FLASH OPEN:
[EXT. VARIOUS LOS ANGELES CITY LIGHTS (STOCK) - NIGHT]
[HOLLYWOOD STREET SIGN]
WHITE FLASH TO:
[EXT. VARIOUS HOLLYWOOD (STREET) - NIGHT]
(Various shots of prostitutes walking the street in front of various establishments.)
DAKOTA: Hey.
"JERSEY" (ELLIE): Hey. You get anything?
DAKOTA: No.
(A car pulls up alongside them.)
"DAKOTA": My, uh, knight in shining German armor has arrived.
"JERSEY" (ELLIE): See if he has room for two.
(Dakota sighs. They lock pinkies as Dakota heads for the car.)
"JERSEY" (ELLIE): Careful.
(Dakota leans over the curb and looks into the car.)
DAKOTA: Hey. You wanna party?
(Dakota looks back at "Jersey". Dakota gets into the car and closes the door. She waves back at "Jersey".)
("Jersey" signals for Dakota to give her a call. The car drives away.)
FLASH TO:
[INT. POLICE DEPARTMENT - DESK - MORNING]
("Jersey" is at the police station. The officer at the desk isn't too interested in what she's saying.)
OFFICER: It's only been a few hours.
"JERSEY" (ELLIE): Dakota always calls me. We have a system. Something is wrong.
OFFICER: Why don't you go home, Jersey? Eat something for once, get some sleep.
(Disgusted, "Jersey" turns to leave. With a last look at the officer, she slaps her hand on the counter in frustration, then leaves.)
CUT TO:
[EXT. SIDEWALK - DAY]
(Walking along the sidewalk, "Jersey" takes out her cell phone and dials.)
INTERCUT WITH:
[INT. (LAS VEGAS) POLICE DEPARTMENT - BRASS' OFFICE - DAY]
(Brass is working when his phone rings. He puts the pen down and answers it.)
BRASS: (to phone) Hello.
ELLIE BRASS: Hello, Dad?
BRASS: Ellie. Are you okay?
SMASH CUT TO:
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Brass steps out of his office and looks both ways down the hallway. He sees the sheriff and heads over to him.)
BRASS: Oh, hey, Sheriff. I'm glad I caught you.
(Brass stops in front of the sheriff.)
BRASS: Um ... I got to take some emergency leave. It's a ... it's a family matter.
SHERIFF BURDICK: I didn't know you had a family.
BRASS: Well, you're new. We haven't had a chance to talk. Um ... I, uh, briefed my lieutenant on my cases. He'll cover for me for a couple of days.
SHERIFF BURDICK: This is not a good time for family problems. All the narco guys are at a HIDTA conference. I got no backup. I'm still learning the ropes here.
(Brass chuckles.)
BRASS: Well, it's never a good time to have a family problem, Sheriff. Look, I don't ask for time off normally. I'd appreciate the courtesy.
SHERIFF BURDICK: Do I have a choice here, Jim?
(The sheriff continues down the hallway.)
SHERIFF BURDICK: (over his shoulder) Get back here as soon as you can.
(Brass watches the sheriff go.)
DISSOLVE TO:
[EXT. MIKE'S DINER (STOCK) -- DAY]
[INT. MIKE'S DINER - DAY]
(The waitress takes the money off the counter. Brass stands in front of the small counter-top display and picks up a cellophane-wrapped gift with a small pink bear near the ribbon tie on top.)
(Brass puts the small gift on the counter. He counts out the bills and pays the cashier.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[HIGHWAY]
(Top view down of the highway.)
[EXT. LAS VEGAS CITY (STOCK) - HIGHWAY - DAY]
[EXT. CITY (STOCK) - DAY]
[EXT. POLICE DEPARTMENT BUILDING - DAY]
(Brass walks up to the front of the building.)
[INT. POLICE DEPARTMENT - OFFICE - DAY]
(Brass and Annie Kramer hug.)
ANNIE KRAMER: You look good, Jimmy.
BRASS: You do, too, Annie.
(Annie Kramer goes to sit behind her desk.)
BRASS: L.A. seems to agree with you.
ANNIE KRAMER: Oh, yeah, well, I couldn't take another Jersey winter.
(She sits down. Brass sits down across her desk.)
ANNIE KRAMER: Or another Jersey cop.
BRASS: You stay in touch with the old crew?
ANNIE KRAMER: You know, dirty cops don't like to hang with clean ones.
BRASS: So that's why they called me squeaky?
ANNIE KRAMER: I thought what you did took a lot of guts. Integrity is, um, hard to come by in vice.
BRASS: Yeah, it's the only detail where you're told to drink, gamble and pick up hookers, all the while carrying a gun.
ANNIE KRAMER: Garden of Eden. Temptation kills you, or it compromises you.
BRASS: So, you got my message? My daughter Ellie and her friend Dakota were out partying and Dakota got in some guy's car. Ellie was able to pull a partial. Something about a whale tail.
(Brass hands Annie Kramer the notebook paper with:
CA PLATE
1TA )
ANNIE KRAMER: California Coastal Commission specialty plates. I'll run it through DMV. Cross reference with BMWs. In the meantime, I pulled Dakota's rap sheet.
BRASS: She has a sheet?
ANNIE KRAMER: They both do.
(Brass nods.)
ANNIE KRAMER: She, uh, works a stretch on Hollywood Boulevard between Highland and Vine.
(She hands the file to Brass. He opens it and sees a photo of Dakota holding
the ID numbers:
POLICE DEPT
4240 321 )
ANNIE KRAMER: When was the last time you saw Ellie, Jimmy?
BRASS: About three years ago. Um, she got into some trouble in Vegas. Hanging around with a bad bunch.
(Brass looks at the rap sheet:
REYNOLDS, SASHA
DOB: 03/04/83 SEX/F RAC/C WGT/120 EYE/BRO
AKA: 01 DAKOTA
02: 188282811
03: 199292939
04: 399199292
KNOWN ASSOCIATES: BRASS, ELLIE
AKA: JERSEY )
(Brass catches a glimpse of the name and looks away.)
BRASS: Looks like her taste in people hasn't changed much.
(He shuts the file. Annie hands Brass a slip of paper.)
ANNIE KRAMER: Here. Last known address. In case you don't have it.
CUT TO:
[EXT. STREET -- DAY]
(Brass pulls up the front of a dingy apartment building. In the background, a dog barks. Brass gets out of the car and looks at the building. Graffiti litters the walls. He looks up and sees Ellie step up to the open window.)
(He reaches into the car and grabs his cell phone. We note the pink bear gift in the front seat. With his eye on the window, he makes the call.)
BRASS: Ellie, it's your dad.
ELLIE BRASS: (to phone) How'd you get this number?
BRASS: Relax, take it easy. I got it off caller I.D.
ELLIE BRASS: (to phone) Oh, okay. So did you make the call?
BRASS: Yeah. LAPD's looking into it.
ELLIE BRASS: (to phone) Thanks.
BRASS: Hey, how are you doing?
ELLIE BRASS: (to phone) Great, actually. Livin' at the beach, temping, waiting tables. Got some really good friends.
(As Brass watches, a man steps up to the window next to Ellie. He's smoking a pipe and offers it to her. She inhales. He also inhales.)
ELLIE BRASS: (to phone) It's a big bowl of cherries.
(She smiles. The man puts his arm around her waist and lingers.)
BRASS: (to phone) Okay, um, I'll call you when I hear something, all right?
(Brass hangs up.)
DISSOLVE TO:
[EXT. (KOREATOWN) - NIGHT]
(Cops are parked around an area. Brass gets out of his car and meets with Annie Kramer.)
ANNIE KRAMER: Hey, Jim.
BRASS: Hey.
ANNIE KRAMER: We found the beemer. Found these two kids trying to hotwire it.
Whale tail license plate starting with One-T-A.
BRASS: Let's talk to them.
ANNIE KRAMER: I'll talk, you listen.
(Annie and Brass walk up to the two kids.)
ANNIE KRAMER: All right, what the hell's the matter with you? You looking to
die young? 'Cause you can do it inside in lock-up or outside with this wanna-be
gang banger stealing cars crap.
KID 1: We weren't stealing nothing. Window was already busted. Car wouldn't
even start. We were just playing around.
ANNIE KRAMER: You like playing with cars, huh? LAPD's having a car wash fund-
raiser on Saturday. You just signed yourselves up. You're welcome.
(She steps up and motions to the officer nearby.)
ANNIE KRAMER: Come on.
(The officer unlocks the kids' handcuffs.)
BRASS: So, no Rudy Giuliani broken windows theory here, huh?
ANNIE KRAMER: Jimmy, windows are already broken. Someone's got to fix 'em.
(They walk up to the BMW for a closer look. Brass notices a sticker on the
broken windshield.)
BRASS: Hey, check this out. B-H-G-C?
ANNIE KRAMER: Looks like a country club or something. Doesn't read like
Koreatown. I'll have my guys run the plates.
BRASS: Anybody checked the trunk?
ANNIE KRAMER: Not yet.
(Brass opens the hood.)
(The spare tire is missing.)
ANNIE KRAMER: Doesn't look good for Ellie's friend.
(Annie takes out her cell phone and dials.)
INTERCUT WITH:
[INT. LOBBY (HIDTA CONFERENCE) - NIGHT]
(Matt Glazer answers his phone.)
MATT GLAZER: (to phone) Glazer. Yeah, we're just finishing up. No traffic.
I'll be there in about twenty minutes. Okay.
(He hangs up and taps Warrick on his shoulder.)
MATT GLAZER: Vegas?
(Warrick turns around.)
WARRICK: Hmm?
MATT GLAZER: You know a Jim Brass?
CUT TO:
[EXT. VARIOUS LOS ANGELES CITY LIGHTS (STOCK) -- NIGHT]
[EXT. (KOREATOWN) -- NIGHT]
(Warrick and Matt Glazer arrive at the site.)
WARRICK: Where he at?
MATT GLAZER: (points) (garbled) Over there.
(Warrick walks over to Brass.)
WARRICK: Jim.
BRASS: Rick. Rick, what are you doing here?
WARRICK: I'm here for the HIDTA conference. Buddy of mine from L.A.P.D. told
me there was a new captain in town, stirring things up. What are you doing
here?
BRASS: Ah, it's a long, sad story, man.
WARRICK: Have anything to do with a feisty little blonde named Ellie?
BRASS: She's not a blonde anymore. Let's check out the car.
(Brass and Warrick head over to the car. Annie Kramer stands near the trunk.
Brass makes the introductions.)
BRASS: Captain Annie Kramer, this is Warrick Brown from Las Vegas.
ANNIE KRAMER: Good to meet you.
(They shake hands.)
WARRICK: Good to meet you.
MATT GLAZER: (to Brass) Matt Glazer, L.A.P.D. Crime lab.
BRASS: Hey, Jim Brass.
(They shake hands.)
(Warrick looks at the car.)
WARRICK: Well, I thought L.A. was all about car culture. This reminds me of
home.
MATT GLAZER: Trunk's been stripped clean.
WARRICK: Too clean.
MATT GLAZER: Oh, they missed a spot.
(Camera zooms in to the spot that was missed.)
MATT GLAZER: Looks like two large caliber bullet holes.
WARRICK: But a bullet hole wouldn't make those markings. What is that?
MATT GLAZER: I don't know.
WARRICK: It looks like a tool marking.
(Quick flash of: A crowbar-like tool is in the hole being jammed in and twisted
around, leaving the area scratched up. End of flash. Resume to present.)
MATT GLAZER: Let's haul it back to impound and find out.
(Matt Glazer picks up his things and heads out. He looks at Annie Kramer.)
MATT GLAZER: I'll be in touch.
ANNIE KRAMER: Thanks.
WARRICK: Hey, you know, uh, Jim, I'm here all weekend. If you need anything,
don't hesitate to call. (to Annie) Pleasure meeting you.
ANNIE KRAMER: Same here.
(Warrick walks past Brass.)
WARRICK: (to Brass) Remember, what happens in L.A., stays in L.A.
(Warrick leaves. Brass looks at Annie.)
ANNIE KRAMER: You still a scotch man?
BRASS: I'll take a rain check, okay.
(He smiles and winks at her. Brass turns and walks away.)
CUT TO:
[EXT. HOLLYWOOD (STREET) - NIGHT]
(A car pulls up to the curb. Ellie gets out; the car leaves. She starts
walking along the sidewalk.)
(Another car pulls up to the curb. She walks up to the car and knocks on the
glass.)
ELLIE BRASS: Hey, baby, you want to party?
(Brass rolls down the window. Ellie looks at her dad.)
BRASS: Ellie ...
ELLIE BRASS: Oh, I can't ever trust you. All I did was ask you to make a call.
BRASS: How's the beach house?
ELLIE BRASS: Go to hell.
BRASS: I have information about your friend, Dakota. Get in.
ELLIE BRASS: All right. But I'm not playing twenty questions with you.
(Ellie slips into the car.)
(Just then, a cop car passes, lights flashing.)
ELLIE BRASS: So, did you find her body?
(Brass looks at Ellie.)
BRASS: No. But we found the car.
ELLIE BRASS: So she could still be alive?
BRASS: We found blood in the trunk.
ELLIE BRASS: No, no, no, she's alive. I can feel it.
BRASS: Look, do you have anything with her DNA on it, like a hair brush or
toothbrush or ... ?
ELLIE BRASS: No. We keep all that stuff in our purse.
BRASS: How about clothes or sheets or pillowcases, like that?
ELLIE BRASS: We share everything else.
BRASS: Even the bed?
ELLIE BRASS: I told you I'm not playing that game.
BRASS: If the lab doesn't have anything to match the blood to, then we'll never
know. That's it.
(She looks away and sniffs.)
BRASS: Come on, let's get some dinner, huh? You look hungry.
ELLIE BRASS: Wait. Blood. We went and got tested last week at the free clinic
on Ivar. Maybe they keep it.
BRASS: Tested for what?
ELLIE BRASS: What do you think?
BRASS: Don't you use protection?
ELLIE BRASS: Guys pay extra for bareback.
(She looks away. Brass sighs.)
BRASS: You're a lot smarter than that, Ellie. Come on.
ELLIE BRASS: Yeah, well, just because you want me to be smarter and sweeter and
safer doesn't mean I am. And I got to go. Guess you know how to find me if you
hear anything.
BRASS: Don't go away. Don't-don't leave, don't leave.
ELLIE BRASS: You're one to talk. All my life, that's all you did, walk out.
Now we're gonna Norman Rockwell it? Look around, Dad. It's too late.
BRASS: Don't leave.
(Ellie gets out of the car.)
ELLIE BRASS: Leave me alone.
(She slams the door and leaves.)
BRASS: Ellie. Ellie!
(Camera holds on Brass.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. FREE CLINIC -- DAY]
[INT. FREE CLINIC - HALLWAY -- DAY]
(Brass and Annie talk with the doctor at the Free Clinic.)
DOCTOR: Here at the clinic, we pride ourselves a confidential relationship with
our patients. This is a highly unusual request.
ANNIE KRAMER: I understand, but we're investigating a possible homicide here.
BRASS: We found blood in the trunk of a car. We have reason to believe it
could be Sasha Reynolds', street name Dakota.
ANNIE KRAMER: We're not interested in whether it's positive or negative. We
need it for the DNA.
(A young blonde woman walks up to the doctor.)
DOCTOR: How many do you need?
WOMAN: Ten.
(The doctor looks at her. The woman looks sheepish.)
WOMAN: Twelve.
(The doctor looks at the clerk who hands her the condoms. The doctor hands the
condoms to the woman.)
BRASS: Is that all the help they get?
DOCTOR: These kids come from all over the place with stars in their eyes.
While they're waiting to be discovered, they still got to pay their rent. They
do a bump to turn their first trick. Next they're turning tricks to get their
next bump. We do what we can. You do what you do.
(Annie's phone rings.)
ANNIE KRAMER: Excuse me.
(She steps away to answer it. The clerk hands the doctor a zip-loc bag with the
vial of blood in it. The doctor hands it to Brass.)
ANNIE KRAMER: (to phone) (o.s.) Yeah. Kramer.
DOCTOR: Good luck.
BRASS: Good luck to you, too, doctor.
ANNIE KRAMER: (to phone) You're kidding me. Terrific. Okay. We're on it.
Bye.
(She hangs up as Brass steps up to her.)
ANNIE KRAMER: We got an R.O. on the car.
CUT TO:
[EXT. HOLLYWOOD SIGN (STOCK) - DAY]
[EXT. PICCONE RESIDENCE - FRONT DRIVE - DAY]
(Annie Kramer and Brass walk up the front drive of the large home. Brass picks
up the paper and follows Annie to the front door.)
[EXT. PICCONE RESIDENCE - FRONT PORCH - DAY]
(Annie rings the doorbell. The door opens. A young, well-dressed man in a suit
and tie answers. He smiles at Annie.)
TODD PICCONE: Captain Kramer.
ANNIE KRAMER: Hey, Todd.
(Todd glances at Brass.)
TODD PICCONE: What's up?
ANNIE KRAMER: I, uh, stumbled across something. Thought I'd pay you a house
call. You missing a car?
TODD PICCONE: Yeah, it was stolen.
(Again, Todd glances at Brass.)
ANNIE KRAMER: You didn't report it.
TODD PICCONE: No, I didn't.
ANNIE KRAMER: What's that about?
(Todd turns and looks at Brass.)
TODD PICCONE: Who are you?
(Brass smiles at Todd.)
ANNIE KRAMER: I'm sorry, this is an old friend of mine, Captain Jim Brass,
Vegas P.D.
(Brass gives Todd his newspaper. Todd puts the paper aside.)
TODD PICCONE: Off the record?
ANNIE KRAMER: Okay.
TODD PICCONE: I went down the hill. I was, um ... lonely. Partook of the
services of a certain kind of young lady. And while we were getting acquainted,
I was carjacked.
(Quick flash of: [NIGHT] Todd Piccone and Dakota are in the car when someone
carrying a gun taps on his window.)
DAKOTA: Just relax.
(End of flashback. Resume to present.)
TODD PICCONE: I was set up. It was probably her pimp or drug dealer.
BRASS: How'd you get up the hill?
TODD PICCONE: Took a cab.
BRASS: They didn't take your wallet?
TODD PICCONE: Oh, the car was worth more than the cash. They knew what they
were doing.
BRASS: It's a pretty sweet ride. I'm still hung up on why you didn't report
it.
TODD PICCONE: Captain, maybe I should introduce myself. Todd Piccone,
Assistant City Attorney. Let's just say that my reputation is worth more than
my car.
BRASS: Then maybe you should stop having dates in your front seat.
(Annie turns and looks at Brass.)
TODD PICCONE: You're right. Lesson learned. Thank you, officer.
(Todd turns back to Annie.)
TODD PICCONE: So the car was stripped, I'm sure, uh ... South Central?
Koreatown? East L.A.?
ANNIE KRAMER: Koreatown.
BRASS: How would you know that?
TODD PICCONE: 'Cause, Captain, that's where good cars go to die in Los Angeles.
ANNIE KRAMER: Hey, Todd, I don't suppose we could take a look around?
TODD PICCONE: Uh, yeah. You know, I'm expecting company. Now's not a good
time.
(He closes the door on them.)
CUT TO:
[EXT. CAR (MOVING) - DAY]
BRASS: We need to get a warrant to get into that house.
[INT. CAR (MOVING) - DAY]
(Annie drives.)
ANNIE KRAMER: Oh, yeah? Well, we don't have enough.
BRASS: Enough for a city attorney?
ANNIE KRAMER: You know, give me a break. You know how many cars get jacked in
L.A. every day? He admitted to being with a prostitute. What makes you think
he's not telling the truth about the rest?
BRASS: He's hinky. I can feel it.
ANNIE KRAMER: Your gut can talk to my Judge. Or better yet, talk to Ellie.
You should. You should get the 4-1-1 on Dakota from her.
BRASS: There's an unreliable witness. So what do we do now?
(She sighs.)
ANNIE KRAMER: We eat steak.
CUT TO:
[EXT. MUSSO'S GRILL (STOCK) - DAY]
[INT. MUSSO'S GRILL - DAY]
(Annie leads Brass into the restaurant.)
ANNIE KRAMER: Tony, how are you doing? Table for two, please, in the back, if
you could.
BRASS: What are we doing here again?
ANNIE KRAMER: I'm doing you a big favor.
(As they head toward the back, they come across a large table with various well-
dressed powerful men. Judge Silvio Peters stands up to greet Annie.)
JUDGE SILVIO PETERS: Annie, hello.
ANNIE KRAMER: Hey, Judge Peters. What a nice surprise.
JUDGE SILVIO PETERS: Nice to see you.
ANNIE KRAMER: Good to see you. How's that porterhouse?
JUDGE SILVIO PETERS: Eh, I haven't started yet.
(Annie introduces Brass to the group of men.)
ANNIE KRAMER: Gentlemen, I'd like you to meet an old friend of mine, Captain
Jim Brass, LVPD.
BRASS: Hey.
ANNIE KRAMER: This is Judge Silvio Peters, Councilman Joe Cohen.
BRASS: Judge, Councilman.
ANNIE KRAMER: Comptroller Daniel Reichmann, and Vic Patterson.
(Brass shakes Vic Patterson's hand.)
BRASS: Hey, Vic, how are you doing?
VIC PATTERSON: Soon to be mayor.
(Vic Patterson laughs.)
VIC PATTERSON: Hey, you know what? We shot a couple episodes of my show in
Vegas. You remember that? Right?
BRASS: Right.
VIC PATTERSON: The Eagle. Yeah, you guys were great. You always treated us
really well.
BRASS: Well, we try.
ANNIE KRAMER: Remember how great he was as that cop?
(Vic Patterson laughs.)
ANNIE KRAMER: Like he was playing you.
(The others around the table laugh.)
BRASS: Well, that's not easy.
(As they continue talking, Annie walks over to Judge Silvio Peters and speaks to
him quietly.)
ANNIE KRAMER: (to Judge Silvio Peters) Listen, since I happened to run into
you ... we found Todd Piccone's car just off of Vermont. Had bullet holes and
blood in the trunk. He claims it was stolen, but I'm hoping that I could get a
look around his house a bit ...
VIC PATTERSON: Oh, you know what? Let me get you an autograph or something.
Little something for me. And a little something for you.
(Vic Patterson reaches into his jacket pocket for a pen. Brass happens to catch
the tie clip he's wearing with the letters B-H-G-C on it.)
JUDGE SILVIO PETERS: If you had enough for a warrant, you wouldn't be here.
You'd be on your cell phone, calling me from Tommy Burger.
(Annie suspected as much.)
ANNIE KRAMER: Finish your steak before it gets cold.
(Vic Patterson gives Brass the napkin with his autograph on it.)
VIC PATTERSON: There you are.
BRASS: I'm touched. Thank you, man. Thank you. Gentlemen.
ANNIE KRAMER: Enjoy your lunch, gentlemen. Nice to see you.
JUDGE SILVIO PETERS: You as well.
(Annie and Brass leave the table.)
ANNIE KRAMER: (to Brass) Strike one, your turn.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HALLWAY - DAY]
(Annie and Brass walk through the hallway. We hear a television set playing
loudly. They stop at apartment 2-F. Annie knocks on the door.)
(Ellie opens the door.)
ELLIE BRASS: Oh. Well, if it isn't Dick Tracy and his little sidekick, Nancy
Drew.
ANNIE KRAMER: We're here on official business. Just let us in.
(Annie steps into the apartment. Ellie turns around and heads inside. Brass
steps inside. On the television is an ad for Vic Patterson's campaign.)
VIC PATTERSON: (from tv) Vote Vic Patterson. Put some action back in
government.
(Ellie sits on the bed.)
ANNOUNCER: (from tv) Vic Patterson has a plan for Los Angeles. He wants to
restore trust in City Hall. Vic Patterson has the energy it takes to get Los
Angeles back on track ...
ANNIE KRAMER: You and Dakota have the same pimp?
ELLIE BRASS: No. We don't have a pimp. We're independent.
BRASS: I can see that.
ANNIE KRAMER: Look, if she were gonna pull a con with some guy, who would it
be?
ELLIE BRASS: She's not like that.
ANNIE KRAMER: So other than her customers, there's, what, no men in her life?
You and she are ...
ELLIE BRASS: Roommates.
BRASS: Look, you can be cute, or you can help us find your friend. What's it
gonna be?
ELLIE BRASS: Well, there's this guy named Ronnie, all right? He was kind of
like her boyfriend. Sometimes he would get jealous when she turned tricks.
ANNIE KRAMER: Where do we find this Casanova?
(She points upstairs.)
CUT TO:
[INT. HALLWAY - DAY - CONTINUOUS]
(Brass leads Annie through the hallway.)
ANNIE KRAMER: Look, you know I can't go in there without probable cause or a
warrant.
BRASS: You're not gonna arrest me for breaking and entering, are you?
(Annie sighs.)
ANNIE KRAMER: Jimmy, what are you hoping to find in there?
BRASS: I'll know it when I see it.
(Brass knocks on the door.)
(With his gun out, he breaks the door in. He and Annie linger in the doorway.)
(Inside the apartment is a regular meth lab - buckets, containers, supplies and
a hot plate on the tables, chairs and floors.)
BRASS: Smelled something in the hallway. That's why we broke in, right?
ANNIE KRAMER: Yep.
CUT TO:
[INT. APARTMENT - DAY]
(Warrick picks up an empty box and looks at it.)
ANNIE KRAMER: L.A. has over two hundred criminalists. You got to bring your
own guy?
BRASS: Well, Rick is like a vampire. He needs to be invited in.
(Warrick hears that one and smiles.)
ANNIE KRAMER: If this goes to court, Warrick's going to have to come back and
testify.
(Warrick stands up.)
WARRICK: Well, you got beaches, bikinis. Free trip to L.A.? I'm down. (He
looks around.) So we got coffee filters, cough medicine, matches, camping fuel
... hot plates.
BRASS: Are you thinking what I'm thinking?
WARRICK: If this is a meth lab, then there would be free iodine coated all over
these walls. And if Matt packed this kit right, I would have some spray starch
...
(Warrick opens the kit and takes out a spray can. Warrick walks over to the
nearest wall.)
WARRICK: ... that would react with the iodine ...
(Warrick sprays the wall and it turns blue.)
WARRICK: ... turning it a nice dodger blue. Yes, it's a meth lab.
(Quick flash to: [TOP VIEW DOWN OF TABLE] Fast Forward. Ronnie picks off the
items from the table and goes around the room between tables as he works on
creating his stuff. He puts the dish on the hot plate and takes a drink of beer
as he watches it bubble and cook. The stuff in the dish hardens into powder.)
(End of flash. Resume to present.)
ANNIE KRAMER: So meth dealer and his hooker girlfriend looking for a quick
score. Carjacking's not such a stretch. Neighbors are lucky he didn't blow the
whole building up.
BRASS: No guns, no blood. Nothing in plain sight linking him to Dakota's
disappearance.
ANNIE KRAMER: Well, we'll haul him in on manufacturing. We'll get what we can
out of him.
WARRICK: Jail would be an improvement over this hole.
(Suddenly, Ronnie appears in the doorway brandishing a gun, nervously waving it
from side to side. Annie and Brass both take their guns out and point it
steadily at Ronnie.)
ANNIE KRAMER: Drop the gun! Now!
BRASS: Put the gun down!
RONNIE: Bad guys go away.
BRASS: Put the gun down.
RONNIE: You're trying to rob me?
ANNIE KRAMER: Drop the gun!
RONNIE: I'm being robbed by cops? You're trying to rob me!
(Warrick stays where he is and watches.)
(Ronnie starts to cry.)
BRASS: (slowly, clearly) Don't make me shoot you. Put the gun down.
ANNIE KRAMER: Come on.
(Ronnie puts the gun down on the ground. He puts his hands over his face as he
cries.)
(Camera holds on Brass.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. -- NIGHT]
(Coroners remove the dead body. They carry it in an open bag to the gurney
waiting on the grass nearby. In the background, we see Brass standing with
Ellie.)
ANNIE KRAMER: How long has the body been here?
OFFICER: ... about three and a half hours now.
(They put the body on the gurney. Brass and Ellie walk as the coroners wheel
the body a little up the path.)
OFFICER: Jogger found her, called it in. Description matched your broadcast.
(Quick flash of CGI POV: The body hits the water and sinks to the bottom. The
longer the body stays on the bottom of the water, the body fills with gasses
that expand and fill it.)
OFFICER: (v.o.) Looks like body gas has brought her to the top.
(End of CGI POV. Resume to present.)
OFFICER: God, somebody beat the pulp out of her. Any leads?
ANNIE KRAMER: Yeah, he's detoxing in the tank.
(She looks at the officer.)
ANNIE KRAMER: This is why I don't believe in easy money.
(The officer nods. Annie turns to Ellie.)
ANNIE KRAMER: Ellie.
BRASS: You have to identify the body.
(Brass leads Ellie to the gurney. As they get nearer, Annie leads Ellie to the
gurney. Ellie pulls away, but Annie holds on to her.)
(Brass walks away.)
ELLIE BRASS: I'm going to be sick.
ANNIE KRAMER: No, come here. Come on. Look, I just need an answer. Is this
your friend?
(Ellie looks at the gurney and nods as she holds back her tears.)
(Done, she breaks away.)
BRASS: (softly) Hey. Hey.
(Ellie brushes past Brass, ignoring him.)
(Brass' phone rings. Brass turns and watches Ellie run across the playground
area outside the crime scene tape. She sits on the slide. Brass answers his
phone.)
(Brass sighs.)
BRASS: (to phone) Brass.
SHERIFF: (from phone) Family business?
INTERCUT WITH:
[INT. (LAS VEGAS) POLICE DEPARTMENT - HALLWAY - NIGHT]
(The sheriff walks through the hallway while he's on the phone.)
SHERIFF: That is a wedding or a funeral, or a bar mitzvah. That is not
permission to become a vice cop in another jurisdiction. Get back here now.
BRASS: Who you been talking to?
SHERIFF: Not that it matters. The police chief called me after Judge Peters
called him. I hear they do a nice t-bone at Musso's.
BRASS: Look, my kid's in trouble, Ben.
SHERIFF: Well, if she's not dead, you get your ass back here.
(Brass watches as Ellie cries.)
BRASS: Look, write me up for insubordination. I can't come back now.
(Brass hangs up.)
(Annie watches as Brass lifts the crime scene tape and heads over to Ellie.)
CUT TO:
[INT. (LOS ANGELES) POLICE DEPARTMENT -- INTERVIEW ROOM - NIGHT]
(Annie Kramer interviews Ronnie.)
ANNIE KRAMER: You have a prior. Mandatory minimum for manufacturing -- ten to
fifteen.
(Brass watches from the observation room.)
ANNIE KRAMER: You start to talk about Dakota, we'll see what we can do.
RONNIE: Dakota? Now, what that crazy bitch got to do with this, huh? What,
she snitched on me?
ANNIE KRAMER: Not before you killed her.
RONNIE: I didn't kill nobody.
ANNIE KRAMER: You have a relationship with her?
RONNIE: Yeah, we kicked it, all right? We kicked it. Look, I would never kill
no girl with all that good ... all right, look, let's just say I enjoyed having
her live downstairs from me, man. Listen ... she knew when to open her mouth
and when to keep it closed. Now, her girl, Jersey ... oh, God, the best mouth I
ever had. Mmm. That mouth gave me a lot of pleasure. It just never stopped.
ANNIE KRAMER: Where were you two nights ago?
RONNIE: Out.
ANNIE KRAMER: (hard) Be more specific!
RONNIE: I-I-I was seeing customers, all right?
ANNIE KRAMER: Dakota?
RONNIE: No.
ANNIE KRAMER: You like BMWs?
RONNIE: (shouts, agitated) Bitch, what the f- ... What are you talking about?!
(The officer in the room steps forward; Annie stops him.)
ANNIE KRAMER: Watch your mouth! I'll lay it out for you.
(Quick flashback to: [NIGHT] Ronnie knocks on the BMW's glass. The door
opens.)
RONNIE: Come on, man. Get out of the car.
TODD PICCONE: All right.
(Todd Piccone gets out of the car.)
CUT TO:
(The BMW drives away, leaving Todd Piccone outside.)
[INT. CAR (MOVING) - NIGHT]
(Ronnie talks with Dakota.)
RONNIE: So, how was he?
DAKOTA: What do you mean?
RONNIE: You wasn't supposed to do him.
(He hits her in the face. She screams.)
CUT TO:
(Dakota is in the trunk of the car, her face beaten. Ronnie points the gun at
her and fires.)
CUT TO:
(Ronnie takes the body out of the car and dumps it in the pond.)
(End of flashback. Resume to present.)
RONNIE: You want me to admit to a murder I didn't commit so you can reduce a
drug charge?
(He sniffs and shakes his head.)
RONNIE: What, you high, right? Y-y-you must me high.
CUT TO:
[INT. POLICE DEPARTMENT - OBSERVATION ROOM - CONTINUOUS]
(Annie joins Brass in the observation room. She closes the door.)
ANNIE KRAMER: I'm sorry you had to hear that.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - DAY]
(Brass steps out into the hallway and walks over to Ellie.)
ELLIE BRASS: What did he say?
(Brass shakes his head and walks past her.)
ELLIE BRASS: Dad?
BRASS: You were right; I shouldn't have come.
ELLIE BRASS: I told you he didn't do it. It was that guy in the car. You've
got to find him.
BRASS: Don't you understand? We just pulled your best friend out of a lake. I
mean, it was just luck it wasn't you.
ELLIE BRASS: Yeah, well, it wasn't me.
BRASS: Yeah, not today. But look at you. You've turned yourself into a
disposable human being. Don't you get it? You're nothing but plumbing.
ELLIE BRASS: What, you're going to send me to my room and ground me? Have a
patrol car pick me up at prom? Or spank me?
BRASS: Okay. You're right. You're right. I messed up. But I'm just trying
to do the best that I can. I wish you could say the same thing.
(Brass turns and leaves.)
CUT TO:
[EXT. POLICE IMPOUND -- DAY]
(Matt Glazer tests for gunshot residue.)
MATT GLAZER: Clothes test positive for lead wipe. Confirmed bullet hole.
WARRICK: Did her DNA match the blood that you swabbed from the trunk?
MATT GLAZER: Yeah, but the autopsy report said she wasn't shot.
WARRICK: So, what's with the bullet holes?
(They think about it for a moment.)
WARRICK: Clean-up.
(Quick flash of: The gun fires twice. The crowbar is put into the hole. End
of flash. Resume to present.)
(Warrick lies on a dolly and rolls under the car. He finds one bullet hole and
sticks his pinky finger in the hole.)
WARRICK: One bullet exited. Is the other hole to the left or to the right?
MATT GLAZER: About seven and a half, eight inches up.
(Warrick looks for it.)
WARRICK: That's the gas tank.
(Matt Glazer empties the gas tank. The gasoline is stained red with blood. He
searches the liquid and finds a bullet. Warrick picks up the bullet.)
MATT GLAZER: Looks like a .45. Big, fat and slow. Lucky for us, it didn't
have enough power to go through-and-through the gas tank.
WARRICK: Yeah. Look at that. No wonder those hood rats couldn't get the car
started. It won't run on blood.
MATT GLAZER: Well, that tweaker you busted just got bumped off the top of the
list. He had a nine millimeter.
WARRICK: You think you could run this through IBIS?
MATT GLAZER: We do have that here.
(Warrick smiles.)
CUT TO:
[INT. MOTEL ROOM -- DAY]
(Brass is on the phone.)
BRASS: (to phone) Hey, Doc, did you get my fax?
INTERCUT WITH:
[INT. (LAS VEGAS) CSI - FORENSIC AUTOPSY]
(Doc Robbins is sitting at his desk and is on the phone.)
ROBBINS: (to phone) Yeah, I did.
BRASS: (from phone) Yeah, well, it's all Greek to me. Can you help me out?
ROBBIN: (to phone) Mmm, sure, of course. But I thought you were asked to come
home.
BRASS: (from phone) I'll be home tomorrow.
ROBBINS: (to phone) I hope she was worth it.
BRASS: (to phone) What do you mean?
ROBBINS: (from phone) I don't know; I mean, you put your career on the line.
I assume there's a woman involved.
BRASS: What are you, a detective now?
ROBBINS: All right; let's take a look at this. FX, OC-- that's a fractured
osseocartilaginous -- that's a broken nose.
(Quick flash of: [AUTOPSY] Close-up of the examiner moving the nose.)
ROBBINS: (v.o.) FX, ST, CL -- sternal clavicle, ...
(The examiner feels the body's chest.)
(End of flashback. Resume to present.)
ROBBINS: ... and LAC, SDH on her head -- Lacerations and subdural hematomas.
BRASS: Cause of death?
ROBBINS: It looks like exsanguination.
BRASS: So, she was beaten and left to die?
ROBBINS: Beaten with something specific. The L.A. coroner noted repetitive
patterned contusions.
(Quick flash of: The repetitive patterns on the body.)
(End of flashback. Resume to present.)
BRASS: Anything else?
ROBBINS: Yeah, the coroner's assistant who prepped her body ...
(Quick flash of: The examiner collects the substance under the fingernails.)
ROBBINS: (v.o.) ... collected a green, waxy substance under her fingernails.
(End of flashback. Resume to present.)
ROBBINS: Also, looks like he found concrete chunks in a bag tied to her waist.
(Brass picks up a couple of photos.)
BRASS: Probably what they used to weigh her down in the lake.
(Quick flash of: The bag around Dakota's waist.)
(End of flashback. Resume to present.)
CUT TO:
[EXT. PICCONE'S DRIVE - DAY]
(Brass is looking at one of the concrete blocks dug up from Tony Piccone's
drive. Annie Kramer is next to Brass.)
ANNIE KRAMER: You want to say I told you so?
BRASS: No. I just want it to be over with and have a happy ending.
(Tony Piccone rushes out of the house escorted by two officers. He heads down
the drive. Warrick and Matt Glazer are there. They stop talking and turn to
watch.)
TONY PICCONE: What the hell's going on? What's up?
ANNIE KRAMER: Sorry, Todd. We got the warrant; we have to search.
(Annie and Brass head for the house. Tony tries to follow them, but the
officers stop him.)
TONY PICCONE: You got to be kidding me. Wha ... ?
OFFICER: Stay here.
(Warrick, Matt Glazer, Annie, and Brass head into the house.)
TONY PICCONE: I just had the floors polished. Will you at least take your
shoes off, please?
BRASS: I sleep in my shoes, Todd.
[INT. PICCONE'S RESIDENCE - DAY - CONTINUOUS]
(They climb up the stairs to the second level.)
MATT GLAZER: This guy married?
ANNIE KRAMER: No.
MATT GLAZER: Mm-hmm. Anyone else's gaydar going off?
WARRICK: Well, he did have a female hooker in his ride.
BRASS: Well, maybe he swings both ways.
WARRICK: Why, because he has this nice shag carpet?
(Warrick touches the carpet.)
WARRICK: This carpet's wet.
(Matt Glazer and Warrick remove the shag carpet. They find a large bloodstain
underneath.)
WARRICK: Oh, yeah. That's a lot of blood.
MATT GLAZER: How much, you figure?
WARRICK: I don't know -- two, three pints?
ANNIE KRAMER: Nobody loses that much blood and lives.
BRASS: She died in this room.
WARRICK: I don't think we'll be able to get any DNA off this. The carpet
solvents probably compromised the sample.
BRASS: She was beaten multiple times. There must be some spatter or cast-off.
(Matt reaches into his kit. He sprays the nearest wall. He gets a blue glow,
but the wall television is on.)
MATT GLAZER: I can't get a clean read.
(Warrick stands up near the wall television set.)
WARRICK: You know what? It's this metal surface. It's giving us a false
positive.
(Warrick puts his face to the side of the wall and looks at the television set.)
WARRICK: Does anyone see a remote?
BRASS: Yeah, got one right here.
WARRICK: Could you hit the input button until we find a blue screen?
BRASS: Yeah.
(Brass changes the input to the blue screen. They find a large crack in the
monitor glass. There's some blood in the crack.)
WARRICK: Look at that.
MATT GLAZER: I'll get a sample for DNA.
CUT TO:
[INT. PICCONE RESIDENCE - KITCHEN - DAY - CONTINUOUS]
(Warrick and Brass walk through the kitchen.)
WARRICK: Nice place.
BRASS: Mmm.
(Warrick opens the trash bins in the kitchen.)
BRASS: Who needs three trash bins?
WARRICK: Someone with a lot of dirt.
(In the third trash bin, there are empty hard alcohol bottles.)
WARRICK: Wow. Big party. Tequila. Whiskey. Gin. Absinthe.
BRASS: The coroner found green wax under Dakota's fingernails.
(Camera zooms in for a close-up of the nail marks on the green neck on one of
the bottles.)
CUT TO:
[INT. (LOS ANGELES) POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Annie Kramer interviews Tony Piccone.)
TONY PICCONE: (sighs) Yes, I solicited her.
ANNIE KRAMER: So, you admit to having sexual relations with Sasha Reynolds,
A.K.A. Dakota?
TONY PICCONE: No.
ANNIE KRAMER: But money changed hands?
TONY PICCONE: I paid her $60.
ANNIE KRAMER: For what?
TONY PICCONE: I drove her back to my house and introduced her to a friend.
ANNIE KRAMER: And then?
TONY PICCONE: I have no knowledge of what happened after that.
ANNIE KRAMER: Does this friend have a name?
TONY PICCONE: Mmm. A big one.
ANNIE KRAMER: You know, Todd, I think you're smart enough to recognize
consciousness of guilt. (Todd swallows.) Blood in your house, in your car.
All of which was cleaned up. This friend worth going to prison for?
TONY PICCONE: Turn off that mic.
(Annie gives Tony a look. She reaches for the switch and glances at the mirror
behind her.)
[INT. OBSERVATION ROOM]
(Brass watches, but can't hear anything.)
(Annie turns the switch back on.)
ANNIE KRAMER: (loud) Officer.
(The interview room door opens and the officer outside steps into the room.)
(Tony Piccone stands up and goes with the officer. Annie watches him go.)
(She turns to Brass.)
ANNIE KRAMER: He invoked.
(Brass nods.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. -- NIGHT]
(Brass is out walking. A car pulls into the parking lot behind him, headlights
gleaming directly at Brass.)
(The car comes to a stop in front of him, brakes squealing.)
BRASS: Whoa, whoa, whoa.
(It's Warrick.)
WARRICK: I wanted to catch you before you left. I got a look at the print
results from the bottles that we collected just before I was escorted out and
asked to leave the lab.
BRASS: They say why?
WARRICK: No, but I think I know why.
(Brass nods.)
WARRICK: It's like Chinatown, Jim.
BRASS: So visiting hours are over, doctor. It's time to go.
WARRICK: What about Ellie?
BRASS: What about her?
WARRICK: Well, she's the only one who can I.D. Todd Piccone as the driver.
BRASS: Well, I couldn't get much out of Annie, but I don't think Piccone killed
Dakota -- it wasn't his scene.
WARRICK: I don't know. He's involved. It's his house. It's his car. It's his
party.
BRASS: Who's going to believe a tweaker hooker?
WARRICK: You better hope nobody, or she'll be taking a dirt nap.
CUT TO:
[INT. ELLIE'S APARTMENT - NIGHT]
(Ellie sits at her vanity putting on her make-up. The phone rings.)
ELLIE: (answering machine) Hey, it's Ellie. Leave a message and I'll get back
at you when I can.
BRASS: Yeah, uh, Ellie, it's, it's your dad. Listen, you were right about the
guy; he's a pretty important person with pretty important friends. So, uh, do
me a favor. Don't go out tonight. Okay?
(The answering machine beeps off.)
CUT TO:
[EXT. HOLLYWOOD BLVD (STOCK) - NIGHT]
[INT. BRASS' MOTEL ROOM - NIGHT]
(Warrick picks up a bottle.)
WARRICK: If Dakota had wax under her fingernails, I think she must have been
doing more than just pouring.
BRASS: Self defense?
(Quick flashback to: [NIGHT] Dakota screams. She grabs the bottle by the
neck, her fingernails digging into the wax. She stands up and tries to swing at
her attacker.)
(End of flashback. Resume to present.)
BRASS: Who was she defending against?
WARRICK: From the prints that we got off the bottle, I have a list of six suspects.
(Warrick takes out the notebook paper from his pocket and reads the list of names to Brass.)
WARRICK: Silvio Peters, Joe Cohen ...
BRASS: Wait a minute. Silvio Peters? He's a judge. He's on the list?
WARRICK: Yeah. Daniel Reichmann, Vic Patterson, Todd Piccone, Parker Smythe.
BRASS: They're all in AFIS?
WARRICK: Yeah. I mean, you can be in AFIS for a lot of reasons. After 9-11, anyone who works in a government building.
BRASS: Right. I mean, doctors, lawyers, right.
WARRICK: Or anyone who has a permit to carry a concealed weapon.
(Brass looks at Warrick just as Warrick gets an idea.)
WARRICK: You know what?
(Warrick sits down in the nearest chair. He puts the phone on the table on
speaker phone and dials.)
(The phone rings.)
INTERCUT WITH:
[INT. (LAS VEGAS) CSI - LAB - NIGHT]
(Nick is looking through a scope when his phone rings. He answers it.)
NICK: Hello!
WARRICK: Hey, Nicky. Where are you? Are you near a computer? Can you do me a
favor?
NICK: Yeah, sure. How's the conference going?
WARRICK: Uh, it's intense. I have a list of suspects, all in AFIS. I want to
know if any of them have a permit to carry concealed.
NICK: Okay, shoot.
WARRICK: Silvio Peters, Parker Smythe, Daniel Reichmann,
(Nick types in the names.)
NICK: Mm-hmm.
WARRICK: Todd Piccone, and Vic Patterson.
(The results read all NEGATIVE except for Vic Patterson who is AFFIRMATIVE.)
NICK: Vic Patterson does. Are we talking about "The Eagle"? From that TV
show?
WARRICK: Yeah. What kind of gun?
NICK: A .45, same kind he uses in all his cheeseball shoot-outs.
WARRICK: Can you give me anything else?
NICK: Yeah, I can run the serial number through Automated Firearms Service, give you the history.
(Nick types in the serial number: T8341.)
(The results read:
AUTOMATED FIREARMS SYSTEM
COLT .45
CURRENT OWNER: VIC PATTERSON
PREVIOUS OWNER: BEVERLY HILLS GUN CLUB
SOLD SEPT. 28 1983 TO VIC PATTERSON )
NICK: Colt sold it to the Beverly Hills Gun Club, who, in turn, sold it to "The Eagle" on September 28, 1983.
(Quick flashes of: The BHGC sticker on the broken BMW windshield. Vic Patterson's tie clip.)
(End of flash. Resume to present.)
BRASS: If he shops there, maybe he shoots there.
(Warrick nods in agreement.)
CUT TO:
[EXT. LAS VEGAS CITY SKYLINE (STOCK) -- MORNING]
[INT. BEVERLY HILLS GUN CLUB -- DAY]
(Brass and Warrick step up to the main desk. Brass shows the man his badge.)
BRASS: You know, I'm just in town for a couple of days. It's always been a dream of mine to shoot at the famous Beverly Hills Gun Club. I wonder if I could get a day pass?
GUN CLUB MAN: For Las Vegas's finest? Sure thing.
(Warrick walks over to the gun display.)
BRASS: Look, um ... tell me something. You know, is it, is it true that, uh, you know, the actor Vic Patterson shoots here?
GUN CLUB MAN: Not really supposed to give out member info. But between you and me? The man is a damn fine shot.
BRASS: No kidding.
GUN CLUB MAN: Matter of fact, he won several of our competitions.
BRASS: Wow.
GUN CLUB MAN: You want to rent or shoot your own?
BRASS: Um ... I'll shoot what Vic shoots.
GUN CLUB MAN: (to Warrick) You shooting, too?
WARRICK: Nah, I'm just going to hang back. Let him blow off some steam.
(Brass gives Warrick a look.)
(The Gun Club man notices that Warrick is looking at Vic Patterson's award, gun and bullets.)
GUN CLUB MAN: Ain't that something?
WARRICK: Yeah, it's something.
GUN CLUB MAN: Right this way.
(Camera lingers on the bullets in the award display. The plaque under it reads:
VIC "THE EAGEL" PATTERSON
1ST PLACE - 45 CAL SHOOTOUT
AUGUST 26, 2003 )
DISSOLVE TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - LAB - DAY]
(Nick is on the phone and looking at the bullet.)
NICK: (to phone) Hey, Jim. I just got your bullet. I'm running it through IBIS right now. Not gonna ask how you got it.
(Nick sets the bullet up and runs it through the database.)
NICK: (to phone) So, did you meet him?
INTERCUT WITH:
[INT. MOTEL - DAY]
BRASS: (to phone) Yeah.
NICK: (to phone) Ha-ha. Yeah. Did you get his autograph for me?
BRASS: (to phone) You know, actually I did, and if you get me a match, you might be able to meet him at his trial.
NICK: (to phone) Do you think that would make his autograph worth more? Or less?
(The computer beeps. The results read:
CASE REPORT: .45 CALIBER SLUG
LOGGED: OFF. MATT GLAZER
LAPD, SERVICE: 1/5/1998
EVIDENCE RETRIEVED: 4/23/05
BMW 325: WHITE CONV.
HOMICIDE INVESTIGATION PEND.
CASE# 192801_218
VEHICLE REMOVED FROM GAS
TANK, DRIVER'S SIDE.
PL 220.03 SUB00
IDENTIFICATION MARKS ENTERED INTO IBIS BY:
OFF P. LEBLANC
LAPD 28719.1
NICK: (to phone) We got a match. Entered by Matt Glazer, LAPD. Recovered from a BMW gas tank. Open investigation, homicide-related.
BRASS: (to phone) Great, great. Thanks for all your help. Thank you.
NICK: (from phone) Sure.
(Warrick knocks and enters the room. Brass hangs up. Warrick sits down on the bed.)
WARRICK: Was that Nick?
BRASS: Yeah. IBIS confirmed the match. We're good to go. So, where you been?
WARRICK: In Hollywood, thinking. You know, even if Vic Patterson did shoot up the car with his gun, that doesn't mean he killed Dakota. Just means he helped clean up.
BRASS: She wasn't shot. She was beaten.
WARRICK: Yeah. We need a murder weapon to nail his ass. I got these photos at a Hollywood memorabilia shop for ten bucks.
(Warrick hands Brass some photos.)
WARRICK: Who do you see?
(The top-most photo is of Vic Patterson posing with his gun.)
BRASS: A jackass.
WARRICK: Look closer. Look at the pistol grip ... and The Eagle. You know, these autopsy photos I saw all got me thinking. This one. Look at the pattern contusions.
(Warrick picks out a particular photo and shows it to Brass. The bruising pattern on the victim matches the raised eagle logo on the gun.)
BRASS: The gun is the murder weapon.
(Quick flashback to: [NIGHT] Dakota struggles against Vic Patterson. She's screaming.)
DAKOTA: Stop it! Stop it!
(He hits her with the handle of the gun.)
(End of flashback. Resume to present.)
(Warrick nods.)
CUT TO:
[INT. BAR - NIGHT]
(Brass and Annie Kramer talk.)
ANNIE KRAMER: About six months ago, this strung-out hooker comes into the PD, beat to crap, screaming that Vic Patterson had done it, and her wounds looked a lot like this. I figured it was her pimp, she was sniffing around for a settlement. Sent her home with an ice pack.
BRASS: Oh. I'm sorry. I knew you thought this guy was a winner.
ANNIE KRAMER: I worked my whole life to sit at the table with the big boys ... only to find out that the food is poisoned.
BRASS: You know, the only record of this investigation is in that envelope, and half the evidence collection won't stand up in court, so it's your call. (She's thinking.) How many years you got on?
ANNIE KRAMER: Eight back in Jersey, fifteen here.
BRASS: Well, that's 23 combined. That's a lot of innings. I mean, the worse they can do is make you retire.
ANNIE KRAMER: What am I gonna do then? Knit? This is it, Jimmy. This is all I got.
BRASS: Well, if it's all you got, then you got to do it right. Remember Mike O'Toole? From Vice?
ANNIE KRAMER: Of course I do. Broke my heart when I found out he was dirty.
BRASS: Yeah, he was a heartbreaker. Broke up my marriage.
ANNIE KRAMER: I thought I did that.
BRASS: Well, Nancy used our affair because she was looking for a way out, but for me ... I mean, I guess I'm old-fashioned. You know, a bad marriage is better than no marriage ... I thought.
ANNIE KRAMER: And you thought a kid would help?
BRASS: You see, that's the thing. I didn't have a kid.
(Annie turns and looks at Brass. She puts the palm of her hand on his cheek.)
ANNIE KRAMER: (gently) Yeah, you did. I don't see Mike O'Toole out here helping her.
BRASS: Well ... I spent a good chunk of my life looking the other way. I mean, so much so that my neck got tired. So I, you know, I got a divorce. I, uh ... turned Mike and his crew in. Started over in Vegas. Ellie. She's like the unfinished business of all that.
ANNIE KRAMER: So it's my neck now.
(Brass remains silent as he picks up his drink.)
CUT TO:
[INT. HALLWAY OUTSIDE ELLIE'S APARTMENT - DAY]
(Brass walks down the hallway. He comes to apartment 2-F and stops. He takes a deep breath and exhales. Brass puts the small pink bear gift on the floor in front of the door. He looks at the card in his hand for DREAM HARBOR, REHABILITATION FACILITY.)
(He flips the card over. On the back is a hand-written note:
Ellie -
When you're ready, I'll make it happen.
{heart} Dad
(Brass tucks the card in the cellophane. He stands up, looks at the door, then walks away back down the hallway.)
(Camera holds, then ...
FADE TO BLACK
THE END.
Fait par Wella
