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#314 : Par Amitié

Sara reprend une affaire à zéro. Il y a trois ans, l'une de ses amies et son mari avaient été sauvagement agressés. Des coups de feu avaient été tirés. Le mari avait été tué, sa compagne s'en était sortie avec une balle dans le corps. Par manque d'indices, la police avait classé le dossier. Aujourd'hui, cette femme doit être opérée car il faut lui retirer le projectile. Sara espère identifier l'arme utilisée pour l'attaque grâce à la balle enfin récupérée. Pendant ce temps, Catherine enquête sur les activités d'un homme qui se montre de plus en plus dangereux. Elle souhaiterait le mettre derrière les barreaux avant qu'il ne passe de l'exhibitionnisme à l'agression physique. 


3.67 - 6 votes

Titre VO
One Hit Wonder

Titre VF
Par Amitié

Première diffusion

Plus de détails

Écrit par : Corey Miller
Réalisé par : Felix Enriquez Alcala

Avec : Gerald McCullouch (Bobby Dawson), Romy Rosemont (Jaqui Franco) 

Guests :

  • Elizabeth Mitchell ..... Melissa Winters 
  • Devon Gummersall ..... Taylor Reed 
  • Leslie Grossman ..... Wendy 
  • Joseph Mazzello ..... Justin Lamond 
  • Jeff Kober ..... Roger Wilder 
  • Rick Worthy ..... Docteur Stewart 
  • Chad Morgan ..... Joanne Crook
  • Ingrid Raines ..... Doreen 
  • Joe Michael Burke ..... First Officer 
  • Frank Novak ..... Juge 
  • Hallie Lambert ..... Susie Spiegel 
  • Barry Sigismondi ..... Police Officer 




SCENE #01:


(Camera Close-Up of:  Various colored perfume bottles.)

(Fade to black.)

(Fade In to:  Camera moves across room; past trash cans with a towel on it; past an exercise machine in front of a door.)

(Dissolve to:  A Woman sleeps in bed.)

(Fade to black.)

(Fade In to:  Close up of woman sleeping.  Her eyes flutter open and she turns her head.)

(Cut to:  The Woman gets up and walks down the stairs into her living room.  She turns on the light.  She looks around.)

(Close up of:  Wind turning the pages of a magazine on the table.)

(The woman feels the breeze.  The fan overhead is turned on.  She turns around to look at the light switch.  There's fingerprint smudges on the light switch. She turns around and looks around.)

(Cut to:  The woman looks down at something.  Camera refocuses and shows a glass of water on the table and its condensation pooling on the glass table top.)

(Something's not right.  The woman can feel it.)

(Camera lingers on the woman's front door.  It zooms toward the lock; through the keyhole; down the front walkway; turns the corner into the next door neighbor's door.)

(Camera zooms through the keyhole; and into the woman's bedroom where there's a woman screaming.  There's a man straddled on top of her on her bed.)

(She continues to scream.  The man gets up and off of her.  He runs away.)


SCENE #02:

[EXT.  -- NIGHT]

(BRASS escorts GRISSOM and CATHERINE to the crime scenes.)

GRISSOM:  Dispatch said breaking and entering and sexual assault?

BRASS:  Well, he never touched the first girl.  The bedroom door was blocked.

GRISSOM:  What do you mean, "blocked"?

BRASS:  With a treadmill.  We've got two apartments here; 1213 and 1214.  We think the girl in 1214 has physical findings.

CATHERINE:  You think?

BRASS:  Well, she locked herself in her bedroom, won't let anyone with a y chromosome within fifty feet of her.


(CATHERINE heads for apartment 1214.)

(BRASS walks past a woman in her robe talking to a female officer.)

BRASS:  (to GRISSOM)  That's the lucky one.


SCENE #03:


(CATHERINE walks into the apartment.  There are several officers there.)

CATHERINE:  Hey, guys.  Catherine Willows from CSI.  Could you all clear the residence, please?

(CATHERINE takes her cap off.)

OFFICER:  I'm first officer, ma'am.  I can't leave a crime scene unless I get orders from my C.O.

CATHERINE:  The victim's well-being takes precedence over everything.  Right now, this is Joanne Crooks' apartment, not our crime scene.  So ... there's the door.

OFFICER:  All right, come on.

CATHERINE:  Thanks. Thank you.  Appreciate it.

(The door to the bedroom opens a bit.  CATHERINE heads for the bedroom.)


SCENE #04:


(Inside, BRASS shows GRISSOM how the person broke into the apartment.)

BRASS:  Doreen Bainbridge locks her doors every night.  Says the girl next does the same.  It's a twist lock.  It allows for five inches of night air.  Very secure ... unless you reach in ... three seconds.  (BRASS pushes the glass door open.)  Crime of opportunity, huh?

(GRISSOM shines his flashlight on the glass door.  There are smudges outside the glass.)

GRISSOM:  Yeah ... except somebody was watching this girl.




SCENE #05:


(CATHERINE knocks on the bedroom door.  JOANNE CROOKS sits on her bed.)

CATHERINE:  Joanne ... all the guys have left.  

(CATHERINE sticks her head through the open door and pushes it open.)

CATHERINE:  It's just me.  I'd like to ask ...

(JOANNE CROOKS stands and starts to change the bedsheets.)

JOANNE CROOKS:  (interrupts)  I told you guys, I don't know what he looked like, okay?  It was pitch black.

CATHERINE:  Well, I'm not a cop;  I'm with the crime lab.  I'd, uh, I'd like to process the bed sheets ...

JOANNE CROOKS:  I don't think so.

CATHERINE:  Well, would you allow me to take samples from you?


CATHERINE:  Look, I know this is really horrible.

JOANNE CROOKS:  I want to get the bastard off of me, okay?  Off of my things.  Don't you get that?

CATHERINE:  Washing away evidence hurts any chance of finding out who raped you.

JOANNE CROOKS:  He didn't rape me, okay?  I woke up and he was on my chest.  
(She shows CATHERINE her sticky hair.)  Look at this.  It's not hair gel.

CATHERINE:  If you let me recover that evidence, we can stop him from doing this to somebody else.

JOANNE CROOKS:  Maybe I'm selfish.  I don't know; I don't really care about anybody else right now.

CATHERINE:  Well, then let's get him for what he did to you.

(This stops JOANNE CROOKS.  She turns around to look at CATHERINE and nods.)


SCENE #06:


(WARRICK places a measuring ruler around a shoe print in the dirt.  He takes a picture of it.)

(He puts the camera aside and takes out a measuring tape.)

(Dissolve to:  WARRICK puts a metal frame around the imprint to take a cast of it.)

(Dissolve to:  WARRICK picks up the tub of paste and starts mixing it.  He pours it into the metal frame around the shoe print.)


SCENE #07:


(GRISSOM lifts prints off of the glass sliding door.)

(Quick flashback to:  Someone looking through the window and watching the woman inside.)

(Cut to:  Someone watching another window and watching the woman inside.  He touches the glass and leaves behind fingerprints.)

(End of flashback.  Resume to present.)

(GRISSOM presses the tape down on the glass and lifts the prints.)

(NICK is next to GRISSOM examining the ledge under the window next to the door.)

NICK:  Hey, Grissom.  (They both kneel to look at what NICK'S found.)  Got what
looks like a semen stain.  It's crusted, it's not fresh.  Still, it confirms
your theory that he's been watching her for awhile.  

(GRISSOM stands and leaves.  After a moment, NICK looks up and finds GRISSOM

NICK:  Hey ...

(NICK walks through the path and finds GRISSOM in front of the glass door of the
next apartment.  He's staring at the glass door.)

(NICK walks up to him.)

GRISSOM:  He's been watching a lot of people.

(NICK looks around.)

NICK:  Well, there are hedges outside of every one of these apartment windows --
that's built-in concealment.  

(For the second time, GRISSOM walks away.)

NICK:  Yeah, this guy was having his own little private peep show.  I ...

(NICK turns around and notices that GRISSOM'S gone.  Over at the next apartment,
WARRICK continues to process evidence.  He looks over at NICK and lifts his
hands.  I don't know.  NICK sees WARRICK and shrugs back.)


SCENE #08:


(The doors open and SARA walks in.  Court is in session.)

MELISSA WINTERS (PROSECUTOR):  Last, I would like to thank you for working late
into the night.  During this trial, you have heard people portray the defendant
in glowing terms.  He may be all of these things.  He certainly seems likable.  
That doesn't change the fact that he got behind the wheel of his car legally
drunk, and drove through an intersection, killing Shelley Daniels, a 12-year-old

(SARA takes a seat and listens to The Prosecutor's closing remarks.)

MELISSA WINTERS (PROSECUTOR):  When you go into that jury room, I ask that you
seek justice and return with a verdict of guilty.  Not for me, not for his
honor, not even for Shelley Daniels.  I ask because Justice itself demands it.  
Justice is greater than our personal feelings.  Than ... revenge, than ... than
pity.  Do not shrink, do not disappoint, but rather ... embrace it.  Thank you.

(SARA smiles, impressed by what she just heard.  The Prosecutor wheels herself
back to her place behind the table.  She leans in and speaks with the lawyer
next to her.)

JUDGE:  The jury may retire to the jury room.  I'll advise counsel when the jury
has reached a verdict.

(The JUDGE hits the gavel against the desk.  The people in the courtroom start
to disburse.  SARA approaches the Prosecution's table.)

SARA:  Where do I sign up?

MELISSA WINTERS:  I wish you could.  I'm sorry. Thank you for coming on such
short notice.

SARA:  Your message said it was important.

MELISSA WINTERS:  Yes, People v. Archer.  Trial's on deck this Thursday.  I
prepped all weekend.  

SARA:  It should be a slam dunk.

MELISSA WINTERS:  Great.  I've handed the case over to another D.A., Greg Rubio.

SARA:  What?

MELISSA WINTERS:  He's quick on forensics, he's great on game day.

SARA:  Melissa, we've been building this case together for six months.  What's
going on?

MELISSA WINTERS:  I'll be dead.

(The news comes as a complete shock to SARA.)


SCENE #09:



SARA:  I never felt comfortable asking you about your, uh ...


SARA:  I mean, I know somebody broke into your house, shot you and your husband.

MELISSA WINTERS:  Made me a widow, left me a souvenir.  

(Quick CGI POV to:  The bullet travelling through the skin and muscle and
lodging there.  End of CGI POV.  Resume to present.)

MELISSA WINTERS:  At the time, the doctors said if they removed it, I'd die.  
But in the last few years, the bullet has meandered.   Last week, my voice gives
out during a cross.  I have trouble swallowing.  Hand starts to shake.  My neuro
calls it "Traumatic Basilar Artery Aneurysm."  Um, he has to "clip" the artery.

SARA:  Well, if they're fixing the artery, that's good.

MELISSA WINTERS:  The operation's delicate.  The odds are, well ... low.  I've
really enjoyed working with you, Sara.

(She holds her hand out.  SARA takes it.)



SCENE #10:


(CATHERINE enters the DNA lab.)

CATHERINE:  Greg ... get anywhere with the semen I recovered from Joanne Crooks'
hair?  I sent it back with an officer.

GREG:  Uh, low volume, no sperm.

CATHERINE:  That's impossible.

GREG:  Yeah, I knew you'd say that.  

(GREG gives CATHERINE the test results and goes back to what he's working on.  
CATHERINE examines the results.)

CATHERINE:  Oh, the trailer before the movie.

(GREG lifts his head and looks at CATHERINE.)

GREG:  Sorry.

(CATHERINE leaves the lab.)


SCENE #11:


(CATHERINE walks into the Audio/Visual lab.)

CATHERINE:  Hey, Grissom, thanks for the lift.

(CATHERINE stops next to GRISSOM who is working on the computers.)

CATHERINE:  Grissom, uh ...

(GRISSOM doesn't look up at CATHERINE.)

CATHERINE:  (louder)  Grissom?

(GRISSOM is startled.  He turns to look at CATHERINE.  He's having difficulty
hearing her and must see her to read her lips.)

CATHERINE:  (soft, distorted)  That must be some good evidence.  

GRISSOM:  (misunderstanding)  You have evidence?

(The distortion continues.)

CATHERINE:  No.  It turns out the semen in the vic's hair was pre-ejaculate,
which, of course ...

CATHERINE:  (louder and clearer)  ... carries no sperm, therefore, no DNA.

CATHERINE:  (normal voice)  So, I got this poor woman's hopes up for nothing.  
How about you?

(GRISSOM turns back to the computer in front of him.)

GRISSOM:  I went back to the crime stats ... pulled up all the reported peeping
toms in a two-block radius over the last year.

CATHERINE:  (looking at the wall monitor)  Unsolved ... any of these women get a

GRISSOM:  He had "raccoon eyes."  And that's about it.  Plus, nobody called in
any follow-up reports.

CATHERINE:  Well, I guess half the problem's the name-- "Peeping Tom."  It just
sounds so innocuous when, in fact, "peeping" is the first step in the evolution
of a sexual predator.

GRISSOM:  And I'm afraid our "Tom" is on an escalated pace.  Tonight was his
first breaking and entering with an immediate second B&E plus what appears to be
his first sexual assault.

CATHERINE:  Well, we know what road this guy's on.  It's just a matter of time
before he rapes and murders.

GRISSOM:  Yeah ... we better find him.




SCENE #12:


(Everyone working on the case meets to share information.)

CATHERINE:  Victims' profile:  Both women are single, under 30, live right next
door to each other in a large apartment complex.

WARRICK:  Have we had any luck on cross-referencing any of the guys in their

CATHERINE:  Uh, no crossover so far.  Doreen Bainbridge works in the corporate
field and Joanne Crooks is a dancer, so feels like completely different social

GRISSOM:  But they're in the predator's comfort zone which means he probably
lives in the area, too.  What else?

WARRICK:  We're still working on some shoe prints but the plaster's still wet.

GRISSOM:  Blow dry it.  It'll give us approximate height and shoe size.

NICK:  Yeah, and the semen sample I recovered is still being processed in DNA.

(GREG walks into the room.)

GREG:  Not anymore.  I'm done.  And no jokes about me being fast in this
department.  The ejaculate outside the first girl's window -- spank high.  Good
news:  It does have DNA.

NICK:  Whose?

GREG:  I don't know.  Ran it through CODIS, nothing kicked out.

CATHERINE:  Well, it's possible this guy's so new he doesn't even have a record.

GREG:  Well, I can tell you this about him:  Really low sperm count.  Sample
hardly had any swimmers.

NICK:  That's probably from excessive masturbation.  Guy's been outpacing his
... (WARRICK turns to look at NICK.)  ... ability to produce ... (NICK looks up
and notices everyone looking at him.)  ... sperm ...

WARRICK:  Yeah, you'd know it, Spanky.

NICK:  It's just a hunch.

GREG:  Hey, that can happen to any guy.

WARRICK:  Yeah, not outside some poor woman's bedroom window.

GRISSOM:  All right, let's keep after it.  This guy won't stop till he's caught.

(WARRICK closes the file folder in front of him.)


SCENE #13:


(DOC ROBBINS pushes a body back in the storage unit.  He closes the door.  SARA
enters the room.)

SARA:  Hey, Doc.  You got a minute?

ROBBINS:  Sure, just finishing.  Some people actually do die of natural causes
in Vegas you know.

SARA:  So I hear.

ROBBINS:  So what's on your mind?

SARA:  Um ... a friend of mine's going in for surgery.  Traumatic Basilar Artery
Aneurysm.  You, uh, mind walking me through it?

ROBBINS:  It's a rough procedure.  The basilar is the chief blood supplier to
the brain stem.  Here, I'll show you.

(He reaches up on the shelf for a thick book and walks toward his desk.)

ROBBINS:  They put the patient under hypothermic arrest, meaning the heart will
be stopped and blood artificially circulated.

(He opens the book to a diagram and shows it to SARA.)

ROBBINS:  The objective is to decrease blood pressure so the aneurysm can be
clipped.  Imagine taking a knife to a balloon.

(Quick Flash to:  MELISSA WINTERS is face down on the operating table as the
surgeon works on her.  Camera moves to the surgeon's POV, through the machinery
and to the muscles in her neck.  The camera moves past the bullet and to the
machine as it works on the artery.)

ROBBINS:  (v.o.)  The neurosurgeon has just under an hour.  One slip, the artery
ruptures causing a catastrophic brain hemorrhage.

(Flash to white.  End of CGI POV.  Resume to present.)

SARA:  She said she was going to die.

ROBBINS:  Nine out of ten times, Sara.  I'm sure her doctor told her.

SARA:  Thanks.


SCENE #14:


(SARA walks onto the floor.  DR. STEWART is at the nurses desk filling out a

SARA:  (to nurse)  Excuse me, do you know where I can find Dr. Stewart?

NURSE:  (pointing)  Right there.

SARA:  (to nurse)  Thanks.

(SARA walks toward DR. STEWART.)

SARA:  Dr. Stewart.  Sara Sidle.  I'm a friend of Melissa Winters.

DR. STEWART:  She pulled through.  

SARA:  (smiling)  She did?

DR. STEWART:  No change to mobility, but cognitively, she'll be sharp as ever.  
Not quite ready to entertain visitors but you can drop by tomorrow.

SARA:  Thanks.  Thank you.


(DR. STEWART turns to leave.  SARA stops him.)

SARA:  Hey, Doc?


SARA:  When you were in there did you, by any chance, remove the bullet?

DR. STEWART:  Yeah, after I repaired the artery I figured it couldn't do any
more damage than it already has.

SARA:  You think I could have it?  I'm, uh ... I'm with the crime lab.  It's the
only evidence in a cold case.

DR. STEWART:  Yeah.  Wait here and I'll have it sent out.

(SARA smiles as DR. STEWART leaves.)


SCENE #15:


(WARRICK uses the blow dryer and dries out the plaster cast of the shoe print.  
He puts the blow dryer aside and brushes away the dirt.  He grabs the measuring
tape and measures the shoe print.  He then measures it against the chart.)

(CATHERINE walks into the lab.)

CATHERINE:  Hey, how's it coming?

WARRICK:  Good.  Looks like I got a size eight.  Check back with me, I should
have more in a bit.

CATHERINE:  All right.

(CATHERINE leaves and heads down the hallway.)


SCENE #16:


(CATHERINE walks into the print lab.)

CATHERINE:  Hey, Jacqui.  Grissom's print any good?

JACQUI:  The deposition pressure's heavy.  The guy was really pressing hard on
that window.

CATHERINE:  With one hand, anyway.  Okay, well, that's a lot of distortion.

JACQUI:  Yeah.  Platform ridges of the latent print were affected by the shift
of the core away from the triradius.

CATHERINE:  So can you enhance the ridges equal to the amount of the slippage?

JACQUI:  Mm-hmm. With the help of this software.  Now let's hope this guy's in
one of our databases.

CATHERINE:  Well, I'd run AFIS last.  I doubt if he's in there; he wasn't in

JACQUI:  No criminal record?  We're dealing with a newbie, a teenager.

CATHERINE:  It's kind of looking like that.

(She checks the database and gets a match with the following results:  )

(From the Las Vegas Metropolitan Police Work Card Bureau)


ISSUED:      11/29/2001
EXPIRES:     10/23/2003

P.D. CHIEF:  Alec Champain
ID#          18645-00065879]

CATHERINE:  Justin Lamond, 18.
Non-gaming card.

JACQUI:  He's a pool boy at the Tangiers.

(The additional information on the bottom of the screen reads:  )

[NAME:    Justin Lamond
ADDRESS:  4647 Cedar Street
Las Vegas, NV  89107

Control ID:   1092-23-78J

Print:        L.P
Match Score:  100%
Class Score:  100%
Database:     (5784985_657)     ]

CATHERINE:  Oh, and look at that.  He lives one block from the crime scene.  
Thanks, Jacqui.

(CATHERINE walks out of the lab.)


SCENE #17:


(BRASS and CATHERINE stand on the top of shopping mall looking down over the
people walking around below.)


GRISSOM:  Hey.  So the owner of the pool company says he spends his lunch hour
here every day.

CATHERINE:  Well, that's what he looks like.

(CATHERINE hands the information sheet complete with picture to BRASS.)

CATHERINE:  I'll be this way.

BRASS:  Okay.

(BRASS hands the information sheet back to CATHERINE.  She walks to a different

(BRASS and CATHERINE start to scan the area below looking for JUSTIN LAMOND.)

(CATHERINE sees him as he walks up the escalator behind a girl wearing a skirt.)

CATHERINE:  Jim.  There, that's him.

(BRASS walks over and looks where CATHERINE points.)

BRASS:  Yeah, how can you miss him?  Kid's pitching a tent.

(BRASS and CATHERINE go to intercept him.)


SCENE #18:


(JUSTIN LAMOND reaches the top of the escalator.  BRASS, CATHERINE and an
OFFICER meet him at the top.)

CATHERINE:  Justin Lamond?


BRASS:  Come with me, Justin.  

(BRASS pulls JUSTIN LAMOND to the side.)


BRASS:  Nice fanny pack.  I mean, I'm a wallet guy myself, but I can change.  
Mind if I take a look at yours?

(BRASS opens the fanny pack and looks through it.

JUSTIN LAMOND:  I'm not doing anything.

BRASS:  Pack's a camouflage.  And check out the tip of his right shoe.

(CATHERINE looks down at JUSTIN'S shoe and sees the small, nearly imperceptible
flashing red light and lens.)

(Quick CGI POV to:  The camera starts from the tip of the shoe and follows the
wiring up JUSTIN'S leg and through a hole in the fanny pack.  The wiring
connects up to the flat camera recorder that CATHERINE opens.  End of CGI POV.  
Resume to present.)

(On the monitor of the recorder, is a picture of CATHERINE.)

CATHERINE:  It's a spy camera.  What, you can't peep in apartments during the
day so you come to the mall to sneak some thrills?

JUSTIN LAMOND:  I don't know what you're talking about.  I'm late for work.

(JUSTIN tries to leave, but BRASS stops him.)

BRASS:  No, your lunch hour just got very long.

CATHERINE:  Put him in the car.


SCENE #19:



BOBBY DAWSON:  Heck of a lot of tissue attached.  Let me guess-- this has been
in your victim for a while.

SARA:  Three years.  Prosecutor friend of mine walked in to find a guy shooting
her husband, then he turned the gun on her.  She just had it surgically removed.  

BOBBY DAWSON:  The human body's amazing.  Three years.  

(Quick CGI POV of the bullet lodged inside the body.  In a quick series of cuts,
tissue forms completely around the bullet.)

BOBBY DAWSON:  (v.o.)  Tissue forms around the bullet protecting the body from
the leaching of the lead.

(End of CGI POV.  Resume to present.)

BOBBY DAWSON:  Hang on a second.  You get approval from Grissom?  I don't want
him walking in on me.

SARA:  Yeah.

BOBBY DAWSON:  (he smiles at her)  Sara Sidle ... ?

(She smiles back.)

SARA:  Yeah, I did.

BOBBY DAWSON:  All right, just checking.  Let's go.

(BOBBY pushes his chair clear across the room to another table.)

BOBBY DAWSON:  Enzymatic detergent ought to clean this baby up.  

(He puts the bullet in a beaker and adds some detergent to it.  After a moment,
he pulls the bullet out of the beaker.)

BOBBY DAWSON:  Ugh ... Still stained.  

(He plops the bullet back into the beaker.)

BOBBY DAWSON:  All righty ... time to get serious.

(He pushes his chair to another table.  He puts the beaker into a machine that
uses sound to clear the tissue off of the bullet.  The tissue starts to peel off
of the bullet.)

SARA:  (loudly through the buzzing of the machine)  Hey, hey, careful with that
bullet, it's my only evidence.

BOBBY DAWSON:  I thought you said the husband got shot, too.

SARA:  It was a through and through.  The bullet decimated upon impact with the
couch ... (He turns the machine off.)  ... with the couch frame.

(BOBBY takes the beaker out of the machine and takes the bullet out of the
beaker.  He examines the bullet.)

BOBBY DAWSON:  Hey, clean as a whistle.  We're good to go.  I'll run it through

SARA:  Thank you.  Page me?

BOBBY DAWSON:  Yeah, sure thing.

(SARA leaves the lab.)


SCENE #20:


(BRASS closes his office door as he and CATHERINE interview JUSTIN LAMOND.)

BRASS:  How long you been doing this-- videotaping woomen without their

JUSTIN LAMOND:  It's only breaking the law if you record their voices.

BRASS:  Ooo ... He's a smart kid, huh?

JUSTIN LAMOND:  Oh, come on ... look at the girls out there.  They wear see-
through tops, short skirts, bellies all on show.  They so much want it.  So I
catch some money shots.

BRASS:  Well, let's look at the young Kubrick's money shot, shall we?

(BRASS turns on the television monitor and plays back JUSTIN'S tape.  The first
shot is of the woman on the escalator.  The second shot is of a woman's
cleavage.  Next shot is of a woman leaning over.  Additional footage continues
along the same theme.)

(CATHERINE is surprised by the video.  BRASS turns the monitor off.)

JUSTIN LAMOND:  You guys are looking at me like I'm some scab.  I don't do
toilets, fat chicks, blue vein, crush stuff.  Just low-tech voyeur.

BRASS:  That's reassuring.  Do you know Doreen Bainbridge?


CATHERINE:  We found your fingerprints on her window.

BRASS:  And also a little love graffiti on the wall outside.

(CATHERINE turns away and goes to retrieve something from the desk.)

JUSTIN LAMOND:  (shrugs like it's nothing)  I spy, I don't engage.

(He looks over at CATHERINE who is now turned away and bent over the desk
reaching for something.)

CATHERINE:  Well, remind me to give you a medal.  

(CATHERINE turns around and sees him looking at her.  JUSTIN quickly averts his
eyes back to CATHERINE'S face, but not quick enough for her to not notice.  She
is annoyed and turns to look at BRASS.)

CATHERINE:  Stand up.  Step down.  Both feet.

(CATHERINE opens two boxes to retrieve JUSTIN'S shoe imprints.  He steps into
the boxes.  He steps out of the boxes.  CATHERINE pulls out the measuring tape
and measures the imprints.  They're 13".)

(CATHERINE walks over to BRASS.)

CATHERINE:  It's not a match.

BRASS:  You got to be kidding me.

CATHERINE:  Three-size differential.  He was obviously outside Doreen's
apartment, but he's not our guy.

BRASS:  He's my guy.

(Not about to let him get away with nothing, BRASS turns around and recites.)

BRASS:  Justin Lamond ... sexually motivated offense, indecent exposure, gross
lewdness.  Let's go to booking.

CATHERINE:  Try to keep it on ice.

(The tape measure snaps shut.)


SCENE #21:


(CATHERINE walks in the lab.)

CATHERINE:  What's up?

WARRICK:  Hey, this cast that poured into the shoe print that I found outside
that victim's bedroom window ...

(Quick CGI POV of the shoe imprint.  Camera zooms in to note some yellow
discoloration in one of the ridges.  End of CGI POV.  Resume to present.)


WARRICK:  Pulled off some trace materials from it.  It's like a yellow
substance.  It may be paint.  Take a look and tell me what you think.  Check it

(WARRICK walks over to the scope and CATHERINE looks at what WARRICK has in it.)

CATHERINE:  Yeah.   With glass.  Reflective glass.

WARRICK:  Yeah, I'm thinking maybe road paint ... crosswalk ... lane markings

CATHERINE:  So our suspect stepped in wet maintenance paint.

WARRICK:  That stuff dries pretty fast.  So he must've stepped in it on his way
to the scene.

(Quick flashback to:  Yellow double painted lines on the road and someone
walking through the wet paint.  End of flashback.  Resume to present.)

CATHERINE:  Which could tell us what direction he's coming from.  Let me call my
guy in the department of transpo.

(CATHERINE walks out of the lab.)


SCENE #22:


(GRISSOM is still sitting in front of the computer.  CATHERINE walks into the

CATHERINE:  Still charting recent toms?

GRISSOM:  Architecture.  He has a "Type".  All these buildings that recently
reported peeping toms?  Got floor plans from the management company.  A-- second
story, three bedroom.  B-- ground floor, two bedrooms, center lots.  C ... C-
plans are all one bedroom on the end.  Cheapest rent, highest foot traffic
easiest to break in.

CATHERINE:  He's a C-level man.

GRISSOM:  Yeah.  And every apartment has sliding doors and windows.  Not one
sash, not one french.

CATHERINE:  And he gets there on foot, from east of Avon.

GRISSOM:  You found his epicenter?

CATHERINE:  Closing in on it.  The city painted double yellows down Taylor Road
last night.  Started at 10:00 at Avon avenue.  The paint crew goes three miles
an hour.  That puts them at Taylor and Cedar -- the victims' apartments-at
approximately 20 after 10:00, just before the attacks.

GRISSOM:  Predators usually widen their comfort zone in a spiral pattern

(GRISSOM puts this new bit of information into the computer.  On the monitor the
entire potential area is enclosed in a red circle.  Within the circle, red dots
start appearing sporadically on the monitor.)

GRISSOM:  My god, look at all the C-level apartments.  P.D.'S going to have to
triple their presence.  

(The computer continues to add more red dots on the monitor.)

CATHERINE:  Quadruple it.


(Someone is standing outside a woman's apartment and looks in on her through the
window blinds.  She goes through her apartment unaware that he's out there.)

GRISSOM:  (v.o.)  He hit two apartments in one night.  He's become compulsive.

CATHERINE:  (v.o.)  Predators get smarter with every attack.  It's been in the
news.  He may be wearing gloves this time.

(A gloved hand reaches in through the window and up to the sliding door latch.  
The woman is standing inside the lit apartment and going through her laundry.)

(The sliding door opens.  The man enters the apartment.)

GRISSOM:  (v.o.)  Yeah, he's evolving ... perfecting ...

(The woman turns around just as the gloved hand reaches out to cover her face.)




SCENE #23:


(The telephone rings.  GRISSOM answers it.)

GRISSOM:  AV lab.  Grissom.

BRASS:  (from phone)  Your sexual assault moved up to rape.

GRISSOM:  Would you be exact, please?

BRASS:  (from phone)  490 Kildare Road.  Get here as soon as you can.

GRISSOM:  Thank you.

(He hangs up the phone and enters the address in the computer.)

(CATHERINE copies the address off of the monitor.  She takes a step toward the
door expecting GRISSOM to follow her.  He doesn't move from his chair.)

CATHERINE:  Aren't you coming?

GRISSOM:  You can handle it.

CATHERINE:  High profile case, technicalities ... that can't be why you do this,
why you hang back and hide out.

GRISSOM:  You look better on-camera.

CATHERINE:  Right.  I didn't think so.

(CATHERINE walks out of the lab.)


SCENE #24:


(CATHERINE walks down the hill toward BRASS.  She's carrying her kit.)

BRASS:  So where's Grissom?

CATHERINE:  Supervising.  So I'm listening to news radio on the way over here
and they're calling him the sliding-door rapist.

BRASS:  Well, we got Susie Spiegel.  She was unable to ID her assailant.  There
was penetration this time.  She said he was polite.  He wore a condom.


BRASS:  Yeah.

CATHERINE:  He's just more savvy.  There's less evidence for us to work with.  I
know, exactly.

(CATHERINE and BRASS turn their heads as they hear a woman yell out.)

WENDY:  (o.s.)  Hey!  Police!  

(On the side, WENDY has TAYLOR REED face down on the ground, her knee in the
center of his back.)

WENDY:  Come on, you pervert!

TAYLOR REED:  Hey!  Hey!  I can't breathe.

WENDY:  Oh, well, you're not such a hotshot once a real woman gets a hold of

(BRASS and the other officers arrive.)

BRASS:  Slow it down, Xena.  It's all right. Okay.

WENDY:  Look, I saw him in the bushes.  I scared him.

BRASS:  I know, I know.  I understand.

(WENDY gets off of TAYLOR REED.)

BRASS:  Okay, get some id on these people, all right?  Let's all go downtown,
all right?

WENDY:  I got him by surprise.  I got him.  (to TAYLOR REED)  You're not gonna -
- you're dead.

BRASS:  Are you all right?

WENDY:  Yeah, I'm fine.


SCENE #25:


(SARA looks at a hand-drawn map of the crime scene.  She studies the map and
visualizes what must have happened.)

(Quick flashback to:  VICTOR WINTERS standing up and talking with someone
holding a gun on him.  MELISSA WINTERS walks into the room.)

VICTOR WINTERS:  Please ... don't shoot me.


VICTOR WINTERS:  Please ... please!

(The gun fires.)


(VICTOR WINTERS falls back onto the couch.  MELISSA WINTERS rushes to her
husband.  She turns around and sees the masked man in the living room.  He fires
and hits her in her neck.  She falls to the floor.

(End of flashback.  Resume to present.)

(SARA goes through the photographs of the case.  NICK enters the lab.)

NICK:  Hey, Sara.  Heard you reopened the Winters case.

SARA:  Did you know the lead CSI on this case, Terry Flannery?

NICK:  Flannery. Yeah, yeah.  He retired and moved back to L.A.

SARA:  These are exit wounds from the husband's back.  What do you see?

(SARA hands a photo for NICK to look at.  He looks at the photograph.)

NICK:  It's shored.  There's a definite abrasion ring.

SARA:  The only way you get marks like these is when the vic's back is pressed
against something-- a floor, a wall.  How did Flannery miss this?

NICK:  There are two CSIs you never want investigating your murder -- the one on
his first week, and the one on his last.

(NICK smiles and turns to leave the room.  He looks back at SARA who has gone
back to studying the photographs.)

NICK:  Hey, does Melissa know you're doing this?

(SARA looks up.)

SARA:  I don't want to get her hopes up.  

NICK:  She's been through a lot.  You know how some victims are.  They don't
really want to know what happened.  You know?

(SARA looks back at NICK.  After a moment, NICK leaves the room.  SARA's pager


SCENE #26:


(SARA walks into the lab.)

SARA:  You got something?

BOBBY DAWSON:  Well, why else would I be paging you?  A bullet shot from the
same gun that was recovered from a liquor store robbery in Henderson six months
ago.  Check it out.  They line up perfectly.

(The two bullets side by side on the monitor, then overlapped.  They match.)

SARA:  Cops recover the gun?

BOBBY DAWSON:  Do you one better?  They got the shooter.  

(The information for ROGER WILDER appears on the monitor.)

SARA:  (smiles)  Roger Wilder.  I'm liking you already.


SCENE #27:


(SARA questions ROGER WILDER.)

ROGER WILDER:  I don't know any Melissa Winters.

SARA:  Oh, bad memory?  Let me you.  She was the Assistant DA who prosecuted you
for assault five years ago. She got you sentenced to four years.

ROGER WILDER:  Yeah, I was out in one.  What about her?

SARA:  Well, the trial transcript says at the sentencing you yelled at her,
"What goes around, comes around."?

ROGER WILDER:  It was a chump charge.  She did a number on me.

SARA:  So was it just a coincidence that three weeks after you got out of jail,
Mrs. Winters and her husband were shot in her own home?  

(ROGER WILDER doesn't say anything.  He looks at SARA.)

SARA:  We recently recovered a bullet from Melissa's head.  It happens to match
a bullet fired from the gun that you used in your latest felony.  You know what
we call that?  Corroborating evidence.  I guess I'd keep my mouth shut, too.  
Three years have passed.  You don't have to say anything, but I have to tell you
that evidence persists.  A fingerprint ... a fiber ... a hair.  If I find one
shred of physical evidence that places you in the winters' house, there is not a
jury in Clark County that will not give you the death penalty.

ROGER WILDER:  I went to her house.  Not to kill her.  I wanted to see the look
on her smug-ass face when she saw I knew where she lived.  She wasn't there, all

SARA:  Did you knock or did you use the doorbell?

ROGER WILDER:  No one was there.  I busted in, thought I'd mess the place up and
give her a nice welcome home.  

(Quick flashback to:  ROGER WILDER is inside the WINTERS' home.  He picks up a
golf club and looks around.  He uses it as a bat and starts smashing things ...
a vase ... the fireplace ... the table.  On the floor with the shattered table
top glass is a gun.  He sees it.)

[CLOSED-CAPTIONED:  ROGER WILDER:  I busted in, grabbed the first thing I could
find, made a little mayhem.]

(End of flashback.  Resume to present.)

SARA:  A gun just fell from a table.

ROGER WILDER:  Yep.  At least I got something out of her.


SCENE #28:


(BRASS questions WENDY.)

WENDY:  Everybody tells you to get more involved in the community, but once you
do ...

BRASS:  Hey, hey, hey, you busted a man's lip.  You broke a tooth, you sprained
his finger.

WENDY:  Jujitsu, shotokan.  (She holds up her hands.)  They act on their own.  I
am just a vessel.


SCENE #29:



TAYLOR REED:  Shouldn't I go to the hospital?  I was bleeding.

CATHERINE:  I just have a few questions.  First off, what were you doing at
those apartments?


SCENE #30:


(WENDY looks over at BRASS.)

WENDY:  I was on my way home from spin class on my bike

(Quick flashback to:  WENDY riding her bike.  She looks over and sees the figure
of a man near a house.)

WENDY:  (v.o.)  ... and then I saw him.  He was in those bushes around
Jennifer's place

(The MAN sneaks up to the window outside the house.)

WENDY:  (v.o.)  ... and I guess I thought the guy'd be scary.  

(WENDY looks over at the man and yells.)

WENDY:  Hey!

WENDY:  (v.o.)  ... You know, night stalker scary, but he was like a wet french
fry.  I knew I could take him.

(The man looks up at WENDY.  WENDY stares at the man.)

(End of flashback.  Resume to present.)


SCENE #31:


(CATHERINE continues to question TAYLOR REED.)

TAYLOR REED:  She was insane.  She didn't even let me explain.


TAYLOR REED:  I was looking for an apartment.  I just got a raise and need more

CATHERINE:  So you decide to start your search in the dead of night when there's
a rapist on the loose.

TAYLOR REED:  I work days.  It was in the classifieds.

(TAYLOR REED pulls out a folded piece of newspaper from his pocket and shows it
to CATHERINE as if that slip of paper explains it all.)


TAYLOR REED:  Besides, what, what's he going to do to me?

CATHERINE:  Well, Wendy did okay.  Um, the problem I'm having is that those
apartments there's always an availability so, um, kind of gives you a plausible
excuse anytime, anywhere, doesn't it?

CATHERINE:  Oh, I like those shoes.  What size are you?

TAYLOR REED:  Eight and a half.

CATHERINE:  Eight and a half, huh?  Do you mind if I look at the soles?

(TAYLOR REED puts his feet up on the table.  CATHERINE examines the shoes.)

TAYLOR REED:  You seem disappointed.

CATHERINE:  Hey, how would you feel about allowing me to look at all your shoes
from home?  I mean, it'd be strictly voluntary.

TAYLOR REED:  I don't know if I'd be comfortable with that.

CATHERINE:  A young, white male living in a targeted neighborhood -- I'd think
you might want to, you know, help rule yourself out.

TAYLOR REED:  I value my privacy.

CATHERINE:  Of course you do.

(TAYLOR REED stands up and looks at CATHERINE.)

TAYLOR REED:  Am I free to go?


(TAYLOR REED starts walking toward the door.  CATHERINE stops him.)

CATHERINE:  Oh. Uh, Mr. Reed.  If Wendy attacked you and you're innocent, I'd
think you might want to file charges against her.  How come you didn't?

(TAYLOR REED takes a step toward CATHERINE and nods his head.)

TAYLOR REED:  Uh, no.  I do. Want to.  File charges, yeah.

CATHERINE:  You sure?  I wouldn't want you to do anything you didn't believe.

TAYLOR REED:  No, she assaulted me. I want to file.

CATHERINE:  We'll take a report.


SCENE #32:


(TAYLOR REED sits in BRASS' office behind his desk.  BRASS pushes a piece of
paper toward TAYLOR REED.)

BRASS:  I want you to know once you sign that complaint, it becomes a binding
legal document, all right?

(Through the hallway glass window, CATHERINE watches TAYLOR REED sign the paper.  
BRASS looks up at CATHERINE and subtly nods his head.  CATHERINE leaves and
walks down the hallway.)


SCENE #33:


(WENDY looks at the blood stain on her sweater sleeve.  She can't believe what
she's hearing.)

WENDY:  He's filing charges on me?  This is ridiculous.

CATHERINE:  Agreed.  May I please take that swab?

(CATHERINE takes a swab of WENDY'S mouth.)

CATHERINE:  I'm going to need that jacket, too.

WENDY:  That's great, you know?  The guy's out there raping women and I end up
getting strip-searched by the police.

CATHERINE:  Wendy, I can't discuss an ongoing case, but what I can tell you is
if we're going to get this guy, it'll be because of what you're giving us right

WENDY:  Really?


WENDY:  Okay.

(WENDY takes off her jacket.  CATHERINE smiles.)




SCENE #34:


(SARA works on the computer looking through various photographs of blood stains
from the WINTERS' crime scene.)

(She pages through eight photograph of blood stains and the ninth photo of
VICTOR WINTERS, shot and lying on the couch.  She looks at the blood stain on
the shirt.)

(Something doesn't add up.)

(She goes back to the report:


According to CSI Terry Flannery at approx ...
... 03-03-2000 decedent Victor Winters (9 ...
... couch in an upright position from an ...
... upper extremities.  Melissa Winters ...
... floor with gunshot wound to the base ...
... transported to Desert Palm Hospital for ...


... 3809  On decedent all medical applia ...
... no inconsistent trauma observed with ...
... supported information.       ]

(SARA goes back to the photograph and prints it out.  The printer prints the
photo.  SARA picks it up.)


SCENE #35:


(Carrying the photo, SARA heads out the room and down the hallway.  She meets
NICK along the way.  NICK turns around from wherever he's going and follows

SARA:  Roger Wilder said he was inside Melissa's house which is true.  He
described the exact layout of the room.  But he said he found the gun when he
destroyed the coffee table and I have no evidence to disprove that.

(They enter the lab.)


NICK:  Well, go for logic.  Some guy breaks into the Winters' house shoots 'em
both and leaves his gun behind?  Why?

(SARA picks up a box from the floor and opens it.  Inside is VICTOR WINTERS'
shirt in an evidence bag.)

SARA:  I don't know.

(SARA takes the shirt out of the bag.)

NICK:  Well, if it was really there, how come CSI didn't find it?

SARA:  That's a very good question.  I knew something was off when we saw that
shored wound.  It didn't match up with Melissa's account.  If her husband was
standing up like Melissa said when he was shot blood would have dripped down
from the entry wound to the belt buckle.

NICK:  Yeah. Gravity only runs one way.

(Quick flashback to:  A gun is fired.  The bullet pierces the shirt and the
blood run down and seeps through the shirt making a stain that runs downward.  
End of flashback.  Resume to present.)

(SARA spreads the shirt out and looks at the blood flow.  This blood stain runs
from the bullet hole to the right.  The conclusions are obvious.)

SARA:  This blood trail ... the only way it's going ... south ... he was laying

(SARA looks at NICK.  NICK doesn't say anything.  The evidence speaks loud and
clear.  NICK leaves the room.  He leaves SARA alone with the shirt and her

SARA:  (quietly)  She lied.


SCENE #36:


(CATHERINE walks rapidly through the hallway.  GREG jumps out of his lab and
intercepts her.  He carries a file folder with her test results.)

GREG:  He-ya!  About the blood on kung fu lady's clothes.

CATHERINE:  Greg, I don't want any other cases jumping mine.  This is priority.

GREG:  Eh ... If I had a dime ... anticipating that, I skipped dinner and ran
the DNA through CODIS.


GREG:  Turns out that your apartment hunter, that girly man, left his double
helix behind at another crime scene.

(CATHERINE'S eyes widen.  She takes the results from GREG and looks at it.)

CATHERINE:  (reading)  Unknown subject, five months ago breaking and entering,

GREG:  They had nothing to compare it to at the time.

CATHERINE:  But we do now.

GREG:  Mm-hmm.

(GREG turns his head to the side and taps his finger to his cheek as if
expecting CATHERINE to plant him one there.  CATHERINE, thrilled with the
results, walks past GREG and back down the hallway.)


SCENE #37:


(SARA knocks lightly on the door.  She opens it and walks inside.  She sees her
friend awake in bed.)

MELISSA WINTERS:  (hoarsely):  Sara, hey.

SARA:  (smiling)  Hey.  You did it.

MELISSA WINTERS:  Yeah. I beat the odds.  I got lucky.

SARA:  Lucky and smart.  

(SARA stands at the foot of her bed and looks a bit awkward.)

SARA:  (quietly)  I reopened your case.

MELISSA WINTERS:  Yeah, my doctor mentioned it.  He said that he gave you the

SARA:  I know what you did, Melissa.  I examined the evidence.  Your husband
wasn't-standing in front of the couch struggling with some stranger.

(Quick flashback to:  VICTOR WINTERS is asleep on the couch with the television
on.  MELISSA WINTERS walks up to him carrying the gun.)

TV SPORTS ANNOUNCER: ...And the wildcats hang on...
(She points the gun at her husband and fires.)

(End of flashback.  Resume to present.)

SARA:  There was no stranger.  He was, uh, asleep, wasn't he? On the couch?

MELISSA WINTERS:  You're the one with the evidence.

SARA:  You had a CSI who was about to retire who was predisposed to believe the
testimony of an honest prosecutor like you.  Especially since you got shot, too?

(Quick flashback to:  MELISSA WINTERS standing over her husband with the smoking
gun.  In shock at what she's done, she drops the gun on the floor and takes a
step back.  She sits down on the floor, she covers her face with her hands and

(End of flashback.  Resume to present.)

SARA:  See, he leaned up from a prone position.

(Quick flashback to:  VICTOR WINTERS wakes up and looks at MELISSA who is on the
floor crying.  He leans over the edge of the sofa and picks up the discarded
gun.  He points it at his wife.  She slowly raises her head.  He fires.)

(He drops the gun and falls back on the couch.  Dead.)

(End of flashback.  Resume to present.)

SARA:  The directionality of the blood tells the story.

MELISSA WINTERS:  I didn't understand why I couldn't move my legs.

SARA:  And you couldn't let anyone find that gun.  They would have tested your
hands for GSR.

(Quick flashback to:  MELISSA WINTERS struggling to sit up.  She reaches over
for the gun.  She grabs the gun and falls backward on the floor.)

(Cut to:  MELISSA WINTERS under the glass coffee table tucking the gun inside
the wooden beam.  That done, she falls back to the floor, unconscious.)

(End of flashback.  Resume to present.)

MELISSA WINTERS:  I thought I could go back.  That I could get rid of it.

SARA:  Somebody else did that for you.  I almost had him arrested for a murder
you committed.  

MELISSA WINTERS:  You would think that an attorney could come up with a great
case against an abusive husband, but I was ashamed.  I didn't want people to
know what he did to me.

SARA:  All your closing arguments, all your big talk about Justice.  I fell for
all of it.

MELISSA WINTERS:  I've always believed in Justice.  I still do.

SARA:  (quietly)  You never expected to live, did you?

MELISSA WILDER:  No.  Out of all the CSIs, I knew I could depend on you.

SARA:  I guess I'll be seeing you in court.  Good-bye, Melissa.

(SARA turns and leaves the hospital room.  She closes the door and looks up at
the officer standing outside.  She nods to him and he enters the hospital room
as she walks away.)

(SARA walks down the hall and stops.  She turns and leans back against the

(Camera holds on SARA.)


SCENE #38:


(CATHERINE walks through the hallway and into the Audio/Visual Lab where GRISSOM
is sitting behind the computer.)

CATHERINE:  How's your chart of escalation?

GRISSOM:  De-escalating.  I had figured Taylor Reed was branching out, widening
his circle, but after last night, I think he's pulling in, going back to his
original comfort zone.  

CATHERINE:  Was one of your original burglaries located at 13200 Appian way?

(GRISSOM types in the address into the computer.  The following results show:

[Summary for 13200 Appian Way
Crime Scene Report
09/06/02 (approx. 5 months ago)
Case:  Breaking & Entering
... Offender broke through a sliding glass door on the first floor.
...CB: Case File (48377-587)     ]

GRISSOM:  Five months ago.  First floor.  Broke in through a sliding door.

CATHERINE:  Where our guy Taylor Reed cut himself on the glass.  So, we've
narrowed the epicenter down to a single block-- Appian way.  I'm thinking if we
find something overlooked at those early crime scenes on Appian, we can tie it
to our sexual assaults.

GRISSOM:  De-escalation.  If we can't get to where he's going, we'll go where
he's been.


SCENE #39:


(A WOMAN answers the front door.  NICK is on the front porch)

NICK:  Hi. Hi, I'm Nick Stokes.  I'm with the Vegas Crime Lab.  There's a
situation in your apartment complex you should be aware of.  Do you mind if I
come in, ask you a few questions?


SCENE #40:


(The front door opens.  A man and a woman find WARRICK on their front porch.  He holds out his ID.)

WARRICK:  Hello.  I'm Warrick Brown.  I'm from the Las Vegas Crime Lab.  We're investigating a disturbance a couple doors down.  I wanted to ask you a few questions if I could.


SCENE #41:


(BRASS and CATHERINE walk up to the next door.)

BRASS:  So help me out.  What's a delicate way to say this?  I'd like to barge in, tear your apartment upside down look for five-month-old evidence?

CATHERINE:  You're the poet.

BRASS:  I'm glad you noticed.

(They reach the front door.  Through the window they see the lights on inside.)

CATHERINE:  Looks like somebody is still awake.

(BRASS knocks on the door.  The front door opens ... )

BRASS:  Las Vegas Police ...

(... and they come face-to-face with TAYLOR REED.)

TAYLOR REED:  Detective.  Ma'am.

BRASS:  What are you doing here?

TAYLOR REED:  I live here.

BRASS:  This is not the address on your driver's license.

TAYLOR REED:  People move.

BRASS:  Right.  

CATHERINE:  We'd like to come in.


(He stands aside and they walk into the apartment.  CATHERINE turns her flashlight on and starts to look around.)

TAYLOR REED:  Pardon the mess.

CATHERINE:  I'm going to take a guess here.  This apartment came on the market five months ago.  The old tenant was bothered by the breaking and entering, the bloodstain that you left behind.  You moved into the apartment you committed your first crime in, didn't you?  

(CATHERINE turns her flashlight on TAYLOR REED and starts to examine him.)

BRASS:  Now you're ready to move again, huh?

CATHERINE:  You weren't looking for another apartment.You were looking for ...  

(CATHERINE sees a part of hair torn off from the back of his head.  Her eyes widen.)

CATHERINE:  ... another victim.  You got something to hide, Reed?

(TAYLOR REED doesn't respond.  CATHERINE starts to examine the floors.)


BRASS:  Yeah, okay.

(CATHERINE leaves the living room area and starts walking down the hallway.  She's looking for something.)

(Almost near the end of the hallway, she sees it.  A piece of bloodied hair with torn scalp in the middle of the hallway floor.)

(TAYLOR REED notices that CATHERINE sees the hair.  He turns to run, but BRASS is there to stop him.)

(CATHERINE opens the door and finds a bound woman on the floor.)

CATHERINE:  Jim, we need an ambulance!

(CATHERINE kneels down next to the woman.)

CATHERINE:  Miss, are you all right?  It's over. It's over.  It's okay.


SCENE #42:


(The woman is being wheeled away on a gurney.  CATHERINE stands nearby.  She peers into the window of the police car and looks at TAYLOR REED who's sitting inside.  They look at each other.  CATHERINE walks away.)

SCENE #43:


(SARA sits on the locker room bench.  GRISSOM stands near the door looking through a locker.)

SARA:  The cop read Melissa her rights right there in the hospital room.  You think you know somebody.

GRISSOM:  I never think that.

(SARA looks up at him.)

SARA:  Ever?  

(After a moment, she turns away and stares at the locker in front of her.)

SARA:  When I was a kid I was playing hide-and-seek one day and I found this plastic bag under my big brother's bed.  I thought it was a bag of dirt so I took it to my mom.  Turned out it was his bag of weed.  He was grounded for a year.

GRISSOM:  The best intentions are fraught with disappointment.

SARA:  Emerson?

(He closes the locker door and looks at SARA.)

GRISSOM:  Grissom.

(SARA turns to look at GRISSOM.  He lifts an eyebrow.  She turns back to look at the lockers in front of her.)

(Looking back at SARA, GRISSOM slowly leaves the locker room.  SARA closes her eyes and lowers her head, her silence as heavy as her thoughts.  The camera moves away from SARA ... )



Fait par Wella

Kikavu ?

Au total, 67 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

24.12.2021 vers 17h

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