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Les Experts
#219 : Service à domicile

Jane Galloway vit dans la peur, calfeutrée dans son appartement, car un meurtrier la recherche. Mais malgré toutes ses précautions, l'homme la retrouve et la tue. Lorsque l'alarme retentit, il est déjà trop tard. L'équipe des experts, arrivée sur place dans les plus brefs délais, ne peut que constater la mort de Jane. Elle gît sans vie dans sa baignoire, les cheveux teints par l'assassin. Un autre détail intrigue les enquêteurs. Le criminel s'est introduit sans effraction dans l'appartement. Une énigme que rien ne semble, pour le moment, pouvoir élucider. Mais les experts sont tenaces et savent faire parler tous les indices. 


3.88 - 8 votes

Titre VO

Titre VF
Service à domicile

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Nick & Warrick (VO)

Nick & Warrick (VO)



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France (redif)
Vendredi 08.03.2019 à 13:55

Plus de détails

Écrit par : Danny Cannon & Anthony E. Zuiker
Réalisé par : Peter Markle

Avec : Eric Szmanda (Greg Sanders), Robert David Hall (Docteur Al Robbins), Archie Kao (Archie Johnson), Wallace Langham (David Hodges) 

Guests :

  • Doug Hutchison  =  Nigel Crane 
  • Leland Orser =  Morris Pearson 
  • Bryan Kirkwood  =  Adam Piorio 
  • Shelley Robertson  =  Docteur



(Off Screen, a phone rings.)


(Off Screen, the phone continues to ring.)


ANSWERING MACHINE:  No one is available.  Please leave a message.

[CLOSED CAPTION READS:  ANSWERING MACHINE: This is 469-5256.  Please leave a
message at the beep.]


SCENE #01:


(The answering machine beeps.)

(Camera close up of a telephone.  There are 64 messages on the answering

MAN:  (over phone)  Jane, you there?  Pick up.  Okay ... I'll call back later.

(JANE GALLOWAY, a blond-haired woman, sits crouched and cowering on the floor against the hallway wall next to the answering machine table.  She clutches a baseball bat tightly.  The person on the answering machine hangs up.  The phone begins ringing immediately.  It rings once.  The answering machine picks up.)

ANSWERING MACHINE:  No one is available.  Please leave a message.

[CLOSED CAPTION:  ANSWERING MACHINE:  This is 469-5256.  Please leave a message at the beep.]

(The answering machine beeps.)

MAN:  (over phone)  Slut. You can't hide from me, bitch.  Jane, you there?

(JANE GALLOWAY is terrorized by the sudden change of message.  She looks at her front door.  The three locks on her door don't move.  She clutches her baseball bat and nervously chews on her fingernails.)

MAN:  (over phone)  Now, didn't I tell you ... not to bite your nails?!

(JANE GALLOWAY freezes.  She realizes that this person over the phone can see her.  She gets up and rips the phone cord from the wall, stands and runs to the bathroom at the end of the hallway.  She bangs against the bathroom window, both are covered and nailed shut.)

(Unable to get the window open, she runs out of the bathroom and back down the hallway into her bedroom and slams the door shut.  She frantically looks around and backs herself into her closet.  She shuts the door in front of her.  She sits in the dark, cowering in fear.)

(She opens the closet door a crack and looks out.  She sees the bedroom door slowly open wider.  Other than that, nothing.  Her dog whimpers and scratches at the closet door.)

JANE GALLOWAY:  Shoo, Peanut.  Go away. Go away.

(The dog continues to whimper.  She opens the closet door and grabs the dog and pulls him in with her.  She shuts the closet door again.  She pushes herself into the furthest corner of the closet away from the door.)

(Two gloved hands suddenly appear out of the darkness her and grab her from behind.  She screams.  The hands stifle her cries, they cover her mouth.  She struggles.  She screams.  She tries to get away.  She fights.)


SCENE #02:


(JANE GALLOWAY, is bent over her toilet.  Hugging it.  CATHERINE snaps a
photograph.  GRISSOM stands on the side shining his flashlight on the victim. 
CATHERINE continues to snap photographs.)

GRISSOM:  Posed?

CATHERINE:  Reading my mind.

(CATHERINE moves the camera slightly and takes a picture of something across the
room.  GRISSOM immediately shines his light there.  The bathtub has streaks of
red on its rim.)

GRISSOM:  What do you make of the smears?

(CATHERINE takes out a swab from her kit and moves to collect a sample.)

CATHERINE:  It's definitely not blood.  Wrong color, texture.

(She lifts it up to her nose and smells it.)

CATHERINE:  It's hair dye.

GRISSOM:  Her hair's still wet.  You think the assailant surprised her while she
was dyeing her hair?

CATHERINE:  Who called it in?

GRISSOM:  Neighbor lady -- doing the dishes with her window open.  Heard the dog
yelping, evidently.  Called the cops.

(CATHERINE notices the bathroom windows.)

CATHERINE:  There's no sign of forced entry.  The bathroom window's nailed shut.

(GRISSOM and CATHERINE look around.  GRISSOM walks out into the hallway and
notices the doggie bed against the wall.)

GRISSOM:  So, has anyone seen this dog?

CATHERINE:  Dog bed, dog bowl, dog food ... no dog.

(They both walk out of the bathroom and through the hallway.  CATHERINE notices
the front door.)

CATHERINE:  Triple locks on all the doors.  Every shade drawn.  State-of-the-art
alarm system.  As far as we know her place was perfectly hermetically sealed
until the cops batter-rammed their way in.

GRISSOM:  Prisoner in her own home?

CATHERINE:  So, how did he get in?

GRISSOM:  A better question -- how'd he get out?




SCENE #03:


(GRISSOM pushes the curtain away.  The living room windows are covered also.)

GRISSOM:  Aluminum foil.

CATHERINE:  Keeps the sunlight out. GRISSOM:  Keeps the eyeballs out, too.


SCENE #04:


(Camera close up on NICK.  He's staring intently at the victim poised over the
toilet bowl.  For some unknown reason, this scene disturbs him.  He's so intent
on the scene in front of him that he doesn't notice GRISSOM enter the bathroom
through the door behind him.  He doesn't hear GRISSOM approach.)

(NICK jumps as GRISSOM appears right behind him.)

GRISSOM:  Sorry, Nick.  You've been staring at this girl for ten minutes.  Do
you know her?

NICK:  (quietly)  No.

GRISSOM:  Why don't you go do the bedroom?  I'll get the coroner in here and
finish up in the bathroom.

NICK:  Sure.

(GRISSOM motions to the bedroom.  NICK leaves the bathroom.)


SCENE #05:


(CATHERINE is looking for body fluids on JANE GALLOWAY'S bed with an ALS.  NICK
walks in and puts his kit down.)

NICK:  Hey, Catherine, I'll get that.

CATHERINE:  No. I got it.

(Without taking her eyes off the bed, she holds out her hand to NICK.)

CATHERINE:  Tweeze me.  Thank you.

(She picks up a single strand of hair and holds it up for NICK to look at.)

CATHERINE:  So, what do you think?

NICK:  A little thick for a human hair.

CATHERINE:  No, I've seen them this thick.

NICK:  Really?


(NICK pulls out a bindle.  CATHERINE puts the hair inside.)

NICK:  I'll get it to the lab.

(NICK turns away.  CATHERINE stops him.)

CATHERINE:  Oh, and don't forget what's under the bed.

NICK:  Why, what's under the bed?

CATHERINE:  Something that you would have caught eventually ... "Crime Stopper"

(NICK chuckles.)

NICK:  No one's going to let me live that one down, are they?

CATHERINE:  No.  You know, now that you're a celebrity, you may want to think
about getting a new shirt.

NICK:  Yeah?  Well ... I'm short on options.  Besides, the dry cleaners keeps
losing my stuff.

(NICK lifts up the bedding and glances under the bed where he finds a plastic
bag.  GRISSOM enters the bedroom.)

GRISSOM:  What'd you get?

NICK:  Grocery bag with a red smudge.

GRISSOM:  Good.  Fume it.  Tell Sara and Warrick to grab a couple shovels and
dig in, too.


SCENE #06:


(NICK walks through the hallway.  As he passes the bulletin board, he stops to
glance at the latest issue of the "Crime Stopper" newsletter posted on the
boards.  On the cover is a front page article on "Nick Stokes", complete with
photograph on the right.  He sighs and rips the newsletter off the hanging



(As NICK enters the break room, we can hear laughter and giggling.  NICK smiles
and shakes his head.  WARRICK and SARA are sitting at the break table, huddled
over the latest "Crime Stopper" issue.)

WARRICK:  Who wrote this?

NICK:  You're kidding me, right?

WARRICK:  "Nick Stokes, Crime Stopper."

(NICK chuckles.)

WARRICK:  You went Hollywood on me, man.

SARA:  And I quote, "in his off time, he enjoys creating and inventing toys." 
That's fascinating.  What kind of toys do you make, Nick?

NICK:  I thought I got my hands on all those departmental newsletters.  Where'd
you get those?

(Both WARRICK and SARA look up innocently at NICK.  NICK has the article that
WARRICK and SARA were reading.)


SARA:  Greg.

NICK:  Yeah, that figures.  All right, listen, Grissom wants us to divide and
conquer.  Blond hair for you, Warrick.

(NICK hands WARRICK the bagged strand of hair.)

WARRICK: I do love a blond.

(NICK puts the file folder on the table in front of SARA.)

NICK:  Sara, you're on phone records.

SARA:  Yay.

(NICK slowly leaves the room.  He crumples the newsletter on his way out.)

WARRICK:  Hey, I wasn't done reading that.

NICK:  Yes, you are.

(NICK tosses it into the trash can as he leaves the room.)


SCENE #07:


ROBBINS:  We know two things for certain.  Jane Galloway died from a lack of O2
and she is a natural blond.

(ROBBINS and GRISSOM both pause and turn to look at CATHERINE.)

CATHERINE:  What are you looking at me for?

GRISSOM:  Sorry.  So, what -- suffocation?

ROBBINS:  It certainly looks that way.

(Quick CGI POV to close up of an eye being opened by two fingers.  The eyes
redden and the skin around the eye turns a blue-ish color.  Flash to white. 
Resume to present.)

ROBBINS:  Uh, petechial hemorrhaging in the eyes, deoxygenation led to cyanosis,
hence the blue lips ...

(Quick Flash to close up of JANE GALLOWAY'S face with focus on her lips turning
a bluish-color.  Resume to present.)

ROBBINS:  ... blue fingertips ...

(Quick Flash to close up of fingertips turning a bluish-color.  Flash to close
up of face with blue lips turning a bluish-color.  Resume to CATHERINE.)

ROBBINS:  ... and blue face.

GRISSOM:  No ligature marks on her neck.

ROBBINS:  If she had struggled with her assailant that effort alone could have
limited her oxygen intake causing further O2 depletion of the brain ...

(Camera close up of JANE GALLOWAY'S head.  The camera moves in closer to her
forehead and goes through the brain and through the skull to show a tangled maze
of nerves and veins as electrical impulses and flashes of light travel its path. 
Flash to white.  Resume to present.)

ROBBINS:  Easy kill.

GRISSOM:  Sexual assault?

ROBBINS:  No physical findings.  You'll have to check the kit.

CATHERINE:  So, he murders her, poses her, yet he doesn't rob her or rape her.

GRISSOM:  So, what's his agenda?


SCENE #08:


(WARRICK walks into the lab.  GREG is sitting at the table reading a "Teen"
magazine with Pink on the cover.  He doesn't move when WARRICK enters.)

WARRICK:  How's that platinum blond coming?

GREG:  Wrong question.

WARRICK:  Come on, Greg I'm not getting anything out of trace.  I was hoping you
could help me out here.

GREG:  I took a snip, ran a crossed immuno-electrophoresis.

(GREG puts his magazine aside and picks up the bag with the hair sample.  He
tosses it to WARRICK.)

GREG:  Didn't pass.

(GREG goes back to his magazine.)

WARRICK:  Not hair?  Not human?  What are you reading?

(GREG turns the cover over and shows it to WARRICK.)

GREG:  This is Pink.  Pink, this is Warrick.

(GREG looks at the cover.)

GREG:  Do you know how hot you are?  Ssss!

WARRICK:  Bet I know someone who's hotter and I'm not talking about looks.

(GREG looks at WARRICK.)

GREG:  Yeah?


GREG:  How mad is he?

WARRICK:  Watch your back.

(WARRICK leaves the lab.)


SCENE #09:


(NICK is fuming the plastic bag when GREG walks in.  He knocks lightly on the

GREG:  Heard you were looking for me?

NICK:  Greg. Come here.  I want to talk to you for a sec. 

(GREG hesitates at the door.)

NICK:  Come on.

(GREG walks in and stops when he reaches NICK.)

GREG:  What's up?

(NICK slaps GREG on the back and grasps the back of his neck.)

NICK:  Stop invading my privacy, man, I don't like it.  I'm just trying to do my
job around here.  I don't need the extra attention.

GREG:  Okay.  But, I mean, you are the one who's doing the "Forensic Spotlight"
in the department newsletter.

(NICK tightens his grip on GREG'S shoulder.  GREG winces in pain.)

NICK:  I didn't do anything, man.  Someone from the community wrote a letter of
commendation.  Public affairs ran it.  Cool?

(GREG nods.)

GREG:  Cool.

(NICK lets go of GREG and walks around the tank.  GREG sighs and looks into the

GREG:  So, uh, what are you fuming?

NICK:  Plastic bag from the crime scene.  I'm trying to get lucky -- see if I
can get some prints off it.

(NICK opens the top of the tank and starts to fan the fumes.  GREG stares
intently at the plastic bag inside.)

GREG:  Did she die of suffocation?

(NICK stares at GREG, amazed that he got it in one.  GREG still stares at the
plastic bag inside the tank.  He glances up at NICK when he doesn't get a

(NICK catches on that GREG sees something.  He moves back around the tank to
stand next to GREG.  On the plastic bag is the imprint of JANE GALLOWAY'S face.)

(Quick flashback to the plastic bag wrapped around JANE GALLOWAY'S head.  She
struggles and screams.  Flash to white.  End of flashback.  Resume to NICK.)

(Camera holds on NICK.)


SCENE #10:


(BRASS, GRISSOM and SARA walk through the hallway.  GRISSOM is holding an open
file folder.)

BRASS:  Did some digging on Jane Galloway.  Her boyfriend had a TRO against him.

SARA:  And according to the phone records the guy called Jane thirteen times the
day of the murder.

BRASS:  And that's thirteen times too many according to the restraining order. 
We're going to check out his house.

GRISSOM:  I'll be on my cell.

(GRISSOM hands the folder to SARA.  She and BRASS leave.  WARRICK appears in the

WARRICK:  Grissom, you got a second?  I got a mystery.

(WARRICK leads GRISSOM to the lab.)


SCENE #11:

(Microscope view of the strand of "hair" found at JANE GALLOWAY'S residence.)


GRISSOM:  No becke line.


GRISSOM:  Hair refracts light under cross polarization but glass doesn't.


WARRICK:  Well, it's not a hair.  It's a synthetic fiber.  Glass-- what do you
think, fiberglass?

GRISSOM:  Maybe.

WARRICK:  This could be a lot of things.

GRISSOM:  You'll figure it out.

(GRISSOM leaves.  Camera holds on WARRICK.)


SCENE #12:


(BRASS pounds on ADAM PIORIO'S front door.  Both he and SARA wait for a
response.  There's no answer.)

BRASS:  Looks like the boyfriend skipped out on us.

(SARA and BRASS leave ADAM PIORIO'S house #25054.  As they walk away from the
house, SARA notices something.)

SARA:  Hey, Brass?  Isn't that his car?

(Sure enough, there's a car parked across the street in front of a Chevron Tahoe
with Nevada Plates GRO-480.)

(BRASS approaches the car with his gun drawn.  SARA is on her cell phone calling
it in.  BRASS knocks lightly on the side of the car as he makes his way to the
front seat to let whomever is in the car know that he's approaching.)

SARA:  Control, this is P-9241 requesting backup and medical assistance.  The
1800 block of Newhaven Road.  Possible 419.

DISPATCHER:  P-9241, copy.

(In the front seat of the car, a man is hunched over the steering wheel, his
face bloodied and bruised.)

(BRASS puts on a latex glove to check the man's pulse.  SARA unholsters her gun
to cover him.)

(The man in the front seat jumps as BRASS touches him.  This startles BRASS.)

BRASS:  All right, all right.  Get out of the car, get out of the car.

(BRASS opens the car door and the man gets out of the car.  He appears woozy and

BRASS:  Sit down on the ground.  Sit down, sit down.  Sit down; just sit.

(ADAM PIORIO sits down on the road, his back against his own car.)

SARA:  Sir, are you okay?  You all right?  You seem injured.

ADAM PIORIO:  No, I'm all right.

BRASS:  Are you Adam Piorio?

ADAM PIORIO:  Yes. SARA:  Any idea how you got this blood?

(As if he were just made aware that he's been bleeding, ADAM PIORIO pauses to
think about it.)

ADAM PIORIO:  I don't remember.

BRASS:  We're going to take you to a place and help you remember.




SCENE #13:


BRASS:  Let's start again.  What happened last night?

ADAM PIORIO:  I'm telling you,  I don't know.

SARA:  Adam, we're analyzing the blood that we found on your shirt with the
blood of your girlfriend.  It's going to tell us everything that we want to

ADAM PIORIO:  Look, we broke up a few weeks ago.  She ... she started acting
weird for no reason.

SARA:  She had a TRO against you.  Something must have happened to spook her.

ADAM PIORIO:  She changed overnight.  She... she wouldn't return any of my phone
calls.  She started calling in sick at work.  Barricading herself in her own

BRASS:  So, you went to Jane's house. What next?

ADAM PIORIO:  We started arguing.

(Quick flashback to ADAM PIORIO yelling through JANE GALLOWAY'S chained front

ADAM PIORIO:  Open this door.  What do you mean I can't come within one thousand
feet of you?  Open the door.

JANE GALLOWAY:  (screaming)  Stay away from me!

(The front door closes.  Flash to white.  End of flashback.  Resume to present.)

ADAM PIORIO:  I was afraid she was going to call the cops, so I-I left.

SARA:  Well, that's interesting because according to her phone records, she
never did ... call the cops.

BRASS:  But you called her thirteen times.  Once, you're in love.  Twice, you're
obsessed.  More than three, you're a stalker.

ADAM PIORIO:  We just broke up.  All right, I was ... I was rolling on "e" last
night.  Give me a break.

SARA:  Adam?  That's not all you were taking last night.

ADAM PIORIO:  I was on a lot of stuff last night. I was a space cadet.  I'm not
a murderer.

(CATHERINE walks in.)

CATHERINE:  Blood doesn't match our victim.  The girlfriend of a Ricco Manzo
filed the police report last night.  It seems that Adam here put Ricco in the
hospital with a broken nose from a fight at bar 9-1-1.

BRASS:  Well, that's a lucky alibi.  Roll him out of here.

(Two police officers escort ADAM PIORIO out of the interrogation room.)




(NICK walks up the sidewalk and to his driveway.  He's reading the mail.  He
passes a person by on his trek from the sidewalk to the driveway.)

SCENE #14:


(NICK opens his laptop, the basketball game on the television in the

E-MAIL:  You've got mail.

(He reaches for the remote and turns the television volume up a bit.)

On the laptop, the monitor reads:

FROM:  [email protected]
DATE:  THURS, 4 APR 2002 1:46:45 PM E


--- Original Message ----
From:  [email protected]

(NICK chuckles softly and clicks to view the pictures.)

NICK:  (to himself)  Horndog?  It's a blast from the past.

(Picture #1's Caption Reads:  "Me (sober) and my Mom".  Two women standing side
by side.  The taller woman has her arm around the shoulders of the shorter red-
headed woman who is dressed up for the night.)

(NICK takes a bite of whatever he's eating and scrolls to the next picture.)

(Picture #2's Caption Reads:  "Me and Lisa Cutting a rug".  Two women are
standing back to back both in their party dresses, facing the camera as if
dancing with each other.  One dark-haired and the other the same red-haired
woman from picture #1.)

(NICK smiles and nods his head.)

(Picture #3's Caption Reads:  "Someone Spiked the Punch".  The red-haired woman
from the previous pictures hugging the toilet bowl in her party dress.  She
appears to be asleep.)

(NICK smiles at the picture and freezes at the realization that he's seen this

(Quick flash to JANE GALLOWAY'S crime scene in her bathroom.  Flash to white. 
Resume back to NICK.)

(Camera holds on NICK.)


SCENE #15:


WARRICK:  What did your prom date say when you called her?

NICK:  She said that she was cleaning out the attic one day stumbled upon them
thought she'd send them to me for a laugh.

WARRICK:  You think she's a suspect?

NICK:  No. She lives in Bosnia, man.  Maine or something.  She's got three kids. 
What's she going to do, fly in for murder?

(NICK chuckles.  Both he and WARRICK are getting ready for work.  WARRICK sits
on the bench between the lockers and NICK is standing in front of his open
locker putting his things on.  NICK finishes and closes the locker door.  He
sits on the bench next to WARRICK.)

WARRICK:  Stranger things have happened.

NICK:  I don't know.  Something in my gut tells me it isn't right.  Hey, what if
somebody from work tapped into my e-mail?


NICK:  Yeah. Maybe I forgot to log off one day.

WARRICK:  No. You're tripping.

NICK:  No. I'm serious.  Somebody had to have read my e-mail.

WARRICK:  Change your password.

NICK:  I already did.

(Camera holds on NICK.)


SCENE #16:


(GRISSOM and BRASS are walking through the hallway.)

GRISSOM:  How does this relate to the case?

BRASS:  Well, he was an eyewitness, sort of.  I mean, he says he had a vision of
Jane Galloway's murder hours before it happened.

GRISSOM:  He's a psychic?

BRASS:  Well, he has details.  He has details that weren't on the news or the
press release.

(MR. MORRIS PEARSON is sitting alone in the waiting room.  He turns slowly when
GRISSOM and BRASS enters.)


GRISSOM:  Mr. Pearson.

(Mr. Pearson nods his head and starts to get up then sits down when GRISSOM

GRISSOM:  Sit down.  Captain Brass tells me that ... uh ... you had some sort of
"vision" regarding Jane Galloway's murder.

(GRISSOM takes a seat opposite MORRIS PEARSON.  BRASS remains standing.)


GRISSOM:  What kind of vision?

MORRIS PEARSON:  Screaming face in a plastic womb.

(Quick flashback to someone screaming in a haze of white.  End of flashback. 
Resume to present.)

MORRIS PEARSON:  Blood shower.

(Quick flashback to a close up of a shower head with red blood-colored water. 
Another close up of red-blood colored water running down the drain.  End of
flashback.  Resume to present.)

GRISSOM:  Anything else?

MORRIS PEARSON:  Three hearts beating very fast.  Two large, one small.

(Quick flashback to JANE GALLOWAY struggling against her attacker on the bed. 
Sounds of hearts beating.  Sounds of JANE GALLOWAY'S muffled screams.  Peanut,
the dog, barks.  End of flashback.  Resume to present.)

(MORRIS PEARSON shakes his head.  That's all he has.)

GRISSOM:  Okay.  Thank you.

(GRISSOM stands and starts to leave the room.  As he passes BRASS, he whispers.)

GRISSOM:  This is your eyewitness?

(GRISSOM continues to leave.)

MORRIS PEARSON:  (o.s.)  The dog didn't make it,  did it?

(This stops GRISSOM as he leaves.  GRISSOM turns back to MORRIS PEARSON.)


SCENE #17:


CATHERINE:  What about Jane's work history?

(CATHERINE sits down at the table with her cup.)

SARA:  Secretary at a brokerage firm.  About three weeks from the day of her
death she took a leave of absence.

CATHERINE:  Medical records?

SARA:  She saw Dr. Slater.  Had a prescription for valium and librium.

(SARA shows the report to CATHERINE who takes it and looks at it.)

SARA:  Severe anxiety due to personal reasons.  One day back from leave, Jane
quits her job.  No notice.  Hotel receipts show she checked into the Monaco for
two nights.

(SARA hands the hotel receipts to CATHERINE.)

SARA:  A week before that she goes on a frightened woman shopping spree.

(SARA shows CATHERINE the hardware receipts.)

SARA:  Hardware shop receipts for locks.  Locksmiths.  Alarm installations. 
Phone screeners.  The voice on her answering machine-- electronic.  She change
her telephone number.  She cancels all but one of her credit cards.

CATHERINE:  It's as if she's trying to make herself disappear.

SARA:  Make no mistake.  Jane Galloway was being stalked.  Emotional terrorism
at its finest.

CATHERINE:  And her boyfriend had an alibi?

SARA:  Here's the, uh, worst part.  Uh, I ran a phone check on all her incoming
calls.  Guess where they were coming from.

(CATHERINE looks at the phone record SARA gives her.)

4/16  /   2:44 pm / Las Vegas, NV  555-0146
4/16  /   2:56 pm / Las Vegas, NV  555-0198
4/16  /   5:15 pm / Las Vegas, NV  555-0287
4/16  /   5:18 pm / Las Vegas, NV  555-0188
4/16  /   5:18 pm / Las Vegas, NV  555-0188
4/16  /   5:18 pm / Las Vegas, NV  555-0188
4/16  /   5:19 pm / Las Vegas, NV  555-0188
4/16  /   5:19 pm / Las Vegas, NV  555-0188
4/16  /   5:19 pm / Las Vegas, NV  555-0188
4/16  /   5:20 pm / Las Vegas, NV  555-0188
4/16  /   5:20 pm / Las Vegas, NV  555-0188
4/16  /   5:20 pm / Las Vegas, NV  555-0188
4/16  /   5:21 pm / Las Vegas, NV  555-0188
4/16  /   5:21 pm / Las Vegas, NV  555-0188
4/16  /   5:21 pm / Las Vegas, NV  555-0188
4/16  /   5:22 pm / Las Vegas, NV  555-0188
4/17  /  10:48 am / Summerlin, NV  555-0173
4/17  /  04:16 am / Summerlin, NV  555-0189
4/17  /   3:43 pm / Las Vegas, NV  555-0132
4/17  /  12:04 pm / Henderson, NV  555-0173

(She looks shocked when she realizes what SARA found.)

CATHERINE:  Inside her house.


SCENE #18:


(In the room next door, MR. MORRIS PEARSON calmly dips a tea bag into his cup. 
In the observation room, BRASS and GRISSOM sit and watch as MORRIS PEARSON
watches his tea bag.)

BRASS:  So I ran Merlin's, uh, credit card with his permission.  Do you know
where he was the night of the murder?  Monaco Hotel.  Room 834.  Guess who was
in the adjoining room?  Jane Galloway.

(BRASS looks at GRISSOM.  GRISSOM looks at the  interrogation room next door. 
MORRIS PEARSON continues to calmly dip his tea bag into his cup.  He raises his
head and looks at them as if he knows that they're looking at him.)





SCENE #19:


(MORRIS PEARSON stands facing the connecting room door.)

GRISSOM:  Why didn't you tell us you were staying here?

MORRIS PEARSON:  I didn't know she was your victim.

BRASS:  According to the front desk you placed a call to Jane Galloway's room
at, uh 9:12 P.M.?  Lasting 21 seconds?

GRISSOM:  May I ask what you two were talking about?


(Quick flashback to JANE GALLOWAY in her room unpacking her bag when the phone
rings.  JANE GALLOWAY gasps and stares at the phone.  Cut to JANE GALLOWAY
answering the phone.)


(Cut to MORRIS PEARSON on the phone.)

MORRIS PEARSON:  I'm calling from the next room.  I don't mean to alarm you but
I'm feeling some negative energy coming from your room.

(Cut back to JANE GALLOWAY slamming the phone on the receiver without
responding.  Flash to white.  End of flashback.  Resume on MORRIS PEARSON.)


MORRIS PEARSON:  S-she wouldn't talk to me.  I-I get that a lot.

GRISSOM:  But evidently, you called her back.

MORRIS PEARSON:  Yes, she picked up, and hung up.

BRASS:  Phone records say that she received three calls.

MORRIS PEARSON:  Twice, I believe.

GRISSOM:  The front desk records also show that she checked out that night.  And
you checked out shortly thereafter.  Why?

MORRIS PEARSON:  Well, she was suffering, and I shared her fear.  Seems my
intuition was accurate, as it turns out.

(MORRIS PEARSON turns back to face the connecting room door.  He sighs.  He puts
out a hand to the closed door.)

MORRIS PEARSON:  You don't believe me, do you?

GRISSOM:  Mr. Pearson, I'm a scientist.

MORRIS PEARSON:  And I am a clairvoyant.  You see science without abstractions. 
I see visions with abstractions.


MORRIS PEARSON:  Am I less credible than you Mr. Grissom?

GRISSOM:  These visions that you've had in the past ... nothing specific
triggered them?

MORRIS PEARSON:  Sometimes a touch or an object.



GRISSOM:  And you were hoping to heal Jane Galloway?

MORRIS PEARSON:  I was only hoping to comfort her.  I'm bound by that

GRISSOM:  So, these visions you told us about earlier?  These are the only ones
you've experienced?

MORRIS PEARSON:  I have more.

(MORRIS PEARSON closes his eyes and takes a deep breath.)


(Quick flashback to the three locks on JANE GALLOWAY'S front door and hands
frantically locking them.  Flash to white.  Resume to present.)

MORRIS PEARSON:  Three locks.  Hanging ... ghosts, hanging ghosts.

(Quick flashback to the inside of a closet.  Cut to an attic.  Flash to white. 
End of flashback.)

MORRIS PEARSON:  ... Chest to back, back to chest.  A frames, wooden beams ...
church dark.





SCENE #20:


(Close up of JANE GALLOWAY'S front door and its three locks.  The door slowly
opens.  GRISSOM walks in.  MORRIS PEARSON follows.  An officer stands outside
the front door.  GRISSOM closes the front door.  MORRIS PEARSON looks around and
turns to face GRISSOM.  GRISSOM points to the locks.)

GRISSOM:  Are these the three locks you saw?

MORRIS PEARSON:  Yeah ... they-they seem different, though.  Perhaps it's the

GRISSOM:  What do you mean?

MORRIS PEARSON:  It seemed ... I was looking down on them.

(MORRIS PEARSON looks up at the ceiling.  GRISSOM looks up at the ceiling.)



(MORRIS PEARSON walks into the bedroom.  GRISSOM follows.  He watches MORRIS
PEARSON.  MORRIS PEARSON stops in front of the open closet door with hanging
clothes in it.)

GRISSOM:  Is this what you saw?

MORRIS PEARSON:  Yes ... only it was ...

GRISSOM:  ... from above.

(MORRIS PEARSON nods slightly.)

(GRISSOM takes out his flashlight and shines the light into it.  He looks up
into the closet.  In the back of the closet behind her things, he sees the hole
in the ceiling.)


SCENE #21:


(GRISSOM walks gingerly across the attic floor.  He sees some areas where the
floorboards are removed with the insulation.  He kneels down and notices a small
corked hole in the board with a label, "LIVING ROOM".  He uncorks the hole and
peers through it.)

(Cut to CATHERINE walking in JANE GALLOWAY'S living room.  She's carrying her
CSI kit.  Her cell phone rings.  She answers it.)


GRISSOM:  (on phone)  Pick a number between two and five and indicate it with
your fingers.

(CATHERINE puts her kit down.)


GRISSOM:  (on phone)  Please humor me.

(CATHERINE does a complete turn around, scanning the room looking for GRISSOM. 
She doesn't see him.  She holds up four fingers.)

GRISSOM:  (on phone)  Four. Thank you.

(CATHERINE'S eyes widen at his accuracy.  She still can't see GRISSOM.)

CATHERINE:  Where are you?

GRISSOM:  (on phone)  Look up.  Jane's bedroom closet has a door to the attic.

(Cut back to close up of the hole looking down at CATHERINE one floor below. 
CATHERINE looks back up at the ceiling.  She's holding four fingers up.)

(GRISSOM turns off his cell phone and puts it away.  He notices the fiberglass
insulation and picks up a small pinch of it for closer examination.  He tosses
it aside and continues his search in the attic.)

(On the far wall near the attic window, he sees a red phone hook-up spliced into
the current phone system.  He moves closer to look at it.  He clips the phone to
the exposed wires and picks up the phone.)



(WARRICK'S cell phone rings.  He answers it.)

WARRICK:  Warrick.

GRISSOM:  Warrick, Grissom.  You know that blond fiber we were looking at?

WARRICK:  Fiberglass insulation -- comes in pink and yellow.  But you already
knew that.  Is that why you're calling?

GRISSOM:  Not really.  I was checking a phone line.  But good work.


(WARRICK hangs up his phone.)

(Cut back to the attic.  CATHERINE climbs up into the attic.)

GRISSOM:  He tapped into her second line.  He's got a peep hole into every room. 
They're labeled.

CATHERINE uncorks the hole labeled, "BATHROOM".  She peers down at MORRIS
PEARSON.  He looks back up at her.)

CATHERINE:  Uh, Gil, there's a, uh ...

GRISSOM:  (casually)  Yeah.  He's our psychic --  Mr. Pearson.


(CATHERINE stands up and starts looking around the attic.)

GRISSOM:  You know, I don't think this thing was about sex at all.  I think it
was about control, voyeurism.  Jane was like his, uh, little goldfish.

CATHERINE:  Then why kill her?  And why ... leave all this stuff behind?

(CATHERINE looks inside an uncovered box with a lot of electronic equipment
inside.  GRISSOM joins her.)

CATHERINE:  Interesting collection of toys.

(She picks one up.)

CATHERINE:  Digital camera ... with a fiber-optic lens.

(Quick flashback to JANE GALLOWAY in her bathroom sitting on the toilet.  Flash
to white.  Resume to present.)

GRISSOM:  Night vision goggles.

(Quick flashback to gloved hand uncorking the hole labeled, "BEDROOM."  Green-
tinged view of JANE GALLOWAY sleeping.  Cut to view of person using the camera
through the hole in the attic.  Flash to white.  Resume to present.)

CATHERINE:  Digital recorder.

(Quick flashback to person holding the recorder over a hole in the attic. 
Camera focuses on JANE GALLOWAY'S toes and her painting her toenails red.  Flash
to white.  Resume to present.)

(CATHERINE puts the camera down.)

CATHERINE:  I'm guessing he's got microphones all over the house.

GRISSOM:  Probably.

(CATHERINE sighs.)

CATHERINE:  Same question -- how did he get in?

(GRISSOM looks up at the only window in the attic.  CATHERINE stands to check
the window latch out.)

GRISSOM:  Well, this only opens from the inside.  So at some point it's possible
that Jane let him in.


SCENE #22:


(CATHERINE walks down the attic roof.  GRISSOM gives her hand.)

CATHERINE:  Thank you.

(They both stand on top of the roof looking out at the neighborhood below.)

CATHERINE:  So.  Who do we let into our homes every day?

GRISSOM:  Well, pretty much ... if you got a uniform on, you can walk right in
the front door.

(On that day alone, the gasman closes his truck door.  Across the street,
another uniformed man in a yellow truck carrying a kit walks toward a house. 
The camera angles on the many satellite dishes on roofs of a couple of houses.)

CATHERINE:  So, we go through her bills and we see which utility companies
worked on her house.


(SARA walks toward a man standing next to a truck.  She's carrying a file folder
and stops to speak with him.)

(Cut to CATHERINE stopping two men carrying a roll of carpet.)

(Cut to GRISSOM approaches the local meter reader.)


SCENE #23:


(NICK and WARRICK walk up the driveway to house #23422.  NICK instantly
recognizes the truck in the driveway.  WARRICK follows behind.)

NICK:  Luna Cable.  Good company, same as mine.  One hundred fifty channels. 
I'm telling you, you got to get it, man.  The last three weeks have been heaven.

(They both walk up the outside stairs to the second floor front door.  Behind
them, a man with glasses walks by.  He's wearing a utility belt and watches them
walk up the stairs.)



(NICK knocks on the front door.  It opens slowly.  The door wasn't closed

NICK:  Mr. Crane?

(NICK and WARRICK slowly walk inside.)

NICK:  Nick Stokes, Criminalistics.

(A cell phone rings.  WARRICK answers it.)

WARRICK:  Hello.  Hello?  I-I can't hear you.  H-hold on.

(WARRICK steps back outside the house to answer the phone.  NICK continues
deeper into the apartment.)

NICK:  Mr. Crane, your door's open.  Just want to ... ask you a couple

(NICK glances down the empty hallway.  Cut to WARRICK standing outside the front

WARRICK:  I can hardly hear you.  We're at the, uh, satellite guy's house that
installed Jane's cable.

(Cut back to inside the house where NICK notices drops of something on the
floor.  He puts on his latex gloves and moves toward it to investigate.)

(The drops end at the cabinet.  NICK opens the cabinet and pulls out the trash
bin.  He digs through the trash.  Behind him from above, a pair of legs silently
lower themselves to the floor from the pantry ceiling.)

(NICK continues to dig through the trash where he finds on the bottom buried
under everything else, a single red-stained latex glove.  Behind him, the man
successfully lowered himself to the kitchen floor without NICK noticing him at
all.  NICK holds up the latex gloves.  NICK glances up.)



(Just outside the front door, WARRICK is still on the phone.  From the window
beside him, NICK crashes through the second story window and falls backward to
the ground below.)


(WARRICK glances down below at NICK who is not moving.  He turns around and
pulls out his weapon.  He rushes cautiously into the house and peers down the
empty hallway.  He slowly backs out of the house and calls for assistance on his
cell phone.)

WARRICK:  (to walkie-talkie)  Patrol.  Request immediate backup.  Immediate
backup.  Officer down.  I need emergency medical assistance!  Eight-two-six ...

(He exits the house and back down the stairs to render aid to NICK who hasn't
moved from his position down in the bushes below.  WARRICK hangs up and checks
NICK who still hasn't moved.)

WARRICK:  Nick!  Nick.




SCENE #24:


(The doctor just finishes checking up on NICK who's asleep in the hospital bed. 
The doctor leaves and walks out of the room.)


(SARA and CATHERINE stand as the doctor exits NICK'S room to give them an
update.  GRISSOM and WARRICK are also there.)

DOCTOR:  Concussion, two cracked ribs, sprained wrist, five stitches to the
forehead.  It could have been a lot worse.

WARRICK:  But 's going to be all right?

DOCTOR:  He needs rest.  But I don't see why he can't go home relatively soon.

GRISSOM:  Thank you, doctor.

(The doctor leaves.)

WARRICK:  Damn it.  Grissom, this guy was right there.  I could have had him.

GRISSOM:  You helped out Nick.  That was the right thing to do.

WARRICK:  Doesn't feel like the right thing.

CATHERINE:  You know, Nick was alone.  The Stalker could have killed him and

GRISSOM:  Yeah, I wonder why.  Let's go back over there.

(CATHERINE is already walking down the hallway, WARRICK straightens to follow.)

WARRICK:  I'm going with you.

(GRISSOM puts a restraining hand on his shoulder as he turns to leave.)

GRISSOM:  No, no.  You need to calm down a little.  Talk to Nick when he wakes

(SARA remains behind in the hallway next to WARRICK.)


SCENE #25:


(CATHERINE and GRISSOM stand in front of the living room window.  The same
window NICK was pushed out from.  GRISSOM is reading from a clip board he

GRISSOM:  Nigel Crane, age 37.  No criminal record.  Working for Luna Cable for
eleven years.  No immediate family, lives alone.  Last seen by co-workers two
days ago.  No priors.

CATHERINE:  Not a stick of furniture ... except for a computer and a chair.

(GRISSOM and CATHERINE both look at the laptop on the crate against the wall and
the chair in front of it.  CATHERINE puts her kit down to examine the window
more closely.  GRISSOM walks forward examining the ceiling as he goes.)

(GRISSOM enters the kitchen and immediately notices the step ladder in the
pantry.  He puts the clip board on the counter and glances up at the door in the
pantry ceiling.  He turns off his flashlight and turns on the pantry light.  He
climbs the step ladder and pushes the ceiling door open.)



(GRISSOM reaches up and turns on the attic lights.  He glances around and sees
all the comforts of home.  He also sees the video tape library and various
electronic surveillance equipment.  All the video tapes are labeled and dated.)



(CATHERINE opens the cabinet door and pulls out the trash bin.  She starts going
through the trash when GRISSOM falls to the pantry floor with a loud thud,
scaring CATHERINE.)

CATHERINE:  (startled)  What the hell?!

(GRISSOM points to the attic.)

GRISSOM:  He lives up there.  Not down here.  Works, sleeps changes his clothes
... everything in the attic.  He looks down on the world separating himself from
others.  Fascinating, really.

CATHERINE:  Well ... you're going to love this.

(CATHERINE points to the side of the trash bin.  There's a long streak of red on
its inside.)

GRISSOM:  Red dye.

CATHERINE:  Yup.  Now what?

(GRISSOM holds up a digital tape.)

GRISSOM:  Dinner and a movie?


SCENE #26:


(On the television monitor, a montage of clips of various people walking on the
streets of Las Vegas is shown.)

of video tapes are on the table in front of GRISSOM.)

NIGEL CRANE:  (v.o. on tape)  Walking pukes.  Soulless, lost, useless, sick
puppets.  Little sheep looking for direction.  Gullible ...  (video fizz)  From
an airplane they used to look like ants.  And now ... they're all ants all the
time.  You squash one ...

(The video clips are intermixed with video clips of NIGEL CRANE himself.)

CATHERINE:  Well.  Just think, this is only tape one.

NIGEL CRANE:  (v.o. on tape)  They all start running around in a panic.

(Camera holds on GRISSOM as he watches the tape.)


SCENE #27:


DOCTOR:  Now, these painkillers are the real deal, okay?  Don't overdo it. 
Plenty of rest.  No work for at least a week.

(The doctor hands the medication to WARRICK.  NICK is sitting in a wheelchair
and SARA'S behind him.)

SARA:  Will do, thank you, doctor.

(The doctor leaves.  SARA pushes the chair and they all walk down the hallway.)

NICK:  The gloves, you find them?

WARRICK:  Catherine thinks he might have got away with them.  But, uh, Grissom
did find some wacky video collection.

NICK:  Of what?

SARA:  (interrupting)  Now, did you not just hear the doctor?  You're supposed
to rest.  We're on it, okay?

WARRICK:  Yeah, relax, Ironside.


SCENE #28:


(CATHERINE, GRISSOM and ARCHIE JOHNSON continue to watch the video tapes.  The
current one in the machine is the night vision view of JANE GALLOWAY sleeping.)

NIGEL CRANE:  (on video)  I see you, Jane.  Do you feel me?  Do you feel me?

(The video tape fast forwards.)

NIGEL CRANE:  (on video)  You ... you will never get me.  No.  Not the way he
does.  And we all get what we deserve.  And I ... I got a friend.

(SARA and WARRICK enter the lab.)

SARA:  How's it going?

GRISSOM:  How's Nick doing?

SARA:  Well, groggy.  How's the epic?


WARRICK:  Gotten any clues as to where this guy might be?

GRISSOM:  Not really, not yet.

(CATHERINE sees something on the video screen.)

CATHERINE:  Archie, freeze it.

(The video tape pauses.  CATHERINE points to the screen.)

CATHERINE:  Do you see that behind him?  To the left hand of the screen?  Can
you focus the pixels?

(ARCHIE JOHNSON starts typing.  He click and drags the area CATHERINE points to
and enhances the image.)

ARCHIE JOHNSON:  Okay, we're now at 26 times magnification.  Rendering at 1086

(The image enlarges and clears.  It's the article of NICK.)

CATHERINE:  That's the "Crime Stopper" article.

GRISSOM:  Isn't our newsletter for in-house only?

CATHERINE:  Do you think he knows Nick?

WARRICK:  He may know him well enough to read his e-mail.

SARA:  Found that photo of Nick and his prom date.  Used Jane Galloway to
emulate the photo?

GRISSOM:  Why would he do that?  Why Nick?

SARA:  Nick has satellite cable, right?

WARRICK:  Lunar Cable- a hundred and fifty channels.

GRISSOM:  Wait a minute we've been doing this the wrong way.  We need to see the
last tape.

(GRISSOM turns around to the stack of tapes on the table behind him.  He digs
out the last tape and hands it to ARCHIE JOHNSON.)

GRISSOM:  Archie, play this.

(ARCHIE hits play.  Video camera close up of NIGEL CRANE instantly appears on

NIGEL CRANE:  (on tape)  It's like he, he's ... he's the kind of guy I always
wanted to, um ... to be.  And that's why it's so great, because ... we're
friends now.  I feel like I can count on him, you know?  And you know what?  I
think if it came right down to it he would lay his life down for me.  Ask him. 
A-a-ask Nick.  Nick, would you let me stop your heart?


SCENE #29:

(Camera close up of a prescription container with the following information on

(FILL DATE)  4/17/02
PHONE NO.  555-0190
(EXPIRES)  04/17/03
(REFILL)  0  (BY) 11/17/02


(NICK takes some tablets with a drink of water.  He settles himself slowly and
painfully on his sofa.  He leans back and closes his eyes.  There's a knock at
the front door.)

NICK:  Who is it?

MORRIS PEARSON:  (o.s.)  My name is Pearson.  Morris Pearson.  We haven't met. 
I worked with Mr. Grissom on the Jane Galloway case.

(NICK gets up off the sofa and walks to the front door.)

NICK:  It's almost one in the morning.  What do you want?

(NICK peers through the peep hole.  It's MORRIS PEARSON.)

MORRIS PEARSON:  I've had more visions.  Please let me in.

(Nick opens the door.)

NICK:  Yeah, maybe but look ...

(MORRIS PEARSON immediately steps into the house.  NICK tries to get him to leave, but MORRIS PEARSON is insistent and continues to walk into the house. He rambles as he walks.)

MORRIS PEARSON:  Please, please let me in.

NICK:  I can't just let you in my...

MORRIS PEARSON:  Please, please, please...

NICK:  Hey, hold up.

MORRIS PEARSON:  I saw this house.  I saw this house, I saw the number I saw the street name.  Something is wrong here.  Something terrible is going to happen here

NICK:  Sir ...

MORRIS PEARSON:  I can feel it.

NICK:  Sir.  Sir ... You're going to have to leave.

MORRIS PEARSON:  Please, please, listen to me.

NICK:  Get out of here.

MORRIS PEARSON:  (yells desperately)  Listen to me!

(Both men stop yelling at each other.)

MORRIS PEARSON:  I saw the address.  I saw this address.

NICK:  You saw my address?

(NICK looks at MORRIS PEARSON.  He walks slowly toward him.  MORRIS PEARSON continues to walk into the house.)

MORRIS PEARSON:  Yeah, but that's not it, that's not it.  I saw, I saw ... I saw crashing.  I saw ... falling and crashing-- I saw somebody seeing through the back of his head.  I don't know, I don't know ...

(MORRIS PEARSON stops walking in NICK'S living room. He suddenly swings around to look at NICK.)

MORRIS PEARSON:  Green tea!  Green tea!  Does that mean anything to you? Green tea?

NICK:  I don't know.

(NICK sighs and shakes his head.  NICK'S phone rings.)

NICK:  Just ... (he answers it.)  Hello?

GRISSOM:  Nick, listen, he's been in your house.

NICK:  Who?



GRISSOM:  Nigel Crane, the Stalker.  Brass is one his way with two uniforms to put at your door.

NICK:  Yeah, well, I'm not alone.


NICK:  Your psychic's here.

GRISSOM:  Good, keep him there.

(GRISSOM hangs up the phone.)


(NICK hangs up his phone.  He takes out his weapon from the cabinet beside the phone and turns to find MR. PEARSON.  Only, he's not in the living room anymore.)

NICK:  Mr. Pearson.  (Gun cocking.)  Mr. Pearson.  Mr. Pearson ...

(NICK walks down the hallway.  He checks the room.  He checks the back door. It's locked and chained.  He looks out the window.  He doesn't see anything.)

NICK:  Mr. Pearson, you back here?

(He walks back the hallway and looks in the next room.  The wood floors creak. He hears a muffled thump.)

(NICK stands still and listens.  He looks up at the ceiling.  He holds his gun pointed at the ceiling and slowly walks back to the living room. From up above, we see that his living room carpet has a large, green letter "T" in the center.)

(NICK holds his gun drawn upward.  A body crashes through the ceiling roof and down to the living room floor.  Ceiling plaster and dust plumes everywhere. NICK drops his gun.  Through the dust, NICK recognizes MORRIS PEARSON.  He moves closer to check the man's pulse when NIGEL CRANE jumps down through the hole in the ceiling startling NICK.)

(NICK notices NIGEL and reaches for his gun.  NIGEL'S quicker and picks it up first.)

NIGEL CRANE:  Oh, man.  You got to ... you got to watch who you let in here. Guy was snooping around all over the place.  You know, smart move.  Spare gun.

(NIGEL CRANE slaps the side of the gun twice.  He moves backward and points to the cabinet by the phone.)

NIGEL CRANE:  Ah.  Keep it right by the phone right?  Right next to your address book and, and take out menus.

(NIGEL CRANE checks the front door.)

NICK:  Cops are on their way.

NIGEL CRANE:  Yeah.  I heard that.

(NIGEL CRANE moves to the living room and pulls down the blinds.  That's when NICK notices it.)

NICK:  You wearing my clothes?

NIGEL CRANE:  Oh, yeah.  I'm ...

(NIGEL CRANE looks back proudly at NICK.  He exhales deeply.

NIGEL CRANE:  You know, I-I-I picked these up at the dry cleaners and I ... I hope you don't mind.  It's just that ... I'm sorry I, I just get a little confused about what's yours and what's mine.

NICK:  You know what?  I'm a little confused here myself.  Uh, why don't you refresh my memory.  When did we meet?

(NIGEL CRANE looks incredulously at NICK.  He snorts.)

NIGEL CRANE:  Sports package.  Hundred fifty channels.  I-I-I even threw in a few movie channels.  Free.  We-we-we talked, like, forever.  I mean, it's like I knew you my entire life.

NICK:  You installed my cable.

NIGEL CRANE:  Yeah.  The ... the minute I met you I knew we connected.  Because you told me what you did and I knew exactly what you were talking about, because ... that's what I do.  I do it, too.  You know, I observe people.  I-I-I notice everything about them.  I watch them.  All the time.

NICK:  Like you watched Jane Galloway?

NIGEL CRANE:  Jane was cool.  But, um, it would have never worked out between us, you know.  Never.  I mean, she had a boyfriend and she was kind of stuck up.  And you know what, she would have totally, totally gotten between us.  So, you know, consider that a gift.

NICK:  A gift?

NIGEL CRANE:  Yeah.  Prom night.  Your date.  Melissa.

(Quick flashback to the photograph of MELISSA over the toilet bowl fast asleep.  White flash to JANE GALLOWAY poised over the toilet seat dead.  End of flashback.  Resume to present.)

NIGEL CRANE:  Bent over the toilet puking her guts out.  Is that ringing any bells, huh?

NICK:  Yeah.

NIGEL CRANE:  You know, I mean, Jane's hair was the wrong color but, you know obviously, I fixed that.  Because I know how much you love redheads.  You know, you ... you mentioned her name in your sleep.

NICK:  You watch me sleep?


NIGEL CRANE:  You, um ... you want to open him up?

(NIGEL CRANE crouches low over the body.)


NICK:  No, no, it's, uh ... it's not my job.  You should know that.  It's the coroner's gig.

(NICK crouches over the body.)

NIGEL CRANE:  Are you humoring me, Nick?

(NICK shakes his head.)

NICK:  No.

NIGEL CRANE:  You know ... we made friends that day and every time since you just blew me off.  Do you know that?  You just completely blanked me.

(Quick flashback to NICK walking up the sidewalk looking through his mail.  A man walks by on the sidewalk.  NICK passes him and walks up his driveway.)

NIGEL CRANE:  (v.o.)  You are so self-absorbed.

(White flash to a close up of the man, NIGEL CRANE, looking back at NICK.  White flash to NICK and WARRICK walking up the stairs to NIGEL CRANE'S house.  NIGEL CRANE is down on the steps below watching them walk up to his front door.)

NIGEL CRANE:  (v.o.)  I was right in front of your face.

(Flash to white.  Resume to present.)

(NIGEL CRANE stands up.  Now that he thinks about it, he's pretty upset at being ignored.)

NIGEL CRANE:  Manners, Nick!  Manners!

NICK:  Hey, now, Nigel, now we got a D.B. here, huh?  You're going to help me with the crime scene, right?

NIGEL CRANE:  No, no, I'm going to ... I'm going to ...

(NIGEL points the gun at NICK.)

NIGEL CRANE:  ... give you a brand-new one.  I'm going to do better than that.  I'm going to give you the best you ever had.  Stand up, Nick.  Stand up.

(NICK stands.)

NIGEL CRANE:  Nick, you know what a nine-millimeter slug does to a skull at close range?  You know?

(NIGEL CRANE pulls his gun back and holds it in front of his face.)

NICK:  Yeah.

NIGEL CRANE:  Blow it right apart, right?  Brains like strawberry swirled. Whipped cream, everywhere.  And you.

(NIGEL points the gun back at NICK.)

NIGEL CRANE:  You'd have to scoop that stuff up, right? Yeah, little pieces of skull and bone and brains. All in individual baggies with the victim's name on the label.

NICK:  You know I don't want to disappoint you, Nigel, but this isn't the first time I've had a gun in my face.

(NICK takes a step toward NIGEL.)

NICK:  How do you want this to end, Nigel?

NIGEL CRANE:  How do I want this to end?  I want you to be able to remember my name.

(NIGEL CRANE pulls the gun back from NICK and toward his own throat.  NICK quickly realizes what NIGEL CRANE has planned and lunges for the gun.  The two struggle for its possession.)

(At the same time, POLICE OFFICERS batter ram through the front door crashing it in and splintering the door frame.  BRASS and several OFFICERS rush in to the house, their guns drawn.)

OFFICER:  Get down! Get down!

(NICK successfully gains possession of the gun, holds it up at the ceiling and takes a step back.  The OFFICERS manage to subdue NIGEL CRANE.)

OFFICER:  Put him down.
OFFICER:  Cuff him.
OFFICER:  Get him secured.

BRASS:  Hey.

(BRASS turns to support NICK, who breathes heavily with the effort.)

BRASS:  It's, it's done.  All right?

(NICK nods and breathes heavily.)

NICK:  Yeah.


SCENE #30:

(NIGEL CRANE sits alone at the table in the interrogation room continually murmuring the same line over and over again.  Through the reflection in the glass, we see NICK watching from the observation room next door.)

NIGEL CRANE:  (murmuring) I am one, and who am I?  I am one, and who am I?  I am one, and who am I?  I am one, and who am I?  I am one, and who am I?  I am one, and who am I?  I am one, and who am I?


(Also in the Observation room, CATHERINE, GRISSOM, WARRICK and SARA watch with NICK.)

NICK:  Why me?

GRISSOM:  I don't think it was about you, Nick.  Or Jane Galloway, for that matter.  I think it was more about Maslow's Hierarchy of Needs.  His premise is that social beings strive to belong.  In Nigel's mind, Jane Galloway was someone he could control which was okay for a while but you ... you were someone he could actually become.  See, Maslow's Fifth Tier of the Hierarchy is Self-Actualization.

NIGEL CRANE:  (v.o.)  I am one, and who am I? GRISSOM:  The problem for Nigel is that you would have to die in order for that to happen. Or else he would.

(In the room next door, NIGEL STANDS up and slowly walks toward the two-way

NIGEL CRANE:  (background)  I am one, and who am I?

(Cut to SARA and WARRICK sitting in the back of the observation room.)

SARA:  Twenty-five years to life, Nick.  It's over.

NICK:  It's not over for me.  It's over for Jane Galloway.

CATHERINE:  (sighs)  Well, we should get back to the lab.

(CATHERINE stands an puts a comforting hand on NICK'S shoulder.)


(GRISSOM also stands.  In the back, WARRICK and SARA move toward the door.  They slowly exit the room.)

(NICK hasn't moved yet.  Through the two-way mirror, he watches NIGEL CRANE who walks along the mirror murmuring to himself the same line over and over again.)

NIGEL CRANE:  I am one, and who am I?  I am one, and who am I?

(He holds out both his hands in front of him as if reaching for something in front of him.  NICK still doesn't move.)

NIGEL CRANE:  I am one, and who am I?  I am one, and who am I?  I am one, and who am I?  And who am I?

(Two officers take NIGEL CRANE away.  NICK is left standing there in front of the mirror.)


Fait par Loveangel

Kikavu ?

Au total, 69 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

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Derniers commentaires

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cobrate  (24.09.2017 à 15:32)
Message édité : 24.09.2017 à 15:34

Un épisode bien fait qui est centré, en quelque sorte, sur l'un des personnages principaux. M. Pearson joue un extra-lucide que Grissom supporte apparemment assez bien malgré sa réputation rationnaliste^^. En revanche, ce dernier est assez sympa avec Nick, qui perd quand même 2 fois son 'interlocuteur' durant l'enquête... Faudrait revoir sa concentration^^. Si l'intrigue en elle-même n'est pas neuve, la réalisation peut rendre intéressant l'épisode. On sent qu'un effort est fait pour mettre en avant chaque acteur et son personnage, dans des plans sérrés ou qui se veulent originaux, pour les valoriser. Pas de gagdets, lumières ou bandes sonores venant alourdir l'effet. [Echangez sur la saison 2].


Merci aux 2 rédacteurs qui ont contribué à la rédaction de cette fiche épisode

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