Épisode Les Dés Sont Jetés S03E02 - CSI: Crime Scene Investigation Saison 3

Tout commence dans un hôtel-casino le Palms. Un groupe de rock est en train de jouer, il fait nuit sur Las Vegas, les lumières de la ville scintillent. Un groupe de filles est venue faire la fête ce soir-là, elles sont là pour s’amuser comme des folles. La salle est pleine à craquer, ce soir le groupe de rock a vraiment du succès ! Et il n’est pas le seul. Non loin de là, la super star Tom Haviland est en train de jouer au craps. Les filles n’en reviennent pas, il est tellement séduisant ! Le jeune-homme est d’ailleurs déjà très bien entouré, mais cela ne lui suffit pas. Il en veut toujours plus. Il souffle sur les dés, on ne sait jamais, ça peut porter bonheur. Il mise sur le six et le huit et remporte la mise, visiblement ce soir, il a beaucoup de chance. Son ami et assistant personnel vient lui proposer comme d’habitude son « menu » du soir : ce sera deux orientales pour monsieur. Facile pour le beau gosse d’obtenir ce qu’il désire, il y a de la demande ! Arrivé dans sa chambre, Tom est accompagné de ses deux asiatiques. Les femmes l’aident à se déshabiller. Tout va pour le mieux et puis...

Grissom arrive équipé de sa mallette. Brass l’attend et le met tout de suite au parfum : un certain Tom Haviland s’est envoyé en l’air avec deux filles entre un heure et deux heure du matin, puis est reparti jouer au craps pendant un demi-heure. Pendant tout ce temps, les filles ont dû se battre : Tanya a disparu, Kim est morte la gorge tranchée. L’assistant personnel de Tom a alerté les secours pendant que la star était au rez-de-chaussée. L’assistant a ensuite quitté la ville pour Los Angeles, un rendez-vous d’affaire. Tom Haviland est toujours là lui, il attend dans la pièce d’à côté. 

Le jeune homme est gentiment en train de signer des autographes aux agents de police. Grissom se présente à lui, Haviland paraît bien détendu pour quelqu’un qui a retrouvé un cadavre dans son lit ! Le chef de la police scientifique n’a jamais entendu parler de son suspect, il ne se laissera pas embobiner aussi facilement. La star subit un interrogatoire en règle : avez-vous touché la victime ? Non. Sûr ? J’ai paniqué, je suis resté à l’écart. C’est tout ? Je lui demandé qui avait fait ça, elle m’a dit Tanya. L’autre fille ?Grissom fait appel à Warrick pour vérifier les dire de Tom Haviland : s’il n’a pas touché le corps, pas de sang sur les mains. Grissom le fait répéter :Vous êtes sûr, vous n’avez pas touché au corps ? Non. Malheureusement pour lui, le sang est difficile à partir, surtout sur les ongles. Il doit appeler son avocat, maintenant, le suspect numéro un est reconnu coupable aux yeux des experts. 

Générique 

 Tom Haviland est emmené par Brass, il est accusé de meurtre. Une foule de reporters les attende dehors. Jim répond aux questions posées : la déposition ne concorde pas avec les preuves matérielles.Warrick et Grissom attendent le reste de l’équipe. Catherine apprend par téléphone que Marjorie Wescott sera l’avocate d’Haviland. Elle est particulièrement douée pour plaider. Warrick va au labo pour faire analyser le sang prélevé sur les ongles du suspect. Catherine et Sara décide de s’occuper de la suite, pendant que Grissom et Nick s’occupe de la salle de jeu.
L’ambiance est désormais plus techno dans la salle, Grissom explique qu’un bon nombre de témoins ont vu Tom Haviland jouer au craps. 

Nick décide de faire des transferts dactyloscopiques. Grissom continue son discours : le suspect a eu des relations sexuelles avec la victime, il lui explique que fibres et échantillons pileux ne serviront à rien : seul des traces d’ADN inculpant la star l’intéresse. Grissom décide de superviser pour une fois, il ne s’implique pas et reste à l’écart. Nick en profite, pour une fois son supérieur lui fait confiance, il mènera la danse. 

Pendant ce temps, Sara prend des photos du lit dans la suite. Hank la rejoint et la prévient d’une erreur qu’il a commis : le soutien-gorge a été déplacé lorsqu’ils ont retiré le corps de la victime. La place des objets a son importance, Sara doit signaler l’erreur dans son rapport. Catherine, quant à elle, a inspecté la salle de bains : pas la moindre trace de sang. Les draps sont maculés de sang, Catherine pense alors qu’il a utilisé une autre salle de bain. Elle se rend alors dans un salle réservée au personnel d’entretien, enfile des petits chaussons afin de ne pas effacer les preuves et s’approche du lavabo. Là, elle y trouve ce qu’elle cherchait, plein de sang dans l’évier. 

Nick continue son travail sur la table de jeu. Un homme vient le pousser à se dépêcher car pendant ce temps, la table ne sert pas. Catherine a maintenant démonté les canalisations sous l’évier et a relavé des empreintes de pieds.
Nick fait des prélèvements sur chacun des dés qui ont servi lors de la soirée. Il a retrouvé des traces de sang. Il se dépêche alors de ramasser ses affaires et libère ainsi la table. 

Warrick est sur le chemin du labo, il a affaire à un accident de voiture. Il descend de son véhicule afin d’aider une femme : elle est couverte de sang, en sortant de sa voiture, elle se raccroche à lui. 

Grissom et le docteur Robbins sont en train d’étudier le corps de la jeune Kim. La plaie indique que l’arme est particulièrement pointue. Grissom pense à un tir-bouchon. La carotide a été touchée, créant un forte hémorragie. La blessure était particulièrement violente et surtout ne permettait absolument pas à la victime de crier : la gorge tranchée, les muscles du larynx ne permettait plus à la victime de parler. Or Tom Haviland soutient que la victime lui a dit qui l’avait agressé avant de mourir ! 

L’équipe est réunis dans la salle de briefing. Grissom pense qu’il a tué les deux filles mais ils doivent en avoir la preuve. Chacun expose ses trouvailles : Catherine explique qu’il s’est lavé les mains dans le débarras, elle a trouvé une empreinte de pied et du sang dans les canalisations. Warrick explique son contre-temps. Greg entre à ce moment-là avec ses résultats : ils sont positifs, Tom Haviland est le meurtrier. Nick hausse le son de la télé, l’avocate d’Haviland va parler : Elle confirme que Tanya la deuxième fille devrait être la priorité de la police car c’est le suspect numéro un. Elle attaque ensuite le travail des experts, elle se révolte devant leur méthode et les fait passer pour des manipulateurs de preuve. 

La procédure n’a soi-disant pas été respectée : le sang que transportait Warrick aurait très bien pu être contaminé par le sang de la femme qui s’est accrochée à lui en sortant de sa voiture accidentée. Le sang prélevé sur les ongles d’Haviland est donc irrecevable devant la cour. Pendant la discussion, Grissom a de nouveau une perte d’audition, il a beau tendre l’oreille, il entend de moins en moins bien et cela l’inquiète. 

Grissom explique à son équipe ce qu’il va se passer. L’avocate veut que le procès est rapidement lieu pour mettre la pression à l’équipe scientifique. A partir de là, l’équipe va être surveillée : « quand on ne peut pas attaquer les preuves, on attaque la méthode employée pour les trouver. » Le docteur Philippe Gérard va donc les surveiller, il s’agit de l’ancien mentor de Grissom. 

Jim Brass parle avec Grissom : Lester, l’assistant particulier de Tom Haviland veut subir une prise de sang ce qui permettrait à la défense de faire perdre du temps à l’équipe de nuit. 

Nick est en train de visionner les vidéos de surveillance. Son bip se met à sonner, Greg l’appelle : il a les résultat d’analyse concernant les dés. Un échantillon de sang avait été retrouvé, il s’agit de celui de la victime. Ce sang s’est retrouvé sur les dés quand Tom Haviland a soufflé dessus pour lui porter chance après le meurtre, comme il a l’habitude de le faire. Sa bouche a été en contact avec le sang de Kim lorsqu’il s ‘est essuyé. Nick doit maintenant retrouver la vidéo prouvant qu’il a soufflé sur les dés. Philippe Gérard est déjà là, il surveille Greg dans ses moindres faits et gestes. 

Grissom rejoint Sara qui a déjà tendu contre le mur le drap couvert du sang de la victime. Un drôle de marque attire leur attention mais reste pour le moment inexpliquée. Philippe Gérard s’infiltre dans leur conversation. Gérard pose des questions à Sara sur les vêtements retrouvés et le drap derrière elle. A-t-elle bien suivi la procédure ? A-t-elle pris des photos ? Qu’a-t-elle fait de ses gants ? Sara répond brillamment à toutes les questions. Philippe Gérard lui rappelle donc le problème du soutien-gorge et l’accuse de faire parler les preuves : selon lui, Sara a des sentiments pour Hank et par conséquent n’était pas en mesure de rester objective et efficace. Sara se défend de l’accusation, Grissom interrompt la conversation et invite son mentor à le rejoindre dans son bureau. Avant qu’il ne quitte la pièce, Saraexplique à Grissom qu’elle compte demander à Greg de faire une analyse ADN du draps. 

Catherine est seule dans la salle de repos jusqu’à l’arrivée de Grissom, elle lit la demande de Wescott : celle-ci veut obtenir le dossier d’aptitude de Catherine. Son dossier est en appel, Catherine est sur les nerfs, Grissom lui fait la remarque. La tension monte, Catherine l’attaque sur le fait qu’il supervise de loin l’affaire et le compare à Ecklie. Grissom le prend mal et la laisse. 

Il rencontre Warrick dans les couloirs, celui-ci doit impérativement retrouver le T-Shirt qu’il portait le soir de l’accident, sans quoi il ne pourra pas prouver que le sang qu’il transportait n’a pas été contaminé. 

Nick travaille toujours sur les vidéos de surveillance, il est en compagnie de Philippe Gérard, Grissom les rejoint. Sur une des vidéos, on voit l’assistant personnel de Tom Haviland transporter son matériel de golf dont une malle pouvant facilement contenir un corps. Celui de Tanya n’a pas été retrouvé. Gérard explique que le jeune assistant pourrait être l’assassin. 

Grissom a récupéré la malle grâce au bon vouloir de l’assistant personnel d’Haviland. Jim fait rapidement un résumé de ce qui s’est passé le soir du meurtre : Haviland a appelé son assistant pour, selon lui, se débarrasser des corps. L’assistant démentit, il dit qu’il voulait qu’il l’écoute prendre son pied.Jim explique alors que la vidéo l’a filmé transportant la malle. Grissom l’ouvre, elle dégage une forte odeur de solvant. 

Dans le noir, Grissom pulvérise du luminol qui devrait réagir au contact du sang en devenant phosphorescent. Nick et le docteur Gérard sont là pour assister à l’expérience. Très vite, la malle devient bleue, Nick pense détenir la preuve formelle. Malheureusement, le luminol réagit au contact du solvant, il leur est donc impossible de prouver qu’un cadavre a été transporté dedans. Nick perd son sang froid.Grissom en a assez, il affronte son mentor : il ne comprend pas comment un homme aussi douer que lui se rabaisse à mettre en doute la parole des experts. Chacun défend son côté, Gérard parle de l’incompétence de chacun des membres de l’équipe de nuit. 

Greg a enfin ses résultats, il a analysé les taches de sang et court en informer son patron tout en faisant bien attention de ne pas être espionner par le docteur Gérard. Sara les rejoint, Greg a trouvé deux ADN différents, celui de Kim et celui d’un inconnu (présence du chromosome Y.) : le « nouveau sang » n’est ni celui d’Haviland, ni celui de Lester son assistant. Il y avait donc un autre homme : les Experts sont perdus dans leur enquête, la pression est trop forte. Grissom heureusement garde la tête froide, il cherche des solutions plausibles. Nick fait son apparition dans l’encadrement de porte, ils ont retrouvé le corps de la deuxième fille dans un bunker sur un terrain de golf. 

Brass est sur les lieux, Nick et Grissom le rejoignent, accompagnés par le docteur Gérard et par le jeune médecin légiste David Phillips. Le corps correspond à la description de Tanya selon Brass mais rien n’est encore sûr. Nick, qui s’occupe avec David de déterrer le corps, leur demande à ce qu’ils se rapprochent.Grissom pense avoir compris : Tanya était en fait un homme, Tom Haviland n’aurait pas supporter de coucher avec un homme et les aurait donc tué, pour protéger sa fierté. Grissom fait remarquer à son mentor que toute son équipe travaille et lui les observe et en tire les conclusions. Comme il lui a tendu la perche, Gérard va en profiter pour le critiquer : il sous-entend que Grissom a des problèmes d’audition tout comme sa mère. Grissom est blessé « ces méthodes de rapace vous déshonore. » Gérard pense que la qualité du travail de Grissom s’en ressent, il l’accuse d’être inopérant. Le responsable de l’équipe de nuit est inquiet, il sait que Gérard a raison et ça l’inquiète beaucoup : son métier demande d’avoir les cinq sens développés alors, que deviendrait le grand docteur Grissom s’il n’entend plus rien ? 

De retour au labo, Grissom examine la montre de Tom Haviland. Il est intrigué par une tache sur les draps et cherche à savoir d’où elle provient. Elle est ronde, de dix centimètre de diamètre environ et le dessin est particulier. Sara le rejoint, elle aussi s’est posée la question et n’a pas trouvé de réponse.Grissom voudrait se procurer des photos de presse de Tom Haviland, il a une petite idée sur le sujet mais Brass n’a pas encore trouvé de magasine avec des photos de la star. Sara est habillée pour aller au tribunal, les experts doivent faire leur rapport. Grissom lui explique (avant qu’elle ne parte) qu’elle ne sera pas responsable si Tom Haviland s’en sort même si son avocate se sert de la relation qu’elle a avec Hank Peddigew. Elle a le droit d’avoir une vie privée. 

Catherine donne des derniers conseils à Nick : pour l’audience, il doit rester calme et montrer qu’il est à l’aise. Ainsi, il prouvera qu’il n’a rien à se reprocher, qu’il fait bien son travail. Warrick n’a toujours pas retrouvé son T-shirt, il devra faire sans. 

Chaque membre de l’équipe fait son rapport au tribunal. Wescott fait tout pour les déstabiliser : Nick n’a pas numéroté les dés quand il les a rangé, il est donc incapable de montrer sur lequel il a prélevé le sang de la victime. Warrick transportait du sang et a dû intervenir dans un accident le même jour, le sang prélevé sur les ongles d’Haviland aurait donc très bien pu être contaminé par celui de la femme accidentée. De plus, il est accusé d’être un accro du jeu, on ne peut donc pas lui faire confiance. 

Brass pendant ce temps fournit à Grissom des clichés des mains de Tom Haviland alors que lui voudrait des photos des jambes : il veut faire une comparaison morphologique. Wescott a refusé qu’il fasse plus de photos de son client. 

C’est au tour de Sara à présent, Wescott l’accuse d’avoir des relations plus que professionnelles avec Hank, puis avec Grissom : selon l’avocate, Sara serait prête à tout pour faire plaisir à son patron. Wescott s’appuie sur un témoignage issu d’une autre enquête (cf épisode 2x05 : Sara essuie du plâtre sur la joue de son supérieur). Puis vient le tour de Catherine, accusée elle aussi de ne pas être quelqu’un de sérieux. L’avocate se base cette fois sur l’ancien travail de Catherine, danseuse exotique et sur le fait que Catherine n’a pas totalement réussi sont test d’aptitude pour entrer dans la brigade. 

Une fois sortie du tribunal, Catherine rend visite à Grissom : elle l’accuse de les laisser dans la boue sans lever le petit-doigt. Grissom fait la sourde-oreille, il est toujours à la recherche de clichés des jambes. 

Heureusement Greg a mis de côté des magasines sur Tom Haviland, une photo paparazzi le montre les jambes nues. 

Grissom va donc témoigner au tribunal. La tache ronde retrouvée sur les draps a été faite au cours de l’agression par le genou de l’agresseur Tom Haviland. Gérard donne un dernier conseil à Wescott avant qu’elle n’aille interroger le témoin : lui parler à voix basse pour le déstabiliser. Grissom la fait répéter trois fois sans entrer véritablement dans son piège, il répond alors à sa question : le genou gauche de Tom Haviland a une profonde cicatrice dû à une chute en entrant dans sa caravane. Grissom montre une photographie de la marche de la caravane, le dessin qu’elle a est le même que le dessin sur le genou, malheureusement pour Haviland, il correspond également au dessin laissé dans la tache de sang ronde. Tom Haviland ne peut donc qu’être accusé des meurtres de Kim et Tanya. Gérard vient féliciter le travail de Grissom, celui-ci affirme qu’il n’est pas seul, c’est l’équipe entière qu’il faut féliciter. Puis il renvoie la balle à son mentor : « ma mère vous dit bonjour. » L’équipe des experts repart avec le sourire, ils ont enfin réussi à le coincer ! 

Fait par milhoute

WHITE FLASH OPEN:

[EXT. LAS VEGAS CITY (STOCK) - NIGHT]

INTERCUT WITH:

[INT. CASINO -- THE WALLFLOWERS - PERFORMANCE]

LYRICS:  
["Everybody Out of The Water", performed by The Wallflowers]

... on your mark, get set / let's go / you got to move now, before she explodes / look out the window, lookout below / back away from the glass / well, there  she blows / the city's been leveled / the hills are in flames / the streets cracked open / and they're pushing up clay / temperature's dropped / the sky is gray / and it ain't even over / here comes drivin' rain / it ain't me that you feel / it's something moving around in here / well, that's blood, that's tears / this ain't a warning / everybody out of the water...

CUT TO:



SCENE #01:

LYRICS:
 and up on dry land / take what you can / cuz you won't be here again / everybody out of the water ...

[INT. PALMS HOTEL & CASINO - NIGHT]

(A group of young women walk through the casino's lobby to enter the performance area.  The camera runs in slow motion.  They're dressed up for a night out on the town.)

(Cut to TOM HAVILAND shooting craps at the crap table.  He's surrounded by a group of people and having a wonderful time.)

(Cut to one of the young women from the group walking through the crowd with her friends.  She looks up and sees TOM HAVILAND at the crap table.)

FAN (WOMAN):  Tom Haviland!  Oh, my god.  It's really him.  I loved him in "I- 95" and ... and that other movie with Julia Roberts.

(Cut to the crap table.  TOM HAVILAND holds the dice.  He blows on the dice and prepares to set his bet.)

TOM HAVILAND:  Odds on six and eight.  Give me thirty-five on the hop and a quarter on the horn for the boys.

HOUSE:  Thank you, sir.

TOM HAVILAND:  All right.

(TOM HAVILAND shakes the dice, blows on it and lets it go.  In slow motion, the dice roll across the crap table, hits the back board and rolls back to where it finally stops on a three and a five.)

LYRICS:  
 ...Now I'm treadin' high water / to get back to you / looking for a little spot of something to cling to / there's too many bodies / there's not enough room / God help me and God help you ...

(The table crowd lets out a loud cheer.)

LYRICS:  
  ...they say nobody panic / help is on its way, we're already on it / you've got to be brave / if you can fix it now then don't make us wait / man they're ain't nobody coming / back away from the gates ...

(RAYMOND LESTER walks up to TOM HAVILAND.)

TOM HAVILAND:  Hey.

RAYMOND LESTER:  How you doing?  So what are you in the mood for, huh?  A little French, Italian ...

TOM HAVILAND:  No, man, I had Italian last night.  How about Chinese?

(TOM HAVILAND has his eyes somewhere across the crap table.  RAYMOND LESTER follows his gaze and smiles.)

RAYMOND LESTER:  Oh yeah, Chinese.  Hey, man.  I've got you.

(RAYMOND LESTER leaves.  TOM HAVILAND continues with his game.  He blows on the dice and lets it roll.  It stops on two fives.  The table crowd goes wild.)

(Across the table, RAYMOND LESTER approaches two Chinese-looking women.  He puts his arms around their shoulders and speaks to them.  They both smile.)

LYRICS:  
 Everybody out of the water / get up on dry land / take what you can / 'cause you won't be here again / well, I loved you then / like I love you now / that won't matter anyhow / well, this is the new frontier / everybody out of the water ...

CUT TO:


SCENE #02:

[INT. PALMS HOTEL & CASINO -- BEDROOM - NIGHT]

(TOM HAVILAND and the two women from the Casino walk down the sunken bedroom floor to the large bed in the center of the room.  They slowly discard their clothing as they reach the bed.)

INTERCUT WITH:

[THE WALLFLOWERS PERFORMANCE]

(The woman in the red dress falls back on the bed.  TOM HAVILAND straddles her and the other woman in black straddles her behind him.)

(Camera close up of the women touching and caressing TOM HAVILAND.  Camera close up of TOM HAVILAND in slow motion.  Music fades.  Slow deep breathing sounds louder.)

LYRIC: ... everybody out of the water ...

FLASH TO WHITE:



SCENE #03:

[INT. PALMS HOTEL & CASINO -- BEDROOM -- NIGHT]

(GRISSOM is carrying his CSI kit and walking down the short steps to the sunken bedroom.  He approaches the bed.  BRASS is already there.  He turns his cell phone off.)

BRASS:  The subject, Tom Haviland, says he had a romp with two ladies between 1:00 am and 2:00 am.  Then he left them in the sheets and went back to the crap table.  He returned a half an hour later and found Kim like this with her throat slashed.

(Sprawled out on the bloodied bed is the woman in black.  GRISSOM crouches low next to the bed.  He shines the light from his flashlight on the victim's neck.)

GRISSOM:  The extent of the coagulation suggests she died before that.  Possibly before 1:00 am.

BRASS:  When he puts himself in the room.

GRISSOM:  You said "ladies."  Where's the other one?

BRASS:  Uh ... Tonya.  He said she was gone when he returned.

GRISSOM:  Gone?  That's an elastic term.

BRASS:  Yeah, Mr. Haviland's assistant a Raymond Lester, notified hotel security and called 9-1-1.

GRISSOM:  What do we know about Raymond?

BRASS:  Eyewitnesses place him downstairs at the time this took place.  Mr. Lester is in ... LA at a morning meeting.  He's flying back this evening.

GRISSOM:  And Mr. Haviland?

BRASS:  He's in the other room.

CUT TO:



SCENE #04:

[INT. PALMS HOTEL & CASINO - ROOM NEXT TO BEDROOM]

MAN:  (o.s.)  Do you do your own stunts?

(TOM HAVILAND holds a stock publicity photograph and signs it.  Surrounding him are three men talking with the movie star.)

TOM HAVILAND:  Yeah, I do my own stunts, but, look, I don't want to dog on the guys who use stunt doubles, right?  Believe me, when you're hand gliding over the Grand Canyon, you should think twice.

(The man laughs at the response.)

MAN:  (o.s.)  I've always wanted to try that.  Would you mind making it out to my girlfriend please ...

(The camera pulls back.  Off to the side some distance away, WARRICK and GRISSOM watch.  GRISSOM puts his glasses on and watches with no expression on his face.  WARRICK turns from watching TOM HAVILAND and looks at GRISSOM'S non-expression.)

WARRICK:  You don't recognize that guy, do you?  It's Tom Haviland, movie star.

(GRISSOM nods slightly.)

GRISSOM:  Clark Gable was a movie star.

(GRISSOM approaches the group.)

GRISSOM:  Excuse me, fellas.

TOM HAVILAND:  Keep the peace, boys.

(The mini-crowd leaves.)

GRISSOM:  Mr. Haviland, my name's Gil Grissom.  I'm with the Las Vegas Crime Lab.

TOM HAVILAND:  (smiles)  Oh, well, do you have a sheet of paper?  'Cause I'm kind of running out of things to write on here.  

GRISSOM:  What?

TOM HAVILAND:  Oh.  My bad.

(TOM HAVILAND looks down and re-caps the pen in his hand.)

GRISSOM:  I need to ask you did you, by any chance, touch the victim after you found her?

TOM HAVILAND:  No.

GRISSOM:  You sure?

TOM HAVILAND:  Look, I wouldn't want people to know, but I got creeped out.  I kept my distance waiting for the ambulance.

GRISSOM:  That's all you did?

TOM HAVILAND:  Well, I did ask her who did it.  And she said Tonya.

GRISSOM:  Really?  The other girl.

(TOM HAVILAND nods.)

GRISSOM:  Hey, Warrick?

(WARRICK, standing off to the side, walks toward the two men.)

GRISSOM:  Would you mind if we took a look at your hands?

TOM HAVILAND:  Yeah, sure.

(TOM HAVILAND holds both his hands out palms up.)

GRISSOM:  Palms down, please.  

(GRISSOM turns on his flashlight and shines it on TOM HAVILAND'S fingernails.  WARRICK shifts slightly as he knows what GRISSOM is looking for.)

GRISSOM:  You said you never touched the victim.

(TOM HAVILAND shakes his head.  No.  WARRICK uses a swab on TOM HAVILAND'S cuticles.  Camera close up on the swab as it picks up a dark residue under the nailbeds.  WARRICK looks at the swab tip.)

WARRICK:  It's blood.  I guess you forgot to scrub the back of your hands, huh?

TOM HAVILAND:  I get one phone call, right?

GRISSOM:  Sure, just like in the movies.

HARD CUT TO:
END OF TEASER.
ROLL TITLE CREDITS.

(COMMERCIAL SET)


[EXT. LAS VEGAS (STOCK) - NIGHT]


SCENE #05:

[INT. PALMS HOTEL & CASINO - LOBBY -- NIGHT]

(Camera view in slow motion.  TOM HAVILAND, handcuffed behind his back and escorted by BRASS, GRISSOM, WARRICK and an officer, walk through the hallway.  They turn the corner and just outside the glass doors in the center of the casino lobby is a large group of reporters intermixed with fans and curious onlookers.)

(Normal camera speed resumes when the security officers open the glass doors.  The crowd pushes against the group of officers there to provide security.)

REPORTER:  Tom, did you do it?

REPORTER:  Tom! Tom!

FAN (MALE):  You're the best, Tom.  Stay strong.

REPORTER 1 (WOMAN):  Captain, can you tell us exactly what prompted PD to arrest Tom for this murder?

BRASS:  Conflicting statements and forensic evidence.

REPORTER 2 (MAN):  Could you be more specific?

BRASS:  Blood evidence.

REPORTER 3 (MAN):  What kind? Where did you find it, exactly?

BRASS:  That's all for now.  When we have more information, we'll release it to you.  Thank you excuse us.

(BRASS with TOM HAVILAND push onward through the casino lobby.  The reporters follow in their wake shouting their questions at the men.  WARRICK and GRISSOM remain behind then turn to move to the side.)

REPORTER:  Tom, did you do it?

CUT TO:


SCENE #06:

[INT. PALMS HOTEL & CASINO - LOBBY - NIGHT -- CONTINUOUS]

(SARA, CATHERINE and NICK walk across the casino floor and meet up with GRISSOM and WARRICK.  Each is carrying their CSI kit.  CATHERINE is on her cell phone.)

SARA:  I like his movies.  (she shrugs)  Some of them are good.

(GRISSOM has a thoughtful look on his face.  CATHERINE pulls the phone away from her ear and puts it away.)

CATHERINE:  DA just got the call.  Tom's manager hired Marjorie Wescott to defend him.

(GRISSOM considers the news.)

NICK:  "Soundbite" Wescott?

CATHERINE:  Guilty, rich client, high-profile case it's right up her alley.  Publicity for her new cable show.

GRISSOM:  Forget about who's involved.  We do this like we do any other case.

WARRICK:  Well, I'm going to get this blood evidence to DNA.  I'll catch up with you guys later.

NICK:  All right.

CATHERINE:  So, we'll take the suite.  It's the penthouse, right?

(CATHERINE leaves.  SARA follows.)

SARA:  Later.

(GRISSOM and NICK remain behind.)

CUT TO:



SCENE #07:

[INT.  PALMS HOTEL & CASINO - CRAPS TABLE - NIGHT -- CONTINUOUS]

(NICK and GRISSOM walk through the crowd.  They approach the craps table TOM HAVILAND played at in the teaser.  The CASINO MANAGER stands off to the side looking at his watch.)

GRISSOM:  Witnesses place Tom Haviland at this table before and after the time of the murder.

NICK:  I'll look for transfers.

GRISSOM:  Yeah, well, he's already admitting to sleeping with the victim so hair and fiber evidence won't mean anything.

NICK:  Okay.

(NICK ducks under the crime scene tape, turns and holds it up for GRISSOM.  GRISSOM doesn't move.)

NICK:  You coming?

GRISSOM:  I'm just going to supervise on this one.

NICK:  All right.

(NICK turns around to process the craps table.  GRISSOM remains outside the taped area.)

CUT TO:


SCENE #08:

[INT. PALMS HOTEL - BEDROOM -- NIGHT]

(Camera close up of KIM HSU'S body being placed on the gurney for removal  A plastic sheet covers her face.  The coroners take the body away.)

(SARA is crouched low next to the bed.  She's taking picture of a bra on the bed.  HANK PEDDIGREW appears next to her.)

HANK PEDDIGREW:  Hey, Sara.  

SARA:  Hey.  I thought you left.

HANK PEDDIGREW:  I need to talk to you.

(SARA snaps a photo.)

SARA:  Uh ... can it wait till after work?

HANK PEDDIGREW:  It's about work.  When I tried to revive the victim the bra was in the way, so I repositioned it.  I didn't think about it until I was at the elevator.

SARA:  Oh, um ... can you tell me where it was exactly?

HANK PEDDIGREW:  A little ... a little over here.

(HANK PEDDIGREW points a little to the right of the bra.  SARA moves the bra.)

SARA:  You sure?

(He nods.)

HANK PEDDIGREW:  Thanks.

SARA:  Thanks?  Thanks nothing.  I'm going to have to put it in my report.  "Evidence moved due to life-saving efforts" with before and after pictures.

HANK PEDDIGREW:  Sorry.

(SARA smiles.  HANK PEDDIGREW leaves.  SARA lifts the camera to take another picture.  CATHERINE enters the bedroom.)

CATHERINE:  I could live in that bathroom.  So, I've checked every plumbing fixture in this place.  There's no blood.

(CATHERINE rests her kit down and crouches next to SARA.)

SARA:  Grissom said he found blood under movie boy's nailbeds.

CATHERINE:  And that sheet looks like a butcher's apron.  Movie boy had to wash his hands someplace.

(CATHERINE thinks about it.  She stands and takes her kit.  She leaves the bedroom.)

CUT TO:


SCENE #09:

[INT. PALMS HOTEL & CASINO -- HALLWAY]

(CATHERINE exits the TOM HAVILAND'S hotel room.  She makes her way through the hall looking for something.  A few feet away from the hotel room door on her left, she finds it.  The Utility Room (Employees Only).  CATHERINE opens the door and turns on the light but doesn't enter the room just yet.)

(The light above the sink flickers on.  CATHERINE puts her kit down and puts a covering on her shoes before entering the Utility room.  She uses her flashlight on the floor and carefully enters the room making her way to the sink.)

(She takes special note of the spot directly in front of the sink.  She reaches into the sink and removes the drain stopper.  On the underside, she finds blood.)

CUT TO:


SCENE #10:

[INT. PALMS HOTEL & CASINO - CRAP TABLE]

(Down in the casino, NICK swabs the crap table.  Next to him, the CASINO MANAGER interrupts.)

CASINO MANAGER:  Can the casino do anything to hurry this up, Mr. Stokes?

NICK:  I'm processing as fast as I can, sir.  It would help if I had the dice used at this table.

CASINO MANAGER:  We replace the dice every hour.

NICK:  I've got my work cut out for me then, don't I?

(The CASINO MANAGER nods slightly and leaves to get the dice.  Camera holds on NICK.)

CUT TO:



SCENE #11:

[INT. PALMS HOTEL & CASINO - UTILITY ROOM]

(Under the sink, CATHERINE works to remove a portion of the pipe.  She successfully removes the pipe and looks inside where she sees some evidence of blood.)

(Cut to CATHERINE dusting the floor between the sink and the door.  She manages to successfully lift a bare footprint off the floor.  CATHERINE smiles)

CUT TO:


SCENE #12:

[INT. PALMS HOTEL & CASINO - CRAP TABLE]

(On the crap table in front of him, NICK has five sets of dice evenly spaced.  A stack of evidence envelopes is off to the side.)

(NICK swabs the dice in front of him and it shows up positive for blood.  NICK smiles.  He looks up directly into the security camera above the table.)

(Cut to the security camera black and white view of the crap table from above with NICK looking up at it.  NICK signals to the CASINO MANAGER standing off to the side that he's finished.  NICK starts putting the dice into the envelopes as people start to appear around the crap table.)

DISSOLVE TO:


SCENE #13:

[INT. WARRICK'S CAR -- ROADWAY IN FRONT OF THE CALIFORNIA HOTEL & CASINO -- NIGHT]

(WARRICK transporting the blood evidence taken from TOM HAVILAND.  He drives on the roadway and comes to a stop behind some cars.  The street light is red.  Cars are honking their horns.  In the middle of the intersection, there's a car accident.  Indistinct radio transmissions sound in the background.)

WARRICK:  Great. What is this?

(WARRICK stops the car.  He sees the accident and also notices the driver's door opening with the driver getting out of the car.)

WARRICK:  Oh, great.  Here we go.  (to phone)  This is CSI Brown.  I got a T&A, at Ogden and Main.  Please send EMS, Emergency Medical Assistance as soon as you can. Hey ...

(The woman struggles out of the car.  She's bloodied and in shock.  She's standing on her feet.  WARRICK puts his phone away and grabs her trying to steady her.)

ACCIDENT VICTIM (WOMAN):  I can't see.

WARRICK:  You all right?

ACCIDENT VICTIM (WOMAN):  I can't see.  Help me.

WARRICK:  Okay. Okay, all right...

ACCIDENT VICTIM (WOMAN):  Help me!

WARRICK:  Okay. Hey, stay with me.  Stay with me.  Let me look at you...

ACCIDENT VICTIM (WOMAN):  I think I'm going to pass out.

(The woman collapses against WARRICK.  She's still conscious.)

WARRICK:  Hey, no, no, no ...

(WARRICK holds the woman upright.)

WARRICK:  Okay. All right.  All right, keep your head back.  All right, I got to get a towel for your head.

ACCIDENT VICTIM (WOMAN):  No, no, no!  Don't leave me, please.  Don't leave me, please.

WARRICK:  Okay, I'll be here with you for the ambulance, okay?  Take a deep breath.  

(WARRICK lifts his head and yells out to the crowd of curious onlookers.)

WARRICK:  Can someone give me a towel?!

(A camera flashes from someone in the crowd.  No one moves to assist.  A siren can be heard getting louder.)

CUT TO:


SCENE #14:

[INT. CSI - FORENSIC AUTOPSY]

ROBBINS:  Wound tract tells us the weapon was sharp, irregular with a tight curve.

(ROBBINS takes off his glasses and looks up at GRISSOM.)

GRISSOM:  Well, let's see.  Hotel suite.  Probably a weapon of opportunity.  Corkscrew, maybe.

ROBBINS:  Corkscrew would be consistent with this tissue damage.

GRISSOM:  Is it all the way down to the larynx?

ROBBINS:  Transected the superior thyroid artery external carotid, causing exsanguination.  Both laryngeal branches of the vagus nerve and her larynx were severed.  Vagus nerve controls the muscles in the larynx.  Any injury to this nerve and its surrounding muscle results in immediate paralysis of the throat.

(Quick CGI POV of KIM HSU in a full open mouth scream.  The camera zooms in through the mouth and through the larynx.  A corkscrew pierces the muscles in the larynx.  Blood spurts.  The screaming stops.)

ROBBINS:  Voice box was immobilized.  

(GRISSOM doesn't respond.  He looks at ROBBINS.)

ROBBINS:  Why the look?

GRISSOM:  Tom Haviland claimed that this victim told him the name of her murderer before she died.

(ROBBINS shakes his head and scoffs.)

CUT TO:


SCENE #15:

[INT. CSI -- LAB]

(A group of people watch the television set both inside the lab across the hall and in the hallway.  The camera shifts and a second television set is also on the news coverage inside the CSI Lab.)

PAULA FRANCIS (TV REPORTER):  (on tv)  Detectives and forensics experts are sifting through evidence a this hour, making their case against actor Tom Haviland.  We'll recap the story as we wait for a live feed from a downtown news conference with Haviland's attorney.  Several witnesses have already spoken to police about Haviland's actions outside the murder ...

(With the remote, NICK turns of television.)

NICK:  Proceed, sir.

GRISSOM:  Okay, we got at least one murder charge on Haviland.  I imagine we'll add another one.  

CATHERINE:  Tonya.

GRISSOM:  So, let's run Kim Hsu's murder.  Haviland slashed her throat probably with a corkscrew.

(Quick flashback to the hotel bedroom.  A woman is screaming.  TOM HAVILAND swings his hand and the woman's screaming stops.  She falls back against the bed.  Flash to white.  TOM HAVILAND holds the corkscrew in his right hand.  He opens the palm of his hand and looks down at his bloodied
hand.  Flash to white.  End of flashback.  Resume to CATHERINE.)

CATHERINE:  Then, showing consciousness of guilt he washed the blood off in this room which is right around the corner from his suite.

(Quick flash back to TOM HAVILAND standing in front of the sink.  Flashback is green-tinged to show that it was done without the light on and in darkness.  Sounds of water running can be heard.  TOM HAVILAND washes his hands and his chest from the blood.  He glances behind him.  White flash to camera view of TOM HAVILAND'S bare feet.)

CATHERINE:  (v.o.)  We found dilute blood in the sink, pipes and ... footprint ridges there.

(Flash to white.  End of flashback.  Resume to present.)

GRISSOM:  Do we have the results on the blood from Haviland's hands?

WARRICK:  I got held up behind a traffic accident.  I put it in with Greg.  I'm not sure if he's done with it yet.

(GREG walks in holding the test results.  He hands them to GRISSOM and gives his report.)

GREG:  I got it right here.  The forensic sample matches the reference.  The blood on Tom's hands was definitely the victim's.  Triple-checked the data.

WARRICK:  We got our guy then.

NICK:  Oh, here she is.

(NICK picks up the remote and turns the television sound back up.  Everyone's attention focuses back on the screen.)

(Captions on television screen:  LIVE  "Murder Charge Unfounded / EYEWITNESS NEWS")

MARJORIE WESCOTT:  (on tv)  Aside from the fact that the other woman in this case also known as Tonya is still at large and is still a likely suspect in this murder the evidence Las Vegas CSI did collect the evidence they're using to railroad my client, Tom Haviland, has been completely and irretrievably compromised.  I'm holding in my hand compromised, contaminated evidence, ladies and gentlemen.  

(CATHERINE gasps.  She turns to look at GRISSOM who looks equally surprised at the announcement.  He turns and looks at NICK who doesn't seem all that surprised at the defense attorney's tactics.  He sighs.)

(Camera cuts back to GRISSOM who processes this information thoughtfully.)

MARJORIE WESCOTT:  CSI should be ashamed; and you, as citizens, should be outraged.  This not how we do things in America.

HARD CUT TO BLACK.

(COMMERCIAL SET)



SCENE #16:

[INT. CSI -- HALLWAY]

DISTRICT ATTORNEY:  They're saying the chain of custody was broken.  The sample was contaminated when you stopped to help the woman.

(The District Attorney walks through the hallway.  CATHERINE walks next to him, WARRICK and GRISSOM behind them.)

WARRICK:  That blood was not contaminated.  I recovered it from the back of Tom Haviland's hand sealed it, delivered it to sanders in DNA.

CATHERINE:  Did you lock your car when you helped this driver?

WARRICK:  I was out of my car two, three minutes tops.

[CLOSED-CAPTIONED:  CATHERINE (distantly):  Dispatch put you out of your vehicle for seven minutes and 11 seconds.]

(Camera close up of GRISSOM in slow motion.  The sound is extremely muffled as we hear what GRISSOM struggles to hear.)

(Still in slow motion, the camera cuts to the DISTRICT ATTORNEY from GRISSOM'S POV.  We see his lips move only when they are in view.  We can't hear what he's saying.  Camera cuts back to GRISSOM who tries to follow the conversation.  WARRICK speaks indistinctly.  The DISTRICT ATTORNEY speaks indistinctly.  The voices slowly get louder and clearer.)

... at the DA if you had.

WARRICK:  They day I do that is the day I turn in my badge.

(GRISSOM follows behind, but he's no longer trying to follow the conversation.  He opens the folder he's carrying and begins to leaf through it.)

CATHERINE:  Our evidence is solid.  We can't let 'em take us out of our game.

DISTRICT ATTORNEY:  That may be difficult.  Marjorie's been flooding us with legal motions.

CATHERINE:  Oh, that's what lawyers do; especially when their clients are guilty.

(The DISTRICT ATTORNEY stops in the hallway and turns around to face the three CSIs.  GRISSOM is now reading a file in his hands.)

DISTRICT ATTORNEY:  These motions are different.

CUT TO:


SCENE #17:

[INT. CSI - GRISSOM'S OFFICE]

GRISSOM:  Tom Haviland's attorneys are not waiving time.

(NICK is surprised by this.)

NICK:  Are you serious?

SARA:  They're actually exercising their right to a speedy trial?

GRISSOM:  No requests for continuances, no stall tactics.  They're pushing for their day in court.

WARRICK:  Good defense attorney always does the last thing you expect.

CATHERINE:  Yeah. What typically drags on for months has now been put on the fast track and the prelim is less than seventy-two hours.

GREG:  I'm only done processing half the evidence.

CATHERINE:  You're going to have to call in help, because if the judge thinks that our evidence isn't strong enough to go to trial he's going to dismiss the charges on Tom.

SARA:  Can't the DA drop the charges and we'll refile when we get our evidence together?

CATHERINE:  Sure, but the odds are that Tom will relocate to Europe and pull a Polanski.

GREG:  And what's a Polanski?

GRISSOM:  Get-out-of-jail-free card.  One more thing:  Wescott just added a forensic scientist to their roster.  She wants him to examine every piece of evidence we have against Haviland.

NICK:  As soon as it's processed they'll get a copy of our report.

GRISSOM:  They're entitled to see it as it's processed.

NICK:  I've never done a case where the defendant took advantage of that rule of discovery.

GRISSOM:  Well, when you can't attack the evidence itself, you attack the method of gathering the evidence.

SARA:  So who's their guy?

GRISSOM:  Dr. Phillip Gerard.

SARA:  Phillip Gerard?  Your mentor is their forensic scientist?

GRISSOM:  Yeah. Marjorie Wescott's a smart lawyer.

CUT TO:


SCENE #18:

[INT. CSI -- HALLWAY]

(BRASS and GRISSOM walk through the hallway.)

BRASS:  Tom's best friend, Ray -- he's coming in tonight.  Volunteering to give a blood sample.

GRISSOM:  He knows his blood's not on those sheets.  They're trying to choke us with evidence.

BRASS:  He also lawyered up.  Guess who's paying the legal bills?

GRISSOM:  The movie star.

BRASS:  Legalized hush money.  Ought to be a law against it.

CUT TO:


SCENE #19:

[INT. CSI - AUDIO/VISUAL LAB]

(NICK works on the security video tape from the camera above the crap table.  The time on the monitor reads 11:58:06 PM.  The video is of TOM HAVILAND shooting craps at the table.)

(The keyboard clicks as NICK works on it.  His pager beeps.  NICK looks at the pager.  He turns his head.  In the background in the next room, GREG is watching NICK.  GREG holds up the pager and waves.  NICK sighs and gets up to see what GREG wants.)

CUT TO:



SCENE #20:

[INT. CSI - DNA LAB -- CONTINUOUS]

(NICK pushes the glass door open and enters the DNA lab.)

NICK:  You beeped me from across the hall?

GREG:  Uh, yeah.  I waved; you didn't look up.  

(NICK smiles.)

GREG:  The blood contributions on that die ...

NICK:  Yeah?

GREG:  ...Tom Haviland and Kim.

NICK:  So when he blew on the dice, he blew victim blood.

(Quick flashback to the craps table that night.  Close up of TOM HAVILAND holding the pair of dice and raising it close to his lips to blow on it.  Cut to CGI POV of TOM HAVILAND blowing on the dice.  Extreme camera close up of saliva particles passing from TOM HAVILAND to the dice.  Camera moves in closer to a particular saliva particle in through a microscopic view to show red blood cells within the saliva.  End of CGI POV.  Cut back to TOM HAVILAND turning toward the crap table to roll the dice.  End of flash back.  Resume to present.)

GREG:  Now, I know I haven't been getting out in the field very much, but how does a guy get a girl's blood in his mouth when he's killing her?

NICK:  Murder's messy, my friend.

(Quick flashback to TOM HAVILAND in the bedroom on the bed just after slashing KIM HSU'S throat.  Flash to white.  TOM HAVILAND wiping his mouth using his right arm.  Flash to white.  End of flashback.  Resume to present.)

GREG:  So, now you have to find it on the surveillance tape?

NICK:  If I want to present it to a jury, yeah.  Nowadays, people expect a show.  

(NICK hands the test results back to GREG.)

NICK:  I should've gone to film school.

(NICK turns to leave to go back to the Audio/Video Lab.  GREG looks down at the test results.)

(In front of him, the reflection of an elderly man appears.  We don't see the man, but we do know that he's watching GREG through the glass window.  Unaware that he's being watched, GREG holds the dice from one hand to the other and rolls it on the table in front of him.)

(GREG looks up and notices the silver-haired man standing outside the glass window watching him.  It's PHILLIP GERARD.  GREG doesn't smile.  Camera holds on GREG.)  

CUT TO:


SCENE #21:

[INT. CSI -- LAB]

(SARA is examining the bloodied bed sheet.  It hangs from the ceiling.  GRISSOM walks in and stops next to SARA.  He holds a flashlight like a pointer and uses it on the sheet as he talks.  SARA holds a file folder that she references.)

GRISSOM:  Okay... so the flowing pattern is from the victim's neck wound.  This other pattern, though...

SARA:  The waffle pattern -- I know, I'm trying to figure that out.

GRISSOM:  No, no. Here-- the blood spatter.

(SARA looks down at the file.)

SARA:  Vic didn't sustain any trauma that would've caused a medium velocity spatter.

GRISSOM:  She wouldn't have.  I think her throat was slashed, to shut her up.

(Quick flashback to the hotel bedroom.  The girl behind TOM HAVILAND on the bed screams uncontrollably.  TOM HAVILAND grabs her and flings her to the bed.  There's a ripping sound and the screaming stops.  The woman falls back to the bed with a thud.  Flash to white.  End of flashback.  Resume to SARA looking at GRISSOM.)

GRISSOM:  She was collateral damage.  My guess ... these blood patterns mean that Tonya's dead.

(GRISSOM looks at the blood spatter on the sheet.)

(Quick flashback to a fist hitting the woman in red on the bed with so much force that blood spatters as she hits the bed.  End of flashback.  Resume to present.)

GRISSOM:  And I bet she was the first to die.  Rage killing.

(Quick flashback to the same clip of the fist hitting the woman in red on the bed.  Blood spatters against the bed sheet.  She falls back against the bed.  End of flashback.  Resume to present.)

GRISSOM:  (v.o.)  Sudden hand-to-hand combat.

SARA:  I'll get all this to Greg but we are definitely going to need the DNA guy from days to pull all this together in time.

(Behind SARA and GRISSOM, PHILLIP GERARD enters the Lab.  Neither SARA nor GRISSOM notice he's there.  He lifts a camera up and takes a picture of the items on the table.  The camera flashes.)

(GRISSOM and SARA turn around.)

PHILLIP GERARD:  Sorry, Gil.  Just doing my job.

(PHILLIP GERARD smiles.  SARA turns slightly toward GRISSOM who makes the introduction.)

GRISSOM:  Sara, this is Dr. Gerard.  Anything you say to him will be considered testimony.

PHILLIP GERARD:  Then, hopefully, you'll say I'm better-looking than I appear on TV.  

(PHILLIP GERARD smiles.  SARA smiles back easily.)

PHILLIP GERARD:  You're the CSI who recovered the clothes from the crime scene.

SARA:  Yes, and the bedsheets.

(As SARA answers and glances back at GRISSOM.  GRISSOM watches the exchange closely.)

PHILLIP GERARD:  Did you follow departmental procedures-- transporting this evidence back to the lab?

SARA:  To the letter.  

PHILLIP GERARD:  Took multiple photos at the scene?

(Camera cuts to GRISSOM who doesn't say anything.  SARA answers the question flawlessly.)

SARA:  Our protocols stipulate we take overalls locator shots and close-ups.  I took multiples of each.

PHILLIP GERARD:  That's great.  Save your gloves from the scene?

SARA:  Eight pair in the evidence room, in a sealed envelope.

(SARA nods.)

PHILLIP GERARD:  Terrific.  DA just provided me with copies of pictures of the victim's bra.

(PHILLIP GERARD holds out a file folder to GRISSOM.  GRISSOM takes it.  He opens it and replies.)

GRISSOM:  Well, we already know the bra was moved.  Sara filed a supplemental report to that effect.

PHILLIP GERARD:  I know.  I wish she'd mentioned her relationship with the EMT who moved the bra.

(Camera cuts to SARA who doesn't respond.  She turns slightly toward GRISSOM.  GRISSOM doesn't look at SARA, his eyes glued to PHILLIP GERARD.)

GRISSOM:  Relationship?

PHILLIP GERARD:  A Hank Peddigrew.  

(GRISSOM turns to look at SARA who catches the look and turns away to look at PHILLIP GERARD.)

PHILLIP GERARD:  We just interviewed him.  He says he thanked her for letting him move the bra back.

(PHILLIP GERARD looks at SARA.  SARA responds.)

SARA:  He was just, uh, being polite and, um, it's not a relationship.  We go to movies ...

GRISSOM:  (interrupting)  Doc?  Why don't you and I go to my office.  We can talk there.

PHILLIP GERARD:  Thank you.

(PHILLIP GERARD turns to leave the room.  GRISSOM walks around SARA and the table to follow.  On his way out, GRISSOM stops and turns around to look at SARA.)

SARA:  (subdued)  I'll get the blood swatches to DNA identify any additional donors on the sheet.

(GRISSOM closes his mouth and doesn't say anything.  He turns and leaves the room.  Camera lingers on SARA.)

CUT TO:


SCENE #22:

[INT. CSI - BREAK ROOM -- DAY]

PAULA FRANCIS:  When asked about the murder of Kim Hsu a spokesman for Tom Haviland says he sends his condolences to the Hsu family.  Certainly, this is an event hat he won't soon forget and neither will the resort where the grisly crime played out.  Now it's up to prosecutors ...

(CATHERINE sits at the break room table looking through some papers.  The television is on.  GRISSOM walks in.)

GRISSOM:  Catherine?

(Behind her GRISSOM opens the refrigerator door and pulls out a bottle of water.)

CATHERINE:  Marjorie's requesting copies of CSI's proficiency test records, by midnight.

GRISSOM:  So relax.  If any of us had failed the yearly proficiency test, we wouldn't be here.

(GRISSOM takes a sip of water and leans against the counter.  CATHERINE sighs and shakes her head.)

CATHERINE:  You completely forget, don't you?  My test is on appeal.

GRISSOM:  Oh, right.

CATHERINE:  Board said I was wrong on one question.  I said the question was ambiguous.  They're going to rule my way, but not before the prelim.

(CATHERINE sighs again.  She turns back to her papers.)

CATHERINE:  (softly)  Just trying to rattle me.

GRISSOM:  Is it working?

(CATHERINE puts her paper down, annoyed.)

CATHERINE:  Maybe I should just take a page out of your book.  If I don't collect or analyze anything I don't have to testify.  Of course, it helps to be boss.  Very politic.  Ecklie must be rubbing off on you.

(GRISSOM puts the bottle down on the counter.)

GRISSOM:  Yeah, that's it.  Ecklie.

(GRISSOM leaves the room.)

CUT TO:


SCENE #23:

[INT. CSI - HALLWAY - DAY -- CONTINUOUS]

(WARRICK walks down the hallway toward GRISSOM.  He's holding some papers, an envelope and looking very unhappy.  He sees GRISSOM and turns around to walk with GRISSOM in the direction he just came from.)

WARRICK:  I just got served.  

(WARRICK hands the papers to GRISSOM.)

WARRICK:  Movie star's lawyer wants the shirt that I wore to the crime scene.

GRISSOM:  So give it to him.

WARRICK:  I had to throw it out.

GRISSOM:  Why?

WARRICK:  It was covered in the blood from the accident victim.

(GRISSOM and WARRICK stop walking.)

GRISSOM:  Well, you have to find it; otherwise, it'll look like you've got something to hide.

WARRICK:  Oh, CSI's on trial now?

GRISSOM:  CSI's always on trial, Warrick; you know this.  Burden of proof is on us.

(GRISSOM hands the papers back to WARRICK and leaves.  WARRICK sighs.)

CUT TO:


SCENE #24:

[INT. CSI - AUDIO/VIDEO LAB - DAY -- CONTINUOUS]

(NICK is still working on the camera surveillance tapes over the crap table.  Time counter on screen is at 12:15:01 AM.  Standing behind him is PHILLIP GERARD.  GRISSOM walks into the lab.)

PHILLIP GERARD:  I want to compliment you on how quickly you've organized the video forensics.

(Though he doesn't say anything, GRISSOM seems pleased with the comment.)

(Camera cuts back to the monitor.  Time counter on screen indicates 1:31:07 AM.  At the crap table, RAYMOND LESTER is shown talking on his cell phone.)

(Camera on monitor cuts to RAYMOND LESTER exiting the elevator to the lobby carrying a golf club set over his left shoulder while dragging a hard golf club shell bag with his right hand.  Time counter on screen indicates 2:21:00 AM.)

PHILLIP GERARD:  Raymond.

GRISSOM:  Nicky, wait a minute.  Go back.  Zoom in on the club bag.  He's jammed a lot more clubs into that bag.  Without those clubs, the hard-shell bag could be big enough to fit a body.

NICK:  Yeah, Tonya's.  Looks like Raymond was disposing of the bodies for your client.  You think he ran out of time before he could move Kim's out?

(Monitor cuts to RAYMOND LESTER passing the front lobby desk with the two golf bags.)

PHILLIP GERARD:  Or Ray was disposing of them for himself.  You've just supplied Tom Haviland with reasonable doubt.

NICK:  No.  What I showed you on video is Ray in the casino during the time the murders were committed.

(For emphasis, NICK, rewinds the video back to the clip of the casino with RAYMOND LESTER at the crap table while talking on his cell phone.  A blinking red frame is around RAYMOND LESTER for easy identification.  Time stamp on the monitor reads 1:31:12 AM.)

PHILLIP GERARD:  His zeal is clouding his judgment.  It's not what did happen; it's what the jury will believe could have happened.

(NICK doesn't respond.  Neither does GRISSOM.  Camera holds on GRISSOM.)

FADE TO BLACK.

(COMMERCIAL SET)


[EXT. LAS VEGAS (STOCK) - DAY]


SCENE #25:

[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]

(The hard shell golf bag sits on the interrogation table.  GRISSOM looks at it.  RAYMOND LESTER and his LAWYER stand off to the side.  BRASS is also in the room.)

GRISSOM:  Very considerate of you to bring this golf bag in without insisting on a warrant.

RAYMOND LESTER'S LAWYER:  Ray wants to help the investigation in any way he can.

BRASS:  Tell me, counselor does Tom Haviland pay in a timely fashion?

RAYMOND LESTER'S LAWYER:  Ray and Tom are friends but we're just looking for the truth here, aren't we?

BRASS:  Great. Then you can confirm what we already know from Ray's cell phone records:  Tom Haviland called you to his suite at 1:31 A.M.  To help him clean up his double murder.

RAYMOND LESTER:  No, he called so I could hear him with the girls.  He does that sometimes.

(GRISSOM examines the case while BRASS questions RAYMOND LESTER.)

BRASS:  Okay. We have a surveillance tape of you carrying what appears to be one of the bodies out of the casino an hour later in a golf bag identical to this one.  Here are some photos from that tape.

(BRASS puts a file folder of photos on the table.  RAYMOND LESTER'S LAWYER picks
it up.  Both he and RAYMOND LESTER look through the file folder.)

RAYMOND LESTER'S LAWYER:  He was taking Mr. Haviland's clubs to the airport.

BRASS:  He's dumping a body.  And as we speak the police department is out looking for it.

(GRISSOM opens the golf bag and notices the smell immediately.)

GRISSOM:  Solvent.  This bag's just been cleaned.

(GRISSOM turns to look at RAYMOND LESTER.)

CUT TO:


SCENE #26:

[INT. CSI - LAB -- DAY]

(NICK turns off the lights and puts on his protective eye wear.  GRISSOM starts spraying luminol inside the bag.  PHILLIP GERARD stands to the side observing.)

(The golf bag glows.)

NICK:  Uh, Ray was caddying a dead body.  We show him this he'll rat out Tommy Terrific in a heartbeat.  

(Neither PHILLIP GERARD or GRISSOM respond.  They all watch as the glow moves across the interior.  This isn't good.)

NICK:  Uh-oh.

PHILLIP GERARD:  Glow's too uniform.

GRISSOM:  The luminol's cross-reacting with the bleach.

NICK:  I don't believe this.  

PHILLIP GERARD:  Any blood evidence in there has been destroyed.

NICK:  This is B.S., man.  Total B.S.  This guy, Tom Haviland's, got blood all over his hands ...

GRISSOM:  (warning)  Nick ...

NICK:  ... and friends to lie for him!  This is B.S.!

GRISSOM:  (firmly)  Nick! Go get a soda.

(NICK takes off his goggles, puts it on the table and leaves the room.  PHILLIP GERARD takes a step toward GRISSOM.)

PHILLIP GERARD:  Marjorie's going to take him to the cleaners.

(PHILLIP GERARD leaves the room.)

(GRISSOM'S had enough.  He takes off his latex gloves and follows PHILLIP GERARD out the room.)

CUT TO:


SCENE #27:

[INT. HALLWAY OUTSIDE INTERROGATION ROOM  -- DAY -- CONTINUOUS]

(Out in the hallway, GRISSOM catches up to PHILLIP GERARD.)

GRISSOM:  Hey.  What happened to you?  You were a pioneer in forensic science.  How many bad guys did you put away in Hennepin County?

PHILLIP GERARD:  My share.  How many innocent men have been locked away since then because of sloppy investigating shortcut forensics?

GRISSOM:  You look for mistakes in any lab you'll find them.

PHILLIP GERARD:  I shouldn't be able to, Gil.

GRISSOM:  Humans are fallible.

PHILLIP GERARD:  Not this fallible -- compromised blood, sweetheart deals ...

GRISSOM:  No, no, no, no.  You're subverting good evidence.  These are good people.  

PHILLIP GERARD:  "The Accused is entitled to the best defense possible."

GRISSOM:  The Accused is entitled, yeah.  He's a movie star, that's why he's entitled.  He's killed two women.  You know it.  But you're willing to decimate these CSIs so that you can spoon-feed a jury into letting him walk.

PHILLIP GERARD:  A jury believes me because of my reputation just like they do you.

GRISSOM:  The difference is, Philip, I get the same paycheck regardless of what I testify to.

(PHILLIP GERARD sighs.)

PHILLIP GERARD:  I'm saying this as a friend.  For the reputation of CSI, tell the DA to drop this, re-file down the road.

(GRISSOM nods at his former mentor, truly seeing him for the first time.)

GRISSOM:  What about the victims' families?  Who's their friend?  

(PHILLIP GERARD doesn't respond.)

GRISSOM:  My guys will see you in court.

(PHILLIP GERARD leaves GRISSOM standing in the hallway.  Camera holds on GRISSOM.)

CUT TO:


SCENE #28:

[INT. CSI - DNA LAB]

(Inside the DNA Lab, the usually boisterous GREG SANDERS is dressed completely covered.  From the head wear to the protective mask.  He isn't taking any chances.)

(GREG looks up from the test results on the table back into the microscope.  He picks up the paper and heads out the door.  He crosses the hallway and heads straight for GRISSOM'S office where GRISSOM sits behind his desk.)

[INT. CSI - GRISSOM'S OFFICE - DAY - CONTINUOUS]

GREG:  Psst, Grissom.  (speaking quietly):  We got a development.  I went over those swatches that Sara gave me from the bed sheet.

GRISSOM:  Are you whispering?

GREG:  I don't want that Gerard guy to hear me.

GRISSOM:  Well, he's not here, so stop it.

(SARA appears next to GRISSOM'S desk.  She looks from GREG to GRISSOM.)

SARA:  What's, uh, going on?

(GREG straightens.)

GREG:  Well, um ... I was testing those swatches that Sara gave me, and three of the swatches came up Kim.  The other four, with the spatter amelogenin results are XY.

GRISSOM:  Blood's from a male?

SARA:  Tom Haviland's.

GREG:  No.  And not his friend Ray's, either.

SARA:  There was another guy in that room.  That's, that's great.  The defense has us moving so fast we can't make sense of our own evidence.

(GRISSOM holds up a hand.)

GRISSOM:  That's what they want.

SARA:  Should we call the DA and let him know?

GRISSOM:  Tell him what?  That we might have found a motive for the movie star?

SARA:  Motive.  What are you talking about?

(Before GRISSOM can respond, NICK interrupts from the doorway.)

NICK:  Hey, Grissom.  Brass just called.  They found the other victim, Tonya.  Briarway golf course.

(Camera holds on GRISSOM.)

CUT TO:


SCENE #29:

[EXT. BRIARWAY GOLF COURSE -- DAY]

(Buried in a sand trap, NICK, along with another Forensic Member slowly digs up the body.  Currently, her face is exposed.  It's the woman in red from the teaser.)

BRASS:  (o.s.)  Matches the description of Tonya.  Maintenance guy found her a half an hour ago.  The golf pro says they've closed the back nine down for months -- improvements.

(The camera pans back giving a top view of the scene.  BRASS, GRISSOM and PHILLIP GERARD observe from the side.)

BRASS:  Did, uh, Tom Haviland ever play a boxer?  Girl's face looks like hamburger meat.

GRISSOM:  Looks like uncontrollable rage to me.

NICK:  Grissom, you might want to come down here.

(GRISSOM doesn't move from the side.)

GRISSOM:  Just say it, Nick.

NICK:  Beans and franks.  Tonya's a man.

GRISSOM:  Looks like that old Hollywood saying:  "Never get caught with a dead girl or a live boy."  So, let's see Tom's in bed with what he thinks are two girls.  He reaches down on one, becomes very confused.  

(Quick flashback to the hotel bedroom.  TOM HAVILAND kissing the woman in red.  His hand moves on the woman's body.  TOM HAVILAND looks up, confused.  White flash to end of flashback.  Resume to present.)

GRISSOM:  Most guys would have just cleared the room and gargled with whiskey.  
But movie boy, who brags about doing his own stunts, couldn't take the thought
of having a man in his bed so he freaked out.

(Quick Flashback to hotel bedroom.  Sounds of a man throwing punches.  TOM
HAVILAND striking the woman in red on the bed, his chest spattered with blood.  
Flash to white as TOM HAVILAND doesn't stop and continues to throw punches in
fast forward.  White flash to end of flashback.  Resume to present.)

(GRISSOM glances over at PHILLIP GERARD.)

PHILLIP GERARD:  I'm just here to observe CSI's investigating techniques.

GRISSOM:  Well, Nick is the Primary on this.

PHILLIP GERARD:  You're not running evidence.  Or have you changed your mind?  

(GRISSOM doesn't respond.)

PHILLIP GERARD:  By the way, tell your mother I say 'Hello' next time you talk.  
I was so impressed that night we all had dinner.  The sign language ... how you
interpreted for her.  Fluid, didn't miss a beat.

(Somehow, this doesn't surprise GRISSOM; it only annoys him.)

GRISSOM:  What'd you do, subpoena my doctor?

PHILLIP GERARD:  Knowing your genetic predisposition for hearing loss?

GRISSOM:  You've become a bottom feeder, Philip.

PHILLIP GERARD:  Your work is dependent upon your five senses.  The fact that
you're losing one of yours wouldn't bode well for any evidence you introduced.

GRISSOM:  You know, all those years I worked for you, you never got to know me
at all, did you?

(GRISSOM takes a few steps away from PHILLIP GERARD.  Camera cuts to NICK
continuing to process the scene with another Forensic member.)

CUT TO:



SCENE #30:

[EXT. BRIARWAY GOLF COURSE - DAY -- CONTINUOUS]

(GRISSOM walks away from the scene.  He crosses over a white wooden bridge.  His
dark glasses are off and he's absently wiping them.  Normal sounds associated
with the outdoors can be heard as well as birds chirping and GRISSOM walking
across the wooden bridge.)

(Camera changes to slow motion and the sounds are no longer heard.  As he walks,
GRISSOM notices a group of golfers not too far away from him.  The woman swings.  
He tilts his head as we and he can only hear muffled sounds as they come and
go.)

(Normal camera speed resumes and we hear the woman laugh and the man comment.)

MAN:  (o.s.)  That shot was great.

(GRISSOM puts his dark glasses on and walks out of frame.)

FADE TO BLACK.

(COMMERCIAL SET)



SCENE #31:

[INT. CSI - TEMPORARY EVIDENCE VAULT -- DAY]

(GRISSOM holds a digital camera to a wrist watch band.  A close up of it's
pattern appearing on the monitor in front of him.  He visually compares the
pattern to a photograph on the table of the unknown blood pattern found on
bloodied bed sheet.  It doesn't look like a match.)

(SARA appears.  She folds her arms against her chest and leans against the
doorway behind GRISSOM.)

SARA:  I've looked at everything in that hotel room.  Nothing matches that
pattern.

(Without looking up at her, GRISSOM responds.)

GRISSOM:  What about the booking photos of Tom?  Were you able to make
comparisons off those?

SARA:  I told Brass that I needed them; he hasn't sent me anything yet.  

(GRISSOM sighs and lifts his head up, his back still to SARA.)

GRISSOM:  This case is a moving target.

(GRISSOM turns around.)

GRISSOM:  I'll get ahold of Brass.

(GRISSOM notices that SARA is dressed for her court appearance.)

GRISSOM:  You look nice.

SARA:  Thanks.  

(SARA pauses and doesn't smile at the compliment.  Her thoughts turned to the
upcoming proceedings.)

SARA:  Wish me luck.

(SARA turns to leave.)

GRISSOM:  Sara?

(She stops and turns back to look at GRISSOM.)

GRISSOM:  Whatever happens in court, it's not because you're seeing this guy.

(SARA blinks.  She doesn't respond.)

GRISSOM:  You deserve to have a life.

(GRISSOM turns back to his work.  Without a word, SARA leaves.  Camera cuts back
to GRISSOM as he watches SARA leave, her footsteps fading down the hallway.  He
turns back to look at the photograph of the unknown blood pattern.)

CUT TO:



SCENE #32:

[INT. CSI - HALLWAY -- DAY]

(CATHERINE accompanies NICK down the hallway.  She gives him last minute advice.  
NICK adjusts his tie and smiles.)

CATHERINE:  Remember, if you get stuck just maintain the same posture.  If
there's any adjustments, you're seen as squirming.  It's going to make you look
shifty.

NICK:  Thanks, Cath.  You know, I've done this before.

CATHERINE:  Well, I've done it longer.

NICK:  Yeah.

(NICK continues down the hallway.  CATHERINE turns to look into the locker room
where WARRICK is going through the trash to look for his discarded shirt.)

CATHERINE:  Hey, any luck?

WARRICK:  I've been through every dumpster on these premises.

(WARRICK takes off his latex glove and tosses it.)

CATHERINE:  Better keep looking.

(WARRICK sighs.)

CUT TO:



SCENE #33:

[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]

(The door to the courtroom opens and the camera moves inside from the back of
the room in slow motion.  The courtroom is full with observers.  Several of them
turn around to see who's entering the courtroom.)

BAILIFF:  (v.o.)  In the cause now pending before this court, do you swear to
tell the truth, the whole truth and nothing but the truth?

(Cut to:  Resume normal camera speed.  NICK pushes the barrister door open and
crosses toward the witness stand.)

(Cut to:  NICK standing in the witness stand with his right hand raised.)

NICK:  I do.

(NICK sits down.)

(Camera cuts to TOM HAVILAND, then to MARJORIE WESCOTT as she whispers something
to PHILLIP GERARD.  She absently points to NICK and continues to whisper to
GERARD.  NICK waits.)

(MARJORIE WESCOTT stands.)

MARJORIE WESCOTT:  Please state and spell your name for the record.

NICK:  (almost inaudible)  Nicholas Stokes.  S-T-O-K-E-S.

JUDGE PETER CROFT:  (to the mike)  Pull it closer, Mr. Stokes.

(NICK pulls the mike closer and adjusts it.)

NICK:  Oh. Sorry.  I'm used to the old ones.  

(He clears his throat and continues.)

NICK:  Nicholas Stokes.

CUT TO:



SCENE #34:

[INT. HALLWAY OUTSIDE COURTROOM - DAY]

(CATHERINE waits in the hallway outside the courtroom.  NICK bursts out of the
courtroom.)

NICK:  (softly)  Damn!

CATHERINE:  What?

NICK:  Damn, damn, damn.  I blew it.  I forgot to put case identifiers on my
dice photos.

(Upset, NICK sits down on the bench outside the courtroom doors.)

CATHERINE:  Date, time and file number?

NICK:  Yeah.  

(CATHERINE looks up and takes a deep breath.  She doesn't say anything.)

NICK:  Don't look at me that way, okay?  I wrote it down on the evidence
envelope.  I had to move fast.  The casino manager wanted us out of there.

CATHERINE:  The dice places Tom at the murder.  Victim's blood mixed with his
saliva.

(NICK nods his head at his mistake.  He puts his head down in his hand and
covers his eyes.  The poor guy is really not happy with this.)

(Quick flash back to the courtroom.)

MARJORIE WESCOTT:  How can we be confident in your collection if you can't be
confident in your own documentation?

[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]

(NICK looks down at a set of four to five photographs of the dice that were
tested.  Each dice shows the same five dots face up.  NICK looks down at the
photos.  He glances up at MARJORIE WESCOTT.  The camera adjusts to show PHILLIP
GERARD sitting at the defense table watching NICK struggle.)

(NICK looks down at the photographs of the dice in front of him.  He chooses the
fourth photo from the right.)

NICK:  This is it.

MARJORIE WESCOTT:  You're sure you want to go with that one?

(NICK hesitates and glances back down at the photos.  He nods his head.)

NICK:  This is the one.

(Flash to white.  End of flashback.  Resume to NICK.)

NICK:  I was sweating bullets looking at those photos.

CATHERINE:  Did the judge exclude the dice?

NICK:  No.  No, just my credibility.

(NICK looks up at CATHERINE and nods his head.  The courtroom doors open and the
Bailiff exits.  He looks around and calls out.)

BAILIFF:  Warrick Brown?

NICK:  Yeah, he's, uh, he's in the men's room.

CATHERINE:  We'll send him right in.

BAILIFF:  Two minutes grace, the court moves on.

CUT TO:



SCENE #35:

[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]

MARJORIE WESCOTT:  You're telling us the shirt just disappeared?

(WARRICK sits on the stand.  The stenographer dictating the proceedings.)

WARRICK:  It would only prove that I got blood on my shirt from an accident
victim.  That blood never came in contact with the blood evidence that I was
transporting.

MARJORIE WESCOTT:  But we can't verify that now, can we?

(WARRICK doesn't respond.)

MARJORIE WESCOTT:  Do you still have a gambling habit?

WARRICK:  I don't see what that has to do with this case.

MARJORIE WESCOTT:  It goes to the character of the witness, your honor.

JUDGE PETER CROFT:  (o.s.)  I'll allow it.

(The camera cuts to PHILLIP GERARD as he watches WARRICK on the stand.)

MARJORIE WESCOTT:  For the record are you addicted to gambling?

(Camera holds on WARRICK.)

CUT TO:



SCENE #36:

[INT. HALLWAY OUTSIDE COURTROOM - DAY]

(NICK waits in the hallway outside the courtroom.  WARRICK bursts out of the
courtroom.)

WARRICK:  (softly)  Damn!  Why didn't I see that coming?  Gambling?

NICK:  Hey, we're all in Nevada.  It's legal; don't worry about it.

WARRICK:  Legal doesn't matter in there.  You know the judge is going to throw
out our blood evidence, right?

NICK:  Truth is, it is compromised, Warrick.  

WARRICK:  The blood is fine.  It's their methods that are dirty.

(Quick flashback to the courtroom.  Camera close up of WARRICK.

MARJORIE WESCOTT:  (o.s.)  For the record are you addicted to gambling?

(WARRICK takes a moment before answering.)

WARRICK:  I am.

(Flash to white.  End of flashback.  Resume to WARRICK.  He shakes his head.)

WARRICK:  It's a low blow.  Low blow.

(WARRICK walks away, disgusted.  Camera holds on NICK.  NICK turns around to
watch WARRICK walk away.)

CUT TO:



SCENE #37:

[INT. CSI -- LAB]

(Camera close up of shuffling photographs.  The first of a bare chest, the
second, the back of a left hand.  The next photo is the front palm of a right
hand.  The camera slowly rises to show GRISSOM perusing through the photos of
TOM HAVILAND.)

GRISSOM:  Your guys didn't get any extended body photos?

BRASS:  Chest, hands, arms right there.

GRISSOM:  I need lower extremities for comparison.

BRASS:  Hey, Marjorie Wescott blew in here and shut us down.  She said if we
wanted full body shots we were going to have to get a court order.  So the
D.A.'S working on it.

GRISSOM:  When, between testimony?

BRASS:  No kidding.  Meanwhile, we're presenting half a case to a judge.

(Disgusted, GRISSOM sighs, puts the photos aside and walks away.)

CUT TO:



SCENE #38:

[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]

(SARA is on the stand.)

MARJORIE WESCOTT:  Well, it certainly looks posed.  

(SARA doesn't respond.  She glances down at the photograph in front of her.  
It's the photograph of the bra.)

MARJORIE WESCOTT:  You date -- You and Hank.  You share a subtle communication.  
Did he move the bra to where you might have wanted it?

(SARA responds confidently.)

SARA:  I didn't want it anywhere.  I collect evidence without emotion.

MARJORIE WESCOTT:  You do get emotionally involved, though with the men on your
cases.  Hank Peddigrew isn't the first time.

(Camera cuts to PHILLIP GERARD who watches SARA on the stand.)

SARA:  Excuse me?

MARJORIE WESCOTT:  A murder investigation at the residence of one Charles
Renteria*.  Eyewitness stated he saw you and your supervisor Gil Grissom
standing alone outside and ... you were touching him in a romantic gesture.

[*Note:  This case mention is referencing "Scuba Doobie-Doo" (2X05) regarding
Clifford Renteria.]

SARA:  I brushed chalk from his face.

MARJORIE WESCOTT:  Is that what they're calling it now?

DISTRICT ATTORNEY:  Objection, your honor.

SARA:  (answers)  Drywall dust.  We were looking for a body.

MARJORIE WESCOTT:  It's a fair question, your honor.  Just how far will Ms.
Sidle go on the evidence to please her boss, Gil Grissom, whether he returns her
attentions or not?

(SARA doesn't respond.  She glances at PHILLIP GERARD who returns the look.)

CUT TO:



SCENE #39:

[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING -- DAY]

(On the courtroom monitor, the image of a large footprint with orange
identifying markers is on screen.  The camera sweeps to the stand to show
CATHERINE peering over to look at the courtroom monitor.)

MARJORIE WESCOTT:  (o.s.)  You have a Bachelor of Science from West Las Vegas
University, am I right?

CATHERINE:  Night school, yes.

MARJORIE WESCOTT:  And prior to joining CSI, you worked as an exotic dancer?

CATHERINE:  That's correct.

MARJORIE WESCOTT:  Took your clothes off for a living.

(CATHERINE doesn't waiver.  She answers the comment confidently.)

CATHERINE:  For a very good living.

MARJORIE WESCOTT:  No doubt, Ms. Willows.  Now, you recently failed your yearly
proficiency test, didn't you?

CATHERINE:  Technically, yes, but it's on appeal.  I'm confident that I will
prevail.

MARJORIE WESCOTT:  Did you treat this footprint evidence the same way?  There's
the truth and then there's your interpretation?

CATHERINE:  No.

MARJORIE WESCOTT:  But you're appealing your test.

(CATHERINE doesn't respond to the comment.)

MARJORIE WESCOTT:  Actions speak louder than words.

(CATHERINE slowly and casually turns to look at the JUDGE.  She turns back.)

MARJORIE WESCOTT:  (o.s.)  I have no further questions, your honor.  We are
through with this witness.

(CATHERINE isn't pleased by what she saw in the JUDGE'S look.)

CUT TO:



SCENE #40:

[INT. CSI -- LAB]

(CATHERINE walks determinedly down the hallway.  She's unhappy with her day on
the stand.  She sees GRISSOM rapidly leafing through a stack of photographs.  He
glances up at CATHERINE then turns back to the photos.)

CATHEIRNE:  Grissom ... they're beating our heads in.  Judge is going to dismiss
-- you can feel it.

GRISSOM:  Don't get ahead of yourself.

CATHERINE:  (frustrated)  I'm not ahead of myself.  I'm up there front and
center taking hits along with the rest of CSI.  You know, you've turned into a
really lousy leader.

(GRISSOM'S head shoots up and he looks at CATHERINE as she continues on without
missing a beat.)

CATHERINE:  I need your help, and you're on the sidelines.

(GRISSOM doesn't respond.  CATHERINE stops talking.  She looks at GRISSOM for
some response as he continues to look at her.  When he finally does, he throws
her a curve.)

GRISSOM:  Would you know where I could get pictures of Tom Haviland?  Full body
shots.  Like, uh ... an internet site ... or his fan club?

(As GRISSOM speaks, CATHERINE looks up at him.  At first a little annoyed that
he doesn't show concern over the case, then intrigued at the possibilities of
the question.  She glances down and notices the photographs in GRISSOM'S hands.  
Something's afoot.  Camera holds on Catherine's look.)

CUT TO:



SCENE #41:

[INT. CSI - DNA LAB -- DAY]

(GRISSOM, CATHERINE and GREG leaf through a table full of tabloid magazines.  
They are all looking for photographs of TOM HAVILAND.)

GREG:  Ah, I hid all these when I heard Gerard would be snooping around.

(GRISSOM tosses a "The National Informer" magazine on the table and reaches for
another issue of the same tabloid.  Each magazine either has a picture of TOM
HAVILAND or some mention of the movie star's name on its covers.)

CATHERINE:  (reading)  Tom Haviland ... "away from the set, between films and
... in paradise."  

(CATHERINE puts the "National Informer" tabloid she was reading through down
flat on the table for GRISSOM to examine.  GRISSOM leans in and looks at the
pictures.)

GRISSOM:  Paparazzi; long lens.

(GRISSOM reaches for the magnifying glass and examines up close a particular
photograph of TOM HAVILAND with a dark-haired woman on the beach.  CATHERINE
leans in.  GRISSOM sees it and straightens.  He's found what he's looking for.  
His mind rapidly making connections.  CATHERINE looks up at GRISSOM with a glint
of anticipation on her face.)

(GRISSOM turns to CATHERINE.)

GRISSOM:  I'm going to go to court.

CUT TO:



SCENE #42:

[INT. JUDGE PETER CROFT'S COURTROOM - PRELIMINARY HEARING - DAY]

(On a large monitor set up in the courtroom, the image of the full bloodied bed
sheet from the crime scene is up.  The monitor is hooked up to a laptop in front
of GRISSOM who is now on the stand.)

DISTRICT ATTORNEY:  The defendant's statement is that when he left the room the
victims were both alive and well.  Now, does that statement support your new
evidence?

GRISSOM:  No, it does not.  

(A small black frame appears around a single blood pattern on the sheet.  The
black framed blood pattern is enlarged full screen.)

GRISSOM:  This unique blood pattern which I'm highlighting and resizing for the
court's clarification, was made by the defendant during the attack.

(Quick flashback to TOM HAVILAND striking KIM HSU.  She falls to the sheet.  TOM
HAVILAND continues to hit the woman.  Camera view under the bed sheet as
something stamps the blood pattern on the sheet from above.  Flash to white.  
End of flashback.  Resume to present.)

DISTRICT ATTORNEY:  Okay, thank you, Dr. Grissom.  Nothing further, your honor.

(The District Attorney sits down.)

(PHILLIP GERARD leans toward MARJORIE WESCOTT and whispers something into her
ear.  From the stand, GRISSOM takes note of this.)

PHILLIP GERARD:  (whispers)  Speak in a very soft voice, okay?

(PHILLIP GERARD sits back in his seat and MARJORIE WESCOTT nods slightly.  She
looks at GRISSOM and stands.  The camera passes PHILLIP GERARD as he looks over
at GRISSOM.)

(MARJORIE WESCOTT looks at GRISSOM and nods as she asks her first question.)

MARJORIE WESCOTT: (low, almost inaudible):  Unique pattern.  By what standard
are you basing this "match"?

(As soon as she opens her mouth to speak, something is terribly wrong.  We can't
hear her.  The camera cuts to GRISSOM whom we realize definitely cannot and did
not hear her question.)

(GRISSOM remains silent.  The camera cuts to PHILLIP GERARD who watches GRISSOM
closely.)

(MARJORIE WESCOTT nods that she's finished asking her question and glances at
JUDGE PETER CROFT.)

JUDGE PETER CROFT:  Dr. Grissom, please answer the question.

(GRISSOM can't answer the question, because he hasn't heard the question.  The
camera cuts to the CSI Team watching and waiting for his response.)

GRISSOM:  Could she repeat the question, your honor?

(The camera once again cuts to PHILLIP GERARD who continues to look
unsurprisingly at GRISSOM.)

JUDGE PETER CROFT:  Ms. Wescott?

(MARJORIE WESCOTT repeats the question once more.  Again, we can barely hear
her.  We know that GRISSOM doesn't hear her at all.)

MARJORIE WESCOTT: (almost inaudible)  By what standard are you basing this
"match"?

(GRISSOM watches closely.  He almost has it and boldly asks her again to repeat
the question.)

GRISSOM:  One more time, please.

(Camera cuts to the members of CSI sitting in the audience.  First to SARA as a
look of concern crosses her face.  CATHERINE doesn't take her eyes off of
GRISSOM.)

MARJORIE WESCOTT:  (Barely audible)  By what standard are you basing this
"match"?

(Extreme camera close up of MARJORIE WESCOTT'S lips as she speaks.  Now, though
we can just barely make out the words as she says them, we definitely know what
she's asking.  GRISSOM has the question and answers it confidently.)

GRISSOM:  On visual comparison.

(Camera immediately cuts to PHILLIP GERARD.)

GRISSOM:  The Accused has a distinct waffle-like scar characterized by diamond-
shaped patterns on his left knee.

(On the courtroom monitor, the photograph from "The National Informer" appears
on screen.  TOM HAVILAND and an unknown dark-haired woman are sitting on the
beach.  TOM HAVILAND'S knee is bent exposing an injury.  The monitor does a
close up on TOM HAVILAND'S scar.)

MARJORIE WESCOTT:  So, Tom has a scar on his leg.  Whoop-de-do.  There's no
forensic database for scars.  It's not a discipline.

GRISSOM:  Yes, but it's unique to The Accused.  He says he got it in a stunt on
his last film.  

(GRISSOM picks up TOM HAVILAND'S statement from the file in front of him.)

GRISSOM:  According to Mr. Haviland in his statement and I quote, "It happened
when I was rappelling down the Alps firing an AK-47 with my free hand."

(A soft rumble of laughter ripples through the courtroom's audience.  NICK and
CATHERINE both smile and laugh softly.)

GRISSOM:  But he actually got it tripping on his way into the wardrobe trailer.

MARJORIE WESCOTT:  Objection.  There's no question to the witness here, your
honor.

GRISSOM:  Your honor, it's a preliminary hearing.  May I?

JUDGE PETER CROFT:  The witness may proceed.

(MARJORIE WESCOTT sighs.)

GRISSOM:  The production report by the Unit Production Manager on the film that
day and I quote, "Tom Haviland slipped on wardrobe trailer number thirty-eight,
step number two.  He sustained cuts to his knee and was bandaged by the company
medic.  The production was shut down for half a day."  The company medic
documented it with Polaroid photos and I have managed to acquire step number two
... from trailer thirty-eight.  

(GRISSOM clicks on the laptop keyboard.)

GRISSOM:  I think these graphics will help explain my findings.

(On the courtroom monitor, an extreme close up of the trailer step pattern appears on screen.)

GRISSOM:  The Step.

(The full screen image of the trailer step reduces to half-size on the left of the screen with the image of the scar pattern of TOM HAVILAND'S knee appearing on the right half of the monitor.)

GRISSOM:  The Scar.

(The image of the scar pattern is watermarked and layered over the image of the trailer step on the right.  Digital identifiers appear on screen and mark the matching points on both scar and trailer step.  It's a perfect match.)

GRISSOM:  The Sheet.

(The blood pattern found on the bloodied bed sheet appears on the right half of the screen.  The image of the blood pattern is watermarked and superimposed over the pre-existing image of the trailer step and scar pattern.  Digital identifiers appear on screen and mark additional matching points on the image.  There's no denying the evidence.  From trailer step to The Accused's scar to the bloodied sheet.  It's a perfect match.)

(PHILLIP GERARD looks at the evidence on the monitor.  He blinks and raises his head slightly.  JUDGE PETER CROFT glances from the monitor to the defense.  MARJORIE WESCOTT turns away from the monitor and looks back at the defense table.  TOM HAVILAND swallows.  Camera cuts to NICK who looks very pleased with the evidence.)

MARJORIE WESCOTT:  No further questions, your honor.

JUDGE PETER CROFT:  You may be excused, Dr. Grissom.

(GRISSOM closes the file folder in front of him and stands.  He picks up the folder and leaves the stand.  The camera follows him as he makes his way through the courtroom.  In the background, court proceeds.)

JUDGE PETER CROFT:  (o.s.)  I'm binding this case over for trial sixty days from today.

MARJORIE WESCOTT:  (o.s.)  We'd like a continuance, your honor.

JUDGE PETER CROFT:  (o.s.)  I'll take it under submission.

(As GRISSOM passes the defense table,  PHILLIP GERARD stops him.)

PHILLIP GERARD:  Gil ... good work.

GRISSOM:  My Team did it, Philip.  I got good CSI's.

(As he smiles and speaks, GRISSOM signs the following to PHILLIP GERARD.)

GRISSOM:  Oh, and, uh, my mother says hello.

(Without a backward glance to his former mentor, GRISSOM looks forward at and proceeds toward his CSI Team sitting in their seats waiting for him.  They all stand and quietly slip into the aisle behind him as he walks past them.  All of them leaving the courtroom together.  In the background, the proceedings continue.)

JUDGE PETER CROFT:  (o.s.)  Bailiff?

MARJORIE WESCOTT:  (o.s.)  I'd like to make a motion for a bail hearing, your honor.

JUDGE PETER CROFT:  (o.s.)  It's a double murder, Counselor.  Request for bail is denied.  

(GRISSOM and the CSI Team pause at the doorway.  They turn around to look back at the courtroom just in time to hear the JUDGE and to see the Bailiff preparing to handcuff The Accused.)

JUDGE PETER CROFT:  The Accused is remanded into custody of county jail.

(The gavel sounds the JUDGE'S decision with finality.  The CSI Team smiles and one after another they proudly exit the courtroom together.  With a smile on his face, GRISSOM follows them out.)

FADE TO BLACK.

THE END.

Fait par Wella