COLD OPEN
[EXT. VARIOUS LAS VEGAS DESERT (STOCK) -- DAY]
(Heavy winds blow sand across the desert, making it difficult to see.)
(A car travels along the road through the sight-obscured desert.)
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - DAY]
(Grissom arrives at the site and parks near the other officers' cars. In front of them, Brass is talking with a man in a heavy jacket. Brass has his hand over his nose and mouth to keep the dust and sand out.)
(Grissom gets out of the car and joins Brass.)
BRASS: Guy was on his way to a landscaping job in Palm Springs. Saw a body sticking out of the sand.
GRISSOM: Well, out this far, it's probably a body dump.
(They reach the body. Nick is already there.)
NICK: Looks like they starved her to death first.
(They get a good look at the body. A thin woman in her underwear partially covered by the blowing sand.)
BRASS: Well, Jesus fasted in the desert.
GRISSOM: Yeah, but he had a choice.
NICK: No clothes, no shoes, no hair.
(The coroner's van arrives and backs up to the spot.)
BRASS: Maybe her dome was shaved 'cause she spent time in the pen.
NICK: No right hand either. Could have been disarticulated by a wild animal.
BRASS: The only wild animal was the one who left her out here.
(David Phillips gets out of the van and joins them.)
DAVID PHILLIPS: Hey, Grissom.
(Grissom turns and looks at David Phillips.)
DAVID PHILLIPS: Conditions are less than ideal. Is it okay if we just do a scoop and run?
GRISSOM: Yeah, David, shoe prints, tire treads -- all they are is ...
BRASS: ... Dust in the wind.
(David smiles, turns and heads back to the truck to get his things. Grissom leans forward and notices the brand on the victim's upper left arm: 19.)
GRISSOM: Looks like she was branded.
BRASS: Emaciated, bald, and numbered. What does that remind you of?
(Grissom turns and looks at him.)
SMASH CUT TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(Robbins, Nick and David Phillips are around the victim on the morgue table. Nick sits on the seat to the left of Robbins as he looks at the #19 branded on the victim's upper arm.)
NICK: Branding.
ROBBINS: A brand is a kind of contract.
(Phillips takes a swab from the victim's right wrist.)
NICK: Tell that to a bull when he gets stuck on his rear with a hot iron.
ROBBINS: In that case, it signifies ownership. To a Maori tribesman, or a marine, it signifies belonging. (to Phillips) Did you get a liver temp?
DAVID PHILLIPS: Couldn't get an accurate reading. You want me to pull vitreous from the eye?
ROBBINS: Yeah. One eye is much more desiccated than the other.
NICK: Could be an infection.
ROBBINS: Take samples from both.
(Phillips sticks a needle in the victim's left eye to take a sample of the fluids inside as Nick watches.)
ROBBINS: The eye is sequestered space. Changes that happen in the blood after death happen more slowly in the vitreous. Could give us more accurate levels.
(Phillips gets a second needle and sticks it in the victim's right eye to get a sample. He pulls the needle and the entire eye pops out of the victim's eye socket.)
(Nick closes his eyes at the sight.)
(Phillips is at a loss as to what to do next.)
PHILLIPS: Um ... Dr. Robbins ...
(Robbins turns around and looks at the eye.)
ROBBINS: The optic nerve's been severed.
NICK: (swallows hard) That kind of defeats the purpose of an eye transplant, doesn't it?
(David puts the eye aside.)
ROBBINS: An eye transplant's just the cornea; it's not the whole eye. David, check the other eye.
(David sticks his fingers in the left eye to see whether it comes out easily. It doesn't.)
PHILLIPS: This one's still connected.
ROBBINS: Well, clip it. Nick, send both eyes to DNA.
(Nick raises his hand and looks away. He gets it.)
NICK: Yeah.
CUT TO:
[INT. CSI - DNA LAB]
(Wendy Simms puts on a fresh pair of latex gloves. In the specimen containers in front of her are the two eyes taken from the victim.)
(She grabs the container with the right eye and opens it. She removes the eye and sticks a needle inside to get a sample of the fluid. She dispenses the fluid in a test tube.)
(She grabs the second container with the left eye and opens it. The label on the container reads:
LEFT EYE 427872-GG
Date Found, Located or Developed; 2/6/06 ROUTE 17 ETV
Where this article was found: Removed from Victim #872
G. Grissom )
(She opens the container and takes a sample of the fluid with a needle. She empties the liquid into a test tube.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins is in the middle of his autopsy. He pulls out a metal bit from the victim's mouth. He looks at it, then puts it in a container. He tightens the container cover and puts it aside.)
(Grissom enters the room. He's putting his gloves on.)
ROBBINS: Pull up a chair. It's been a long, strange trip for this poor girl. I found puncture wounds around her glandular areas, from large-gauge needles commonly used to draw out fluids.
GRISSOM: Maybe she was undergoing some kind of medical treatment.
(Grissom picks up the container with the metal bits in it. He looks at it.)
GRISSOM: What's in this?
ROBBINS: I'm not sure. I found it in her teeth. Could be from her last meal.
Also, another surprise: She had a D & C.
GRISSOM: Abortion?
ROBBINS: Well, maybe polyps, hyperplasia.
GRISSOM: Infection?
ROBBINS: And how. Starvation shrinks a lot of things, but not your organs.
(Robbins points to the victim's organs. Grissom leans forward to look.)
GRISSOM: They're all abscessed.
ROBBINS: Which explains why I couldn't find the liver. There's not much left.
GRISSOM: What, some kind of flesh-eating disease?
ROBBINS: (nods) Necrotizing faciitis. I've never seen anything like this.
(Quick CGI POV to: Camera zooms quickly toward an open wound on the arm and
into the flesh inside. Green bits of bacteria eat the flesh inside.)
ROBBINS: (v.o.) Typically streptococcus enters through an open wound and
starts eating through the skin, then uses the blood stream as a conduit to reach
the internal organs.
(The bacteria flow through the bloodstream, pass through the walls and
penetrates the organs.)
(Camera zooms, out focusing on the organs which quickly deteriorate.)
(End of CGI POV. Resume to present.)
ROBBINS: In her case, the bacteria started in her blood stream. Means her skin is fine.
GRISSOM: Maybe the puncture wounds were used to put something in, rather than take something out.
CUT TO:
[INT. CSI - HALLWAY TO DNA LAB -- DAY]
(On their way back to the DNA lab, Wendy Simms shares her findings with Sara.)
WENDY SIMMS: So Henry found oxycodone and chlorpromazine in both the right and left eye. Now, one kills pain and the other puts a lid on panic.
SARA: Chlorpromazine-- they give that to mental patients.
(They enter the DNA Lab.)
WENDY SIMMS: Yeah, but this gets so much weirder. Because that dead up eyeball -- it actually belongs to somebody else.
SARA: What?
WENDY SIMMS: See, the vitreous fluid from her eyeball showed that she'd only
been dead for a day; but the DNA from the other eyeball, well, it was male, and
it seems to have been separated from its owner for about a week. So, I ran it
through CODIS. And the eyeball belonged to a Jack Landers, who is a convicted
sex offender.
SARA: Would sticking your eyeball in a woman's eye socket constitute a sex
offense?
WENDY SIMMS: Well, rape is legally defined as putting an unwanted foreign
object into a genital opening. So sexual ... no ...
SARA: But offensive ... yeah.
CUT TO:
[EXT. STREET -- NIGHT]
(Brass and Sara walk with Parole Officer Ruben Caster.)
RUBEN CASTER: Look, guy got out of jail six weeks ago. A weenie wagger with two eyes. As a parolee, he has to check in with me once a month. Missed our last appointment, but before I could file the paperwork, he showed up here, across from his halfway house, thinking he's Captain Crunch.
(They stop. In front of them is Jack Landers, dressed like a bum, his back turned toward them. He's mumbling under his breath.)
RUBEN CASTER: They thought he was piped up on something, but his urine was clean and his high hasn't faded.
(He hands the folder to Sara to look at.)
RUBEN CASTER: Hey, Jack.
(Jack Landers turns to look at them. He's wearing an eye patch over his right eye.)
'CAPT' JACK LANDERS: Captain Jack to you. Ahoy, mateys.
RUBEN CASTER: Captain Jack, these people want to ask you some questions.
'CAPT' JACK LANDERS: (mumbles) Orphaned at the age of five. Stowed away on
the Good Ship Lollipop. The sea ... is an evil mistress. Spit me out and fed
me to the beast.
(He leans in close to Brass.)
'CAPT' JACK LANDERS: A puppet I am.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. HOSPITAL - HALLWAY/ EXAM ROOM -- NIGHT]
(Nick enters the hallway and finds Sara waiting for him.)
NICK: Hey, Sara, got your message. No AFIS hits on my Jane Doe. So I put a
bulletin out to surrounding agencies and the media. Maybe somebody will
recognize her from the photo. Where you at right now?
SARA: On the train to crazyville.
(They head for the exam room.)
NICK: Did you get a peek under the patch?
SARA: No, no, no. I left that for the doctor.
(They enter the exam room where the doctor is trying to check Jack, who is
sitting on the bed.)
DR. MULLIGAN: Jack, look this way.
(Jack mumbles loudly to himself.)
DR. MULLIGAN: I need you to sit still for me.
'CAPT' JACK LANDERS: Where's my patch?
(The doctor lifts Jack's head and shines his penlight into Jack's right eye
socket.)
DR. MULLIGAN: Come on, look this way.
'CAPT' JACK LANDERS: (mumbles) Draw my sword ... make you walk the plank.
(Dr. Mulligan looks into Jack's eye socket and finds it empty.)
DR. MULLIGAN: Jack, were you in an accident or a recent fight?
'CAPT' JACK LANDERS: Captain Jack don't do much recallin'.
DR. MULLIGAN: Did he have an ocular tumor, or recent surgery?
SARA: I have no idea. He's a suspect in a murder investigation. Do you think
he's crazy, or ... ?
(Dr. Mulligan picks up a patient robe for Jack.)
DR. MULLIGAN: I think he's been lobotomized. (to Jack) Jack, I want you to
undress and put this on for me. I want to do a CT scan to confirm, but in the
'30s and '40s lobotomies were often done via the eye socket.
NICK: Right, right, but lobotomies -- they're not common practice today?
(Jack removes his shirt and we see the branding on his upper arm: 13.)
DR. MULLIGAN: Hardly.
SARA: Nick ... take a look at his arm.
NICK: He's not a suspect; he's a victim.
(He looks at Sara.)
NICK: Jane Doe is #19.
CUT TO:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- DAY]
(Brass is in his office.)
BRASS: I know it's tough, but we're going to need you to identify the body.
(A woman sits in front of his desk. Her back is to us. She has long, dark
hair.)
LADY HEATHER: Fine.
BRASS: Someone from the coroner's office will get in touch with you.
(Around her neck, the woman wears a black and silver crucifix on a matching
chain. She grabs it.)
LADY HEATHER: For reasons I think we both understand, I would appreciate some
level of anonymity.
BRASS: Sure, I'll do my best.
(The woman stands up. Still we see only her back.)
LADY HEATHER: Thank you, Captain Brass.
BRASS: Thanks for coming in.
(The woman turns and heads for the door.)
[INT. POLICE DEPARTMENT - HALLWAY - DAY - CONTINUOUS]
(Lady Heather exits Brass' office.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(Grissom is in his office looking through a book. He has the page on eye-socket
lobotomies tabbed. The picture in the book is graphic.)
(He turns the page to show two more photos of the procedure.)
BRASS: (o.s.) The, uh ...
(Grissom looks up as Brass walks in his office.)
BRASS: The Jane Doe is Zoe Kessler. Her mother saw her picture on the news and
identified her as her estranged daughter. I did a DMV check, and I have the
victim's last known address.
(Grissom puts the book down on his desk.)
GRISSOM: Good. I'll come with you.
BRASS: There's something you should know. The mother's a friend of yours.
(Grissom takes his glasses off.)
GRISSOM: (distracted) Who's that?
BRASS: Lady Heather.
(Surprised, Grissom looks straight at Brass.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. ZOE'S APARTMENT -- DAY]
(Brass opens the apartment door.)
BRASS: Apartment 106.
(Brass, Grissom and Catherine enter Zoe's apartment.)
BRASS: The landlord was getting ready to evict her.
(Catherine snaps several photos of the mail on the floor behind the door.
Grissom and Brass look around; Catherine picks up the mail to look through it.
There's an officer posted in the hallway outside the door.)
(Grissom shines his flashlight through the closet and sees nothing but clothes
on hangers and shoes on the floor. He moves over to the desk and looks at the
book titles on her shelf.)
GRISSOM: Freud, Goethe ...
(He picks up a book and looks at the cover.)
GRISSOM: (surprised) Rilke ... in German. Briefe an einen jungen Dichter.
(Brass returns to the room.)
BRASS: Nothing sounds good in German.
(Catherine continues to sort through the mail.)
CATHERINE: How did she get from Harvard to here?
BRASS: Practice, practice, practice.
GRISSOM: How do you know she was at Harvard?
CATHERINE: Lady Heather told me. She was very proud of her.
(She finds the date of the mail from NOV 12 2005.)
CATHERINE: Well, it looks as though she hasn't checked her mail in ten weeks.
The postmark dates back to November 12th.
BRASS: She died yesterday. Where's she been all this time?
(Grissom sees a note reminder on the desk.)
GRISSOM: This looks like an appointment. "Betz, 11-12, 7:00 P.M."
(Grissom checks the answering machine.)
ANSWERING MACHINE: First message:
AUDREY: (from answering machine) Hi, this is Audrey at the Betz Clinic. We're
just calling to see how you're feeling. Give us a call.
ANSWERING MACHINE: Second message:
AUDREY: (from answering machine) Hi, this is Audrey at the Betz Clinic. We
didn't hear from you, and we have some follow-up questions about your tests.
Please call us.
ANSWERING MACHINE: Third message:
WOMAN 2 (CITIBANK): (from answering machine) This is Citibank. We're trying
to reach Zoe Kessler.
(Grissom opens the desk drawer.)
CATHERINE: Betz Clinic?
BRASS: (sighs) Yeah. I'll check it out.
WOMAN 2 (CITIBANK): (from answering machine) ... At 1-800-555-01 ...
(Grissom takes out a photo of a young, blonde-haired woman standing next to an
older, dark-haired man with glasses. Grissom notices Zoe's eyes.)
GRISSOM: Heterochromia. It appears Zoe had one blue eye and one brown eye.
BRASS: The pirate had one blue eye.
(He looks at the second photo of Zoe with Lady Heather.)
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Lady Heather and Robbins stand aside the open morgue table with Zoe's body.
There's an eerie moment of silence as Lady Heather stares at her daughter on the
table.)
LADY HEATHER: What happened to her?
ROBBINS: We're trying to find out.
LADY HEATHER: May I touch her?
ROBBINS: Go ahead.
(She reaches out and gently places the palm of her hand against her daughter's
cheek. She slowly runs her hand down her daughter's face to her shoulders to
her upper arm. She finds the branding.)
LADY HEATHER: This required skill ... and the infliction of pain. Did you
shave her head?
(She doesn't look at Robbins; her eyes are on her daughter.)
ROBBINS: No, she was found like this.
LADY HEATHER: Can you tell if she's ever given birth?
ROBBINS: There was some scarring on her pelvic bones, but given the condition
of the body, it's hard to say for sure.
LADY HEATHER: She always wore her grandmother's ring on her right hand. (She
looks at Robbins.) Did you find it?
(Robbins doesn't answer her.)
CUT TO:
[INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY]
(Grissom waits outside the hallway, a file folder in his hands. Lady Heather
exits the morgue and stops abruptly when she sees Grissom there.)
GRISSOM: Hi. I'm so sorry about your loss.
LAYD HEATHER: But you need to ask me some questions.
GRISSOM: I'd like to know some things about your daughter. When was the last
time you saw her?
LADY HEATHER: She dropped out of school about a year ago. I didn't even know
she was in town.
GRISSOM: So you weren't in contact with her?
LADY HEATHER: No.
GRISSOM: Can you tell me why?
LADY HEATHER: What difference does it make now?
GRISSOM: Did she have any medical conditions?
LADY HEATHER: Not that I know of.
GRISSOM: Because in November, she participated in a medical study at the Betz
Clinic. Right after that, she went missing.
LADY HEATHER: Where was she found?
GRISSOM: In the desert.
LADY HEATHER: Just out in the middle of nowhere?
GRISSOM: Off highway 55, near Sparks.
(She's quiet. A grim look of determination crosses her face.)
LADY HEATHER: I have to go.
(Lady Heather brushes past Grissom and leaves. He turns around and watches her
go.)
CUT TO:
[INT. BETZ PHARMACEUTICAL -- DAY]
(The receptionist is busy answering the phones.)
RECEPTIONIST: Betz Pharmaceutical. Can you hold, please? Betz Pharmaceutical.
Can you hold, please? Thank you. Betz Pharmaceutical. Can I help you? He's on
the line right now. May I take a message? And your phone number?
(Dr. Jacob Wolfowitz walks out behind the reception area. He walks over to
Catherine and Greg. He hands Catherine the file folder.)
JACOB WOLFOWITZ: Here are the files on Zoe Kessler that you asked for in the
warrant along with a list of everyone who was here on November 12th.
CATHERINE: Including the employees?
JACOB WOLFOWITZ: Yeah. The nighttime staff's pretty minimal. I was supervising
that night.
GREG: What brought Zoe in?
JACOB WOLFOWITZ: Chronic insomnia. She came in for an overnight sleep study
but left early.
GREG: Was there a problem?
JACOB WOLFOWITZ: No. Some people just get freaked out spending a night in a
strange place. Happens all the time.
CATHERINE: We'll need to see those testing rooms.
(They turn and head to the back.)
SHORT TIME CUT TO:
[INT. BETZ PHARMACEUTICAL - TESTING ROOM HALLWAY - DAY - CONTINUOUS]
(Catherine peers into the small window in the door of a testing room. Inside,
it appears to be like a normal bedroom - a single bed and night table with
lamp.)
JACOB WOLFOWITZ: As you can see, we try to make the facility as normal as
possible.
GREG: Put a TV in there, it wouldn't be half bad.
JACOB WOLFOWITZ: But that would defeat the purpose. We can't have anything in
there that would reveal the actual time.
CATHERINE: How do you monitor your patients?
JACOB WOLFOWITZ: Our monitoring process is twofold.
(He walks down the hallway.)
JACOB WOLFOWITZ: Electrodes measure EKG and REM sleep, and we have a vid cam in
the room to help insure the patients actually stay in bed.
GREG: You worried about hanky-panky?
JACOB WOLFOWITZ: Sleepwalking. After the meds are distributed, we ask that the
patients assume a sleep-ready position. Many people assume they have insomnia
simply because they don't get in bed.
CATHERINE: What is your screening process?
JACOB WOLFOWITZ: It's intensive. There's a written application, a personal
interview, physical exam. We only take people in the normal range. You'd be
surprised how many people just want a pharmaceutical lullaby these days.
CATHERINE: No, I wouldn't.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY -- DAY]
(Greg reports back to Grissom.)
GREG: This clinic is like Hotel California: You can check in any time you
like, but you might never leave. Zoe Kessler and Captain Jack were part of the
same sleep study.
GRISSOM: How many other people in the sleep study?
GREG: A dozen. I have called all of them on the list. They're intact, and
none of them are numbered.
GRISSOM: Zoe's car was found at an impound lot downtown. It was towed from
Betz's parking lot on November 15th.
GREG: Wolfowitz said Zoe left in the middle of the night on the 13th.
GRISSOM: With Captain Jack?
GREG: I don't know, but according to their records, he also left early.
GRISSOM: "Left early" seems to be a euphemism.
(Grissom and Greg continue down the hallway past the DNA Lab. Camera stops in
the DNA Lab.)
[INT. CSI - DNA LAB - DAY - CONTINUOUS]
(Wendy Simms reports her findings to Nick.)
WENDY SIMMS: I got the results for the sinew in the girl's teeth, and in this
case, the hand that feeds ... was her own.
(She hands the file folder results to Nick.)
NICK: She chewed off her own hand?
WENDY SIMMS: Yeah. Now, I don't know about you, but I would rather die of
starvation than to eat my own hand.
NICK: Animals in traps do it all the time.
WENDY SIMMS: You think she was trapped?
NICK: Like a rat.
CUT TO:
[EXT. DESERT (STOCK) - DAY]
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - DAY]
(Warrick and Nick walk down the unpaved road. They're each carrying their own
camera.)
WARRICK: A hand in the desert is worth two in the bush.
NICK: Right now, the hand's all we have to go on.
WARRICK: Okay, "Grissom". Come on. What are we doing here? What are the odds
that this hand is not being eaten right now by a coyote?
(The guys walk up to a group of cadets already there waiting for them.)
NICK: Hey, look, the condition she was in, she couldn't have gotten very far.
Maybe if we find the hand, we find the torture chamber.
WARRICK: Torture chamber?
(Nick turns to address the group of cadets.)
NICK: All right, everybody gather around. Let me have your attention. We're
going to proceed forward covering the immediate area bordering the road to the
south, the rocks to the west and the dry creek bed to the east.
SHORT TIME CUT TO:
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - DAY -- CONTINUOUS]
(The group of cadets are spread out and searching the ground for the missing
right hand.)
(Warrick and Nick watch from behind.)
(Dissolve to: Warrick and Nick proceed down the unpaved road.)
(Cut to: Cadets carrying a metal detector search the grounds. Other cadets
walk around the area, looking down at the ground.)
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - DAY -- CONTINUOUS]
(Warrick and Nick continue down the unpaved road toward the top of the hill.)
(They look down the hill below and find the rooftop of a residence.)
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - RESIDENCE - DAY -- CONTINUOUS]
(Warrick and Nick reach the bottom of the hill as they make their way to the
residence. As they approach, we hear flies buzzing.)
(Nick stops Warrick.)
NICK: Woah, you smell decomp?
WARRICK: I do.
(They both reach for their guns as they approach the house. Nick puts his
camera down on the ground.)
(On the side is a large pile of dirt with a lot of flies buzzing around it.)
(Nick stops in front of the large pile of dirt and looks at it. Warrick stops
and looks at Nick.)
WARRICK: You think the hand is in that pile?
NICK: Maybe. Let's get a sample.
(Nick reaches out and grabs a handful of dirt from the pile and smells it. He
doesn't react to the smell.)
(Warrick approaches the garage and moves closer to some potted plants.)
WARRICK: Whoo!
(He leans forward and smells the potted plants.)
WARRICK: Whew! The smell's coming from these plants.
(He reaches out and reads the tag on the plant: Titan Arum, "Corpse Flower".)
WARRICK: "Amorphophallus titanum, corpse flower." Now who's going to have a
plant that smells like decomposing flesh?
NICK: Somebody who's trying to cover up the real deal.
(They head into the garage. In the front of the garage, there are tables with
various plants on it.)
NICK: (calls out) LVPD!
WARRICK: You smell a warrant?
(In the back of the garage, there is a large storage freezer.)
NICK: We can look, but not touch.
WARRICK: I'm in if you're in.
(Nick smiles.)
NICK: All right, here's the real catch-22. If we open it up, find something
probative, we can't use it. But we can't find something probative ...
WARRICK: ... unless we got the warrant to open it.
NICK: Yeah.
WARRICK: That's funny. You don't strike me as the delayed gratification type.
NICK: I'm not. Grissom is.
(Warrick turns away from the freezer and continues looking around the garage.)
WARRICK: Right. There are some freaky-looking plants in here.
NICK: Yeah, it's all about genetic modification.
WARRICK: Well, if this is where they genetically modify the plants, there's got
to be a house around here somewhere.
(Warrick and Nick leave the garage and head toward the main house.)
(They approach the front door. They pick up a delivery package on the box and
look at the delivery label that reads:
Resident's Name: Jacob Wolfowitz
Phone: 702-555-0166
Company: Betz Pharmaceutical
Address: 5 Diablo Rock Dr.
City: Las Vegas State: NV Zip: 89170 )
WARRICK: "Jacob Wolfowitz."
NICK: Isn't that the same guy from the Betz Clinic?
WARRICK: Yeah.
(They hear something clanging from inside the house. Warrick puts the box down.
They each have their guns in their hands.)
NICK: (shouts) Mr. Wolfowitz?
(Warrick moves to the side of the front door.)
NICK: Mr. Wolfowitz, come out of there now. We're from the Crime Lab. We need
to speak with you.
WARRICK: We can hear you, sir. Just open the door.
(The front door opens. It's Lady Heather.)
(Warrick removes his glasses. Nick looks surprised.)
LADY HEATHER: He's not home.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. LAS VEGAS CITY (STOCK) - EVENING]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- EVENING]
(Grissom talks with Lady Heather.)
GRISSOM: Are you and Mr. Wolfowitz acquainted?
LADY HEATHER: No.
GRISSOM: Why were you at his house?
LADY HEATHER: Breaking and entering.
GRISSOM: Is that why we found this etching in your handbag? You were stealing
it?
(He shows her the page from the book.)
LADY HEATHER: Yes.
GRISSOM: Why?
LADY HEATHER: Multiple reasons.
GRISSOM: Which are?
LADY HEATHER: You told me Zoe was having tests done at Betz. I found out who
oversaw the tests -- Mr. Wolfowitz. He lives close to where you found Zoe. If
I'm caught stealing, he may want the police to investigate.
INTERCUT WITH:
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- EVENING]
(Brass interviews Jacob Wolfowitz.)
BRASS: We know the woman who broke into your house, and you don't want to press
charges?
JACOB WOLFOWITZ: She's clearly disturbed. She just lost her daughter, and I
was one of the last people to see Zoe Kessler alive. I'm sure she was just
looking for a connection.
BRASS: You don't want us to look around, see if anything else was stolen?
JACOB WOLFOWITZ: I live pretty simply. I don't have anything worth taking.
But I appreciate your concern.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- EVENING]
(Grissom continues to talk with Lady Heather.)
GRISSOM: However, if he refuses to press charges ...
LADY HEATHER: I'd have to ask myself what kind of person would do that.
GRISSOM: Someone with something to hide.
LADY HEATHER: Precisely.
(He nods.)
GRISSOM: Why, uh, steal this?
LADY HEATHER: It's one of the earliest illustrations of the Romulus and Remus
myth. It's printed from a plate. Must be worth thousands.
GRISSOM: So?
LADY HEATHER: Well, it looks like a page from a book. I find that people who
don't respect books have a general disregard for keeping things whole.
GRISSOM: So you think he stole it?
LADY HEATHER: I think a pencil pusher in a pharmaceutical lab couldn't afford
it.
[INT. POLICE DEPARTMENT - BRASS' OFFICE -- EVENING]
(Brass continues to talk with Jacob Wolfowitz. )
BRASS: How long have you worked at Betz?
JACOB WOLFOWITZ: Eighteen ... 18 years.
BRASS: Eighteen years. Oh. But that's a long way from your home to your
office, isn't it?
JACOB WOLFOWITZ: I like the solitude and, uh, space for my plants.
(Brass stares at Jacob Wolfowitz.)
JACOB WOLFOWITZ: Did I do something wrong, Captain?
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- EVENING]
GRISSOM: Even if all this is true, we still don't know if he killed your
daughter.
LADY HEATHER: Too many coincidences.
GRISSOM: You have to stay away from him.
LADY HEATHER: You forfeited the right to give me advice some time ago. But
thank you.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - EVENING]
(Lady Heather leaves the interview room and is escorted out by an officer. As
she passes Brass' office, she notices that Jacob Wolfowitz is there.)
CUT TO:
[INT. CSI - QD -- EVENING]
(Professor Rambar examines the Romulus and Remus print. He shares his findings
with Grissom.)
PROFESSOR RAMBAR: Ah, I believe this is authentic. Iron-gall ink from the 16th
century tends to turn a brownish color. Especially when it's been sitting
around for a few centuries.
(He hands the magnifying glass to Grissom, who looks at the print.)
PROFESSOR RAMBAR: See how the ink bites into the parchment of the page.
GRISSOM: Is that an acidic compound?
PROFESSOR RAMBAR: Gall inks are often made with wine or vinegar. Recipes were
specific to the manuscript illuminator.
GRISSOM: So it is from a manuscript? (Grissom continues to look at the print.)
The edge appears fairly pristine. How could he remove it from the book so
cleanly?
PROFESSOR RAMBAR: My guess? Classic spit and string.
(Quick flash of: [UNLV -- LIBRARY] Jacob Wolfowitz glances around to see that
no one's watching. He opens the book to the page he wants. He moves a long
piece of string from his mouth and lines at the binding on the page.)
PROFESSOR RAMBAR: You use saliva. It's absorbed into the fabric of the paper
and softens its fibers.
(He closes the book on the string, then gently pulls the page out from the
binding of the book.)
(End of flash. Resume to present.)
(Grissom takes a swab and swabs the edge of the print page.)
GRISSOM: Even if this tests positive for DNA, I'm gonna need the book to match
it.
CUT TO:
[INT. CSI - A/V LAB -- NIGHT]
(Catherine and Greg review the video tapes from the sleep sessions. On the
monitor, we see Zoe Kessler sleeping in bed.)
CATHERINE: Here's Zoe Kessler at the start of her session.
(The time on the bottom of the monitor of the tape with Zoe sleeping reads:
01:03:37.)
CATHERINE: And here she is at hour number four.
(Catherine presses the remote and the time on the bottom of the monitor jumps
ahead: 04:02:41.)
GREG: Well, she doesn't look freaked out. Looks like she's sleeping like a
baby.
CATHERINE: Except ... check it out.
(On the monitor, Zoe gets out of bed.)
GREG: Okay, so she gets up ... gets out.
CATHERINE: Look at the bottom right hand corner.
(Catherine rewinds the tape and pauses it at 04:03:04:14. On the bottom right
hand corner of the monitor, through the shadow of the light from the window in
the doorway, there's the shadow of someone standing there.)
CATHERINE: See that shadow? Somebody opened the door.
(The shadow moves and leaves.)
GREG: Well, she didn't just pop out of bed, she was woken up by someone. How
much you want to bet that's Wolfowitz in the doorway?
(Catherine changes tapes and shows Jack Landers' sleep room.)
CATHERINE: Here's Jack Landers.
(Jack Landers gets up and out of bed.)
GREG: A trip to the bathroom, maybe?
CATHERINE: Except he never returned. Wolfowitz works at the clinic. He has
access to both victims. One victim was found less than mile from his house,
which smells like human decomp.
(Grissom steps into the lab holding the book in his hand.)
CATHERINE: How do we get to him?
GRISSOM: Rambar checked the rare book collections. This guy likes to steal in
his own backyard. UNLV library is missing plate 62. It's enough for us to get
a warrant.
(Catherine smiles.)
CUT TO:
[INT. BETZ PHARMACEUTICALS - GARAGE -- NIGHT]
(Grissom steps out of the garage elevator, his kit in his hand. We can see that
officer car lights are flashing and we hear background police radio chatter off
screen. Something is going on.)
(Grissom walks past an officer, who is listening to a woman talk.)
RECEPTIONIST: I left him a couple of messages at home. And when I left for the
day, I just saw him like this.
(Grissom walks toward Brass, who is leaning against the car in question. David
Phillips is looking at the body inside the car.)
(Grissom leans forward and sees that the dead body is Jacob Wolfowitz.)
GRISSOM: I guess I didn't need a warrant.
(Grissom uses his flashlight and looks around the body and driver's area.)
GRISSOM: No signs of trauma or blood.
BRASS: The seat's wet.
(Grissom sees that the body is dripping onto the car seat.)
GRISSOM: He's wet.
(He notes that the chair back is also filled with condensation, the body stiff.)
GRISSOM: Looks like he's in rigor, which means he's been dead for at least six
hours.
BRASS: You mean this guy's been down here in the parking lot dead all that time
and no one noticed? That's weird.
CUT TO:
[INT. CSI - FORENSIC AUTOPSY]
(Robbins starts the Y-incision on the body as he cuts through the skin with a
knife.)
(Cut to: Robbins pulls the skin apart to expose the front.)
(Robbins reaches for the handsaw. He turns the saw on and cuts through the rib
cage.)
(Finished, he turns the saw off and puts it aside. He grunts as he cracks the
rib cage open.)
(He picks up a scalpel and tries to cut through one of the inner organs.)
(The scalpel snaps. Robbins lifts the scalpel up and we see that the tip has
broken off.)
(Grissom enters the room.)
GRISSOM: Still frozen?
ROBBINS: I'm not gonna be able to determine COD until he's completely
defrosted, and that could take a while.
GRISSOM: How long does it take to freeze an entire body?
ROBBINS: To the core? Two solid days. His heart's completely frozen. Before
the Y, I found bruises and puncture wounds all over his body.
GRISSOM: Over the glands, too?
ROBBINS: Yep. Same as Zoe. So is this.
(Robbins rolls the body to show Grissom the branding on the victim's upper left
arm: 1.)
GRISSOM: Test subject #1.
CUT TO:
[INT. CSI - HALLWAY]
(Grissom and Catherine walk through the hallway.)
CATHERINE: Gil, I saw him. Yesterday. He wasn't frozen. I mean, maybe he
knew too much, and someone at Betz sensed that we were getting to close and ...
GRISSOM: So what? They dunked him in liquid nitrogen? Cryogenically froze him?
CATHERINE: Well, I know what I saw.
GRISSOM: You've got to find some explanation.
CATHERINE: I'm on it.
(Catherine turns and heads out the door. Grissom walks down the opposite
hallway.)
CUT TO:
[INT. CSI - GARAGE (LEVEL 5) -- DAY]
(The elevator bell dings and the doors open. Grissom exits and heads for his
car. He stops when he sees Lady Heather waiting for him.)
GRISSOM: What are you doing here?
LADY HEATHER: I think I might be able to help you.
GRISSOM: I'm listening.
LADY HEATHER: You would have liked Zoe. She was a lot like you. Thoughtful,
pragmatic, patient. She was studying psychology. I appreciate that it would
have been difficult to have someone like me as a mother. But if I stressed
anything, it was empowerment and independence. So when she called me from
Boston last year to tell me that she was pregnant with her therapist's baby, I
got angry. Not with her, with him. He violated an oath. Not only was he
married, she was a patient. A junior in college with her whole life in front of
her.
GRISSOM: And you didn't want him to screw it up.
LADY HEATHER: (nods) I called the AMA, filed a complaint. They revoked his
license. Zoe stopped speaking to me.
GRISSOM: Did she have her baby?
LADY HEATHER: Your coroner couldn't confirm. I assumed you might need a DNA
sample from Mr. Wolfowitz.
(She reaches into her bag and takes out a rolled ziplog baggie. She gives the
baggie to Grissom.)
(He looks at the used condom inside.)
GRISSOM: How did you get this?
LADY HEATHER: The rage was stronger than the repulsion. People have used sex
for much less worthy causes.
GRISSOM: When did you ...
LADY HEATHER: Last night. You may not approve, Grissom, but you can't arrest
me for sleeping with him. He was consenting. I am playing by your rules. But
if I had it my way, this man would die the same way, my daughter died.
GRISSOM: He's already dead.
LADY HEATHER: What?
GRISSOM: He's been dead for two days.
LADY HEATHER: That's not possible.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. CSI - GARAGE -- DAY]
(Catherine sits in Jacob Wolfowitz's car and dusts the driver's steering wheel.)
INTERCUT WITH:
[INT. CSI - DNA LAB]
(Wendy Simms processes the condom. She takes a swab from inside the condom.)
(In the garage, Catherine takes a tape lift from a print on the steering wheel.)
(Wendy Simms snips the end of the swab. She adds it to a container and adds
some solution to it.)
(Catherine takes a tape lift and sticks it on the rear view mirror.)
(Wendy Simms adds solution to the container, caps it and places it in the
machine. She caps the machine and turns it on.)
(Catherine looks around the driver's seat area in the car. She finds a pill
stuck in the passenger seat folds.)
CUT TO:
[INT. CSI - DNA LAB]
(Wendy Simms reports her findings to Grissom.)
WENDY SIMMS: The dirt from outside the barn tested positive for human DNA. And
I mean a lot of it, over a dozen profiles. And one of them matched Zoe Kessler.
(She hands the print out to Grissom, who looks at it.)
GRISSOM: Her hand.
WENDY SIMMS: And although chain of custody is a bit problematic, 'cause a
plastic lunch bag isn't department issue bindle, the DNA from the condom, it
matches both the saliva from the book page and the dead guy, Jacob Wolfowitz.
(She hands those results to Grissom.)
GRISSOM: Thanks.
WENDY SIMMS: I have a question. How do you have sex with a guy who killed your
daughter?
GRISSOM: Revenge is an act of passion.
(Grissom shakes his head, turns and leaves.)
CUT TO:
[INT. CSI - LAB -- CONTINUOUS]
(Grissom takes the results and walks through the hallway to the lab to join
Catherine, who reports her findings.)
CATHERINE: So, none of the fingerprints from the car belong to Jacob Wolfowitz.
They're all a match to a Leon Sneller.
GRISSOM: Who?
(On the monitor are the MATCH RESULTS:
NAME: LEON SNELLER
DOB: 02.16.1964
AGE: 42
HEIGHT: 5'10"
WEIGHT: 167 LBS
EYES: HAZEL
RACE: CAUCASIAN
SEX: MALE
HAIR: BROWN
WORK HISTORY
ENLISTED IN THE ARMY (JUNE, 1985)
STATIONED IN BERLIN
FIELD HOSPITAL WORK (SEPT 1985 - 2005)
CRIMINAL HISTORY: NONE )
(She indicates the photo on file.)
CATHERINE: That's John Sneller.
GRISSOM: Looks like Wolfowitz, only younger.
CATHERINE: Which explains how I saw and how Lady Heather ... did a dead guy.
GRISSOM: Identical twins.
CATHERINE: I thought that she killed him, too. I would've. I mean, I wouldn't
have slept with him first, but ...
GRISSOM: Same DNA, different prints. So all the DNA that we attributed to
Wolfowitz, could be Sneller's.
CATHERINE: Which makes you wonder who's on the autopsy table. Sneller joined
the army in 1985. He was stationed at a field hospital near Berlin until about
a year ago.
(Quick flashback to: [WOLFOWITZ'S RESIDENCE - NIGHT] Sneller knocks on the
door. The door opens. Wolfowitz and Sneller look at each other.)
CATHERINE: (v.o.) At which point, I think that he came to Vegas, ...
(Cut to: Sneller puts Wolfowitz's dead body in the large freezer chest in the
garage and closes it.)
CATHERINE: (v.o.) ... put his brother on ice, started impersonating him.
(Cut to: [BETZ PHARMACEUTICALS - DAY] Sneller walks into the Betz
Pharmaceuticals lobby past the receptionist.)
RECEPTIONIST: Good morning, Mr. Wolfowitz.
SNELLER (AS WOLFOWITZ): (mumbles) Good morning.
(End of flash. Resume to present.)
CATHERINE: I mean, I know this theory's a little out there, but given the
evidence ... it's the only conclusion that makes any sense.
GRISSOM: Occam's razor, principle of parsimony. If you hear hoofbeats, think
horses, not zebras.
CATHERINE: Given twins ... go with twins.
CUT TO:
[EXT. WOLFOWITZ RESIDENCE - FRONT DOOR -- NIGHT]
(Officers line up next to the front door ready to burst in. Brass, Catherine
and Grissom trail behind. The first officer smashes the door in. He quickly
moves to the side as the other officers rush in, their guns raised.)
[INT. WOLFOWITZ RESIDENCE - MAIN ROOM -- NIGHT]
(The officers burst into the residence to clear the place.)
[EXT. WOLFOWITZ RESIDENCE - FRONT DOOR -- NIGHT]
(Officer Metcalf steps out of the house.
OFFICER METCALF: Everything is code four.
(Brass, Catherine and Grissom enter the residence.)
[INT. WOLFOWITZ RESIDENCE - MAIN ROOM - NIGHT -- CONTINUOUS]
(They look around the place.)
GRISSOM: Well, this isn't a torture chamber, it's a time capsule.
BRASS: Wolfowitz inherited this place from his parents. Took over the deed
about ten years ago.
CATHERINE: Love what he's done with the place.
(Catherine picks up the prescription bottle on the table and looks at the pills
inside.)
CATHERINE: I found a blue pill in the car. Tox came back, didn't match any
known pharmaceutical.
BRASS: Sampling the company candy.
(Grissom looks around at the far end of the living room.)
(Catherine walks over to the hutch and opens the drawer. Inside she finds a
silver menorah.)
(Grissom turns and heads back across the living room. As he crosses, he comes
to a place in the center of the room where the floor creaks.)
(Grissom stops.)
(He looks down and bounces up and down on the creaky floorboards.)
(Catherine removes the menorah from the hutch drawer.)
CATHERINE: Shabbat shalom.
BRASS: Jewish?
(Grissom continues to bounce up and down on the creaky floorboards. He turns
around in a complete circle, the floorboards creaking under him.)
(He steps aside and lifts the throw carpet. Under it, he finds a trap door.)
GRISSOM: Well.
(Catherine and Brass join him.)
(He opens the trap door and they find a flight of stairs leading downward to a
door at the bottom.)
[INT. WOLFOWITZ RESIDENCE - BASEMENT - NIGHT -- CONTINUOUS]
(Brass opens the door, his gun raised and his flashlight in hand. He steps into
the room. Grissom and Catherine follow him.)
(Inside this secret room is what appears to be a lab. There are barred open
windows at the top of the room, shelves with books, and experiment apparatus.)
(On the counter is what appears to be an organ on a foiled plate under a glass
dome. The organ has black spots and gray pus on it.)
(There are anatomy posters of the human brain and other body parts on the wall
and large archaic looking machines in the corner.)
(On the other counters are more glass tubes, apparatus and sketched notes.
There are large petri dishes with appendages in them.)
(Brass walks into the room and sees the machines, scalpels, hand saws and other
surgical instruments.)
(Grissom walks up to the desk and finds large journals open to sketches and
notes.)
GRISSOM: It appears he was meticulously documenting experiments. This one
looks like it deals with craniometry. I think he was measuring skulls to
determine intelligence.
(Catherine walks up to one of the machines.)
CATHERINE: I think this is a gynecological device from a hundred years ago.
(On the wall, Grissom finds a Nazi swastika and eagle on a plaque with words on
the top.)
GRISSOM: (reads) "Arbeit macht frei." (interprets) Work will set you free.
These words hung over the gates at Auschwitz.
CATHERINE: Zoe Kessler would've made the perfect uber-woman except for her one
brown eye.
(Brass reaches out and picks up the hand saw from the tray of surgical
instruments.)
BRASS: So I guess, uh, what nature couldn't fix, our Dr. Mengele could, is that
it?
(Catherine notes the clock on the nearby wall. It has no numbers on it.)
CATHERINE: Hey, check out the face of the clock.
(Grissom and Brass step closer to look at the clock.)
GRISSOM: No numbers.
(In the eerie silence, they hear faint groaning.)
(Grissom and Brass look at each other. They both step forward to examine the
clock.)
(The groaning continues.)
(They push the clock aside to reveal an open door into a small hidden room. In
the center of the room, a bald, naked man is lying unconscious on the floor. He
appears to be naked and a blanket barely covers his backside.)
(Grissom, Brass and Catherine enter the small chamber to check on the man.)
(Catherine kneels in front of the man as Grissom walks around to his other
side.)
CATHERINE: (softly) Sir ...
(The number branded in the man's upper arm is 21. Catherine reaches out to put
her hand on the side of the man's face.)
(Grissom looks at the blood-spattered sheet barely covering the man and lifts
it.)
(He finds a second body horrifically attached back-to-back to the first body.)
(Catherine's eyes widen at the sight.)
BRASS: I'll call a paramedic.
(Brass quickly leaves the room.)
(Grissom checks for a pulse on the second body and doesn't find any.)
GRISSOM: This one's dead.
(Catherine looks down at the first body. The man's eyes are open and looking
back at her.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. HOSPITAL - NURSE'S STATION - NIGHT]
(Catherine talks with the nurse.)
CATHERINE: Massive blood loss was the cause of death.
(The nurse behind the counter nods.)
(Nick walks up to Catherine.)
NICK: Hey, Catherine.
(Catherine turns around as Nick fills her in.)
NICK: So Brass has put the lockdown on the airport, bus depot and train
station. But so far, no Sneller.
CATHERINE: Well, the other twin didn't make it.
NICK: Well, speaking of twin we got a call from Social Services. Sneller was
their birth name. But they were adopted by a Jewish couple named Wolfowitz.
CATHERINE: That explains Judaica. I guess Jacob went nurture and Leon went
nature.
NICK: Maybe he went Nazi, trying to kill the Jewish half of himself.
CUT TO:
[EXT. DESERT (STOCK) - NIGHT]
[INT. WOLFOWITZ RESIDENCE - BASEMENT - NIGHT]
(Grissom settles at the desk and puts his glasses on, the open journals in front
of him.)
(He flips through the pages, reading through the notes.)
LEON SNELLER: (v.o.) "Those who want to live, let them fight, and those who do
not want to fight in this world of eternal struggle, do not deserve to live."
(The quote is signed. A.H. (193- )
(Grissom continues to look through the journal.)
LEON SNELLER: (v.o.) "The only difference between my research and that of the
government is funding. See: Tuskegee, US Naval Hospital. See: Pesticide
testing done by U.S. Government."
(Grissom stops and looks at the sketches and notes on the experiments done on
the human brain.)
(The notes read:
Comments:
Physically pure -
Solution:
Frontal lobotomy
DISSOLVE TO:
(The notes read:
Patient No. 19
Zoe Susan Kessler
21 year old white female
Daughter of Heather
Father unknown
Birth mother of infant -
Born August 3, 200-
DISSOLVE TO:
(The notes read:
Comments:
Physically pure
Exception of right
Solution:
Dye injections
Eye transplant
(Grissom snaps photos of the chamber. There's a metal pipe running across the
lower half of the wall with several handcuffs hanging in intervals along the
pipe. Some of the handcuffs are open; some are still closed.)
(Grissom turns and looks at the set-up inside the room. He visualizes Zoe
kneeling on the ground, her right wrist handcuffed to the pipe. The
visualization ends.)
(Grissom stops taking photos. He leans forward and takes a step closer toward
the pipe. He visualizes Zoe handcuffed to the pipe. Zoe turns and looks out
the open door. She sees Jack Landers on the table face-up and Leon Sneller
above him. Landers screams.)
(Beyond scared, Zoe looks at her bound wrist, then makes a decision as she
starts gnawing at her own wrist near the handcuff to get herself free.)
(White flash to end of visualization. Resume to present.)
(Grissom turns his attention to the other side of the small chamber where he
finds the branding iron with interchangeable number plates next to a metal pit
with charcoal and burnt wood chips inside.)
(Grissom picks up one of the iron rods and looks at the numbered tip. Burned
flesh is stuck to the end of the rod.)
CUT TO:
[INT. WOLFOWITZ RESIDENCE - MAIN ROOM - NIGHT -- CONTINUOUS]
(Grissom climbs up the stairs out of the basement and into the main part of the
house. Officer Metcalf waits in the living room. Grissom unlatches the trap
door and closes it.)
(From his position close to the ground, he sees a familiar item under the far
couch.)
(He shines his flashlight on it and walks over to see what it is.)
(Grissom picks up Lady Heather's black and silver cross.)
GRISSOM: Have you guys secured the entire perimeter? The house and the barn?
OFFICER METCALF: Yes, sir. All clear.
(He looks at the cross.)
CUT TO:
[INT. CAR (MOVING) -- NIGHT]
(Grissom drives, the car speeding down the road. He hurries to get back to the
spot where they found Zoe's body.)
(He drives past the sign for, SPARKS 2.)
(He continues to drive.)
(Off the side of the highway, he sees Lady Heather standing in front of her SUV,
the lights from her vehicle shining on her as she moves her arm in wide arcs.)
[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - NIGHT]
(Grissom takes the turn onto the dirty road and drives toward Lady Heather's
car.)
(In the spot where her daughter's body was found, Lady Heather unleashes her
rage and grief on Leon Sneller. Sneller is bound to the front of her car as she
whips him. His face and chest are cut and bloodied. He cries out with pain at
every crack of her whip.)
(Behind her, Grissom parks and gets out of his car.)
(Lady Heather doesn't let up.)
GRISSOM: (shouts) Heather! Stop it!
LADY HEATHER: No. Let me finish.
(Beyond reasoning and out of control, she continues to whip Sneller. She pulls
her whip back to continue, but Grissom steps forward and catches the end of the
whip.)
(She whirls around and tugs her whip, trying to get it out from Grissom's
grasp.)
GRISSOM: (shouts) You cannot do this!
LADY HEATHER: No! Let go! Let ... !
GRISSOM: No!
LADY HEATHER: (begs) Please ...
(The whip between them, she continues to struggle to get it free from his grasp.)
GRISSOM: Stop. (firmly) Heather.
LADY HEATHER: (begging) Please ...
GRISSOM: I'm saying stop.
(Lady Heather stops and looks at Grissom. She gasps deep, heaving sobs. Grissom pulls the whip closer, bringing him closer to her.)
(Dissolving into tears, Heather cries as Grissom holds her.)
FADE TO BLACK
THE END.
