COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. LAS VEGAS CITY -- MGM (STOCK) - NIGHT]
CUT TO:
[EXT. LAS VEGAS -- RITTLE RESIDENCE - NIGHT]
SCENE #01:
[INT. (LAS VEGAS) RITTLE RESIDENCE - NIGHT]
(Inside the residence, the RITTLES are hosting a party. There are lots of food, caviar, good music and conversation. Cut to a camera close up of a champagne bottle opening with a loud 'pop'.)
CUT TO:
[EXT. RITTLE RESIDENCE -- OUTSIDE - NIGHT - CONTINUOUS]
(The camera shows the backyard outside. The camera slowly rises up to show a little blonde-haired girl looking out of the second floor window.)
(Camera cuts to show the little girl's POV as she sees a man and a woman run playfully across the lawn below. They're laughing.)
CUT TO:
[INT. RESIDENCE - DOWNSTAIRS]
(A blonde-haired woman is sitting on a man's lap. A dark-haired woman runs up to him. She's laughing and throws herself into the man's arms. So, now he's got one arm wrapped around a different woman.)
DARK-HAIRED WOMAN: We should have these parties more than once a month.
CHIEF RITTLE: I would, but Mina tends to get jealous.
DARK-HAIRED WOMAN: I love you, Chief, but if anybody should be jealous, it's you.
(They all laugh. The man "Chief" looks up and sees a dark male figure standing in the shadows. The man walks away.)
CHIEF RITTLE: Who's that guy?
(The Dark-Haired woman wants the "Chief"s attention. She gently turns his head toward her.)
DARK-HAIRED WOMAN: Hey, Chief ... didn't know you were into guys.
(MINA RITTLE looks up to look for the man. The man is gone.)
MINA RITTLE: What guy?
(There's no sign on him.)
CUT TO:
SCENE #02:
[INT (LAS VEGAS) RESIDENCE UPSTAIRS - SASHA RITTLE'S BEDROOM - NIGHT]
(The door opens and the little blonde-haired girl peers through the door. She sees a man and two women go into the bedroom across the hall. Before closing the door, the man looks around to see if anyone sees them.)
(The little girl closes the door, retreating back into her room. She runs onto her bed and gets in under the covers. She glances over at that bedside clock. It reads 12:20 a.m. She settles in to go to sleep.)
DISSOLVE TO:
SCENE #03:
[INT (LAS VEGAS) RESIDENCE - UPSTAIRS - SASHA RITTLE'S BEDROOM - NIGHT]
(Camera close up on the alarm clock that now reads: 3:45 a.m.)
(Through the silence, two gunshots abruptly wake up the blonde-haired girl. She sits up in bed and looks at the door.)
SASHA RITTLE: Daddy?
(She gets out of bed and takes a cautious step toward the door.)
(The door opens. The light from the hallway filters in on SASHA RITTLE'S scared face as the camera focuses in on her.)
CUT TO:
[EXT. RITTLE RESIDENCE - DAY]
(Multiple police cars are parked in the driveway.)
SCENE #04:
[INT. (LAS VEGAS) RESIDENCE]
(BRASS walks into the foyer followed by GRISSOM and CATHERINE.)
BRASS: So two nights ago he has a party. High-end guest list, very private. That was the last anyone saw of him. Housekeeper arrives 20 minutes ago. This is what she found.
(BRASS leads GRISSOM and CATHERINE to the dining room where they find CHIEF RITTLE on the dining room table, naked with an apple stuffed in his mouth. CATHERINE looks at BRASS. BRASS nods.)
CATHERINE: Ex-chief of detectives. Left to make the big bucks. Consultant with security at every major casino in town and couldn't even protect himself.
GRISSOM: There's only one interpretation for this: "Kill the pig."
CATHERINE: And what about the rest of his family?
BRASS: No sign of the wife.
CATHERINE: What about the daughter?
BRASS: Housekeeper assumed that she spent the weekend with the grandmother.
(CATHERINE'S eyes widen at BRASS' choice of words.)
CATHERINE: Assumed?
(She immediately leaves the room and heads for the little girl's room.)
CUT TO:
SCENE #05:
[INT. (LAS VEGAS) SASHA RITTLE'S BEDROOM - CONTINUOUS]
(CATHERINE rushes in to the upstairs bedroom. She walks into the closet and looks inside. She goes to the bed and moves the covers aside.)
(GRISSOM enters the room, followed closely by BRASS. CATHERINE turns around and sighs.)
CATHERINE: She's gone.
HARD CUT TO:
END OF TEASER.
ROLL TITLE CREDITS.
(COMMERCIAL SET)
FADE IN.
SCENE #06:
[EXT. (LAS VEGAS) RITTLE RESIDENCE - DAY]
(GRISSOM fills the rest of the team in as they walk up the driveway to the main house.)
GRISSOM: His wife and daughter are missing. His silver Cadillac DTS is also missing. We're looking for any signs of forced entry in the house, any signs of ransack that's not associated with the party.
SARA: Okay.
(SARA leaves. BRASS meets GRISSOM, WARRICK and NICK at the door.)
BRASS: We need serious damage control. When the media gets a hold of it it's going to be bad for morale all around. Watch your step.
WARRICK: I'll take the downstairs.
NICK: Yeah, I'll be above you.
(They walk out of frame.)
CUT TO:
SCENE #07:
[INT. RITTLE RESIDENCE - DINING ROOM - DAY -- CONTINUOUS]
(ROBBINS does a cursory exam for GRISSOM. CATHERINE is examining the rest of the room.)
ROBBINS: Looks execution-style. At least one shot to the back of the head. A lot of bruising around these handcuffs.
GRISSOM: So he probably fought back.
(Next to the dining room chair on the floor, CATHERINE finds something.)
CATHERINE: Found a shell casing.
(She picks it up and examines it.)
CATHERINE: Looks like one of ours.
GRISSOM: Nine millimeter standard issue.
CATHERINE: So where do you suppose the Chief keeps his gun safe?
CUT TO:
SCENE #08
[INT. - RITTLE RESIDENCE - DAY]
(Camera close up on a safecracking technician using a drill on the door of a safe. BRASS puts on his gloves while he and CATHERINE watch from a distance.)
(The Technician puts the drill down and pushes a scope through the hole.)
(Quick CGI scope view of the lock mechanism of the safe inside the safe door. The gears turns. End of CGI POV.)
(The Technician turns the dial. BRASS and CATHERINE watch.)
(As he turns the dial, the inside mechanism releases the lock.)
SCOTT: We're in.
(He puts his equipment down and opens the safe. He moves aside.)
CATHERINE: Thank you, Scott.
SCOTT: No problem.
(The Technician leaves. CATHERINE looks inside the safe.)
BRASS: What do you got?
(CATHERINE hands a gun to BRASS. He checks it.)
BRASS: Thirty-eight (.38).
(CATHERINE hands a second gun to BRASS.)
CATHERINE: Nice.
BRASS: Pearl handle Twenty-five (.25).
(He checks it.)
BRASS: Clear?
CATHERINE: Still looking for that Nine (.9).
(CATHERINE takes out a box and opens it. The gun is gone.)
CATHERINE: So you think the Chief might've kept his signature piece someplace else?
BRASS: (reading) "For Twenty-Five years of distinguished service." An honor like that. Keep it in the case.
CATHERINE: (nods) Yeah.
CUT TO:
SCENE #09:
[EXT. RITTLE RESIDENCE - FRONT DRIVE - DAY]
(CATHERINE is walking down the driveway with GRISSOM. They're headed toward the gate.)
CATHERINE: So I'm thinking that the wife might be in on this.
GRISSOM: Why didn't she plan better? Pack the kid's clothes.
CATHERINE: What?
GRISSOM: The nanny told me that she only took one shirt -- one the kid wouldn't even wear.
(They reach the gate where DET. LOCKWOOD is questioning the gate security guard.)
DET. LOCKWOOD: Security guard. No party list but he did see each car that left the night of the party and morning.
SECURITY GUARD: Chief Rittle left around 5:00 A.M. (checking the log) 5:14 to be exact.
(Quick flashback to the guard at the gate. In slow motion, the car drives pas the guard. He sees a man driving the car and MRS. RITTLE with SASHA sitting in the back seat. End of flashback. Resume to present.)
GRISSOM: You saw Chief Rittle leave?
SECURITY GUARD: Yeah, he was with his wife and kid. And he had his baseball cap and sunglasses on like he always does.
CATHERINE: So, you saw a baseball cap and sunglasses.
(A cell phone rings. GRISSOM turns away to answer it.)
CATHERINE: Did you actually see the chief's face
GRISSOM: (to phone) Grissom.
SECURITY GUARD: Well ... actually, I didn't.
(GRISSOM hangs up the phone and tells CATHERINE.)
GRISSOM: Brass found the Chief's Cadillac.
CUT TO:
SCENE #10:
[INT. PARKING GARAGE - DAY - CONTINUOUS]
(BRASS, GRISSOM and CATHERINE walk under the police tape and into the parking garage.)
GRISSOM: Who found it?
BRASS: In-house security. Blue jacket. First time he saw the car was Saturday. Chalked the tires twice. Saw the bulletin on the Chief and called us.
CATHERINE: Any bodies, Joe?
OFFICER JOE: I already checked inside the car.
BRASS: We were waiting on you to check the trunk.
(JOE pops the trunk. They find a dead body inside.)
BRASS: Whoa.
(BRASS' cell phone rings.)
BRASS: Excuse me.
CATHERINE: Who is this?
(CATHERINE and GRISSOM lean in for a better look. GRISSOM takes off the
baseball cap and looks inside. The name reads: "Chief Rittle".)
GRISSOM: "Chief Rittle"?
CATHERINE: What is his connection to the chief?
GRISSOM: I don't know. But if he has gunpowder residue on him, could be our
shooter.
BRASS: (to phone) Okay.
(BRASS hangs up the cell phone.)
BRASS: Florida highway patrol called. Several motorists saw a girl matching
Sasha's exact physical description walking along an access road.
GRISSOM: In Florida?
BRASS: Miami-Dade county. Chief was shot Friday night. It's a two-day drive
if you don't stop. It's national news with national attention. I'm not
surprised we're getting call-ins.
GRISSOM: Well, if it is our little girl, she's got evidence on her from two
Vegas homicides.
(GRISSOM looks at CATHERINE.)
GRISSOM: One of us should be down there to process.
(CATHERINE nods. She still doesn't get it. She looks up and suddenly realizes
what GRISSOM'S saying.)
GRISSOM: Take Warrick. I don't think he's ever been to Florida.
(Off CATHERINE'S surprised look as her jaw drops.)
CUT TO:
[EXT. MIAMI-DADE CITY - HARBOR (STOCK) - DAY]
[EXT. MIAMI-DADE CITY - SKYLINE (STOCK) - DAY]
[EXT. MIAMI-DADE CITY (STOCK) - DAY]
SCENE #11:
[EXT. (MIAMI-DADE) ACCESS ROAD -- DAY]
(The PATROL CAPTAIN stands next to car #21291 and barks out instructions to the
other officers assisting the search. Officers hand out information sheets. The
access road is crawling with officers who will be used to look for the little
girl.)
PATROL CAPTAIN: She's seven years old! She's wearing a pink shirt! She was
last seen by a motorist there! She can be two kilometers in either direction.
Think of this area as a quadrant. Divide up. You, north.
OFFICER 2: Got it!
PATROL CAPTAIN: You, south.
OFFICER 3: We got it!
(Standing off to the side amidst the scurry of Officers and FBI agents, HORATIO
CAINE watches ... and thinks.)
OFFICERS: All right, this way.
OFFICERS: Let's go.
(A large mac truck passes by. He looks around the empty roadway.)
OFFICERS: Clear out!
OFFICERS: Watch your back!
(The road clears as officers go off to look for the little girl. HORATIO CAINE
thinks about it for a moment, then starts to walk down the center of the road
... alone. He's startled by the sound of a pig squealing. He looks up and sees
a pig crossing the road.)
(He stops some distance away and watches the pig cross the road.)
(HORATIO CAINE continues to walk. He looks on the ground and sees something on
the dirt road. It's a pink plastic hair clip. He crouches down and picks it
up. HORATIO pulls off his glasses to get a better look at it. It's a pink
butterfly.)
SHORT TIME CUT TO:
SCENE #12:
[EXT. (MIAMI-DADE) ACCESS ROAD -- TREE GROVE - DAY]
(HORATIO CAINE is walking along the roadway, following a path that he suspects
they took. It's noticeable that he's walking alone, everyone else is searching
elsewhere for the little girl.)
(HORATIO comes across a well-trodden path between the trees. He stops. Deep
inside is a little blonde-haired girl in a pink shirt. She's sitting alone on
the ground under a tree.)
(HORATIO crouches down and pulls off his sunglasses.)
HORATIO CAINE: Sasha?!
(Immediately, the little girl turns her head. HORATIO stands and walks in
closer.)
HORATIO CAINE: (quietly) Sasha. My name is Horatio Caine. I'm the head of
the crime unit.
SASHA RITTLE: Horatio?
(HORATIO settles himself down next to the little girl.)
HORTIO CAINE: Yeah. (he smiles) That's a funny name, isn't it? My mother
named me after a famous writer named Horatio Alger. Ever hear of him?
(She sees his badge.)
SASHA RITTLE: Is your badge real?
HORATIO CAINE: Yeah. Yeah, that's real.
SASHA RITTLE: My daddy's a policeman.
(HORATIO nods.)
HORATIO CAINE: I know that. (he corrects himself) I "knew" that.
SASHA RITTLE: They're looking for me, you know.
HORATIO CAINE: Me, too. Me, too. What do you say we sit here and get found
together?
(SASHA RITTLE nods her head. She smiles slightly.)
(He looks out in the distance and sighs.)
HORATIO CAINE: (quietly) What a day.
(They both sit on the fallen tree stump on the ground, both looking out into the
distance.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[EXT. MIAMI-DADE CITY (STOCK) -- NIGHT]
SCENE #13:
[EXT. (MIAMI-DADE) ACCESS ROAD -- NIGHT]
(A helicopter whirrs overhead. An officer fills HORATIO CAINE in on the
investigation.)
OFFICER: Burgundy sedan. Caucasian female. Age 32. Traveling with a caucasian
male indeterminate age.
HORATIO CAINE: I got a female in distress. I want the APB to extend the whole
state.
OFFICER: Panhandle to the Keys. Yes, sir.
HORATIO CAINE: Good.
(The officer leaves. HORATIO turns and sees the helicopter land. CATHERINE
exits the helicopter. WARRICK follows. HORATIO meets them.)
HORATIO CAINE: Horatio Caine.
CATHERINE: Catherine Willows.
(They shake hands.)
HORATIO CAINE: Caine.
WARRICK: Brown.
(They shake hands.)
HORATIO CAINE: Child services has sent a doctor out.
CATHERINE: All right, let's just be clear. This is a Las Vegas case. This is
our victim and we do the processing.
HORATIO CAINE: Okay, I didn't say he processed her. I just said he was here.
CATHERINE: I appreciate the respect.
HORATIO CAINE: You sure about that?
WARRICK: Does she know about her father?
HORATIO CAINE: Not yet.
WARRICK: Well, I'd like to get started processing. Can you show me who you
found?
HORATIO CAINE: Okay, I found her right in here.
(HORATIO points to some area on the left of them.)
HORATIO CAINE: And ... this is the young lady right over here.
(HORATIO CAINE turns around to indicate SASHA RITTLE sitting on the back of a
truck taking a sip of something and returning it to the female officer with her.
CATHERINE walks up to SASHA.)
CATHERINE: Hi, Sasha. I'm Catherine Willows. And ... I need to ask you a few
questions. Okay?
(SASHA nods. CATHERINE puts her kit on the truck back next to SASHA. She opens
it.)
CATHERINE: My kit. Did the man touch you?
(CATHERINE starts to take samples off of SASHA'S clothing.)
SASHA RITTLE: He hit my mommy.
CATHERINE: Did he hit you? Did he hurt you in any way?
SASHA RITTLE: He acted like I wasn't there.
CATHERINE: Well, you know what always happens to bad people? They leave behind
a part of themselves and that's how you can help us find your mommy. Now, I
need to look underneath your fingernails.
(CATHERINE glances down at SASHA'S hand. She has it clenched in a fist and
pulls it out of CATHERINE'S hold. She's hiding something.)
CATHERINE: You want to show me what's in your hand?
(SASHA looks up at HORATIO CAINE.)
HORATIO CAINE: It's okay.
(SASHA opens her fist revealing a shell casing.)
CATHERINE: Where did you get that?
(Quick flashback to earlier with SASHA outside the car and her mother leaning
out the door.)
MINA RITTLE: Go! Run, Sasha, run!
(Cut to SASH running. The kidnapper firing a gun and a casing hitting the
ground. End of flashback. Resume to present.)
SASHA RITTLE: I ran out after they drove off. I picked that up.
HORATIO CAINE: I bet it felt cold when you picked it up.
SASHA RITTLE: No. No ... hot.
HORATIO CAINE: Hmm.
SASHA RITTLE: You're tricking me.
HORATIO CAINE: You're too smart for that.
(SASHA smiles.)
CUT TO:
SCENE #14:
[EXT. SAME PLACE -- SHORT TIME LATER -- NIGHT]
(Camera close up of a latex-gloved hand holding the casing. The camera pulls
back and we see that it's not CATHERINE holding the bullet, but another blonde-
haired woman.)
CALLEIGH DUQUESNE: You can spot a Glock cartridge from a block away:
rectangular, firing pin impression, breach face shear. This casing's no Glock.
It's isn't your chief's weapon.
WARRICK: Well, whoever this guy is, he's a lousy shot.
CALLEIGH DUQUESNE: Five casings, no hits. Oh, by the way, I'm Calleigh
Duquesne. Don't ask me how to spell it. Southern.
CATHERINE: Catherine Willows. Southern ... Nevada.
(Without looking up, HORATIO CAINE quietly laughs.)
CALLEIGH DUQUESNE: You got a theory on how the mother and daughter ended up all
the way in Miami from Las Vegas?
CATHERINE: We don't really work theories. Do we, Warrick?
WARRICK: No, just evidence.
CALLEIGH DUQUESNE: We're much more fanciful down here. Aren't we, Horatio?
HORATIO CAINE: I think that's a fair description.
CALLEIGH DUQUESNE: My guess is that this belongs to a Taurus 9, made in Brazil.
It's a cheap beretta knockoff and you may not see many of them in Vegas but we
get them down here all the time. Which makes me think this guy wasn't fleeing
Las Vegas.
HORATIO CAINE: He was coming home to Miami.
CUT TO:
SCENE #15:
[INT. CSI - FORENSIC AUTOPSY]
(ROBBINS is running through the initial findings report with GRISSOM.)
ROBBINS: Well, it's no longer "trunk man." Identified him from his dental
records. Jason Doyle. Dead for three days; no GSR.
GRISSOM: So, I guess he didn't shoot Rittle.
ROBBINS: We only recovered one slug from his cranium.
(ROBBINS turns and picks up a bullet from the side table. He holds it up.)
ROBBINS: And I got this fragment from his lower back.
GRISSOM: His lower back? I thought he was shot twice in the head.
ROBBINS: Vascular embolization. Bullet got into his arterial system.
GRISSOM: That's rare.
ROBBINS: Well, it took a full-body x-ray for me to find the thing. Bullet
entered here ...
(Camera close up of ROBBINS pointing to the bullet hole just under the
deceased's right ear.)
(Quick CGI POV to the sound of a gun shot and a view of the bullet traveling.)
ROBBINS: (v.o.) ... fragmenting at the neck and losing velocity upon
penetration
(End of CGI POV. Resume to present.)
ROBBINS: ... of the carotid artery. Tube down the aorta, continually losing
momentum.
(Quick CGI POV of the bullet continuing it's path inside the deceased's body.
The bullet travels and breaks through bone and continues to travel.)
ROBBINS: As it exited the aorta, it struck the vertebral column and then was
swept down to the base of the aorta ...
(End of CGI POV. Resume to present.)
ROBBINS: ... where I recovered it here at the lumbar region.
(GRISSOM puffs.)
GRISSOM: Pinball.
ROBBINS: Looks like nines, like we found in the Chief.
GRISSOM: I'll call Catherine. Thanks.
ROBBINS: Yeah.
(GRISSOM leaves the room.)
CUT TO:
SCENE #16:
[INT. CSI - PRINT LAB]
(NICK is dusting a champagne bottle. SARA is working on something else on the
same table.)
SARA: Hey, Nick ... ?
NICK: Mm-hmm?
SARA: You ever been to a swingers' party?
NICK: Well, if it's the same thing as a frat party yeah, lots of them. You
know, you get enough booze going things can get pretty wild.
SARA: Frat party, huh? I wouldn't know anything about that.
(For a moment, the two continue to work in silence.)
SARA: How wild?
NICK: Multiple-partner wild. And it'd be no big deal to have two, maybe three
girls at once, just ...
(The computer beeps. A work card appears on the left of the computer screen and
a finger print card appears on the right.)
[The info card on the left reads:
TIFFANY LANGER
78586 Ambers Avenue
Las Vegas, NV 89108
ID#: 8006389904?
DOB: 12/08/69
Sex: F Ht: 5'5"
Hair: Brown Wt: 110 lbs
Eyes: Brown
Occupation: Showgirl
Employer: Orpheus Hotel ]
NICK: Hit on the rock glass. "Work card. Orpheus hotel. Tiffany Langer."
SARA: Who's she?
NICK: Showgirl.
CUT TO:
SCENE #17:
[INT. CSI - WAITING AREA]
(TIFFANY LANGER is being questioned by NICK and GRISSOM. They're sitting in the
chairs in the waiting area.)
TIFFANY LANGER: Yes, I went to the party. No, I didn't go alone. And no, I'm
not telling you my date's name or anyone else who was there. These people are
important.
GRISSOM: Well, a very important police officer was murdered there.
TIFFANY LANGER: I don't care. It took me a long time to get into the circle
and I plan on staying there.
NICK: Was there anybody there you didn't know?
GRISSOM: Anybody who wasn't in "the circle"?
TIFFANY LANGER: Well, my date.
NICK: Do you know where he is?
TIFFANY LANGER: I haven't seen him since that night. He sent me home with a
Judge and his wife.
NICK: So ... your date stayed at the party after you left?
TIFFANY LANGER: As far as I know.
NICK: Where does he live?
TIFFANY LANGER: I don't know. I've known him for five days.
GRISSOM: Well, that's 120 hours. There must be something you know about him
that you could share with us.
TIFFANY LANGER: Right-handed, a libra, circumcised, rich ... back-east rich.
Which kind of surprised me because he wore really cheap cologne.
GRISSOM: Cheap? How?
TIFFANY LANGER: Smelled funny ... sweet.
GRISSOM: Are you sure it was cologne?
TIFFANY LANGER: Or deodorant. Mouthwash maybe. All I know is it smelled
sickly sweet. To be honest I thought he could have used a little help in that
department.
GRISSOM: Would you happen to have an article of clothing of his by any chance?
TIFFANY LANGER: The only thing he gave me was a good time.
GRISSOM: Hey, guess what? This isn't about you. This is about a missing
seven-year-old girl.
NICK: Why don't you give us his name.
TIFFANY LANGER: Adam Van Der Welk.
CUT TO:
SCENE #18:
[EXT. (MIAMI-DADE) ACCESS ROAD -- DAY]
(CATHERINE is on the phone with BRASS. She's on the roadway next to the
vehicle.)
CATHERINE: Uh, no, the chief's little girl is with child services. We're still
at the drop-off place. (pause) Yeah, right. Will do, Brass.
WARRICK: I got a pill.
(CALLEIGH DUQUESNE picks up her case and heads to WARRICK.)
WARRICK: Looks like sedative.
(WARRICK puts down an evidence marker #11 near the pill and CATHERINE takes a
picture of it.)
CATHERINE: Okay.
(WARRICK picks it up.)
WARRICK: Diazapam. Benzos..
CALLEIGH DUQUESNE: That could explain why the mother didn't escape with her
daughter. She was incapacitated.
(CALLEIGH looks over at HORATIO CAINE who is standing off to the side looking
away from everyone.)
(Quick flashback to beaten mother opening the car door for her daughter in the
car. Cut to the package of pills falling to the dirt road. Cut to SASHA RITTLE
outside the car.)
MINA RITTLE: Go!
(End of flashback. Resume to present.)
(HORATIO turns around.)
HORATIO CAINE: How'd the little girl get away?
CATHERINE: We got some tire treads on the shoulder. Made an easy stop.
HORATIO CAINE: And why did he pick such a secluded area?
WARRICK: Seems like a great place to ice someone.
HORATIO CAINE: Or take a leak. Maybe that's why he stopped the car here... to
take a leak.
(Quick flashback to mother and daughter in the car. the mother turns her head
to check on the man whose back is to them outside the car. White flash to the
mother opening the car door. White flash to SASHA RITTLE standing outside the
door.)
MINA RITTLE: Run! Run, Sash, run!
(SASHA RITTLE runs away from the car. Cut to muzzle of gun firing. End of
flashback. Resume to present.)
(HORATIO looks straight down the pathway.)
HORATIO CAINE: Let me ask you another question: When you're home alone do you
lock the bathroom door?
CATHERINE: I don't even know you.
HORATIO CAINE: Sure you do. We all do. It's human nature to avoid being
vulnerable, isn't it? So, if that's the case then he would look for a tree to
shield himself, wouldn't he?
(They start to walk down the pathway looking for signs.)
HORATIO CAINE: So Then the question becomes, how far along this path before he
loses sight of them?
CATHERINE: Not very far.
HORATIO CAINE: Look at this. Bang. Footprints ... and this is urine.
(Quick flashback to MINA RITTLE in the car looking back. White flash to the man
standing off to the side with his back to the car taking a leak. White flash to
End of flashback. Resume to present.)
CATHERINE: If you're lucky, urethral cells with slough off with urine.
HORATIO CAINE: But if we get his DNA, there's a chance we'll get him.
(CATHERINE starts taking pictures. A cell phone rings. HORATIO answers it.)
HORATIO CAINE: (to phone) Yeah. Caine. What do you mean FBI?
CUT TO:
[EXT. (MIAMI-DADE) CITY COASTLINE (STOCK) -- DAY]
[EXT. POOL]
(A woman swimming lifts herself out of the pool.)
CUT TO:
SCENE #19:
[INT. (MIAMI-DADE) HOTEL - DAY]
(CATHERINE is on her phone speaking with GRISSOM.)
CATHERINE: The guy has B.O.?
GRISSOM: (on phone) Body odor, bad breath ...
INTERCUT WITH:
[INT. CSI - LAB]
GRISSOM: I don't know. There's something about Adam Van Der Welk that makes
him smell.
CATHERINE: All this because some showgirl said he smelled sweet?
GRISSOM: (from phone) "Sickly sweet."
GRISSOM: Smells can be like fingerprints, my dear. Hey, what's going on there?
(from phone) I thought you were meeting the Feds?
CATHERINE: Uh, yeah, we are. They picked the place. The Shore Club. Later.
(CATHERINE hangs up.)
CATHERINE: What's taking so long?
HORATIO CAINE: That is a good question.
(TIM SPEEDLE walks into the waiting area. He checks out the woman in a sarong
as he walks by.)
TIM SPEEDLE: Hey, I just ran into a Fed in the lobby. He told me that
apparently the Vegas case fits the profile of a serial the FBI's been tracking.
(to WARRICK) Hey, you're from Vegas?
(TIM SPEEDLE holds out his hand to WARRICK. They shake.)
TIM SPEEDLE: Speedle.
WARRICK: Brown.
CALLEIGH DUQUESNE: Where was the Fed?
TIM SPEEDLE: He's right there in the lobby. He's got his little headphone on
and his little tie.
HORATIO CAINE: And you talked to him?
TIM SPEEDLE: Yeah.
HORATIO CAINE: Do they have an ID yet?
TIM SPEEDLE: No ID yet, but their perp targets wealthy couples at their
playgrounds ... Pebble Beach, Aspen, The Hamptons. Evidently the husbands get
murdered first and the wives later. After they've enjoyed 48 hours of fun and
games.
(CATHERINE'S eyes widen at the specific time-frame.)
CATHERINE: 48?
TIM SPEEDLE: (to CATHERINE) Vegas? (he holds out his hand) Speedle.
CATHERINE: Willows.
(They shake. SPEEDLE smiles slightly.)
HORATIO CAINE: That's it?
TIM SPEEDLE: There's also a link to Miami.
HORATIO CAINE: (flatly) Of course there is.
(HORATIO walks out of the room. SPEEDLE spreads his arms wide.)
TIM SPEEDLE: Or, you know, he could just be some geriatric dude that just digs the weather.
CATHERINE: I don't understand. Why didn't the Feds put this out on NCIC?
CALLEIGH DUQUESNE: Because they're Feds.
(CALLEIGH stands up.)
CALLEIGH DUQUESNE: Excuse me.
(CALLEIGH walks out of the room.)
CUT TO:
SCENE #20:
[INT. (MIAMI-DADE) HOTEL - LOBBY -- DAY]
(Two Feds walk through the lobby. One is just getting off of the cell phone. Behind them, HORATIO walks in and gets his attention.)
HORATIO CAINE: Dennis ... Dennis ... tick-tock, Dennis. While you're waiting to get your ducks in a row the guy with the "Miami link" just slipped through my hands.
FBI AGENT DENNIS SACKHEIM: Horatio, I didn't have federal approval ...
HORATIO CAINE: I need answers for this little girl. Her father's just been killed, maybe her mother, too. And that's your fault. You understand that.
FBI AGENT DENNIS SACKHEIM: It sounds like you're making this personal.
HORAITO CAINE: Dennis, you don't give me this link, I will make this very personal.
(FBI AGENT DENNIS SACKHEIM takes off his glasses.)
FBI AGENT DENNIS SACKHEIM: All of his victims stayed here in the last year.
HORATIO CAINE: Here? This hotel?
FBI AGENT DENNIS SACKHEIM: Rittle and his wife, too. Last winter.
HORATIO CAINE: Mm, I wish I would have known that. Maybe they'd still be alive. Yeah?
(CALLEIGH DUQUESNE approaches and begins to say something to HORATIO CAINE in Spanish.)
HORATIO CAINE: (to CALLEIGH) si ... vamos.
(CALLEIGH leaves.)
HORATIO CAINE: (to DENNIS) I had a bad feeling about this.
FBI AGENT DENNIS SACKHEIM: What'd she just say to you?
HORATIO CAINE: She just said that you need to learn the language.
(HORATIO puts on his glasses and runs to catch up with CALLEIGH.)
CUT TO:
SCENE #21:
[EXT. (MIAMI-DADE) CANAL ROADSIDE -- DAY]
(Several officers' cars gather. WARRICK approaches ERIC DELKO who is wearing a dive suit.)
WARRICK: I don't see this burgundy car. Where are you looking?
(ERIC DELKO removes his head gear and points to the ground near the water's edge.)
ERIC DELKO: Check the disturbance along the bank and follow it in.
WARRICK: How did you find the disturbance? Drive up and down the canals all day?
ERIC DELKO: No, the thing about Miami is the entire city's watched from above. Coast guard choppers. Someone going to cover me?
HORATIO CAINE: I got you.
(CATHERINE stands next to WARRICK.)
CATHERINE: Cover you for what?
ERIC DELKO: Alligators.
TIM SPEEDLE: Only way to out run a 'gator is to swim faster than the guy next to you. Isn't that right, Delko?
ERIC DELKO: Used to have a partner.
(WARRICK smiles.)
HORATIO CAINE: Guys ... please?
(DELKO goes into the water. HORATIO puts the rifle up in alert. Several moments go by. DELKO breaks through the surface. He holds a thumb's up sign for a few moments, then sadly turns the thumb down.)
CUT TO:
SCENE #22:
(Close up of the tow rope being rolled.)
[EXT. (MIAMI-DADE) CANAL ROADSIDE - EARLY EVENING]
(The car is being towed out of the canal. They successfully get the car out on
to the roadside.)
(HORATIO opens the car door. Along with the water, a dead woman tumbles out of the car. Her mouth is taped, she's naked and wrapped in plastic wrap. CATHERINE peers in to the window.)
HORATIO CAINE: That her?
CATHERINE: Yeah, that's Mina Rittle.
(CALLEIGH holds the camera up and starts taking pictures.)
(HORATIO walks off to the side and pulls off his glasses.)
HORATIO CAINE: Our guy's still in the wind, folks. Still in the wind.
HARD CUT TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #23:
[INT. (MIAMI-DADE) FORENSIC AUTOPSY -- DAY]
(ALEXX WOODS starts the autopsy examination. CATHERINE is there in the room
with HORATIO CAINE.)
ALEXX WOODS: What's her name?
CATHERINE: Mina Rittle.
ALEXX WOODS: Who wrapped you, Mina? The plastic wasn't for transport.
Covering her intimates -- most likely sexual. Two gunshot wounds, left temple.
One shot was a through-and-through. Trace ASAP along with the plastic. My
preliminary probe shows water in the lungs which indicates she was still alive
when she was put in the canal.
(ALEXX WOODS looks at the deceased's face and notices something.)
ALEXX WOODS: Looks like the eyes are glued shut. Gold crusty substance
underneath. What is that, Mina?
(HORATIO takes a sample of the substance.)
HORATIO CAINE: The substance is water-soluble.
CATHERINE: But somehow it got preserved in the water. My guess is the plastic
was wrapped around her eyes at some point.
ALEXX WOODS: Wait a minute.
(ALEXX WOODS notices that there is the same sticky substance oozing out of the
deceased's ears.)
(Quick CGI POV from outside the ear to inside the ear canal where se can see the
yellowish-colored substance deep inside. End of CGI POV. Resume to present.)
ALEXX WOODS: There's a lot more of it. What do you want to bet this is in
every orifice?
(ALEXX moves around to the bottom of the table. She checks between the woman's
legs and definitely finds what she's looking for. She waves the swab around and
looks at HORATIO and CATHERINE.)
ALEXX WOODS: You guys got a sick one.
(CATHERINE looks at HORATIO. Camera holds on HORATIO.)
CUT TO:
SCENE #24:
[EXT. (MIAMI-DADE) CANAL ROADSIDE -- DAY]
(TIM SPEEDLE is walking the docks. He's looking down at the water below. He
paces the docks. ERIC DELKO breaks through the water surface. He peels off his
mask and holds on to a plastic bag.)
ERIC DELKO: Aha!
TIM SPEEDLE: Delko, you've been down there for 45 minutes. Do you know the
level of bacteria in the water? You can get all kinds of infections. What do
you got?
ERIC DELKO: Water pistol.
(ERIC hands the bag over to SPEEDLE.)
ERIC DELKO: One water-logged beretta knock-off.
TIM SPEEDLE: Suspect's personal gun?
ERIC DELKO: That's it.
TIM SPEEDLE: Congratulations.
ERIC DELKO: I'll put it over the wires that he's not carrying that Taurus
anymore.
TIM SPEEDLE: Do that, and take a shower.
ERIC DELKO: Nice shoes.
(SPEEDLE makes his way off the docks.)
CUT TO:
SCENE #25:
[INT. (LAS VEGAS) CSI - INTERROGATION ROOM]
(TIFFANY LANGER is sitting at the table with a composite artist.)
COMPOSITE ARTIST: Ma'am, you have to concentrate on the face. In parts, not
just the whole.
TIFFANY LANGER: Ask me what he wore. Ask me if he was good in bed. Just don't
ask me how close together his eyes were.
NICK: You said he kind of looked like Ricky Martin, right?
TIFFANY LANGER: Yeah, with a touch of Jude Law.
COMPOSITE ARTIST: Try to not just picture him. Try to think of an event.
TIFFANY LANGER: Okay ... three-way kiss. His lower lip was kind of pouty ...
(The artist turns to his pad and continues to draw.)
TIFFANY LANGER: and he had this Michael Douglas thing working, you know --- a
cleft in his chin.
(The artist outlines a cleft chin and shows it to TIFFANY LANGER.)
COMPOSITE ARTIST: Kind of like that?
TIFFANY LANGER: Yeah. You're right. That is easier.
(Short time cut to a completed pencil drawing of a man on the pad.)
CUT TO:
SCENE #26:
[INT. (MIAMI-DADE) INTERROGATION ROOM]
(SASHA RITTLE works with a composite artist who is also drawing a picture of the
(The camera pulls back.)
(Through the window, CATHERINE observes the proceedings.)
(Cut back to the little girl and the artist inside the room.)
(Cut back to CATHERINE as she watches just outside the glass door.)
CUT TO:
SCENE #27:
(Close up of fax machine as it spews out the composite drawing from Las Vegas.
CATHERINE picks it up and looks at it.)
[INT. (MIAMI-DADE) CSI OFFICES]
CATHERINE: (on phone) Adam Van Der Welk. Little girl saw a monster. Showgirl
saw a husband. So this guy could be anybody.
NICK: Yeah, that's the problem with eyewitnesses. All the more reason to rely
on evidence. Tell Warrick hey. Let me know if anything breaks.
CATHERINE: You, too.
(CATHERINE hangs up as she walks down the hallway. HORATIO walks through the
hallway toward CATHERINE. He passes WARRICK with a hello.)
HORATIO CAINE: Hey.
WARRICK: Hey.
HORATIO CAINE: So, how's your colleague Grissom doing on the aroma angle?
CATHERINE: I'm sure he's making progress but Grissom rarely says anything until
he's good and ready.
HORATIO CAINE: Smart man. I just wanted to show you something. The sticky
substance we got off the wife is, in fact, honey.
CATHERINE: You say that like it means something.
HORATIO CAINE: Well, honey on its own is just honey, but when you add plastic
wrap, it's ... a different situation.
CUT TO:
SCENE #28:
[INT. (MIAMI-DADE) NIGHT CLUB -- NIGHT]
(A woman in plastic wrap walks the counter-top. There's a crowd around the
counter and pulsating techno-pop music playing in the background. The crowd
cheers and chants.)
(The woman in plastic wrap catwalks to the end of the counter where she sits
down and lays back on her elbows. Two men hold up containers of honey as they
dance to the beat of the music.)
CROWD: Five... four... three ... ...two... one...
(When the crowd reaches one, the two men pour the honey on the woman on the
counter. Up her legs and on her abdomen.)
(Another waitress carries out a tray with cut fruit on it. The crowd picks the
fruit off the tray. The men stop pouring the honey, and the crowd dips their
pieces of fruit in the honey on the woman.)
CATHERINE: Yum. This is where he got the idea.
HORATIO CAINE: Yep.
[CLOSED-CAPTIONING: HORATIO CAINE: This is Hives.]
(HORATIO pulls out a swab from his coat pocket.)
HORATIO CAINE: Wish me luck.
(He leaves CATHERINE'S side and makes his way to the woman on the counter.)
HORATIO CAINE: Excuse me. Excuse me.
(HORATIO reaches the woman. He looks down at her and proceeds to take a swab
sample of the honey on her.)
HORATIO CAINE: Hi
SHOWGIRL: Some guys like to lick it off.
HORATIO CAINE: Really? I'm partial to the swab myself.
(CATHERINE appears next to HORATIO.)
CATHERINE: Ready, honey?
HORATIO CAINE: Coming, dear.
(The SHOWGIRL smiles deliciously as they leave. Patrons of the club continue to
dip their pieces of fruit into the honey on the woman.)
CUT TO:
SCENE #29:
[INT. (LAS VEGAS) CSI - GRISSOM'S OFFICE]
(Camera close-up of DR. ROBBINS as he reads. The camera cuts back and we see
that both he and GRISSOM are pouring over text books on the desk in GRISSOM'S
office.)
ROBBINS: Tuberculosis victims emit breath that smells like wet leaves.
(Behind them, BRASS appears in the doorway and pauses.)
GRISSOM: Maple, elm, ash, what?
ROBBINS: I'm not sure.
(BRASS takes a step into the office.)
BRASS: Miami is pulling cars out of canals -- chasing leads, debriefing the kid
-- and you guys are flipping through textbooks?
GRISSOM: This is how I work.
(BRASS picks up the books on the table and reads the bindings.)
BRASS: Tuberculosis ... Cyanide poisoning ... Endocrinology.
(GRISSOM taps the side of his nose.)
GRISSOM: I'm following my nosino.
BRASS: You're closer to this Van Der Welk guy than you're letting on aren't
you?
(GRISSOM slowly looks up at BRASS. Oh yeah, BRASS is catching on ... Satisfied,
he nods his head to each man.)
BRASS: (to GRISSOM) Doctor ... (to ROBBINS) Doctor.
(BRASS leaves the room.)
ROBBINS: How about Darier disease?
GRISSOM: Doesn't that give you a rash that smells like human excrement we're
looking for something a little sweeter.
ROBBINS: There's diabetic ketoacidosis. Body has excess glucose which converts
to ketone ... Gets expelled through the pores. Has a fruity smell. It would
help if we had a piece of the assailant's clothing.
(GRISSOM'S eyes widen as he realizes something.)
ROBBINS: What?
GRISSOM: I think I overlooked some evidence.
(GRISSOM stands and heads out the door.)
CUT TO:
SCENE #30:
[INT. (MIAMI-DADE) CSI -- LAB]
(Close of up the slide under a microscope and a sample of honey being placed on
the slide.)
TIM SPEEDLE: I'm going to isolate it using high-performance liquid
chromatography. Once we identify the pollen we'll know if it's floral honey.
(Camera cut to the scope view of the focus on yellow honey.)
(SPEEDLE steps aside for HORATIO CAINE to look. HORATIO peers through the
scope.)
TIM SPEEDLE: So, H, when's the last time you were in Hives?
HORATIO CAINE: I was there opening night.
TIM SPEEDLE: I didn't see you there.
HORATIO CAINE: I was, uh ... VIP.
(TIM SPEEDLE smiles and nods - he should have known.)
HORATIO CAINE: What is this?
TIM SPEEDLE: It's tupelo honey. It's the purest of all honeys. Stays in
liquid form for life. Doesn't crystallize or harden.
HORATIO CAINE: Where'd you get that?
TIM SPEEDLE: CDC hipped me to it after that africanized bee problem.
HORATIO CAINE: Okay, let's swap this out. I want you to take a look at this.
(HORATIO changes slides.)
HORAITO CAINE: We got this off the chief's wife.
(SPEEDLE focuses the scope. Scope view shows us the yellow honey. SPEEDLE
straightens and looks at HORATIO.)
TIM SPEEDLE: It's a match.
(HORATIO nods his head.)
HORATIO CAINE: It's a match.
CUT TO:
SCENE #31:
[INT. THE HIVE -- DAY]
(HORATIO & WARRICK are rifling through the receipts. WARRICK looks at the
honey.)
WARRICK: $500 for five dollars worth of honey? I don't think it's worth it.
NIGHTCLUB MANAGER: Those are mostly for decoration but once in a while some
bigwig comes takes one of them out of here.
HORATIO CAINE: Wouldn't it have been easier to put these in order? This is
going to take forever.
CALLEIGH DUQUESNE: (o.s.) Maybe not. I've got a receipt from just two nights
ago.
HORATIO CAINE: Let me see that.
(CALLEIGH hands the receipt to HORATIO.)
CUT TO:
(CATHERINE is interviewing the Security Guard.)
CATHERINE: Do you recognize this guy?
SECURITY: Yeah, looks just like every other Joe that comes in here.
CATHERINE: Look, you work the door. Anybody come in here in the last 48 hours
that bought some of that very expensive tupelo this is Miami.
SECURITY: Every night's a weekend.
(HORATIO joins them.)
HORATIO CAINE: My people tell me that a customer came in here two nights ago to
buy some.
SECURITY: Wasn't a customer. It was a limo driver.
CATHERINE: A limo driver?
SECURITY: Yeah, Gordon. Gave me a c-note just to double park.
HORATIO CAINE: Did this Gordon tell you who he had in back of his car?
SECURITY: No. Just that it was some rich guy -- some high roller.
CATHERINE: Let me guess-- from Vegas.
SECURITY: Yeah.
(Suddenly, the pieces are slowly coming together.)
CUT TO:
[EXT. (MIAMI-DADE) HIGHWAY (STOCK) - DAY]
(Top view of limo traveling along roadway and a police car with its siren on
behind it.)
CUT TO:
SCENE #32:
[INT. (MIAMI-DADE) -- DAY]
(HORATIO and CATHERINE exit the car. They meet up with SPEEDLE.)
HORATIO CAINE: How'd you find him?
TIM SPEEDLE: Figured, limo driver -- airport. I spotted Gordon here on Alton -
- back way to Miami International. Lit him up, pulled him over here.
HORATIO CAINE: Nice work. You got a last name, Gordon?
GORDON DAIMLER: Daimler. Look, officer, the Corwins are coming in on their own
private jet. They're two of my best customers. I really should be there.
HORATIO CAINE: Well, the Corwins are going to have to wait.
CATHERINE: We understand that another one of your customers bought some very
expensive honey from a club.
GORDON DAIMLER: Yeah, well, I've had stranger requests.
CATHERINE: This customer of yours have a name?
GORDON DAIMLER: Never got it. He paid cash. Never saw a credit card.
CATHERINE: Well, did you notice anything unusual about him? Did he smell? Did
he ... have an odor?
GORDON DAIMELR: Uh, his breath maybe. He'd been drinking a lot.
HORATIO CAINE: Remember what he was drinking? Was it sweet like irish whiskey?
GORDON DAIMLER: Whatever I have stocked.
CATHERINE: Well, we'd like to take a look.
GORDON DAIMLER: Sure. Go ahead.
(HORATIO checks out the front seat of the car; CATHERINE works on the back
seat.)
(CATHERINE climbs in the back seat. She checks the first bottle and smells it.)
CATHERINE: Vodka.
(She smells the second bottle.)
CATHERINE: Gin.
(HORATIO starts the engine and turns on the air conditioner. He puts the window
between the front and the back seats down. CATHERINE leans forward.)
HORAITO CAINE: Hmm. Smell that?
CATHERINE: Sickly sweet. That's exactly how Grissom described it.
CUT TO:
SCENE #33:
[INT. (LAS VEGAS) CSI - WAITING ROOM]
(GRISSOM opens the evidence package and takes out the baseball cap found on the
dead body in the back of Chief Riddle's car. He holds it out to TIFFANY
LANGER.)
TIFFANY LANGER: You want me to do what?
GRISSOM: Smell this.
(GRISSOM holds out the baseball cap. She gives him a look and takes off her
sunglasses. She smells it.)
TIFFANY LANGER: That's it. That's Adam's smell.
GRISSOM: In the five days that you two were together, did you happen to notice
what he was drinking?
TIFFANY LANGER: Champagne.
GRISSOM: Did he ever drink anything sweeter like whiskey or cognac?
TIFFANY LANGER: No, Are you kidding me? With him it was all dom, all the time.
(TIFFANY LANGER puts her sunglasses back on. GRISSOM smiles as he puts the hat
away.)
CUT TO:
SCENE #34:
[EXT. (MIAMI-DADE) - DAY]
(CATHERINE is speaking on her cell phone. HORATIO CAINE is standing nearby
listening in to CATHERINE'S side of the conversation.)
CATHERINE: You found a medical condition.
GRISSOM: Diabetic ketoacidosis -
INTERCUT WITH
[INT. (LAS VEGAS) CSI - DAY]
GRISSOM: it's an insulin deficiency. His body's been expelling excess glucose.
Makes him smell fruity.
CATHERINE: Which I guess could easily be mistaken for whiskey breath. Hey, can
you test for diabetic ketoacidosis off urine?
GRISSOM: Well, blood's the best but if you had a urine sample, maybe.
HORATIO CAINE: Ask him what medication you would take for that.
CATHERINE: What would a doctor prescribe?
GRISSOM: Novalin insulin.
CUT TO:
[EXT. MIAMI-DADE CITY - SUNSET (STOCK)]
SCENE #35:
[INT. (MIAMI-DADE) CSI - LAB]
(HORATIO CAINE makes his way down the steps and into the lab. CATHERINE is
behind him.)
HORATIO CAINE: Lucky for us we found blood in his urine.
CATHERINE: Absence of c-peptide in the blood. Means the insulin in our guy's
system isn't natural -- it's synthetic.
HORATIO CAINE: And prescribed. Right over here. It's our database.
(They reach the bottom area where HORATIO CAINE points to a work station on
their left. He pulls up a chair.)
HORATIO CAINE: Okay, what we're looking for is a patient who's purchased
synthetic insulin in the last 48 hours.
(At the computer screen, HORATIO CAINE does an Advanced Search on Prescriptions
on the KeyWord: "Novalin Insulin" During the last: "48 hours - Current".)
HORATIO CAINE: Here we go.
(The results are immediate.)
COMPUTER SCREEN 1:
[Your basic search for Synthetic insulin matches:
Prescription #: / Patient #: / Pr
R# 63K1 / McCrary694
R# 916414 / Marie81
R# 783J38 / Bush571 / Order Amt:
R# U1456JZ6 / Woodbury49 / Order Amt:
R# IZ921 / Ziegler671
R# 15V445 / Reichenbach926
R# 54DT58 / Carlisle392
R# 8DJ223 / McBride654
R# 97H92 / Webber942
R# 69666 / Hutchinson306
R# N6479 / Willman126
R# 16W45S1 / Daimler408
R# 1Y0 / Andreou328
R# 514761 / Bruning 536 ]
COMPUTER SCREEN 2:
[RESULTS
RESULTS - PATIENT INFORMATION
NAME: GORDON DAIMLER
RX: INSULIN RX#44092-1084
ADDRESS: 2421 RIVIERA DRIVE
COCONUT GROVE, FL 33154 ]
CATHERINE: Gordon Daimler. That's the limo driver.
(HORATIO CAINE nods.)
HORATIO CAINE: That's him. And the reason that old Gordon probably didn't
smell when we picked him up is because he'd just taken his insulin, hadn't he?
CATHERINE: But the scent was still in the limo's AC system. Well, now we have
this guy's address.
HORATIO CAINE: Yes, take a look at this address. A limousine driver with a
house on the water in Coconut Grove? I don't think so.
CATHERINE: Who's the owner of record?
HORATIO CAINE: Let's check it.
(HORATIO CAINE runs a second search.)
COMPUTER SCREEN 3:
[RESULTS
PROPERTY IS OWNED BY:
NAME: Dylan and Sissy Corwin
ADDRESS: 2421 Riviera Drive
Coconut Grove, FL 33154
PROPERTY #: 09472-59573-29175 ]
CATHERINE: Sissy and Dylan Corwin. That's the couple he was picking up at the
airport when we pulled him over.
HORATIO CAINE: That's right.
CATHERINE: So then maybe that's how he finds his victims -- driving a limo.
HORATIO CAINE: And when they're away at some posh resort he moves into their
house, doesn't he?
CATHERINE: Hops over to Las Vegas. Visits the couple he met in Miami. Kills
the husband...
HORATIO CAINE: mm-hmm.
CATHERINE: ...Brings the wife back here-- kills her.
HORATIO CAINE: And when the Corwins come home ... not good.
(Off CATHERINE'S look.)
HARD CUT TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #36:
[EXT. (MIAMI-DADE) COCONUT GROVE - DRIVEWAY - DAY]
(A car pulls up and parks behind a black limo parked in the driveway. HORATIO
CAINE exits the car, WARRICK behind him. Both of them have their guns drawn.)
(Cautiously, they approach the house.)
CATHERINE: (o.s.) No one's answering inside.
CUT TO:
[INT. (MIAMI-DADE) COCONUT GROVE - DAY - CONTINUOUS]
(Through the open doorway, HORATIO CAINE yells into the house.)
HORATIO CAINE: Miami-Dade police!
(There's no response.)
(HORATIO CAINE, followed by WARRICK and CALLEIGH DUQUESNE who also has her gun
drawn, enter the home. HORATIO checks out the right while WARRICK and CALLEIGH
head off to the left.)
(Cut to WARRICK and CALLEIGH walking through the hallway toward the stairs.)
(Cut to HORATIO rounding the corner. CATHERINE'S walking behind him. HORATIO
looks up to the stairs leading to the second floor. He cautiously makes his way
up the stairs. He stops at the first landing, gun pointed upward.)
HORATIO CAINE: Slowly.
(CATHERINE walks up the stairs and passes HORATIO as he covers her.)
HORATIO CAINE: Slowly.
(By this time, HORATIO has his gun down and before he follows CATHERINE the rest
of the way up the stairs, he looks around and takes special notices of the
framed photographs hanging on the stairway wall. The photo closest to him at
his eye level is a photo of a plane.)
[STAIRWELL LEADING TO THE GARAGE]
(Cut to WARRICK rounds the corner at the top of the stairway leading down.
WARRICK takes off his glasses and notices the blood immediately.)
WARRICK: I got a blood trail here. Leading to the garage.
(He starts to descend the stairs. CALLEIGH follows close behind, covering his
back.)
[MASTER BEDROOM]
(CATHERINE enters the master bedroom. She puts her kit down and puts on a pair
of latex gloves. HORATIO enters the bedroom.)
(CATHERINE looks around. The bed is in disarray. She lifts up the covers
looking for evidence. She finds a scrap of plastic wrap. She picks it up and
looks at it.)
(Quick flashback to SISSY CORWIN on the bed, struggling with her captor. Cut to
the assailant hitting her. Cut to SISSY CORWIN unconscious on the bed and the
assailant unrolling a section of plastic wrap. End of flashback. Resume to
present.)
CUT TO:
SCENE #37:
[INT. CORWIN RESIDENCE - GARAGE - DAY -- CONTINUOUS]
(WARRICK reaches the garage. He takes a few more steps, following the blood
trail. CALLEIGH enters the garage.)
WARRICK: He dragged the body to here ...
(WARRICK looks down at the large blood stain on the garage floor.)
WARRICK: ... put her in that car.
CALLEIGH DUQUESNE: Nine mill.
(WARRICK turns around and notices CALLEIGH crouched down and staring at a slug
in a wall. He joins her.)
CALLEIGH DUQUESNE: One shot's a through-and-through. Scalp hair. He fired
this one first.
(Camera shows a slug in a wall. The wall around the slug is clear.)
CALLEIGH DUQUESNE: I don't know. To terrorize her.
(WARRICK looks at the second slug, the wall around which is dry with scalp and
blood.)
WARRICK: This strike here. That one's all business.
CUT TO:
SCENE #38:
[INT. CORWIN RESIDENCE - BEDROOM - DAY -- CONTINUOUS]
(HORATIO walks around. He turns his head and looks into the bathroom and
notices something on the shower tile. He holsters his weapon and opens the door
for a closer look. The substance is shiny, sticky-looking and clear.)
(Quick flashback to a gun being held against SISSY CORWIN'S HEAD. She's
cowering on the floor of the shower with her back against the wall. White flash
to honey being smeared on SISSY CORWIN'S cheek. End of flashback. Resume to
present.)
(CATHERINE walks up behind HORATIO. She looks at the shower and without saying
a word, HORATIO nods his head. They're both thinking of the same scenario.)
(CATHERINE holds up the piece of plastic wrap she found on the bed.)
CATHERINE: He wrapped her in plastic by the bed, raped her.
HORATIO CAINE: Then dragged her in here and cornered her like an animal.
CATHERINE: If Gordon's true to form, he's going to kill the Corwins.
(TIM SPEEDLE appears in the doorway and interrupts them.)
TIM SPEEDLE: You guys should take a look at this.
CUT TO:
SCENE #39:
[EXT. CORWIN RESIDENCE - BACKYARD - DAY - CONTINUOUS]
(TIM SPEEDLE is walking somewhere, leading both HORATIO and CATHERINE out to the
backyard.)
TIM SPEEDLE: Well, people don't really buy these houses for the view. It's a
place to put a million-dollar boat.
HORATIO CAINE: But what's your point?
(They reach the docks and CATHERINE notices it first.)
CATHERINE: The boat's missing and that's where he's killing them right now.
HORATIO CAINE: (urgently) Speed, get on that thing right now. Put the birds
in the air and call the coast guard. Right now. Do it.
TIM SPEEDLE: (on radio) Air and sea, this is Tim Speedle. I need you to be on
the lookout for a yacht, T-45. R.O. Dylan and Sissy Corwin.
HORATIO CAINE: Commandeered by one Gordon Daimler. Gordon Daimler.
(SPEEDLE moves off to the back where he continues to call out on the radio.)
TIM SPEEDLE: (b.g.) Air and sea ...
HORATIO CAINE: (quietly) ... Gordon Daimler.
(Camera close up of HORATIO CAINE.)
CUT TO:
[EXT. MIAMI-DADE CITY SKYLINE (STOCK) - NIGHT]
SCENE #40:
[EXT. DOCKS - NIGHT]
(HORATIO CAINE exits the vehicle and approaches the rest of the team trying to assess the situation from their vantage point behind the police vehicle. Out at the dock, the CORWIN'S boat is docked. No one has approached the boat yet. Behind the second car is FBI Agent DENNIS SACKHEIM and SHARPSHOOTER DETWEILER already set up with his finger behind the trigger.)
DENNIS SACKHEIM: Coast guard found her adrift!
(CATHERINE also joins the group.)
DENNIS SACKHEIM: No radio contact! We hailed her. No response.
TIM SPEEDLE: Infrared's up. Blue means dead, red means alive.
(Camera close up of the Infrared's monitor which shows at least one red figure
in the cabin. The other figure is ... )
CALLEIGH DUQUESNE: Pink. Body heat's fading. Person's dying.
CATHERINE: Identify the other players.
HORATIO CAINE: Speed?
WARRICK: (pointing to the screen) Red. Is that our suspect?
HORATIO CAINE: I'm not sure.
DENNIS SACKHEIM: I am.
(CATHERINE turns around to SACKHEIM.)
CATHERINE: How? We haven't identified all the players.
DENNIS SACKHEIM: He's going back to finish off the job. Detweiler.
(DETWEILER is manning the gun trained on the red figure inside the cabin.)
SHARPSHOOTER DETWEILER: Getting a bead on him, sir.
DENNIS SACKHEIM: The M.O. On this guy says husband's already dead. He's going back to finish off the wife. You're good to go.
CALLEIGH DUQUESNE: Body language does not look like an attack.
(HORATIO looks over at the boat, "Cor-winds".)
(Quick flashback to HORATIO taking off his glasses and looking at the framed photographs hanging on the wall on the stairway. He glances at one photograph of the boat, "Cor-winds", and the next photograph of the CORWINS standing in front of a private jet. End of flashback. Resume to present.)
HORATIO CAINE: (to SPEEDLE) Wait a minute, wait a minute. Don't the Corwins have a jet?
(SPEEDLE nods.)
HORATIO CAINE: (louder) The Corwins have a jet, right?! Gordon left them here to die.
[CLOSED-CAPTIONING: HORATIO CAINE: That's where Daimler is. It's the Corwins in there.]
HORATIO CAINE: Abort this, Sackheim! Abort this!
DENNIS SACKHEIM: Interstate case, not your call! (to DETWEILER) Proceed!
HORATIO CAINE: Stand down!
DENNIS SACKHEIM: (to DETWEILER) Take him out!
(HORATIO walks over to stand next to DETWEILER. He leans in close and proceeds to convince DETWEILER to stand down.)
HORATIO CAINE: Detweiler, I know you want to impress your boss but there's an innocent man on that boat. Now, if you take this shot I'm going to be in your grille for the rest of your natural life. I want you to think about what that might be like.
(Camera close up of DETWEILER considering the options. HORATIO stands up and takes a step back.)
HORATIO CAINE: Think about that.
(DETWEILER continues to consider the options. He looks at the darkness inside the boat cabin behind his scope and finally looks down. He moves his finger away from the trigger.)
HORATIO CAINE: (to DETWEILER) Thank you. (to SPEEDLE) Speed, the Corwins have a jet find the jet. Call the FAA and ground the jet by authority of ...
(HORATIO doesn't look at DENNIS SACKHEIM, but sticks it to him anyway.)
HORATIO CAINE: ... Miami-Dade County.
(CATHERINE is already unholstering her gun.
TIM SPEEDLE: (b.g.) Got it
CATHERINE: Give us thirty seconds.
(HORATIO, followed by CATHERINE head toward the boat.)
HORATIO CAINE: Then send backup!
(HORATIO CAINE bursts in through the boat and into the cabin as fast as he can get inside. He opens the door and finds ... )
HORATIO CAINE: Mr. Corwin!
(DYLAN CORWIN is performing CPR on his wife. They're both bloodied, remnants of tape restraints are still on her wrists. DYLAN CORWIN looks up at HORATIO CAINE.)
DYLAN CORWIN: I tried to save her. It's too late.
(CATHERINE pushes past HORATIO to get into the cabin. DYLAN CORINW hangs his head down and sobs.)
DYLAN CORWIN: (to his wife) I'm sorry.
HORATIO CAINE: (to radio) Get me fire rescue.
CUT TO:
[EXT. MIAMI-DADE CITY LIGHTS (STOCK) - NIGHT]
SCENE #41:
[INT. CORWIN'S JET -- NIGHT]
(The pilot looks back at his lone passenger, GORDON DAIMLER.)
PILOT: Few more minutes, sir, we'll be on our way to Monaco. Sorry for the delay, sir. Technical difficulties. We'll be off shortly.
(GORDON DAIMLER raises his fluted champagne glass in silent salute to the pilot. He smiles and looks out the window. He takes a sip of champagne just as we hear the sounds of a car driving up and of a door slamming.)
(GORDON DAIMLER looks up.)
(HORATIO CAINE boards the plane, gun drawn and aimed at GORDON DAIMLER. CATHERINE also boards the plane.)
HORATIO CAINE: Good evening. Mr. Van Der Welk.
(CATHERINE walks past HORATIO CAINE and up to GORDON DAIMER where she quickly and efficiently pats him down.)
CATHERINE: Gordon, did you drive your limo here?
(GORDON DAIMLER holds his arms outstretched. She finishes.)
CATHERINE: He's clean.
(GORDON DAIMLER shakes his head and explains calmly.)
GORDON DAIMLER: The Corwins ... are my friends. They lent me this plane.
CATHERINE: Like the lent you their boat?
(GORDON DAIMLER smiles smugly.)
GORDON DAIMLER: Speak to the pilot. Dylan Corwin called him personally. Directed him to fly me to Monaco.
HORATIO CAINE: I'd rather call "Dylan" at the hospital to confirm.
(The smile fades on GORDON DAIMLER'S face.)
CATHERINE: The husband didn't die. He left us a witness and enough evidence to convict you in two states.
GORDON DAIMLER: (smugly) Rich men don't go to jail.
HORATIO CAINE: You're not rich, Gordon.
CUT TO:
SCENE #42:
[EXT. AIRSTRIP - NEAR THE CORWIN'S JET -- NIGHT]
(Handcuffed, GORDON DAIMLER is escorted off of the plane, "Cor-wings". He's handed to the officer and exits camera frame. CATHERINE exits the plane followed by HORATIO. They walk out some distance away from the plane.)
HORATIO CAINE: I'm going to, uh ... I'm going to book this guy. You want to go with?
CATHERINE: Nah, you got it. I'll have my D.A. call your D.A.
(HORATIO chuckles.)
HORATIO CAINE: Sounds good. Sounds good.
(They stop walking.)
HORATIO CAINE: Uh ... thank you for your help on this.
CATHERINE: Thanks for yours, actually.
HORATIO CAINE: Right.
(CATHERINE smiles.)
HORATIO CAINE: You take care of yourself.
CATHERINE: (smiles) I always do.
(CATHERINE extends her hand. HORATIO grasps it. They shake hands.)
CUT TO:
[EXT. MIAMI-DADE CITY SKYLINE (STOCK) - EARLY MORNING]
SCENE #43:
[EXT. (MIAMI-DADE) THE BEACH - EARLY MORNING]
(HORATIO CAINE looks out toward the ocean.)
(Camera cut to two officers standing watch over SASHA RITTLE as she plays in the sand. The two officers leave as HORATIO CAINE sits down next to the little girl.)
HORATIO CAINE: Hey.
SASHA RITTLE: My mommy and daddy are dead, aren't they?
HORATIO CAINE: Well, your aunt is flying in to talk to you.
SASHA RITTLE: That's a yes.
HORATIO CAINE: I lost someone once.
SASHA RITTLE: Who?
HORATIO CAINE: Well ...
SASHA RITTLE: Did you feel sick?
HORATIO CAINE: Still do. Still do.
(SASHA turns back to the sand. HORATIO CAINE still has something to say to her.)
HORATIO CAINE: Sasha .... people are going to say a lot of things about your mom and dad and some of them are going to be true, but what I want you to remember is that they fought like heroes for you. Will you remember that for me?
(SASHA nods her head.)
HORATIO CAINE: Good. Good for you.
(The two lone figures continue to sit side-by-side on the beach. HORATIO turns back to look out into the ocean.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
SCENE #44:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(CATHERINE knocks on the door to get GRISSOM'S attention. She walks in to his office. GRISSOM turns around. He's wearing a dark suit and fiddling with his tie.)
CATHERINE: Hello.
GRISSOM: Hey.
(CATHERINE stands in the doorway.)
GRISSOM: Nice tan.
(GRISSOM sits down in his chair.)
CATHERINE: Nice suit.
(CATHERINE walks into the office and stops in front of GRISSOM'S desk.)
GRISSOM: Yeah, well, I knew you were coming back today, so I dressed up.
CATHERINE: (snorts) Yeah. Right.
GRISSOM: Really.
(CATHERINE doesn't respond, although she does continue to look at GRISSOM.)
GRISSOM: What?
CATHERINE: Nothing. It's just ... unusual to see you dressed like that.
GRISSOM: I had to go to the Chief's funeral.
CATHERINE: Missed me that much, huh?
(CATHERINE turns around and heads out the doorway, but not before she looks over her shoulder to cast GRISSOM a final look and smile.)
(GRISSOM smiles as he watches her walk away. He shakes his head and turns back to his book ... still smiling.)
FADE TO BLACK.
Fait par Loveangel
