FADE IN.
[INT. VARIOUS DANCE CLUB - NIGHT]
(People in a dance club party, the music blaring.)
(Two girls and a guy hurry into one of the rooms.)
(In one of the darkened private rooms, a man and a woman are in bed.)
[INT. DESMOND RESIDENCE - BEDROOM - NIGHT]
(Bianca Desmond enters the bedroom. Chelsea Wannamaker is in bed sleeping. Bianca climbs into bed with Chelsea and lies down, staring at her. She brushes the hair from her face, waking her.)
CHELSEA WANNAMAKER: Hey, lady. Hey.
BIANCA DESMOND: I can't sleep.
CHELSEA WANNAMAKER: You want to try to eat something?
BIANCA DESMOND: Yeah.
CHELSEA WANNAMAKER: All right. I'll go get Ahren. You get dressed.
(Chelsea climbs out of bed. She picks up her robe and puts it on.)
CHELSEA WANNAMAKER: Ahren?
(She heads out of the bedroom.)
[INT. DESMOND RESIDENCE - STAIRS / GARAGE - NIGHT -- CONTINUOUS]
(Chelsea goes down the stairs.)
CHELSEA WANNAMAKER: Ahren?
(She walks through the house looking for Ahren.)
CHELSEA WANNAMAKER: Ahren?
(She heads for the garage. She opens the garage door and gasps.)
CHELSEA WANNAMAKER: Ahren...
(She finds Ahren dead in the center of the floor in a large pool of blood. She goes down the garage steps.)
CHELSEA WANNAMAKER: (gasps) Ahren ... Ahren ...
FLASH TO:
[INT. DESMOND RESIDENCE - GARAGE - NIGHT]
(David Phillips is in the garage with the body. Brass stands near the tape just outside the open garage door. He holds up the tape as Grissom and Warrick both duck into the garage.)
BRASS: Okay, Ahren Green, 29 years old, lives here with Bianca Desmond, that's the brunette. The blonde is Chelsea Wannamaker. She was just spending the night. One was asleep, one was in the bathroom. They said Ahren was probably working on his bike.
(Warrick snaps photos of the body - the blood on his hands, the blood near his groin, the body's face.)
(David checks the body's pupils.)
DAVID PHILLIPS: His pupils are dilated. Lividity is consistent with body position. Looks like he bled out from a stab wound to his upper leg or pelvic area.
GRISSOM: Well, in my experience, I found that most threesomes end up being one too many. So, David, uh ... check and make sure that they didn't pull a Lorena Bobbitt.
(David glances at Grissom.)
GRISSOM: Take a look.
(David pulls the pants waist up and sticks his hand inside to check.)
DAVID PHILLIPS: No, we're good. My man's all there. We're ... good.
WARRICK: Something must be wrong with his gear. He could be partying with two hot chicks inside, but he's out here working on his bike at 4:00 in the morning?
GRISSOM: Maybe he wasn't invited.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. DESMOND RESIDENCE - FRONT - NIGHT]
[INT. DESMOND RESIDENCE - LIVING ROOM - NIGHT]
SARA: Hold out your hands, please?
(Sara shines the ALS on Bianca's hands while Brass watches. There are splotches all over the back of her hands.)
SARA: And the other side.
(Bianca flips her hands over to show the splotches on the palms as well. Sara removes her goggles.)
SARA: What were you doing right before Ahren was killed?
BIANCA DESMOND: Cleaning.
SARA: With what?
BIANCA DESMOND: Bleach. It's the only thing that works.
SARA: Okay.
BRASS: You know, you could put some clothes on if you want, if you're cold.
BIANCA DESMOND: She won't let me back in my room.
CUT TO:
[EXT. DESMOND RESIDENCE - GARAGE - NIGHT -- CONTINUOUS]
(Warrick snaps photos of the tools on the work area.)
(Grissom examines the scratches on the concrete floor.)
(Warrick continues to snap photos of the tools.)
(Grissom takes a tape lift of the particles in the gouges.)
(Camera zooms in to show the particles lifting off the concrete and sticking onto the tape.)
(Grissom presses the tape lift closed.)
WARRICK: Man, I give this guy an "A" for organization. He's got a spot for everything. Why is that helmet over there?
(He points to the helmet on the floor.)
GRISSOM: Maybe he threw it, defending himself.
(Quick flash to: The attacker flips open a knife and fights with Ahren Green. The attacker stabs Ahren in the upper leg. End of flash.)
WARRICK: Yeah, but he looked like he was in pretty good shape. It'd be kind of hard for one of those women to wrestle him down.
GRISSOM: Not if she walks softly and carried a big knife.
CUT TO:
[INT. DESMOND RESIDENCE - LIVING ROOM - NIGHT]
(Brass questions Bianca Desmond:
BRASS: How long have you known Ahren?
BIANCA DESMOND: Six months.
BRASS: Did, uh, did he have any enemies that you know of?
BIANCA DESMOND: No, I mean ... I don't know.
BRASS: You don't know ... I mean, you two lived together right?
BIANCA DESMOND: Yeah, but we were still getting to know each other.
BRASS: I see.
BIANCA DESMOND: We met one night at Light. He was in town for a motocross race. It was love at first sight. I asked him to come back here, and he never left. We actually just decided tonight to move to Colorado together.
BRASS: What, just pick up and leave all this?
BIANCA DESMOND: My father has a cabin where we could stay.
BRASS: Did Ahren have a job?
BIANCA DESMOND: Yeah. Motocross racing.
BRASS: Right. You said that.
BIANCA DESMOND: He's a professional athlete.
BRASS: And you, what about you? What do you do?
BIANCA DESMOND: I'm in fashion.
BRASS: Mm-hm. What's the matter?
BIANCA DESMOND: I have the worst luck with men.
BRASS: What do you mean?
BIANCA DESMOND: They're either jerks or they leave me, or they get killed. What's wrong with me?
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. GARAGE -- NIGHT]
(Nick and Catherine exit their vehicle. They meet up with Sofia Curtis and head over to the dead body in the garage.)
NICK: What do you got?
SOFIA CURTIS: Well, I wasn't sure if I should call it in as a 419 or a 401a.
CATHERINE: Hit and run?
SOFIA CURTIS: You tell me.
(They walk over to the car that's smashed up against the concrete garage wall.
The victim is pinned up against the car and the wall.)
NICK: Mm, I don't know. When you run, you usually take the car.
SOFIA CURTIS: The vic's Sylvia Mullins. Works in one of the offices upstairs.
The security guard found her.
CATHERINE: Did you run the plates?
SOFIA CURTIS: That's why I went with the 419. RO's the vic.
(Sofia walks away to leave the scene to them. Nick sighs.)
NICK: Hit with her own car in her own spot.
(Sofia talks with the guard.)
GUARD: Ms. Mullins must have been working all night. You know, tax season.
SOFIA CURTIS: She's an accountant?
GUARD: Has her own firm up on 11.
SOFIA CURTIS: Did you see anything on your monitors?
(He turns and looks at the security video.)
GUARD: Uh, no. But I heard the crash. I sort of fell asleep.
SOFIA CURTIS: We're going to need to see your tapes.
(He nods.)
(Catherine and Nick examine the car and the items around the victim.)
CATHERINE: Cell phone, a shoe and a briefcase. Probably lost them all on impact.
NICK: Looks like she saw the car coming. Impact's pretty evenly distributed. The car hit her straight on.
CATHERINE: Most cars have to be going at least 14 miles an hour to trigger the airbag.
(Catherine opens the car door and looks inside. She notices the ignition missing.)
CATHERINE: Well, I can't be sure, but it looks like somebody popped the ignition.
(Quick flash to: The carjacker uses a screwdriver and pops the ignition. End of flash.)
CATHERINE: Carjacking gone bad? Vic gets off the elevator, walks to her spot ...
(Quick flash to: Sylvia Mullins walks out into the garage and automatically heads to her parking space. She's on the phone and doesn't notice the car missing till she's standing in the parking space.)
CATHERINE: (v.o.) ...on the phone, distracted, catches the guy stealing her ride ...
(She turns around. The car starts and heads straight for her.)
SYLVIA MULLINS: No!
(The car hits her in the abdomen and pins her to the wall. The carjacker runs.)
(End of flash. Resume to present.)
CATHERINE: He runs her over and splits.
NICK: Pedal to the metal.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. DESMOND RESIDENCE - BATHROOM - NIGHT]
(Greg is in the bathroom using the ALS on the walls. There are splotches
everywhere. Sara walks in.)
SARA: Hey.
GREG: ALS is lighting up everywhere.
SARA: Evidently she bleaches everything. So there could be some false
positives.
GREG: Yeah, including her teeth. Check out the cabinet.
(Sara opens the cabinet and looks inside.)
SARA: Lots of teeth whitener and acne cream. (She turns to look at Greg.) Are
you thinking what I'm thinking?
GREG: Speed freak.
SARA: Definitely.
GREG: Maybe she killed Ahren in the garage, then came up here to take a Silkwood shower.
(Quick flash to: Bianca is in the shower washing the blood down the drain. End of flash.)
SARA: Okay, but she's claiming she loved him. What's her motive?
CUT TO:
[INT. DESMOND RESIDENCE - LIVING ROOM - DAY]
(Brass talks with Chelsea Wannamaker.)
CHELSEA WANNAMAKER: Uh, we started out at Light and then we went to Road Runner, and from there we were at Double Down, and then Copper K, and then we ended up at Drai's.
BRASS: Drai's, that's a good place to end. So what are you on besides meth?
CHELSEA WANNAMAKER: Not meth. Glass.
BRASS: Uh-huh.
CHELSEA WANNAMAKER: We did some coke at the club, had a couple of drinks.
There was this guy that gave us these, uh, these blue pills, but I had to come
home and lie down.
BRASS: Ecstasy.
CHELSEA WANNAMAKER: We only do this when we're, when we're clubbing. I mean,
it's just a hobby, it's not a habit. We have it under control.
BRASS: Well, the dead guy from the garage might beg to differ.
CUT TO:
[INT. DESMOND RESIDENCE - BEDROOM - DAY]
(Sara and Gregg ALS the sheets. There are splotches on the sheets.)
SARA: Eww, busy.
GREG: If Bianca killed him, and then came up here to take a shower, wouldn't
she have left a trail?
SARA: Maybe.
(Greg ALS's the carpet. He finds something.)
GREG: It appears she missed a spot.
CUT TO:
[INT. DESMOND RESIDENCE - GARAGE - DAY]
(Warrick moves the evidence bags to the counter. He finds some sticky liquid on the ground next to a stack of soft drinks. The cardboard containers are soaked. He looks it over and finds a can with a bullet hold in it.)
(He looks out of the garage and visualizes the shooter.)
(CGI EFX: The shooter stands just outside the garage. He raises his gun and fires. The bullet hits the soft drink can. End of CGI EFX.)
(Warrick shakes the can and hears something metal inside. He pops the can open and drains out the liquid into a red plastic bucket. The bullet falls out. He picks up the bullet and looks at it.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(David Phillips is washing the dead body. The phone rings.)
DAVID PHILLIPS: (to phone) Las Vegas Coroner's office.
INTERCUT WITH:
(Warrick is at the garage.)
WARRICK: David, it's Warrick. Have you washed the body yet?
DAVID PHILLIPS: I just got started, but I can be done by the time you get here.
WARRICK: No, stop. I uh, just found a bullet. I have no idea who fired it.
Do me a favor: Test his hands for GSR and run it through the fluoroscope.
DAVID PHILLIPS: No problem.
WARRICK: Thanks.
(Warrick hangs up. Grissom ducks under the crime scene tape and enter the
garage. Warrick holds the bullet up for him to see.)
WARRICK: Who brings a gun to a knife fight?
GRISSOM: The winner?
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - HALLWAY -- DAY]
(Nick and Catherine walk through the hallway.)
NICK: The killer knew how to steal a car.
CATHERINE: No prints?
NICK: No. No, it's wiped clean.
(They walk into the A/V Lab.)
[INT. CSI - A/V LAB - DAY - CONTINUOUS]
CATHERINE: Hey, Arch. You get anything off the parking garage camera?
ARCHIE: Um, sort of.
(He shows the video.)
NICK: What's up with the focus?
ARCHIE: That's what I was wondering, too. Check out what happened about an
hour earlier.
(He goes an hour back and shows that someone reaches up and changes the focus on
the camera.)
ARCHIE: It's an old security cam. Adjustable focus ring.
CATHERINE: Killer was camera shy.
NICK: For good reason.
CATHERINE: This wasn't a carjacking gone bad. It was premeditated.
NICK: If he touched the camera, maybe I can get some prints off it.
CATHERINE: Keep working the video, Arch. See if you can get us a face.
ARCHIE: Yeah.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY - DAY]
(Robbins reports his findings to Grissom. Behind him, David Phillips works on
something.)
ROBBINS: Fluoroscope detected no bullets. But there are peri-mortem bruises on
his wrists and forearms, look like defensive wounds.
GRISSOM: COD?
ROBBINS: The weapon went pretty deep. Punctured the femoral artery. I'd say
he bled out in a matter of minutes, if his dilated pupils are an indication of
amphetamines in his system. The faster the heart rate, the faster the blood
pumps. Now, for the details. The fatal blow. Weapon appears to have a
triangular shape. Angle of entry was upwards.
GRISSOM: Like a cornada.
ROBBINS: I'm sorry.
GRISSOM: A cornada-occupational hazard for matadors during a bullfight. The
bull rears up and gores them.
DAVID PHILLIPS: (absently interrupts the conversation) So just find a bull
with a bloody horn, and you've got your killer.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Bobby Dawson walks through the hallway as he reports his findings to Warrick.)
BOBBY DAWSON: So your "soda-can killer" was a copper-washed .22. Now I could
only get general rifling characteristics -- six lands and grooves with a right-
hand twist, um, but ...
WARRICK: But not enough individual characteristics to run it through IBIS.
BOBBY DAWSON: Exactly. Sorry, man.
WARRICK: That's all right.
(Bobby Dawson turns and leaves. Warrick continues on through to the Trace Lab.)
[INT. CSI - TRACE LAB - DAY - CONTINUOUS]
(Hodges turns around.)
WARRICK: Hodges.
HODGES: Your victim did not have GSR on his hands.
WARRICK: Okay, what about metallic trace from the garage floor?
HODGES: Thank you, Hodges, for performing that incredibly elaborate test
requiring copious concentration and an advanced degree.
WARRICK: So you don't have any results from the metallic trace on the garage
floor?
HODGES: But I will. That's the beauty of me.
CUT TO:
[INT. CSI - LAB - DAY]
(Nick goes through the contents in Sylvia Mullins' bag. He takes out a tape
recorder, camera and other items.)
(He turns the tape recorder on.)
SYLVIA MULLINS: (from tape) Well, Mr. Miller, what I would recommend is adding
some tax-deferred investments to your portfolio. Like a Roth IRA. That'd be
perfect for you.
MR. MILLER: (from tape) I never got what that Roth stood for.
(Nick turns the tape recorder off.)
(He opens Sylvia Mullins' planner and finds an entry for Kelly Gordon and Walter
Gordon. Surprised by the find, Nick checks the tape recorder again.)
(He fast forwards the tape.)
SYLVIA MULLINS: (from tape) Hey, Kelly. Have a seat.
KELLY GORDON: (from tape) Thanks for seeing me. I know you said we didn't
have to do this in person.
SYLVIA MULLINS: (from tape) No, I'm really glad you came. Kelly, your father
loved you very much.
KELLY GORDON: (from tape) A little too much. I just wanted to talk about his
estate. Is what he did going to affect it?
SYLVIA MULLINS: (from tape) Well, it's kind of complicated.
(He shuts the tape off, then picks up the cell phone to make a call.)
PAROLE OFFICER (MAN): District four, Parole and Probation.
NICK: (to phone) Yeah, this is Nick Stokes with the Las Vegas Crime Lab.
We're trying to reach Kelly Gordon's parole officer.
PAROLE OFFICER (MAN): (from phone) That's me.
NICK: (to phone) Great. I need Kelly's contact information.
PAROLE OFFICER (MAN): (from phone) Sure, but I gave her permission to go out
of town. Her bus left a couple hours ago.
CUT TO:
[INT. CSI - DNA LAB - DAY]
(Greg walks into the DNA Lab.)
WENDY SIMMS: Oh, hey, I'm glad you're here. I got the results back from the
blood on Bianca's bedroom floor.
GREG: The dead guy?
WENDY SIMMS: Uh, no. It's a male, but it's not a match to Ahren Green. Then I
ran it through CODIS and I actually got a hit. Justin Cole. He's in the system
for statutory rape a couple years back. Among other things.
(The monitor shows him in for:
STATUTE: NRS 453.3385
ARREST: DRUG POSSESSION (METHAMPHETAMINE)
CUT TO:
[INT POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass and Greg interview Justin Cole.)
JUSTIN COLE: So, why am I here?
BRASS: What, you getting homesick for the train tracks behind Union Plaza
already? Bianca Desmond.
JUSTIN COLE: Girl's like an oven in there. Used to love it in there.
BRASS: How long ago was that?
JUSTIN COLE: A few months.
GREG: Did you stop by recently to check out the competition?
JUSTIN COLE: No. We lost touch.
BRASS: So it wouldn't bother you to know Bianca's moved on, and she's living
with another guy.
JUSTIN COLE: It was good while it lasted.
GREG: We found your blood in her bedroom. And her dead boyfriend in the
garage.
(Justin chuckles.)
BRASS: That's funny?
JUSTIN COLE: Nah. Just ... Bianca's all fun and games until someone shoots you
in the leg.
BRASS: When was that?
JUSTIN COLE: Six months ago.
(Quick flashback to: [DESMOND RESIDENCE - DAY] Justin Cole walks in. He
checks the answering machine.)
BIANCA DESMOND: (answering machine) Hey, sweetie, I went shopping with my mom.
(He sees the small plastic container.) I'll be home late. There's some candy
for you on the table. See you then, lover.
(He snorts some coke from the container.)
(He walks into the bedroom while taking his shirt off. He's shot in the leg.)
(Someone with a gun walks up to him and holds a gun on him.)
MAN (VOICE): Stay away from Bianca.
(End of flashback. Resume to present.)
JUSTIN COLE: So I packed my stuff and left.
BRASS: Did you report it?
JUSTIN COLE: Nah. Still on probation for that "she-looked-18" incident.
GREG: This the guy who shot you?
JUSTIN COLE: (shakes his head) Didn't really get a good look. I was too busy
bleeding.
BRASS: You go to the hospital?
JUSTIN COLE: Sort of had my own anesthesia thing going on.
GREG: So whatever happened to the bullet?
(He stands up and rolls up his pants leg to show them the scar.)
(Quick CGI EFX: Inside the leg, the bullet is still there covered with tissue.
A forceps reaches in and removes the bullet.)
(End of CGI EFX. Resume to present.)
[INT. CSI - BALLISTICS LAB - DAY]
(Bobby takes the bullet from the bindle and looks at it.)
BOBBY DAWSON: Yeah, see, human tissue sticks pretty darn good. And I can't
scalpel it off, because I might damage the bullet's characteristics. So, uh ...
(Bobby puts the bullet in a pan.)
GREG: So I guess we wait.
CUT TO:
[INT. CSI - LAB - DAY]
(Warrick has all the tools from the garage in the lab, tagged and spread out on
the table. He talks with Grissom.)
WARRICK: Half of these tools don't match the size and the shape of the wound.
And the ones that do don't have blood on them.
GRISSOM: The killer could have wiped it off.
WARRICK: I don't see why the killer would have used a tool anyway, when he had a
gun.
GRISSOM: Maybe Ahern disarmed him and he grabbed whatever was handy.
(Quick flashback to: The two men fight in the garage. End of flashback.)
(Warrick shows Grissom a photo of the tool board from the garage.)
WARRICK: Take a look at this. This guy was tweaker organized. There's a place
for everything. Except for this.
(Warrick picks up a red screwdriver.)
WARRICK: It's got no space in the pegboard and it doesn't match any of the
sets.
GRISSOM: How about that?
(Warrick looks at the handle under the magnifying glass.)
GRISSOM: Got anything else?
WARRICK: Nope.
GRISSOM: Print it.
CUT TO:
[INT. CSI - PRINT LAB -- DAY]
(Mandy runs the print from the screwdriver through the database. She finds a
match to a TOM HARPER.)
CUT TO:
[EXT. NEIGHBORHOOD -- DAY]
(Tom Harper has the NEVADA CONNECT VAN parked on the side of the road. Brass
exits his car and walks over to him.)
BRASS: Hey, Tom Harper? Detective Jim Brass, Las Vegas Police. May I ask you
a couple questions? Do you know a Bianca Desmond?
TOM HARPER: Sounds familiar.
BRASS: You know she's at 1330 Wildflower Lane.
TOM HARPER: Oh, yeah, right. Her. I installed some DSL lines there a few days
ago. She answered the door in her panties.
BRASS: So you've got that hard hat/tool belt thing working for you, huh?
TOM HARPER: I wish. Kind of girl that makes you happy to be a man, know what
I'm saying?
BRASS: Yeah, I kind of remember. Anyway, we found a tool with your prints on
it in a garage, next to a dead guy.
TOM HARPER: Whoa. I-I lost an awl at a job recently. It must have been there.
BRASS: Well, we're going to need to confirm that. Could you get me a work
order?
TOM HARPER: Yeah, sure. Um, I'll pull one from the office. I'll run it right
over.
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - EVENING]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Nick talks with Kelly Gordon.)
NICK: Kelly, where you going in such a hurry?
KELLY GORDON: I have relatives in Provo. I was going to visit them. I cleared
it with my PO. You gonna tell me why a state trooper pulled over my bus and
yanked me off?
NICK: You know a lady named Sylvia Mullins?
KELLY GORDON: Yeah.
NICK: Did you have a meeting with her yesterday?
KELLY GORDON: Yeah. So ... ?
NICK: So why did you have a meeting with her?
KELLY GORDON: Sylvia's handling my dad's estate.
NICK: Hmm.
KELLY GORDON: She's the trustee. What's going on here?
NICK: Ms. Mullins was found in her parking garage ... crushed by her own car.
KELLY GORDON: And you think I have something to do with it.
NICK: When you worked in the prison garage, did you just learn how to fix cars
or did you learn how to steal them?
KELLY GORDON: Are you kidding me?
NICK: Does it look like I'm kidding you? You waited for her to get out of work
so you could let her know how you felt about her.
(Quick flashback to: [GARAGE - NIGHT] Kelly is behind the steering wheel. She
sees Sylvia Mullins in the parking stall. She starts the engine and guns the
car toward her.)
(End of flashback. Resume to present.)
KELLY GORDON: Sylvia was my dad's friend. She was helping me get back on my
feet. How I felt was grateful. CSI puts me in jail for something I didn't do.
Do you really think I'm going to kill somebody the minute I get out?
NICK: Hold out your hands.
(He picks up a swab.)
NICK: Hold out your hands. Ms. Mullins' air bag deployed on impact. Air bag
dust gets everywhere.
(Quick flash of: [AIRBAG] The air bag opens. End of flash.)
NICK: It's really hard to get rid of.
KELLY GORDON: Not if it isn't there.
(She holds out both her hands. On her left palm is a tattoo. Nick swabs under
her fingernails.)
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Sara, Greg and Warrick gather in the lab.)
SARA: So the soda can bullet and the leg bullet are from the same gun?
GREG: Yeah. Bobby was able to pull more stria off the leg bullet, but still no
IBIS hits. So what about the phone guy, huh? The utility man's always a shade-
ball.
(Hodges and Wendy Simms walk in.)
HODGES: As much as I love your generalizations, actually, this time you're
wrong. The metallic scrapes on the garage floor were titanium. The phone guy's
tool was carbon steel.
WARRICK: Remember we thought that they might be dealing meth? Brass went ahead
and subpoenaed the phone and bank records. Guess who's paying Bianca's
mortgage?
(Warrick pulls up the records.)
WARRICK: A Mr. Harry Desmond.
SARA: Happy Harry? Gas n' Sip Harry Desmond?
WENDY SIMMS: Who's your daddy?
GREG: No wonder she didn't work. He owns fifty Gas n' Sips in Vegas.
WARRICK: Well, Harry was nice enough to leave us a voice message that was
listened to and saved the night of the murder.
(He finds the voice message and plays it.)
HARRY DESMOND: (recording) Bianca, sweetie, it's Daddy. I got your message
about moving to Colorado with Ahren. You can borrow the cabin, but we need to
talk about this move. Call me, princess. I love you.
(The message ends. Warrick shows Sara and Greg a picture of the cabin.)
WARRICK: And this is the Desmond cabin in Telluride.
SARA: Oh, maybe Mr. Desmond is trying to protect the family fortune.
WENDY SIMMS: Or the family jewels. I got the results back from all those sex
stains on the sheets. Three donors: Ahren, Bianca and Chelsea.
WARRICK: I guess they were having a little threesome.
WENDY SIMMS: Yeah, I just really hope he was only doing one woman at a time.
Chelsea is Bianca's mother.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. POLICE DEPARTMENT - BRASS'S OFFICE -- NIGHT]
(Brass talks with 'Happy' Harry Desmond.)
BRASS: Look, I know what it's like to want to kill your daughter's boyfriend.
HARRY DESMOND: I don't pick fights that I can't win. I kill this one, I got
five more dipsticks waiting to take his place. I'd just be pushing the rock up
the hill. Besides, I was in New York yesterday.
BRASS: Yeah, but you didn't want them to move away together.
HARRY DESMOND: I wanted Bianca to get a job. My biggest mistake in life?
Giving my baby everything she ever wanted.
BRASS: Your wife doesn't seem to mind your lifestyle.
HARRY DESMOND: When Bianca was a teenager, they fought like cats in a sack.
It's good they've been spending time together.
BRASS: Do you know what they're doing?
HARRY DESMOND: Well ... they're shopping, dancing ... you know, girl stuff.
BRASS: They're sleeping with the same man.
(That surprises Harry.)
HARRY DESMOND: Look ... there was no good reason for Chelsea to marry me back
in the day. I had a little money. Nothing like what we have now. She was half
my age and ten times better looking. I thought if I kept her on a long leash
... maybe she'd never stray that far.
BRASS: You the kind of guy that likes to keep guns in the house?
HARRY DESMOND: Yeah, of course.
BRASS: I'm going to need to see them.
CUT TO:
[INT. CSI - LAYOUT ROOM]
(Nick finds Catherine in the layout room.)
NICK: Hey, Catherine, I just got back trace on Kelly Gordon's fingernails. I
was looking for air bag dust, but all Hodges found was air.
CATHERINE: Well, join the club. No usable prints on the parking garage camera
either.
NICK: Okay, I'll have Sofia release her from holding. Those the vic's phone
records?
CATHERINE: Yeah. From her office. Lots of international calls.
NICK: A lot of 345s.
CATHERINE: Mm-hmm.
NICK: Where's that?
CATHERINE: Cayman Islands. Popular with scuba divers and money launderers. I
called a few of the numbers; all banks.
NICK: Suggests offshore accounts. It's not illegal, but it is very anonymous.
CATHERINE: It's also a good way to siphon money away from your clients.
NICK: Well, that's a leap.
CATHERINE: Hey, somebody wanted this woman dead.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Nick is in an empty room. He pulls up the computer files on SYLVIA MULLINS:
CASE NUMBER 06 01 18 1738-CW
CASE CREATED: 1/19/06
CASE MODIFIED ON: 1/19/06
VICTIM: SYLVIA MULLINS
PRIORITY ACTIVE
REQUESTED ANALYSIS: DNA, TRACE, FINGERPRINTS
DEPARTMENT: LVPD
AGENCY INCIDENT #: 627300-23
SCENE LOCATION: 8223 KOVAL LANE, LAS VEGAS 89134
ADJUCATION: NO SELECTION
CASE PLAYERS - TYPE - STATUS - ALIAS - STATE ID
KELLY GORDON - SUSPECT - ALIVE - N/A - 792-3
WALTER GORDON - SUSPECT - DECEASED - NA - 312-5
(He brings up a photo of Kelly Gordon.)
(He clicks on her photo and on "RELATED CASES".)
(He pulls up his own case file:
CASE CREATED ON: MAY 19 2005
CASE MODIFIED ON: SEPT 23 2005
-- VOICE ANALYSIS
-- 84938-47-R9
921 DESERT WAY, LAS VEGAS 89109
(He clicks on "CASE MODIFIED ON" and finds NEW EVIDENCE LOGGED.)
(Puzzled, Nick goes over all the photos of the evidence logged and finds a
recording. He clicks on the recording.)
WALTER GORDON: (from tape) Hi, CSI guy. You wondering why you're here?
(Quick flashback to: Nick is listening to the tape recorder in the coffin.
Various flashes of Nick's time in the glass coffin.)
WALTER GORDON: (from tape) Because you followed the evidence. Because that's
what CSIs do.
(End of flashback. Resume to present.)
WALTER GORDON: (from tape) So breathe quick, breathe slow, put your gun in
your mouth and pull the trigger. Any way you like, you're going to die here.
(softer) Okay. Perfect.
(He plays the last part again.)
WALTER GORDON: (from tape) You're going to die here. (softer) Okay. Perfect.
(Nick notes the evidence was logged in by GRISSOM.)
CUT TO:
[INT. CSI - A/V LAB]
(Nick walks into the lab with the cassette tape.)
NICK: Hey, Archie.
ARCHIE: Hey, I did my best to enhance the parking garage footage, but I just
can't get an image on the killer's face.
NICK: If you got a couple of minutes, I need a voice comparison.
ARCHIE: Yeah, what do you got?
NICK: Kelly Gordon's voice on tape. I want to see if it's the other voice on
the Walter Gordon audio file.
ARCHIE: Grissom told you.
NICK: No, but he obviously told you.
(busted.)
ARCHIE: Nick, uh, ...
NICK: You know what? Forget about it. If this girl's involved, that means
she's capable of murder. It's all cued up for you. Her voice is first.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY OUTSIDE INTERVIEW ROOM -- DAY]
(Warrick is walking through the hallway. He's on the phone.)
WARRICK: (to phone) Grissom, it's Warrick. None of the guns Bobby test-fired
were a match to the bullets, but Chelsea Wannamaker purchased a .22 in her name
that was not picked up with the warrant for Harry's guns. Okay. I'm on it.
(Warrick hangs up and enters the interview room.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY - CONTINUOUS]
(Chelsea Wannamaker is in the room.)
WARRICK: Mrs. Wannamaker. Wow, that's a hell of a rock. I'm surprised I
didn't see that the other night.
CHELSEA WANNAMAKER: Well, I don't feel safe wearing this to a club.
WARRICK: Is that why you own a gun?
CHELSEA WANNAMAKER: Well, I used to. But my gun was stolen out of my purse one
night when we went out. Is there something you want to say to me?
WARRICK: You trying to buy back some time there, Mrs. Wannamaker?
CHELSEA WANNAMAKER: Life's short, but it doesn't end at forty.
WARRICK: Oh, I agree with you. But it must be tough for Bianca to have the
kind of mother that'd sleep with her boyfriend.
CHELSEA WANNAMAKER: The thing with Ahren the other night shouldn't have
happened. We were on ecstasy ... and a line got crossed.
(Quick flashback to: [INT. DESMOND RESIDENCE - BEDROOM - NIGHT] Bianca and
Chelsea enter the bedroom. Chelsea lies on the bed.)
BIANCA DESMOND: Oh, yeah. Lay down.
CHELSEA WANNAMAKER: Okay.
BIANCA DESMOND: I'll come back.
CHELSEA WANNAMAKER: All right, you come right back.
(Cut to: Ahren exits the bathroom and joins Chelsea on the bed. He kisses her
back and she moans. He rolls her over and realizes it's Chelsea.)
AHREN GREEN: Oh, Chelsea, I'm ... I'm sorry. I totally thought you were
Bianca.
CHELSEA WANNAMAKER: That felt so good.
(They kiss.)
(End of flashback. Resume to present.)
CHELSEA WANNAMAKER: Bianca came in and found us. (Shakes her head.) I wish it
never would have happened.
WARRICK: What's that, getting busy with her boyfriend or getting caught?
CHELSEA WANNAMAKER: I went into the living room and I let the two of them talk
it out. Next thing I know, she announced that they were moving to Colorado, so
it seemed to me like they worked it out.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT./INT. DESMOND RESIDENCE - DAY]
(Warrick and Sara walk up the front toward the door.)
SARA: Freud would have a field day with this family.
WARRICK: Dad loves his daughter, but mom only sees the daughter as competition.
SARA: And everyone wonders why Bianca can't meet a nice boy.
WARRICK: Bianca eats nice boys for brunch.
(They find the door unlocked. Warrick and Sara take their guns out before
entering.)
WARRICK: (loud) Las Vegas Crime Lab.
(They enter the house and check the living room. Warrick finds Bianca out on
the sofa.)
WARRICK: Oh. Sara.
(Sara walks up to her and checks her.)
SARA: Bianca, can you hear me? We need an ambulance.
WARRICK: (to radio) Dispatch, this is CSI Brown. We have a woman down. We
need a paramedic.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. HOSPITAL - BIANCA'S ROOM -- DAY]
(Sara walks into Bianca's room. Both her parents - Harry Desmond and Chelsea
Wannamaker - are sitting in chairs beside her bed.)
SARA: Hey, Bianca. How you feeling? Mr. and Mrs. Desmond ...
HARRY DESMOND: It's Wannamaker. She's never changed her name.
SARA: Ms. Wannamaker, I'm going to need a few moments alone with Bianca.
(Chelsea gets up and leaves. Harry leaves.)
BIANCA DESMOND: You never should've told him. My father's an optimist. How do
you think they stayed married for twenty years?
SARA: Bianca, I'm going to assume that whoever did this to you also killed
Ahren. And I'm also going to assume that you know who that is. I think you
need to stop protecting everyone from themselves.
BIANCA DESMOND: I can't.
(She turns her head away from Sara. Sara notices bruising on her neck. The
nurse walks in.)
NURSE: Excuse me. I just need to check the swelling. (to Bianca) How's the
tenderness?
BIANCA DESMOND: It's fine.
(The nurse finishes and exits the room. Sara quickly makes her exit.)
SARA: (to Bianca) I hope you feel better.
(She rushes through the hallway to catch up with the nurse.)
SARA: Nurse ... nurse?
(The nurse stops.)
SARA: Can I get that glove you were just using? I'm Sara Sidle, I'm with the
Las Vegas Crime Lab.
(Sara holds out an envelope. The nurse puts the glove in the envelope.)
NURSE: Here you go.
SARA: Thanks. Uh, I'm also going to wait around for the SAE kit.
NURSE: She refused.
(Surprised, Sara turns and looks back at the room.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Nick finds Grissom in his office.)
NICK: Hey, Grissom ... You want to talk to me?
GRISSOM: Yeah, sit down.
(Nick sits down.)
GRISSOM: I heard that Kelly Gordon may be a suspect in your murder case.
NICK: Yeah.
GRISSOM: Is that a problem?
NICK: No. No, it's not a problem. And by the way, I heard the tape. I did a
voice comparison.
(Quick flash to: Nick turns the tape recorder on.)
SYLVIA MULLINS: (from tape) Like a Roth IRA, that'd be perfect for you.
(End of flash. Resume to present.)
NICK: Sylvia Mullins is the other voice on that tape. She's Walter Gordon's
ex-business manager, so ... I'm pretty sure she had something to do with my
kidnapping.
GRISSOM: But now she's dead.
NICK: Yeah.
GRISSOM: So ... it's over.
NICK: (nods) Yep.
GRISSOM: Good.
NICK: Good.
(Nick stands up and leaves.)
CUT TO:
[INT. CSI - BREAK ROOM -- DAY]
(Sara, Warrick, and Greg meet in the break room to discuss the case.)
SARA: Look. Bianca is covering for her father.
WARRICK: Well, we figured out the sticky stuff on Bianca's neck was creosote.
It's a timber preservative found on fences, telephone poles and railroad ties.
GREG: Justin lives on the train tracks. And he's pretty tweaked out.
SARA: Yeah, but he didn't shoot himself. And I think that if he had done it,
Bianca would've told us.
(Warrick looks for something.)
GREG: What is it?
WARRICK: Telephone poles. Tom Harper's work order for Bianca's DSL line was
dated December 18. December 18 ... fell on a Sunday. How many workers you know
work on a Sunday?
SARA: Is this the original document?
WARRICK: Yeah.
SARA: I'm on it.
(Sara takes the work order and gets up to leave.)
GREG: Always the utility guy.
CUT TO:
[INT. CSI - QD -- DAY]
(Sara processes the work order. She cuts off the date, then cuts each number
and puts it in its own dimple. She adds liquid to each sample and lets it soak
for a little while.)
(Sara continues to process the ink.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Sara reports her findings to Warrick and Grissom.)
SARA: There were two different inks on the work order, which means the date
on the work order was compromised. Tom Harper made a service call to Bianca's
house not in December, but ten months earlier, in February.
WARRICK: Why would the guy lie?
SARA: It appears that he was a lot more to her than just the phone guy. Our
bachelorette was a very busy girl.
(Sara turns and points to the phone logs she has highlighted and posted on the
walls.)
SARA: Phone calls from Bianca to Tom are in yellow, from Bianca to Justin are
in blue, and from Bianca to Ahren are in pink. There was always overlap.
Bachelor number one: Tom, phone guy -- strong showing from February 18 until
June-ish. She called him two, three times a day. And then around June 5,
bachelor number two enters the picture -- Justin. Ten days of overlap and then
all the calls to Tom stopped until ...
GRISSOM: The week Justin was shot and moved out.
SARA: Exactly. Ahren entered the picture about five days later in mid-
September. At that point, all the phone calls to the other guys stopped until
just about a week ago.
GRISSOM: When she started calling Tom again.
WARRICK: Every time this chick calls Tom, somebody gets shot.
GRISSOM: It's like thermite.
SARA: Thermite?
GRISSOM: When you combine two seemingly harmless elements -- aluminum and rust
-- press them together, add heat ... it creates an explosion so hot it'll burn
through steel. Powerful but uncontrollable. It burns and burns until it burns
itself out, finally consuming both elements.
SARA: I guess some people just shouldn't be together.
CUT TO:
[EXT. NEIGHBORHOOD -- DAY]
(Tom Harper is climbing down a telephone pole when officer cars pull up below.
Brass and Sara exit the car.)
BRASS: Tom Harper! Come on down!
(Tom steps down from the pole.)
BRASS: You made me find you twice, Tom. That's a drag.
TOM HARPER: What's the problem?
BRASS: You know, I think you saw Bianca in her panties more than once.
(Sara notices Tom's climbing spikes attached to his shoes. She kneels down for
a closer look.)
SARA: Now those could change a man. (Camera zooms in for a close-up to show
the blood still on them.) And it looks like they did.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass interviews Tom Harper.)
BRASS: You know, it's fill in the blank. If it walks like a stalker, talks
like a stalker ...
TOM HARPER: I'm not a stalker.
BRASS: Then what's this? Excellent service? Here's the top of the telephone
pole near Bianca's house.
(Brass shows Tom a photo of the cut wires.)
BRASS: Ahren was tapping your girl, so you started tapping her phone.
TOM HARPER: I only listened when I thought she was in trouble.
BRASS: Look, her father called her at 7:00 A.M. New York time, that's 4:00 in
the morning in Vegas. You had to be on the pole to hear it because we were on
the scene an hour later.
(Quick flashback to: [NIGHT] Tom Harper is on the top of the telephone pole
and hears the phone message to Bianca.)
HARRY DESMOND: (from phone) Bianca, honey, it's Daddy. I got your message
about moving to Colorado with Ahren.
(Cut to: Ahren is in the garage. He turns around and finds Tom behind him.)
TOM HARPER: Stay away from Bianca.
(Tom takes out a gun and points it at Ahren.)
AHREN GREEN: Who are you?
TOM HARPER: You're not taking her to Colorado.
AHREN GREEN: The hell I'm not.
(He throws the helmet at him and the two men fight. The gun goes off and they
continue to fight.)
(Ahren punches Tom back to the ground. He goes after him. Tom stabs him in the
upper leg with the spikes in his boots. Tom grabs his things and leaves.)
(End of flashback. Resume to present.)
TOM HARPER: I just wanted her to be happy.
BRASS: With you and no one else.
TOM HARPER: No. Those other guys were jerks. I only wanted to scare him off.
BRASS: Oh, like you did with Justin?
TOM HARPER: That worked.
BRASS: Yeah, but Bianca didn't come running back to you, so I guess you had to
scare her, too.
(Quick flashback to: [INT. DESMOND RESIDENCE - DAY] Bianca Desmond is sitting
on the sofa when Tom walks in. She turns around and sees him.)
BIANCA DESMOND: What are you doing here?
TOM HARPER: I came to see you.
BIANCA DESMOND: I think you should leave.
TOM HARPER: Your mom wants us to be together.
BIANCA DESMOND: My mom?! Let go!
(They two struggle.)
(End of flashback. Resume to present.)
TOM HARPER: Her mother and I weren't always going to be around to clean up her
messes.
BRASS: Wait a minute. Are you telling me that Chelsea asked you to hurt these
guys?
(He nods.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass interviews Chelsea Wannamaker.)
CHELSEA WANNAMAKER: So you have some lunatic stalker telephone repairman
claiming that I told him to kill my daughter's boyfriends? Give me a break.
WARRICK: We have multiple calls to him from Bianca's house and it was not her.
We also have on the record that you called him from your cell.
BRASS: Coincidentally, right around the time Justin was shot and Ahren was
killed. We call that 'solicitation for murder.'
WARRICK: But you'd probably call it, what, good mother?
CHELSEA WANNAMAKER: I love my daughter.
WARRICK: Yeah, apparently, a lot of her boyfriends, too.
CHELSEA WANNAMAKER: I called Tom. I asked him to scare Justin away. He was
after Bianca for her money. I mean, we have to protect ourselves.
BRASS: Yeah, but Ahren didn't love her for her money. What was wrong with him?
WARRICK: So he was good enough for you, but too good for your daughter, was that it?
BRASS: I mean, finding a soul mate is hard enough, but competing with your mother, that shouldn't be an issue. That goes against ... I don't know, nature.
CHELSEA WANNAMAKER: I was attracted to Ahren ... and I was just trying to keep him away from Bianca and me.
WARRICK: Lady, you unleashed an unstable man that you knew was in love with your daughter. You had to know that that was not going to end well.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Catherine catches Nick in the hallway.)
CATHERINE: Oh, hey, Nick. Nick.
NICK: Yeah?
CATHERINE: We caught a break.
NICK: The security guard confessed.
CATHERINE: No. Archie isolated a frame of the killer turning the focus ring.
(She shows him the photos of the killer's hand. On the center of the hand is a tattoo.)
NICK: She did it.
CUT TO:
[INT. HALLWAY OUTSIDE KELLY'S APARTMENT -- DAY]
(Sofia Curtis, a couple of officers and Nick approach the door with guns drawn.)
(Sofia pounds on the door.)
SOFIA CURTIS: Las Vegas Police! Open up!
(There's no answers. Sofia nods and an officer smashes the door open.)
(Sofia and the officers enter.)
[INT. KELLY'S APARTMENT -- DAY]
(Sofia finds Kelly sitting on the bed.)
SOFIA CURTIS: Kelly Gordon, you're under arrest for the murder of Sylvia Mullins. Stand up.
(She doesn't move.)
SOFIA CURTIS: Stand up!
(Kelly stands up. She's very lethargic. Sofia has a hard time keeping her hands up to pat her down. Kelly looks at Nick.)
KELLY GORDON: (quietly) Care why I did it?
NICK: Doesn't really matter now.
KELLY GORDON: She told me my dad didn't leave me anything. He never would've done that. He loved me.
(Sofia cuffs her.)
SOFIA CURTIS: So you killed her?
(Nick looks at the bottle on the bedside table.)
KELLY GORDON: The ransom was her idea. She didn't get the money. She took it from me.
(Kelly falls back to the bed and convulses.)
NICK: She's OD'ing. She's OD'ing right now.
SOFIA CURTIS: Call a paramedic.
(In the background, we hear an officer making the call.)
NICK: Vicodine, INH, methadone. Kelly!
(Nick leans over her.)
NICK: Kelly! Kelly!
(Kelly stops convulsing.)
(Nick looks at Sofia. Sofia checks for breath, then starts chest compressions.)
FADE TO BLACK
THE END.
