. Twenty-
seven members were put away for ... for murder and weapons possession, drugs,
you name it. According to the gang unit, they've been out of business about a
year.
GRISSOM: So we're looking at a Warhol.
(NICK's brow furrows as GRISSOM looses him with the reference.)
NICK: Hmm?
GRISSOM: Well, it's not a real soup can. It's a painting of a soup can.
NICK: Not a gang member, uh ... wannabe?
GRISSOM: Except, if you want to be in a gang, you can be.
NICK: (laughs) False clue.
(DAVID PHILLIPS walks inside the doorway.)
DAVID PHILLIPS: Excuse me, sir? I'm sorry to interrupt.
GRISSOM: David, stop calling me "sir." What's up with the Air Force?
DAVID PHILLIPS: You're all clear for tonight.
(GRISSOM turns to leave the room with DAVID PHILLIPS.)
NICK: Air Force?
(DAVID turns around to answer NICK.)
DAVID PHILLIPS: My dad's a Colonel out at Nellis. Grissom's requested a
meeting.
NICK: Why?
(GRISSOM turns around and shrugs at NICK.)
GRISSOM: I'm enlisting.
(NICK chuckles.)
CUT TO:
SCENE #23:
[INT. CSI - TELEVIDEO CONFERENCING ROOM -- CONTINUOUS]
(GRISSOM talks with the COLONEL (PHILLIPS) over the teleconferencing video
monitor.)
COLONEL (PHILLIPS): Since 9-11, geosynchronous government satellites have
maintained a constant watch over U.S. Military installations.
GRISSOM: And the surrounding areas as well, right? This temple is less than
two miles from your base. What's the chances your satellite's picked something
up?
COLONEL (PHILLIPS): We can see a postage stamp on the sidewalk outside Lenin's
tomb.
GRISSOM: Cool.
(Quick CGI to: The satellite out in orbit in space. The camera view passes
through the satellite, out through its lens and straight downward to earth. The
view passes through the atmosphere and clouds, straight down to the community to
focus on the car below where it settles on the reflection of a NEVADA license
plate that reads: PROUDUS.)
(End of CGI. Resume to present.)
WHITE FLASH TO:
SCENE #24:
[EXT. COFFEE SHOP PARKING LOT -- NIGHT]
(Camera opens on: NEVADA license plate: PROUDUS. The officer finds the car.
NICK and SARA, both carrying their kits, meet up with GRISSOM who is standing on
the sidewalk looking through a file.)
GRISSOM: Hey. Glad to see you're not in uniform. Only one vehicle passed
through the temple gates around the time of the murders. Parked next to the
monk's car.
SARA: "Proud U.S."
GRISSOM: Registered to a Peter Hutchins.
NICK: Did you get his picture from outer space?
GRISSOM: All photographs were intermittent. None included the driver.
(SARA looks at the building that GRISSOM is standing in front of
SARA: The coffee shop?
GRISSOM: Yep. Would you like to, uh, process the truck?
SARA: Sure.
(SARA takes the sheet that GRISSOM holds out to her. She turns to head for the
car.)
GRISSOM: Thank you.
(NICK and GRISSOM walk into the coffee shop.
CUT TO:
SCENE #25:
[INT. THE COFFEE SHOP - NIGHT -- CONTINUOUS]
(NICK and GRISSOM walk into the Coffee Shop.)
NICK: Hi there.
PETE HUTCHINS, JR.: Can I help you guys?
NICK: Yeah, I'm Nick Stokes. This is Gil Grissom. We're with the Vegas crime
lab.
PETE HUTCHINS, JR.: Pete Hutchins. Uh, cops are always welcome. Any sandwich,
on the house, guys.
NICK: No, thanks. We're here about the murders at the Buddhist temple off
crystal peak drive.
PETE HUTCHINS, JR.: Yeah, I heard about it.
GRISSOM: I heard that, uh, some of the local business owners weren't very happy
with the members of the temple.
PETE HUTCHINS, JR.: The monks? Well, they didn't speak English and that
bothered the other customers. And it's kind of hard to sell beer, sandwiches or
videos when the monks didn't partake in any of those things.
(PETE HUTCHINS, SR., walks out from the back to the front to listen to GRISSOM
and NICK.)
PETE HUTCHINS, SR.: Those monks changed the whole feel of this neighborhood.
I'm not surprised at any of these murders.
GRISSOM: Your name is ... ?
PETER HUTCHINS, SR: Peter Hutchins, Sr.
(SARA walks into the coffee shop.)
PETER HUTCHINS, SR.: You know what? I've owned this shop for 20 years.
Suddenly, these holy robers move in here and business takes a nose-dive. And I
don't care what they say. It doesn't have a damn thing to do with the economy.
Good night, Las Vegas; Good Morning, Vietnam.
SARA: Uh, Grissom, I found these on the front seat.
(SARA hands GRISSOM a plastic evidence bag.)
GRISSOM: Uh, which one of you two guys drives the truck outside?
PETER HUTCHINS, SR.: I do.
GRISSOM: Well, these wouldn't be your prayer beads, would they?
PETER HUTCHINS, SR.: No. Isn't there a law against her sniffing around inside
my truck?
GRISSOM: She has a warrant.
(SARA holds up the warrant to show both PETER HUTCHINS.)
NICK: Sir, your vehicle was seen in the driveway of the temple around the time
of the murders.
PETER HUTCHINS, SR.: Now, why would I go to a Buddhist Temple?
GRISSOM: Probably not looking for salvation.
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
SCENE #26:
[INT. STRIP BAR -- NIGHT]
(CATHERINE sits at the bar with TED BENTON waiting for JIMMY TADERO to arrive.)
TED BENTON: Jimmy's running late. Nothing changes, huh?
CATHERINE: Oh, uh ...
(She laughs.)
CATHERINE: Some things do.
TED BENTON: Aw, you kidding, Catherine?
Any day of the week, honey, you can still have them three deep, lined up at the
bar.
CATHERINE: You were always nice to me, Ted.
TED BENTON: Nice has nothing to do with it, kid. Let's face it, you and this
CSI stuff ... that's where you light up-- you're a natural.
CATHERINE: Jimmy changed my life. And no funny stuff, just mentor and pupil.
Guy delivered me into a whole new life.
(Quick flashback to: CATHERINE is in the backroom putting on her make up.
JIMMY TADERO stands next to her.)
CATHERINE: Hey! Jimmy! What's the case of the week?
JIMMY TADERO: Guy's up a tree, dead.
CATHERINE: Mm-hmm?
JIMMY TADERO: Ex-wife in the bedroom, with the pool man both very alive, if you
know what I mean.
CATHERINE: Guy's spying on his ex. Has a heart attack when he sees her doing
the nasty with the pool man.
JIMMY TADERO: You must have read the coroner's report.
CATHERINE: Just my woman's intuition.
(End of flashback. Resume to present.)
TED BENTON: I wish he could have done the same for Stephanie.
CATHERINE: Yeah.
(JIMMY arrives next to them.)
JIMMY TADERO: Hey, Cath. What's the case of the week?
CATHERINE: Wish I didn't know. You up for this?
JIMMY TADERO: (nods)Ted.
TED BENTON: I'll see you, kid.
CUT TO:
SCENE #27:
[EXT. ALLEYWAY -- NIGHT]
(CATHERINE and JIMMY TADERO stand in the alleyway. CATHERINE is holding an open
file folder.)
CATHERINE: This is where Stephanie was found.
(Quick flashback to: STEPHANIE WATSON on the ground in the alley. Close up of
JIMMY TADERO. End of flashback. Resume to present.)
JIMMY TADERO: (mutters) Worst day of my life.
(CATHERINE turns to look at JIMMY.)
CATHERINE: Over there is where the beat cop grabbed Kelso as he was running out
into the alley.
JIMMY TADERO: That's right.
CATHERINE: Now, do you remember where you found Kelso's bloody glove?
JIMMY TADERO: Up there, around the corner of that dumpster. I figure he'd
dropped it, trying to get away.
CATHERINE: And then you logged it into evidence? No sketches, no photos. Just
brought it in two days after the murder.
JIMMY TADERO: Yeah.
CATHERINE: Arresting Officer never saw a glove, according to the file.
JIMMY TADERO: He was busy trying to corral Kelso. It was dark. I came back in
the daylight. What's going on?
CATHERINE: You always used to say if something doesn't feel right, it probably
isn't.
JIMMY TADERO: What do you want? We got the guy.
CATHERINE: Jimmy, you're not hiding anything, are you? You didn't try to make
things fit ... ?
JIMMY TADERO: I'm going to forget you ever asked that.
(JIMMY turns and walks away leaving CATHERINE in the alley.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
SCENE #28:
[INT. CSI - DNA LAB -- DAY]
(GREG SANDERS processes the black substance found on the golden Buddha statue.
He dips it in a liquid and watches as the liquid turns blue.)
GREG SANDERS: (quietly satisfied) I thought so.
CUT TO:
SCENE #29:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(GRISSOM is looking through a stack of the geosynchronous surveillance photos on
his desk. He examines it with a magnifying glass when NICK walks in.)
GRISSOM: Lot of activity in this neighborhood. You're going the wrong way on a
one-way. Fender bender on the corner. Some guy running down the middle of the
street ...
NICK: Good, we should go after him, then, 'cause the sandwich man's going to
walk. His alibi checks out -- he was in Laughlin with his wife at a farmers
market.
GRISSOM: What about the truck?
NICK: Took the van.
GRISSOM: Left the truck in the driveway. Junior?
NICK: Yeah. Teenage kid, no parents, keys to a ride. I'm all over him.
(GREG walks into the office. He hands GRISSOM the test results.)
GREG SANDERS: Results from the colored material found at the crime scene. I'm
trying to be humble, but once again I have the case breaker.
(GRISSOM reads the test results, then glances up at GREG.)
GRISSOM: You may be right. Paintball paint.
CUT TO:
SCENE #30:
[EXT. -- DAY]
(In the middle of a game in progress, SARA, NICK and GRISSOM walk out into the
middle of the field. Gunfire erupts around them.)
NICK: Whoa, whoa, whoa, whoa! Knock it off!
(One of the players, PETE HUTCHINGS, JR., turns and looks at NICK. He promptly
gets shot in the chest where a burst of red paint explodes on his jumper. He
rips off his mask, frustrated at the interruption.)
(NICK signals him over.)
NICK: Come on over here, Rambo.
(As he makes his way toward them, SARA notices his boots.)
NICK: Wow! One pop to the chest and you're out. You got off easy.
PETE HUTCHINS, JR.: What are you guys doing here?
(SARA takes out the shoe print photo and compares it to the green ink stain shoe
print he just left on the wooden plank. It's a match.)
GRISSOM: Well, we know that your father's truck was at the temple at the time
of the murders. And our lab identified boot prints and paint residue near the
altar.
PETE HUTCHINS, JR..: What kind of paint?
GRISSOM: Water soluble, with flecks of plastic coating like the kind on your
clothes. Toss them in the wash, paint's gone.
(NICK looks at SARA. PETE HUTCHINS turns to look at SARA.)
SARA: You were there, weren't you?
(Camera holds on PETE HUTCHINS.)
CUT TO:
SCENE #31:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(PETE HUTCHINS, JR., and his father PETER, are both there as GRISSOM interviews
PETE.)
PETE HUTCHINS, JR.: I've never been to the temple. (beat) Never.
GRISSOM: Well ... see ...
(GRISSOM takes out a photo of a boot print and puts it on the table.)
GRISSOM: This boot print says you were.
PETER HUTCHINS, SR.: Tell him who you lent your boots to. Tell him, or they'll
accuse you of something else.
PETE HUTCHINS, JR.: Nobody else wears my boots.
PETER HUTCHINS, SR.: Son ...
PETE HUTCHINS, JR.: We heard that this place was freaky, that there was a money
tree and drugs. We wanted to see for ourselves.
(Quick flashback to: PETE HUTCHINS and his friends run into the Buddhist
temple. They rush over to the gold Buddha statues and the money trees.)
LOOTER: Look-- right there, baby.LOOTER: Check it out!LOOTER: That's got to
be solid gold, man.
(The sound of a door opening startles the looting.)
LOOTER: Come on, come on ...
PETE HUTCHINS, JR.: (v.o.) we heard someone coming, and we took off.
(End of flashback. Resume to present.)
PETE HUTCHINS, JR.: That's why you found my boot prints.
GRISSOM: No. You see, our dust lifter is only effective on very recent prints.
I think you were there the day of the murders.
(PETE HUTCHINS, JR. glances over at his father.)
PETE HUTCHINS, JR.: It was a ... (clears throat) it was a week ago when I
went there with my friends. But Tommy, he copped a statue. I went back to
return it, and I was removing my boots when I looked inside and I saw them
laying there.
(Quick flashback to: PETE HUTCHINS, JR. walks into the main prayer hall and
stops when he sees the four monks on the floor dead. End of flashback. Resume
to present.)
PETE HUTCHINS, JR.: I wanted to call the police, but I knew if they found me
there, they'd think I did it.
(GRISSOM leans back in his chair and crosses his arms.)
GRISSOM: How'd you know to remove your boots? You'd been there before?
PETE HUTCHINS, JR.: (hesitates) Maybe.
PETER HUTCHINS, SR.: (to GRISSOM) What are you accusing my son of now?
PETE HUTCHINS, JR.: They were my friends.
PETER HUTCHINS, SR.: Whoa, whoa. (disgusted) Those monks were your friends?
I'm taking a walk.
(PETER HUTCHINS, SR. stands up and leaves the room. The door closes behind
him.)
PETE HUTCHINS, JR.: Someone once asked the Buddha, "How do we escape the heat
of a summer's day?" And the Buddha said, "Why not leap into a blazing furnace?"
CUT TO:
SCENE #32:
[INT. CSI - LAB -- DAY]
(Camera opens on a crime scene photo of STEPHANIE WATSON.)
CATHERINE: I got your beep. Did you run those tests?
WARRICK: Kelso's glove -- embedded in the fabric-- dog hair. I isolated motor
oil on the thumb and the rest of the stains were bloodstains. Kelso's, just
like in the report.
CATHERINE: From where he cut himself stabbing her?
WARRICK: You'd think, but you kind of put me on a wild snipe hunt so I tested
for all biologicals, and I ran amylase and I found saliva.
(WARRICK hands the test results to CATHERINE.)
CATHERINE: Kelso's saliva?
WARRICK: Yeah.
CATHERINE: Well, blood mixed with saliva sounds like a mouth injury.
(Quick flashback to: Someone punches KELSO in the mouth. End of flashback.
Resume to present.)
CATHERINE: Did you check the blood that Ecklie collected from the murder
weapon?
WARRICK: Also amylase.
CATHERINE: Well, how did blood from Kelso's mouth end up on the glove as well
as the knife?
(WARRICK knows, but he doesn't say anything. He looks at CATHERINE.)
CATHERINE: (realizes) Unless it was planted.
CUT TO:
SCENE #33:
[INT. STRIP BAR -- DAY]
(CATHERINE walks into the bar where JIMMY TADERO is sitting.)
CATHERINE: Jimmy. You set him up.
JIMMY TADERO: He killed her.
CATHERINE: You don't know that.
JIMMY TADERO: Yes, I do.
(Quick flashback to: JIMMY TADERO hits DWIGHT/MARK KELSO. He goes down and
looks up at JIMMY.)
DWIGHT/MARK KELSO: (taunting) When I stuck her, she called out your name.
Where's a cop when you need one?
(JIMMY kicks KELSO in the face.)
(End of flashback. Resume to present.)
CATHERINE: Guys like Kelso brag all the time about things they didn't do, cat-
and-mouse ...
JIMMY TADERO: He had a history of roughing up girls. He had a knife cut on his
hand. But the D.A .... got cold feet, released him.
(Quick flashback to: DWIGHT/MARK KELSO and JIMMY TADERO confront each other.)
DWIGHT/MARK KELSO: (taunting) You don't have jack on me.
(JIMMY starts to beat KELSO up. He shoves the glove in KELSO'S bloodied mouth
leaving blood stains on the glove. JIMMY pockets the glove.)
(Cut to: [TEMPORARY EVIDENCE ROOM] JIMMY glances behind him and rubs the
bloodied glove on the knife.)
(End of flashback. Resume to present.)
JIMMY TADERO: I helped the evidence along.
CATHERINE: Good evidence doesn't need help. You taught me that one. I'm going
to have to ask you for a sample of your blood.
JIMMY TADERO: What?
CATHERINE: New technology. We isolated male blood on the murder weapon. It
doesn't belong to Kelso.
JIMMY TADERO: You think I killed Stephanie?
CATHERINE: You were in love with her, Jimmy. That was no secret. But the ring
was.
(This catches JIMMY'S attention.)
CATHERINE: Three karats and she turned you down. Same week she died. I never
thought anything of it till now.
JIMMY TADERO: You're good. You are.
CATHERINE: I'll get a warrant.
JIMMY TADERO: Yeah, you do that. You go get a warrant.
(CATHERINE turns and leaves the bar.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #34:
[INT. CSI - DNA LAB]
(GRISSOM gives GREG SANDERS instructions on how to process the gum.)
GREG SANDERS: Well, I have to warn you, any food I find in the gum is not going
to be unique. Why don't you just give me a suspect I can match to?
GRISSOM: I can't give you what I don't have, Greg. All we're going to have is
what we get from this gum.
GREG SANDERS: All right, then I guess it's slice and dice.
GRISSOM: Thank you.
(GRISSOM leaves the lab. GREG goes to work on the gum.)
CUT TO:
SCENE #35:
[INT. CSI - LOUNGE -- DAY]
(WARRICK walks into the lounge with CATHERINE'S test results.)
WARRICK: Results on Jimmy Tadero's sample. I just got it back from DNA.
(He gives them to CATHERINE in an envelope. CATHERINE takes the envelope and
sighs. She starts to open the envelope, then puts it abruptly back down on the
table in front of her.)
WARRICK: Not going to take a look at it?
(CATHERINE laughs.)
CATHERINE: There was a shooting one night in the club and Jimmy pulls out his
revolver and takes down the bad guy. The guy's on the floor, dying. Even
though this was fifteen years ago, we still knew about aids. Jimmy then puts
his gun away, he leans down -- he starts giving this guy mouth-to-mouth after
having just shot him.
(CATHERINE smiles proudly at the memory.)
CATHERINE: Forget his own life, he's going to bring this guy back. And he did.
WARRICK: You want me to open it?
(CATHERINE sighs heavily. WARRICK reaches for the envelope and opens it.)
(Camera holds on CATHERINE.)
CUT TO:
SCENE #36:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Inside the interview room, through the glass window in the door, we see JIMMY
TADERO and a POLICE OFFICER laughing. CATHERINE pauses outside the doorway and
looks in. JIMMY turns around and sees CATHERINE. The POLICE OFFICER steps
aside.)
CAMERA SLOW MOTION
(CATHERINE reaches the door and opens it. JIMMY TADERO turns around.)
RESUME MOTION
(CATHERINE walks into the room.)
CATHERINE: You've been excluded on the murder weapon.
JIMMY TADERO: I could have told you that. Did you compare the unknown against
the club owner, Ted?
CATHERINE: Yeah, I compared it to Ted. I compared it to every male in CODIS.
There were no hits, nowhere. Have a seat, Jimmy.
(They both sit down.)
JIMMY TADERO: I screwed up -- you want to hear me say it? I liked Kelso.
Maybe I was wrong.
CATHERINE: (nods) Yeah, you were.
JIMMY TADERO: So now what?
CATHERINE: (shakes her head) You know now what.
JIMMY TADERO: You're not serious.
CATHERINE: You put a man away for life on planted evidence, Jimmy.
JIMMY TADERO: He was a scumbag. He copped to another murder.
CATHERINE: Scumbag or saint, what you did is a capital crime. You can't play
with evidence, especially in a murder.
JIMMY TADERO: I can get life in prison if you turn me in, do you know that?
Maybe even the death penalty. Do you know that?!
CATHERINE: What do you want me to do? What do you want me to do? Do you want
me to look the other way? Do you want me to dummy my report?
JIMMY TADERO: I can't believe you're doing this to me. I gave you your career.
CATHERINE: I earned my career and you did this to yourself. You fabricated
evidence, Jimmy.
JIMMY TADERO: You were two steps away from turning tricks. This is the thanks
I get?
(CATHERINE doesn't say anything. JIMMY knows that he's gone too far.)
CATHERINE: (hurt) I danced, period. And instead of feeling sorry for
yourself, think about this. When you were out there planting evidence on a case
that you couldn't break, Stephanie's real killer got away. And he's still out
there ... (pause) ... because you sold the one thing a cop can't afford to sell:
Your integrity. So you tell me, between the two of us who's the whore?
CATHERINE: Arrest him.
(CATHERINE stands up to leave the room. JIMMY stands up and holds out his
wrists as the POLICE OFFICER puts the handcuffs on him.)
(CATHERINE takes his jacket and puts it over the cuffs.)
CATHERINE: You can hate me all you want. I'm going to see you through this.
(JIMMY nods.)
(The OFFICER leads JIMMY out of the room. CATHERINE stands there with tears in
her eyes.)
CUT TO:
SCENE #37:
[EXT. SIDEWALK MARKET -- DAY]
(ANANDA walks through the market carrying his bag of groceries. He greets
people along the way.)
(GRISSOM pulls up in front of ANANDA.)
GRISSOM: If you see the Buddha on the side of the road, kill him.
ANANDA: Because the true Buddha is inside of us so that is the false Buddha or
a tired monk who doesn't drive because he can't control his anger.
(GRISSOM smiles at the humor.)
GRISSOM: Climb in, I'll give you a lift.
(ANANDA opens the car door and gets in.)
GRISSOM: We've cleared the father. The son has also been cleared.
ANANDA: And you're looking for my help. You know my religion better than I
know your science.
GRISSOM: There was a gang placa that was scrawled into the walls of your
temple. It was put there to mislead us. The weapon you found on your desk was
also put there to mislead us. The only other unexplained evidence we have is
the chewing gum. We found traces of curry and saffron.
ANANDA: Somebody ate a meal, then chewed gum.
GRISSOM: Sometimes the best evidence we get comes from what people do when
they're not thinking. Old habits, routines. I don't think the gum was put
there to mislead us. I think it was just a mistake.
ANANDA: And you want to know what I eat for dinner. (beat) Curry and saffron.
CUT TO:
SCENE #38:
[INT. BUDDHIST TEMPLE - KITCHENS -- DAY]
(GRISSOM and ANANDA are in the kitchen.)
GRISSOM: It's the real stuff.
ANANDA: The neighborhood kids thought we imported drugs. We just imported
spices.
GRISSOM: And the five of you ate together that night? Any guests?
ANANDA: No.
(SGT. O'RILEY walks into the kitchen.)
SGT. O'RILEY: How come you don't leave your cell phone on?
GRISSOM: We're in a temple, O'Riley.
SGT. O'RILEY: Oh, sorry. I just left the bank. Mr. Ananda here, you're
playing fast and loose with the school fund money.
(SGT. O'RILEY hands GRISSOM the file folder. GRISSOM looks at it.)
SGT. O'RILEY: You raised just over $13,000 for the school fund, but you only
deposited $12,000. You planning any more trips to Disneyland?
GRISSOM: According to the bank, you opened the school fund account on the same
day as the murders. Where did you have the money before that?
ANANDA: In a box in my office.
CUT TO:
SCENE #39:
[INT. BUDDHIST TEMPLE - ANANDA'S OFFICE - DAY -- CONTINUOUS]
(GRISSOM opens the carved box.)
(Camera zooms in on a clump of yellow powder inside the box. GRISSOM leans in
to look at the powder.)
GRISSOM: Curry powder. Your temple employs a part-time cook.
ANANDA: Mr. Suddahara moved on.
GRISSOM: After you caught him with his hand in the till?
(Quick flashback to: Inside ANANDA'S office, DAVID SUDDAHARA opens the box and removes some of the money. He looks up and finds that ANANDA is in the doorway watching him.)
(End of flashback. Resume to present.)
GRISSOM: Why didn't you tell us about Mr. Suddahara before?
ANANDA: Because a man steals doesn't mean he also kills.
(GRISSOM looks at SGT. O'RILEY.)
CUT TO:
SCENE #40:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(SGT. O'RILEY sits in the room with DAVID SUDDAHARA.)
SGT. O'RILEY: Got any more of that gum, Mr. Suddahara?
DAVID SUDDAHARA: Fresh out.
(The door opens and GRISSOM walks into the interview room reading a file
folder.)
GRISSOM: Yep, his DNA matches the gum sample.
(GRISSOM sits down.)
GRISSOM: You thought Ananda was going to report you to the police for stealing the money.
SGT. O'RILEY: Went home, got his rifle, came back to make sure he didn't talk.
GRISSOM: And he'd gone to the bank to protect the rest of the money but you didn't know that.
(Quick flashback to: Inside the Buddhist Temple, DAVID SUDDAHARA carries the rifle.)
DAVID SUDDAHARA: Where is he?
(The monks continue to pray.)
DAVID SUDDAHARA: Did he go to the cops already? If they ask what I look like, here's your answer.
(He cocks the rifle and shoots. The first monk falls backward onto the floor.)
(End of flashback. Resume to present.)
GRISSOM: I'm curious about one thing, though. Why did you shoot them all in their sixth chakra?
DAVID SUDDAHARA: I shot them between the eyes.
(Camera holds shortly on GRISSOM'S expression.)
CUT TO:
[EXT. TEMPLE SIDEWALK - NIGHT]
(GRISSOM walks up the sidewalk toward the temple. The monks can be heard chanting inside.)
SCENE #41:
[INT. BUDDHIST TEMPLE - MAIN PRAYER HALL -- NIGHT]
(Inside the temple, there are two figures sitting side-by-side chanting.)
(GRISSOM walks up to the veil-covered doorway and looks inside. He pushes the veil aside.)
(Sitting next to ANANDA is PETE HUTCHINS, JR. He turns his head slightly and looks back at GRISSOM.)
(GRISSOM watches them for a moment.)
(PETE turns back to chanting.)
(GRISSOM leaves.)
CUT TO:
SCENE #42:
[INT. CSI - TEMPORARY EVIDENCE ROOM -- NIGHT]
(CATHERINE updates the information on STEPHANIE WATSON'S evidence box. It reads: DO NOT DESTROY. She adds: CASE UNSOLVED and underlines it.)
(Camera holds on CATHERINE.)
BLUR OUT.
FADE TO BLACK.
Fait par Loveangel
