FADE IN:
[EXT. VARIOUS LAS VEGAS CITY LIGHTS (STOCK) -- NIGHT]
[EXT. CONVENTION CENTER DRIVE - NIGHT]
(Open on a concert poster-covered pole or palm tree. A kid carrying a backpack with a pink-colored canister tucked in it runs to the pole. He stops at the base and pauses to cover his mouth and nose with his black sweater, completely obscuring his face except for his eyes. He pulls down his black cap lower on his forehead.)
WHITE FLASH TO:
(The young man pauses and peers around the pole. Two other young people dressed similarly appear with him. They all peer around the pole to make sure the coast is clear.)
(They run quickly across the street. They each run to a poster-covered pole and start climbing the pole.)
POV: BARREL OF THE GUN
(Through the center of the gun barrel, we see one of the young people climbing the pole.)
RESUME VIEW
(Fireworks burst in the night sky.)
(The young man climbing the pole nearly reaches the top. He climbs quickly.)
POV: BARREL OF THE GUN
(Through the center of the gun barrel, we see the young man continuing to climb up the pole.)
(Quick CGI EFX: A gun fires and the bullet exits the barrel. The bullet speeds up straight toward the climber.)
(The climber grunts upon impact.)
SMASH CUT TO:
[EXT. CONVENTION CENTER DRIVE - NIGHT]
(The body is hanging from the top of the pole. A light shines on the dead body dangling mid-air.)
(From the ground, Nick shines his flashlight up at the body. Grissom walks over to him. He stops and looks at Nick.)
GRISSOM: Feel like getting high?
NICK: Do I have to?
(Grissom nods. He turns and walks past Nick, who takes out his radio.)
NICK: (to radio) Hey, this is Stokes. I need a lift, Convention Center Drive.
DISPATCH: (from radio) Copy that --
(Grissom and Nick head over to Brass, who is standing on the road nearby a second body.)
BRASS: Looks like somebody had some late-night target practice. Three Boy Does. No IDs. Nobody saw anything.
(Grissom looks down at the body nearest him. There are bullet shells on the road nearby.)
GRISSOM: Nine-millimeter shells all over the place.
NICK: That's a lot of racket. Somebody heard something.
BRASS: Well, the only ones who did thought it was the fireworks show at the Wynn. Good luck.
(Brass turns and walks away. Grissom turns and walks over to the second body on the pavement. David is near the body with another forensics person. David peels open the victim's shirt to find a thin clock hanging from the front, a bullet-sized hole hanging securely around his neck.)
(Grissom kneels down next to them. Nick looks over his shoulder.)
GRISSOM: What do you think? Time of death: 3:17 A.M.?
DAVID PHILLIPS: Shot through a Flavor Flav clock. Haven't seen one of these since high school.
NICK: Old school's the new school.
(Right in front of him, Grissom picks up a stapler from off the pavement.)
(CAMERA ZOOMS in for an extreme close-up of the bloodstains at the tip of the stapler.)
(Grissom looks up at the poster-covered pole. At the top are posters for BANK NEW ALBUM APRIL.)
NICK: (to Grissom) So, what do you think? This has got to be a gang war, huh?
GRISSOM: Well, if it's a gang war ... (he looks at the stapler) ... these kids were outgunned.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
WHITE FLASH IN:
[EXT. CONVENTION CENTER DRIVE - DAY]
(In the broad daylight, the body is still up on the pole, hanging upside down,
dangling by his legs. In the background, we see two police cars parked in the
center of the road to block traffic. Nick has put in pink rods in the bullet
holes at the top of the pole.)
(Nick is standing on the lift as he goes through the dead body's pockets.)
NICK: (shouts) No personal effects! No keys, no ID! Nothing!
(Down below, Warrick is standing near a body with his camera. He pauses and
looks up at Nick.)
NICK: Either these kids were traveling light, or they were robbed blind.
WARRICK: And who the hell would rob them up there? Andre the Giant?
(Warrick steps away from the body and walks over to the next body Robbins is examining.)
WARRICK: Hey, Doc, is it just me, or did something crush his legs?
ROBBINS: Well, first off ...
(Robbins pulls the sweater away from the victim's face and shows that the BOY Doe is really a GIRL Doe.)
ROBBINS: ... looks like he is a she, and something crushed her legs.
(Warrick snaps photos of the body. He leans down and sees something just under the girl's leg. He snaps a photo of it and reaches down to pick it up. Robbins gets to his feet.)
(Warrick holds up the round circular tubing.)
WARRICK: What do you think this is?
ROBBINS: That's your job.
WARRICK: Yeah.
(Warrick puts the item down and stands up.)
WARRICK: Well ... I did find casings in such a wide distribution ... and a lot
of them were flattened, so it suggests to me that the killer was moving when he
was shooting.
(Quick flash of: Tires screech. A car moves by quickly as bullets swish by amidst gunfire.)
(A body falls to the ground. The car continues. A person is leaning out the car window as the car passes.)
(More gunfire is heard. The car runs over the girl's legs. The heavy metal tubing falls to the ground.)
RESUME TO SCENE
ROBBINS: Drive-by?
WARRICK: Yeah, with a hit-and-run chaser.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. CSI - BALLISTICS LAB - DAY]
SCOPE VIEW: THE BULLET
(Under the scope, the bullet turns around its side.)
RESUME VIEW
(Bobby Dawson is looking through the scope. He lifts his head as he thinks.)
(Nick enters the lab.)
NICK: What up, Country?
BOBBY DAWSON: So, the bullet is practically smooth. I mean, no sharp-edged rifling marks.
NICK: Which means it was probably fired from a polygonal barrel. Did you run cartridge casings yet?
BOBBY DAWSON: Yeah, yeah, and got an IBIS hit off of a firing pin impression. Murder weapon is an H&K MP-5.
NICK: That's a $2,500 firearm. That's not your typical street piece.
BOBBY DAWSON: Yeah. It's registered to LVPD.
NICK: Really?
BOBBY DAWSON: Yeah.
(Bobby turns to the computer, hits a key and a new screen with information
appears:
{Right side: Photo of Bullet}
SPEER 9 mm LUGER
ID: 37283-2
{Left side: INFO}
LVPD FILE #: 05 11 17 6194-RC
NEVADA REVISED STATE: NRS 406.065 Property Burglarized
ITEM STOLEN: HGK MP-5
TIME/DATE OF INNCIDENT: NOVEMBER 11, 2005: 4:17 PM
SUSPECT INFO: --
MISCELLANEOUS: LOCAL REF # 4738-43
NOTE: Weapon stolen from SWAT vehicle during a drug raid on Vegas Valley
and Sandhill. Contact LVPD immediately with any new leads.)
BOBBY DAWSON: Those babies are very popular with law enforcement, and that one
is issued to SWAT ... and reported stolen during a drug raid on Vegas Valley and
Sandhill ... six months ago.
CUT TO:
[INT. CSI - TRACE LAB -- DAY]
(Hodges examines the rod Warrick found at the crime scene. He finds a number
etched in it: 867252B--.)
(He scrapes a paint sample off the edge of the rod and looks at it under the
scope.)
SHORT TIME CUT TO:
[INT. CSI - TRACE LAB - LATER]
(Warrick enters the lab.)
WARRICK: Hodges, you getting anywhere with that steel rod we found?
(Hodges is looking at the monitor on the RED'S PRO-SERIES HYDRAULICS site, which
reads:
2005-2006 HYDRAULIC SUSPENSION COMPONENTS ONLINE CATALOG
COILS HYDRAULIC KITS DUMPS
ALL PRICES ARE FOR RETAIL CUSTOMERS ONLY
PRICES SUBJECT TO CHANGE AT ANY TIME
<<<
FOR WHOLESALE AND DISTRIBUTION INFO
CONTACT US AT 1-800-REDS-321
(He clicks to the rods listing.)
HODGES: Your steel rod is part of a custom hydraulic cylinder.
Size and shape is a match for a brand called "Red's."
WARRICK: Oh, this guy was driving a street hopper. Low-riders get little
clearance ...
(Quick flash to: [ROAD] The car runs over the dead body's feet. It hits the
legs and the rod falls off onto the road. End of flash. Resume to present.)
WARRICK: I'm sure he was more busted up about his ride being damaged than the
three kids he whacked.
HODGES: Hmm.
(Hodges walks around the table to pick up a file folder with the test results.)
HODGES: Also found paint traces on the rod. Color is Chesapeake Blue Pearl.
It's from a Dupont line called "Brilliantz." Mostly used on show vehicles.
Red's auto parts are individually serialized. Shouldn't be too hard to find out
where it was sold.
WARRICK: Cool.
HODGES: A'ight, G, so ...
(He holds up two fingers. Warrick turns and heads out.)
WARRICK: Don't make me shoot you.
CUT TO:
[INT. GARAGE -- DAY]
(Warrick and Nick walk and talk with the owner, Marcus. They walk past various
cars in the garage. The place is busy.)
MARCUS: Crime Scene Investigation. Hell, I love a bloody scene ... DNA and all
that. Look, you give me a serial number, I can definitely figure out who bought
it.
NICK: Yeah, yeah, here you go.
(Nick hands Marcus the slip of paper with the number on it.)
MARCUS: A'ight.
(He looks at the number.)
MARCUS: This is the old style cylinder. Give me a second.
(Marcus sits behind the computer and types the number into the AUTOMOTIVE
RESTORATION CUSTOMER DATABASE. The screen pops up.)
ENTER SERIAL NUMBER: 62867252B
OWNER: JEREMIAH CALVIN
ADDRESS: 59391 SANDHILL
CITY STATE: LAS VEGAS, NV
(He looks at the name, then hits DELETE.)
MARCUS: Yeah, man, this, uh ... serial's not showing up.
NICK: You said "definitely."
MARCUS: Yeah, but these old serial numbers sometimes get erased from the
system. I mean, it's happened, you know?
WARRICK: Sounds like the wrong name might've just popped up.
MARCUS: No name popped up.
WARRICK: What's the matter, man? You worried about having some hard times if
you give your homey's name up?
NICK: I'll get a warrant. You don't mind taking a break for a while, sitting on
the curb while we get some cops up in here.
MARCUS: Look, man, I don't need that kind of a scene around here.
WARRICK: How 'bout we do this? How 'bout you let us muscle you off your
computer, and we can get the information ourselves? That way, if you're ever
asked, you can say there was nothing you could do. You can let us do our jobs,
and we'll be out of your hair.
(Marcus thinks about it.)
MARCUS: I can live with that.
(Marcus gets up and walks away.)
NICK: Good man.
(Warrick types in the number and the screen for JEREMIAH CALVIN pops up on the
monitor.)
WARRICK: Jeremiah Calvin, 59391 Sandhill.
(Nick leans forward, his voice low so as not to be overheard.)
NICK: That's the same part of town where the SWAT cop lost his gun.
CUT TO:
[EXT. LAS VEGAS - SANDHILL (STOCK) - DAY]
[EXT. ROAD -- DAY]
(Nick and Warrick wait in the SUV. They've been waiting a while.)
NICK: How long ago did I call for backup?
WARRICK: About fifteen minutes.
(Nick sighs and picks up the radio to make the call again.)
NICK: (to radio) Dispatch, this is unit 3D7. We are 465 at 59391 Sandhill.
ETA on that backup?
DISPATCHER: (over radio) Unit 3D7 copy, ETA approximately five minutes.
(Nick and Warrick continue to sit outside the house they're watching.)
NICK: (to radio) Copy that. We'll sit tight.
(Just then, a car pulls up outside the house.)
WARRICK: Hello. There's our gangster ride right there.
NICK: With a gangster in it.
WARRICK: Yep.
(The car stops, but doesn't park. It jumps up and down, then takes off.)
WARRICK: Look at that.
NICK: He saw us.
WARRICK: I think I'll go get him now, man, before I lose that boy.
NICK: Go for it, go for it.
(Warrick starts the engine and follows the blue car.)
NICK: (to radio) Dispatch, this is unit 3D7. Suspect is on the move. It's a,
uh, royal blue Chevy Impala northbound on Vegas Valley Drive. License 4-2-3-
Nora-Queen-John. Northbound.
DISPATCH: (from radio) Copy that. I'll inform the backup.
(Warrick continues to follow the car. Nick looks around for street signs.)
NICK: Where are we now? Where are we now?
(The car turns; Warrick turns.)
NICK: (to radio) Dispatch, Westbound Hatteras. Westbound Hatteras. Suspect
is now west on Crag Avenue.
DISPATCH: (indiscernible response)
NICK: We're now southbound on Eastern.
DISPATCH: (indiscernible response)
(The suspect's car turns the corner. Warrick turns and finds the car parked.)
NICK: Dispatch, uh, this is unit 3D7. Suspect has pulled into an alley on the
7700 block on Eastern. Requesting backup.
(The driver of the car leans to the right.)
WARRICK: He's reaching for something.
(The driver gets out of the car, his hands in his pockets.)
WARRICK: Hey, what are you doing?
JEREMIAH CALVIN: I told you little punk ... airport cops to stop riding me,
man.
WARRICK: Son, get back in the car.
(Jeremiah Calvin doesn't listen. He advances toward the car, his hands still in
his pocket and voice rising.)
JEREMIAH CALVIN: You get out the car! All this old crime scene stuff followin'
me, man.
(Nick gets out of the car.)
JEREMIAH CALVIN: Y'all think you're all cops? Y'all ain't cops.
(Nick takes out his gun and points it at Jeremiah Calvin.)
NICK: That's right, we're not cops. We're mad scientists. (commands) Back
away from the vehicle and let me see your hands right now.
WARRICK: Dispatch, we got a code three.
JEREMIAH CALVIN: Hey, hold on, man, you calling for backup? Your backup or my
backup?
(The tension level rises a notch higher. Warrick takes his sunglasses off.)
WARRICK: Son, you trying to win the wet tee shirt contest? My partner here's a
great shot.
JEREMIAH CALVIN: Yeah, you're real cute with that gun, too.
NICK: I'm not going to tell you again.
JEREMIAH CALVIN: You know what, man? I've had so many damn guns pointed at my
face, I feel right at home looking at yours.
NICK: Let me see your hands.
JEREMIAH CALVIN: How you know I won't shoot your man? Huh? How you know I
ain't got something at my waist pointed at your man right now?
WARRICK: Listen --
(Jeremiah Calvin steps closer to Warrick's door.)
JEREMIAH CALVIN: You know, hollow points'll go right through the door.
(Warrick reaches out through the open car window and grabs Jeremiah's jacket,
pulling him forward and knocking his head against the door.)
(Nick rushes around the car to help subdue Jeremiah Calvin. Sirens blare in the
distance and grow louder as the officer car arrives.)
JEREMIAH CALVIN: I got nothing on -
WARRICK: You don't listen -
(There's some commotion as two officer cars arrive to assist.)
NICK: (to the officers) Whoa, whoa, hey, right here.
WARRICK: You have a hard time listening, huh?
(The officers run out to help. They handcuff Jeremiah Calvin.)
NICK: Check him for weapons, Mitch.
(Officer Mitch checks Jeremiah Calvin for a weapon.)
OFFICER MITCH: It's cool. He's clean.
WARRICK: He's clean?
JEREMIAH CALVIN: I don't need no gun for you!
(The officers grab Jeremiah Calvin and lead him to the car.)
OFFICER MITCH: Stay down.
NICK: (to Warrick) Be cool. Cool. Just be cool.
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Jeremiah Calvin is ranting to Brass.)
JEREMIAH CALVIN: I'm telling you, man, I'm ready to file a complaint right now.
And that not-a-cop better be lucky I ain't suing his ass.
[INT. OBSERVATION ROOM - CONTINUOUS]
(Nick is watching the interview through the glass when Warrick walks in.)
JEREMIAH CALVIN: (through speaker) Maybe I will. Look, man, I wasn't even
doing nothing.
NICK: (to Warrick) Hey. How'd things go with Ecklie?
WARRICK: (sighs) Not good.
JEREMIAH CALVIN: I wasn't speeding ...
NICK: Don't worry. I'll talk to him.
WARRICK: No, don't talk to him.
(They share a look and a nod.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY -- CONTINUOUS]
(Brass talks with Jeremiah Calvin.)
BRASS: You want to tell me what your car was doing at the scene of a triple
homicide two nights ago?
JEREMIAH CALVIN: Wait, hold up, h-hold up, man. Let's get this straight. I
don't own a car. You can check the papers. That's my grandpa's ride.
BRASS: So you borrowed it two nights ago?
JEREMIAH CALVIN: No, I didn't. I was working, man. I deejay over at O.G. If
you don't believe me, you could ask Jeni, and Rocker Jules, and GG, and Lina,
and Blaze and you know, I had my first five-some that night. And there wasn't
no homicides goin' down. You could believe that.
BRASS: I'm happy for you, man. So, what, are you pinning this rap on Grandpa?
JEREMIAH CALVIN: Yo, man, my grandpa was a gangster back in the day. You'd be
surprised.
BRASS: Yeah, I'm really not surprised by much anymore. We have a warrant to
search your house ... and I bet I find a crime to go with every gun.
JEREMIAH CALVIN: If I'd killed those kids ... you would never find a gun.
CUT TO:
[EXT. CALVIN RESIDENCE - FRONT WALK/FRONT PORCH -- DAY]
(Detective Sam Vega, Catherine and a couple of uniforms head up the walk. Sam
Vega knocks on the door.)
DET. SAM VEGA: Las Vegas Police. We have a warrant to search the premises.
MAN: (through door) Come on in.
(Sam Vega looks at the officers and nods. He steps aside as the officer reaches
over and opens the door.)
[INT. CALVIN RESIDENCE - LIVING ROOM -- DAY - CONTINUOUS]
(Inside, Grandpa Calvin sits in the lounge chair watching television. He looks
up and sees the officer with his gun out turn and head into the back rooms.)
(Sam Vega walks in.)
GRANDPA CALVIN: Costs money to fix a door. Thanks for knocking.
[INT. CALVIN RESIDENCE - HALLWAY -- DAY - CONTINUOUS]
(In the hallway, the officer checks the bedrooms.)
[INT. CALVIN RESIDENCE - LIVING ROOM -- DAY - CONTINUOUS]
(Catherine walks into the house.)
OFFICER: (o.s.) Clear.
SAM VEGA: Got any guns in the house, sir?
GRANDPA CALVIN: I don't allow that garbage in here.
CATHERINE: Where's Jeremiah's room?
OFFICER: (o.s.) Clear.
GRANDPA CALVIN: End of the hall.
(Catherine heads for the hallway.)
[INT. CALVIN RESIDENCE - HALLWAY / BEDROOM -- DAY - CONTINUOUS]
(She walks to the bedroom at the end of the hall and sees the officer inside
looking under the mattress.)
OFFICER: Got nothing.
(Catherine turns and looks at the second bedroom.)
[INT. CALVIN RESIDENCE - LIVING ROOM -- DAY - CONTINUOUS]
(Detective Sam Vega talks with Grandpa Calvin.)
SAM VEGA: I'm going to need you to verify the whereabouts of your grandson
Jeremiah two nights ago.
GRANDPA CALVIN: How the hell would I know? Man, you're making me miss my
program. It's not like I got that TIVO.
CATHERINE: Mr. Calvin? Whose room is next to Jeremiah's?
GRANDPA CALVIN: Morris'.
CATHERINE: Did Morris ever drive the car?
GRANDPA CALVIN: (exasperated) Go ask him.
CATHERINE: Where is he?
GRANDPA CALVIN: He wasn't in his room? He's been in there all day.
[INT. CALVIN RESIDENCE - SMALL BEDROOM - DAY (MOMENTS LATER)]
(Catherine knocks on the bedroom door as she steps inside.)
CATHERINE: Morris?
(Detective Sam Vega is behind her, his gun in his hand.)
CATHERINE: Morris?
(He checks under the bed as Catherine reaches for the closed closet door.)
(She opens the door and Morris falls out onto the floor, shaking violently and
sweating. He doesn't say anything ... or can't say anything.)
(Catherine calls for assistance on her phone.)
CATHERINE: (to phone) Control, this is CSI Willows. We need an ambulance.
(She looks down and sees that his right calf is red and infected.)
CATHERINE: Hey, Morris, somebody's coming.
(She hangs up. Morris shakes on the floor.)
WHITE FLASH TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
(Establish.)
[INT. HOSPITAL ROOM -- DAY]
(Doctor Leever reports to Catherine and Detective Sam Vega as they stand around
Morris Calvin's bed.)
DR. LEEVER: He doesn't have a bad attitude, he has clostridium tetani.
CATHERINE: Tetanus.
DR. LEEVER: I extracted this from the wound in his calf.
(He takes out a container with the staple in it.)
(Quick CGI flash to: The staple gun is pushed up against the leg and fired,
ripping through the skin and flesh. CAMERA ZOOMS FOR ECU as the staple goes
into flesh. Bacteria from the staple enters the bloodstream. CAMERA ZOOMS
through the bloodstream and into the nervous system, up the spine, and all the
way to the JAW, where it spasms and locks.)
DR. LEEVER: (v.o.) Bacteria on the staple got into the bloodstream, releasing
toxins that enabled muscular contractions. That's why they call it lockjaw.
(End of CGI flash. Resume to present.)
CATHERINE: No wonder he wouldn't talk -- he couldn't.
SAM VEGA: How long before he can?
DR. LEEVER: Take couple of days for the antibiotics to flush it out of his
system.
(Dr. Leever leaves. Catherine looks at Morris still shaking on the bed. She
turns to Sam Vega.)
CATHERINE: Well, he doesn't have lock-wrist. You got a pen?
(Vega gives Catherine his pen and notebook.)
CATHERINE: We matched your blood to the staple gun; it puts you at Convention
Center Drive and you go down for three murders.
(She puts the pen in Morris' hand and the paper in front of him.)
CATHERINE: You have anything to tell us, now's the time.
(Morris writes: $.)
(Puzzled, Catherine shows it to Vega.)
DISSOLVE TO:
[INT. CSI - GARAGE -- NIGHT]
(Sara is processing the car. She snaps photos of the tires and hubcaps. She
snaps a photo of the steering wheel and another of the stick shift and
dashboard.)
(In the back seat, she finds a bullet casing. She opens the door and goes
inside the car to pick up the casing.)
(Quick flash to: [EXT. STREET - NIGHT] The gunmen, with their guns sticking
out of the windows, fire out the moving car. The camera follows the bullet
casing as it falls onto the back seat.)
(End of flash. Resume to present.)
[CU: BULLET]
(Sara looks at the bullet casing. She puts the bullet into a bindle.)
SHORT TIME CUT TO:
(Sara examines the outside car door with an ALS. She finds some drops on the
material roof.)
(Quick flash to: [EXT. STREET - NIGHT] The gunmen, with their guns sticking
out of the moving car window, fire at the person up on the pole. The person is
hit and falls back, their shoe caught up on top. The car with the gunmen passes
by.)
WHITE FLASH TO:
(Blood drops fall on the car's material roof.)
(End of flashback. Resume to present.)
(Sara takes a swab sample of the blood and tests it. The swab turns red.)
(Quick flash to: [EXT. STREET - NIGHT] The gunmen, with their guns sticking
out of the moving car window, fire upward. Blood drops fall on the car's door.)
(End of flashback. Resume to present.)
(Sara tests for GSR. The pad turns red.)
(Sara dusts the dashboard for prints. She finds two sets.)
WHITE FLASH TO:
[INT. CSI - BREAK ROOM - NIGHT]
(Sara walks into the room and finds Grissom, Catherine and Nick at the table
going through the files.)
SARA: Hey, so the car was definitely at the scene. Blood on the soft-top was a
match to one of the vics.
(Sara sits down.)
CATHERINE: And Morris Calvin was there. DNA confirmed that it was his blood on
the staple gun.
(Quick flash to: [EXT. STREET - NIGHT] Tires screech as the car zooms past,
guns firing, bodies falling to the ground. The car door opens and Morris Calvin
gets out. He walks up to one of the bodies. The person reaches over with the
staple gun and staples his leg. Morris Calvin fires at the person.)
(End of flash. Resume to present.)
NICK: Yeah, but we don't have a murder weapon, so we can't confirm Morris was
the shooter.
SARA: There's a ton of unknown prints on the car. GSR in the backseat. Had to
be other people involved. If we could id the vics, it might tell us who'd want
them dead.
GRISSOM: Standard procedure for a drive-by is shoot as much as you can as fast
as you can, right? Then leave as fast as you can. So why did Morris get out of
the car?
SARA: Maybe the vics had something he wanted.
NICK: The only thing the victims on the ground had on them were the clothes on
their back. And the kid in the palm tree, empty satchel.
CATHERINE: Vega ran the vics past the guys in the gang unit. Nobody recognized
them.
NICK: And tox panels on them all came back negative. There were no drugs in
their system, no personal effects. I doubt they were even packing.
GRISSOM: They were packing posters.
SARA: Are you suggesting that they were killed for their posters?
GRISSOM: Maybe for what was on them.
NICK: All right, now wait a minute, Grissom, there were posters all over that
street. Man, we have no way of knowing which posters they put up.
GRISSOM: Well, you got the staple gun. Figure out what they stapled.
SMASH CUT TO:
INSERT: CGI EFX
ECU: CAMERA ZOOMS through the stapler to the chisel inside and out of the
stapler.
RESUME VIEW
(The staple pops out of the stapler gun and into the flask. Greg tilts the
flask and the staple falls out onto a Petri dish.)
CUT WIDE and we find ourselves in the ...
[INT. CSI - LAB - DAY]
(Greg is standing in front of the scope. The table is covered with a variety of
posters from the pole.)
(Greg puts the staple under a scope.)
[EXT. CONVENTION CENTER DRIVE - DAY]
(Nick is on the lift removing the staples off the posters from the pole.)
(On the ground, Warrick is removing staples from the posters as well. He puts
the staples in a bindle.)
[INT. CSI - LAB - DAY]
(Greg puts the staple from the bindle into a dish. He places the dish under the
scope.)
(He looks through the scope to compare the staple from the staple gun to the
staples off the posters.)
[EXT. CONVENTION CENTER DRIVE - DAY]
(Nick lowers the lift and continues removing posters off the palm tree. He puts
the posters in a bag.)
[INT. CSI - LAB - DAY]
(Greg compares the two staples. No match.)
[EXT. CONVENTION CENTER DRIVE - DAY]
(Warrick climbs up a ladder and starts removing the posters.)
[INT. CSI - LAB - DAY]
(Greg continues to work at the scope.)
[EXT. CONVENTION CENTER DRIVE - DAY]
(Warrick takes a piece of poster off the pole.)
[INT. CSI - LAB - DAY]
(Greg puts another staple into the dish. He places the dish under the scope.
The two staples match. Greg looks around and finds the poster. He picks it up
and looks at it.)
(Quick flash to: [EXT. STREET - NIGHT] Morris Calvin rips the poster off the
pole. End of flash.)
(Greg looks at the paper. The back reads: TROY'S COPIES.)
WHITE FLASH TO:
[INT. TROY'S COPIES -- DAY]
(Troy Thompson is walking among his large copy machines. In the back of the
room, we see Brass and Greg walk in with a uniformed officer.)
(They walk up to Troy Thompson.)
BRASS: Hey, slick.
TROY THOMPSON: I saw my PO yesterday, guys, so you can just go home.
BRASS: Parole officer didn't bring us here, cousin. A poster did.
TROY THOMPSON: If you're trying to stick me with some kind of child porno thing
or something sick like that, I'm not your guy. I do mainly concerts and
conventions and have for the past twenty years. I'm cheap, fast, and open 24/7.
BRASS: Just like my ex-wife.
(Greg hands him a portion of the poster. He looks at it.)
GREG: You have any idea where this came from?
TROY THOMPSON: You know, maybe.
(He motions for them to follow him. He leads them to a wall with various poster
samples stapled.)
TROY THOMPSON: The wall of fame. This is where my customers can appreciate my
work. Let's see here.
(He holds up the photo of the poster piece and matches it to a poster:
DOLLAR
DUDES GONE NUTZ
(The poster is of Dollar in a bikini.)
TROY THOMPSON: Yeah, now this is a classic. Now I know about "Chicks Gone
Nutz" because of their booby videos but "Dudes Gone Nutz" now ... (chuckles)
that really busts my belt.
(Greg walks up to the poster.)
GREG: You know, wait a second ... I think I've seen that guy before. It's
Dollar. He's a rapper.
TROY THOMPSON: (still chuckling) No kidding. Those dudes are nuts.
BRASS: Yeah, well, everybody goes nuts. Any idea who ordered up the poster?
TROY THOMPSON: Skinny little black kid, day before yesterday.
BRASS: One of these?
(Brass takes out the morgue photos and shows them to Troy Thompson. He looks
through them.)
TROY THOMPSON: Oh ... man. That's too bad. Yeah, there he is.
(Greg finds something on the poster.)
BRASS: How did he pay?
TROY THOMPSON: Wad of cash.
GREG: Interframe artifacts. It's a still frame from a video.
BRASS: I'm afraid we're going to deplete your wall of fame -- that posters
coming with us.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. CSI - HALLWAY -- DAY]
(Greg and Nick are walking through the hallway.)
GREG: I did a search on Dollar. His real name is Jessie Cleveland. Vegas
street kid made good, first CD went platinum. Brass is contacting his managers.
Here he is.
(Greg shows Nick the poster of Dollar in a bikini.)
NICK: I'm guessing this is not his next album cover.
GREG: I doubt it.
(Greg turns and heads into the A/V Lab. Nick follows him.)
GREG: So when I went online, I found the usual things ... websites, photos, and
this ...
(Greg plays the video on the monitor. It has Dollar on his hands and knees on a
bed. He's in a string bikini - the same as on the poster.)
JESSIE "DOLLAR" CLEVELAND: (from video) Playa, look, Dawg, you know what I'm
saying, I got stacks of cash in the back, man, I got jewelry, I got black
American Express cards. I got whatever you want, man, take it all, Dawg.
VOICE (MAN): (o.s.) Put your face in the bed, your ass in the air, and say
what I want you to say.
JESSIE "DOLLAR" CLEVELAND: (from video) I'm Dollar ... from "Dudes Gone Nutz"
and I liked it ... (He exhales heavily.) I like to take it ...
GREG: Video was mirrored on a dozen rap sites. It's all over the Net.
JESSIE "DOLLAR" CLEVELAND: (from video) This ain't right, Dawg.
NICK: So this is a rap thing?
GREG: Biggie and Tupac?
(The man off screen raises a gun and cocks it. We see the gun and the hand
holding the gun on Dollar.)
MAN: (o.s.) Who's the bitch now?
JESSIE "DOLLAR" CLEVELAND: You got it, Dawg.
NICK: If these guys would shoot somebody over lyrics, they'd definitely kill
over this.
GREG: Yeah.
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. HARD ROCK TOWERS -- CORRIDOR]
(Brass, Nick and a uniformed officer walk through the hallway with the
concierge.)
CONCIERGE: Mr. Dollar left strict instructions not to be disturbed.
BRASS: Well, that's too bad 'cause we're conducing a murder investigation.
(She points to a door. Brass knocks.)
BRASS: Las Vegas Police. Open up.
(They wait a moment. There's nothing but silence. Brass turns and looks at the
concierge.)
BRASS: Would you open the door, please?
(She unlocks the door and lets them inside.)
BRASS: Thank you.
[INT. HARD ROCK TOWERS -- SUITE]
(The place is cluttered with boxes with Dollar posters. Nick finds a DOLLAR
poster.)
NICK: Hey, Jim, check it out. Geniuses hitting on 21. P-I-M-P.
BRASS: Yeah. Don't kid yourself. He's getting pimped in that video, too.
CONCIERGE: Excuse me, but if Mr. Dollar's not here, you're going to have to
leave.
BRASS: But - but -- We haven't even checked under the bed yet.
NICK: Yeah, and what's with all the boxes, clothes?
CONCIERGE: It's MAGIC.
BRASS: You know, for a concierge, you're not really very helpful.
CONCIERGE: It's a convention, sir. M.A.G.I.C.-- Men's Apparel Guild In
California. It's the largest fashion show in the world. With every rapper,
there's a clothing line. They all come to MAGIC to promote it. Biggest party
in town.
NICK: Hmm.
BRASS: So what kind of car did he drive?
CONCIERGE: Um, sir, his vehicle's still in valet.
CUT TO:
[EXT. HOTEL LOBBY]
(Brass and Nick walk through the valet service and over to the Range Rover.)
BRASS: There it is right there.
NICK: Yeah, is that it?
BRASS: Range Rover. It's the only one with 22-inch rims; it's got to be.
(In the back of the range rover, Brass notices a trunk.)
BRASS: What's that? Open this up.
(The two uniformed officers open the back of the truck and pull out the trunk.
They open the trunk and find Dollar tucked inside. He's wearing a bikini and a
gag.)
(He groans and squints at them.)
JESSIE "DOLLAR" CLEVELAND: Where we at, man?
BRASS: You're outside your hotel, sir.
NICK: Don't worry, we're gonna get you out of there and get you medical
attention.
JESSIE "DOLLAR" CLEVELAND: Man, is you crazy? Look what I got on. I got all
these people around here, the press. Man, let me know when we get to the
hospital, man.
(Dollar grabs the trunk cover and slams it shut over himself.)
(Brass shrugs.)
BRASS: He's got a point.
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. HOSPITAL - DOLLAR'S ROOM -- DAY]
(Dollar is in bed as he talks with Brass and Nick.)
JESSIE "DOLLAR" CLEVELAND: My prints? The hell you want my prints for? I'm
the guy that was forced to wear the bikini, remember? I was in a trunk. I was
in two trunks.
BRASS: Three teenagers were killed on Convention Center Drive. They were shot
down putting up posters of you.
JESSIE "DOLLAR" CLEVELAND: Man, there's posters of me all over town. Got a
record coming out.
BRASS: I know. I like the album cover.
(Brass shows him the poster of Dollar in a bikini.)
JESSIE "DOLLAR" CLEVELAND: Where'd you get that?
BRASS: Like you said, they're all over town.
NICK: We need your prints so that we may exclude you as a suspect.
JESSIE "DOLLAR" CLEVELAND: Yeah, right. Go ahead, take my prints.
BRASS: So what's the story with the video?
JESSIE "DOLLAR" CLEVELAND: Man, I left the Sean John party, swerving. Big
bubble butt on one hand, bottle in the other. Went back to the room and I
passed out before I could even get my lay on. When I woke up, I had a gun and a
video camera shoved in my face. Y'all know where that ended up. Next thing I
know, I'm in my luggage with a fat-ass lip.
BRASS: What'd the guy look like?
JESSIE "DOLLAR" CLEVELAND: I don't know. He had on a mask.
BRASS: Anyone following you at the time?
JESSIE "DOLLAR" CLEVELAND: Man, I was so blunted and liquored up, I have no
idea. Yo. Listen, man, y'all find out who did this for me, like, I'm telling
you, like, I'll take care of you. I'll give you a whole new closet full of
suits. Like, whatever you want. Like, you'll be popping tags for over a year.
Like, you'll be the freshest cops on the street, I swear to God.
BRASS: So, why would somebody want to do this to you?
JESSIE "DOLLAR" CLEVELAND: Man, why wouldn't they? I've been dealing with beef
like this my entire life, you dig? I bought my first bulletproof vest when I
was fifteen years old, and I wore it to school. Them putting me in that bikini,
man, that poster ain't nothing, man. I'm lucky to be alive.
NICK: Okay, look, why "Dudes Gone Nutz"?
JESSIE "DOLLAR" CLEVELAND: I don't know, man. I did some guest spots on the
little "Chicks Gone Nutz" video. You know, the girls flash their thing things.
Dudes just jealous, man. I dodge haters for a living. I got more enemies than
some countries got people.
BRASS: Give us some names.
JESSIE "DOLLAR" CLEVELAND: It'll be a long list.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Sara finds Grissom and they walk down the hallway.)
SARA: Griss, we are not having any luck identifying the three teenagers from CC
Drive. It's been two days, no one's come forward. Without an ID, it's like
they never even existed.
GRISSOM: We need to get their faces out in the public -- newspapers,
billboards.
(She hands the pictures to Grissom.)
SARA: Well, maybe you could breathe a little bit more life into them.
GRISSOM: Yeah. I'm pretty good at mouth-to-mouth.
(Grissom walks away, leaving Sara puzzled by him.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Grissom puts the autopsy HEADSHOT photos on the computer. The first autopsy
photo is of the girl. The second autopsy photo is of a man.)
(On a second computer, he flips through a selection of HEADSHOT photos of
various different subjects, looking for the one that most resembles the victim.
He finds one and puts it on the screen next to the autopsy photo. He cuts the
smiling mouth out and layers it over the morgue photo. He cuts the open eyes
out of the smiling photo and puts it over the morgue photo. He melds the two
photos together so now the victim is open-eyed and smiling - giving him a new
'look'.)
(Grissom pulls up a third morgue photo. He flips through a selection of
HEADSHOT female photos and finds one that most resembles the victim. He changes
her look as well, so now she's open-eyed and smiling.)
(When he's finished, he pulls the three photos up on the monitor.)
(Grissom nods, pleased.)
CUT TO:
[EXT. LAS VEGAS CITY (STOCK) -- DAY]
[INT. POLICE DEPARTMENT - SQUAD ROOM -- DAY]
(OPEN on the morgue photo with the different 'look'. Sofia Curtis interviews
Margaret Kendric.)
MARGARET KENDRIC: (o.s.) Gentra just loved the hip-hop music. And it kept her
out on the streets. She actually wanted to be a rapper herself. She did a
couple of talent shows. Didn't do too well. So she joined a street team.
SOFIA CURTIS: A street team?
MARGARET KENDRIC: Groups of kids who hit the streets to promote their favorite
rapper. It kept Gentra around what she loved.
SOFIA CURTIS: Do you know which rapper she worked for?
MARGARET KENDRIC: Hi-Def. That's what he calls himself.
SOFIA CURTIS: The State of Nevada's willing to pay to send your daughter back
to California for burial.
MARGARET KENDRIC: I couldn't afford to bury my husband.
SOFIA CURTIS: In that case, she'll be cremated. I'll make sure you get the
remains.
MARGARET KENDRIC: You send her ashes to Hi-Def.
(Margaret Kendric gets up abruptly and leaves.)
CUT TO:
[EXT. MAGIC SHOW AFTER PARTY - DAY]
(The party is in swing. Girls are in bikinis and dancing to the live music.)
(In the background, we see Sofia, Nick, Sara and a couple of uniformed officers
making their way through the crowd. Sofia stops when she sees him.)
SOFIA CURTIS: That's our guy. The one in the red hat. That's Hi-Def.
(Nick notices a group of people wearing black shirts - the same black shirts he
saw in the hotel room.)
NICK: Looks like Dollar's crew is here, too. All the rappers come to MAGIC.
Go ahead, I'll catch up.
(Nick heads off in a different direction.)
(Sofia and Sara make their way toward Hi-Def. They walk up toward him, but stop
at the red velvet ropes.)
SARA: Afternoon.
(J-Lady steps forward.)
J-LADY: You must be in the wrong spot. This isn't the security hut.
SOFIA CURTIS: We need to talk to Hi-Def.
J-LADY: Can't wait till after the show?
SOFIA CURTIS: Either you get him or we will.
(J-Lady turns and heads over to Hi-Def. She talks with him for a moment before
he gets up and walks over to Sara and Sofia.)
HI-DEF: What do you cops want from me?
SOFIA CURTIS: You ever see these kids?
(Sofia shows Hi-Def the autopsy photos.)
HI-DEF: Never.
J-LADY: I have. They're from our street team. They look kind of weird in those
pictures, but Ray never smiles.
SARA: They're dead.
J-LADY: (surprised) What?
SOFIA CURTIS: They've been gone three days. You didn't notice?
HI-DEF: Don't look at me, ma'am. I never seen those kids before ever, sorry.
(He steps aside.)
J-LADY: Look, we've got kids coming and going all the time. It's hard to keep
up. I mean, I know who they are; it's Ray, Marvin and Gentra.
SOFIA CURTIS: Do you know their last names?
J-LADY: No, I'm sorry.
SARA: Well, do you know where they got this?
(Sara shows J-Lady the DOLLAR poster.)
J-LADY: Probably the same place I got this.
(She takes out her cell phone and dials. She hands the phone to Sofia. Sofia
and Sara watch the Dollar in a bikini video.)
CUTS BETWEEN THE TWO INTERVIEWS:
[EXT. MAGIC SHOW AFTER PARTY - OTHER SIDE OF THE POOL - DAY]
(Meanwhile, Nick makes his way over to Dollar's crew.)
NICK: Hey, guys.
(Drops steps forward between Nick and Dollar's crew.)
DROPS: Whoa, whoa, whoa.
NICK: How you doing?
DROPS: Let me get one of those for you. Here you go.
(Drops grabs a rolled-up poster and hands it out to Nick.)
NICK: No, thanks, man, I'm all set. You know, personally, I think it's a bad
idea to hit on blackjack.
DROPS: Well, you know, that's just how we do. We never bust.
NICK: I know all about Dollar. What's your connection?
DROPS: Are you a cop?
NICK: I work with the police department, yeah. Crime Lab. My name's Nick
Stokes.
DROPS: Drops. And let's just say Dollar pays the bills.
[EXT. MAGIC SHOW AFTER PARTY - DAY]
(J-Lady explains where she got the video.)
J-LADY: The video just showed up on my desk. First day of the show. It was in
a plain manila envelope.
SARA: So you put it on the Net.
J-LADY: I never said that, but things happen.
SOFIA CURTIS: Did Hi-Def and Dollar have a beef before this?
J-LADY; Yeah, a couple of years ago, Dollar did song called "New Vegas."
Talking about how Las Vegas is the new New York. Hi-Def is New York. He and
Dollar been punking each other ever since.
[EXT. MAGIC SHOW AFTER PARTY - OTHER SIDE OF THE POOL -- DAY]
NICK: What's the deal with these street teams. What's going on?
DROPS: They do all the filthy, dirty, grimy promo for Dollar. Snipe posters,
give away stickers, pass CDs around. Nothing really.
NICK: You know, three kids were murdered the other night doing the exact same
thing.
DROPS: What can I say, man? These kids run the streets, bro. Anybody at any
given time can run up on them and try and lullaby their ass.
NICK: Yeah, I don't know about that. They were putting up posters of your boy
Dollar -- ones that made him look a lot stupider than just hitting on blackjack,
you know what I mean?
(Nick takes out the morgue photos and shows them to Drops.)
NICK: Take a look at these kids. See if you recognize any of them.
DROPS: Nope.
NICK: Show them.
(Drops nods. He hands the photos to the crew, Ben and Dante. They look at the
photos.)
DROPS: (to Nick) Nice suit. Glad to see you dressed for the occasion.
CREW: No.
(He hands the photos back to Drops. Drops gives them back to Nick.)
DROPS: Eh, sorry, Crime Lab, Nick Stokes. Nobody here's got a clue.
NICK: Yeah, okay.
DROPS: Yeah, okay. Oh, well, what do you know? There goes one of my birds.
Sorry, got to go. Peace.
(He holds out his hand. Nick doesn't take it.)
NICK: I'll see you soon, Dawg.
DROPS: Yeah, whatever. Look, you need any more posters, just scream at me.
(Drops looks past Nick and heads off in that direction, bumping Nick on his
shoulders as he walks past him.)
DROPS: Hey, Tweety! Tweety!
(Dollar's crew leaves Nick and follows him.)
(Nick looks down at the photos ... and the visible fingerprints on the photo
paper.)
(Nick smiles.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. CSI - HALLWAY -- DAY]
(Sara catches Nick in the hallway. They're both on the move.)
SARA: Hey.
NICK: Hey.
SARA: Mandy matched two prints off the photo that you gave to Dollar's street
team to the unknowns that I found in the low rider.
NICK: Mm-hmm.
SARA: One was on the passenger side door, the other one was on the steering
wheel.
(Nick sighs.)
CUT TO:
[INT. HOSPITAL -- DAY]
(Dollar is sitting on the bed getting his hair cut while he is on the phone.
Around him, the room is filled with his various ENTOURAGE MEMBERS.)
JESSIE "DOLLAR" CLEVELAND: (to Drops) Hey, yo, yo, yo, make sure you tell him
about that crazy new suit line we got coming out.
DROPS: (o.s.) Mr. Yen says, "Moshi, moshi."
(He turns around as Brass enters the room with a uniformed officer.)
JESSIE "DOLLAR" CLEVELAND: Now what?
BRASS: I'm here for Drops. (He motions to the phone.) Hang up.
DROPS: (to phone) Konnichiwa.
(He hangs up.)
(Drops steps closer to Brass.)
DROPS: I'm expanding into Asia.
BRASS: No kidding? Where's your street team?
DROPS: They're grubbing -- they went down to the cafe hospital. You know,
they're kind of Benigni over that Waldorf salad.
(He looks over at the ENTOURAGE. They chuckle.)
BRASS: They're murder suspects.
(Drops turns and looks at Dollar, who has been listening to the conversation.)
JESSIE "DOLLAR" CLEVELAND: (serious) Get them up here.
(Drops sighs and shakes his head.)
DROPS: This is very disappointing.
(Brass sighs, unimpressed.)
(He turns around just as the DANTE and BEN return. They step out of the
elevator and into the hallway. They turn and see Brass in front of them. They
stop mid-conversation, pause and turn in the opposite direction intending to
escape.)
(They're instantly blocked by two uniformed officers.)
OFFICER: Yo, gentlemen, on the wall.
(The two kids turn and are forced to put their hands on the hallway wall as the
officers frisk them.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM A -- DAY]
(Sofia Curtis interviews Ben.)
BEN: I didn't shoot nobody. Please, you got to believe me. I just wanted to
drive that car. Morris was always bragging about it.
SOFIA CURTIS: I'll believe you if you tell me what really happened.
BEN: I was picking up an order for Drops. I saw that poster on the wall. I
just told the other guys what I saw. Look, I know I shouldn't have done that,
'cause as soon as I did, Morris wanted to see the poster. Morris would do
anything for Dollar. You know, Dollar's his life. He only has Dollar in his
ipod. No one else.
SOFIA CURTIS: So then you went to CC Drive.
BEN: Yeah. We just waited for them to show up.
SOFIA CURTIS: Who is "they"?
BEN: Some other snippers. Hi-Def street team. Morris didn't care who they
were, ...
(Quick flashback to: [EXT. STREET - NIGHT] The three kids from Hi-Def's street
team run and scatter across the street to put up the posters. Ben and Dante sit
in the car with Morris Calvin.)
BEN: (v.o.) ... as long as they was putting up them posters, they was dead to
him.
DANTE: Morris, hurry up, man -- you just said you were gonna scare them.
(Morris Calvin sits in the back seat of the car holding the gun. He watches the
other kids.)
MORRIS CALVIN: Nah, man. That poster makes Dollar look like a ho. Dollar's
nobody's ho.
CUT TO:
(Morris fires on the kids.)
(Scared, Ben takes off.)
(Morris continues to fire. One of the kids falls on the road. Ben runs the car
over the kid; the car rod falls off.)
BEN: (v.o.) I ran them over.
(End of flashback. Resume to present.)
BEN: After he got the first one ... he said he had to get the rest.
(Quick flashback to: [EXT. STREET - NIGHT]
( Gunshots )
(End of flashback. Resume to present.)
(Quick flashback to: [EXT. STREET - NIGHT] Morris continues to fire. The kid
on the palm tree is hit and falls backward.)
BEN: (v.o.) He shot the second one next, down off the palm tree.
(End of flashback. Resume to present.)
BEN: The last one almost got away.
(Quick flashback to: [EXT. STREET - NIGHT] The remaining kid runs like hell
down the street.)
MORRIS CALVIN: (o.s.) Drive, man! Drive!
(The car engine roars as Morris shoots the kid down.)
(End of flashback. Resume to present.)
SOFIA CURTIS: What was Dante doing during all of this?
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM B - DAY]
(Brass listens to Dante.)
DANTE: I was just riding shotgun, watching Morris.
BRASS: You didn't do anything about it?
DANTE: He was out of his mind.
BRASS: Where did Morris get the gun?
DANTE: It was in the trunk. He said his brother swiped it off some dumb-ass
cop.
BRASS: Where is it now?
DANTE: Broken apart and thrown away.
BRASS: Pro style.
(Dante nods.)
BRASS: Looks like you and your buddy are gonna get broken apart and thrown
away, too.
DANTE: I guess there's nothing else to say.
BRASS: Guess not.
CUT TO:
[INT. CSI - LAB -- NIGHT]
(Nick empties the bag's contents on the table. Among the various contents, Nick
finds a piece of wood.)
CUT TO:
[INT. CSI - A/V LAB - NIGHT5]
(Nick is reviewing the video.)
DOLLAR: (from video) This ain't right, Dawg.
GUNMAN: (from video) (o.s.) Now who's the bitch? Huh? Who's the bitch now?
(In the last bit of video, Nick freeze-frames and enhances the picture of the
gunman's hand and gun.)
(The gun has a wooden handle.)
(Nick has a digital image of the wooden piece found in Morris' backpack and
matches it to the wood on the gun's handle.)
CUT TO:
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
(Nick reports his findings to Grissom.)
NICK: I figure Dante had that revolver when he was going up and down those
poles. Grip gets thumped, chips off in the satchel.
(Grissom compares the two photos.)
NICK: Wood grain seems consistent, this means Dante made the video.
GRISSOM: You said Dante works for Dollar.
NICK: Mm-hmm.
GRISSOM: He's a fan. Why would he humiliate someone he respects?
NICK: (sighs) I don't know. I don't know, but on the video, Dante did say,
"Who's the bitch now?" So ... you could say it got a little personal.
GRISSOM: So ... get personal.
CUT TO:
[INT. CSI - LAYOUT ROOM -- NIGHT]
(Crime scene photos are spread out on the table. Nick goes through all the
photos. In front of him, he also has the three victims' file folders open. He
also has the suspects' file folders open.)
(He sees something in Dollar's folder. Information that reads:
"DOLLAR"
SUPPLEMENTAL INFORMATION:
CLEVELAND PRODUCED VIDEOS IN THE
THE "CHICKS GONE NUTS" VIDEO SERIES )
(Nick looks at the information on Morris' file.)
FATHER: WHEREABOUTS UNKNOWN
SIBLINGS: ONE SISTER: TISHA JANNETT
LAS KNOWN ADDRESS:
493 BRIAR WAY LAS VEGAS NV 89122 )
(Nick looks back at Dollar's file folder:
CHICKS GONE NUTS
(He looks back at Morris' file folder:
SISTER: TISHA JANNETT
CUT TO:
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[CHICKS GONE NUTS VIDEO]
(Dollar sits in bed while Tisha Jannett, dressed in a two-piece bikini, jumps on
the bed.)
DOLLAR: (from video) Yo, what's up, it's your boy Dollar, from "Chicks Gone
Nuts". We're out here in Vegas, baby. We got whatever you want -- chicks,
jewelry. We got the bottles. Come holler at us, you know.
[INT. POLICE DEPARTMENT - BRASS' OFFICE - NIGHT]
(Brass and Nick show Tisha Jannett, Dante's sister, the video. She's a pretty,
young woman with deep, disfiguring scars on her face.)
BRASS: So you obviously know Dollar. You know, your brother has been arrested
for felony kidnapping and assault and accessory to murder. Now if there's
anything that you know that can help us understand his motivation, now's the
time to tell us, okay?
(She looks away for a moment.)
NICK: Tisha ... what happened to your face?
TISHA JANNETT: About a year ago, during black spring break, Dollar caught me
walking through the MGM. He was hosting this Chicks Gone Nuts video. Said he'd
give me $500 to put on a bikini and jump on his hotel bed. I needed the money
... so I did it. I got my money and went home. Couple months later, Dante came
busting into my room with the tape. He cussed me out ... forgot about that,
too. Until my dad saw the tape. He called me a whore and a slut. He had his
car keys in his hand. He cut up my face, my chest, my stomach. I haven't seen
him since.
NICK: And Dante blamed Dollar.
TISHA JANNETT: He couldn't find Daddy. He wouldn't blame me.
NICK: So he joins Dollar's street team to get close to him, close enough to
sneak into his hotel room and videotape him, the same way he videotaped you.
TISHA JANNETT: I know he didn't mean for anyone to die. He just did it for me.
CUT TO:
VARIOUS SCENES -- MONTAGE
[DOLLAR'S POSTER]
(Camera pulls back and we find Dollar back in his hotel room and on the phone.
Business continues as usual.)
[INT. POLICE DEPARTMENT - BRASS' OFFICE - NIGHT]
(Brass is sitting on his desk and looking through a file folder. An officer
walks in carrying a large, flat box wrapped in purple paper and topped with a
yellow bow. She puts it on his desk and leaves.)
(Brass opens the box and lifts the purple tissue paper. He looks away and drops
the tissue paper. We don't see what's inside the box, but we can guess.)
[INT. CSI - LAB - NIGHT]
(Nick opens his box and finds a suit inside. He takes the suit out of the box
and looks at it.)
[EXT. POOLSIDE - DAY]
(A courier carrying a canister of ashes walks up to Hi-Def and J-Lady. The
courier gives the canister to Hi-Def. He takes the canister and looks at the
label:
IN LOVING MEMORY:
GENTRA KENDRIC
[INT. POLICE DEPARTMENT - WAITING ROOM - DAY]
(Brass walks out of the office with the box. He puts it on the receptionist's desk. The box has a new label on it:
SEND TO:
SALVATION ARMY
[CU: DOLLAR'S POSTER]
[EXT. STREET - NIGHT]
(The pole with the DOLLAR'S concert poster is covered with a new poster being stapled in its place:
M.N.E. FAMILY PRESENTS
HEAD STATE
I.E. TO THE DAY
AVAILABLE NOW
www.madeit**entertainment.com
SMASH CUT TO BLACK
THE END.
