COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. LAS VEGAS RESIDENTIAL (STOCK) - DAY]
FLASH TO WHITE:
SCENE #01:
[EXT. LAS VEGAS RESIDENTIAL HOME -- DAY]
(Camera focuses on a red, white & black "For Sale" sign for:
"AUGIE HEITZ
Realtor
(702) 555-0111
Another fine home brought to you by Augie Heitz")
(A man, PETER BERGLUND, and a woman, JANINE WOOD, walk up the property walkway.)
JANINE WOOD: Wow, I love it already. I can't believe you're doing this.
(They stop at the front door. PETER BERGLUND goes to the lockbox and starts to open it.)
JANINE WOOD: Is that the lockbox?
PETER BERGLUND: Realtor gave me the combination. He's doing a walk-through in Seven Hills.
(JANINE WOOD smiles. PETER BERGLUND gets the lock box open and removes the lock. He looks back at JANINE WOOD and smiles.)
PETER BERGLUND: Owners are out.
(He opens the door and they walk in.)
[INT. NEWMAN'S RESIDENCE - FOYER - DAY - CONTINUOUS]
JANINE WOOD: Wow.
(JANINE WOOD looks out at the plush living room in front of her. She's thoroughly impressed.)
PETER BERGLUND: Wait till you see the master.
(PETER BERGLUND starts to climb the stairs. JANINE WOOD turns around and playfully runs up the stairs after him.)
CUT TO:
SCENE #02:
[INT. NEWMAN'S RESIDENCE -- BEDROOM - DAY -- CONTINUOUS]
(PETER BERGLUND and JANINE WOOD enter the bedroom.)
JANINE WOOD: Oh, my god. This is gorgeous. Wow. Amazing.
(She sits down on the bed. PETER BERGLUND follows her in the bedroom and also sits down on the bed. He turns to look at her. She catches the look.)
JANINE WOOD: What?
PETER BERGLUND: Want to snoop around?
(JANINE WOOD smiles at the thought.)
(Cut to PETER BERGLUND opening a dresser drawer.)
(Cut to PETER BERGLUND picking something out of the dresser drawer and looking at it.)
(Cut to JANINE WOOD looking around and taking the scarf off.)
(Cut back to PETER BERGLUND.)
(Cut to JANINE WOOD trying on a brown hat.)
(Cut to PETER BERGLUND in the walk-in-closer.)
(Cut to JANINE WOOD trying on a black hat.)
(Cut to PETER BERGLUND trying on a jacket.)
(Cut to JANINE WOOD coming out of the closet. She's laughing.)
PETER BERGLUND: Hey.
(PETER BERGLUND straightens the jacket he's wearing. He turns to JANINE WOOD.)
PETER BERGLUND: What do you think?
JANINE WOOD: I don't know, yeah.
PETER BERGLUND: It's nice?
JANINE WOOD: Looks good.
(PETER BERGLUND starts to kiss her. She knows what he has in mind and pushes him away.)
JANINE WOOD: Cut it out. No, Seriously, I think I hear a car.
PETER BERGLUND: Will you relax?
JANINE WOOD: No, really.
PETER BERGLUND: You're paranoid.
(PETER BERGLUND resumes kissing her. He keeps on kissing her and backs her up toward the bed. She laughs as he pushes her onto the bed.)
CUT TO:
SCENE #03:
[INT. DOWNSTAIRS FOYER - DAY]
(JANINE WOOD walks out of the bedroom and into the hallway leading to the stairs. She's buttoning her blouse. While she walks down the stairs, PETER BERGLUND is following her. He's adjusting his pants.)
JANINE WOOD: (laughing) Ooh, my god. I could get used to this place.
(JANINE WOOD half-walks, half runs down the stairs in a playful manner. She's carrying her shoes as she goes.)
PETER BERGLUND: I bet you could.
JANINE WOOD: I could. You're an animal.
PETER BERGLUND: The backyard is the best part of the house.
JANINE WOOD: Really? Is there a jacuzzi?
CUT TO:
SCENE #04:
[EXT. BACKYARD - DAY]
(The two go out into the back yard. PETER BERGLUND walks past her and stops in front of the pool. His back is to the woman as he takes in the scenery in front of him. JANINE WOOD stops under the canopy.)
JANINE WOOD: Oh, my god. Looks like something out of a magazine.
(Something wet drips down from above and hits JANINE WOOD on the shoulder. She touches it. She looks up.)
(Directly above her is a large patch of blood on the awning. The camera refocuses on a single drop as it falls directly toward the camera ... )
FLASH TO WHITE:
SCENE #05:
[EXT. NEWMAN'S RESIDENCE -- NIGHT]
(From the second story top view, MONICA NEWMAN lies on the canopy awning. She's dressed in her underwear and a short robe.)
(The camera flashes several times. GRISSOM looks down on the dead body while CATHERINE continues to snap photographs of the scene below.)
(Cut to a black screen with a white-framed photograph of the dead body. Resume to present.)
(BRASS joins them against the railing. He holds out a framed photograph of the young dark-haired woman and an older man. They both are smiling at the camera.)
BRASS: Cal and Monica Newman. Owners of the house. My guess, second marriage.
CATHERINE: 'Cause she's a babe and he's ...
BRASS: He's, uhm ... got a good sense of humor.
(GRISSOM doesn't seem amused. BRASS returns GRISSOM'S look. CATHERINE, meanwhile, notices something on the floor of the balcony next to her. She picks it up. It's a shell casing. GRISSOM holds the flashlight on it while CATHERINE reads the etching on the bottom, "380 AUTO WLN".)
CATHERINE: .380 auto caliber.
(GRISSOM moves his light to the canopy below. Next to the dead body's right hand is a hand gun. He moves the light to the woman's head where the bullet wound is.)
GRISSOM: Gunshot, right temple. Women don't shoot themselves in the head, do they, Catherine?
CATHERINE: Well, gunshots do a number of your face, so typically, women prefer pills.
BRASS: So what are we calling this, murder, suicide, what?
GRISSOM: Is the husband around?
(GRISSOM looks at BRASS.)
BRASS: No.
CATHERINE: Well, you do the math: Dead female spouse plus missing husband ... equals murder.
HARD CUT TO:
END OF TEASER.
ROLL TITLE CREDITS.
(COMMERCIAL SET)
SCENE #06:
[EXT. NEWMAN'S RESIDENCE -- NIGHT]
(NICK cuts the canopy around MONICA NEWMAN.)
NICK: Okay, Warrick, hit it.
(WARRICK starts the crane support under the awning to remove the body and the canopy area that NICK cut.)
NICK: White female, multiple bruising ... bullet hole to the temple doesn't help. .380 auto on the side.
WARRICK: Yeah, somebody man-handled her pretty good before they killed her.
NICK: Hmm ..
CUT TO:
SCENE #07:
[EXT. NEWMAN'S RESIDENCE - BACKYARD - NIGHT -- CONTINUOUS]
(GRISSOM notices the cigarette butts in the flower pot. He looks up at the second story open window directly above it and notices the torn screen. GRISSOM picks up one of the used cigarette butts. BRASS approaches GRISSOM and notices what GRISSOM is doing.)
BRASS: Reminds me of my daughter. She used throw butts out the window, too.
GRISSOM: The Newmans have kids?
(GRISSOM starts to collect the cigarette butts in the flower bed. He puts them in a bindle.)
BRASS: A kid. Son, 15, Max Newman. He's M.I.A. like the father. The secretary said he went out for lunch and never came back. I checked the garage -- three cars. None of the hoods are hot.
(GRISSOM tucks the bindle in his pocket and continues to look around.)
GRISSOM: We're missing something.
CUT TO:
SCENE #08:
[INT. NEWMAN'S RESIDENCE -- FOYER DOORWAY - NIGHT - CONTINUOUS]
(A man is talking to an officer.)
AUGIE HEITZ: Grissom. A Mr. Grissom. Where would I find Mr. Grissom?
(The officer points to GRISSOM who is standing behind the man.)
AUGIE HEITZ: Great, great. Thank you very much.
(AUGIE HEITZ turns around and walks toward GRISSOM and BRASS.)
AUGIE HEITZ: Mr. Grissom? Hi, I'm Augie Heitz. This is my listing. Someone died, I know. It's a terrible thing. But you got people knocking down awnings stomping through the flower beds. How am I supposed to sell this house?
GRISSOM: You're not. It's a crime scene.
BRASS: Mr. Heitz, you're Mr. Newman's realtor. Have you seen your client lately?
AUGIE HEITZ: What, you kidding? I mean, this is actually the beauty of the service I provide. My clients never have to see me. They don't even have to be home when I show their house.
BRASS: You always give out the combination to your lockboxes? It's illegal.
AUGIE HEITZ: It's a hot market. Um ... you know, I had a fish on the line. Potential bidding war. Look ... (he clears his throat) I only give out the combination to people that I really trust.
(BRASS nods his head as this makes perfect sense to him. He looks over at GRISSOM who doesn't say anything.)
CUT TO:
SCENE #09:
[EXT. NEWMAN'S RESIDENCE - DRIVEWAY - NIGHT -- CONTINUOUS]
(CATHERINE is interviewing PETER BERGLUND and the WOMAN from the teaser. She's holding a bagged laptop in her arms.)
CATHERINE: All right, look, I read rooms for a living. That closet was tossed. The carpet lit up. So I'm going to ask you again. What were you doing in there besides copulating?
PETER BERGLUND: It was my idea.
CATHERINE: Right. Well, we found this laptop on the vanity still on. You didn't play with it, too, did you?
CUT TO:
SCENE #10:
[EXT. NEWMAN'S RESIDENCE - BACKYARD - POOL AREA - NIGHT -- CONTINUOUS]
(GRISSOM shines his flashlight on the ground in front of him as he makes his way to the pool area. NICK is already at the edge of the pool. He's kneeling in front of something on the ground. It looks like something reddish mixed with something else.)
NICK: Hey, Warrick.
(WARRICK walks over to where NICK is. He also crouches down to look at what has NICK'S attention.)
WARRICK: Yeah.
NICK: Check this out.
(NICK points to the watery-looking liquid substance on the pool side.)
NICK: It's a little thin for blood, isn't it?
WARRICK: Yeah.
(NICK watches as WARRICK sticks his finger into the red substance.)
NICK: What do you ...?
(WARRICK then tastes it.)
WARRICK: Tastes like sugar.
GRISSOM: Erythrosine.
(GRISSOM stands a distance behind the two men. He has his flashlight pointed up at a hummingbird feeder hanging near the light. It has red liquid in it.)
GRISSOM: Red dye number three.
NICK: Hummingbirds do love the color red.
WARRICK: You've been watching way too much Discovery Channel. (to GRISSOM about NICK) This guy needs a girl.
(Both WARRICK and NICK stand up.)
WARRICK: I'm going to check out the cabana.
(WARRICK leaves. NICK continues to look at the pool side.)
NICK: No visible footprints.
GRISSOM: Doesn't mean someone wasn't out here. Grab the ALS.
NICK: Yeah.
(At this time, SARA arrives and walks to the pool making her way to GRISSOM. She's carrying her CSI kit. She passes NICK who is on his way to get the ALS.)
SARA: Hey. NICK: Sara. (SARA stops in front of GRISSOM who is still kneeling by the poolside.)
SARA: (to GRISSOM) I am so sorry.
(GRISSOM looks at his watch.)
GRISSOM: I paged you two hours ago. SARA: Right. Uh, it's my day off. I was up in Pahrump at some vineyard. You told me to get a life, remember?
(SARA smiles at GRISSOM.. GRISSOM doesn't return the smile.)
GRISSOM: Did I?
(SARA'S smiles slowly fades. GRISSOM doesn't say anything for a moment. He pulls out his orange-tinted goggles from his kit.)
GRISSOM: I'm sorry, but I needed you. Dispatch called in a 419 at Tuscadero High School. You're on your own.
(At any other time, SARA would jump at the chance. Under these circumstances however, this doesn't please SARA the least.)
SARA: On my own?
(GRISSOM looks back up at SARA. Their eyes meet.)
GRISSOM: Solo.
(GRISSOM puts on his goggles intending to go back to work and effectively dismissing her. SARA stands there a moment looking at GRISSOM. She is not pleased by what she just heard.)
SARA: See you around.
(SARA turns and leaves. On her way out, she passes NICK who has since returned with the ALS. He watches her with envy at getting a prime assignment.)
NICK: (to SARA) Solo?
(SARA shrugs and doesn't say anything. Her back is the only thing we see as she walks out. NICK, in the meantime, can't believe that SARA just walked in and out with the solo assignment.)
NICK: (to GRISSOM) So does this mean when I come in on my day off I get to work solo?
(NICK puts his goggles on. GRISSOM points to the equipment at NICK'S feet.)
GRISSOM: Process.
(NICK turns on the ALS and starts to examine the poolside. He sees the footprints immediately.)
NICK: Whoa. I got what looks like two sets of prints. Ballpark in a size ten from the house. And what looks like a ... size 12, possibly from the pool.
(NICK puts the portable machine down when he reaches GRISSOM. He kneels down low.)
NICK: There were definitely two guys here, Griss.
GRISSOM: Now we just need to figure out if one of them was Mr. Newman.
(WARRICK enters.)
WARRICK: Hey, fellas. Looks like the husband pulled a Clark Kent and left all his clothes behind. Couldn't have gone far. I got his wallet, credit card and keys.
(WARRICK shows them the set of car keys he's holding in his hand. The camera holds close on GRISSOM. Both he and NICK stand up.)
WARRICK: You hear that? What is that?
(As NICK and WARRICK speak, we're made aware of the sounds of water shloshing and of a generator that sounds stuck. GRISSOM looks from WARRICK to NICK as he tries to follow their conversation.)
NICK: (o.s.) Oh, yeah, it's the pool. It's been doing it all night.
WARRICK: Sounds like it's clogged.
(At the mention of the pool, GRISSOM'S eyes look toward it.)
GRISSOM: Did someone check this pool?
NICK: First officer said it was clear.
(GRISSOM looks at NICK. He points back to the pool.)
GRISSOM: Does that pool look clear to you?
(NICK looks at the pool. The water looks a bit cloudy to the casual observer.)
NICK: Uh ... no.
(GRISSOM looks at NICK. He then turns to look at WARRICK. He points to the pool.)
GRISSOM: One of you guys is going in.
(GRISSOM leaves the two men to figure out who of the two it will be.)
(NICK looks over at WARRICK and points. WARRICK stands across the pool staring at NICK. He's still holding the camera. WARRICK shakes his head and points back at NICK.)
(NICK takes a deep breath and holds out his fist. They're going to decide who goes in by a brief round of rock, paper, and scissors. WARRICK understands this perfectly. He, too, also holds out his fist as they quickly decide who is going to jump into the pool.)
(WARRICK shows rock; NICK shows scissors. WARRICK nods and points back at NICK.)
(NICK nods.)
NICK: (to GRISSOM) I'll go in the pool.
(Standing at the edge of the pool, NICK takes his shirt off, tosses it to the side and slowly lowers himself into the pool.)
(NICK takes a deep breath and goes under the water. He makes his way across the pool. The water is cloudy and he's not able to se across to the other side. He barely can see directly in front of him. He dives in deeper toward the bottom. He pushes his way across the pools length when he swims smack into CAL NEWMAN, dead in the water.)
(NICK backs away and heads up for the surface.)
(He breaks the surface and sees GRISSOM and WARRICK standing at the pool's edge.)
NICK: Oh, man! Male D.B.
CUT TO:
SCENE #11:
[EXT. TUSCADERO HIGH SCHOOL - FOOTBALL FIELD - NIGHT]
(SARA and DET. LOCKWOOD make their way down from the seats and onto the field.)
LOCKWOOD: You have dinner yet? SARA: Yeah. Why? LOCKWOOD: You might be seeing it again. (Across the field near the end zone, the body of a woman is on the ground. There are police cars at the end of the field. DAVID PHILLIPS stands over the body.)
LOCKWOOD: Mandy Kirk. Seventeen.
SARA: Seventeen.
LOCKWOOD: Senior. Janitor found her.
SARA: Hi, David.
DAVID PHILLIPS: Hey.
(SARA puts her kit down. She pulls out some latex gloves and puts them on.)
SARA: Eviscerated.
LOCKWOOD: Maybe a wild animal? They picked up a mountain lion last week in Henderson.
DAVID PHILLIPS: Suburbs are encroaching on the hinterlands. We'll know more after the autopsy.
SARA: It's a cheerleader.
(SARA takes out a tweezer and pulls a piece of ribbon out from the wounds in the cheerleader's abdomen. She holds it up.)
SARA: She had to have good lungs. How come nobody heard her scream?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- NIGHT]
SCENE #12:
[INT. CSI - FORENSIC AUTOPSY]
DAVID PHILLIPS: Didn't have to do much of a "Y." Attack did it for me.
SARA: Died of exsanguination.
DAVID PHILLIPS: Bled out. Trauma to her internal organs. Spleen, liver, heart they all sustained multiple mastications.
SARA: Hmm. You able to isolate the species?
DAVID PHILLIP: From the tooth mark on her left ninth rib.
(DAVID points to the area over the body. Quick CGI top view POV of the body. The camera speeds up and moves down and inward past the skin and to the rib where we can see teeth marks. Flash to white. End of CGI POV.)
(SARA leans in closer for a better look.)
SARA: Dog maybe? Teeth marks are too small for a mountain cat.
DAVID PHILLIPS: They're human.
(SARA looks up at DAVID.)
SARA: You're lying.
(DAVID looks at SARA. He points to the deceased's wounds.)
DAVID PHILLIPS: You can see the bridgework on this impression of a premolar and an adjoining molar.
SARA: Can you tell how old the attacker is?
DAVID PHILLIPS: Well, I can't give you the exact age but wisdom teeth erupt between 15 and 30. And there's no evidence of a wisdom molar on this impression.
SARA: Thanks.
(SARA hands the file back to DAVID and turns to leave. She stops at the door.)
DAVID PHILLIPS: Oh, one more thing. I found an infection in the mucus overlying the large intestine. This girl suffered from the e-coli bacteria.
SARA: E-coli? Unsanitary conditions?
DAVID PHILLIPS: Or a bad burger.
SARA: So whoever did this to her also has e-coli.
DAVID PHILLIPS: Oh, yeah. Spiked temp, vomiting, lower GI problems, the works.
SARA: Smoking gun.
CUT TO:
SCENE #13:
[EXT. NEWMAN'S RESIDENCE -- BACK YARD POOL SIDE - NIGHT]
(NICK puts the pump tube into the pool.)
(Cut to the fire engine out front. The Fireman lifts the lever and the pool water starts to spurt from the nozzle.)
(Quick CGI POV to the camera moving fast through the nozzle from the fire engine pump in through the tube and out through the filter that NICK is closing. End of CGI POV. Resume to present.)
(WARRICK is also working on another filter next to NICK who seals his own filter.)
(Cut to a top view shot of the pool completely filled with water and the two men standing pool side.)
(Dissolve to same shot of the pool about halfway empty and NICK standing at the pool's edge.)
(Dissolve to same shot of the pool about a quarter filled and NICK still standing at the pool's edge.)
(Dissolve to shot of the pool empty with the dead body exposed. NICK and WARRICK detach the suction tubes from the filters.)
NICK: I mean, I don't get it. She's not even slated to work. She comes in on her day off and she gets to work solo.
WARRICK: You still harping on the solo thing? You know every time you work with me you learn something.
(NICK starts to laugh.)
NICK: Is that right?
(Without looking up, WARRICK responds back.)
WARRICK: Yes.
CUT TO:
SCENE #14:
[INT. NEWMAN RESIDENCE - FRONT FOYER - NIGHT - CONTINUOUS]
(CATHERINE stands in the doorway barring entrance to MAX NEWMAN and JERI NEWMAN, CAL NEWMAN'S ex-wife.)
MAX NEWMAN: I live here. Why can't I go in? I want to see my father.
JERI NEWMAN: I'm Cal's ex-wife, Jeri Newman, and this is our son Max. We have the right to an answer.
CATHERINE: And we have a right to protect the crime scene.
JERI NEWMAN: What's going on?
CATHERINE: I can't tell you anything until I get all the details. I'm sorry.
OFFICER: (o.s.) Catherine? Can I have a moment please?
(CATHERINE leaves to talk with the OFFICER.)
OFFICER: We need someone to identify the body.
(CATHERINE looks toward the two people standing in the doorway.)
CATHERINE: Ms. Newman. Would you come with me, please?
MAX NEWMAN: What about me?
(JERI NEWMAN stops her son.)
JERI NEWMAN: Uh, no, honey. You stay right here.
(She steps into the house to follow CATHERINE.)
CUT TO:
SCENE #15:
[INT. NEWMAN RESIDENCE - BACKYARD - NIGHT - CONTINUOUS]
(GRISSOM is on the pool floor examining the dead body, collecting evidence. BRASS is standing above near the pool's edge.)
GRISSOM: No skin separation. Minimal gaseous buildup. This guy's been in here under 12 hours. (BRASS looks at his watch.)
BRASS: According to his office, he left work at 1:00. It's about right.
(GRISSOM looks at the cover near the body. He picks it up.)
BRASS: What is that, some kind of filter?
GRISSOM: It's an anti-vortex filter.
BRASS: Hey, I'm from Jersey, we swim at the shore.
GRISSOM: It's designed to keep his hand out of that pipe. But it's missing a few screws.
(CATHERINE and JERI NEWMAN appear next to BRASS.)
CATHERINE: Ms. Newman, is this your ex-husband?
(JERI NEWMAN starts to cry.)
JERI NEWMAN: It's Cal.
FADE TO BLACK.
(COMMERCIAL SET)
SCENE #16:
[INT. CSI - AUDIO/VISUAL LAB]
(On the large monitor, ARCHIE JOHNSON looks at photos of The Newman's residence.
CATHERINE enters the lab.)
CATHERINE: Virtual tour. Right on, Archie. Before and after photos of the
crime scene.
(ARCHIE smiles. CATHERINE takes a seat next to him.)
ARCHIE JOHNSON: (Imitating Elvis Presley): Thank you, thank you very much.
(normal voice) It was on the hard drive of the computer you got at the crime
scene. Looks like a Peter Croft sculpture.
CATHERINE: You know your art. You a collector?
ARCHIE JOHNSON: What? On my salary? Guggenheim's as close as I get to
something like that.
CATHERINE: Oh, I haven't been yet.
ARCHIE JOHNSON: Really? Well, if you want a tour, I know a docent.
CATHERINE: A docent. So, you think that's legit?
ARCHIE JOHNSON: House like this, probably not a knock-off.
CATHERINE: You'd be surprised. The rich go cheap to stay rich, you know what I
mean?
ARCHIE JOHNSON: Yeah. Let me show you the "after" photos.
CATHERINE: Please.
ARCHIE JOHNSON: Same spot.
CATHERINE: And, uh, what happened to the sculpture?
ARCHIE JOHNSON: Good question.
CATHERINE: You saying somebody lifted it?
ARCHIE JOHNSON: Well, they don't call them open houses for nothing.
CATHERINE: Put your house on the market your privacy's up for grabs, too.
ARCHIE JOHNSON: The Newmans unlocked their door to anybody with internet
access.
(Camera holds on CATHERINE.)
CUT TO:
[EXT. SCHOOL (STOCK) - DAY]
SCENE #17:
[INT. TUSCADERO HIGH SCHOOL - DAY]
(SARA and LOCKWOOD enter the school.)
SARA: Soccer bunnies? What are soccer bunnies?
LOCKWOOD: Well, each cheerleader is assigned a soccer player. (They walk up
the stairs.) She's his bunny. Gives him gifts the night before the big game
places his wake-up call.
SARA: Sounds sexual.
LOCKWOOD: Yeah, that's what I asked the principal but he said no. He said
that, uh it's all good, clean fun. (There are kids crying in the hallway.)
Gifts are inspirational videos like, uh, Rocky and wake-up calls are pep talks,
nothing more.
(They pass more kids crying in the hallway.)
SARA: Yeah, well, I'm not sure the principal's up to speed on teenagers' sexual
habits.
LOCKWOOD: Yeah, well, victim Mandy was soccer bunny to a Chuck Darwell. And
when I called him on his cell this morning he said that he hooked up with Mandy
after every game except last night.
(They stop in front of MANDY KIRK'S locker which has been turned into a make-
shift mini-shrine to the cheerleader. There's a young woman putting a
photograph on large pink poster that reads: "To Mandy, the best cheerleader in
heaven. Love Nicole.")
(In front of the locker there are candles, flowers, pedals, cards & ribbons.)
LOCKWOOD: Said he hadn't seen her last night.
SARA: He in class?
LOCKWOOD: Hospital. Got rushed there two minutes ago.
SARA: I bet I know why.
CUT TO:
[EXT. LAS VEGAS (STOCK) - DAY]
SCENE #18:
[INT. CSI - FORENSIC AUTOPSY]
(Stretched out on the autopsy table is CAL NEWMAN.)
ROBBINS: No surprise here. He drowned.
GRISSOM: We found his right hand caught in a pool filter.
ROBBINS: Lack of bruising, no bleeding wounds. Indicates his circulatory
system had stopped. This was postmortem.
(Quick CGI POV to CAL NEWMAN floating dead in the swimming pool. The suction of
the pool filter drags his body down. Cut to a camera angle from inside the
filter as CAL NEWMAN'S hand gets caught in the hole. Cut back to the bottom of
the swimming pool as CAL NEWMAN'S entire arm gets pulled into the filter. Flash
to white. Resume to present.)
GRISSOM: Any significance to the marks on his chest?
ROBBINS: Uh, don't know. Not a rash. Some kind of abrasion. Maybe even a
friction burn. Definitely peri-mortem. X-rays reveal several broken ribs and
he's got a bruise on his forehead. He could have taken a bad fall.
GRISSOM: Or he could have been beaten.
ROBBINS: Maybe.
GRISSOM: How about the new wife?
(GRISSOM and ROBBINS turn to the autopsy table behind them and set up next to
CAL NEWMAN'S table with MONICA NEWMAN on it.)
ROBBINS: No physical findings for sexual assault though I did send a kit to
DNA. Looks like cause of death was a single gunshot to the head. I'll know
more later.
GRISSOM: You always tell me that.
ROBBINS: Yes, I do. Depth of bruising gives us a timeline. Apparent
thumbprint on her neck came first the, uh, prints on her hands second. Major
impression on top. It's some kind of recoil bruise on her palm.
GRISSOM: She didn't shoot herself.
(Quick flashback to an unknown man forcing MONICA NEWMAN to hold the gun. The
gun is cocked. MONICA NEWMAN yells. The gun is forced to her temple. Sound of
gunshot as we flash to white. Resume to present.)
GRISSOM: She had help.
CUT TO:
SCENE #19:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(MONICA NEWMAN walks to the pool.)
MONICA NEWMAN: (on video) Of course, no house is complete without a pool. Why
live in Vegas if you don't have a pool?
(MONICA NEWMAN is wearing a bathing suit and standing in her backyard of the
video to showcase her house. She smiles at the camera and steps into the pool.)
MONICA NEWMAN: Mmm ... water's warm.
(The camera cuts to show ARCHIE JOHNSON and NICK both watching the video.)
MONICA NEWMAN: (o.s.) You want to come by and take a dip?
(ARCHIE, NICK and CATHERINE are reviewing the sales video. Both ARCHIE and NICK
have goofy smiles on their faces. CATHERINE isn't impressed.)
CATHERINE: Quite the saleswoman. (They are all in the Audio/Visual Lab watching
the sales video on the monitor.)
MONICA NEWMAN: Come on, take a ... (The video fast forwards to the next scene
where MONICA NEWMAN is wearing a short robe and is sitting on the sofa in her
bedroom.)
MONICA NEWMAN: It's got to be a fantasy of yours, huh?
ARCHIE: Huh, double feature.
(MONICA NEWMAN stands up and starts to undo her robe.)
MONICA NEWMAN: You know you want this.
(She walks out of camera range, however she's still visible through the wall
mirror. We see her back as she drops the robe.)
NICK: Blam.
ARCHIE JOHNSON: You can say that again.
NICK: Blam.
CATHERINE: Down, boys.
(MONICA NEWMAN walks back up to the camera.)
MONICA NEWMAN: I probably should even be saying this, but, uh ... sex is on my
mind all the time.
CATHERINE: Hey, Archie, freeze it.
(ARCHIE hits the keyboard and the video pauses.)
MONICA NEWMAN: And, uh ...
(CATHERINE points to the screen.)
CATHERINE: Who's that in the background?
NICK: Hmm? Oh, that guy in the mirror. Good. Archie, help us out.
ARCHIE JOHNSON: Yup, I got him.
(ARCHIE isolates a portion of the video reflected in the mirror behind MONICA
NEWMAN. He enlarges the framed area and lightens it.)
NICK: Nice.
BRASS: This is the realtor. I just did a background check on that guy. Half a
dozen robberies in the houses he has listed. Art, antiques, stuff like that.
CATHERINE: Like the Peter Croft sculpture.
BRASS: Exactly.
NICK: Looks like Augie was helping himself to a little bit more than the
artwork.
CUT TO:
SCENE #20:
[INT. HOSPITAL ROOM - DAY]
SARA: I understand, Mr. Darwell. Have your son's wisdom teeth come in yet?
MR. DARWELL: What?
LOCKWOOD: Whoever killed Amanda Kirk ingested her organs, Mr. Darwell. Left
teeth marks.
(SARA notices that CHUCK DARWELL is awake.)
SARA: Excuse me.
(SARA turns to the teenager in bed.)
SARA: Hi, uh, Chuck, I'm with the crime lab. I'm going to ask you to show me
your back teeth. Give us an odontological impression.
CHUCK DARWELL: I didn't see Mandy last night, I swear.
MR. DARWELL: You have no legal right to question or to touch my son. I want
you out of here. Now.
(Instead of responding to MR. DARWELL, DET. LOCKWOOD turns to the nurse.)
LOCKWOOD: Is that stomach contents?
NURSE: That's right, officer.
(The nurse stands next to the bed holding a large plastic bag of brownish-
colored liquid. She hands the entire bag to DET. LOCKWOOD.)
LOCKWOOD: Anything he throws up no longer belongs to him. PD, public domain.
(DET. LOCKWOOD holds the bag out. SARA walks over to him and takes a hold of
it. She turns to MR. DARWOOD.)
SARA: It's going to tell us everything we need to know.
CUT TO:
SCENE #21:
[INT. AUGIE HEITZ'S OFFICE -- DAY]
(AUGIE HEITZ sits in his chair behind his desk.)
AUGIE HEITZ: Look, anyone could have lifted that Peter Croft. I thought this
was about murder.
CATHERINE: Oh, it is. (His cell phone rings. He turns to answer it.)
AUGIE HEITZ: Excuse me. (pause) Yeah? (pause) Hey, yeah ... Hey, can I call
you back? (pause) Okay, then. Bye-bye. (He hangs up his cell.) I'm sorry,
where were we? BRASS: The tape. It wasn't anybody's face on that tape, it was
your face.
AUGIE HEITZ: I recorded their house for the virtual tour. That's what I do to
sell houses.
BRASS: Selling house as a front for porno a little blackmail on the side.
AUGIE HEITZ: What are you talking about? I have done nothing wrong.
CATHERINE: Oh, you're innocent in all this?
AUGIE HEITZ: I admit to having lust in my heart.
BRASS: Lust doesn't live in your heart.
CATHERINE: I'm going to need that DNA sample.
AUGIE HEITZ: Well, my DNA is your DNA.
CATHERINE: Great.
AUGIE HEITZ: Look, for what it's worth I can tell you at least one guy other
than her husband that saw Monica in the buff on a weekly basis.
(CATHERINE holds out the swab and waits for AUGIE HEITZ to finish speaking.)
CATHERINE: Say, "ah."
(AUGIE HEITZ opens his mouth.)
AUGIE HEITZ: Ah.
CUT TO:
SCENE #22:
[EXT. UNKNOWN RESIDENCE - DRIVEWAY - DAY]
WARRICK: You must get a lot of ass on a job like this, huh?
JACK JARVIS (POOLMAN): I'm the pool guy, it's one of the perks of the job. One
minute I'm scooping leaves the next I'm staring at ...
WARRICK: Yeah, I get it. The last time you were there did you happen to see
anything out of the ordinary?
JACK JARVIS (POOLMAN): What? You mean sexual?
WARRICK: Maybe.
JACK JARVIS (POOLMAN): No. But, uh ... Newman had a temper. He and his kid
Max were always going at it.
(Quick flashback to JACK JARVIS working at the pool. Up on the second floor
balcony, CAL NEWMAN is yelling at his son. He's waving a piece of paper in
front of MAX NEWMAN'S face.)
CAL NEWMAN: What are these, huh? Where did you get these?!
(Flash to white. Resume to present.)
JACK JARVIS (POOLMAN): I thought the old man was going to beat his ass but ...
Newman just screamed some more and took off.
WARRICK: You mind if I take a look in your cab?
JACK JARVIS (POOLMAN): Sure.
(WARRICK opens the driver's side door and looks around. On the clipboard above the dashboard, he finds a plastic ziploc baggie with three screws in it. JACK JARVIS walks to the passenger side window to watch. WARRICK picks up the clipboard and baggie and holds it up for JACK JARVIS to see.)
WARRICK: Well, that's a coincidence.
(Camera close up of the three screws. Resume to present.)
WARRICK: Newman's anti-vortex filter was missing three screws.
JACK JARVIS (POOLMAN): I can explain, okay? I remove them screws from the filter so I'd have an excuse to go back.
WARRICK: Oh, you mean, like, a "leave-behind"?
JACK JARVIS (POOLMAN): Yeah, I figured the more I was around ...
WARRICK: The more she'd want you.
JACK JARVIS (POOLMAN): Oh, yeah.
(JACK JARVIS smiles.)
WARRICK: Well, the lab wants more of you, too. We're going to need your
fingerprints and a DNA sample.
(The smiles fades from the poolman's face.)
JACK JARVIS (POOLMAN): Take whatever you want, I've got nothing to hide.
CUT TO:
SCENE #23:
[INT. CSI -- LAB]
(NICK sorts through the contents collected from the bottom of the swimming pool. He pushes old dryleafs to the side. He finds what looks like a tooth filling. NICK picks it up and looks at it. He ponders his own filling.)
(On the table next to NICK'S, GRISSOM works on his own evidence. He's looking through the microscope in front of him.
GRISSOM: Anything from the pool?
NICK: Some hairs, may have found a filling.
(GRISSOM puts his glasses back on and looks up something in the open textbook next to the microscope. NICK reads off of the test results.)
NICK: Tributlyltin oxide, aluminum sulfate quaternary ammonium. Chemicals in the vic's lungs match the chemicals in the pool water.
(GRISSOM takes his glass off and looks back into the microscope.)
GRISSOM: Anything from his head wound?
NICK: Trace matches the side of the pool. No surprises.
(GRISSOM puts his glasses back on and double checks the information in the text book. He picks it up.)
GRISSOM: Mildew.
NICK: Hmm?
GRISSOM: Aureobasidium pullulans. One of the very few fungi that can withstand the desert temperature.
NICK: Gives us possible transfer.
(Quick flashback to the hummingbird feeder hanging by the NEWMAN'S swimming pool. Camera moves toward the feeder then points straight downward in the direction as one of the red-colored sugar water in the feeder might take if it dropped to the ground.)
GRISSOM: (v.o.) Exactly. And here's the basic chemistry of the transfer.
(The camera speeds up and zooms down following the single drop as it falls from the hummingbird feeder. The drop of red colored sugar water hits the ground.)
GRISSOM: Add sugar water spoiled from the heat, ...
(The camera shows mildew growing on a microscopic level.)
GRISSOM: ... mix in some human biofilm you got yourself an all-you-can-eat mildew buffet.
(A large bare human male foot steps into the wet spot on the ground. End of flashback. Resume to present.)
GRISSOM: Cal Newman wore size tens. So assuming our killer wore the size twelve ...
NICK: He may have transferred mildew from the pool to the house.
(GREG walks into the lab.)
GREG: Normally I don't like to speak ill of the dead but, uh, Mr. Newman's sperm had company. Bad company.
(GREG hands GRISSOM the DNA test results.)
GREG: Look at D-7. Three alleles.
GRISSOM: Genetics only gives you one from each parent.
GREG: Which can only mean one thing -- menage d'allele.
(NICK isn't surprised by this.)
NICK: She was cheating on her husband.
GRISSOM: What about stutter?
(GREG hands GRISSOM another test results.)
GREG: Percentage is too high. We're looking at a minor and a major sample.
GRISSOM: Minor donor?
GREG: The husband.
GRISSOM: Major donor?
NICK: Pool man.
GREG: Nope.
(This surprises NICK. He looks up.)
NICK: The realtor?
GREG: Ibid. Major donor is still unaccounted for.
(Camera holds on GRISSOM who looks up from the test results.)
FADE TO BLACK.
(COMMERCIAL SET)
[EXT. LAS VEGAS RESIDENTIAL AREA (STOCK) - DAY]
SCENE #24:
[INT. NEWMAN RESIDENCE -- BEDROOM - DAY]
(NICK fiddles with the digital camera on a tripod. He's playing the sales video
with MONICA NEWMAN'S bedroom segment. WARRICK stands against the wall ... he's
a bit impatient.)
WARRICK: How's it coming?
NICK: Good. I'm almost there. Hang on.
(NICK adjusts the camera. He's looking for the same moment that AUGIE HEITZ
appears in the frame with MONICA NEWMAN.)
WARRICK: Sometime this year.
(NICK finds the frame and pauses the camera.)
NICK: Okay, I think that's the angle.
(In front of the camera, WARRICK stands with his arms crossed.)
WARRICK: All right, where do I stand?
NICK: Back up.
(WARRICK takes a few steps back. It's not enough.)
NICK: Keep going. Keep going.
WARRICK: Big steps? Little steps?
(WARRICK backs up some more. Behind him are the bedroom closet doors.)
NICK: Big. Keep going. Keep going.
WARRICK: I go any further, I'll be in the closet.
NICK: Well, go in the closet.
(WARRICK turns around and opens the closet door. Leaning against the wall is a
cardboard cut out of AUGIE HEITZ.)
WARRICK: Oh, you got to be kidding me.
NICK: What?
(WARRICK grabs the cardboard cut out and puts it in front so that NICK can see
it too.)
WARRICK: How's this?
NICK: What the hell is that?
(WARRICK scoffs. He puts the image on the side and holds out the Realtor Sign.)
WARRICK: These slime will do anything to sell a house, huh?
CUT TO:
SCENE #25:
[INT. CSI - AUDIO/VISUAL LAB - DAY]
(Camera shows the frame with MONICA NEWMAN in the bedroom and the AUGIE HEITZ
cardboard cut out in the closet.)
(In the lab with ARCHIE are CATHERINE and GRISSOM. They're reviewing the sales
video.)
ARCHIE JOHNSON: Sometimes, reflections beget reflections. I figured if I could
get a glimpse of the Augie cutout maybe I could get a glimpse of the cameraman.
(ARCHIE hits a key and lightens the frame a few shades.)
ARCHIE JOHNSON: Check out the lamp.
(ARCHIE frames and enhances a reflection of something on the lamp. He refocuses
the frame. He adjusts the angle of the lampshade. By this time, the figure,
though still translucent, is identifiable. CATHERINE gasps.)
(ARCHIE lightens and sharpens the figure while dulling the background.)
CATHERINE: Her stepson, Max. Did you get any DNA off the cigarette butts?
GRISSOM: Yeah, we did. So, let's get Greg to compare the reference sample and
see if we found our major donor.
CUT TO:
SCENE #26:
[INT. CSI - LAB]
(SARA is picking through CHUCK DARWELL'S stomach contents piece by piece. It's
a gruesome job, but someone has to do it. From the doorway, a familiar voice
chimes in.)
GREG: Driving someone else's porcelain bus?
SARA: Suspect's dinner from last night.
GREG: The coroner left this in your mail slot.
(GREG holds up a large manila envelope. Without looking up from her task, SARA
asks.)
SARA: Can you read it for me?
(GREG takes a couple of steps into the room. He opens the envelope. SARA pulls
out something green and flimsy from the flask of liquidy goo. She holds it up.)
SARA: What's this look like, Greg?
(GREG looks at what SARA'S holding. He pulls out the envelope contents.)
GREG: Uh, Caesar salad.
(GREG glances down at the test results and without missing a beat, continues.)
GREG: Oh, and Pele used an interesting dressing. PCP.
(SARA looks up at GREG.)
SARA: Angel dust. Hallucinogen.
GREG: Well, it acts like one. But PCP's such a powerful drug it's in a class
all its own: Disassociative anesthetic.
SARA: Brain disassociates from the body.
GREG: Yeah, after it takes you through the paces.
SARA: How many milligrams?
GREG: Uh ... twenty. Dude's dose was off the charts. I'm surprised he's still
alive.
SARA: Yeah. Too bad everybody didn't make it.
(GREG doesn't respond. SARA goes back to picking through the stomach contents.
She picks up something large, flimsy and pinkish-red. She doesn't look happy
with the find. She holds it up for GREG to see. GREG leans in to look at it.
He, too, is horrified by what he sees.)
SARA: Tell me this is raw chicken skin.
GREG: Well, it's raw ... and it's definitely skin.
(Camera holds on SARA.)
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
SCENE #27:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- NIGHT]
JERI NEWMAN: My son was nowhere near that pool. He was at ...
BRASS: Oh, no, no, no. Red Rock Canyon. A field trip. Oh, I'm getting that.
(BRASS takes a step closer to the table. He's holding a couple of photographs
in his hands.)
BRASS: What I'm not getting is this.
(BRASS places one of the photos he's holding onto the table in front of JERI
NEWMAN and MAX NEWMAN. It's a picture of the late MONICA NEWMAN naked. She's
leaning over another naked male body - the person who took the photograph - and
she's smiling. JERI NEWMAN glances down at the photo. CATHERINE watches MAX
NEWMAN. He looks a little worried.)
JERI NEWMAN: Oh, now, this is disgusting. Look, whatever Cal wanted to do
behind closed doors, that was his business. This is not for my eyes or for his
eyes.
(BRASS walks around to the other side of the table and takes a seat next to
CAHTERINE.)
BRASS: This is not the first time, is it, Max?
(BRASS shows them the second photo he's holding. He places it on the table.
MAX NEWMAN sees the photo and sighs. He's busted. JERI NEWMAN pulls the second
photo closer. It's a picture of both MAX NEWMAN and MONICA NEWMAN naked. MAX
is holding the camera toward the mirror. The photo catches the camera flash.)
(The photo pains JERI NEWMAN. She closes her eyes. MAX NEWMAN shakes his
head.)
MAX NEWMAN: Can I plead the fifth or something?
CATHERINE: Max, we found two sperm donors on the sample from your stepmother.
Your father's and yours.
JERI NEWMAN: Now I know why you were spending all that time at your father's.
(MAX NEWMAN turns his head to try to explain.)
MAX NEWMAN: Mom, look, I ...
(JERI NEWMAN reaches out and slaps MAX NEWMAN on the cheek. MAX NEWMAN'S head
turns from the force of the contact. CATHERINE gasps.)
MAX NEWMAN: Mom ...
(JERI NEWMAN holds out a finger silencing her son.)
JERI NEWMAN: I don't want to hear a word from you.
BRASS: Well, let me lay it out for you.
(Quick flashback to MAX NEWMAN swimming in the pool. MONICA NEWMAN sits on the
edge of the pool in her short robe. She takes the robe off. She's not wearing
anything. MAX NEWMAN sees her and swims to her. Flash to white. Resume to
present.)
BRASS: So you must've thought you won the lottery. And the only thing standing
between you and the winning ticket was your father.
(Quick flashback to both father and son fighting on the pool side. They fall
into the pool. The son grabs his father's head and slams it against the pool's
edge then drags him under. The son swims up toward the surface. The father
remains under. Flash to white. Resume to present.)
CATHERINE: What's your shoe size, Max?
MAX NEWMAN: Twelve.
(Quick flashback to a man emerging from the swimming pool, his wet feet leaving
footprints behind as he walks toward the house. Flash to white. Cut to MAX
NEWMAN sitting on the bed, shaking his head.)
MAX NEWMAN: This can't be happening.
MONICA NEWMAN: Yes, it's happening. Okay, this is a fling. Okay, it's not
real. You're confused. You're a kid.
(MAX NEWMAN pulls out a gun and points it against MONICA NEWMAN'S forehead. He
stands and advances on MONICA NEWMAN. She backs away from him.)
MAX NEWMAN: I killed my father for you.
(Sound of gunshot as we flash to white. End of flashback. Resume to present.)
(JERI NEWMAN shakes her head.)
JERI NEWMAN: That's not possible.
BRASS: How come?
MAX NEWMAN: Because I can't swim.
JERI NEWMAN: He's telling the truth. When Max was a child he had this terrible
pool accident. He nearly drowned.
(BRASS turns to look at CATHERINE. Camera holds on CATHERINE'S surprised look.)
CUT TO:
SCENE #28:
[INT. HOSPITAL ROOM - DAY]
(A TECHNICIAN finishes taking a caste of CHUCK DARWELL'S teeth.)
SARA: We need that report, ASAP.
(THE TECHNICIAN stands and leaves.)
SARA: Your temperature is spiking. Of course, you didn't know Mandy had e.
coli when you ... ate her, did you?
CHUCK DARWELL: No, no, I would never do that.
LOCKWOOD: You would on PCP.
(Quick flashback to smoking cigarette. End of flashback. Resume to present.)
SARA: Normal brain, neurons send a message ...
(Quick CGI POV to 3-d image of a brain with a minimal amount of light and
activity lighting on and off to indicate normalcy. End of CGI. Resume to
present.)
SARA: ... synapses blink on and off. On PCP, synapses never stop firing like
...
(Quick CGI POV to the same 3-d image of the brain on PCP with an excessive
amount of light and hyper-activity flashing on and off to indicate the brain on
PCP.)
SARA: (v.o.) ... your entire brain is on constant DSL.
(Flash to white. Return to present.)
LOCKWOOD: You and Mandy were on the soccer field. You were cranked up. SARA:
Do you remember anything?
(CHUCK DARWELL remains quiet. His breathing quickens as he seems to recall
something.)
(Quick flashback to Chuck Darwell eating something meaty with his two hands.
His face is stained with blood. End of flashback. Resume to present.)
CHUCK DARWELL: Yeah. But I don't remember killing her. I swear to God.
SARA: (quietly) Lieutenant Lockwood's going to arrest you. We'll assign you
an advocate.
CUT TO:
SCENE #29:
[INT. CSI - HALLWAY -- DAY]
(GRISSOM and CATHERINE walk along the hallway.)
GRISSOM: So, how does a kid who can't swim drown his father?
CATHERINE: The kid didn't do it. Look, we found the father's blood on the
underside of the pool ledge.
GRISSOM: : And his body at the bottom of the pool with abrasions on his chest.
(Quick flashback to CAL NEWMAN being dragged under the pool, his chest rubbing
against the side of the pool wall. End of flashback. Resume to present.)
CATHERINE: So there was a struggle in the water.
(Quick flashback to someone grabbing and hitting CAL NEWMAN'S head against the
side of the pool wall underwater. End of flashback. Resume to present.)
GRISSOM: With someone who can swim.
(Quick flashback to CAL NEWMAN floating face down inside the pool. End of
flashback. Resume to present.)
CATHERINE: Right.
HARD CUT TO BLACK.
(COMMERCIAL SET)
[EXT. LAS VEGAS (STOCK) -- NIGHT]
SCENE #30:
[INT. CSI -- LAB]
(NICK sits at the laptop computer.)
NICK: (frustrated) You cannot be serious!
(Behind him, WARRICK'S in the next lab. He enters the lab NICK'S in.)
WARRICK: Hey, John McEnroe, where's the game?
NICK: All the prints are accounted for by people who had a reason to be in the
Newman house all the way down to the vortex cover. Warrick?
WARRICK: Prints came back to the pool boy.
NICK: Yeah.
(NICK rolls his chair over to the other table.)
NICK: Yeah, so all I've got is an errant blond hair, a tooth filling and some
detritus from the bottom of the pool.
WARRICK: All right, now, don't get your panties in a bunch. (WARRICK thinks
about it.) Uh, so we got the blond hair, the tooth filling ... that's it, huh?
NICK: Yeah. I mean, I did identify some neoprene and it was white.
(Camera close up of the piece of white neoprene in the evidence bag.)
WARRICK: White neoprene.
NICK: Yeah.
WARRICK: Like in a wet suit neoprene?
(WARRICK reaches out and grabs the evidence bag from NICK.)
WARRICK: Was the vic a diver?
NICK: Not that I know of. The son can't even swim.
WARRICK: Let's think about that. Who wears a white wet suit in a pool?
NICK: Scuba diver. Or a professional.
WARRICK: A professional.
NICK: No, I mean like a hired gun professional.
WARRICK: Yeah.
CUT TO:
SCENE #31:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(PETER BERGLUND, the man from the teaser, is in the interrogation room. He's
drinking from a glass of water.)
GRISSOM: Tooth hurt?
(PETER BERGLUND looks up at GRISSOM.)
GRISSOM: You might, uh, need your filling which we found at the bottom of the
Newmans' pool.
(GRISSOM pulls out a small evidence bag with the filling. He puts it on the
table.)
The information on the evidence bag reads:
(Article) TOOTH FILLING 0857
(Date Found) 10-7-02
(Where This Article was Found) NEWMAN POOL DECK
(Investigation Officer) N. STOKES
BRASS: We also found your fingerprints and your hair.
PETER BERGLUND: Look, I'm sure you'll find me all over the house. I wanted to
buy it. I was everywhere.
BRASS: Well, you made sure you were everywhere, too, didn't you?
PETER BERGLUND: I wanted to thoroughly inspect the property. Caveat emptor,
right?
GRISSOM: Or caveat venditor. Let the seller beware. Your prints came back
military. Navy seal.
PETER: Ex-navy seal.
BRASS: Oh, yeah, that's right. You rang the bell. You had the physical tools
for the training but not the character.
PETER: And if you had anything more than a filling and a piece of neoprene we
wouldn't be here.
GRISSOM: Berglund. That's a Scandinavian name, isn't it?
PETER BERGLUND: That's what my parents tell me.
CUT TO:
SCENE #32:
[INT. CSI -- LAB]
(SARA works on the cast of CHUCK DARWELL'S teeth matching the cast to the rib
marks. It doesn't match. From the doorway, a familiar voice chimes in.)
GREG: Hey, heard you nailed soccer boy for the murder.
SARA: Not exactly. No match on the bite plate.
GREG: Well, maybe there was someone else with them.
SARA: Someone getting sicker by the minute.
(SARA stands and leaves the room.)
CUT TO:
SCENE #33:
[INT. CSI -- HALLWAY]
(GRISSOM walks down the hallway looking for someone in particular. He turns the
corner to the locker room and finds him.)
[INT. CSI - LOCKER ROOM]
GRISSOM: Greg.
GREG: Yeah?
GRISSOM: I need you to take off your shoes and socks.
(GREG is sitting on the locker room bench putting on his jacket, presumably
getting ready to leave.)
GREG: See, now we're getting into this whole strip forensics thing and I'm not
so sure I can hang with that even if you are my boss.
(GREG reaches down and starts to comply with GRISSOM'S strange request.)
GRISSOM: Your mother's maiden name is Hojem, correct? Hojem is Norwegian?
GREG: Yeah. And you know, my grandfather got tossed from Norway for getting my
grandmother pregnant before they got married. To this day, he still tells me
"som man reder sa ligger man."
(GREG stops and looks up at GRISSOM. GRISSOM doesn't respond. GREG explains.)
GREG: "One must lie in the bed one has made."
GRISSOM: That's true. Right foot first, please.
(GRISSOM kneels down and pulls out a swab. GREG takes off his sock and GRISSOM
swabs his right foot.)
GREG: Now, you're sure you want me to do this? Things could get loud in here.
GRISSOM: Left foot.
(GRISSOM swabs GREG'S left foot.)
GREG: So you want to tell me why we're doing this? GRISSOM: It's an
experiment.
(GREG looks up at GRISSOM unsure whether he likes that particular response.
GRISSOM pulls out a clean pair of socks and hands them to GREG.)
GRISSOM: Put these on. Come see me in six hours.
(GRISSOM STANDS AND leaves the room. GREG watches him leave. He looks at the
socks.)
CUT TO:
[EXT. TUSCADERO HIGH SCHOOL - DAY]
SCENE #34:
[INT. TUSCADERO HIGH SCHOOL - HALLWAY TO LOCKER ROOM -- DAY]
(SARA and DET. LOCKWOOD walk through the high school hallway on their way to
look for their other suspect.)
LOCKWOOD: Nicole Exmoor, 18. School nurse said she couldn't stop throwing up.
Teacher found her passed out in the locker room.
SARA: She have an explanation?
LOCKWOOD: Said that she ate something that didn't agree with her.
CUT TO:
SCENE #35:
[INT. LOCKERROOM - DAY]
SARA: Nicole, do you know what e. coli is? Your friend Mandy was infected with
it. We think we know how you got it. We can test your blood for PCP ...
NICOLE EXMOOR: (sniffling) Chuck brought the weed, not me. This guy told him
it was a really great high.
SARA: These photographs are ... of Mandy's ribs. We believe these are your
teeth marks.
(SARA shows NICOLE EXMOOR the photographs of MANDY KIRK'S abdomen. She points
out where the teeth impressions are on the photo. NICOLE takes one look at the
photo and throws up in the trash can in front of her.)
LOCKWOOD: Ms. Sidle can make an impression of your teeth or you can help
yourself and explain what happened.
NICOLE EXMOOR: When Chuck and I went to the field ... we were hooking up ...
(Quick flashback to NICOLE EXMOOR and CHUCK DARWELL. They're standing close
together and smiling.)
NICOLE EXMOOR: (v.o.) ... behind Mandy's back.
(Cut to NICOLE EXMOORE inhaling PCP. Cut to both NICOLE EXMOOR and CHUCK
DARWELL smoking and having a grand ole' time. In the background MANDY KIRK
crosses the field toward them.)
NICOLE EXMOOR: She showed up -- she was like, "He's my player."
(MANDY KIRK reaches them. She stops and starts yelling at them. CHUCK DARWELL
pushes NICOLE EXMOOR off of him, stands and goes to MANDY.)
MANDY KIRK: What the hell are you doing?!
CHUCK DARWELL: Mandy!
(CHUCK DARWELL reaches MANDY. He puts his hands on her upper arms and tries to
explain himself to her. NICOLE EXMOOR is still sitting on the ground. She's
watching MANDY and getting angrier with every passing moment.)
NICOLE EXMOOR: (v.o.) I don't know what happened. I started to feel weird
like my blood was surging through me.
(End of flashback. Resume to present.)
NICOLE EXMOOR: It didn't make any sense I think I wanted to be her.
(Quick flashback to a montage of clips of MANDY KIRK screaming and of the camera
focused on NICOLE EXMOOR watching, NICOLE EXMOOR snarling. Cut to NICOLE
slowing standing up and getting a pin from the soccer goal. Cut to MANDY KIRK
jumping up at down like a cheerleader. Flash to white. End of flashback.
Resume to present.)
NICOLE EXMOOR: It felt ... it felt like somebody else walked over and did it.
Like she was split from my body.
(Quick flashback to NICOLE EXMOOR still sitting on the ground where CHUCK
DARWELL left her. CHUCK DARWELL is talking with MANDY KIRK. Like an
apparition, a see-through version of NICOLE EXMOOR stands up while the rest of
her remains sitting. The see-through NICOLE EXMOOR picks up the pin from the
soccer goal and approaches MANDY KIRK.)
(Cut back to a camera close up of NICOLE EXMOOR watching as the see-though
NICOLE sneaks up on MANDY and attacks. Flash to white. Resume to present.)
SARA: It's called psychological detachment. It's a function of PCP.
(NICOLE EXMOOR has her arms wrapped around her middle. She continues to cry.)
(Quick flashback to NICOLE EXMOOR sitting over MANDY KIRK'S body. She has a
wild-eyed look. Cut to CHUCK DARWELL standing behind her and running his
nervous hands through his hair. Cut back to NICOLE as she continues to sit over
MANDY'S body. CHUCK DARWELL moves toward her.)
(NICOLE EXMOOR bends over and takes a bite out of MANDY. NICOLE starts to eat.
Cut to CHUCK DARWELL throwing up a distance away. Cut back to NICOLE EXMOOR
with blood around her mouth as she continues to eat.)
(End of flashback. Resume to present.)
NICOLE EXMOOR: It's like out of a really bad dream.
SARA: Nicole, I was at Mandy's autopsy. It was not a dream.
(NICOLE cries. SARA looks up at LOCKWOOD who takes out his handcuffs and puts
them on NICOLE.)
LOCKWOOD: I'm placing you under arrest for the murder of Amanda Kirk.
(NICOLE EXMOOR bursts into tears.)
NICOLE EXMOOR: What's going to happen to me?
LOCKWOOD: That's up to the D.A.
(The Officer standing off to the side takes NICOLE away. SARA and LOCKWOOD
watch.)
SARA: Hey, Cyrus, next time somebody says experimenting with drugs is harmless
remind me of this.
(They start to follow.)
CUT TO:
SCENE #36:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(GREG angrily limps into GRISSOM'S office and looms over GRISSOM'S desk.)
GREG: What did you do to me?
GRISSOM: You had a reaction.
(GREG sits down in the chair.)
GREG: I'm Hazmat meat. Quarantine, here I come.
(GREG pulls off the socks and puts both his feet up on GRISSOM'S desk. GRISSOM
examines GREG'S right foot. It's clear.)
GRISSOM: Your right foot, I swabbed with a placebo, regular tap water.
GREG: Yeah, well, I'm not worried about the right foot.
(GRISSOM looks over at GREG'S left foot which is covered in a red rash.)
GRISSOM: Left foot ... eumycotic dermatitis.
(GREG stares at GRISSOM. He doesn't like the sound of that.)
GREG: Oh, great. It's probably fatal.
GRISSOM: It's a mildew-induced skin rash.
(GREG stares at GRISSOM, aghast. He can't believe what he just heard.)
GREG: You infected me with mildew?
(GRISSOM doesn't move for a moment. He reaches into his desk drawer and pulls
out a small tube. He holds it up and tosses it to GREG.)
GRISSOM: Here. Hydrocortisone. Follow the directions, clear it right up.
(GREG looks at the tube's directions, wary of anything GRISSOM may be giving
him. Camera holds on GREG.)
CUT TO:
SCENE #37:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]
(GRISSOM puts on a pair of latex gloves. He's sitting in the interrogation room
with PETER BERGLUND. Behind him is an officer.)
GRISSOM: It's called aureobasidium pullulans.
PETER BERGLUND: Is that supposed to mean something to me? GRISSOM: It may.
(GRISSOM holds out a sheet of paper to
PETER BERGLUND. He takes the paper and looks at it.)
GRISSOM: This is a warrant.
PETER BERGLUND: To see my feet?
GRISSOM: Yes, both of them. Take off your shoes and socks, please.
(PETER BERGLUND looks at GRISSOM for a moment, then reaches down and complies.)
GRISSOM: Aureobasidium pullulans is a mildew. We found it around the Newmans' pool. It induces rashes in people of Scandinavian descent -- and it does so in a predictable progression which provides us with a valuable timeline.
(GRISSOM kneels down and examines the man's feet.)
GRISSOM: You have the rash.
(PETER BERGLUND puts his hands across his eyes. He's been busted. GRISSOM takes out his measuring tape and measures the man's feet.)
GRISSOM: And size 12 feet.
(PETER BERGLUND doesn't say anything. GRISSOM stands up and sits down in his chair. He looks at PETER BERGLUND from across the table for a moment.)
GRISSOM: Let me tell you how you did this.
(Quick flashback to PETER BERGLUND in a white neoprene swimsuit slipping into the pool unnoticed. Above near the pool's edge preparing to go for a swim is CAL NEWMAN. Cut to PETER BERGLUND silently waiting under the water. CAL NEWMAN slips into the pool to swim.)
(Cut back to PETER BERGLUND under water waiting and watching for CAL NEWMAN to swim to him. Cut to CAL NEWMAN beginning his lap. From beneath him, PETER BERGLUND grabs CAL NEWMAN and drags him under the water. The two men struggle. CAL NEWMAN breaks free and manages to get a breath of air before being dragged back under the water. The men struggle. Under the water, CAL NEWMAN hits PETER BERGLUND in the mouth hard enough to knock out his tooth filling. The filling falls to the bottom of the pool.)
(Flash to white. PETER BERGLUND hitting CAL NEWMAN'S head against the pool side several times before he falls unconscious. PETER BERGLUND drags CAL NEWMAN under the pool and pushes aside the cap to the vortex filter at the bottom of the pool. The filter pulls CAL NEWMAN'S hand into it where he remains until he's found later. PETER BERGLUND exits the pool. Flash to white. Resume to GRISSOM.)
GRISSOM: ... and then you went upstairs.
(Quick flashback to MONICA NEWMAN peering over the second floor balcony calling to her husband.)
MONICA NEWMAN: Cal?
(From behind, PETER BERGLUND grabs MONICA NEWMAN and forces her to hold and fire
the gun against her own temple. He then dumps her body over the side of the
balcony railing. Flash to white. Resume to present.)
PETER BERGLUND: You're still going to have to convince a jury that I killed two
strangers for no reason.
(GRISSOM doesn't look worried. He takes his gloves off and puts them on the table.)
GRISSOM: You ever been to the theater, Peter? There's a play called Six Degrees of Separation. It's about how all the people in the world are connected to each other by no more than six people. All it takes to connect you to the victims is one degree.
(Camera holds on PETER BERGLUND'S worried look.)
CUT TO:
SCENE #38:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
JERI NEWMAN: Peter Berglund? No, I don't recall ever having met somebody by that name. (In the back of the room, CATHERINE is setting up a laptop computer with internet access.)
CATHERINE: Well, do you recall living in San Diego?
JERI NEWMAN: What does that have to do with anything?
CATHERINE: Oh, it just might help jog your memory. San Diego's a military town. Your sister married a guy in the navy, right?
JERI NEWMAN: Did you really bring me in here just for this?
CATHERINE: Well, we could go someplace else if you'd like.
(CATHERINE carries the laptop over to JERI NEWMAN.)
CATHERINE: How about your house? It's up for sale.
JERI NEWMAN: What's this?
CATHERINE: Well, you see, we didn't have enough evidence at this point to get a warrant, but you put your house on the internet. I didn't need a warrant. Gave me complete access via this virtual tour. And all with your permission.
(CATHERINE starts to navigate through JERI NEWMAN'S house on the internet. She virtually goes through the living room and focuses on the fireplace. She enhances a framed photograph on the mantle. She enlarges it. She sharpens it.)
CATHERINE: That's you ... that's Peter Berglund ... and that's the Pacific.
JERI NEWMAN: So what? I know Peter.
CATHERINE: Yeah. You hired him to kill your ex-husband and his new wife.
JERI NEWMAN: The picture doesn't prove anything.
CATHERINE: No, but it did give me access to Peter's financial information.
(CATHERINE pulls out a piece of paper and puts it on the table in front of JERI NEWMAN. It's the signature page of a loan application dated 09/19/02.)
CATHERINE: Loan application. Two signatures -- Peter Berglund and yours. You cosigned for Peter because he couldn't qualify on his own. Payment for the hit. He gets your house you get your ex-husband's money.
CATHERINE: The thing about murder for hire ... there's always a paper trail.
(JERI NEWMAN looks up at CATHERINE. Camera holds.)
CUT TO:
SCENE #39:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(SARA appears in the doorway. She doesn't enter the office. Inside, GRISSOM sits at his desk and is going through his paperwork. He isn't aware that she's there. For a moment, she doesn't say anything. She simply stands there and watches him. SARA calls out lightly to him.)
SARA: Good night.
(GRISSOM looks up and sees SARA standing there. She smiles a bit.)
GRISSOM: Good night, Sara.
(SARA smiles. She starts to leave then stops when GRISSOM calls back out to here.)
GRISSOM: Hey. Nice work on the high school case.
(SARA walks back to the doorway. He smiles and nods his head. Twice. Sara smiles back. If that was his apology for his earlier attitude, she'd accept it. For a moment she doesn't say anything and continues to stand in the doorway. GRISSOM returns to his paperwork. SARA considers it for a moment, then says what's been on her mind since she was assigned to this case.)
SARA: I'm ... uh ... sorry I missed your page.
(GRISSOM looks up at her, a little surprised to see her still standing there.)
SARA: It's just, um ... you tell me to get a life and then I get one, and then you expect me to be there at a moment's notice. It's ... um ... confusing.
(GRISSOM doesn't know what to say. He takes his eyes off of SARA, removes his glasses and considers his response. He's caught off guard by her honesty and takes a moment to respond. A moment too long. When he finally figures out what he's going to say, he looks up at SARA ... )
( ... and finds that she's gone.)
(The camera holds on GRISSOM sitting behind his desk, holding his glasses and staring at the empty doorway.)
FADE TO BLACK.
THE END.
Fait par Wella
