COLD OPEN:
[EXT. LAS VEGAS CITY - LATE DAY]
CUT TO:
SCENE #01:
[INT. CHECKERBOX BAR & GRILLE - LATE DAY]
(People are eating at the local grille.)
(ELAINE ALCOTT walks out of the restroom.)
(HANK PEDDIGREW sits at a table.)
(Friends wave to each other from their tables in front of the large picture glass windows.)
(FRED LYCHOCK, the Restaurant Manager, smiles at the waiter. He turns and sees a car heading toward the restaurant at a fast speed. He stops smiling and watches the car.)
(The car doesn't stop at the light, nor does it turn. It continues through the intersection and straight for the windows. The Restaurant Manager takes note of it and watches the car approach the windows, helpless to do anything.)
(The waiter drops the tray he's carrying, his eyes fixed on the speeding car. The beer glasses hit the floor and shatters.)
(The car crosses the sidewalk and heads straight for the glass windows.)
(The car hits the windows and doesn't stop. The people sitting at the tables in front of the windows crash to the floor. The car plows through the windows, tables and people.)
(Patrons scream as they dive to get out of the way of the speeding car.)
(The car crashes through the establishments' tables. The waiter hits his head against the car's windshield, blood spattering across the glass.)
(The driver hits the car horn and it blares.)
CUT TO:
SCENE #02:
[INT. CHECKERBOX BAR & GRILLE -- NIGHT]
(The woman driver is slumped against the steering wheel. Fire personnel use a crowbar to get the door open.)
(It's raining outside. GRISSOM, SARA and CATHERINE walk in to the restaurant through the broken glass windows. Emergency personnel cart away survivors on gurneys. ELAINE ALCOTT is on the gurney, her neck in a brace, as it passes the CSIs.)
(BRASS speaks to someone on his cell phone as the CSI's make their way toward him.)
BRASS: (to phone) Yeah, yeah. No. All right. Yeah, hold on, hold on. (puts phone aside) Happy hour. Joint was packed. Two fatalities, four critical.
(BRASS pushes his way past them. CATHERINE stops him.)
CATHERINE: How about the driver?
(BRASS turns around to answer her.)
BRASS: Non-responsive.
(BRASS heads out. Behind, we hear HANK PEDDIGREW giving instructions.)
HANK PEDDIGREW: (b.g.) I've got a GCS of three. I need to intubate.
(SARA turns around and sees HANK working on an injured patron on a gurney.)
CATHERINE: (to GRISSOM) That's Sara's boyfriend.
HANK PEDDIGREW: (looks up) Hey, Sara. Typical Thursday.
(SARA looks around and notices his injury.)
SARA: Hank? Your wrist is broken.
(HANK looks down at his wrist as if noticing it for the first time. He stops trying to intubate the patron.)
HANK PEDDIGREW: Larry, take over, will you?
LARRY: I got it, Hank.
CUT TO:
(The Fireman gets the car door open with the crowbar.)
GRISSOM: The car's dry. This must've happened right before the rain.
(The Fireman checks out the old woman driver.)
CUT TO:
(HANK assists LARRY as he intubates the patron.)
SARA: What happened?
HANK PEDDIGREW: I was sitting at the table. Next thing I knew ...
FIREMAN: (b.g.) I got a heartbeat!
(HANK looks up and rushes to give aid. He hurries past SARA and heads for the car.)
HANK PEDDIGREW: Excuse me.
(He runs past CATHERINE and GRISSOM. They both watch him as he pushes the Fireman aside to check on the old woman driver.)
CATHERINE: Some happy hour, huh?
GRISSOM: I think happy hour's over.
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
SCENE #03:
[INT. CHECKERBOX BAR & GRILLE - NIGHT]
(It's dark and still raining outside. The EMT and other Personnel are still processing the scene.)
(GRISSOM is on his cell phone looking into the car. CATHERINE takes pictures.)
(LARRY is sitting down in front of HANK, attending to his broken wrist.)
SARA: (to LARRY) Mind if I take over?
LARRY: No, go ahead.
(LARRY stands up and SARA takes his place. She sits in front of HANK and continues to tape up his wrist.)
SARA: You okay?
HANK PEDDIGREW: Yeah. I didn't think I'd see you tonight.
SARA: (smiling) So that's what all this is about.
HANK PEDDIGREW: Thanks.
SARA: Any time.
HANK PEDDIGREW: Listen, I got to head over to the hospital, and I'm sure you got to get back to work.
SARA: Yeah, but ... will you call me if you need anything? My cell will be on. Anything.
(SARA and HANK stand. HANK leaves. SARA turns around and walks toward GRISSOM.)
GRISSOM: You and Catherine are running the evidence on this. Warrick just got done with Internal Affairs. He's on his way.
SARA: Okay.
GRISSOM: You need to talk to the Restaurant Manager, too.
SARA: Anything else?
GRISSOM: No.
SARA: Where are you going?
GRISSOM: I got gas.
SARA: (nods, but is still confused) Oh.
(GRISSOM takes a step past SARA, stops, and explains over her shoulder.)
GRISSOM: Residential gas leak in Henderson.
(GRISSOM leaves. SARA heads for FRED LYCHOCK, The Restaurant Manager who is finishing up with a PARAMEDIC.)
SARA: Are you the Restaurant Manager?
FRED LYCHOCK (RESTAURANT MANAGER): Yes.
SARA: I'm Sara Sidle, Crime Lab.
(SARA holds out her hand. FRED LYCHOCK gets to his feet and extends his hand to grab hers, but stops when he sees she's still wearing latex gloves.)
FRED LYCHOCK (RESTAURANT MANAGER): Oh, hi. Fred Lychock. Ooh, sorry. Um ... your supervisor asked for a seating chart. (He unrolls the chart for SARA to look at.) Everything's computerized - software program. This here'll show you the number of people per table.
(SARA takes the chart and looks at it.)
SARA: Where were you during the crash?
FRED LYCHOCK (RESTAURANT MANAGER): I was at the register, behind the bar.
SARA: Did you see anything?
FRED LYCHOCK (RESTAURANT MANAGER): A blurry jaguar speeding through the intersection.
(Quick flashback to the car speeding head-on toward the glass windows. End of flashback. Resume to present.)
FRED LYCHOCK (RESTAURANT MANAGER): I thought the car would slow down, but it kept right on coming. If you ask me, that's the reason why old people don't belong behind the wheel.
SARA: Yeah, I didn't ask you. Thanks for your time.
(SARA walks away from FRED LYCHOCK and heads toward CATHERINE who is examining the car.)
SARA: I'm sorry. I got wrapped up in ...
CATHERINE: Hank.
SARA: Yeah. (SARA kneels and looks inside the car.) An old jaguar with a GPS unit. That's strange.
CATHERINE: Yeah, not your granny's oldsmobile.
CUT TO:
[EXT. LAS VEGAS RESIDENTIAL AREA -- NIGHT]
GRISSOM (PRELAP): (v.o.) We're cleared to go in?
SCENE #04:
[EXT./INT. ARNZ RESIDENCE -- NIGHT]
LOCKWOOD: Yeah. Gas company shut off the valve at the street. Paramedics aired out the scene.
(LOCKWOOD escorts GRISSOM and NICK into the residence to the dead body.)
NICK: Homicide radioed in a D.B.?
LOCKWOOD: Vanessa Arnz. She's in the master bedroom next to the son's room.
GRISSOM: Thanks.
CUT TO:
SCENE #05:
[INT. ARNZ RESIDENCE - HALLWAY/BEDROOM - NIGHT -- CONTINUOUS]
(GRISSOM and NICK make their way toward the master bedroom where the dead body is located. They walk through the hallway.)
GRISSOM: The gas company spikes its natural gas with mercaptan - smells like rotten eggs.
NICK: I don't smell anything.
GRISSOM: All's I smell is mothballs and stale tobacco.
(NICK looks into the son's room.)
NICK: Science geek. (He looks back at GRISSOM and smiles.) Takes one to know one, I guess.
(He turns and they both head into the master bedroom.)
CUT TO:
SCENE #06:
[INT. ARNZ RESIDENCE - MASTER BEDROOM - NIGHT -- CONTINUOUS]
(GRISSOM and NICK enter the master bedroom. On the bed is VANESSA ARNZ. DAVID PHILLIPS is already inside with the dead body.)
GRISSOM: Hello, David.
DAVID PHILLIPS: Hey. She's hot pink, like a maraschino.
GRISSOM: Makes our job easier.
DAVID PHILLIPS: Death was not the result of natural gas inhalation.
GRISSOM: No, but carbon monoxide's still gas.
NICK: Right, when carbon monoxide displaces oxygen in the blood, victim asphyxiates, turns ... pink.
(Quick flashback to: VANESSA ARNZ is sleeping and inhaling gas. Her skin slowly turns pink. End of flashback. Return to present.)
(NICK moves to get a closer look at the dead body.)
GRISSOM: Was Mr. Arnz in bed with her?
DAVID PHILLIPS: Uh, yeah. Paramedics said they found them both in here.
GRISSOM: So why is she dead and he's alive?
(NICK looks up at GRISSOM. DAVID turns and looks at NICK. NICK stands up and explains the answer to DAVID.)
NICK: You know, Dave, when I was a CSI-1, I would've tried to answer that, but now I know "where" before "why." First step, find the source of the C.O. I'll grab the nighthawk, fire it up.
(NICK leaves the room. GRISSOM looks down at the body. LOCKWOOD appears in the doorway.)
LOCKWOOD: Mr. Arnz has been stabilized. They're preparing him for transport.
GRISSOM: I want to take a look at him.
DAVID PHILLIPS: Yeah.
CUT TO:
SCENE #07:
[EXT. ARNZ RESIDENCE - NIGHT -- CONTINUOUS]
(GRISSOM and LOCKWOOD question MR. ARNZ. The paramedics are still checking him out.)
MR. ARNZ: I wake up in the middle of the night sometimes, if I get cold. Vanessa steals the covers. Uh, I woke up and my head was spinning. I think I'm coming down with something. Then I look over at her ...
(Quick flashback to: MR. and MRS. ARNZ is in bed. MR. ARNZ wakes up gasping. He reaches over to check on his wife.)
MR. ARNZ: Vanessa.
(He realizes that she's not breathing. He reaches for the phone and dials 911.)
MR. ARNZ: (to the OPERATOR) Tell them my wife isn't breathing.
(End of flashback. Resume to present.)
LOCKWOOD: Do you remember anything else?
MR. ARNZ: No, I don't remember hanging up the phone. I must've passed out. Next thing I know the paramedics are taking me out.
(GRISSOM turns and notices the young man leaning against the car in the garage. He presumes this is the son.)
PARAMEDIC: We got to roll. Patient will be at Desert Palm.
MR. ARNZ: Wait a minute. What about my boy?
PARAMEDIC: Peter seems fine. The kid's 18. Signed an AMA.
(GRISSOM heads toward PETER ARNZ to talk with him. He ducks under the crime tape and stops in front of PETER ARNZ.)
[INT. ARNZ RESIDENCE - GARAGE - NIGHT - CONTINUOUS]
GRISSOM: Peter ... my name's Gil Grissom. I'm with the Las Vegas Crime Lab.
PETER ARNZ: You want to ask me questions. I was in my bedroom, asleep. I heard the doorbell. It was the paramedics. A few minutes later, the police showed up.
GRISSOM: I'm very sorry about what happened to your mother.
PETER ARNZ: Why are you sorry? You're not responsible. You didn't know her. You don't know me.
CUT TO:
SCENE #08:
[INT. HOSPITAL - HALLWAY/WAITING ROOM -- NIGHT]
(SARA walks through the hallway. She passes by a young man sitting outside waiting. She stops in front of the GUARD standing outside the room of the old woman who drove the car.)
SARA: How's she doing?
GUARD: Doctors are working on her right now. Doesn't look good.
(Looking inside the room, SARA notices the old woman in the hospital bed and the medical personnel working on her. She turns her head toward the young man sitting outside in the hallway.)
SARA: Relative?
GUARD: Driver's been I.D.'d as Diane Lambert, that's her grandson Corey.
(SARA walks up to COREY LAMBERT.)
SARA: Hi, Corey? I'm, uh, Sara Sidle. I'm with the Las Vegas Crime Lab. Mind if I ask you a couple questions?
COREY LAMBERT: I don't even know why she was in Las Vegas. We live in Laughlin. She hates it here.
SARA: Corey, um... did your grandmother own a Jaguar?
COREY LAMBERT: Yeah ... (sniffles) ... yeah, she won it in the, uh, quarter slots. First two coins and bingo. Triple stars.
SARA: She also win the GPS?
COREY LAMBERT: No. (beat) She hadn't been driving it much.
(SARA notices HANK in the waiting room kneeling in front of a woman in a wheelchair.)
COREY LAMBERT: Uh, she got lost a couple times and it scared her, so for her birthday last month, I bought her the unit.
SARA: (smiles) Can you excuse me for a second?
COREY LAMBERT: Yeah.
(SARA walks away from the young man and heads toward HANK in the waiting room. The nurse wheels the young woman away.)
SARA: Hey.
(HANK looks up and sees SARA. He stands up.)
HANK PEDDIGREW: Hey.
SARA: "And the EMT of the year award goes to ..."
HANK PEDDIGREW: Not me. Death toll's now three. Could climb to four. Elaine- the girl in the wheelchair -- she's one of the lucky ones.
SARA: You were amazing.
HANK PEDDIGREW: Eight years in the rig, first time I've actually been a part of the scene. I can't stop it going through my head.
SARA: Yeah, you never know when your life's going to change.
HANK PEDDIGREW: Listen, I ... I got to get out of here.
(HANK moves to pass SARA. She grabs his hands to stop him.)
SARA: You need a lift?
HANK PEDDIGREW: No, I drove.
(HANK turns to leave. SARA stops him.)
SARA: Hank? (He turns around.) I'm really glad you're okay.
HANK PEDDIGREW: (smiles) Thanks.
(HANK turns and walks away. Camera holds on SARA watching HANK leave.)
CUT TO:
SCENE #09:
[EXT. CHECKERBOX BAR & GRILLE - STREET -- NIGHT]
(WARRICK and CATHERINE do a walk through of the car route into the restaurant.
They examine the street.)
WARRICK: Plenty of tire treads, but nothing looks fresh.
CATHERINE: So you going to tell me how it went?
WARRICK: I got called in by Internal Affairs. How do you think it went? Too
many questions. (To the officer who lifts the crime tape up for them.) Thanks.
(to CATHERINE) I wish I could've pleaded the fifth.
CATHERINE: Yeah, you don't answer their questions, you're looking at more days
off without pay, and that blows.
WARRICK: Yeah. (He looks up and sees something.) It's a red light camera.
Did any of the witnesses see the driver run the red light?
CATHERINE: Nobody mentioned it, but the camera's there. Big brother knows.
WARRICK: I'll put in a call.
(CATHERINE notices a dark puddle on the curb.)
CATHERINE: Motor oil.
WARRICK: Now, that looks fresh.
(Quick flashback to: Camera close up of the curb as the car accelerates, hits
it and leaves a puddle of motor oil behind. End of flashback. Resume to
present.)
CATHERINE: Hitting the curb could've caused the car to buck.
(CATHERINE turns around to look straight down the street.)
(Quick flashback to: A ghost of the car accelerates straight toward CATHERINE.
End of flashback. Resume to present.)
CATHERINE: Traffic light, intersection, curb. Well, either the car wasn't
working, or the driver wasn't.
(WARRICK turns around and heads inside the restaurant. CATHERINE shines her
flashlight on the ground and notices a void where something should be.)
CATHERINE: Looks like the newspaper dispenser used to be here.
(Quick flashback to: The speeding car jumps the curb and takes out the
newspaper dispenser before crashing into the window. End of flashback. Resume
to present.)
(Inside the restaurant, WARRICK notices something on the ground.)
WARRICK: Catherine. (He points it out to CATHERINE.) Tire treads. That kills
one theory. Car's brakes must've been working.
CATHERINE: She tried to stop, but it was too late.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #10:
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(DOC ROBBINS goes over the preliminary findings with SARA. They both stand over
DIANE LAMBERT'S body.)
ROBBINS: Let me guess: No air bags in the vehicle.
SARA: No.
ROBBINS: Preliminary cause of death, epidural hematoma. Her head impacted the
steering wheel.
(Quick flashback to: The car jerks to a stop and DIANE LAMBERT'S head hits the
steering wheel. End of flashback. Resume to present.)
ROBBINS: Blood accumulated between the inner table of the skull and the dural
membrane.
(ROBBINS points to the impact wound on DIANE LAMBERT'S head. Camera zooms up
close to the wound to the breakage in the scalp and hair. Camera zooms through
the wound and into the brain where we see the artery. The artery break and
blood leaks out.)
ROBBINS: (v.o.) Her injury is consistent with a severed middle meningeal
artery.
(End of CGI POV. Resume to present.)
SARA: What about pre-impact? At the risk of feeding a stereotype, she was 72.
Any indication of stroke, Alzheimer's, heart attack?
ROBBINS: I considered and dismissed all age-related factors. No arthritis, no
significant impairment of her senses. She has had part of her colon removed,
probably due to injury or prior medical condition, but Sara, it's irrelevant to
your case. I found no physiological explanation for the crash.
SARA: Well, that's a bummer, 'cause at this point, we got no forensic one,
either.
CUT TO:
SCENE #11:
[INT. ARNZ RESIDENCE - MASTER BEDROOM -- NIGHT]
(Camera opens close up on the Nighthawk Carbon Monoxide Alarm that NICK is
holding to check on the Carbon Monoxide levels in the bedroom. LOCKWOOD is with
him. The detector beeps steadily.)
NICK: Carbon monoxide fills the air when any carbon-based substance is ignited.
The kid checks out, so ... the point of ignition's probably this room.
LOCKWOOD: Now, the two most common causes of accidental household CO poisonings
are: unvented space heaters and improperly maintained chimneys. I don't see
any heaters.
(Using the tip, NICK turns to look at the bedroom fireplace.)
LOCKWOOD: (explains) My dad's a fireman. Last Christmas, he gave all the kids
C.O. Detectors.
(Immediately, the beeping picks up.)
NICK: Would've saved this woman's life. 25 parts per million. That's the
highest reading in the room.
(NICK puts his kit down, takes out his flashlight and checks out the fireplace
closely.)
NICK: This is a natural gas burning fireplace. Burns clean. C.O. fumes should
be minimal at best.
(In the back of the fireplace on the ground, he finds some black rocks.)
NICK: Foreign substance. Still warm.
(Camera zooms in to show a close up of the black rock.)
NICK: There was something other than natural gas burning in here.
LOCKWOOD: If the gas company hadn't shut off the gas, whatever that is probably
would have burned up.
NICK: Chimneys are designed to funnel smoke up and out ... if this fire was the
source of the CO, the fumes should've traveled up the chimney instead of
permeating the room.
LOCKWOOD: Unless the chimney isn't doing its job.
(NICK reaches up and checks the chimney.)
NICK: Damper's busted.
(Quick CGI flashback to: The fire in the fireplace burns, the heat and fumes
close the damper causing the fumes to funnel back into the room. End of CGI
flashback. Resume to present.)
NICK: Foreign fuel source in a compromised chimney ... I think we just ruled
out accident.
CUT TO:
SCENE #12:
[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]
(GREG exits his lab, crosses the hallway and enters the audio-visual lab where
SARA'S working.)
GREG: Hey, I hear you're working on Hank's case.
SARA: I believe it's my case.
(Leans in and rests his elbows on the table next to SARA.)
GREG: Territorial. You know, guys don't like that.
SARA: You're crowding me, Greg.
GREG: Well, I have some information that could bring us even closer. (beat)
(He stands up.) But you first. What are we looking at?
SARA: I downloaded the memory from the GPS in the jaguar. She wasn't a local;
I wanted to see if she got lost.
GREG: Well, did she?
SARA: Diane Lambert lives in Laughlin.
(SARA stands up and heads to the large wall monitor)
SARA: Excuse me.
(Using her finger, she "draws" the path on the monitor.)
SARA: She took 95 North to Summerlin parkway. Then she took parkway to
Rampart, made a left on main street and headed straight to Meadows Lane -- 16
North Meadows Lane. That's where she was going, and that's where she ended up.
GREG: So does that thing tell you why?
SARA: What do you have, Greg?
GREG: Well, maybe she had the "munchies". Tox screen came back. Mrs. Lambert
tested positive for cannabis sativa.
SARA: Grass?
GREG: (laughing, enjoying himself) "Grass"? So '70s, man. Sticky green, the
dank, the chronic, the cush, happy stick, wacky-tobaccy ...
SARA: Well, wait, wait, wait. Grandma was high?
GREG: (smiling) Yeah.
SARA: Grandma was high ...
(Putting two fingers to his lips as if taking a drag off of a joint, GREG
inhales.)
GREG: ... as a kite.
CUT TO:
SCENE #13:
[INT. CSI - FORENSIC AUTOPSY]
(SARA walks back into the Autopsy room. ROBBINS is working at the scope.)
SARA: Hey.
ROBBINS: Return visit, huh? You're here about the tox screen.
SARA: Yeah. Was Diane Lambert legally impaired?
ROBBINS: Less than two nanograms of THC, so per nida, she wasn't.
SARA: Oh. But if she were a long time user, her reaction time could've been
slowed down, right?
(He lifts his head and stands up. They both head up to the morgue units.)
ROBBINS: I know where you're going. Let me stop you. THC has no significant
cumulative effect, so maybe the question is: Why was a woman her age doping up?
(He opens the cabinet and pulls out the table with DIANE LAMBERT.)
SARA: Okay, why was a woman her age doping up?
(ROBBINS hands the scope to SARA.)
ROBBINS: Tell you what-check out her optic nerve.
(Quick CGI POV through the scope and down through the eye to show the nerve.
End of CGI POV.)
SARA: Nerve's damaged. (SARA stands up and looks at ROBBINS.) She had
glaucoma. I thought you said she was in good health.
ROBBINS: That was before the tox screen came back. You know, it's not standard
procedure to check for glaucoma, but the mary jane tipped me off. People think
it slows the progression of the disease, but it just reduces the pressure in the
eye and that reduction's only temporary. Prescription medications do a much
better job. (beat) Unfortunately, they don't have the same side effects.
SARA: Her vision could've been impaired by the glaucoma.
ROBBINS: (insistent) It didn't affect her driving. Sara, Diana Lambert has
nothing more to tell you.
(ROBBINS covers DIANE LAMBERT up and pushes the table back into the cabinet.)
CUT TO:
SCENE #14:
[INT. CSI - AUDIO/VISUAL LAB]
(CATHERINE is going through the seating chart up on the monitor. By touching
the chairs, a DMV picture of the patron pops up on the monitor.)
(She presses the bartender position and the picture/information pops up for
Taylor Ziegler of Paradise Valley, NV, the Checkerbox Bartender. She closes the
pop up box.)
(She reaches over and presses the chair for one of the patrons. The
picture/information pops up for Cameron Black from Trenton, NJ, deceased.)
(SARA walks into the lab.)
SARA: Hello.
CATHERINE: Oh, hey. So, I got photos of the restaurant patrons off the DMV
database and input the information per the restaurant seating chart and the
police report.
(As she speaks, CATHERINE presses the seats for several people one after the
other, the last two being for HANK PEDDIGREW and for ELAINE ALCOTT from
Henderson, NV; employer: Sillmont Healthcare.)
(CATHERINE turns to look at SARA.)
CATHERINE: Who's Elaine Alcott?
SARA: Who?
CATHERINE: Oh, well, she was seated with Hank. I just thought maybe that ...
SARA: Oh.
(SARA leans in to the computer on the table and looks at the picture of ELAINE
ALCOTT. She closes the pop up box for ELAINE and opens the box for HANK. She
closes the pop up box for HANK and re-opens the box for ELAINE.)
CATHERINE: Anyway, um ... apparently, she told P.D. that she was returning from
the ladies' room at the time of the impact.
SARA: They must be friends. I saw him with her at the hospital.
CATHERINE: Okay.
(CATHERINE looks down at her clipboard.)
CATHERINE: Um ... okay, so, we've got 36 people in the restaurant. Twelve
worked for Sillmont Healthcare, a block away. Another ten were from the
brokerage firm across the street, a couple of regulars, a few out-of-towners
and restaurant employees.
(WARRICK walks into the lab.)
WARRICK: Do you know how long it takes to get in touch with anybody at the
transportation safety bureau? It's way out of hand. Diane Lambert ran the
light.
(CATHERINE looks at the photo from the traffic light. The information on the
photo is:
[ 17:15 03/05/03
0.50 R009
008 V=52 ]
CATHERINE: Wow. She sped through that intersection -- 52 miles per hour.
SARA: That's more than twice the speed limit.
WARRICK: Well, the tread marks tell us that her brakes did work, so it must've
been something else that malfunctioned, causing her to accelerate.
SARA: Gas pedal could've gotten stuck, or ... throttle plate could've jammed.
CATHERINE: There's only one way to find out.
(SARA stands up to leave the lab.)
SARA: I'm on it.
CUT TO:
SCENE #15:
[INT. CSI - GARAGE]
(SARA is on a dolly under the car. She examines the car.)
(Cut to SARA taking a sample from under the hood.)
(Dissolve to SARA checking the engine out.)
(Dissolve to SARA still checking the engine.)
CUT TO:
SCENE #16:
(WARRICK walks into the garage. SARA is standing on top of the ladder and looks
at him. She has a large oil smudge under her left eye.)
WARRICK: Hey. You have, uh ...
(WARRICK motions to SARA'S cheek. She rubs the area but doesn't get the smudge
out. WARRICK waves it aside.)
WARRICK: Don't worry about it. How's it going? You find anything?
SARA: No. Car checks out perfectly.
WARRICK: Well, I did some more digging down at the TSB. I found out that the
red light camera that photo'd our driver catches four times as many violators as
any other camera in Vegas.
SARA: (thoughtfully) Intersection's dangerous. (beat) Could be a death trap.
CUT TO:
SCENE #17:
[INT. CSI -- LAB]
(HODGES looks through the scope. NICK walks in to the lab. He stops next to
HODGES.)
HODGES: I didn't page you.
NICK: No, I just figured I'd come by.
(HODGES picks up his things and puts them away.)
HODGES: You're checking up on me again.
NICK: No, I'm checking upon my evidence.
(NICK walks to the printer.)
HODGES: You think if you hover, the FTIR will work faster?
NICK: Yeah ... Hodges, that's what I think.
(GRISSOM walks into the lab reading a file. HODGES perks up and walks toward
GRISSOM.)
HODGES: Hey, boss.
(The printer starts to print the results.)
HODGES: Nice timing.
(HODGES reaches out to grab the paper. NICK grabs the paper from him and looks
at it.)
NICK: The foreign substance in the fireplace is carbon.
GRISSOM: Associated minerals?
NICK: None. Pure unadulterated carbon.
(NICK hands the results to GRISSOM to look at.)
HODGES: It may be pure, but it's not solid. Micro-pores. Sample's under the
scope.
(NICK turns to move to the scope table, HODGES gets in his way and blocks his
path. GRISSOM moves to the scope and looks at the sample inside.)
(NICK moves to stand next to GRISSOM. He casts a glance at HODGES.)
(Cut to scope view of the charcoal. At a higher magnification, he can see the
pores in the rock.)
GRISSOM: Activated charcoal?
NICK: Used in filtration systems, kitty litter, some medications ...
(GRISSOM looks up.)
GRISSOM: ... and possibly a murder.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #18:
[EXT. INTERSECTION OUTSIDE THE CHECKERBOX BAR & GRILLE -- DAY]
(It's raining outside. SARA and WARRICK stand under the umbrella and look at
the building.)
WARRICK: The building has mirrored glass on it. Lets in the light, but it
keeps out the glare.
(SARA turns around to look at the road and the trees behind them.)
SARA: Sun sets in the west behind us. Glare could be pretty intense in the
afternoon. (WARRICK also turns to look. They both turn back to look at the
building.) This could explain why this intersection is so dangerous.
WARRICK: So you think the sun was a factor in the crash?
(SARA looks at her notes.)
SARA: Well, according to the accident report, the sun set at 5:30 yesterday.
WARRICK: The accident was at 5:15, so the sun was still in the sky.
(SARA turns around to look at the trees behind them.)
SARA: Trees and buildings extend at least ten degrees above the western
horizon.
WARRICK: Yeah. (They turn to look at the building again while they figure it
out.) All right, well, there's 24 hours in a day, 360 degrees in the earth's
rotation. 360 divided by 24 is ... 15?
SARA: 15. Sun moves about 15 degrees an hour.
(SARA looks at the building and begins to visualize the path the sun took the
day before.)
(The sunlight off of her face burns brighter as she visualizes the sun on a
clear day.)
(Cut to: The building in front of them reflects the sun as it travels during
the day. The sun slowly sinks to the horizon.)
(Cut to: SARA continues to visualize the sun setting. The sun traveling
downward reflects off of her sunglasses.)
(Cut to: The sun continues to set and is reflected in the building's mirrored
glass.)
(Cut to: The sun's light off of SARA's face returns back to normal as she
figures it out.)
SARA: At 5:15 yesterday, the sun would've been about what -- 3.75 degrees above
the horizon?
(WARRICK throws SARA a glance.)
WARRICK: Wow, you're fast. 3.75, huh? (WARRICK glances behind him.) Then the
sun was behind the trees at the time of the accident, so it was not a factor.
SARA: Great, and our investigation is still in the dark.
(SARA turns to look at WARRICK.)
CUT TO:
SCENE #19:
[INT. CSI - DNA LAB]
(GREG sits at his lab table listening to rock music blaring from his tape
machine. GRISSOM and NICK walk into the lab. GRISSOM turns the music off.
GREG looks up.)
GRISSOM: I just got a page from James Watson.
NICK: And I got one Francis Crick. What's going on, Greg?
GREG: Well, as you both know ... Watson and Crick are the grand-daddies of DNA.
Without their discoveries, I'd have nothing to do all day.
NICK: What have you been doing all day?
GREG: A tox report on your D.B., Ms. Pretty in pink. She died of carbon
monoxide poisoning. Blood saturation level of 46.2%. No surprise there.
Nicotine levels are high -- she was a smoker. And she popped a couple of
sleeping pills that night.
GRISSOM: Nothing probative.
GREG: What if I told you that Mr. Arnz had a carbon monoxide blood saturation
level of 37% -- nearly 10% lower than his wife.
GRISSOM: Mrs. Arnz was a smoker. Typically, a smoker's blood is already 10%
saturated with C.O.
NICK: You mean smokers get a jump start on the poisoning process? Could
explain the 10% difference. It could also explain why he lived and she died.
GREG: Nice theory, but what if I told you that Mr. Arnz had high nicotine
levels as well.
NICK: They were both smokers.
GRISSOM: That still doesn't explain why one lived and one died.
GREG: Well, I don't know if this is going to help, but the sleeping pills are
zolpidem. Prescription only. I thought I'd save you some time, talked to
Lockwood. She didn't have a prescription, but her husband does.
GRISSOM: Thanks, Greg.
(GRISSOM and NICK turn to leave the lab. NICK turns the tape recorder back on
before he leaves.)
CUT TO:
SCENE #20:
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(CATHERINE works on the computers on which she duplicates the car crashing
through the restaurant scenario. SARA walks in.)
CATHERINE: Hey, check this out. The red light camera clocked her speed at 52
miles per hour, right?
SARA: Mm-hmm.
CATHERINE: The computer software pegged her at 60 by the time she hits the
newspaper dispenser. She accelerated into the building.
CUT TO:
SCENE #21:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(SARA and ROBBINS walks into the autopsy room.)
ROBBINS: You already reviewed the driver's tox screen. Now you want her basic
blood panel.
SARA: I'm running with a hunch.
ROBBINS: Let's go.
(He hands her the file with the test results. The report reads that
acetylocholine levels are low at 11.8; and epinephrine was high at 147.)
SARA: Acetylcholine levels were low, epinephrine was high.
ROBBINS: Why are you focused on those hormones?
SARA: Kamikaze pilots, World War II -- their blood work was very unusual.
Acetylcholine was low; epinephrine was through the roof.
ROBBINS: Well, you're talking about the sympathetic response to stress-eyes
dialate, heart rate goes up, hormones go haywire.
SARA: Diane Lambert lived two hours away. If she drove her car into Vegas with
the intention of using it as a murder weapon, I imagine she would be pretty
stressed out.
ROBBINS: Kamikaze granny.
CUT TO:
SCENE #22:
[INT. STORE -- DAY]
(GRISSOM and NICK walk into the ARNZ' store. The door bell jingles when they
open the front door.)
(GRISSOM looks for and finds PETER ARNZ sitting at the desk reading a book.)
GRISSOM: Isaac Asimov-- one of my favorite writers. "If knowledge can create
problems, then it is not through ignorance that we will solve them."
PETER ARNZ: Is that what you're doing here? Solving problems?
GRISSOM: It's my job to figure out what happened to your mother.
(PETER ARNZ dog ears the book he's reading, closes the book and turns his full
attention to GRISSOM.)
PETER ARNZ: Scientists derive satisfaction from figuring out the puzzle. It's
about the quest ... not the grail.
(GRISSOM picks up the book in front of him by Isaac Asimov.)
PETER ARNZ: Asimov believed that only scientists could understand the universe.
His corollary: "It's not so much that I have confidence in scientists being
right ..."
GRISSOM: ... "but that I have so much confidence in non-scientists being
wrong." You a scientist?
PETER ARNZ: Yeah. I am.
MR. ARNZ: Peter? The boxes won't unload themselves.
(GRISSOM turns to glance back at MR. ARNZ. PETER stands up to unload the boxes.
GRISSOM turns back to look at MR. ARNZ.)
CUT TO:
SCENE #23:
[INT. STORE -- DAY]
(NICK and GRISSOM question MR. ARNZ.)
MR. ARNZ: Peter and I were hoping to get back into the house tonight.
NICK: Well, not tonight, sir. It's still an active crime scene. Our lab found
zolpidem in your wife's system -- 20 milligrams. That's twice the recommended
dosage. Do you know anything about that?
MR. ARNZ: Well ... Vanessa was having trouble sleeping.
GRISSOM: The, uh, prescription is in your name.
MR. ARNZ: Are you accusing me of something?
GRISSOM: No. We're just telling you what we know.
(MR. ARNZ looks around and sighs.)
MR. ARNZ: Look, uh ... ever since this discount chain opened a branch down the
block, I've been working 16-hour days just trying to survive. And I'd go home
and Vanessa would come at me.
(Quick flashback to: VANESSA ARNZ sitting up in bed and talking to MR. ARNZ'
back.)
VANESSA ARNZ: You're always tired. You never talk to me. Y-you need to
communicate with me. You know, I have needs. I'm here all day long. You never
talk to me.
(End of flashback. Resume to present.)
MR. ARNZ: She'd just go on and on and on talking. And when she'd finally let
me get to sleep, she'd want what every woman wants. I-I don't mean just sex.
She'd want to talk and talk. (sighs) Next thing you know, it's 5:00 A.M., The
alarm is screaming at me, and I got to go back to work.
NICK: So you drugged your wife to get some shut-eye?
MR. ARNZ: Yeah. I put it in her ice cream. I know it was wrong, but ...
NICK: It's also illegal.
MR. ARNZ: Yeah. Happened as an accident the first time. See, I got a problem
swallowing pills, so I crush them up in the ice cream. One night, she grabbed
the wrong bowl and was out like a light. Best night's sleep I'd had in a long
time. Well, if you ... you got nothing else you want to ask, I got things I got
to do.
GRISSOM: I have one more question. When did you quit smoking? I noticed the,
uh, nicotine patch on your arm.
(GRISSOM points to the patch on MR. ARNZ' left upper arm.)
MR. ARNZ: Oh, uh, about three weeks. Doctor's orders. I got high blood
pressure.
NICK: I have another question. Did you know the damper on your chimney was
busted?
MR. ARNZ: Why, did this have something to do with my wife's death? I mean, I
asked Peter if he'd ... (sighs) is this my fault?
CUT TO:
SCENE #24:
[INT. CSI - HALLWAY -- DAY]
(SARA and CATHERINE make their way to the audio/visual lab.)
SARA: If the crash was intentional, I'm thinking either the restaurant was the
target or someone inside the restaurant.
CATHERINE: I'll call Brass. If Lambert had a grudge against the place,
somebody there should know her.
[INT. CSI - AUDIO/VISUAL LAB - DAY - CONTINUOUS]
SARA: If she was gunning for someone specific, there's a lot of variables.
Maybe we should start with the most obvious targets -- the people sitting in the
window.
CATHERINE: Let's run it.
(CATHERINE and SARA stand in front of the wall monitor with the seating chart
loaded.)
CATHERINE: Okay ... top to bottom. (CATHERINE opens the first box.) Cameron
Black, deceased; from Jersey. First time in Vegas. Unlikely mark.
(SARA reaches up and closes the box. She checks the identities of the people
sitting at the second table.)
SARA: Second table: Rachel Krandall, and ... Tom Krandall. Both died at the
scene. Both worked for Sillmont Healthcare.
CATHERINE: Table three: Hank and ... Elaine Alcott. Also works at the
insurance company.
SARA: Three out of five of the people sitting in the window work at Sillmont
Healthcare. Maybe I should go talk to her.
CATHERINE: (nods quietly) Yeah. Maybe you should.
CUT TO:
SCENE #25:
[INT. ALCOTT RESIDENCE -- DAY]
(Camera opens on a file picture of DIANE LAMBERT.)
ELAINE ALCOTT: (o.s.) I'm sorry, I don't recognize her.
(SARA is interviewing ELAINE ALCOTT.)
SARA: Well, uh, could she be one of your policy holders?
ELAINE ALCOTT: It's possible. I oversee hundreds of members' accounts. I can
check my list.
SARA: That'd be great.
(ELAINE stands up from the table and checks her laptop.)
ELAINE ALCOTT: I wish I had some more time off, but with Tom Krandall gone and
half my department in the hospital ... I'm back at the office tomorrow. Let's
see ... Diane Lambert.
(As ELAINE checks the database, SARA notices a small framed photograph of ELAINE
and HANK on the table. SARA picks it up. ELAINE notices the movement and
smiles.)
ELAINE ALCOTT: (smiling) My boyfriend. Saved up my miles and took him to
Hawaii last year. He's going to take me to Tahiti in a few weeks. I can't
wait. (SARA puts the picture down.) Ms. Lambert isn't on my list. But if you
want, I can go on the company database.
SARA: (upset and trying not to show it) Thank you. Um, I-I have to get back
to the lab. Um, maybe you could call me.
(SARA holds out her business card. ELAINE takes it.)
ELAINE ALCOTT: Okay.
(SARA stands up and leaves.)
CUT TO:
[EXT. LAS VEGAS RESIDENTIAL AREA (STOCK) - DAY]
SCENE #26:
[INT. ARNZ RESIDENCE - HALLWAY/PETER'S ROOM -- DAY]
(GRISSOM walks through the hallway straight up to PETER ARNZ' room. He kneels
and looks at the fishtank in the room. He opens the fishtank cover, rolls up
his sleeve and takes out the filter. He looks at the filer. He puts it back
inside the tank.)
(PETER ARNZ appears in the hallway and walks up to GRISSOM.)
GRISSOM: You're not supposed to be in here.
PETER ARNZ: It's my home.
GRISSOM: Well, perhaps you didn't see the crime scene tape.
PETER ARNZ: Do I look stupid to you?
GRISSOM: On the contrary. I heard you have an almost perfect 4.0 GPA. With
the exception of a "B" in English. Our detectives do complete background
searches on all the principles at a crime scene. I understand you threatened
your English teacher.
PETER ARNZ: I have to feed my fish.
(PETER steps up to the fishtank.)
PETER ARNZ: Clown loaches, tetras, angelfish.
(PETER opens the fish foot container.)
GRISSOM: (looking at PETER) You might want to check your filter, too. You're
out of charcoal.
(PETER turns to look at GRISSOM.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #27:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(GRISSOM and NICK question PETER ARNZ.)
GRISSOM: In 1939, Isaac Asimov was an undergraduate studying zoology. As part
of a course requirement, the students were asked to find a stray cat, kill it
and dissect it. Isaac found his cat, he killed it, and then he promptly dropped
out of zoology. Fifty years later, he wrote that the memory of killing that cat
still haunted him.
PETER ARNZ: Do you have a question for me?
GRISSOM: Yeah, I do. Why didn't you fix the chimney damper in your parents'
bedroom?
PETER ARNZ: Why would I?
NICK: You told your father you fixed it.
PETER ARNZ: So he'd quit bugging me. And if you're accusing me of disobeying a
man with only a tenth-grade education, then you're right.
NICK: We know you took advantage of the broken damper. Placed activated
charcoal from your fish tank filter in the back of the fireplace...
(Quick flashback to: PETER ARNZ dropping the charcoal into the back of the
fireplace.)
NICK: (v.o.) ... then waited for your father to do what he does every night.
(Cut to: MR. ARNZ lighting up the fireplace while VANESSA ARNZ eats her ice
cream in bed.)
(End of flashback. Resume to present.)
NICK: You killed your mother. You almost killed your father.
PETER ARNZ: That's good science fiction.
NICK: Well, you thought the charcoal would burn up, destroying any evidence of
the crime, but your father woke up, called 911.
GRISSOM: (thoughtfully) Nick, at what point is the saturation level of carbon
monoxide in the bloodstream lethal?
NICK: Approximately 45, 50%.
GRISSOM: (nods) Mmm. Well, his mother's level was in the range, but his
father's level was low.
(PETER ARNZ is fascinated by the level of intellectual bantering going on
between NICK and GRISSOM in front of him.)
NICK: Yeah, but two people exposed to the same level of carbon monoxide for the
same period of time, their C.O. saturation levels should be approximate.
PETER ARNZ: (interjects) As long as the variables are consistent -- body mass,
health, age.
GRISSOM: What about smoking?
PETER ARNZ: Of course.
NICK: Three weeks ago, your father quit.
(PETER ARNZ gives them a blank look. He doesn't respond. GRISSOM picks up on
it immediately.)
GRISSOM: Yeah, we didn't know he'd quit, either. The nicotine levels in his
system were high but when we went to speak with him, he was wearing a nicotine
patch.
NICK: The patch delivers nicotine to the blood, but since your father quit
smoking cigarettes, his C.O. saturation level returned to zero.
GRISSOM: You made a basic scientific mistake, Peter. You stopped observing the
human element because you thought it was inferior.
NICK: What I don't understand is why. Man, why would you want to kill your
parents? Your high school told us you were accepted to Princeton, early action.
A few more months, you would've been 2,000 miles away. Whatever your parents
did to piss you off wouldn't have mattered.
(GRISSOM thinks about it.)
GRISSOM: I know why. They weren't going to let you go, were they?
(He swallows.)
PETER ARNZ: (quietly) They refused to pay for it. I don't qualify for
financial aid because my father makes too much money. Not enough money to live
well, but enough to destroy my dreams.
NICK: So with your parents gone, you could sell the business and pay your
tuition.
PETER ARNZ: You figured out the puzzle. Must be very gratifying.
GRISSOM: Science isn't about the gratification, Peter. It's about the truth.
CUT TO:
SCENE #28:
[INT. CSI -- LAB]
(SARA walks into the lab. CATHERINE is already there.)
SARA: Hey.
CATHERINE: Hey.
(SARA sits down and opens the file in front of her.)
CATHERINE: So, how did it go with Elaine Alcott?
SARA: She didn't have anything to add to the investigation.
(BRASS walks into the lab.)
BRASS: Hey, how's it going? Here are the phone records from the driver of the vehicle that you asked for. You know, there may be something to that kamikaze grandma theory of yours. Last week, Diane Lambert closed out her bank accounts, paid off her credit cards, and updated her will.
CATHERINE: Well, that's certainly more evidence to suggest that her actions were intentional.
SARA: There's only one Vegas phone number on this statement and the prior statement. There's got to be 80 calls here to the same number.
CATHERINE: Dial the number.
(SARA picks up the speaker phone and dials the number. The phone rings.)
OPERATOR: (from phone) Sillmont Healthcare. How can I direct your call?
SARA: What's your address?
OPERATOR: (from phone) 16 South Meadows Lane.
SARA: Thank you.
(The Operator hangs up.)
CATHERINE: Right. The Checkerbox is at 16 North Meadows.
BRASS: I don't think that's a coincidence.
SARA: If Sillmont Healthcare was the intended target, how did she end up at the Checkerbox?
BRASS: Well, I'll tell you what happened to me. Last week, I was driving to a crime scene in the car and the GPS said go right. Had I done so, I'd be coughing up fish from the bottom of Lake Mead.
CATHERINE: Well, GPS is hardly perfect. Maybe north was a directional default.
BRASS: Or maybe she put in the wrong address.
SARA: Either way ... it does leave one question: Why was Diane Lambert so angry?
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
SCENE #29:
[INT. SILLMONT HEALTHCARE - OFFICE -- DAY]
(ELAINE ALCOTT closes the office door. CATHERINE and SARA interviews ELAINE ALCOTT and her manager.)
ELAINE ALCOTT: Mrs. Lambert was a member of our HMO. I was, uh, going to call you.
(ELAINE takes a seat at the table. She and SARA both eye each other warily.)
CATHERINE: Well, did she have some kind of problem with her policy?
MANAGER: Not to our knowledge.
SARA: Then you won't mind if we take a look at her file.
MANAGER: I'm sorry, member files are confidential.
CATHERINE: Well, this member is deceased. Not even the doctor-patient privilege extends postmortem.
(ELAINE picks up the file and hands it to SARA. Again, they eye each other warily. SARA takes the file and looks through it.)
SARA: Mrs. Lambert had colon cancer.
MANAGER: If you read further, you'll see that it was in remission.
SARA: No, actually, her most recent cat scan shows recurrence two months ago. That's about the same time she started calling your office two times a day. Why would she be calling you?
(The Manager doesn't answer. CATHERINE looks over at ELAINE ALCOTT who doesn't meet her eyes.)
CATHERINE: (disgusted) You know what? Four people are dead. Don't waste our time. We can take this downtown.
ELAINE ALCOTT: Mrs. Lambert's oncologist recommended immediate and aggressive treatment.
SARA: Did treatment commence?
ELAINE ALCOTT: The recommendation was pending.
CATHERINE: Well, what exactly does that mean?
MANAGER: Not yet approved, not yet denied.
(Quick flashback to: DIANE LAMBERT determined behind the steering wheel of her car. The car is accelerating. End of flashback. Resume to present.)
CATHERINE: In other words, Mrs. Lambert's health was in limbo. She wasn't receiving treatment, but she couldn't file an appeal, since you hadn't officially denied her claim.
MANAGER: The authorization process takes ... it takes time.
(Quick flashback to: DIANE LAMBERT anguished behind the steering wheel of her car. The car is accelerating. End of flashback. Resume to present.)
CATHERINE: Time Mrs. Lambert didn't have.
MANAGER: We have a procedure, and we follow it.
(Quick flashback to: DIANE LAMBERT gripping the steering wheel. Cut to: DIANE LAMBERT crying as the car accelerates. End of flashback. Resume to present.)
CATHERINE: .... and while you were following your "procedure", and postponing a decision, her cancer cells were multiplying.
SARA: What were you, playing the odds? Were you hoping she would die before you had to spend a dime?
MANAGER: We're not liable here. We're not responsible for Mrs. Lambert's actions.
(CATHERINE looks down and shakes her head.)
(Quick flashback to: DIANE LAMBERT in her car driving it through the glass windows of the Checkerbox Bar and Grille.)
(Cut to: The car crashes through the window and into the patrons inside. End of flashback. Resume to present.)
CATHERINE: For what it's worth, that makes me sick.
(Camera holds on the Manager looking at CATHERINE.)
CUT TO:
SCENE #30:
[INT. CSI -- HALLWAY -- DAY]
(SARA exits the lab and walks through the hallway. She takes off her latex gloves and goes looking for CATHERINE. CATHERINE walks out of the locker room with her bag over her shoulder.)
SARA: Catherine.
CATHERINE: Yeah.
SARA: We missed something.
CUT TO:
SCENE #31:
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(SARA and CATHERINE interviews COREY LAMBERT.)
SARA: Corey, when I was reviewing your grandmother's insurance policy, I noticed she that didn't specify an e-mail address, and that got me thinking. Some people her age aren't technologically savvy. Maybe a GPS device would be intimidating to her. I wondered if she actually even knew how to use it. So I printed the unit and I found your fingerprints on it.
COREY LAMBERT: I installed it.
SARA: The prints just weren't on the base of the unit, they were on the face. You punched in addresses.
(COREY LAMBERT shakes his head. He's confused by the line of thought. CATHERINE explains.)
CATHERINE: If you were aware of your grandmother's intentions and programmed the GPS, you're guilty of aiding and abetting in the murder of three people.
(COREY shakes his head as this sinks in.)
COREY LAMBERT: Oh, god. Uh ... last week, she came by my place 'cause she said she didn't know how to work the GPS.
(Quick flashback to: COREY LAMBERT showing his grandmother how to work the unit. He punches in an address as an example.)
COREY LAMBERT: Okay, grandma, look, it's really easy. I'll explain it to you again. You just type in the address of where you want to go.
(End of flashback. Resume to present.)
COREY LAMBERT: Look, I swear, if I had known what she was planning, I would've stopped her.
CATHERINE: Uh ... well ... Corey, homicide has informed us that your grandmother had a life insurance policy, in which you're the sole beneficiary.
COREY LAMBERT: (shakes his head) I had no idea.
SARA: She never mentioned it to you?
COREY LAMBERT: (immediately) No! (Thinks about it for a moment.) No, no, wait.
(Quick flashback to: DIANE LAMBERT sitting in her car and pleading to her grandson.)
DIANE LAMBERT: Promise me.
COREY LAMBERT: Okay, fine. When I can afford it, I'll go back to college.
DIANE LAMBERT: You should have a degree.
COREY LAMBERT: Grandma, I promise.
DIANE LAMBERT: I love you. You're such a good boy.
COREY LAMBERT: I love you, too.
(End of flashback. Resume to present.)
SARA: Your grandmother's death has been ruled a suicide, which nullifies the policy. There's not going to be any money.
COREY LAMBERT: No ... look, I don't think you understand. I loved my grandmother, and she's dead. She killed herself, and she killed these three other people. (crying) What are you telling me? She killed these people for me? And I'm supposed to live with this?
CUT TO:
SCENE #32:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(CATHERINE and SARA exit the room. HANK is waiting for SARA in the hallway.)
CATHERINE: (to SARA) I'll meet you at the car.
(CATHERINE walks out the hallway. HANK turns to talk with SARA.)
HANK PEDDIGREW: I called the lab. They said you were here. (swallows) I heard you met Elaine.
SARA: Yeah, she's really something. (pause) I didn't tell her about us, if that's what you're wondering.
HANK PEDDIGREW: I'm really sorry, Sara.
SARA: (nods) Yeah, me, too.
HANK PEDDIGREW: I don't know what else to say.
SARA: I'll see you around.
CUT TO:
SCENE #33:
[EXT. POLICE DEPARTMENT - DAY -- CONTINUOUS]
(SARA walks out of the police department.)
(She walks to the car, opens the door and gets inside. CATHERINE watches SARA.)
CATHERINE: (quietly) You got plans?
SARA: Nope.
CATHERINE: You want to get a beer?
(SARA turns to look at CATHERINE. CATHERINE smiles. She's been there. SARA turns and looks straight ahead. She smiles a bit.)
SARA: Drive.
(CATHERINE starts the engine and they leave.)
FADE TO BLACK.
THE END.
Fait par Wella
