COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[EXT. LAS VEGAS COMMUNITY (STOCK) - NIGHT]
[EXT. KINGSLEY RESIDENCE - FRONT DRIVE -- NIGHT]
(The Biker parks his motorcycle.)
(A car pulls up a second driveway and parks. Dennis Kingsley steps out of the car and shuts the door.)
(The Biker on the motorcycle removes his helmet and stands next to his bike.)
(He takes his briefcase and walks into the house.)
(Dennis Kingsley heads into his own house.)
[INT. KITCHEN - NIGHT -- CONTINUOUS]
(The door opens. Dennis Kingsley steps into the house and puts his plastic bag on the counter. He takes out a bag of English muffins, a box of Tetley British tea and a jar of something and lines it up perfectly on the counter.)
(He takes the empty bag and heads out of the room.)
[INT. HALLWAY - NIGHT - CONTINUOUS]
(Dennis Kingsley puts on his dressing gown and shuts the door. He opens the door to the far room at the end of the hall and slips inside.)
(The door closes behind him.)
[INT. BASEMENT STAIRS - NIGHT - CONTINUOUS]
(Dennis Kingsley makes his way down the basement stairs. He comes to two double doors.)
(He opens the doors and enters into what appears to be a British-decorated study.)
[INT. BASEMENT - STUDY - NIGHT - CONTINUOUS]
(Dennis Kingsley flicks on a switch on the table and violin music starts playing. He walks over to the window and pushes the curtain aside to reveal a fake scene just out of the basement window of a horse-drawn carriage pass by.)
DISSOLVE TO:
(Dennis Kingsley is playing his violin in front of the fake fire in the fireplace.)
WHITE FLASH TO:
[INT. BASEMENT - STUDY - NIGHT]
(Dennis Kingsley is dead with a gunshot wound to his temple. Someone snaps a photo.)
(Grissom is kneeling in front of the victim as he looks around.)
GRISSOM: Deerstalker cap ... violin ... meerschaum pipe ... even a Persian slipper with tobacco stuffed in the toe, I imagine.
(Greg snaps more photos of the scene.)
GRISSOM: All in all, a meticulous recreation of 221-B Baker Street: Residence of the world's greatest detective, Sherlock Holmes.
BRASS: Also known as Dennis Kingsley, delivery guy. What do you think?
GRISSOM: Ask Greg. It's his case. It's his final proficiency -- emphasis on the "final".
BRASS: Okay, Dr. Watson, run it.
GREG: Victim's in a relaxed position in front of a fake fire. Alcohol. Solitude.
(He leans forward to look at the wound.)
GREG: Powder burns around the entrance wound. Close to contact shot.
(Greg straightens.)
GREG: It all suggests suicide.
BRASS: Well, if he killed himself, where's the weapon?
(Greg swallows. He sighs.)
GREG: Huh ... family and friends who discover a body sometimes remove the weapon to make it look like murder. No suicide stigma and better chances of collecting any life insurance.
BRASS: From the look of the place upstairs, this guy lived alone, and the neighbors heard the shot, so ... pretty good. I guess I'll, uh, go interview the neighbors.
(Brass turns and leaves.)
GREG: So, are you going to say, "the game's afoot"?
GRISSOM: I didn't know you were a Conan Doyle fan, Greg.
GREG: I'm not. I saw a Sherlock Holmes movie once by mistake.
GRISSOM: Well, just so you know ... those movies never ended like this.
(Grissom flashes his flashlight at the dead body.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. KINGSLEY RESIDENCE - FRONT DRIVE -- NIGHT]
(Brass is standing in the neighbor's driveway talking with the Biker. He finishes up and turns to leave.)
BIKER: I'll see if I can hook you up. Give me a call.
BRASS: All right. Yeah, okay.
(He heads back to Grissom.)
GRISSOM: Anything useful?
BRASS: Well, I found out if I ever need a home loan, as a public servant, I'm pre-approved. You know, the guy looks like a, uh, drug dealer. Turns out he's a mortgage broker.
GRISSOM: Well, we all have our costumes, Jim.
BRASS: Yeah.
(Brass and Grissom watch as two men and a woman in costume appear out of the fog walking down the street toward them.)
BRASS: Yeah, apparently some more than others.
(The three costumed individuals stop in front of Brass and Grissom.)
GRISSOM: I assume you're friends of Mr. Kingsley?
NELSON OAKES (DR. WATSON): We are friends of Mr. Holmes.
KAY MARQUETTE (IRENE ADLER): Invited guests, in point of fact.
JOSH FROST (PROF. MORIARTY): This is all so contemporary.
GRISSOM: Well, I'm with the Las Vegas crime lab.
NELSON OAKES (DR. WATSON): Ah, a colleague. Perhaps we can be of some assistance.
KAY MARQUETTE (IRENE ADLER): (eagerly) Yes. Have you discovered any shoe impressions in the soil?
(She moves forward as if to look for herself, but Grissom stops her.)
GRISSOM: Not yet. This is a crime scene.
JOSH FROST (PROF. MORIARTY): Oh, a scenario created for our own entertainment, yes?
(Grissom turns around to show them Dennis Kingsley's dead body being wheeled out on the gurney. A sobering sight. They put the body in the back of the coroner's van.)
GRISSOM: I guess it depends on what you find entertaining.
JOSH FROST (PROF. MORIARTY): Oh, God.
(The coroner shuts the door on the body.)
CUT TO:
[INT. KINGSLEY RESIDENCE - BASEMENT - STUDY - NIGHT]
(Greg is going through the blood on the floor when Sara walks up to him.)
SARA: Anyone for pizza?
GREG: Very funny.
(Greg finds and picks up the bullet amidst the puddle of blood and pieces of brain.)
GREG: Got it.
(Sara kneels down next to Greg to look at the bullet.)
SARA: Ooh. BFB. Big freakin' bullet.
(Greg looks at the bullet under the magnifying glass.)
GREG: Nose is mushroomed. Looks like pure lead. Two cannelures consistent with a revolver. One, two, three, four, five, six lands and grooves. Left hand twist.
SARA: Which usually means ... ?
GREG: Colt .45?
(Sara nods.)
GREG: Are you checking up on me?
SARA: No, no, no, no. Grissom said he was just evaluating you on processing this one room, so ... I figured maybe you could use some help with the rest of the house.
GREG: Thanks.
(Sara stands up and starts looking around. Greg tucks the bullet into a bindle.)
(Sara picks up the empty old-fashioned glass syringe and looks at it.)
(Camera zooms in to show the residue of something in the glass syringe.)
SARA: Guess everyone needs a hobby.
CUT TO:
[EXT. KINGSLEY RESIDENCE - FRONT DRIVE -- NIGHT]
(Brass and Grissom speak with the other members of the mystery club.)
KAY MARQUETTE (IRENE ADLER): We would study the Holmes text in cases and important 19th century events.
NELSON OAKES (DR. WATSON): We met every Thursday night.
JOSH FROST (PROF. MORIARTY): You make it sound like a bowling league. This is a serious literary association.
(Quick flashback to: Open on an old photo slide of a dead woman. The group sit around the table discussing the photo slide.)
JOSH FROST (PROF. MORIARTY): As usual, Dr. Watson, subtlety is lost upon you. You see a stab wound above her breast and overlook the absence of blood on the chair as well as the fact that her skirt is raised. This body was posed, and quite beautifully, I might add.
NELSON OAKES (DR. WATSON): Moriarty, if evil for evil's sake were a pathological condition, it would be your diagnosis.
KAY MARQUETTE (IRENE ADLER): Gentlemen, your disdain for one another distracts you from the truth. The wedding picture on the wall? The victims were husband and wife.
DENNIS KINGSLEY: As usual, Miss Adler, your deduction is correct. It was indeed a crime of passion.
(End of flashback. Resume to present.)
BRASS: Sounds fun. When was the last time you saw Dennis Kingsley?
JOSH FROST (PROF. MORIARTY): Last Thursday.
KAY MARQUETTE (IRENE ADLER): He said that he was going to make this meeting really special.
(Quick flashback to: [STUDY] The group sits at the table.)
DENNIS KINGSLEY: It seems our time here tonight has ended, and that, I fear, is the gist of the announcement I must share with you now. Next week will be the final meeting of our society, but I give you my word: It shall be an evening none of you will ever forget.
(End of flashback. Resume to present.)
KAY MARQUETTE (IRENE ADLER): I didn't think that he meant this.
BRASS: We're going to need names and contact information.
GRISSOM: It would also be helpful if you'd let us take your fingerprints.
NELSON OAKES (DR. WATSON): Why?
GRISSOM: Elementary. So we can rule you out. You've all obviously been in the study on numerous occasions. We need to find out if the prints we find are relevant.
JOSH FROST (PROF. MORIARTY): So you actually think this is something other than suicide?
BRASS: You know, I think you ought to drop the accent.
JOSH FROST (PROF. MORIARTY): I can't. I'm English.
BRASS: Oh.
CUT TO:
[INT. KINGSLEY RESIDENCE - BASEMENT - STUDY - NIGHT]
(Greg looks at the floor. He finds something on the floor and snaps a photo of it.)
INTERCUT WITH:
[SARA]
(Close-up of the door leading to the basement. Sara examines it focusing on the scratches on the wood near the doorknob and plate.)
(Greg finds something on the floor near the table leg. He picks it up and looks at it.)
(Sara sits down at the table in front of the laptop. He presses the spacebar and the screensaver with the meerschaum pipe on it stops. She looks at the screen for a moment.)
(She turns and picks up the framed photo of Dennis Kingsley sitting on the couch with his wife and daughter.)
CUT TO:
(Greg looks up from his camera as Sara walks into the room to share her findings.)
SARA: There's possible signs of forced entry at the back door. It could be recent. Also, I think the vic had a family at some point. Brass is on it.
(Greg snaps a photo of a red book with blood on its cover, "The Hound of the Baskervilles".)
GREG: Check this out.
(He shows her the book, evidence marker #6. Sara kneels down next to Greg.)
SARA: The Hound of the Baskervilles. I read that in tenth grade.
GREG: Oh, yeah - I was supposed to.
(Sara chuckles. He shows her the stain on the book page edges.)
GREG: There's a blood stain on the page ends.
SARA: Huh.
(Greg puts the book back on the table in the position he found it in.)
SARA: The spatter goes across and over. That stain did not come from this event.
(Quick flash of: [THE BOOK ON THE TABLE] A gun fires, blood spatters on the book cover. End of flash. Resume to present.)
SARA: It could be the vic's, or it could be stage blood, for that matter.
GREG: Do you think an obsessive neat freak like our vic would leave something like that on one of his most prized possessions?
SARA: I think ... there's only one way to find out.
CUT TO:
[EXT. LAKE (STOCK) - DAY]
[EXT. ROADSIDE -- DAY]
(An officer's car is parked on the side of the road. Warrick walks alongside the roadway. He turns and visualizes the accident.)
(Quick visualization of: The jeep swerves on the road. It passes right through Warrick and off screen. Warrick turns and continues to visualize the jeep traveling down the road where it smashes into the tree.)
(End of visualization. Resume to present.)
(Warrick makes his way across the road.)
[EXT. ROADSIDE - CRASH SITE - DAY - CONTINUOUS]
(Nick approaches the van with the body in it. David Phillips and Det. Chris Cavaliere are there.)
DET. CHRIS CAVALIERE: Hey, Nick.
NICK: Hey, Chris.
DET. CHRIS CAVALIERE: Nevada power guys -- they saw the jeep, called it in. I ran the plates. R.O. is, uh, Cory Demayo, 25. Lives on Florentine. (Nick snaps a couple of photos of the body as he listens.) Spoke to the roommate. Driver fits the description.
DAVID PHILLIPS: Vic's got a contusion on his forehead. Probably from the impact.
NICK: Yeah, I can see that. It's just hard to believe that's what killed him.
(Warrick walks up to the group.)
WARRICK: I didn't see any skid marks on the road up there. There's no signs he tried to brake.
DAVID PHILLIPS: Well, maybe he fell asleep at the wheel.
NICK: Uh, coming over that embankment? That would've woke him up. Key's still in the ignition. Car's in drive. Engine's not running.
WARRICK: Did the paramedics open this door?
DET. CHRIS CAVALIERE: Vitals were taken through the open window. Door was ajar
when we arrived on the scene.
(Warrick finds a joint in the car. He picks it up and shows it to Nick.)
WARRICK: Hey, Nick, check this out.
NICK: Oh.
WARRICK: Guy was getting high. Think that's the reason he missed the curve up
there?
NICK: You think?
(Warrick finds something else.)
WARRICK: Ah. We got a wallet.
(He hands the wallet over the body to Nick who hands it to Det. Cavaliere.)
NICK: Yeah, yeah.
(Det. Cavaliere checks the Nevada Driver's License. It reads:
DEMAYO, CORY
6878 FLORENTINE RD.
LAS VEGAS
DET. CHRIS CAVALIERE: Cory Demayo. Fits the description. No cash, no plastic.
NICK: This is a pretty remote place for an accident. But you think someone saw
it, took advantage of the situation?
WARRICK: Maybe he wasn't alone. Maybe the passenger survived, then emptied out
his wallet, took off.
NICK: (nods) Maybe.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Greg snaps photos of the body.)
(He removes the evidence bag from around the victim's right hand. He snaps
photos of the hand and takes samples from it.)
(Greg continues to process the body.)
(He snaps photos. He flips the victim's arm over and we see the needle marks on
his inner arm.)
CUT TO:
[INT. CSI - LAYOUT ROOM - DAY]
(Sara and Robbins talk while looking at the photos spread out on the table in
front of them.)
ROBBINS: This guy really dress up like Sherlock Holmes?
SARA: At least once a week, evidently, like those civil war re-enactors. I,
uh, never understood that.
ROBBINS: Yeah. In any event, C.O.D. was no surprise. Perforating contact
range, gunshot to the right temple.
(Greg appears the doorway with the tox report.)
GREG: Got the tox. Cocaine metabolites in the vic's urine. 500 nanograms per
M.O.
ROBBINS: You only see levels that high in chronic users.
SARA: Those are the track marks.
GREG: Yeah, but there was also morphine in his blood and in the syringe. (He
hands the report to Robbins.) Seven percent solution, morphine sulfate and
water. Sherlock went from crack to smack.
SARA: Morphine metabolites in his system but no heroin metabolites? He wasn't
on street junk. This is pharmaceutical-grade stuff.
GREG: And at a pretty hefty dose, too. How fast for the injection to take
effect?
ROBBINS: Given his size, he would've been incapacitated in a matter of seconds.
GREG: Not much time to undo the works, put away his antique syringe, pick up a
gun and blow his brains out.
SARA: Wait a minute. The GSR test on his hand was positive. What are you
getting at?
(Quick flash to: [STUDY] Someone else pulls the trigger. End of flash.
Resume to present.)
GREG: Well, maybe Sherlock had some help.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - INTERVIEW ROOM -- DAY]
(Det. Chris Cavaliere and Warrick interview Lyle Davis, Cory Demayo's roommate.)
DET. CHRIS CAVALIERE: Hey, when was the last time you saw Cory?
LYLE DAVIS: Yesterday. Just kicking it, like me.
WARRICK: How'd you get that bruise on your dome, man?
LYLE DAVIS: Oh, uh, windsurfing.
DET. CHRIS CAVALIERE: Hey, you guys go out there together?
LYLE DAVIS: Yeah. Well, he's got the wheels, so ...
WARRICK: So you drove back together?
LYLE DAVIS: No. I sort of hooked up with this chick, so I bounced.
WARRICK: Nice. You know the chick's name?
LYLE DAVIS: Uh, Jennifer.
DET. CHRIS CAVALIERE: Jennifer who?
LYLE DAVIS: Jennifer, uh ... (he smiles, clearly, he can't remember) ... nipple
ring.
(Warrick and Lyle chuckle.)
WARRICK: "Jennifer nipple ring". Lyle, were you guys, uh, getting high
yesterday? You smoke some weed?
LYLE DAVIS: Nope.
WARRICK: No? All right, let me tell you what I think happened. You and Cory
got stoned, and you drove away. Cory lost control of the jeep ...
(Quick flashback to: [JEEP] The jeep runs off the road and Cory hits his head
against the wheel.)
WARRICK: (v.o.) ...at which point, you couldn't wake him up,
(Lyle goes through Cory's wallet and takes the money inside.)
WARRICK: (v.o.) so you decided to take advantage of the situation, and you
rifle through his wallet and leave.
(Lyle stumbles out of the jeep and runs.)
(End of flash. Resume to present.)
LYLE DAVIS: Man, that is not what went down.
DET. CHRIS CAVALIERE: You're looking at robbery, leaving the scene, failure to
report an accident. That's a lot of years, man.
LYLE DAVIS: I didn't get back in the car with Cory, and if I had, I wouldn't
have left him!
WARRICK: Lyle, we're going to need a DNA sample from you.
LYLE DAVIS: (alarmed) What? Why?
WARRICK: Just to prove that, uh, your lips weren't on that joint that we found
in the jeep.
LYLE DAVIS: All right, man. Let me just be straight with you guys for a second
here. I admit Cory and I sparked up at the lake, okay? But then he took off.
Three weeks ago, I was busted for pot, okay? The judge gave me diversion. You
guys file charges, I'm screwed. I will never get into dental school.
(Warrick and Det. Cavaliere both look away.)
CUT TO:
[INT. CSI - HALLWAY TO TRACE LAB -- DAY]
(Greg follows Hodges from the hallway into the Trace Lab.)
HODGES: The fragment you found at the scene? It's a mother of pearl. It could
be from an ornament or a piece of jewelry.
GREG: It could be from a lot of things.
HODGES: Yeah, that it could, Mr. Proficiency.
(Greg looks through the scope. Grissom is there in the lab.)
HODGES: I also I.D.'d the ash on the floor. Perique tobacco, grown in only one
spot on earth: St. James Parish, Louisiana.
GREG: The same as the umber of tobacco in the victim's slipper?
HODGES: No, completely different make. Cheap, strong, low-grade stuff.
GRISSOM: Shag tobacco.
HODGES: Yeah. How'd you know?
GRISSOM: That's what Holmes smoked.
HODGES: Bad habit, even for a fictional character.
GRISSOM: You do have two suspects with pipes.
GREG: Yeah ... and, uh, smoking kills.
CUT TO:
[INT. POOL HALL & BAR -- DAY]
(Brass looks around. He watches as a man tags along behind one of the
waitresses.)
BAR CUSTOMER (MAN): We got to stop meeting like this, baby.
KAY MARQUETTE (IRENE ADLER): How was your game?
BAR CUSTOMER (MAN): I'm swinging a hot stick tonight, babe.
(She passes Brass and puts her tray on the bar counter.)
KAY MARQUETTE (IRENE ADLER): (to Brass) Can I get you something?
BRASS: No, I'm just looking for someone.
KAY MARQUETTE (IRENE ADLER): You're staring at me.
BRASS: Oh. Uh ... I'm sorry. I didn't recognize you from last night. Is that
a friend of yours?
KAY MARQUETTE (IRENE ADLER): Give me a break. Did that guy look like a friend
of mine? Every time he touches me, I want to kick him in the scrotum, but he's
a big tipper. I've got a sick mother and rent to pay.
BRASS: Well, I just have a couple of questions. At Denny Kingsley's, you were
smoking a pipe.
KAY MARQUETTE (IRENE ADLER): Yeah ... a meerschaum.
BRASS: I'm going to need it.
KAY MARQUETTE (IRENE ADLER): Why?
BRASS: Let me worry about that, okay?
KAY MARQUETTE (IRENE ADLER): Uh, J.J., can you hand me my purse, please?
J.J. (BARTENDER): Okay.
(He hands her the bag. She takes the pipe out of her bag and puts it in the
evidence bag Brass is holding.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. - HALLWAY -- DAY]
(Sara walks up to a security guard.)
SARA: Dr. Watson? I'm Sara Sidle with the Crime Lab.
NELSON OAKES (DR. WATSON): Hello.
SARA: Do you have a minute? I'm here to collect your meerschaum pipe as well
as any other tobacco products you might have in your possession.
NELSON OAKES (DR. WATSON): I don't smoke anything illegal.
(Sara puts her kit down.)
SARA: You haven't been accused of that.
NELSON OAKES (DR. WATSON): Anyway, my pipe is at home.
SARA: No problem. Let's go.
NELSON OAKES (DR. WATSON): Look, I'm working.
SARA: We've already talked to your boss, and I have a warrant. Let me get that
for you.
(Sara kneels down to open her kit to get the warrant out of her kit. She
notices some blood on his shoes.)
SARA: Were you wearing those shoes at your last club meeting?
NELSON OAKES (DR. WATSON): Yeah. They're not technically right for the period,
but black leather shoes are black leather shoes. I'm not the same stickler for
detail that Denny was.
SARA: Apparently not.
(Sara hands him the warrant.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins goes over the body with Nick and Warrick.)
ROBBINS: Vic was physically fit. Scratches and abrasions are ante-mortem,
unrelated to the accident.
NICK: The contusion on the forehead was, uh, superficial, right?
ROBBINS: You are right.
WARRICK: Okay, so what's the cause of death, Doc?
ROBBINS: Undetermined.
NICK: But you're still working on it, right?
ROBBINS: Unless some other evidence comes to light, I'm done. Sometimes I
can't tell you why they die.
(Nick and Warrick look at each other.)
CUT TO:
[INT. CSI - GARAGE - DAY]
(Nick is trying to close the jeep's passenger door. Warrick walks into the
garage carrying a file.)
WARRICK: What you got?
NICK: Passenger door latch is busted. It could've happened during the
accident.
WARRICK: Well, that is consistent with the roommate's story. Says he wasn't in
the passenger seat during the time of the crash.
NICK: What'd you get back from tox?
WARRICK: Tox came back positive for low levels of cannabis.
NICK: I know marijuana slows your reaction time, but based on the lack of skid
marks at the scene, the position of the vehicle, I don't think this guy ever hit
the brakes.
WARRICK: Well, maybe he did hit the brakes. Did you check 'em?
NICK: Come on, you're a bigger boy than me.
WARRICK: Yeah, you can't do anything yourself, can you?
(Nick climbs into the jeep behind the driver's seat.)
WARRICK: You ready?
NICK: Yeah, yeah, put your back into it.
(Warrick pushes the jeep forward. Nick presses the brakes and they hold.)
WARRICK: Brakes work. Brake lights are working, so that means the battery's
okay.
NICK: Yeah, but the gauges are all off. The panel's not even working. Okay,
ignition was on, but the engine wasn't running, so ... what? No gas?
(Warrick jumps on the jeep. We hear the tank sloshing.)
WARRICK: That tank is full of fuel, man.
NICK: Cory was in good shape. The jeep seems to be in decent condition, so ...
(sighs) What happened out there?
CUT TO:
[INT. CSI - CATHERINE'S OFFICE -- DAY]
(Catherine meets with Conrad Ecklie.)
CONRAD ECKLIE: Swing shift's short a couple of bodies.
CATHERINE: Yes, and when is that going to change?
CONRAD ECKLIE: Not anytime soon -- Catherine, there are budget constraints.
You'll have to prioritize.
(Nick and Warrick walk into the office.)
WARRICK: Should we come back?
CONRAD ECKLIE: No, no, no, come on in. So, how's your, uh, your surfer dude
case?
WARRICK: Uh, the victim's roommate admits they got high together, but denies
being in the jeep at the time of the accident. At this point, we can't place
him there.
NICK: Brakes on the jeep were functioning. The driver should've been able to
stop.
CATHERINE: Any signs of foul play?
NICK: No. Something's not right.
CONRAD ECKLIE: All right, nothing suspicious and no crime's committed? Put the
case to bed. I'm sure your supervisor can keep you busy. Close it.
(Ecklie leaves.)
WARRICK: Sounds like he's more concerned with getting it done than getting it
right.
CATHERINE: Are you guys satisfied?
NICK: We don't have an answer.
CATHERINE: Then get one.
WARRICK: What about Ecklie?
CATHERINE: (sighs) My problem, not yours.
(Nick and Warrick turn to leave.)
CUT TO:
[INT CSI - LAB -- DAY]
(Greg swabs the side of the shoe. He tests and finds blood.)
INTERCUT WITH:
[INT. CSI - TRACE LAB - DAY]
(Hodges tests the tobacco in the pipe and places the pipe in the fumer. He
closes the lid.)
(Greg swabs another part of the shoe.)
(Hodges removes the pipe and empties the bottom of the pipe. He takes a sample
of the tobacco. He tests it.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass sits across the table from Nelson Oakes, Dr. Watson. Nelson Oakes opens
the small packet of sugar to put in his coffee and rips it open, spilling the
sugar on the table.)
BRASS: You nervous?
NELSON OAKES (DR. WATSON): A little.
(He stirs his coffee.)
BRASS: Relax. Relax. Just two law enforcement professionals talking to one
another, that's all.
NELSON OAKES (DR. WATSON): I'm a security guard. Don't patronize me.
BRASS: I bet you always wanted to be a cop, am I right? So what happened?
Flunk the physical? Huh? That's okay; lot of guys do. No? What was it then,
psych?
NELSON OAKES (DR. WATSON): I was on medication. You can't be a cop if you're
on this medication.
BRASS: But you can be Sherlock Holmes.
NELSON OAKES (DR. WATSON): I was Dr. Watson ...
BRASS: Right.
NELSON OAKES (DR. WATSON): ... in our club. Denny was Sherlock Holmes.
(Imitates Denny Kingsley.) "There can only be one."
BRASS: So, when Denny wasn't there, you could be Sherlock.
NELSON OAKES (DR. WATSON): I suppose.
BRASS: That why you killed him?
NELSON OAKES (DR. WATSON): I didn't kill him. Denny was a friend, and if I
wanted to be Sherlock, all I had to do was wait. Denny was quitting. We talked
about it a lot. He said he was going back to his wife.
BRASS: So you went to his house, you shot him, and then you left, and you came
back later with your pals and acted like nothing happened.
NELSON OAKES (DR. WATSON): I went straight home after work.
BRASS: His blood on your shoe, tobacco ash from your pipe on the carpet next to
his body -- that puts you where he was killed.
NELSON OAKES (DR. WATSON): No way.
BRASS: Look, there are two kinds of stories: Fact and fiction.
NELSON OAKES (DR. WATSON): I know that.
BRASS: Sherlock Holmes: Fiction. Dennis Kingsley's murder: Fact. Your story:
Fiction.
NELSON OAKES (DR. WATSON): No, I swear. God help me, I'm telling the truth. I-
I wasn't there. I didn't kill Denny.
CUT TO:
[INT. CSI - LAB -- DAY]
(Sara walks into the room with a file folder.)
SARA: DNA confirms that the blood on Watson's shoe is a match to your vic. We
got him.
(Greg doesn't look up from under the magnifying glass. He sees something.)
SARA: Feel like celebrating after shift? I'm buying.
GREG: These blood drops aren't uniform. Some of them are clotted red cells,
but others are pure serum.
(Sara looks under the magnifying glass at the blood drops.)
GREG: It takes at least twenty minutes for blood to clot and separate. If
Watson killed Sherlock, the blood drops on his shoe would all be the same.
SARA: The killer takes some of the victim's blood at the scene ...
(Quick flash to: Someone takes a syringe and sucks up some blood from the
scene. Camera zooms in to the red blood cells.)
SARA: (v.o.) ...the red blood cells in the serum separate and get sprayed on
the shoe later.
(Cut to: Blood drops on the black leather shoe. End of flash. Resume to
present.)
SARA: Somebody's trying to frame Watson.
(Camera holds on Greg.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - A/V LAB -- DAY]
(Greg and Sara meet with Archie Johnson in the Audio/Visual Lab. Archie is
looking at a site on the internet, epackrat.com, and is scrolling through the
various items up for bid.)
GREG: Jeez, all his stuff is up for auction. This is Dennis Kingsley's entire
collection. He's getting rid of everything.
ARCHIE: Might have needed the cash?
SARA: I don't know. Maybe he was just trying to get back to reality.
GREG: Hold it.
(The scrolling stops on a mother of pearl handled Colt .45.)
GREG: Murder weapon was a Colt .45 revolver, current whereabouts unknown.
ARCHIE: Huh, I thought you were looking for a book.
SARA: We are. (She shows him the photo of the book.) We ran DNA on this blood
stain. It's not the victim's, and there's no hits through CODIS.
ARCHIE: You think it's the killer's?
SARA: Maybe.
GREG: Come on, let's keep going.
(They see the book listed on the site.)
GREG: There it is – "The Hound of the Baskervilles".
(The photo of the book shows no blood on it.)
SARA: When he photographed it, there was no blood on the pages.
GREG: Can you pull up the bidding history?
ARCHIE: Yes, I can.
GREG: Let's see who's interested.
(The list reads:
BIDDING HISTORY ITEM # 0578154
THE HOUND OF THE BASKERVILLES
# OF BIDS: / TIMES / BIDDER HANDLES:
1 / 10:50 pm / Nikig0017 - Los Angeles, CA
1 / 11:20 am / Reichenbach - Henderson, NV
1 / 1:22 pm / Filia_30 - New York, NY
1 / 5:25 pm / Reichenbach - Henderson, NV
1 / 6:30 pm / Reichenbach - Henderson, NV
1 / 10:05 am / Nikig0017 - Los Angeles, CA
(Archie highlights the "Reichenbach" buyer.)
ARCHIE: Huh. Reichenbach.
GREG: What's the big deal about that?
ARCHIE: Reichenbach Falls?
(He looks at Greg. Greg shakes his head. Archie turns and looks at Sara. She
doesn't know either.)
ARCHIE: It's where Professor Moriarty killed Sherlock Holmes.
CUT TO:
[INT. DINER - BACK KITCHEN -- DAY]
(The order-up bell rings.)
(In the back, Greg and Sara interview Josh Frost, Prof. Moriarty.)
JOSH FROST (PROF. MORIARTY): The 1902 first British Edition of the Hound? Of
course I wanted it. I'm a doctoral candidate in English history. I helped
Denny create that astonishing verisimilitude of Sir Arthur Conan Doyle's
Britain.
SARA: Oh.
JOSH FROST (PROF. MORIARTY): Order!
(He puts the plate up.)
SARA: He was selling the collection off in pieces. It must have pissed you
off.
JOSH FROST (PROF. MORIARTY): He was a self-destructive narcissist. If he had
to give it up, we all had to give it up.
SARA: And you weren't willing to do that?
JOSH FROST (PROF. MORIARTY): As you can see, the modest stipend I get from my
graduate studies doesn't go far. What I offered for the Hound is every penny I
had. Order!
(He rings the bell again.)
GREG: But then he put it up for auction, and made you bid for it. When the
price got too high, you confronted him.
JOSH FROST (PROF. MORIARTY): That is empty speculation, my friend.
SARA: Hold out your hands for me, please?
JOSH FROST (PROF. MORIARTY): My hands?
SARA: Yeah. Your hands.
JOSH FROST (PROF. MORIARTY): Fine.
(He puts his spatula aside and shows them his hands. His index finger on his
right hand has a bloodied band-aid on it.)
GREG: Ooh, that looks like a paper cut to me.
Are we gonna find your blood on that book?
(Quick flash to: [STUDY] Josh Frost and Dennis Kingsley are arguing. Josh
Frost is holding the book.)
DENNIS KINGSLEY: If you can't pay me what it's worth ...
JOSH FROST (PROF. MORIARTY): Oh, come on, you owe me as much. Come on. Come
...
(The two wrestle for the book.)
DENNIS KINGSLEY: Give it!
(Dennis Kingsley pulls the book out from Josh's grip leaving him with a bleeding
finger.)
JOSH FROST (PROF. MORIARTY): Ow! Bloody hell, Dennis.
(End of flashback. Resume to present.)
JOSH FROST (PROF. MORIARTY): Fine, fine, fine. Yes, I stopped by Dennis's
house earlier that evening to make my case, but I didn't kill him. If I had,
believe me, I would have taken that book.
(Greg and Sara share a look.)
CUT TO:
[INT. CSI - GARAGE - DAY]
(Warrick and Nick enter the garage.)
WARRICK: Tow truck will be here in about an hour.
NICK: All right, we're on the clock. Let's take this thing apart.
(Nick opens the front door and climbs into the driver's seat. He sits down and
reaches for the ignition keys.)
(Warrick climbs into the back of the jeep. He looks around and sees something
on the bars.)
(Nick looks under the driver's wheel panel. He pulls out a piece of melted
plastic.)
(Warrick lies back on a dolly and slides under the jeep. He sees something.)
(Nick pulls out the wires from under the panel and checks it. They look
burned.)
NICK: Hey, I've got some blown fuses and some fried wiring up here.
WARRICK: Yeah?
NICK: Yeah.
WARRICK: I've got some burn marks on the undercarriage. And I found something
similar on the roll bar, as well.
NICK: Well, that would indicate some sort of electrical shock.
WARRICK: Well, if an electrical charge traveled through the jeep, and shorted
out the wiring, it would have shocked Cory, as well.
NICK: Like what, lightning?
WARRICK: Yeah, but it was clear yesterday. Whatever it was, it zapped the hell
out of his jeep.
NICK: Let's go back out there and check it out.
CUT TO:
[EXT. CRASH SITE OF ROAD -- DAY]
(Nick and Warrick are back at the crash site.)
NICK: Cory was coming from Lake Mead, which is that way.
WARRICK: Let's walk.
NICK: Yeah.
(Nick and Warrick walk up the road and look around.)
(Dissolve to: Nick is on the left side of the road while Warrick looks on the
right side of the road. Nick continues up the road.)
(Dissolve to: Nick looks around and kneels down on the road. He finds
something.)
NICK: Wire trimmings. They look fresh.
(He snaps a photo of it. Warrick picks it up. He looks up at the wires above
them.)
NICK: Looks like a new splice on those wires.
WARRICK: Well, the power company originally called that jeep in. They must
have been out here fixing the lines. Maybe it was a down line. That would give
us the high voltage power source right there.
NICK: Yeah, but even if a live wire struck the roll bar, the tires would have
insulated the vehicle.
WARRICK: Right. Without a path to ground, electricity is harmless.
(They look around and see the wire road marker bent and embedded in the ground.)
WARRICK: What about that road marker?
(They walk over to it to look at it. They kneel down.)
WARRICK: It's bent in the direction Cory was driving.
NICK: Black transfer. Wasn't the undercarriage of Cory's jeep black?
(Quick flash to: [ROAD] Cory's jeep runs over the marker on its way down the
road. End of flash. Resume to present.)
WARRICK: This marker would have grounded the jeep.
NICK: Completing the circuit, and theoretically, electrocuting the vehicle.
CUT TO:
[INT. CSI - LAB -- DAY]
(The monitor reads:
Mother of Pearl Chip
Evidence # GS-17
(Greg is back in the lab looking at the evidence. He scrapes the dust off of
the chip and looks at it under the microscope.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - DAY]
(Greg walks into Grissom's office.)
GREG: I want to go back to the crime scene.
(Grissom looks up and removes his glasses.)
CUT TO:
[INT. KINGSLEY RESIDENCE - BASEMENT - STUDY - NIGHT]
(The doors to the study open. Greg and Grissom enter the room.)
GREG: The grips of Dennis Kingsley's antique Colt .45 were mother of pearl,
consistent with the chip collected here. I identified trace on the edge of that
chip, and it's red clay dust.
(He walks over to the fireplace and kneels down, looking inside.)
GREG: (sighs) The fire's fake, but these red clay bricks are real.
GRISSOM: So, what are you looking for?
GREG: Well, the killer obviously left with the gun. And if there was some kind
of struggle, maybe the killer left behind some skin fragments or a strand of
hair.
(Greg looks around the fireplace.)
(Quick flash to: [STUDY] Dennis Kingsley and the killer struggle for the gun.
The gun flies out and a piece of the mother of pearl handle chips onto the
floor.)
(End of flash. Resume to present.)
GRISSOM: Was there any evidence of a struggle in this room?
GREG: Not really.
(Greg continues to look completely into the fireplace. He flips the light
switch on and finds something completely unexpected.)
GRISSOM: Well, so much for the obvious.
(Hanging from a rubber tube tied to the top of the chimney is the missing gun.)
FADE OUT.
(COMMERCIAL SET)
WHITE FLASH IN.
[INT. KINGSLEY RESIDENCE - BASEMENT - STUDY - NIGHT -- FLASHBACK]
(Dennis Kingsley kneels in front of the fireplace and stretches the tubing tied
around the gun handle. He sits down and cocks the gun as he places it at his
temple.)
(End of flash. Resume to present.)
[INT. CSI - LAB - NIGHT]
(Greg shares his findings with Sara.)
SARA: He committed suicide?
GREG: The man was a credit to his genre. He runs a loop of surgical tubing
through the weapon secured inside the chimney.
(Greg shows the photo of the gun hanging in the chimney.)
GREG: A shot of morphine a few minutes earlier takes the edge off.
SARA: And it provides extra insurance in case the gun doesn't finish the job.
(Quick flash to: [STUDY] Kingsley shoots himself. He drops the gun and it
recoils back up the chimney. End of flash. Resume to present.)
GREG: It would have been easy for him to plant Watson's brand of tobacco ash on
his floor. I figure, Sherlock drew his own blood in advance and then sprayed it
on Watson's shoe at their last meeting.
SARA: The world's greatest detective makes suicide look like murder?
(Greg nods.)
SARA: Why would he try and frame his best friend in the process?
GREG: Well, Watson said they were friends, but who knows what kind of
relationship they really had. Maybe they hated each other. Maybe Dennis
couldn't stand the thought of anyone else being Sherlock. Besides, I thought
motive wasn't our business.
SARA: It's not. Write it up, give the report to Grissom. Way to go.
GREG: All right.
CUT TO:
[INT. CSI - GARAGE]
(Nick and Warrick are busy prepping the dummy for their experiment. They wrap
the dummy completely in plastic wrap.)
(Through several time cuts, they proceed to make a gel mold of the dummy.)
(They take the mold off of the dummy.)
(Nick slaps the flat of his hand on the gel dummy's head.)
CUT TO:
[INT. CSI - HALLWAY TO GARAGE]
(Catherine walks into the garage. She finds Nick standing on the jeep setting
the experiment up. The gel dummy is behind the driver's seat.)
CATHERINE: What ... what is going on?
NICK: We're finishing up the case.
CATHERINE: Do you know how much ballistic joe costs?
WARRICK: I didn't know you did.
CATHERINE: I just thought you guys were gonna go over your notes, look over the
case file.
WARRICK: Well, hold on now. We found electrical burn marks on the roll bar and
the jeep's undercarriage. And we found blown out fuses on the instrument panel
and the starter. That would explain why the jeep wasn't running.
NICK: Yeah, we called Nevada Power, and they confirmed there was a downed
power line the day of the accident.
CATHERINE: So, you're saying the victim was electrocuted?
NICK: Yeah.
WARRICK: So we replaced the fuses, we connected the jeep to a power source, and
we hooked up gelatin man here to a meter.
(Nick bounces on the jeep.)
CATHERINE: Watch it wiggle, see it jiggle, I get it. Well, you're gonna need
at least six milliamps to prove your theory.
NICK: I'm on it.
CUT TO:
(They start the car engine.)
(Warrick puts his goggles on.)
(He flips the switch.)
(The latch holding the pipe releases and swings down, connecting with the jeep.)
(From their safe distance away, they see the jeep spark at the connection.)
(The milliamps meter remains at zero.)
(Catherine, Nick and Warrick watch the jeep sparks burn out.)
CATHERINE: Congratulations. You killed the jeep, but the victim's still alive.
The current never even made it past zero. So, either your theory is wrong, or
you've got a problem with your experiment. Are there any variables in the case
that haven't been duplicated here?
NICK: Same vehicle, power's good. So, why isn't Mr. Wiggles connecting?
WARRICK: He's naked.
CATHERINE: Well, let's dress him up.
CUT TO:
(They finish putting clothes on the gel dummy.)
(They start the car engine. Warrick, Nick and Catherine put their goggles on.
Warrick flips the switch.)
(The powerline hits the jeep bar.)
(Quick CGI POV to: The surge of electricity sparks through the jeep bar and
down to the side of the jeep frame. It makes contact with the victim's wrist
watch, through the victim and out through the metal rivets in the victim's
shorts. End of CGI POV.)
(The milliamps meter is at seven.)
WHITE FLASH TO:
(Warrick, Nick and Catherine meet at the jeep.)
WARRICK: So, the current came into the vehicle from the roll bar, and it went
out through the undercarriage.
CATHERINE: It needed an entry point and exit point.
NICK: Entry through the, uh, the watch on his wrist and then exit through the
rivets in his shorts.
CATHERINE: Right across his heart, stopping it cold.
(Quick flash to: [ROADSIDE-DAY] The jeep is traveling down the road. It hits
the downed power line and runs over the metal mile marker just as the power line
hits the jeep bar.)
(Cut to: The jeep rolls down the side of the hill and stops at the bottom in
front of the tree.)
(End of flash. Resume to present.)
CATHERINE: So I know that I've never said this to you guys before, but ... hide
the evidence.
NICK: (chuckles) Thanks for getting our back.
CATHERINE: We're a team, guys.
WARRICK: Oh, since we're a team, you gonna help us clean up?
NICK: Yeah.
(Catherine laughs.)
CATHERINE: No. I'm the boss.
(She turns and leaves. Warrick and Nick chuckle.)
CUT TO:
[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]
(Catherine meets Ecklie in the hallway.)
CONRAD ECKLIE: I thought you told me you closed the Cory Demayo case.
Catherine, nothing happens in this lab that I don't know about.
CATHERINE: Then I'm sure you know the case is now closed.
CONRAD ECKLIE: Did I make a mistake promoting you?
CATHERINE: Yeah, you should have given me the day shift. But I'm making it
work.
(Catherine walks away.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
(Grissom reads through Greg's final report.)
(He thinks about it and flips back to the report:
MORPHINE .07
(Grissom picks up the police autopsy report. He reads through it:
ADDITIONAL TESTING PERFORMED
COCAINE Elevated
(He picks up the first report with the syringe contents: MORPHINE.)
(He again looks at the autopsy report: COCAINE.)
(Something's not adding up. Camera holds on Grissom.)
CUT TO:
[INT. CSI - LOCKER ROOM -- DAY]
(Greg is putting on his shoes while listening to rock music on his earphones.)
(Grissom appears in the doorway holding the open file folder.)
GRISSOM: Greg.
(Greg doesn't hear him.)
GRISSOM: (louder) Hey, MTV boy. (Greg removes the earphones and turns the
music off.) I have a question about your report.
GREG: Okay.
GRISSOM: According to autopsy, the victim showed long-term effects of cocaine
abuse.
GREG: That's right.
GRISSOM: But according to tox, the substance in the victim's syringe was a
seven percent solution of morphine.
GREG: Yeah.
GRISSOM: The victim was an obsessive compulsive. In the stories, Holmes'
preferred stimulant was a seven percent solution of cocaine, not morphine.
GREG: Evidence out of context.
GRISSOM: Did you ever consider the possibility that the victim didn't realize
what he was injecting himself with?
GREG: No. You think someone switched his coke with morphine?
GRISSOM: You found the victim's fingerprints on the gun, but you found no
prints on the surgical tubing, no epithelials either. Does that make sense if
it was a suicide?
GREG: I guess not.
GRISSOM: Do you have any other suspects who have access to morphine or surgical
tubing?
GREG: I can find out.
GRISSOM: I would do that.
(Grissom turns and leaves. Greg sighs heavily as he buttons his jacket and
kicks his locker door closed.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Grissom is examining the tubing under the magnifying glass. Greg walks into
the lab.)
GREG: I went through the medical records for all of our suspects. As far as I
can tell, none of them have ever been prescribed morphine. I think Watson's our
best bet. The guy is a security guard at Desert Palms; he was certainly around
morphine.
(Greg looks over Grissom's shoulder as Grissom cuts open the tubing.)
GRISSOM: Tobacco leaves. Run a quick comparison. This has to belong to one of
our suspects.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Brass interviews Kay Marquette, Irene Adler. Greg watches from the observation
room.)
BRASS: Do you like your life?
KAY MARQUETTE (IRENE ADLER): What kind of question is that?
BRASS: Well, I mean, I've seen how happy you are at work. And then I know you
come home to Mom and I guess she has terminal cancer. That's got to be tough.
KAY MARQUETTE (IRENE ADLER): Yeah, well, you try giving enough attention to
someone who never gave you any.
BRASS: But the Sherlock Holmes Club, that's got to be one bright spot, hmm?
KAY MARQUETTE (IRENE ADLER): The one place I could go every week where no one
was grabbing my butt or staring at my breasts. The one place I could talk,
think.
BRASS: You must have been pretty devastated when Dennis Kingsley decided to
break up the club, huh?
KAY MARQUETTE (IRENE ADLER): (shrugs) It was a disappointment.
(Quick flashback to: [STUDY - NIGHT] Dennis Kingsley talks with his group.)
DENNIS KINGSLEY: Next week will be the final meeting of our society. But I give you my word, it shall be an evening none of you will ever forget.
(End of flashback. Resume to present.)
BRASS: I think it's a lot more than that.
KAY MARQUETTE (IRENE ADLER): I don't know what you mean.
(Brass slides the report across the table toward Kay.)
BRASS: Well ... the tobacco -- your blend is Cavendish.
(Quick flash to: The contents of Kay's purse are a pipe and some surgical tubing.)
(End of flashback. Resume to present.)
BRASS: Okay, why don't I tell this like a story, you know, like the end of a story, all right? Because I like the part where the detectives solve the crime. So here goes. On the day of the murder, you broke into Denny Kingsley's house. That's easy enough, the lock's crummy. You snuck downstairs. You replaced his cocaine with morphine, because you knew he was a creature of habit. So now all you had to do is wait.
(Quick flashback to: [STUDY - NIGHT] Kay sets up the suicide and pulls the trigger.)
(End of flashback. Resume to present.)
BRASS: So you sprinkle some of Dr. Watson's pipe tobacco in the carpet. You scoop up some of Denny's blood, to splash on Watson's shoes later. Why the elaborate frame-up of Watson? He had as much to lose as you.
KAY MARQUETTE (IRENE ADLER): Because he's the one that told Denny to give it all up and go back to his family. Because he's the one that wanted to be Sherlock Holmes, because he didn't care what it was doing to me.
(She sniffles and leans forward.)
KAY MARQUETTE (IRENE ADLER): You see, Detective ... (British accent) Denny would have wanted his murder to be the perfect puzzle. A mystery worthy of the master.
(She starts laughing.)
(Camera refocuses on Greg in the observation room.)
CUT TO:
[INT. CSI - HALLWAY - NIGHT - CONTINUOUS]
(Greg walks dejectedly through the hallway. At the end of the hallway, Warrick and Nick are talking.)
NICK: Hey, Greg, Grissom wants to see you.
WARRICK: Like now, in his office.
(Greg turns around and sighs heavily. Might as well get this over with.)
(He heads for Grissom's office.)
[INT. CSI - GRISSOM'S OFFICE - NIGHT - CONTINUOUS]
(Greg walks into the office. He sees a dark figure behind Grissom's desk in his chair.)
GREG: Grissom. You wanted to see me.
(The chair swings around and we see that it's Mr. Gel Dummy dressed up as Grissom, a large sign stuck on his chest:
YOU PASSED!
(Everyone steps out into the room - Nick, Warrick, Sara, Catherine and Grissom. Ecklie is with them. They cheer and applaud him. Sara gives Greg a hug. Catherine kisses Greg's cheek and gives him a hug.)
CATHERINE: Well done.
(Everyone shakes his hand. Grissom smiles proudly at Greg.)
CONRAD ECKLIE: Congratulations, Sanders. Good work.
GREG: Thank you.
CONRAD ECKLIE: Okay, gang, there's people to put in jail. Let's get back to it, shall we? Come on, come on, now. Party's over. Let's go.
(Everyone leaves.)
NICK: Good job.
(Greg looks at Grissom.)
GREG: I don't get it. I got the wrong guy, the wrong manner of death.
GRISSOM: I don't expect you to be correct in all your interpretations all the time. You collected the evidence. You thought there was something missing, you went back and found it. Hey, that's the job. Congratulations, Greg.
(They shake hands.)
GREG: Thank you.
(In the doorway, Catherine holds up a bottle of champagne while the others hold their glasses. They're waiting for Greg.)
(Greg goes to join them. He rushes over and they hand him his glass.)
VOICE: Cheers. To you.
(Camera holds on Grissom as he watches them celebrate.)
FADE TO BLACK
THE END.
Fait par Wella
