COLD OPEN:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
WOMAN: (v.o.) This won't help, don't you see? After me, there'll be others. You'll have to go on killing, on and on until they catch you. I won't be the last; ...
CUT TO:
SCENE #01:
[INT. WONDERLAND THEATRE - NIGHT]
WOMAN: (on screen) ... there'll be others after me. You can't help yourself because you're mad, mad, mad!
(A cell phone rings.)
MAN: (on screen) No one will question you. They'll say it's just another suicide.
(The cell phone rings.)
WOMAN: (on screen) Hello?
(A cell phone rings.)
WOMAN: (on screen) Hello?!
(The cell phone continues to ring and is irritating the other members of the audience.)
AUDIENCE: (irritated) Shh!
MAN IN AUDIENCE: (loud whisper) Turn it off!
(The cell phone rings.)
(The USHER walks into the theatre and starts looking for the person with the cell phone.)
WOMAN: (on screen) Burgess! Burgess!
(The phone on the screen hangs up.)
WOMAN: (on screen) Burgess!
(The cell phone in the audience continues to ring.)
WOMAN: (screams) Burgess!
(The USHER finds the MAN sitting in his seat with the cell phone clutched in his left hand and approaches him from one row behind.)
(From on screen comes the sound of glass shattering.)
USHER: (to the man) Excuse me, sir. I'm going to have to ask you to turn the phone off.
(The USHER gets no response from the MAN.)
USHER: Sir? I'll have to ...
(The USHER taps the MAN on the shoulder and he slumps forward, blood oozing out from his mouth and into his popcorn.)
(The cell phone continues to ring.)
CUT TO:
SCENE #02:
[INT. WONDERLAND THEATRE -- NIGHT]
(CATHERINE and GRISSOM walk into the theatre.)
CATHERINE: Whoo! Theaters are like nightclubs; they should always keep the lights off.
(They walk toward the body still sitting in the theatre seat.)
GRISSOM: This is the last art house left in Vegas. I saw Baraka here, on a double bill with Koyaanisqatsi.
CATHERINE: Was there anyone else here?
GRISSOM: Sure.
CATHERINE: With you?
GRISSOM: No.
(GRISSOM and CATHERINE walk through the rows and reach the body. GRISSOM is standing one row behind the body and CATHERINE is in the same row as the body. GRISSOM puts his kit down and both lean over to look at the body.)
(Inspired by the venue, BRASS stands on the other side of the body and starts reciting the victim information as if he were a private eye in a 1940's black and white movie; his voice as smooth as silk.)
BRASS: Thursday night is noir night. The poor sap was slumped over like a sack of potatoes, oozing blood like a broken bottle of ketchup.
(BRASS puts his pretend cigarette to his lips and takes a puff. If he had a hat on, he'd tilt it. GRISSOM looks at BRASS. CATHERINE looks at BRASS.)
(BRASS looks at them both, takes a deep breath and continues to recite information in his usual manner.)
BRASS: His name is Gus Sugarman. Runs a dental practice in Henderson. Cell phone went off three times during the movie. So, the usher finally came over to shut him up.
CATHERINE: Yeah, somebody beat him to it.
(GRISSOM looks down at the wound at the back of the victim's neck.)
GRISSOM: Single puncture wound to the base of the skull.
CATHERINE: And nobody saw anything?
(Everyone straightens and looks around the theatre.)
GRISSOM: They were watching the movie. Dark room. Loud music. Four exits. Everybody looking the other way.
CATHERINE: Professional killer?
GRISSOM: (shrugs) ... or a movie buff.
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
SCENE #03:
[INT. WONDERLAND THEATRE -- NIGHT]
(ROBBINS is in the theatre with GRISSOM and CATHERINE. All are standing around the victim seated in the theatre chair. GRISSOM is looking at the wound at the back of the victim's neck and arguing with ROBBINS.)
ROBBINS: It was "Build My Gallows High", with Robert Mitchum, 1947.
GRISSOM: (shakes his head) It was "Out of the Past", with Robert Mitchum and Jane Greer.
ROBBINS: ... and Kirk Douglas. Trust me, the book was "Build My Gallows High".
CATHERINE: (interrupting) Mr. Siskel, Mr. Ebert, may I have a Cause of Death, please?
(ROBBINS leans over and looks at the wound.)
ROBBINS: Puncture wound is small. Not a knife. Seems like it penetrated all the way to the brain stem, and there's some bruising around the mouth.
GRISSOM: Well, the killer could have stood over him, placed his hand over his mouth, stabbed him in the back of the head.
(Quick flashback to: The killer puncturing something into the back of the victim's neck. End of flashback. Resume to present.)
ROBBINS: Didn't Telly Savalas do that in "The Dirty Dozen"?
GRISSOM: Anthony Quinn did it, too, in "Guns of Navaronne".
ROBBINS: Right.
CATHERINE: Well, what movie did you see this in?
(CATHERINE shines the flashlight at the other side of the victim's neck. Both ROBBINS and GRISSOM lean in to look where they see the abrasions and bruising.)
ROBBINS: Looks like somebody ripped something off his neck.
GRISSOM: Small patterns; could have been a chain, maybe, huh?
(Quick flashback to: The killer grabbing the chain and ripping it from the victim's neck. End of flashback. Resume to present.)
(CATHERINE starts looking on the floor.)
CATHERINE: Or necklace. Oh!
(She drops her flashlight and it starts rolling toward the front of the theatre.)
CATHERINE: Butterfingers.
(CATHERINE leaves the body to go get her flashlight.)
(GRISSOM snaps a photograph of the cellphone then takes it out of the victim's grip.)
ROBBINS: What'd you got?
GRISSOM: Well, whoever called him didn't leave their number.
(GRISSOM checks the list of calls received from the cell phone.)
(Meanwhile, CATHERINE is a few rows in front of the victim where her flashlight stopped rolling. She looks down and finds the murder weapon, a screwdriver, next to the flashlight on the floor. She picks it up and holds it up to examine.)
CATHERINE: (calls out) Hey! I wasn't the only one who dropped something tonight.
(BRASS appears at the top of the theatre near the doorway.)
BRASS: (calls out) I got a witness.
CUT TO:
SCENE #04:
[INT. WONDERLAND THEATRE - LOBBY - NIGHT -- CONTINUOUS]
(BRASS and GRISSOM interview the witness.)
MOVIE GOER: I only noticed 'cause she got up during the best part of the movie, right before the gunfight.
GRISSOM: Is the gunfight loud?
MOVIE GOER: Yeah. I mean it's not THX surround-sound. This was 1950 and mono optical track. (He chuckles, then stops when they don't laugh with him. He explains.) I like how loud this theater keeps it.
GRISSOM: Perfect moment to do it. Cover up any noise the victim might make.
BRASS: You get a look at her?
MOVIE GOER: I drove forty minutes to see this flick; my eyes were on the screen, but, uh, she was tall, not old ... a redhead.
GRISSOM: Did she come back in?
MOVIE GOER: No. And, uh ...
(He looks around at the crowd of people outside the theatre.)
MOVIE GOER: I-I don't see her here.
GRISSOM: Did anyone see her coming into the lobby?
BRASS: Well, manager had left for the night. The usher who found the body had left before we got here. He had been smoking blunts. He was afraid we were going to bust him for marijuana. I'll be tweaking him when I call him for my statement.
MOVIE GOER: If you ask me, anybody who leaves their phone on in a movie deserves to get stabbed in the head.
BRASS: That's why nobody ask you.
CUT TO:
SCENE #05:
[EXT. WAREHOUSE -- DAY]
(NICK, WARRICK and SARA get out of their cars and make their way past the gathering police cars. They head toward the warehouse and meet up with DET. O'RILEY.)
NICK: Detective.
O'RILEY: Guys ...
WARRICK: Who called it in?
(They walk under the crime scene tape toward DET. O'RILEY. The four of them walk toward the warehouse.)
O'RILEY: Passing motorist heard gunshots. First officer did a drive up. Found the scene. Called in the world. I hope you brought extra supplies.
SARA: Why's that?
O'RILEY: You're gonna be here awhile.
(DET. O'RILEY opens the warehouse door. The CSIs look at the scene inside in amazement. In the middle of the empty warehouse is the body lying face down on the floor. The walls are riddled with bullet holes that are visible with the sunlight streaming in through them.)
NICK: Looks like a war zone.
[INT. WAREHOUSE - DAY - CONTINUOUS]
(They walk inside toward the body.)
WARRICK: We got an I.D. On the body?
O'RILEY: No cash, no I.D., just a driver's permit.
WARRICK: Driver's permit.
(WARRICK leans forward and looks at the body.)
SARA: What is he, 16?
O'RILEY: Fifteen-and-a-half. Timmy McCallum. Coroner's on his way.
WARRICK: (to O'RILEY) Tell them to watch their step. There's casings and blood everywhere.
(WARRICK stands up and turns around to SARA and NICK.)
WARRICK: Divide and conquer. Inside or outside?
SARA: Outside perimeter.
(SARA heads outside.)
NICK: I'm Dennis Rodman.
(NICK turns and walks out. WARRICK turns back toward the body.)
WARRICK: I'll take everything below the knees.
CUT TO:
SCENE #06:
[INT. CSI - PRINT LAB -- DAY]
(Camera close up of the screwdriver found in the theatre. GREG is holding the screwdriver and looking at it with JACQUI FRANCO and CATHERINE.)
GREG: Question is not what we're going to find on the murder weapon; question is what isn't on it. (beat) The sticky substance?
CATHERINE: Soda.
JACQUI FRANCO: Yellow crumbs?
CATHERINE: Popcorn.
GREG: Carpet fibers.
CATHERINE: It wasn't the cleanest theater in the world. I just want to match the blood to our victim.
JACQUI FRANCO: And you want to know if there's a recoverable print.
CATHERINE: Uh-huh.
(GREG and JACQUI look at each other. CATHERINE smiles at the two lab techs in front of her.)
GREG: You want to race?
JACQUI FRANCO: What's the bet?
GREG: (thoughtfully) Hmm ...
CUT TO:
SCENE #07:
[INT. CSI - PRINT LAB -- DAY]
(JACQUI carefully takes the substances stuck on the screwdriver off, cleaning it as much as she can. She opens the plastic fume container, then adds a couple of drops to the dish. she puts the dish on the heater and the screwdriver inside the container. She replaces the fume hood on the container and lets the fumes cover the screwdriver. She walks away.)
(Camera close up as the prints appear on the screwdriver.)
CUT TO:
SCENE #08:
[INT. CSI - A/V LAB -- DAY]
(Camera opens on a NEVADA DRIVER'S LICENSE with the following information.)
[...066733 050492
R360021
(GUS SUG)ARMAN
-ALLE MATRIA
(LAS VEG)AS, NV 89233
RESTR: NONE
WEIGHT: 185
HAIR: BRN
EYES: BRN
EXPIRATION DATE: 9/02/05 ]
ARCHIE: Is that our guy?
(ARCHIE looks at GRISSOM who sits next to him looking at the monitor. GRISSOM nods.)
ARCHIE: Phone company unblocked all his private numbers for us.
GRISSOM: They can do that now?
(ARCHIE looks at GRISSOM and smiles.)
ARCHIE: Yeah. (The monitor shows the list of calls.) On the left side of the screen are the outgoing calls. On the right, the incoming. What time did the movie start?
(GRISSOM looks at the paper.)
GRISSOM: Ten-forty.
ARCHIE: Last outgoing call your vic made was at 10:38. 555-0110. Twenty-six seconds.
GRISSOM: That sounds like a no answer.
(ARCHIE highlights the two calls from the list:
.10 4/10 - 11:26 Las Vegas, NV 555-0110
4/10 - 11:27 Las Vegas, NV 555-0110
4/10 - 11:28 Las Vegas, NV 555-0110 )
ARCHIE: Yeah, but 555-0110 was the number that called him three times in a row: 11:26, 11:27 and 11:28. Someone needed to talk to him pretty bad.
GRISSOM: Yeah, well, he was already dead by then.
ARCHIE: Dr. Robbins was that accurate with the T.O.D.?
GRISSOM: That's when the gunfire erupted.
ARCHIE: There was gunfire?
GRISSOM: In the movie. I'll need an address for that number.
(GRISSOM stands up.)
CUT TO:
SCENE #09:
[INT. WAREHOUSE -- DAY]
(NICK stands in the middle of the warehouse and looks at the bullet-riddled
walls with the sunlight streaming through them.)
(Cut to: NICK starts to mark every bullet hole with a marker rod.)
(Dissolve to: NICK stands on a ladder and continues to mark the bullet holes
with marker rods. He's about halfway done with the first wall.)
(Dissolve to: NICK stands on the ladder and continues to mark bullet holes.
He's about three-quarters done with the first wall.)
(Dissolve to: NICK stands on the ladder and nearly finishes the first wall.)
(Cut to: WARRICK picks up a beer bottle and pours its contents into a
container. It's the first of many beer bottles. He caps the container and
marks it. He puts the empty beer bottle into a package.)
[EXT. WAREHOUSE - DAY -- CONTINUOUS]
(SARA takes pictures of the tire treadmarks on the road.)
(Cut to: SARA walks the warehouse perimeter and finds prints on the ground.
She takes pictures of those also.)
(Cut to: SARA finds a wooden ladder to the roof of the warehouse leaning
against the wall. She looks up where she sees the end of a long bamboo pole
sticking out the side of the rooftop.)
[INT. WAREHOUSE - DAY - CONTINUOUS]
(WARRICK has evidence markers on the ground next to each of the bullet shell
casings that he finds. He kneels down and puts marker #40 down. He looks
around.)
(WARRICK takes a step over some markers and puts marker #63 down on the ground.
Behind him, the coroner's office carries the body.)
(Dissolve to: WARRICK puts down evidence markers #68 & #69 down on the ground.
Behind him, the coroner's office wheels out the victim's body on a gurney.)
(Cut to: WARRICK puts down evidence markers #96 and #97 down on the ground. He
looks around for more bullet casings.)
CUT TO:
SCENE #10:
[INT. WAREHOUSE - DAY -- CONTINUOUS]
(SARA walks into the warehouse carrying a very long bamboo pole. NICK is on the
ladder and finishing up the final wall.)
SARA: Hey, guys. What do you make of this piece of bamboo? I found it on the
roof.
NICK: Bag it.
SARA: That's funny. Very funny.
(WARRICK sees something in the middle of the warehouse floor. It looks like
small pieces of glass. He walks in for a closer look.)
(SARA look up and notices something in the ceiling.)
SARA: Did you get the hole in the roof?
(NICK also looks up at the ceiling.)
NICK: You find anything else up there?
SARA: No.
WARRICK: Got some shards of glass. Clear in color. (WARRICK holds up a piece
of glass and puts it in a container.) Mixed with small pieces of black plastic.
(WARRICK picks up a piece of black plastic and puts it in a
WARRICK: You almost finished with that? What's your count?
NICK: Yeah. 109 rods.
WARRICK: 109 bullets?
NICK: How in the world do trajectories occur 15 to 20 feet off the ground?
Horizontally?
SARA: What in the hell went on here?
CUT TO:
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
SCENE #11:
[EXT. HILDEN RESIDENCE -- DAY]
(The front door opens.)
GRISSOM: Audrey Hilden?
AUDREY HILDEN: Yes.
CATHERINE: We're with the Las Vegas crime lab. Do you know a Gus Sugarman?
AUDREY HILDEN: Why don't you come inside. Please.
(GRISSOM glances at the driveway behind them. He and CATHERINE enter the
residence.)
CUT TO:
SCENE #12:
[INT. HILDEN RESIDENCE - DAY --CONTINUOUS]
(GRISSOM and CATHERINE interview AUDREY HILDEN in her living room.)
AUDREY HILDEN: He was my dentist. That's terrible. He'd asked me to go to the
movies, and I said yes, but ... it was a late show, and I had to get up early
for work.
CATHERINE: Well, we know that Dr. Sugarman called you at home two minutes
before the movie started, and that you didn't pick up.
AUDREY HILDEN: I was screening. I figured he'd get my message.
GRISSOM: And why did you call him three times in a row, 40 minutes later?
AUDREY HILDEN: I felt bad standing him up. I called to apologize. I figured
I'd get his voice mail, but when I didn't, I tried again.
CATHERINE: And you were here alone?
AUDREY HILDEN: Yes.
CATHERINE: Can anyone verify that?
AUDREY HILDEN: (shakes her head) Why?
(The phone rings. AUDREY HILDEN doesn't move to answer it.)
CATHERINE: Still screening?
(AUDREY HILDEN looks at CATHERINE then moves toward her telephone where she
turns the volume down just as the answering machine kicks on.)
(GRISSOM walks around and examines the surroundings. He sees an April calendar
for the Wonderland Theatre pinned to her bulletin board.)
(AUDREY HILDEN moves to stand between GRISSOM and the theatre calendar he's
interested in.)
GRISSOM: Do you see a lot of movies at the art house theater?
AUDREY HILDEN: Sure. I love old movies.
GRISSOM: I see they recently had a Hitchcock retrospective.
AUDREY HILDEN: I prefer French new wave. If you'll excuse me now, I have to go
to work.
CATHERINE: We'll be in touch.
(GRISSOM and CATHERINE move to leave.)
CUT TO:
SCENE #13:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(ROBBINS pulls the sheet on the body down to show WARRICK the victim's torso and
the purple bruises on it. They both lean in to examine them.)
WARRICK: Geez, what was this kid, tortured?
ROBBINS: Couple of fractured ribs. Deep purple contusions of the presternal
chest wall. Each one around two inches in diameter. I stopped counting around
nine.
WARRICK: What do you think could've done this? Baseball bat?
ROBBINS: It's hard to tell. Whatever it was, it had a great deal of velocity.
WARRICK: Yeah.
ROBBINS: Cause of Death: Single gunshot to the chest. No evidence of gunshot
residue.
WARRICK: Shot from a distance.
ROBBINS: Yeah.
(WARRICK picks up a rod and inserts it into the bullet hole to see the angle.)
WARRICK: And at a downward angle ... it's, uh ... it's about 25 degrees. He
was shot from above.
(Quick flashback to: TIMMY McCALLUM is having a beer with his friend. Someone
stands at the top of the warehouse and shoots. It hits TIMMY. End of
flashback. Resume to present.
WARRICK: Rooftop angle is 45 degrees. This is 25 degrees? It's impossible.
ROBBINS: If that's the case, he was shot by somebody 10 to 15 feet tall.
WARRICK: What else you got?
ROBBINS: Scabbing abrasions on the elbows, the back and kneecaps.
(ROBBINS lifts the sheet to expose the victim's right leg.)
ROBBINS: Looks to be harmless "boys will be boys" stuff.
WARRICK: There's nothing harmless about death.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #14:
[INT. CSI - PRINT LAB]
(GRISSOM and CATHERINE walk into the lab.)
CATHERINE: (smiling) Don't tell me -- Greg won the bet.
(JACQUI FRANCO turns around to look at them. On her head, she's wearing GREG'S
"swami" turban.)
JACQUI FRANCO: The blood on the screwdriver definitely belongs to your victim.
It was incredible how fast he got me back the results. I don't know how he does
it. (disgusted) Now I got to wear this stupid thing all day.
(Behind her, there's a knock on the glass. JACQUI turns to look. It's GREG.
He smiles and waves at her.)
JACQUI FRANCO: (disgruntled) Oh, look at him, hovering. Making sure I still
have it on. (to GRISSOM) Do us all a favor and get him out in the field, will
you, he's going stir crazy in here.
GRISSOM: Jacqui, do you have anything for us?
JACQUI FRANCO: A palm print.
CATHERINE: (chuckles) Oh, great. Let's, uh, go back to Audrey's and see if we
have a match.
JACQUI FRANCO: Not quite.
(JACQUI turns the laptop monitor toward them to show them close-up pictures of
the prints on the screwdriver.)
JACQUI FRANCO: Look at the ridges.
GRISSOM: Too consistent. (The pictures of the prints on the screwdriver
change.) Looks like fine grain.
JACQUI FRANCO: Leather. Killer wore gloves.
(GRISSOM looks at JACQUI.)
CUT TO:
SCENE #15:
[INT. CSI - HALLWAY]
(BRASS walks up to GRISSOM and CATHERINE.)
BRASS: Okay ... here's what's happening -- three months ago, Audrey Hilden
filed a sexual malpractice suit against our Dr. Sugarman. The suit claims that
she was molested while she was under anesthesia.
CATHERINE: And she was going on a date with this guy?
BRASS: Yeah. Sugarman counter-sued. He's represented by big-time attorneys,
so she backed down.
GRISSOM: Well, a screwdriver's cheaper than an attorney.
BRASS: (chuckles) Yeah. Well, uh, there's more. Remember the usher who likes
to smoke the chronic? He claims he saw a redheaded woman make a phone call
halfway through the movie, so I'm going to check it out.
(BRASS turns to leave.)
BRASS: Want to tag along?
(GRISSOM glances at CATHERINE. They both follow BRASS.)
CUT TO:
SCENE #16:
[INT. CSI -- LAB]
(SARA prints the bamboo rod round at the warehouse rooftop.)
WARRICK: (o.s.) This where the limbo party is?
(SARA looks up toward the door and sees WARRICK standing outside just beyond the
crime scene tape SARA stuck across the door.)
WARRICK: Can I come in?
(WARRICK ducks under the tape and enters the room.)
SARA: Yeah. Sorry, I don't let everyone in here.
WARRICK: Well, I've got your one-to-ones. The tire treads, there's nothing
specific here.
SARA: Bummer.
WARRICK: But the shoe prints that you took, they look interesting. It looks
like five suspects walked in, and four ran out.
(WARRICK shows her the photograph of the shoe prints taken from the ground
outside the warehouse. They're marked and color-coded on the photograph.)
SARA: Four guilty people out there somewhere.
WARRICK: No doubt. How's it coming with your big bamboo here?
SARA: Well, I have black lung from all the powder, and not a single print,
nothing, nada.
WARRICK: You test for GSR? The place was riddled with bullets-- it wouldn't
hurt.
SARA: (agrees) Wouldn't hurt.
SHORT TIME CUT TO:
SCENE #17:
[INT. CSI -- LAB]
(WARRICK and SARA test the bamboo for GSR.)
SARA: Nothing.
WARRICK: Maybe this has nothing to do with the case. Maybe it was just a piece
of debris left at the scene.
SARA: (rejects that notion immediately) No, no. I-I'm not quitting. No. I
am in too deep.
(SARA picks up the bamboo and heads out the door. WARRICK ducks under the tape
to stand in the hallway looking out at SARA'S retreating back.)
[INT. CSI - HALLWAY - CONTINUOUS]
WARRICK: Where you going?
SARA: (calling out) Trace. Maybe Hodges can find something.
(SARA nearly pokes a TECH in the gut with the bamboo. He dodges her.)
SARA: (warning) Oh, coming through.
LAB TECH: Whoa!
SARA: Careful, people. Easy.
(The LAB TECH heads for WARRICK.)
LAB TECH: Hey, Brown. PD called. Mrs. McCallum's there.
WARRICK: The mother. Tell them I'm on my way.
(The LAB TECH leaves.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EARLY EVENING]
SCENE #18:
[INT. WONDERLAND THEATRE - LOBBY]
(BRASS, GRISSOM and CATHERINE interview the USHER.)
USHER: I was getting myself a soda. You know, we're allowed to do that. A
tall redhead came out of the theater, and then she made a phone call from over
there.
(He indicates the pay phone on the side of the lobby. They all turn to look at
the phone.)
(Quick flashback to: The Tall Redhead walks out of the theatre and heads for
the phone. She picks up the receiver. The USHER turns and notices her as he
takes a drink of his soda. End of flashback. Resume to present.)
(They all turn back to the USHER.)
BRASS: From the pay phone?
(BRASS looks at GRISSOM who doesn't say anything.)
BRASS: What? I ... what? I'm on it. I'm on it.
(BRASS leaves.)
CATHERINE: Did you happen to notice if she was wearing gloves?
USHER: Yeah, she was, actually. I thought it was really weird, 'cause it's,
like, seventy in here.
GRISSOM: Did you notice anything else?
USHER: No. She just threw something in the trash and headed out.
(GRISSOM and CATHERINE head for the trash can near the pay phone. GRISSOM lifts
the cover of the can and they both look inside. GRISSOM and CATHERINE turn to
look at the USHER who knows that the can is empty.)
USHER: (explains) The cleaning crew's in the theater now. They got a late
start 'cause of you guys.
(CATHERINE heads for the theater. GRISSOM replaces the cover back on the can
and follows her.)
CUT TO:
SCENE #19:
[INT. WONDERLAND THEATRE - MAIN THEATRE -- CONTINUOUS]
(CATHERINE enters the theatre. She walks up to the older cleaning woman.)
CATHERINE: Excuse me.
(The CLEANING WOMAN looks up.)
CATHERINE: What happened to the garbage that was in the can in the lobby?
CLEANING WOMAN: Well, it's already been bagged up, but it should be around here
somewhere.
(Inside one of the seating rows, the Younger Cleaning Woman cleans off one of
the seats. She's wearing a pair of expensive-looking leather gloves. GRISSOM
walks into the theatre and immediately notices her.)
GRISSOM: Excuse me. Where'd you get those gloves?
(The Younger Cleaning Woman looks at the Older Cleaning Woman.)
CLEANING WOMAN: (answers) If it's garbage, it's hers. They let us keep
whatever we find as long as it's been thrown out.
(GRISSOM takes out some money.)
GRISSOM: I'll tell you what -- I'll buy you a new pair of gloves.
(He holds out three bills to her. The Younger Cleaning Woman looks at the Older
Cleaning Woman. She nods her head.)
CUT TO:
SCENE #20:
[INT. CSI - DNA LAB]
(GREG is working in his lab and singing softly to himself. He appears to be
extremely bored. Behind him, we can see NICK heading toward GREG. He manages
to hear the last part of GREG'S song.)
GREG: 99 bottles of beer on the wall / 99 bottles of beer / you swab one down /
run it through CODIS / 98 bottles of beer on the wall.
NICK: Whatever happened to "take one down, pass it around"? That's the best
part.
GREG: You know us lab rats have to do something to get through the day.
NICK: I know, I just dumped a sack of bullets on Bobby Dawson. So, why don't
you sing me a tune I want to hear?
GREG: Well ... how about. Harold Melvin and the Blue Notes. He ain't heavy
... (NICK shakes his head slightly.) ... He's my brother ...
NICK: DNA? From the beer bottles?
GREG: Five different donors -- two of them are related. Donor number one, Tim
McCallum, the victim; donor number two, his relative, most likely a brother.
(GREG hands NICK the results.)
GREG: No telling if he's heavy or not.
CUT TO:
SCENE #21:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(WARRICK interviews MRS. McCALLUM and her son, KEVIN McCALLUM.)
WARRICK: I'm very sorry for your loss, Mrs. McCallum. (She nods. WARRICK
turns to look at KEVIN.) Are you Timmy's brother?
(KEVIN McCALLUM slowly raises his head to look at WARRICK. But before he can
say anything, his mother answers.)
MRS. McCALLUM: (answers) Yeah.
(KEVIN turns to look at his mom.)
MRS. McCALLUM: (to WARRICK) Kevin's the only son I have left.
WARRICK: We were able to identify Timmy by the driver's permit that we found at
the scene. Had he been driving long?
MRS. McCALLUM: A few months. I know that law says you're supposed to have an
adult present, but I work graveyard. Kevin usually drives with him.
WARRICK: What kind of car does Timmy drive?
MRS. McCALLUM: We have a mini-van. It's more safe.
WARRICK: (to MRS. McCALLUM) This is an ongoing investigation, so we are going
to need to see that vehicle. (MRS. McCALLUM nods. To KEVIN) Do you ever drive
the mini-van, Kevin?
KEVIN McCALLUM: Sometimes, yeah.
WARRICK: Did you drive Timmy to the warehouse the other night?
KEVIN McCALLUM: No.
MRS. McCALLUM: What warehouse?
WARRICK: We have reason to believe that Kevin was at the warehouse that night.
We found his DNA on some beer bottles.
MRS. McCALLUM: (surprised) Beer? (she turns to her son) Kevin ...
KEVIN McCALLUM: Mom ... I bought beer for Timmy. I don't do it all the time.
He begged me. He ... he said he was going out partying with some friends.
(Quick flashback to: KEVIN passes the six pack to TIMMY through the car window.
He grabs a bottle for himself.)
KEVIN McCALLUM: If mom catches you with these, you didn't get them from me.
TIMMY McCALLUM: Bro, there's one missing.
KEVIN McCALLUM: I got thirsty.
(KEVIN takes a sip and passes the open bottle to TIMMY. TIMMY turns away and
KEVIN drives off.)
KEVIN McCALLUM: Later, freak.
(End of flashback. Resume to present.)
KEVIN McCALLUM: I took a sip-- I gave him the rest of the 12-pack. Sorry, mom.
MRS. McCALLUM: Mr. Brown, I don't know what to say. I'm a single mother ... I
work nights, and you can't keep your eyes on your kids all the time. At a
certain age, you just have to trust them.
WARRICK: I understand. We are going to need to keep Kevin here to ask him some
more questions about that night. Do you object?
MRS. McCALLUM: N-no.
CUT TO:
SCENE #22:
[INT. CSI - TRACE -- NIGHT]
(HODGES looks up from the scope.)
HODGES: Spiral gouges. Check it out.
(He moves aside for SARA to see. SARA looks through the scope.)
SARA: From tip to tip. What do you think caused these marks?
HODGES: Give me more time -- I'm not a miracle worker.
SARA: Well, that's obvious, Hodges. If you were a miracle worker, you wouldn't
be rude.
HODGES: I wasn't being "rude", I was being "curt". "Rude" would be, "When I
know, you'll know." (beat) Friends?
(HODGES smiles sarcastically at SARA. SARA shakes her head.)
SARA: (smiling tightly) No.
(WARRICK walks into the lab.)
WARRICK: (easily) Hodges, how's it coming with that glass?
(HODGES taps another scope indicating that WARRICK look and see. WARRICK looks
at the scope.)
WARRICK: Looks like there's some kind of coating on it.
HODGES: More specifically, crystallized calcium fluoride.
(SARA looks at the scope.)
SARA: You ran it through the I.R.?
HODGES: Please. I.R. says "fluorspar". I say "high-end optics".
SARA: Camera lens.
WARRICK: You think someone has this murder on tape?
CUT TO:
SCENE #23:
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
(GRISSOM and CATHERINE confer with BRASS.)
CATHERINE: So, the gloves match the palm print on the murder weapon as well as
the pay phone in the theater lobby. Unfortunately, there was no epithelials
inside the gloves because the cleaning woman had ammonia on her hands.
BRASS: Ah, I see. Well, according to this, a phone call was made from the
theater lobby to Audrey's home at 11:25.
(GRISSOM holds up another phone listing.)
GRISSOM: Well, Audrey called Dr. Sugarman's cell from her home at 11:26.
CATHERINE: Well, obviously, she didn't make it home in one minute.
BRASS: We're looking for someone else.
GRISSOM: The mysterious redhead in the theater?
BRASS: Maybe Audrey hired a pro who called up to say, uh, "It's done."
CATHERINE: Well, if she couldn't afford a powerful attorney, how did she pay
for a hit man?
GRISSOM: Hit woman.
BRASS: Why don't we ask her?
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
SCENE #24:
[EXT. HILDEN RESIDENCE - FRONT PORCH -- NIGHT]
(BRASS knocks on the front door.)
(He pauses and listens.)
BRASS: You hear that? Phone's off the hook.
(BRASS knocks on the door again. When there's no answer, he tries the door.
It's locked. He starts looking around.)
BRASS: There must be another way in.
(BRASS leaves the front porch.)
CUT TO:
SCENE #25:
[INT. HILDEN RESIDENCE - NIGHT -- CONTINUOUS]
(With his weapon in hand, BRASS pushes the partially opened sliding door open
and walks into the residence. CATHERINE and GRISSOM follow. The telephone is
off the hook and is beeping.)
(As they walk in, they notice the phone on the counter.)
(They walk into the living room and find AUDREY HILDEN hanging suspended in the
middle of the living room from a cord tied from around her neck to the second
story banister.)
CATHERINE: She used an extension cord and tied it to the railing and must have
jumped off.
(GRISSOM looks down and notices a chain on the floor. He cautiously picks it up
to look at it. BRASS phones it in.)
BRASS: (to phone) (b.g.) Yeah, this is Brass. I got a DB. (pause) Yeah.
(beat) Well ...
(Quick flashback to: GUS SUGARMAN sits in the theatre, dead. The killer
reaches out and rips the chain from his neck. End of flashback. Resume to
present.)
(GRISSOM holds up the chain and looks at it.)
CATHERINE: Our only suspect apparently commits suicide. (beat) Convenient.
GRISSOM: (agrees) Too convenient.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #26:
[INT. HILDEN RESIDENCE -- NIGHT]
(GRISSOM examines the marks on the victim's neck.)
GRISSOM: (loudly) Catherine ... she's got a whole 'nother set of horizontal
marks on her neck, below the cord. And postmortem bruising. I think she was
strangled first and then hanged.
(Quick flashback to: AUDREY HILDEN fights off her attacker who has a firm hold
on her neck. End of flashback. Resume to present.)
(GRISSOM continues to examine the body. This time paying close attention to the
victim's feet and legs.)
(CATHERINE is on the second floor looking around.)
CATHERINE: No signs of a break-in ... or a struggle. She may have been killed
by someone she knew.
GRISSOM: She was dragged. She's got carpet fibers on her heels.
(Quick flashback to: The killer drags AUDREY HILDEN across the floor. End of
flashback. Resume to present.)
CATHERINE: Yeah, she was dragged over here, tied off and shoved over.
(Quick flashback to: The killer lifts up AUDREY HILDEN and pushes her over the
second floor balcony. AUDREY never hits the floor, her body jerks as it reaches
the end of the short cord. End of flashback. Resume to present.)
(GRISSOM holds up his flashlight and looks at something in particular across the
room. CATHERINE joins GRISSOM and notices his intent on something.)
CATHERINE: You got something?
(GRISSOM indicates the now empty section of the bulletin board with a thumbtack
that has a bit of pink paper stuck underneath. He stares at it.)
GRISSOM: When we were here earlier, there was a movie schedule pinned up there
that had a handwritten note on it. I'm not sure she wanted me to see it. Now
it's gone.
CATHERINE: Maybe she threw it away.
(CATHERINE walks over to the trash can in the room and checks it. The playbill
isn't there.
(Cut to: GRISSOM pushes the bathroom door open and turns on the light. He
checks the trash can and notices the water on the floor near the toilet bowl.
He checks the toilet bowl and notices that it's clogged.)
(GRISSOM takes the plunger and unclogs the bowl. He sticks his hand in the
water and pulls out a crumpled pink paper. He checks it.)
CUT TO:
SCENE #27:
[INT. CSI - GARAGE -- NIGHT]
(WARRICK checks the tire tracks taken from the warehouse to the tires of the
McCALLUM'S mini-van. He puts the clear plastic tracks over the tire.)
WARRICK: Venus and Serena. Perfect match.
(Cut to: WARRICK opens the door and checks the inside of the mini-van. He
finds the torn beer carton that bears the price tag: "JENKO LIQUOR" 10.29.)
(He checks the door and notices red pots. He checks it and it turns dark pink.)
CUT TO:
SCENE #28:
[INT. POLICE DEPARTMENT - INVERVIEW ROOM -- NIGHT]
(DET. O'RILEY sits at the table with KEVIN McCALLUM.)
KEVIN McCALLUM: Timmy's 15, I'm 18. He's got his friends, I got my friends.
We don't do the same things. We don't hang together.
O'RILEY: Evidence says you were there. You want to go down for suspicion of
murder?
(KEVIN McCALLUM sighs.)
[OBSERVATION ROOM - CONTINUOUS]
O'RILEY: (over speaker) Or you want to stop digging your own grave?
NICK: Just talked to Bobby Dawson. All the bullets came from the same gun:
Nine-millimeter semi-automatic. How's this going?
WARRICK: I found a 12-pack container in the McCallum minivan. Sales slip said
"Jenko Liquors."
NICK: I'll check the surveillance, see if we can get some footage of this guy.
(In the Interview Room, NICK watches as KEVIN McCALLUM shifts and brings his
left hand up to show a blood stain on his shirt.)
NICK: What is that on his elbow?
SHORT TIME CUT TO:
SCENE #29:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- CONTINUOUS]
(KEVIN McCALLUM looks up at NICK and WARRICK both standing next to the table
watching him.)
KEVIN McCALLUM: It's just a scab. Got it skateboarding.
NICK: Can we see it?
(KEVIN sighs.)
WARRICK: Peel it back.
(KEVIN takes off the bandage and shows the cut. It doesn't look like it came
from skateboarding. It looks like he was grazed by a bullet.)
WARRICK: Skateboarding? Why don't you stand up and take off your shirt.
KEVIN McCALLUM: Don't you guys need a warrant for that?
O'RILEY: We get a warrant, and we're going to strip you down to nothing, then
ask you to bend over-- choose.
(Not liking the sound of that option, KEVIN exhales. He stands up and takes off
his shirt to expose bruising on his body similar to those found on TIMMY.)
WARRICK: Geez, man, what happened to you? Turn around.
(KEVIN turns around. The bruises are on his back as well.)
WARRICK: Those are the same markings your brother had. You want to tell us
what went down here?
KEVIN McCALLUM: I can't talk about it. I'm sorry.
NICK: Hey, listen, if-if you're the victim here, you can tell us. Okay?
WARRICK: Kevin, who did this to you, man?
(KEVIN looks at him and doesn't say anything.)
CUT TO:
SCENE #30:
[INT. CSI -- LAB]
(CATHERINE and GRISSOM work on the water-logged piece of paper.)
CATHERINE: Well, there's an awful lot of water damage, but, um ... there's some
kind of an impression.
GRISSOM: Well, maybe this will bring it up.
(GRISSOM puts the paper under the machine. The computer beeps and whirs. The
schedule appears on the monitor. GRISSOM focuses on the writing right above
Alfred Hitchcock's, "Strangers On A Train".)
GRISSOM: It's written above "Strangers On A Train"
CATHERINE: (echoes) "Strangers On A Train." Is that the one with the perfect
murder?
GRISSOM: Two strangers meet on a train, make a pact to get rid of each other's
problems. They figure since neither has a motive for the killings, they won't
be caught.
CATHERINE: Life imitating art?
GRISSOM: In the movie, Robert Walker kills Farley Granger's wife. Granger
didn't think he was serious, so when he refuses to kill walker's father, walker
goes after him.
CATHERINE: So if Audrey is Farley Granger ...
GRISSOM: Who's playing Robert Walker's part?
(GRISSOM turns back to the monitor and works on clearing up the writing on the
schedule.)
CATHERINE: "Sphere E4-117." Well, that's got to be the Sphere Hotel.
GRISSOM: It's not a hotel room, though.
CATHERINE: Locker, safety deposit box ...
GRISSOM: ... parking space, maybe.
CATHERINE: Yeah.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
SCENE #31:
[INT. SHOW -- NIGHT]
(BRASS, CATHERINE and GRISSOM question the show's manager. BRASS holds out a
photograph of the victim.)
ANTHONY HAINES: Audrey who?
BRASS: Hilden.
ANTHONY HAINES: Naw. I never heard of her. What's this about?
CATHERINE: E4-117. Your assigned parking space. It was written on a movie
schedule we found in Ms. Hilden's home.
ANTHONY HAINES: Well, look, I meet a lot of women. She a dancer? She work for
me before?
(A showgirl walks past the group and into the dressing room.)
ANTHONY HAINES: (to MICHELLE) Hey, Michelle. Mmm!
(He whacks MICHELLE on her butt as she passes by. This gets a reaction from
CATHERINE.)
ANTHONY HAINES: I'll tell you guys something: This show is very hot, all the
chicks want to be in it, and actually, they, uh, got to go through me.
(GRISSOM sees something interesting to him inside the dressing room and walks in
without a word to anyone.)
BRASS: Ever been to the Art House Movie Theater?
ANTHONY HAINES: No. Where's that?
CATHERINE: Have you ever seen any Hitchcock movies? (from outside) "Strangers
On a Train"?
(GRISSOM sees the exact same WONDERLAND THEATRE schedule stuck on the mirror.)
BRASS: (from outside) Alfred Hitchcock?
GRISSOM: Mr. Haines? (GRISSOM points to the station with the movie schedule.)
Whose station is this one?
(He sticks his head in through the doorway.)
ANTHONY HAINES: Oh, that's Kelly Goodson's. Royal pain in the ass.
(He turns back to BRASS and CATHERINE. GRISSOM moves along and starts looking
around the dressing room. In the background the show music starts.)
(GRISSOM looks inside the open locker and finds a business card for "Langly &
Langly" / Attorneys at Law.)
(The dancers walk back into the dressing room. GRISSOM looks up and notices
some creams and tubes on the top shelf of the locker.)
KELLY GOODSON: Can I help you? That's my locker.
GRISSOM: It was open.
KELLY GOODSON: You always snoop through other people's things?
(KELLY GOODSON turns to her dressing station and takes off her red wig. She
puts it on the wig stand. GRISSOM watches her.)
GRISSOM: I'm with the crime lab. I'm a professional snoop. Do you, uh ...
ever wear that wig en you go out?
(KELLY GOODSON turns back to her locker and takes out the tube and small
container of cream. She sits back down in the chair in front of her station.)
KELLY GOODSON: I never get to go out. Two shows a night, three on weekends.
Why? You have something in mind?
GRISSOM: Do you like the movies? I, uh, noticed you have an art house theater
schedule on your mirror.
KELLY GOODSON: Yeah, I've been there a few times.
GRISSOM: Ever seen "Strangers On a Train"?
(She pauses to think about it, then shakes her head. She looks up at GRISSOM.)
KELLY GOODSON: No. Is it any good?
GRISSOM: Yeah, it's good. (He watches her put the cream on her hands and rub
her hands together.) You use a lot of creams, huh?
(She raises her leg straight up to the ceiling and starts putting cream on her
leg.)
KELLY GOODSON: Sixteen shows a week in these shoes, your legs would be killing
you, too.
GRISSOM: Is that your own recipe?
KELLY GOODSON: What was it you said you do for a living?
GRISSOM: I'm a scientist.
KELLY GOODSON: (looks at GRISSOM and hints) And, um, I'm up in five minutes,
so ... you mind?
GRISSOM: No. I don't mind.
(GRISSOM doesn't move. KELLY GOODSON reaches behind her and unsnaps her top.)
(Brassy music in background ends with a flourish.)
CUT TO:
SCENE #32:
[INT. CSI -- LAB]
(SARA is behind the computer, typing. WARRICK rushes into the lab and takes the
seat next to her.)
WARRICK: I'm sorry I'm late. What bullet are you on?
SARA: 109, finally. Height, distance, angle. This has been a very laborious
shift. Are you in the mood for a light show?
WARRICK: Yeah, hook it up.
(SARA runs the computer program and for the brief moment, it shows the
trajectory of all the bullets at random intervals.)
WARRICK: The trajectory is all pointing in one uniform area. Looks like some
kind of a pole.
SARA: Or a bamboo stick.
(WARRICK gives a weary laugh.)
WARRICK: The whole case has been like this. It's like you can't wrap your head
around it, you know?
SARA: A bamboo cane with black swirls descending downward, no GSR, 109 rods,
109 bullets, all fired from the same gun.
WARRICK: Camera glass, blood droplets everywhere, DNA that says five people
were there, one boy's dead, one boy's injured, and he ain't sayin' nothin' ...
(sighs) Is this the end of the road?
SARA: Forensically?
(She turns to look at WARRICK)
SARA: Yes.
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
SCENE #33:
[INT. CSI - HALLWAY -- NIGHT]
(NICK runs into SARA in the hallway as she comes down the stairs.)
SARA: Hey.
NICK: Hey, Sara, I was just coming to get you. Surveillance footage from Jenko
liquor. Archie just put together some black-and-white stills. Check it out.
Kevin, the older brother, buying beer.
(NICK hands SARA a photograph of KEVIN in the liquor store purchasing the beer
at the counter. In the back aisle is a boy bending over, his back to the
camera. The date and time stamp on the bottom of the picture reads: 04/02/03
20:27.)
SARA: Looks like he wasn't alone.
NICK: No, you're right. He had four other friends with him, including Timmy.
(NICK hands SARA a second photograph of TIMMY at the soda fountain filling up a
cup. He has his eye on the counter, a big smile on his face as he tries not to
get caught. Date and Time stamp on the bottom of the picture reads: 04/02/03
20:23.)
NICK: And here you go.
(NICK shows SARA the third photo of two boys in the back of the store causing a
commotion while the third boy holds a pack of beer. Both NICK and SARA chuckle
at the photo.)
NICK: It's a classic distraction technique. Did it many times. You go in with
a group of buddies and you cause a little ruckus.
SARA: Store owner gets flustered. He wants the kids out of his store. So, he
sells them the beer, even though they're underage, and of course they drink it.
NICK: Well, you know about the camera glass Warrick found, right? That means
someone has this all on tape. I say we track down the other kids, see which one
of them thinks he's Tarantino.
(SARA and NICK both walk away.)
CUT TO:
SCENE #34:
[INT. CSI - GRISSOM'S OFFICE]
(GRISSOM empties the paper package onto his desk. Boxes of different creams
drop out. CATHERINE walks into the office and takes a seat on the other side of
the desk.)
CATHERINE: So, get this -- Anthony Haines had a sexual harassment suit filed
against him recently.
GRISSOM: There's a lot of that going around.
CATHERINE: Uh-huh, from one of the showgirls.
GRISSOM: Kelly Goodson?
CATHERINE: She claims that he threatened to fire her if she didn't perform
certain sexual favors.
GRISSOM: You know, she had a business card in her locker -- Langly & Langly,
Attorneys-at-law. It'd be interesting to find out ...
CATHERINE: ... if Audrey hired the same firm? She did.
GRISSOM: So, they liked the same movies ... they had the same problem ... and
they hired the same lawyer?
(CATHERINE looks at the creams on GRISSOM'S desk and asks.)
CATHERINE: Knees bothering you?
(GRISSOM picks up the evidence bag with the extension cord in it.)
GRISSOM: The extension cord used to strangle Audrey Hilden.
(He puts it aside and picks up another evidence bag.)
GRISSOM: The dentist's gold chain.
(He puts that one aside and shows CATHERINE another evidence bag.)
GRISSOM: The murderer's gloves.
CATHERINE: Well, any physical evidence on those gloves would've been
compromised by the ammonia.
GRISSOM: Only on the inside; not necessarily the outside. You use two hands to
put on gloves.
CATHERINE: You're looking for transfer.
(GRISSOM holds up a notebook and looks at CATHERINE with anticipation.)
GRISSOM: Special recipe.
CUT TO:
SCENE #35:
[INT. CSI - DNA LAB]
(Two mannequins hands are set up on the counter. The leather gloves are put on
the hands. GREG swabs the gloves and tests it. He works efficiently and
methodically.)
(GREG takes a swab from the extension cord.)
CUT TO:
SCENE #36:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(O'RILEY questions J.J.)
J.J.: We go to the warehouse all the time ... just go there to party, talk
about chicks. Sometimes we smoke out.
O'RILEY: You take off your shirt, please?
(J.J. stands up and lifts up his shirt. He turns around. There are bruises on
his torso.)
CUT TO:
SCENE #37:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(EARL turns around to show the bruises on his back and front. He puts his shirt
down and sits down.)
EARL: I ride BMX bikes ... play soccer. Man, I wake up with bruises.
CUT TO:
SCENE #38:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(O'RILEY interviews ZACHARY.)
ZACHARY: We were just messing around.
O'RILEY: I'm not. A kid's dead. Back to the question. How'd you get the
shiner?
(ZACHARY shakes his head and explains.)
ZACHARY: JJ found a gun in north town. We were messing with it, shooting the
walls. So, one night, I brought my hi-eight camera in, and one of the stray
bullets shot my lens out.
(Quick flashback to: ZACHARY holds the camera and films whatever he's looking
at. A bullet breaks the lens and sends ZACHARY to the floor. End of flashback.
Resume to present.)
O'RILEY: Who was the shooter?
(ZACHARY chuckles wryly.)
O'RILEY: You can tell us and save yourself, or you can let the tape tell us.
It's your call.
(ZACHARY lifts up his head and looks at O'RILEY.)
CUT TO:
SCENE #39:
[ON VIDEO TAPE]
(KEVIN McCALLUM is looking directly at the camera and yelling.)
KEVIN McCALLUM: What up? My name's Kevin. These are my boys-- JJ, Earl, Zach, and my little bro Timmy, and this is called ...
ALL: Speedway Surfing!
(Cut to: )
[INT. CSI - LAB -- CONTINUOUS]
(NICK, WARRICK and SARA sit behind the computer watching the video.)
CUT TO:
SCENE #40:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(O'RILEY interviews KEVIN McCALLUM.)
KEVIN McCALLUM: Timmy was a big fan of all those reality shows. You know, the "don't try this at home" stuff. We-we all watched it on tv. So, one day, we're bored. We started making up stunts on our own, trying to outdo each other. Speedway surfing ... that was my idea.
INTERCUT WITH:
(Back in the lab, NICK, SARA and WARRICK watch the video.)
[ON VIDEO]
(A red car races on the monitor. Kids are shouting and whooping it up. On the car hood, J.J. stands as if he's surfing.)
KID: Come on, hit it!
KID: Yeah! Whoo!
(The car engine speeds.)
KID: Whoo!
[INT. CSI -- LAB]
(SARA looks at NICK. WARRICK watches the monitor and shakes his head.)
[INT. POLICE DEPARTMENT -- INTERVIEW ROOM]
KEVIN McCALLUM: We all did it. Some ate it bad. JJ bruised his tailbone.
(KEVIN snorts at the memory.)
KEVIN McCALLUM: We were just messing around.
[ON VIDEO]
(JJ stands on the hood of the car as it speeds.)
JJ: Whoo!
(The other boys are in the car yelling with excitement.)
(JJ looses his balance and falls off of the speeding car hood and onto the road.)
[INT. CSI -- LAB]
(SARA, NICK and WARRICK continue to watch the video. They can't believe what they're seeing.)
[INT POLICE DEPARTMENT -- INTERVIEW ROOM]
KEVIN McCALLUM: Then Zach got the fever. Next day, he came up with one.
[ON VIDEO]
(The kids sit in front of the video.)
ZACH: The human ...
ALL: ... 150-yard marker!
(They laugh as they get ready. ZACH holds a golf club and the other kids put on football helmets.)
[INT. CSI -- LAB]
(SARA turns to look back at WARRICK.)
[ON VIDEO]
(ZACH puts the tee down and sets up the shot. The other kids stand in front with their hands cupping their most private parts. They wait for the ball to hit them.)
ZACH: Ready, boys?
KID: Okay boy.
KID: Fore!
(The first shot hits TIMMY McCALLUM in the chest. He groans at the impact and goes down. Everyone laughs.)
[INT. CSI -- LAB]
(NICK shakes his head.)
[INT POLICE DEPARTMENT -- INTERVIEW ROOM]
KEVIN McCALLUM: Then it came time for Timmy's turn. He stayed up all night...and by morning, he had it.
[ON VIDEO]
(At the warehouse, TIMMY McCALLUM is in front of the camer with the other boys behind him as he explains his dare.)
TIMMY McCALLUM: (from video) Hi. My name is Timmy McCallum, and this is my debut stunt, so I'm really psyched. It's called ... bamboo russian roulette!
(Quick flashback to: The kids playing Bamboo Russian Roulette in the warehouse. ZACH holds the camera as he films. KEVIN is up on the warehouse rooftop and looks down through the hole in the ceiling.)
KEVIN McCALLUM: You ready?
EVERYONE: Whoo!
(End of flashback. Resume to present.)
[INT POLICE DEPARTMENT -- INTERVIEW ROOM]
KEVIN McCALLUM: (sadly) We did it a bunch of times. You know, we all took turns going up on the roof. We almost stopped when I got shot in the arm ... but we were drunk, and so ... ... we decided to try it one more time.
(Quick flashback to: Inside the warehouse, the kids jump and circle around the bamboo pole as the gun fires and falls down the pole. Camera is on TIMMY as he skips around the bamboo pole. Gunfire is heard through the warehouse.)
EVERYONE: Yeah!
(There's more gun fire and kids whooping and laughing.)
EVERYONE: Whoo!
(KEVIN lets the gun go from the roof top. The gun fires. Some kids hunker down to avoid the bullets. One bullet hits ZACH, breaking his camera. He falls down. TIMMY is still standing and circling the pole. One bullet hits him square in the chest.)
(From the roof, KEVIN sees TIMMY get shot.)
(In slow motion, TIMMY falls to the floor. Judging by the camera angle, the camera is also on the floor and it's still recording.)
[INT. CSI -- LAB]
(On the monitor, TIMMY is on the ground.)
[INT POLICE DEPARTMENT -- INTERVIEW ROOM]
KEVIN McCALLUM: He kept trying to breathe. I didn't know what to do. I came down from the roof. I went over to his side. I kept saying... "Come on, breathe, bro. You can't die on me, man."
O'RILEY: Why didn't you call an ambulance?
KEVIN McCALLUM: I didn't want to get in trouble.
O'RILEY: So, you just left him for dead?
KEVIN McCALLUM: It was an accident. It's not like we had a death wish.
O'RILEY: You sure about that?
(KEVIN puts his head down.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
SCENE #41:
[INT. DRESSING ROOM -- NIGHT]
(CATHERINE and GRISSOM both sit on chairs and interview KELLY GOODSON.)
CATHERINE: (to GRISSOM) Langly & Langly.
(GRISSOM looks at CATHERINE and nods. KELLY GOODSON watches the exchange and shakes her head in confusion.)
KELLY GOODSON: Mm. I'm sorry?
CATHERINE: Oh, it's the law firm that both you and Audrey hired to deal with your problems -- Gus Sugarman and Anthony Haines.
KELLY GOODSON: (nods) Tony Haines is a pig ... but who's Gus?
CATHERINE: Well, we're guessing that that's where the two of you first met, at the lawyers'.
GRISSOM: Or they could've met at the movie theater.
CATHERINE: Right. Right. I mean, either way, you ladies had a lot in common.
(Quick flashback to: KELLY GOODSON walks into the movie theatre and sits down a few rows behind AUDREY HILDEN. AUDREY turns around slightly and notices KELLY sitting behind her. End of flashback. Resume to present.)
GRISSOM: Boy, can't you see them watching "Strangers On a Train" together?
CATHERINE: Oh, yeah.
GRISSOM: I'm thinking that Audrey told her everything about her dentist, and she told Audrey everything about Haines.
(Quick flashback to: The two ladies sit at a table and AUDREY HILDEN talks to KELLY GOODSON.)
CATHERINE: (v.o.) You needed them both dead.
(End of flashback. Resume to present.)
CATHERINE: So, right out of "Strangers On A Train", if you swapped murders, no one could tie you to the victims, and then you started talking specifics -- where the best place would be to kill Haines. Someplace dark, secluded-- the parking lot right here at the sphere.
(Quick flashback to: KELLY GOODSON reaches over the table and writes the parking stall information on AUDREY HILDEN'S movie schedule: Sphere E4-117. End of flashback. Resume to present.)
GRISSOM: After you stabbed Sugarman, you ripped the gold chain off of his neck as proof that you'd kept up your end of the bargain.
(Quick flashback to: KELLY GOODSON in a red wig standing behind GUS SUGARMAN, one hand over his mouth and the other hand with the screwdriver. After she kills him, she rips off the chain from his neck. End of flashback. Resume to present.)
CATHERINE: And then you walked out into the lobby and called Audrey on the pay phone, to say that the deed was done.
GRISSOM: And then Audrey called Sugarman three times in a row to see if it was true.
CATHERINE: She was the one who picked the movie ... and made the date.
GRISSOM: But that's all she did, isn't it? 'Cause just like in the movie, she had no intention of killing Haines ... and that's when you started harassing her.
(Quick flashback to: The phone rings and AUDREY HILDEN doesn't answer it. Flash to: KELLY GOODSON standing on the sidewalk on the other side of the street watching as AUDREY HILDEN parks her car. End of flashback. Resume to present.)
CATHERINE: You'd killed for her. Now she wasn't holding up her end of the bargain.
GRISSOM: You couldn't let her betray you. So, unfortunately, she had to die, too.
(Quick flashback to: KELLY GOODSON with her hands around AUDREY HILDEN'S neck. They struggle, but KELLY'S stronger and more determined than AUDREY. KELLY drags AUDREY up the stairs. She manages to get AUDREY over the banister. She ties the cord around AUDREY'S neck then tosses her over the side. AUDREY'S body jerks as she dangles there. End of flashback. Resume to present.)
GRISSOM: So, you made it look like she'd committed suicide, and then you planted Sugarman's gold chain, in hopes that we would think that she killed him, too.
CATHERINE: The only thing that she had on you was that movie schedule. That had to go.
(Quick flashback to: KELLY GOODSON rips the movie schedule off of the bulletin board and crumples it. She tosses it into the toilet and flushes. She leaves. End of flashback. Resume to present.)
(KELLY looks at them and smiles.
KELLY GOODSON: Wow ... that is a really good story. You guys must be movie fans yourselves.
GRISSOM: You're right. It's just a story ...
(KELLY GOODSON looks at CATHERINE. CATHERINE doesn't say anything. GRISSOM continues.)
GRISSOM: ... but the chemicals that we found on your gloves and on the extension cord that was used to kill Audrey, that's our proof. Menthol ... trolamine salicylate ... capsaicin ...
(GRISSOM reaches into his pocket and pulls out the tubes of creams and shows it to KELLY GOODSON.)
GRISSOM: ... eucalyptabalm ... isorcreme ... capsaicin ointment -- a unique concoction -- your unique concoction ... ... and this stuff is all over the evidence. Yeah ... it's a pretty good movie. Well, the character that you've been playing, the character that Robert Walker played in the movie ... dies at the end.
(Camera holds on KELLY GOODSON.)
CUT TO:
SCENE #42:
[INT. MOVIE THEATRE -- NIGHT]
(On screen, the man takes out a gun and fires, hitting the other man in the abdomen.)
(On screen a woman rushes out of the room.)
MAN: (on screen) I said he'd be alone.
(In the audience, GRISSOM sits and watches the movie. CATHERINE returns with her popcorn and drink and takes her seat next to GRISSOM.)
CATHERINE: Hi. What'd I miss?
GRISSOM: Murder, seduction, deceit-- the usual.
CATHERINE: Mm. This one of your favorites?
GRISSOM: Actually, I'm not a big fan of noir.
CATHERINE: Okay. Well, what do you like?
GRISSOM: I like silent movies.
(CATHERINE stops and turns to look at GRISSOM. With a small smile on his face, GRISSOM glances at CATHERINE, then turns to look at the screen.)
FADE TO BLACK.
THE END.
Fait par Wella
