COLD OPEN:
[EXT. VARIOUS LAS VEGAS CITY INTERSECTION (STOCK) -- NIGHT]
(Time Lapse Fast Forward. Focus on the street intersection below. The cars zoom quickly, their lights simple streaks of light on the street. In the center of the screen is the back of the Statue of Liberty.)
[EXT. TACO STAND - NIGHT]
(A young man makes a purchase and takes his tacos with him as he leaves. A woman nearby giggles.)
(The young man heads for his car, gets inside and starts the engine.)
(The headlights flip open.)
(The car moves forward and pulls out of the parked area.)
(Inside the car, the young man takes a bite from his taco. He grabs the steering wheel and turns his car out onto the main road.)
(He drives away while eating his taco. He takes another bite, looks up when bright lights shine straight toward him. He slams on the car breaks.)
(The car screeches to a halt as a large Hummer heads straight for his car.)
(The Hummer doesn't stop and rolls right over his car.)
(The windshield glass breaks. The man grunts as he's thrown side-to-side. He squishes his taco into the side window.)
FLASH TO:
[EXT. STREET - NIGHT]
(The officers lift the crime scene tape as Grissom ducks under it. He walks past Officer Metcalf, who drops the tape behind him, a large taco clutched in his other hand.)
OFFICER METCALF: This is the best taco I ever had.
GRISSOM: I'm happy for you both.
(Grissom heads toward Brass, who turns around and appears surprised to see Grissom there.)
BRASS: What, did you piss off Ecklie again? This is a hit-and-run. I was expecting Greg Sanders.
GRISSOM: We're slammed. Everybody's on a case.
(Grissom puts his kit down on the road near the car; the Hummer partially covers the front half of the sleek car.)
GRISSOM: Is this a Fiero?
(Brass leads Grissom around the two cars.)
BRASS: Yeah, the old Fiero. Kind of makes you nostalgic for a "members only" jacket. Anyway, the Hummer was going the wrong way on a one-way street. The guy in the Fiero, lucky to be alive. Nobody saw the driver get out.
(Grissom puts his gloves on.)
GRISSOM: People who drive $100,000 vehicles don't usually run away from them.
BRASS: Well, you obviously haven't met any paroled rappers.
(Brass stops. Grissom sees the tread marks on the road.)
GRISSOM: Tread-mark shapes indicate acceleration.
(Grissom looks up. We hear the sounds of an engine gunning and tires screeching. Grissom visualizes the Hummer coming straight toward them from down the street.)
GRISSOM: Pedal to the metal. Maybe a getaway.
(Grissom and Brass turn, their eyes following the path of the imaginary Hummer as it comes to stop on top of the Fiero.)
BRASS: Or maybe a joyride.
(Brass and Grissom walk over to the Hummer's open driver's door.)
BRASS: There's a red smear on the door. Somebody's got blood on their hands.
(Brass shows Grissom the bloodstains.)
GRISSOM: Hmm.
(Grissom looks inside the driver's seat and notes the air bag.)
(Camera zooms to show the powder residue on the air bag. Grissom looks at the air bag.)
GRISSOM: Well, at least we know one thing about the driver.
(Quick flash to: Slow motion. The air bag releases and fills as the driver's face slams into the air bag. End of flash. Resume to present.)
GRISSOM: He's had a face lift.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(A phone rings as Grissom walks through the hallway. He heads toward reception.)
JUDY TREMONT: (o.s.) (to phone) Crime Lab, how can I help you?
(Grissom walks past a woman. As Greg and Sara return to the office, Grissom catches a bit of their conversation.)
GREG: Sara, I just want you to know that when we were in the shower, I didn't see anything.
(Grissom turns around and watches them go, surprise etched on his face.)
SARA: Really? Gosh, I saw everything.
JUDY TREMONT: (o.s.) Mr. Grissom. (Grissom turns to look back in Judy's direction.) PD just called. Apparently, the Humvee from your hit-and-run was carjacked earlier tonight.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(Brass interviews Wilma and Kyle Shaw.)
WILMA SHAW: Yeah, it was our Hummer ... for all of twenty minutes.
KYLE SHAW: We ... we won it in a raffle.
BRASS: So, what happened?
KYLE SHAW: All of a sudden, this fat guy comes out of nowhere and ...
WILMA SHAW: (interrupts) Fat guy?! No, that's you.
KYLE SHAW: What's me?
WILMA SHAW: (scoffs) Fat guy ...
BRASS: Well, um, how do you see it, Mrs. Shaw?
WILMA SHAW: The kid who took the car was skinny.
KYLE SHAW: Well, maybe he wasn't as big as me, but he was definitely fat.
WILMA SHAW: I'm going to sock you one. He was not.
KYLE SHAW: He pulled me out of the car!
WILMA SHAW: He was as skinny as a stickman!
BRASS: Yeah ...
CUT TO:
[EXT. ROAD - DAY]
(Officer Metcalf accompanies Grissom on a road back.)
OFFICER METCALF: According to the, uh, witness statement, the carjacker was hanging over there by the fence.
(He points over to the wire fence lining the lot nearby.)
GRISSOM: What are we, about three blocks from the crash site?
OFFICER METCALF: Uh, yeah.
(Grissom looks at the fence.)
OFFICER METCALF: Nice freakin' neighborhood.
(Grissom raises his camera and takes photos of the smudges of blood on the fence post.)
(Grissom looks around. He looks down on the ground and sees some blood drops. He continues walking. A little farther down, he finds a handkerchief with some blood on it thrown in the grass on the side of the road.)
(He snaps a photo of it. He takes out a scissors and picks it up.)
(Sirens wail in the distance. A police car rushes toward them down the road, then turns to the right. Grissom looks up and notices the car. Off screen, we hear tires screeching.)
(A short while later, we see a detective car following the officer car.)
(Grissom goes back to the bloody handkerchief. He takes out a plastic bag from his pocket and opens it.)
SHORT TIME CUT TO:
[EXT. CONVENIENCE STORE FRONT -- DAY]
(An officer drags a man toward their car, the perturbed convenience store owner
following them.)
VERNON: Come on, man! I didn't do nothing! Let me go!
STORE OWNER: Try to steal from me, you miserable lowlife! This time, I get justice! You're going to jail! You are going to jail!
VERNON: Man, you just a damn racist.
(Brass stops the officers.)
BRASS: Hold up. This guy matches the description of a suspect in a carjack hit-and-run.
VERNON: Naw, Dawgs, yo, I jacked a 40, not no car, a'ight?
BRASS: Yeah, a'ight ... One Cent, let's go.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Brass and Grissom walk through the hallway.)
BRASS: So the kid denies jacking the Hummer. Says he's never even been in one.
GRISSOM: We matched his blood on the gearshift and on the headband I found in
the alley.
BRASS: And he's skinny, which matches one of the descriptions. I'm charging
him.
CUT TO:
[INT. TRACE LAB - DAY]
(Hodges reports his findings to Grissom.)
HODGES: The oily stain you collected from the Hummer's air bag was, ironically
enough, oil. More specifically, lard.
GRISSOM: It looks like there's tissue fibers mixed into it.
HODGES: Several different types, actually, so I ran an ELISA to differentiate.
Pork, beef, chicken and possibly human flesh. A real taste treat. It's all
been cooked up, so I doubt we'll get any DNA.
(As he talks, something occurs to Grissom.)
HODGES: What are you thinking about?
GRISSOM: Tacos.
CUT TO:
[EXT. TACO STAND -- DAY]
(The taco stand owner cooks up the next batch of meat and onions on the grill.
Grissom walks up to him.)
GRISSOM: Hola.
TACO STAND OWNER: Hola. Chicken, beef or pork, boss?
GRISSOM: Los carnitas, por favor.
TACO STAND OWNER: Carnitas.
GRISSOM: Say, uh ...
(Grissom shows the owner his ID card.)
GRISSOM: Have you had any trouble around here recently?
TACO STAND OWNER: Just a little scuffle yesterday. Nothing I couldn't handle.
(Quick flashback to: [NIGHT] The taco stand owner checks his cash and shoves it in his pocket as two young men, Vernon and Lawrence Lafontaine, walk up to him.)
VERNON: Yo, pops, give me the loot!
(Vernon and Lawrence Lafontaine walk up to him intending on taking the money
from him. The taco stand owner turns, deflects Vernon's arm from grabbing him,
picks up the knife on the counter and stabs the kid in the leg. The kid
screams.)
(With his other hand, the taco stand owner picks up the hot pan of oil on the
grill and throws it at Lawrence Lafontaine.)
(Both men turn and run screaming.)
(End of flashback. Resume to present.)
GRISSOM: Didn't you file a police report?
TACO STAND OWNER: Bother you guys with something like that? (He scoffs.) I was
a kid once. Those guys just needed someone to set 'em straight. Here you go.
(He gives Grissom his tacos.)
GRISSOM: Gracias.
TACO STAND OWNER: Denada. Oh, it's on the house.
GRISSOM: Muchas gracias.
(The taco stand owner smiles. Grissom takes out his cell phone and starts
dialing.)
GRISSOM: (to phone) Jim, we need to go back to the hospitals.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
GRISSOM: (v.o.) We may be looking for a burn patient.
[INT. HOSPITAL -- NIGHT]
(Lawrence Lafontaine sits on the bed. Brass, Grissom and a couple of officers step into the room. Lawrence turns and gets to his feet.)
BRASS: Lawrence Lafontaine, you're under arrest.
LAWRENCE LAFONTAINE: Vernon rat me out?
BRASS: No, the taco did.
LAWRENCE LAFONTAINE: Everyone around my hood knows that taco guy. To get whooped by his old ass and not do anything about it?
(Quick flashback to: [NIGHT] Vernon and Lawrence Lafontaine are running down the side street.)
VERNON: For real, stop, yo!
(Vernon collapses to the ground. Lawrence takes off his headband and ties it
around Vernon's thigh.)
VERNON: Man, dawgs, it hurts for real, man.
LAWRENCE LAFONTAINE: Here, now, you straight? Stop being such a little baby.
VERNON: I need some medicine -- I ain't talking about going to no hospital,
either.
LAWRENCE LAFONTAINE: Well, have fun then, man. I'm-a get me some payback.
(Lawrence takes off.)
(End of flashback. Resume to present.)
LAWRENCE LAFONTAINE: Vern just bitched out, wanted to forget it ever happened.
Not me.
GRISSOM: So you stole the Hummer for revenge.
(Quick flashback to: [NIGHT] Wilma and Kyle Shaw are in their new Humvee.
Wilma looks at the map and shakes her head.)
WILMA SHAW: I knew we should've asked for directions.
(Lawrence runs up, opens the door and grabs Kyle Shaw, pulling him out of the
car.)
LAWRENCE LAFONTAINE: Out of the car, man!
KYLE SHAW: Hey, hey, hey!
LAWRENCE LAFONTAINE: Get the hell out of the car!
CUT TO: [TACO STAND]
(The taco stand owner talks with the Fiero owner as he prepares his order.)
TACO STAND OWNER: (to Fiero owner) They just needed someone to set them
straight.
(The Humvee rushes down the street. Lawrence is behind the wheel. His eyes are
solely on the taco stand and he doesn't see the Fiero pull out in front of him.)
(He sees the car too late. He tries to brake; the tries to turn. The Humvee rolls right on top of the Fiero.)
(End of flashback. Resume to present.)
BRASS: Let me get this straight, Larry. An old man refuses to let you steal his money, so you jack a Hummer and try to run over his taco stand?
LAWRENCE LAFONTAINE: (sighs) Maybe.
GRISSOM: I think this is the dumbest thing we've ever heard.
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY INTERSECTION (STOCK) -- NIGHT]
(Time Lapse Quick Rewind. Focus on the street intersection below. The cars zoom backward quickly, their lights simple streaks of light on the street. In the center of the screen is the back of the Statue of Liberty.)
[INT. CSI - HALLWAY - DAY]
(Rewind. Sara and Greg walk backward as they pass Grissom in the hallway in
front of reception. The sound is on rewind.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Camera pulls away from the city lights.)
[EXT. ROAD - NIGHT]
(Rewind. The Hummer on top of the Fiero rolls off, backward.)
[EXT. LAS VEGAS CITY (STOCK) - EVENING TO AFTERNOON]
(Rewind. Evening rewinds back into day.)
[INT. INTERNATIONAL VEHICLE EXPO - DAY]
(Various shots of the Expo in full swing. With each display is a beautiful
woman presenting the latest product.)
(At the main stage is Mr. Daluca standing in front of a closed curtain fronted
by several beautiful women.)
MR. DALUCA: It's a beach house, a ski lodge, a state-of-the-art office, your home on the road ... ladies and gentlemen, Daluca Motorcoaches is proud to present the g-4700!
(The crowd cheers. The women standing in front of the stage pull the curtain open. On the floor, center stage, is a dead woman.)
(Mr. Daluca turns around. The crowd's cheers fade. Cameras snap.)
WHITE FLASH TO:
[INT. INTERNATIONAL VEHICLE EXPO - DAY]
(Warrick steps on stage.)
WARRICK: Gentlemen.
(Det. Vartann looks at Warrick as David Phillips kneels next to the dead body.)
DET. VARTANN: Hey.
(Warrick puts his kit down on the ground and steps closer.)
WARRICK: What's going on here?
DET. VARTANN: Lisa Schumacher, 29.
(Det. Vartann hands Warrick Lisa Schumacher's ID tag.)
DET. VARTANN: There's no surveillance on the floor, and none of the rent-a-cops
remember the last time they saw her.
WARRICK: A convention girl.
DAVID PHILLIPS: A what?
WARRICK: You know, a model, stripper or a showgirl working the convention for extra cash. You got a T.O.D. yet?
(David puts his clipboard down and rolls the body to check out the woman's back.)
DAVID PHILLIPS: Well, based on lividity, I'd say around 4:00 A.M. (David notes the cut on her mouth.) Laceration on the lower lip. Contusions on the neck. (He checks her eyes.) Petechiae in the eyes.
DET. VARTANN: So she got slapped around, strangled. Maybe somewhere in between, she was raped.
(Warrick kneels down next to the body and notes the off-colored makeup smudges on her skin.)
WARRICK: These streaks right here. They don't look like blood.
(He looks at her nails.)
WARRICK: Possible hair fragments and some skin under her nails.
DET. VARTANN: She fought back.
WARRICK: It'd be good for us.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. INTERNATIONAL VEHICLE EXPO - DAY]
(The coroners wheel out the body wrapped on a gurney. The crowd murmurs as they
move out from behind the display)
CUT TO:
[INT. INTERNATIONAL VEHICLE EXPO - MOTORCOACH DISPLAY -- DAY]
(Warrick checks out the motorcoach the body was found in. He opens the door to
the bathroom and looks around.)
(He looks at the things on the counter. He opens the cell phone, closes it and
sets it back down on the counter.)
(He looks in the toilet and flips on the ALS. He finds some stains inside and
takes a swab of it. He closes the swab. He flips open the flush unit and finds
some used condoms inside.)
WARRICK: So that's why they call it a "recreational vehicle."
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins goes over the preliminary report on Lisa Schumacher with Catherine.)
ROBBINS: C.O.D. is asphyxia due to manual strangulation. Whoever did this used
a lot more force than they needed to. There's bleeding in the neck muscles.
Fractures in the cornu of the thyroid cartilage and hyoid bone.
CATHERINE: Did you do a wet mount?
ROBBINS: Sure did. Found motile sperm in the vaginal cavity.
CATHERINE: Well, Warrick found several used condoms at the scene. Killer must
have run out, and started riding bareback.
ROBBINS: Eh, I'm not sure he rode anything at all. There's an absence of
trauma in the vaginal cavity.
CATHERINE: Enough to rule out rape?
ROBBINS: Yeah. The semen was found at a depth not indicative of penile penetration. In this case, only a couple inches in.
CATHERINE: Maybe that's all the killer had to work with.
CUT TO:
[INT. INTERNATIONAL VEHICLE EXPO - EVENING]
(The Expo continues.)
CANDICE MOSTI: And now, the moment that we've all been waiting for. The winner of the brand-new Humvee is ...
(She pulls a name out from the fishbowl.)
CANDICE MOSTI: Kyle Shaw!
(Wilma Shaw screams and jumps up and down.
WILMA SHAW: Oh!
KYLE SHAW: Oh, my God! Honey, we won.
(They turn to each other and hug in celebration.)
WILMA SHAW: Whoa!
(Wilma and Kyle Shaw rush through the crowd toward the stage.)
(Warrick and Det. Vartann interview Donny Drummer.)
DONNY DRUMMER: Hey, I got over seventy women working this convention, man. Booth bimbos, crowd gatherers, hostesses, narrators, demonstrators, translators. Whatever you need, I got it.
DET. VARTANN: Well, we're only interested in Lisa Schumacher.
DONNY DRUMMER: She's one of my girls. I represent her. They call her "Cris," as in Cristal, the champagne. She can't get enough of it.
WARRICK: She likes to party?
DONNY DRUMMER: She likes to make money. Girls who party make the money. This ain't L.A., where you get up at 10:00 A.M. for an audition. At 10:00 A.M., My girls are still at Drai's partying with the client. What's this about?
WARRICK: She was found dead this morning.
DONNY DRUMMER: No. Come on, she's over there working the Daluca account.
DET. VARTANN: You didn't hear?
DONNY DRUMMER: There's two million square feet of exhibits here, man. Forty thousand people. This place is a mini-city. That RV exhibit's across town.
WARRICK: I was told that the doors close at ten. Any idea why she was here after hours?
DONNY DRUMMER: Look, she worked behind a booth, yapping her mouth. Can't really throw her in a bikini no more. She's getting up there. Three-oh, uh-oh. (He chuckles.) I didn't really keep tabs.
(Gwen rushes up to Donny, interrupting them.)
GWEN: Donny.
DONNY DRUMMER: You're late. And you're not dressed. What's the deal, girl?!
GWEN: Please, Donny, I just had the worst morning.
DONNY DRUMMER: Oh, you think you had it bad? Well, Cris is dead.
GWEN: Oh, my God.
(Gwen looks as if she's going to cry. She runs out. Donny looks at Warrick and shrugs.)
DONNY DRUMMER: It's a tough business.
CUT TO:
[INT. CSI - TRACE LAB -- EVENING]
(Warrick walks into the Trace Lab from the hallway. At first appearance, there's no one there. He steps into the lab and finds Hodges under the sink looking at the pipes with a flashlight.)
WARRICK: Hodges ...
(Surprised, Hodges reacts and hits his head on the sink above him.)
HODGES: What do you want?
WARRICK: What are you doing?
HODGES: I'm looking for leaks.
WARRICK: Call facilities. You got my results?
(Hodges turns and looks at Warrick.)
HODGES: If you knew the kind of stuff that grows in these pipes, you'd be on
your hands and knees with me.
WARRICK: The results, Hodges, from the swabs I gave you? From Lisa
Schumacher's fingertips?
(Hodges stands up and pushes his face mask down. He goes over to get Warrick
his results.)
HODGES: Fine. I found several substances. Nonoxynol-9 spermicide.
WARRICK: Spermicide. So she did handle a condom.
HODGES: Also found traces of pvp, sorbitol, carbomer, hydroxypropylcellulose -- probably a hair gel.
WARRICK: Well, she did have skin under her fingernails, so she could've scratched her attacker's scalp.
HODGES: Not my job. And last, the brownish-orange substance on the vic's fingers, chest and shoulders: instant tanning lotion.
WARRICK: Hmm.
CUT TO:
[INT. CSI - PRINT LAB - EVENING]
(Jacqui Franco reports her findings to Warrick.)
JACQUI FRANCO: Got four work card hits from the motorcoach.
(She points to the monitor of the Las Vegas Police Identification Record. It
reads:
<< DANA SIMMONS >>
HGT: 5'10" WGT: 126 LBS. EYES
HAIR: BRN DOB: 3/12/84 RACE: AF-
ADDRESS: 119 AUTUMNWOOD DR.
LAS VEGAS, NV 89121
WORK HISTORY:
2004 - CURRENT: ROYAL FLUSH MODELS
2002-2004: COFFEE BARISTA )
JACQUI FRANCO: Dana Simmons, ...
(The second ID reads:
<>
HGT: 5'4" WGT: 101 LBS EYES-
HAIR: BRN DOB: 5/10/80 RACE: PUERT-
ADDRESS: 234 MOUNTAIN VISTA
LAS VEGAS, NV 89156
WORK HISTORY:
2002 - CURRENT: ROYAL FLUSH MODELS
2001 - 2002: SALES CLERK
1998 - 2001: HIGH SCHOOL TUTOR )
JACQUI FRANCO: ... Lane Kelly,
(The third ID reads:
<>
HGT: 5'5" WGT: 114 LBS EYES
HAIR: BROWN DOB: 10/21/82 RACE:A-
ADDRESS: 1153 STONE CREEK
LAS VEGAS, NV 89233
WORK HISTORY:
2003 - CURRENT: ROYAL FLUSH MODELS
2000 - 2003: RESTAURANT HOSTESS )
JACQUI FRANCO: ... and your vic, Lisa Schumacher.
(The final ID reads:
<< LISA SCHUMACHER >>
HGT: 5'8" WGT: 115 LBS EYES-
HAIR: BLONDE DOB: 1/9/76 RACE: CA-
ADDRESS: 234 MOUNTAIN VISTA
LAS VEGAS, NV 89156
WORK HISTORY:
2001 - CURRENT: ROYAL FLUSH MODELS
1998 - 2001: TANGIERS COCKTAIL WAITRESS
1994 - 1998: SALES CLERK )
WARRICK: Twenty-nine and already over the hill.
JACQUI FRANCO: Please tell me you're kidding.
(Warrick chuckles.)
WARRICK: This town has different standards. Let me see something.
(He presses a key and lines up all four ID's on the monitor.)
WARRICK: Looks like Lisa had a roommate.
CUT TO:
[INT. POLICE DEPARTMENT - BULLPEN -- EVENING]
(Warrick and Det. Vartann interview Candice Mosti, Lisa Schumacher's roommate.)
CANDICE MOSTI: So my prints are on the RV. Okay, I work that display
sometimes.
DET. VARTANN: It's not just the print that makes you look bad, it's you.
You're raffling off a Hummer hours after your roommate turns up dead.
CANDICE MOSTI: What am I supposed to do? I'm broke and my car insurance is
due.
(As she talks, Warrick notices the makeup smudges on her arm.)
WARRICK: What is that on your arm? Is that tanner?
(She looks at her arm.)
CANDICE MOSTI: Forgot to rub it in, I guess.
WARRICK: Razor-tight girl like you forgetting to rub tanning lotion in?
Doesn't sound right to me. You know, the funny thing is, is your girlfriend
Lisa had streaks of tanner on her body, too. Were you girls together last
night?
CANDICE MOSTI: Donny asked us to hang out with Mr. Daluca after work.
DET. VARTANN: You and Lisa?
CANDICE MOSTI: Me, Lisa, Dana, and Lane.
WARRICK: You guys just "went out"? Come on.
CANDICE MOSTI: Look, I'm not a hooker. All I do is these conventions. So when
a big baller like Mr. Daluca comes into town and offers us a little cash to hang
out, I'm with it.
DET. VARTANN: "With it" where?
CANDICE MOSTI: We had dinner at Fix. Partied at Mix. Gambled a little. Then
he took us back to the convention center. Hammered and horny.
(Quick flashback to: [NIGHT] Candice and Lisa sit on the bed with Mr. Daluca
and the two other girls.)
MR. DALUCA: Oh! Okay. Who gets the first ride?
(Mr. Daluca laughs. Lisa smiles and crawls over to him. He looks at her.)
MR. DALUCA: If I wanted someone your age, I'd do my wife.
(He laughs and pushes her away from him. He turns his attention to the two
younger women. Lisa turns and cries.)
(End of flashback. Resume to present.)
CANDICE MOSTI: I left there as soon as I could. I took a cab home.
DET. VARTANN: Did Daluca get rough with her?
CANDICE MOSTI: Not that I saw. He didn't even want to touch her.
WARRICK: Really? Because we found Lisa's DNA on a condom.
CANDICE MOSTI: When I left, Daluca was busy with Dana and Lane, and Lisa locked
herself in the bathroom. That was the last time I saw her.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM]
(Warrick and Det. Vartann interview Mr. Daluca. Mr. Daluca looks at a post-
autopsy photo of Lisa Schumacher.)
MR. DALUCA: You want my prints? My DNA? I mean, come on, guys. I'm on
vacation here.
WARRICK: Having a sample of your DNA would help exclude you as a suspect.
Voluntary or court order, it's your choice.
MR. DALUCA: My DNA is gonna be all over that girl, but I didn't put it there,
she did. Now, this broad was expiring like spoiled milk, and she was looking
for a way out.
(Quick flash to: [RV - NIGHT] Lisa cries in the bathroom. She looks in the
toilet and sees the used condom.)
(Cut to: The bathroom door opens and Mr. Daluca finds Lisa in the bathroom.)
MR. DALUCA: You still here?
(He realizes what she's doing.)
MR. DALUCA: You bitch. You bitch!
(He steps into the bathroom and hits her across the face.)
(End of flashback. Resume to present.)
MR. DALUCA: She puts my baby inside her, hey, quickie retirement plan.
DET. VARTANN: You know, I can't think of a better reason for a man to kill a woman.
MR. DALUCA: If I'd have killed her, you think I'd put her in my own motorcoach, and then present it at an unveiling ceremony that I was announcing?
(Vartann looks at Warrick.)
MR. DALUCA: You don't believe me, go ask the convention authorities. I told them what she was trying to do. It's the last time I ever hire those skanks to work a show.
CUT TO:
[INT. CSI - HALLWAY]
(Nick is on the phone and walking through the hallway.)
NICK: (to phone) yes, yes, I'm very aware of Butterfield Academy's privacy policy, but this a homicide ...
(Nick passes Catherine and Warrick in the hallway, his voice fading as he goes. Catherine turns to watch Nick as she catches some of his phone conversation. Warrick is looking through the file folder in his hands.)
WARRICK: Daluca's all over the condoms. Get this, on one of them, his DNA and
her epithelials are on both sides.
CATHERINE: Well, that's kind of like turning a sock inside out.
WARRICK: It does support his story, though.
CATHERINE: Well, what about the epithelials under her nails?
WARRICK: It's not a match to Daluca.
CATHERINE: So where does that leave us?
WARRICK: Oh, I'm not quite done yet.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. INTERNATIONAL VEHICLE EXPO - NIGHT]
(Warrick is back at the Expo.)
WARRICK: Have a seat, Donny.
(Donny Drummer sits in the chair set out for him. Warrick walks up behind him.)
WARRICK: What kind of hair gel do you use?
DONNY DRUMMER: Well, I don't think it would work with the texture of your hair.
WARRICK: Real funny.
(Warrick uses a magnifying glass and checks Donny Drummer's scalp.)
DONNY DRUMMER: What are you doing?
WARRICK: Please stay still.
(Warrick looks at Donny Drummer's scalp.)
(Camera zooms for a close-up of the half-moon scratches.)
WARRICK: How did you get these scratches in your head?
DONNY DRUMMER: Probably from scratching. I'm always thinking.
WARRICK: I'll tell you what you were thinking.
DONNY DRUMMER: You were thinking about how Lisa pissed off your best client.
And how much business it was gonna cost you.
(Quick flashback to: Donny Drummer grabs Lisa. She struggles against him.)
WARRICK: (v.o.) You kill her, Daluca takes the fall. You can't lose.
(Donny Drummer chokes Lisa.)
(End of flashback. Resume to present.)
DONNY DRUMMER: Lisa was a nothing. Old news. Why would I risk everything for a zero like her?
WARRICK: For that exact reason, 'cause she was a "nothing" to you.
DONNY DRUMMER: That's a good story. You find that in one of your forensic journals?
WARRICK: No, but when I match your DNA, I'll make sure you're on the cover. Cuff him.
(The officers handcuff Donny Drummer.)
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY INTERSECTION (STOCK) -- NIGHT]
(Time Lapse Quick Rewind. Focus on the street intersection below. The cars
zoom backward quickly, their lights simple streaks of light on the street. In
the center of the screen is the back of the Statue of Liberty.)
[INT. CSI - HALLWAY - DAY]
(Rewind. Warrick and Catherine walk backward through the hallway. They pass
Nick who is on the phone, walking and talking backwards. Camera follows Nick as
he walks backward through the hallway.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Camera pulls away from the city lights.)
[INT. INTERNATIONAL VEHICLE EXPO - DAY]
(Rewind. The audience applauds as the open curtain is pulled shut by the
convention girls.)
[EXT. LAS VEGAS CITY (STOCK) - EVENING TO AFTERNOON]
(Rewind. Evening rewinds back into day.)
[EXT. PAUL CHARLES' RESIDENCE - FRONT - DAY]
(Gwen parks her black convertible on the road in front of Paul Charles' house.
She grabs her things, gets out and rushes up the front steps. She rings the
doorbell.)
(There's no answer.)
(We can hear the music coming from inside. She yells through the door.)
GWEN: Hey, Paul, it's Gwen.
(There's no answer. Gwen knocks on the door.)
GWEN: Come on, babe. Let me in. Work me out.
(She waits for an answer.)
CUT TO:
(Gwen walks around the side of the house looking for another way in.)
(She looks in through the side window and sees Paul Charles dead on the floor of
the workout room.)
(She gasps and puts a hand over her mouth at the sight.)
CUT TO:
[INT. PAUL CHARLES' RESIDENCE - FOYER / LIVING ROOM - DAY]
(Det. Cavaliere leads Sara and Greg through the house and into the workout room where the dead body is located.)
DETECTIVE CAVALIERE: Vic is Paul Charles, 28. Competition bodybuilder and personal trainer. Doors were all locked, windows closed. No sign of forced entry.
[INT. PAUL CHARLES' RESIDENCE - HALLWAY / WORKOUT ROOM - DAY -- CONTINUOUS]
(They walk through the hallway and into the workout room. The body is on the floor, a pool of blood near his head, eyes and nose area bleeding.)
(Greg looks around the room and notices the walls covered with posters of Paul Charles in various body-building poses.)
GREG: This guy's a poster child for self-love.
(Sara walks up to the body and puts her kit down.)
SARA: Maybe that's why they went for the face.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. POLICE DEPARTMENT - HALLWAY / WAITING ROOM -- DAY]
(Det. Cavaliere interviews Gwen.)
DETECTIVE CAVALIERE: Gwen, did you see anyone else near the house when you
arrived?
GWEN: No, uhm, Paul cut down on clients so he could train for Mr. Las Vegas.
It's next month and he really wanted to win this time. He cancelled my last two
workouts.
DETECTIVE CAVALIERE: So, why didn't you get another trainer?
GWEN: If he cancelled again, I was going to.
DETECTIVE CAVALIERE: Did you and Paul ever get physical?
GWEN: Just once. Last month.
(Quick flashback to: Gwen is bench-pressing while Paul stands over her prompting her.)
PAUL CHARLES: Press it. Come on, feel it.
PAUL CHARLES: Come on; you got to want it. Come on.
(Finished, he puts the weight back. Gwen grabs Paul's shirt and pulls him down
to her.)
GWEN: I'll tell you what I want.
(They kiss.)
(He pulls away from her and stands up.)
GWEN: What's wrong?
(End of flashback. Resume to present.)
GWEN: He said he had a headache. But I mean, he was training really, really
hard, so he was probably just tired.
DETECTIVE CAVALIERE: Or gay.
GWEN: I don't know. I don't care. I mean, just lying back on that bench and sweating and pushing the weight with all of his muscle right there I mean, it, it was totally ... motivating.
CUT TO:
[INT. PAUL CHARLES' RESIDENCE - WORKOUT ROOM - DAY]
(Sara and Greg are going through the room. Greg walks around the room as Sara is near the body holding a camera.)
GREG: No matter how hard you work to get big, there's always someone bigger.
SARA: It could be what keeps them going. Like Freud said, "Anatomy is destiny."
(Greg stops in front of the rack of weights.)
GREG: What do you think Freud would have to say about one of these being the murder weapon?
(Quick flashback to: Paul Charles is in the workout room lifting some hand weights. He puts them down. Someone hits him across the face with a weight. He falls to the floor with a thud.)
(End of flashback. Resume to present.)
(Sara takes a swab sample of the blood on the carpet.)
SARA: Killer didn't even have to be his size. Could have been a little guy, or
a woman.
(Greg stops in front of the full-length wall mirror. As Sara talks, Greg
glances back to make sure she's not looking at him. He looks at the mirror and
makes a muscle.)
SARA: All they would have needed was the right weapon, some leverage, the
element of surprise.
(Greg puts his arm down. He looks back just as Sara finishes and glances at
him.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins and David Phillips stand around Paul Charles' body.)
ROBBINS: Victim is a well-developed Caucasian male. Musculature appears
hypertrophied. Care to guess?
DAVID PHILLIPS: Blunt-force trauma.
ROBBINS: Absence of bruising.
DAVID PHILLIPS: Maybe it was a post-mortem blow.
ROBBINS: Let's find out.
CUT TO:
[INT. PAUL CHARLES' RESIDENCE - HALLWAY -- DAY]
(Greg walks through the hallway and into the bedroom. He looks at the things on
the dresser.)
(Cut to: Greg looks at the newspaper and drops it on the bed. Greg walks
around to the side of the bed and checks the nightstand. He opens the drawer
and finds a handgun inside. Greg takes a photo of the gun.)
(Greg picks up the gun and puts it in a bag.)
(He closes the top drawer and opens the bottom drawer. Inside, he finds three
syringes of varying sizes.)
(Cut to: Greg takes a photo of the syringes. He picks one up and looks at it.)
[PHOTOS]
(Cut to: Camera slowly pans across the photos on the counter. All are of Paul
Charles. Next to the photos are a couple of awards. After the awards are even
more photos of Paul Charles.)
[INT. PAUL CHARLES' RESIDENCE - WORKOUT ROOM - DAY]
(Sara picks up a framed photo and looks at it. Sara looks at the other items on
Paul Charles' desk. She reaches behind his open laptop and picks up his
calendar book. She looks through it.)
(Greg walks into the room holding up the bag with the gun.)
GREG: Nine millimeter in the nightstand, and syringes next to the bed.
(He holds up the second bag.)
SARA: Wow.
GREG: Maybe our vic was putting the smack in "smackdown."
SARA: (shakes her head) There was no blood on the poles or the weights.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins and David Phillips continue their work on the body.)
ROBBINS: Rigor mortis is full and extremely rigid. Liver mortis is posterior
and fixed. Let's roll him.
(They roll the body.)
ROBBINS: That's good. Present on the bilateral buttocks are multiple fine
punctures, with some surrounding faint purple ecchymosis.
(They put the body back down, then check the back of the body's head.)
ROBBINS: Laceration noted at the base of the scalp. Uh, loss of blood from
that laceration is significant but non-fatal.
(Robbins looks at the victim's face.)
ROBBINS: Left eye socket appears swollen ...
(Robbins takes his finger and presses it on the inside of the eye. The eye
sinks into the skull, a thick black liquid oozes out.)
(David looks at Robbins.)
(Robbins looks at the tip of his finger.)
CUT TO:
[EXT. PAUL CHARLES' RESIDENCE - FRONT PORCH - DAY]
(Two men in HazMat suits pull Sara and Greg out of the house.)
HAZMAN MAN 1: We have a biohazard situation.
(They lead Sara and Greg down the front stairs.)
HAZMAN MAN 1: You need to be decontaminated immediately.
(The HazMat Man1 pulls Sara into the make-shift decontamination tent set up in
front of the house. HazMat Man2 follows inside with Greg.)
CUT TO:
[INT. DECONTAMINATION TENT - DAY - CONTINUOUS]
(The two men in HazMat suit shower down Sara and Greg.)
(Sara glances at Greg.)
(Greg looks up.)
(Sara turns back.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins is cutting open Paul Charles' skull. He pulls the skull cap off and
puts it on the side.)
(He removes the brains and looks at it. The thick black liquid is all around
the brain.)
CUE SOUND: (PRELAP) TELEPHONE RINGING
CUT TO:
[INT. CSI - RECEPTION HALLWAY - DAY]
(Judy Tremont answers the phone.)
JUDY TREMONT: (to phone) Crime Lab. How can we help you?
(Grissom appears out of the hallway and passes reception. He heads off in one
direction. Sara and Greg return and head toward reception. Grissom can't help
but overhear part of their conversation.)
GREG: Sara, I just want you to know, when we were in the shower, I didn't see
anything.
SARA: Really? Gosh, I saw everything.
(Grissom stops and stares as Sara and Greg continue through the hallway.)
JUDY TREMONT: (o.s.) Mr. Grissom. PD just called. ...
CUT TO:
[INT. CSI - LAYOUT ROOM]
(Robbins reports his findings to Sara and Greg.)
ROBBINS: The black pus suggested a possible infection from an airborne agent.
I took the precaution to get you out until Hazmat cleared the scene.
SARA: (dryly) Yeah, thanks a lot. (She clears her throat.) Uh, what did they
find?
ROBBINS: Actually, it's what I found -
(Out in the hallway, Hodges stops near the doorway and listens.)
ROBBINS: -- mucormycosis, a disease caused by exposure to rhizopus oryzae, a
kind of mold.
(Hodges steps into the room.)
HODGES: Did you say rhizopus oryzae?
ROBBINS: Mm-hmm.
SARA: We spent hours in that house.
ROBBINS: You're not at risk. You both have healthy immune systems. I suspect
that's not the case with your vic.
HODGES: Copy that. Trace on the syringes was deca-durabolin, sustanon and
oxandrolone.
GREG: Steroids. That guy was "stacking" to get bigger.
HODGES: Immune suppression is a common side effect.
SARA: So, how does a mold infection make it look like someone smashed him
across the face?
ROBBINS: His face collapsed from the inside. Mucor causes deterioration of the
bones around the sinuses and eye sockets. You remember the swollen eyeball?
The pus was pushing it out, while the bones that held it in place were getting
eaten away.
(Quick flash of: Paul Charles is working out.)
ROBBINS: (v.o.) The airborne mold spores enter the nasal cavity ...
(As Paul Charles breathes in, the camera zooms into his nose.)
(Quick CGI POV of: The camera zooms into the nasal cavity. The spores latches
onto the sinuses and turn the walls from pink to black as it grows.)
ROBBINS: (v.o.) ... and they consume sinus tissue as they multiply.
(End of CGI POV. Resume to present.)
(Camera holds on a photo of Paul Charles on the floor.)
SARA: So, his compromised immune system isn't strong enough to fight the spread
of the infection.
ROBBINS: That's right.
GREG: Sick.
HODGES: And what's even more sick is that rhizopus oryzae likes to grow on
human tissue.
CUT TO:
[INT. PAUL CHARLES' RESIDENCE - HALLWAY - DAY]
(Sara and Greg return to the house. They're both wearing face masks as they
walk through the hallway.)
HODGES: (v.o.) Mold grows outward as spores reproduce and are carried away
from the source.
(Sara stops in the hallway and puts her kit down and starts looking at the vents
in the hallway floor. Greg continues on to the bedroom.)
INTERCUT WITH:
[INT. PAUL CHARLES' RESIDENCE - BEDROOM - DAY]
(Greg heads for the sliding door and puts his kit down near the bed. He kneels
down to look at the vents in the floor near the sliding door.)
HODGES: (v.o.) If you pinpoint the source of the human tissue, that should
tell you something.
VARIOUS CUTS:
(Sara unscrews the vent cover and removes it. Underneath there are a few black
spots.)
[INT. PAUL CHARLES' RESIDENCE - HALLWAY - DAY]
(Sara and Greg are standing in the hallway, each removing the framed photos
hanging on the walls.)
(They remove the photos from the hallway completely.)
(Sara and Greg are cutting out pieces of the hallway walls.)
(They remove a piece. On the back, it's stained with black mold.)
(Dissolve to: They cut out more pieces of the hallway wall, looking for the
source.)
(Another piece is cut out. On the back, the mold stain is bigger.)
(Cut to: Sara cuts out a large square piece. The back of it is completely
covered with mold.)
SARA: Whew! We have got to be getting close to the source.
(She puts the piece down and looks inside the hole.)
SARA: Shut the blinds.
(Off screen, we hear the blinds close. Sara stands up and gets the spray
bottle.)
(Dissolve to: Sara sprays the wall around the area of the square cut, then
proceeds to continue to spray down the hallway into the room used as an office.
Greg watches.)
GREG: (points) Here? A whole lot of blood.
SARA: We're getting warmer. (points) Open it up.
(Greg cuts through the wall. They peel back the drywall and find a thick coat
of black mold growing along the pipes and wall inside. The pipe is leaking.)
(Sara turns on her flashlight and looks at the growth.)
SARA: Looks like we found the source of the mold.
GREG: Okay. So, how does human tissue get inside a wall?
SARA: Good question.
(Sara looks further.)
SARA: There's a hole in the air duct.
(She finds a bullet.)
SARA: A bullet hole ... (She takes out the bullet.) It's a nine mil.
GREG: Same as the handgun I found in the bedroom.
SARA: Copper-jacketed. It's good penetrating power. I think somebody was shot
here.
(Quick flash of: A woman's shadow is cast on the wall. The woman gasps. A gun
fires. The bullet goes through the wall, spattering blood and flesh on the wall
inside. The woman falls to the ground.)
(Camera zooms in through the bullet hole in the blood-spattered wall.)
SARA: (v.o.) Bullet pushed blood and tissue through the wall.
(Camera pushes into the bullet lodged just under the leaky pipe.)
SARA: (v.o.) And water from the pipe leak fed the mold growth.
(Quick CGI POV of: Time lapse. The mold grows around the bullet.)
GREG: (v.o.) Eventually, the mold released spores, ...
(The mold lets off spores that float through the air.)
GREG: (v.o.) ... which spread through the house AC, and right on up into
muscle-head's nose.
(End of flashback. Resume to present.)
CUT TO:
[INT. CSI - LAYOUT ROOM -- NIGHT]
(Sara and Greg report their findings back to Grissom.)
SARA: We ran the phone numbers from the vic's planner. Everybody checked out,
except for a woman named Tiffany.
(Close-up of Paul Charles' planner. The square for Wednesday, March 2, 2005
(61/304) reads:
TIFFANY
702-555-0169 )
GRISSOM: No last name?
GREG: Well, Tiffany is actually a street name for Angela Wheeler, known
prostitute.
(Greg shows the paper ad:
TIFFANY
(702) 555-0169 )
GREG: Her family reported her missing last month.
GRISSOM: Well, anyone who appears this narcissistic may prefer paying for
hookers rather than wasting his love on a girlfriend.
SARA: And as we know, in addition to immune suppression and heart and liver
disease, steroid abuse can also cause shrunken testicles, impotence and
aggression -- "roid rage."
(Quick flashback to: [NIGHT] Paul Charles and Tiffany are in bed. Paul rolls
off her.)
ANGELA WHEELER (TIFFANY): Oh, baby, looks like you have one muscle that isn't
hard.
(Paul reaches for his gun.)
PAUL CHARLES: You think that's funny, bitch?!
(Tiffany sees the gun and gets out of bed quickly.)
(End of flashback. Resume to present.)
SARA: So, if the DNA from the tissue on the bullet matches Tiffany ...
GRISSOM: We have a sample?
GREG: A DNA reference sample was collected from her apartment in the initial
investigation. (Greg looks at Sara.) Mia's on it.
(Grissom looks at them.)
GRISSOM: Very good.
GREG: This is just like that Edgar Allen Poe story where the victim's heart
under the floorboards betrays the murder.
GRISSOM: "The Tell-Tale Heart." I thought you didn't like reading the
classics.
GREG: I do when they're about dismembered bodies.
(Grissom smiles.)
CUT TO:
[EXT. VARIOUS LAS VEGAS CITY INTERSECTION (STOCK) -- NIGHT]
(Time Lapse Quick Rewind. Focus on the street intersection below. The cars
zoom backward quickly, their lights simple streaks of light on the street. In
the center of the screen is the back of the Statue of Liberty.)
[INT. CSI - HALLWAY - DAY]
(Rewind. Sara and Greg walk backward as they pass Grissom in the hallway in
front of reception. Grissom walks backward past reception. The sound is on
rewind.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Camera pulls away from the city lights.)
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Rewind. The black pus seeps back into the body's eye socket as Robbins
examines the body.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Resume Forward. Camera moves through Las Vegas City.)
FLASH TO:
[EXT. STREET CORNER - NIGHT]
(Divine limps through the sidewalk on tired feet as she makes her way to the
nearest bus stop bench.)
(She walks up to the bench and sees someone already on it under a blanket.)
DIVINE: Move over Chester, my dogs are barking.
(There's no answer.)
DIVINE: Come on, now.
(She pushes the body a bit and sits down next to it. In the background, we see
a vagrant pushing a shopping cart head over to her.)
DIVINE: Move over a little bit. Let me sit down.
(She rests her feet on the bench and glances over at "Chester" under the
blanket.)
DIVINE: Chester, damn!
(Chester arrives and overhears her.)
CHESTER: It's not me. Why don't you put your shoes back on?
(Divine looks from Chester back to the body on the bench. She moves away the
blanket and finds a dead boy.)
DIVINE: Oh, sweet Lord.
WHITE FLASH TO:
[EXT. STREET CORNER - NIGHT]
(David Phillips looks over the body with Nick.)
DAVID PHILLIPS: Kid can't be more than 12 or 13. You think he's homeless?
NICK: Jeans are a little nice for a homeless kid. Check his veins and do a
SART kit anyway. Can you ballpark a T.O.D.?
DAVID PHILLIPS: Sure.
(David puts his clipboard down and opens the boy's mouth.)
DAVID PHILLIPS: Well, he's just developing rigor, so, I'd say dead no more than
eight hours.
NICK: (shakes his head) This is a busy line -- buses, traffic ...
DAVID PHILLIPS: ... and nobody noticed him?
NICK: Maybe be hasn't been here the whole time. Could explain the blanket.
DAVID PHILLIPS: Body dump.
(Nick leaves David with the body and walks over to the grass where he sees cart
track marks on the ground.)
NICK: Hey, Chester, you been taking that thing off road again?
CHESTER: Nah, mud screws up the ride. I bet you always get a bad cart at the
store, huh? Not me.
(Chester pushes the cart to show that it rolls smoothly.)
NICK: Thanks, Chester.
(Nick looks around.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Nick collects evidence off the body.)
(Nick does a tape lift off the victim's sweatshirt. He looks at the purple
fibers.)
(He does a second tape lift off the victim's jeans. He finds more fibers.)
(Nick checks the boy's hair and finds something in it. He cuts the hair around
it and looks at it.)
(Nick checks the boy's pants pocket and removes a slip of paper. It's for:
BUTTERFIELD ACADEMY
STUDENT LUNCH PROGRAM
NAME: Chase R. )
(Nick puts it aside and looks at the body on the table. He puts his head down
and sighs.)
CUT TO:
[INT. CSI - HALLWAY TO RECEPTION - DAY]
(Nick is walking through the hallway, headed toward Reception. He's on the
phone.)
NICK: (to phone) Sir, all I'm asking for is your class roster. Ye ... yes,
yes, I'm very aware of Butterfield Academy's privacy policy, but this a homicide
investigation.
(Nick walks past Warrick and Catherine. Warrick is reporting to Catherine.
Catherine is looking at Nick.)
WARRICK: Daluca's all over the condoms. And get this, on one of them ...
NICK: (to phone) Sir, please, court orders take time. You could help me
identify this boy tonight. (pauses and sighs) Okay. No, no, no. I understand
your position. Thanks.
(Nick hangs up.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Robbins reports his findings to Nick.)
ROBBINS: Whatever happened to this boy wasn't pretty. First- and second-degree
burns on several areas of exposed skin.
NICK: What about the burn to the face? Could that be from an iron?
ROBBINS: It's a possibility. He sustained several hematomas along his arms,
together with a nasty skull fracture. I'm thinking child abuse.
NICK: Skull fracture what killed him?
ROBBINS: No. Positional asphyxia. Check out his eyes. Heat damage. To all
the respiratory mucosa, as well. I'd say this kid was in a small, hot space for
quite a while. Closet with a radiator, boiler room ...
NICK: Shake and bake.
CUT TO:
[INT. CSI - HALLWAY -- NIGHT]
(Nick is walking through the hallway.)
CATHERINE: (o.s.) Oh, Nick?
(Nick turns around.)
NICK: Yeah.
(Catherine steps out of her office with a small booklet.)
CATHERINE: I heard you were looking for the student directory for Butterfield
Academy.
(She gives the Student Directory to Nick.)
NICK: Yeah. Yeah. How'd you get this? I talked to the headmaster. He
wouldn't give me jack.
CATHERINE: I pay tuition.
NICK: Your daughter goes to Butterfield?
CATHERINE: (nods) Mm-hmm.
NICK: Wow. That's a little pricey.
CATHERINE: She was at a crossroads and I, uh, needed to put her in a school
with tighter reins. You know, when it comes to your kids, you, uh, find the
money.
NICK: Yeah.
CATHERINE: You looking for a prom date?
NICK: (chuckles) No. I'm trying to I.D. A victim. Thanks for this.
(Nick turns and walks away.)
CATHERINE: Good luck.
NICK: Thank you.
(Nick flips through the book and finds the page:
ROCKWELL, ADDISON
MR. AND MRS. ADDISON ROCKWELL
288 TYLER RD.
LAS VEGAS, NV 89107
PARENT'S NUMBER: (702) 555-0168
RYAN, CHASE
MR. AND MRS. CHASE RYAN, SR.
275 STORM CLOUD LANE
LAS VEGAS, NV 89112
PARENT'S NUMBER: (702) --
SANDRED, MARVIN
MR. AND MRS. --- )
(Nick taps the name and address with his finger.)
(He closes the book and heads out.)
CUT TO:
[EXT. RYAN RESIDENCE - FRONT -- DAY]
(Nick walks up the drive and heads over to the front door.)
(He rings the doorbell.)
(Jackie Ryan opens the door.)
NICK: Oh. Hi there. I've been ringing the bell.
JACKIE RYAN: Sorry. I was sleeping.
NICK: No school today?
JACKIE RYAN: I'm sick. The whole house is sick.
NICK: Oh, gosh. Okay. Uh, well, my name's Nick Stokes. I'm with the Las
Vegas Police Department, and, uh, this is pretty important. Parents around?
JACKIE RYAN: No. Uh, they're not home.
(Nick glances into the house and sees the large keg on the table. Jackie
glances back and notices what he's looking at.)
NICK: Do you have their cell phone or work numbers handy?
JACKIE RYAN: Okay, they're skiing in Vail. What are you gonna do, arrest me
for having a kegger?
NICK: No, not exactly. Um ... how old are you?
(A college boy appears next to Jackie.)
COLLEGE BOY: What's going on, babe?
(She pushes him back behind the door.)
JACKIE RYAN: Just go ...
COLLEGE BOY: What?
NICK: How old is he?
JACKIE RYAN: My father's a lawyer, so I probably shouldn't be talking to you.
(Nick looks around.)
NICK: You have a brother?
JACKIE RYAN: Chase?
NICK: Yeah, Chase. Is, uh ... is he around?
JACKIE RYAN: No, he spent the night at his friend Andy's house.
NICK: Is that the last time you saw him?
JACKIE RYAN: I don't know.
NICK: Do you have a picture of your brother I can take a look at?
JACKIE RYAN: Yeah.
NICK: Would you get that for me, please? Thank you.
(Jackie leaves, gets a picture and shows it to Nick. It's the victim.)
NICK: Um ... I'm gonna need your parents' contact information if you don't
mind, in Vail, okay?
(He hands the photo back to Jackie.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Nick interviews Andy Jones with his mother present.)
NICK: You're Chase's best friend, Andy. I need to know what happened last
night.
MRS. JONES: Andy was supposed to sleep over at Chase's, but Chase wasn't
feeling well, so Andy came home early instead.
NICK: Ma'am, please, I need to hear Andy's version. Okay? (Nick looks at
Andy.) Go ahead, Andy.
ANDY: I told my mom I was sleeping at Chase's house, and he told his sister we
were sleeping at my house.
MRS. JONES: (to Andy) Where were the Ryans?
NICK: They were in Vail.
ANDY: We just wanted to see a high school party.
NICK: And did you?
ANDY: Some of it.
(Quick flashback to: [KEG PARTY - NIGHT] Andy and Chase walk around the pool
in the back yard of the Ryans' house. They're each carrying a plastic cup of
alcohol.)
ANDY: This tastes horrible.
CHASE RYAN: Just keep drinking. It must get better.
(End of flashback. Resume to present.)
ANDY: Jackie caught us. Made us leave. We promised to go to my house. We
didn't. We went to this arcade, played a few games, and then I walked home.
NICK: What about Chase?
ANDY: He stayed there, playing the games.
CUT TO:
[INT. CSI - TRACE LAB -- NIGHT]
(Nick walks into the lab.)
NICK: Talk to me, Goose.
HODGES: Well, according to tox, junior was a boozer. BAC three times the legal limit.
NICK: Yeah, the, uh, teenage sister had a kegger.
HODGES: How old were you when you first got drunk?
NICK: Oh, 16, 17.
HODGES: Amortized over a generation, 12's about right?
NICK: So your saying, two generations from now, four-year-olds are just gonna be getting trashed?
HODGES: Pre-school graduation parties are going to be off the hook.
NICK: Mm.
HODGES: But Chase's party was just getting started. Tape lifts were a
cornucopia. Hairs: Caucasoid, mongoloid, negroid. And feline and canine.
(Hodges shows Nick the Trace Analysis report:
2974 Westfall Avenue
Las Vegas, NV 89109
(702) 555-0150
FIBERS: COTTON
WOOL
POLYESTER
LYCRA )
HODGES: As for fibers, we have cotton, wool, polyester, and someone brought
lycra.
NICK: Transfer from the blanket?
HODGES: No. I tested that. It came back clean.
NICK: Okay. What about the, uh, the gack in the guy's hair?
HODGES: Melted vulcanized rubber and thermoplastic elastomers. From the sole of your average athletic shoe.
NICK: Hmm. What's hot, cramped, and full of other people's hair?
HODGES: As I've often said, that's your job.
CUT TO:
[EXT. WASH & DRY (LAUNDROMAT) -- FRONT]
(Chester sits outside next to his cart.)
CUT TO:
[INT. WASH & DRY (LAUNDROMAT) -- FRONT]
(Nick looks inside the dryers.)
(He finds one with the same gack inside.)
(Quick flash of: A pair of sneakers inside a dryer.)
(Quick flash of: A kid inside the dryer.)
(End of flash. Resume to present.)
(Nick removes the rubber gack from the dryer. He looks at it and puts it in a
sample jar.)
(Nick looks around and sees the cart with muddy wheels. He walks over to the cart and looks at it.)
CUT TO:
[EXT. WASH & DRY (LAUNDROMAT) -- FRONT]
(Nick pushes the cart out through the parking lot. He reaches the end of the parking lot and the cart's tires lock. Nick kneels down and looks at the tires.)
CUT TO:
[INT. WASH & DRY (LAUNDROMAT) -- DAY]
(Nick heads back into the laundromat looking for the manager. The manager is working on a washer; his back is to Nick.)
NICK: Excuse me. You the manager?
JARED (MANAGER): (without looking up) Yeah.
NICK: Yeah. Uh, I was taking my laundry to the car, and the cart locked up on me.
JARED (MANAGER): Yup. We got this fancy system 'cause people steal 'em. I'm the only one with a remote. So ...
(Jared finishes, closes the washer door and grabs the remote as he turns around.)
(And finds himself face to face with Nick.)
JARED (MANAGER): I spend all day unlocking 'em. (He chuckles.) Which one is it?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Nick interviews Jared.)
JARED (MANAGER): Murder?
NICK: A 12-year-old boy died in one of your dryers the other night. You trying to tell me you don't know anything about it?
JARED (MANAGER): Couple of kids were playing around the 'mat, making trouble. I chased them out. What happened after that ... I don't know.
NICK: That's it? I don't buy it, Jared. I don't. You know why? Your fancy carts. And I know that no cart leaves that parking lot unless somebody presses the magic button. And I also matched tires treads. Someone ... wheeled one of your carts through wet grass ... and dumped a dead 12-year-old boy on a bus bench.
JARED (MANAGER): Okay, look, I'm supposed to be on duty the whole time. But this customer -- he was gettin' all pissed off.
(Quick flashback to: [NIGHT] A customer yells at Jared as Andy and Chase play with the carts in the laundromat.)
ANGRY CUSTOMER: Look at this, look at this! See what it did to my vest. I have to go to work in this. I demand justice!
JARED (MANAGER): (yells at the kids) Hey, will you get the hell out of here?
(End of flashback. Resume to present.)
JARED (MANAGER): So I went next door. Had to get the smell of detergent out of my nose. Bought a Yoo-Hoo. I came back to check on things.
(Quick flashback to: [NIGHT] Jared comes back to the laundromat and starts shutting the dryer doors.)
(Inside one, he finds Chase.)
(End of flashback. Resume to present.)
JARED (MANAGER): I didn't know if he was dead or not.
NICK: Bus bench. Hospital. I could see how you could make the mistake.
JARED (MANAGER): You have any idea what the liability would be on something like that?
NICK: (shakes his head) Uh-uh. But I'll let you know.
JARED (MANAGER): I was just hoping that somebody would find him and take care of him.
CUT TO:
NICK: Hey ... (Nick leans forward) You found him. You put him in the dryer.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Andy shakes his head.)
ANDY JONES: Mm-mm. Mm-hmm.
(Nick nods.)
NICK: Mm-hmm. Chase can't even lock himself inside those things. They lock from the outside.
(Mrs. Jones looks at Andy.)
NICK: And I matched your print on the handle. I got it off your school's safe kit.
(Andy looks at his mom. He turns to Nick.)
ANDY: He asked me to.
(Quick flashback to: [NIGHT] Andy pushes Chase in the cart. They reach the end of the aisle up against the dryers.)
CHASE: Whoa! Dude!
(Chase opens the dryer and crawls inside. Andy shuts the door.)
CHASE: Come on, turn it on! Turn it on!
(Andy puts in some money and turns the dryer on. He chuckles as he watches Chase turn around and around.)
(The longer he stands there, the less funny it seems.)
(End of flashback. Resume to present.)
ANDY: And after that, it gets a little fuzzy.
MRS. JONES: (crying) You put your best friend in a ... in a dryer, and you turned it on, and you just walked away? What is wrong with you?
(Andy throws up on the table.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CSI - HALLWAY -- NIGHT]
(Slow motion. Nick puts his bag around his shoulder as he leaves.)
(Resume motion. He walks past reception and heads out. He passes Grissom on his way in.)
GRISSOM: Tough shift, huh?
NICK: Just another day in paradise.
(Grissom picks up his messages.)
(Nick leaves. Grissom turns and walks past reception.)
CUE SOUND: (o.s.) PHONE RINGS
(Judy Tremont answers the phone.)
JUDY TREMONT: Crime Lab. How can we help you?
FADE TO BLACK
THE END.
Fait par Wella
