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#708 : Une chance sur deux

Des vraies jumelles, qui ont été séparées à la naissance, sont retrouvées mortes la même nuit à deux heures d'intervalle. L'une a été tuée par balle, l'autre a été découverte sans vie dans une maison. Tout semble indiquer que la seconde s'est suicidée, car son corps est pendu au plafond, une laisse de chien autour du cou. Cependant, la mort violente de sa soeur la même nuit est une coïncidence troublante, qui amène les enquêteurs à s'orienter vers une piste criminelle. Gil Grissom et son équipe fouillent dans le passé des deux victimes pour tenter de comprendre le déroulement des événements et mettre la main sur le ou les criminels. 


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Une chance sur deux

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Écrit par : 
Réalisé par


David Berman (David Phillips), Liz Vassey (Wendy Simms), Sheeri Rappaport (Mandy Webster), Archie Kao (Archie Johnson) 

Guests :

  • Joanna Going ..... Amanda Sinclair / Jill Case 
  • Frank Grillo ..... Gary Sinclair 
  • Maxwell Huckabee ..... Henry Sinclair 
  • Kelly Smith ..... Allison Shram 
  • J.C. Mackenzie ..... Docteur Gus Hoffman 
  • Harry Van Gorkum ..... Jake Lenoir 
  • Sarai Givaty ..... Natal Peled 
  • Saige Thompson ..... Tiffany Hughes 
  • Valerie Mahaffey ..... Dora Pomerantz 

[EXT. VARIOUS LAS VEGAS CITY (STOCK) – NIGHT] [INT. SINCLAIR RESIDENCE – KITCHEN -- NIGHT] (A woman stares at the kitchen window at her own reflection. After a moment, she goes back to washing the dinner dishes. Her mind is elsewhere.) INTERCUT WITH: [INT. CASE APARTMENT – BATHROOM – NIGHT] (Jill Case wipes the steam off the shower door with the palm of her hand. She opens and pushes the door open, grabs a towel and steps out of the shower stall as she wipes herself.) (She walks over to the bathroom sink and picks up the wine glass on the counter. She drinks.) [INT. SINCLAIR RESIDENCE – KITCHEN -- NIGHT] (Amanda Sinclair drinks from her baby’s sippy cup before she opens it and adds it to the dishes to wash.) (Her son, Henry, runs into the kitchen and holds his arms up to her.) HENRY SINCLAIR: Mommy, up. Up, Mommy, up. AMANDA SINCLAIR: Not now, baby, Mommy's busy. Go find Daddy. (Henry turns and runs out of the kitchen. Gary, Amanda’s husband, steps out into the hallway and scoops Henry into his arms.) GARY SINCLAIR: Aah ... (He enters the kitchen.) GARY SINCLAIR: Honey, I cannot find my navy suit. AMANDA SINCLAIR: Oh, I'm sorry, shoot. I meant to get it this morning, but Henry was doing his ear-itchy thing, so I took him to Dr. Neilsen. I'll get it first thing tomorrow. GARY SINCLAIR: Oh, I have an early meeting, sweetie. AMANDA SINCLAIR: So go get it. GARY SINCLAIR: Oh ... all right. (He tries to put Henry down on the floor, but Henry complains.) HENRY SINCLAIR: Daddy, no leave. Daddy, no leave. GARY SINCLAIR: Aw ... Daddy no leave. (Henry giggles.) AMANDA SINCLAIR: You give him a bath, I'll go. (She looks at her watch – its 7:45.) [INT. CASE APARTMENT – BATHROOM – NIGHT] (Jill Case adjusts her watch. Her radio is on.) DISC JOCKEY: (from radio) Welcome to LVRP, Rat Pack Radio. Here's an oldie but a goodie by two salty dogs of stage and screen, Bobby Darin and Johnny Mercer. (She sings along with the radio.) [INT. AMANDA’S CAR – NIGHT] (Amanda backs out of her driveway. She sings along with the radio.) LYRICS: (singing) Like peas in a pod and birds of a feather, alone or together you’ll find that we are two-oo-oo, oo-oo-oo, oo-oo-oo, oo of a kind. (She puts her hair up in a ponytail with a scrunchie.) [INT. CASE APARTMENT – BATHROOM – NIGHT] (Jill puts her hair down.) LYRICS: (singing) Now, who’s to say if we’re going the whole way? At least we got this far. [INT. CASE APARTMENT – LIVING ROOM – NIGHT] (The television set is on to channel 19 with BREAKING NEWS coverage. The volume is off. LYRICS: (singing) Sharin' our lives, our vittles, and viands, we're two of an ilk. Say, what if we've got rare Chateaubriands or crackers and milk? Makin' it plain. Explainin' it fully. We're similarly inclined, -- (Jill is in her black slip and secures her thigh stockings. She gets up and pulls her black dress out of the plastic covering. She tosses the hanger on the bed. The advert on the hanger is for CHEN’S ONE HOUR CLEANERS.) LYRICS: (singing) Because we’re -- [EXT. CHEN’S ONE HOUR CLEANERS – NIGHT] LYRICS: (singing) – two-oo-oo, oo-oo-oo, oo-oo-oo, oo of a kind. (Amanda pulls into the lot and parks her car. She gets out of the car and opens the back door. She gathers the laundry and notices a lipstick print on her husband’s white shirt collar. She smiles.) [INT. CASE APARTMENT – LIVING ROOM – NIGHT] (Jill Case blots her lipstick. She does a last look-over in the mirror, then heads out of her apartment. The door slams shut behind her.) [EXT. CHEN’S ONE HOUR CLEANERS – NIGHT] (Amanda Sinclair closes the car door and activates the car alarm. She turns toward the cleaners. Two gunshots fire and hit her square in the chest.) [CU: SHOES] (A pair of black high-heeled shoes hit the ground.) [AMANDA] (Amanda falls backward and hits the concrete ground. Her eyes dilate.) [JILL] (Jill’s eyes are clouded over as she hangs from a dog leash, her feet bare and shoes on the floor.) CUT TO: [EXT. CHEN’S ONE HOUR CLEANERS – PARKING LOT -- NIGHT] (Police radio chatter is in the background. A flashlight shines on Amanda Sinclair, dead on the pavement.) (Catherine and Nick walk up to the body.) NICK: (sighs) Bad day when you can't even run a simple errand. CATHERINE: Everybody's got dirty laundry. Sometimes it gets you killed. CUT TO: [INT. CASE APARTMENT – LIVING ROOM – NIGHT] (Warrick and Grissom walk into the apartment and find Jill Case hanging in the middle of the room.) WARRICK: What would she have done if she didn't have a second story? GRISSOM: Every death has at least two stories. FADE TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN: [INT. CASE APARTMENT – LIVING ROOM – NIGHT] (The coroners cut the body down and place it on the gurney. They cover her face with a white sheet.) [EXT. CHEN’S ONE HOUR CLEANERS – PARKING LOT -- NIGHT] (David covers Amanda Sinclair with a white sheet. He turns and talks with Catherine.) DAVID PHILLIPS: Two GSWs to the chest. Rigor hasn't set. Probably been dead less than four hours. CATHERINE: Thanks, David. (David leaves. Catherine looks at the blood on the concrete. Nick walks up to her.) NICK: Mr. Chen works here alone with his wife, and English is not their first language. I'm not even real sure that it's their second, but what I did gather is that the steam machines are very noisy, so neither one of them really heard anything. Mr. Chen found the body when he was closing up around 9:00. Said she's a regular customer. CATHERINE: Well, I got a phone and keys, but no purse. NICK: Mugging? CATHERINE: Take the purse, leave the Lexus? NICK: Yeah, that's not real savvy, is it? CATHERINE: Hmm. Car's been keyed. (She opens the front door, climbs inside and checks the registration. It’s for: DR. GARY SINCLAIR 143 SHADY OAK LANE LAS VEGAS, NV 89101 CATHERINE: Registered to a Dr. Gary Sinclair. (Nick is looking at Amanda’s cell phone record of missed calls.) NICK: Yeah, that's gonna probably be the husband. "Gary Home" has called her six times in the last hour. (Catherine looks at the clothes and car seat in the back.) CATHERINE: Wife and mother. NICK: I'll check the trashcans for the complex, see if I can find her purse. Maybe they dumped what they couldn't liquidate. CUT TO: [INT. CASE APARTMENT – LIVING ROOM – NIGHT] (Warrick looks around the living room.) WARRICK: Well, she obviously doesn't have any kids. Place is like a museum. This chick hung out with some big wigs. (He looks at framed photos of Jill with some famous political people.) (Grissom is in the kitchen looking at the LAS VEGAS GLOBE and NEVADA Driver’s License.) GRISSOM: She was a big wig. Jill Case, Editor-in-Chief of the Las Vegas Globe. She was a wunderkind. One of the youngest women in history to run a newspaper. (Brass walks into the kitchen.) BRASS: Well, I've been all around the house, --no sign of a forced entry. GRISSOM: Consistent with suicide. WARRICK: So is this. (Warrick shows them the hand-written note: “I apologize to everyone.”) WARRICK: You can't even use a whole sheet of paper on your suicide note? GRISSOM: Well, I don't know. Maybe if you feel like you don't deserve to take up space on the planet, you don't deserve a whole piece of paper. (Warrick snaps photos of the note under a foiled doggie bag in the shape of a swan.) WARRICK: She obviously ate at Joie de Vive. It's the only place that still serves old school swan doggie bags. BRASS: Yeah, dressed in a fancy outfit, having a fancy meal. WARRICK: If you're planning on killing yourself, why do you bring home a doggie bag? GRISSOM: (shrugs) It's human nature. We continue to perform the routine motions of our life until the moment of our death. CUT TO: [EXT. CHERI’S ONE HOUR CLEANERS – PARKING LOT -- DAY] (Nick goes through the trash on the side of the building.) (He goes through the smaller bins, then heads over to the large garbage bin. He looks inside and finds the purse under a garbage bag.) (He snaps a couple of photos.) (Nick dives into the bin and pulls out the bag. On the bag is a stocking.) (Quick flash of: The killer wears a stocking over his face. End flash.) (Nick takes out the wallet and looks at the driver’s license inside: AMANDA SINCLAIR 143 SHADY OAK LANE LAS VEGAS, NV 89101 (He takes out a datebook and finds an envelope. Inside the envelope, he finds a hand-written note, “Please do not ever contact me again. Sincerely, Dora.”) CUT TO: [EXT. LAS VEGAS CITY LIGHTS (STOCK) – EARLY EVENING] [INT. CSI – FORENSIC AUTOPSY -- (OPEN ON A TOE TAG: OFFICE OF CHIEF MEDICAL EXAMINER THE CITY OF LAS VEGAS AMANDA SINCLAIR CHEN’S PARKING LOT 11-16-06 LVPD 06115-2198— (On the next table is another body with another TOE TAG for JILL CASE.) (The two women are side-by-side on two tables in the room.) (The door opens. Catherine, Warrick and Robbins walk in.) ROBBINS: DNA's been sent out, but this is one case where I don't need to wait for results. WARRICK: Identical twins? You got to be kidding me. CATHERINE: They're even wearing the same toenail polish. (He hands Warrick the evidence bags.) ROBBINS: And both ... wore the same watch, too. WARRICK: Oh, it's just too much. CATHERINE: Well ... eight-year-olds dressing alike I kind of get, but grown women? That's weird. ROBBINS: Some people like it. I'm a twin. WARRICK: Really? ROBBINS: Well, I was. My twin died in utero. My mother didn't tell me about it until I was an adult. When I decided to become a coroner, she blamed herself. She said it was because I'd spent so many days living next to a dead body. WARRICK: Well, speaking of dead bodies, uh ... ROBBINS: Right. Right. Jill has petechia around the eyes, bruising around the neck, and a broken clavicle. All consistent with a hanging. And I extracted these from Amanda. (He shows them the two bullets.) ROBBINS: One went straight to the heart. The other penetrated the right lung. Sharp shooter or close range. CATHERINE: Don't tell me they died at the same moment. ROBBINS: Not quite. Amanda was a couple hours ahead of her sister. CUT TO: [INT. CSI – GRISSOM’S OFFICE – DAY] (Grissom is reading a letter from: WILLIAMS COLLEGE OFFICE OF ADMINISTRATION 450 CASTLE AVENUE, 3RD FLOOR WILLIAMSTOWN, MA 01265 NOVEMBER 9, 2006 DEAR MR. GRISSOM, As an accomplished entomologist in the field-- invite you to join us for an interdisciplinary-- VARIOUS CU OF THE LETTER WITH FOCUS ON: * “interdisciplinary” * “Walden Pond” * “term graduate seminar” * “specialists” * “entomology,” * “consider taking” * “sabbatical” (Catherine knocks on the door before walking in. Grissom looks up and puts the letter away.) CATHERINE: Our two cases have become one. GRISSOM: Could still be two cases. CATHERINE: What happened to Mr. No-Such-Thing-As-Coincidence? Simplest hypothesis is usually the correct one. If you hear hooves, think horses not zebras. GRISSOM: What would the horses be in this case? CATHERINE: Murder/suicide. Jill killed Amanda. Felt guilty, then killed herself. GRISSOM: And, uh, what do you got to support that? CATHERINE: Did you notice any photos of Amanda or her family in Jill's house? GRISSOM: No. CATHERINE: Right. And I looked through Amanda's phone book. Jill was not even in it. GRISSOM: Well, maybe she had her number memorized. CATHERINE: Brass spoke with Jill's attorney for next of kin. None existed. She's leaving a small fortune to various charities. It just sounds to me like estrangement. Okay, even if that's not the exact way it went down, I'll bet you a dollar that the twins’ deaths are related. GRISSOM: Two women found dead on opposite sides of town. If they didn't look alike, would you still link them? CATHERINE: If they're relatives, yes: sisters, husband and wife, father and son. GRISSOM: Okay. CATHERINE: Okay, what? GRISSOM: I'll take the bet. CUT TO: [BLACK SCREEN W/WHITE LETTERS] AMANDA [INT. POLICE DEPARTMENT – HALLWAY – DAY] (Dr. Gary Sinclair sits in the hallway chairs as Sofia talks with him. Henry is on the opposite side of the hallway looking through the glass windows.) GARY SINCLAIR: I must've called her ten times, then after about an hour I got so worried. SOFIA: Did your wife have any enemies? Anyone she was fighting with? ‘ GARY SINCLAIR: No, she was a good wife, great mother. There's no one ... HENRY SINCLAIR: Home, Daddy, home. GARY SINCLAIR: Okay, buddy. Can you-- hey, you know what? Come over here. Can you come over here and draw your butterfly for daddy? SOFIA: What was her relationship like with Jill? (Sofia sits down.) GARY SINCLAIR: Jill who? SOFIA: Her twin sister, Jill Case. GARY SINCLAIR: Amanda didn't have a sister. SOFIA: DNA tells us otherwise. GARY SINCLAIR: My wife was an only child. Sh-she was adopted, but ... SOFIA: Is it possible that ... your wife knew she had a twin, but she hadn't told you? GARY SINCLAIR: Well, I'd like to think no ... that we told each other everything. But that's not ... SOFIA: True? GARY SINCLAIR: A marriage. Married, Detective? SOFIA: No. GARY SINCLAIR: Something weird happens between two people who know each other for years, see each other every day. Every night I drive home from the hospital and I think of twelve things I want to tell Amanda. And then I get home and, uh ... she's cooking. And we read stories to Henry and then ... the phone rings, so I -- you know, you say, "Oh, I'll just tell her tomorrow. Tomorrow." I'd like to meet her. Jill. SOFIA: I'm sorry that's ... that's not possible. We found them both ... last night. GARY SINCLAIR: What happened? SOFIA: Right now ... we don't know. HENRY SINCLAIR: It's okay, Daddy. Let's go home and see Mommy. GARY SINCLAIR: (cries) Okay. (Henry hugs Gary.) CUT TO: [INT. CSI – PRINT LAB -- DAY] (Mandy prints the envelope. She scans the print into the computer and runs it through the database. The computer beeps. Mandy stares at it with surprise.) LATER: (Nick walks into the lab.) NICK: Hey. I got your text. What's up? MANDY WEBSTER: Sing it, dude. This is huge. NICK: Oh ... (sings) Oh, Mandy / Oh, you came and you ... (Mandy shakes her head. She motions for him to try again. Nick glances behind him and tries again. This time, louder.) NICK: (singing) Oh, Mandy / Well, you came and you gave / Without taking / But I sent you away ... (holds note) Oh, Mandy. MANDY WEBSTER: Okay. I got a hit off of that envelope you found in Amanda's purse. It's a Dora Pomerantz. NICK: Oh, that would make sense. The letter was signed "Dora." MANDY WEBSTER: Do you wanna know why she's in the system? CUT TO: [EXT. LAS VEGAS DESERT (STOCK) – DAY] [EXT. FARM -- DAY] (Sofia and Nick walk up to the fence.) SOFIA: Mrs. Pomerantz? (Dora Pomerantz leads her horse over to the fence.) DORA POMERANTZ: Who wants to know? SOFIA: Detective Curtis and CSI Nick Stokes. NICK: Hi. SOFIA: We just need to ask you a few questions. DORA POMERANTZ: About what? NICK: Your twins. (Dora opens the gate and leads her horse through it. Sofia and Nick follow her.) DORA POMERANTZ: That was a very long time ago. SOFIA: We were just curious about the circumstances under which they were adopted. (She tethers her horse.) DORA POMERANTZ: I was eighteen years old when I got pregnant. Charlie said he'd stay with me. Then he got drafted to Vietnam. Came home six months later ... in a box. These two chirping birds. "Waa, waa, waa." I couldn't get them to stop. I couldn't take it. So one day I just ... Boop ... snapped. That was it. No more babies. I spent ten years in a state facility, you know? SOFIA: We were aware. How have you been since? DORA POMERANTZ: Oh ... fine. A smart doctor put me in touch with an equine assisted therapy program. Saved my life. Horses don't have judgments. They have needs. Meet the needs, the horse is happy. Helped retrain my brain. NICK: Healthy enough to get back in touch with your daughters? DORA POMERANTZ: Oh, no. Uh ... not recommended. Sometimes you just can't go back. NICK: Is that why you wrote Amanda this letter saying, "Please do not ever contact me again?" DORA POMERANTZ: Who's Amanda? SOFIA: One of your daughters. DORA POMERANTZ: We keep envelopes loose in a desk drawer. I must've touched it before she sent it. SOFIA: Who? DORA POMERANTZ: The handwriting, it's Tiffany's. SOFIA: I'm sorry. Who's Tiffany? CUT TO: [EXT. FARM (LATER) -- DAY] (Tiffany Hughes talks with Sofia and Nick. She gets off her horse.) TIFFANY HUGHES: I had no idea my mom had given up a kid. But I did know that there was no way she could handle dealing with it. NICK: So ... you always go through your mom's mail? TIFFANY HUGHES: Yeah. My dad and I have a system. We screen all her mail. NICK: Why's that? TIFFANY HUGHES: She's got this problem. Any time a children's charity solicitation comes, she donates and not just a little. Half my college fund was gone before we realized what was going on. SOFIA: So you thought Amanda had her hand out? TIFFANY HUGHES: Wasn't worth the risk. The anti-depressants and the horses help, but my mom's barely hanging on. And I only have a year left before I go to college. I just need her to hang on one more year. So, I sent the polite response and hoped it was over. NICK: Did Jill ever try to contact your mom? TIFFANY HUGHES: Who's Jill? FADE OUT. (COMMERCIAL SET) FADE IN: [EXT. LAS VEGAS CITY (STOCK) – DAY] [INT. CSI – DNA LAB -- DAY] (Wendy Simms reports her findings to Catherine.) WENDY SIMMS: So I got bad news and weird news. Which would you like to hear first? CATHERINE: Bad. WENDY SIMMS: Bad news: I got nothing from the blue stocking that was found in the trash. Weird news: I tested the red lipstick on Gary Sinclair's collar and I got DNA, but it wasn't his wife's. CATHERINE: Well, based on the contents of her purse, she's more the lip balm type. WENDY SIMMS: You know I like to be thorough, so ... I ran it through CODIS and I actually got a hit: Natal Peled. She's in the system from a rape charge in L.A. CATHERINE: They don't put victim's DNA in the database. WENDY SIMMS: No, they don't. Yeah, I had to know, so I called a friend of mine at L.A. Sheriff's Department, and apparently, Natal was a nurse at a Hollywood hospital. And she went to the annual Christmas party, she fed this doctor a bunch of cocktails, slipped him a Prevalis, and then took him up to a hotel room. And rumor has it, it was in order to have unprotected, you know ... baby- making sex. So he pressed charges, she was arrested, and then they settled out of court. And now Natal's a nurse at our very own Dessert Palm. CATHERINE: With Amanda's husband, Dr. Gary Sinclair. CUT TO: [INT. DESERT PALM – DAY] (Catherine talks with Gary Sinclair.) GARY SINCLAIR: Doctors have a name for what Natal is. CATHERINE: What she is? GARY SINCLAIR: A woman who trolls hospitals looking to land themselves a doctor. Call them bedpans: shiny, full of crap, and ... best when dumped. CUT TO: [EXT. DESERT PALMS HOSPITAL – DAY] (Nick talks with Natal Peled. She’s smoking a cigarette.) NATAL PELED: Of course we slept together. Who wouldn't want to get with this? Of course he's gonna deny it because of that little wife of his. NICK: So you met his wife, Amanda? NATAL PELED: Please. Yes, I've met her. Always coming by the hospital, check up on him. Talk about paranoid. NICK: Hey, with you around ... sounds like she had pretty good reason. NATAL PELED: Mr. Stokes ... men are like tigers -- if you can't tame them, you must let them roam free. I go now, yeah? (She holds up her hand to wave him goodbye. She has her keys in her hand and Nick sees the car paint shavings embedded in the key grooves.) INSERT: CGI (A laser cuts into the key and takes a sample of the car paint shavings.) CUT TO: [INT. CSI – TRACE LAB – DAY] (Hodges reports his findings to Nick.) HODGES: Yes. It seems that the paint on the Sabra's key is consistent with Lexus factory issue. Color's Galactic Grey Mica IE9. Same as Amanda's. NICK: So ... crazy chick keys the wife's car. Is it gateway violence that led to murder or just another coincidence like everything else in this case? HODGES: I almost keyed a car once. NICK: You what? HODGES: I know, but, in the end, I couldn't go through with it. So I peed on the door handles instead. NICK: So they'd freeze up and can't get them open? HODGES: No. It was San Diego. NICK: Over a girl? HODGES: Over a "B." Professor gave me one on my term paper. I felt I deserved an "A". (And with that, Nick leaves.) CUT TO: [INT. CSI – HALLWAY – DAY] (Nick and Catherine talk.) NICK: So she definitely keyed the car, and may or may not have been doing the husband. CATHERINE: I'm going with yes. Ballistics came back on the bullets that killed Amanda. There's only one gun with a six right polygonal barrel that comes in a .41 caliber: a Baby Eagle-- Israeli military issue. NICK: Israeli guns are really hard to find. CATHERINE: Unless you served in the Israeli army like Natal. NICK: Okay. Okay, I certainly wouldn't put it past her, but what about the husband? CATHERINE: Classic "he said, she said." They're either acting in cahoots, trying to confuse us, or Natal is acting on her own, thinking that the wife is the obstacle standing between them. NICK: Nothing quite says "I love you" like, I killed your wife so we can be together." CUT TO: [INT. SINCLAIR RESIDENCE -- DAY] (Gary Sinclair opens the front door and finds Sofia there. She hands the warrant to him.) SOFIA: Sir, we have a warrant to search the premises, and we need you to come down to the station. If you can't make arrangements for your child, we have a Child Services Advocate who can take him. GARY SINCLAIR: This is ridiculous. I've been nothing but cooperative. You harass me at my place of work. You harass me at my home. Now you want to take my kid away? SOFIA: Sir, are you resisting? GARY SINCLAIR: I didn't kill my wife. I was giving my son a bath. I couldn't have done it. Can I at least put my shoes on? (Sofia nods for the officers to go with him. Gary and the officers head into the house.) [EXT. SINCLAIR RESIDENCE – FRONT – DAY – CONTINUOUS] (Nick looks around the area and finds a small batch of cigarette butts out on the opposite side of the road. He looks at them and snaps a photo of them.) (Quick flash to: Natal Peled sits in the car smoking her cigarette as she watches the house across the street. She watches as Amanda gets into her car and drives away. Natal tosses her cigarette out the open car window, starts her own car engine and follows her. End of flash.) (Nick picks up a cigarette butt and looks at it. Sofia joins him.) SOFIA: What have you got? NICK: A smoking gun. CUT TO: [EXT. LAS VEGAS CITY (STOCK) – EARLY EVENING] [INT. CSI – DNA LAB -- NIGHT] (Wendy reports her findings to Nick.) WENDY SIMMS: You're not going to like the answer. The DNA on the cigarette butts doesn't match Natal. NICK: Come on. You can't tell me we're back to square one on this deal. WENDY SIMMS: Well, we're not. DNA was female, so I ran it against Amanda, thinking, I don't know, maybe she takes super-secret cigarette breaks. And it wasn't a match, but they do have seven loci in common. So, is there another sister maybe? (Nick looks at the printout and thinks about it.) NICK: Tiffany. CUT TO: [INT. POLICE DEPARTMENT – INTERVIEW ROOM -- NIGHT] (Sofia talks with Tiffany Hughes.) TIFFANY HUGHES: I'm confused. This is 'cause I was smoking? SOFIA: Well, no, smoking is bad for you, but, no, this is really more about where you were smoking. TIFFANY HUGHES: I'm an only child who lives on a horse farm in the middle of nowhere with a horse- whispering mother and a dad who works all the time to avoid her. When Amanda's letter came ... I was so excited at the idea of having a sister. I was jumping out of my skin. So I told my mom I joined cheerleading. And after school, I would ... SOFIA: You'd what? TIFFANY HUGHES: It started where I would just drive by. SOFIA: And then it escalated? TIFFANY HUGHES: Well ... once, I saw her in the yard, playing with her little boy. So I started parking out front, hoping to see her again. (Quick flash to: Tiffany sits in the car watching Amanda push Henry in his plastic tricycle.) TIFFANY HUGHES: (v.o.) Basically, I would just sit there, imagining her in my life. She'd make me tea. And we'd go over my college applications and talk about boys. (End of flashback.) TIFFANY HUGHES: It was like a TV commercial. SOFIA: And then what? Did your ... curiosity ... become an obsession? TIFFANY: Oh, my God. No. I could barely get up the courage to introduce myself. That's why I'd just sit there smoking. And then my stomach would hurt, so I would just drive home. And now, I'll never get the chance. FADE OUT. (COMMERCIAL SET) FADE IN: [INT. CASE RESIDENCE – LIVING ROOM -- NIGHT] (Two high-heeled black shoes hit the floor. Jill Case’s body sways mid-air.) [BLACK SCREEN W/WHITE TEXT] JILL [EXT. LAS VEGAS CITY (STOCK) – EARLY MORNING] [INT. CASE RESIDENCE – LIVING ROOM -- MORNING] (Warrick walks around the room with his camera. He approaches the computer table and finds something missing. He snaps a photo of the cables.) (He opens the desk drawer and notes the labeled container for PUSH PINS, BINDER CLIPS and NOTE PADS.) [EXT. CASE RESIDENCE – GARAGE – MORNING] (Warrick opens the garage door and looks at the car inside. He opens the back door and looks at how neat it is. He slams the door closed and opens the car’s back door. He looks inside, then slams it shut.) (He opens the passenger door and looks around at how neat the car is.) [INT. CASE RESIDENCE – BEDROOM -- MORNING] (Warrick looks around the bedroom and snaps a photo. He opens the bedside table drawer and snaps a photo of its contents.) (Greg walks in.) GREG: Hey, Grissom said you might need some help. (Warrick turns and looks at Greg.) GREG: What? WARRICK: I don't know, you don't look like you've been put through the ringer. GREG: Well, I guess the inquest was the easy part. Now the kid's family wants to sue me. Know any good lawyers? WARRICK: I hate lawyers. Want to take the bathroom? GREG: Sure. (Greg heads for the bathroom. Warrick opens the second drawer and finds it full of handcuffs and toys. He picks up a pair of handcuffs.) WARRICK: I found her naughty drawer. (Greg is in the bathroom.) GREG: My favorite part of any bedroom search. WARRICK: I don't believe these girls anymore. (Warrick heads over to the second bedside table. He opens the drawer and finds men’s stuff – deodorant stick, shaving gel, a shaver, comb and condoms.) (Warrick picks up a shaver.) WARRICK: Looks like someone's been elevated to drawer status. (Greg steps out into the bedroom, holding bottles of pills.) GREG: Well, apparently, love can't cure all that ails. Alprazolam, clonazepam, diazepam and sertraline -- all in her medicine cabinet. WARRICK: Well, I said dude had a drawer, I didn't say it was love. CUT TO: [EXT. LAS VEGAS CITY (STOCK) – DAY] [INT. CSI – GRISSOM’S OFFICE – DAY] (Grissom talks with Dr. Gus Hoffman.) GUS HOFFMAN: Jill had OCD-related depression, which is very deceiving because the sufferers are high functioning. It's not your usual, you know, "lie on the couch and listen to the Beatles" kind of depression. GRISSOM: Did she ever talk about family? GUS HOFFMAN: You know, when a patient dies, the doctor-patient confidentiality clause is void. But I'm just sort of feeling a little uncomfortable. Do I have to ... call a lawyer? GRISSOM: It's entirely your choice. We can subpoena her records, or you and I can talk. GUS HOFFMAN: Okay. All she would say was that she didn't get along with her parents, and that, um, you know, relationships in general were difficult. I mean, her condition made her excel professionally but flop personally. GRISSOM: We, uh, checked her records. She was adopted as an infant. (Grissom looks at the file folder in front of him. STATE OF NEVADA CHILD ADOPTION RECORDS DIVISION DATE: 11-15-06 TIME: 14:17 DL/NO: EXPIRED*B/D: 11-04-55: MONA/TAYLOR* ADDR AS OF 10-23-01: 102 MESQUITE AVE LAS VEGAS NV 89101 OTH/ADDR AKA CHILD >>>>> CASE, JILL BIRTH MOTHER >>>>> SUPPRESSED ADOPTION DATE >>>>03/14/72 OPERATOR: 3398 /////8714DAKOTA CLASS C ) GUS HOFFMAN: Her parents never told her. Huh. Well, that explains her abandonment-attachment issues, and why she always felt like a square peg in a round family. GRISSOM: Did you believe she was suicidal? GUS HOFFMAN: Off the record, no, I don't. I don't think she was suicidal, I thought, I actually thought she was getting better. GRISSOM: So then how does an attractive, successful 36-year-old woman hang herself from her own balcony? GUS HOFFMAN: 'Cause the choice was there. (Quick flash to: Jill Case puts the tie around her neck and climbs over her second floor balcony.) GUS HOFFMAN: (v.o.) At the end of the day, when an obsessive brain is presented with a choice, it just, sometimes, it just can't shut off the clatter of the idea until it sees it through to conclusion. (End of flash.) GUS HOFFMAN: The idea found its way in. CUT TO: [INT. FORENSIC AUTOPSY -- DAY] (Robbins pulls out the morgue cabinet with Jill Case’s body on it. He explains his findings to Grissom.) ROBBINS: It wasn't suicide. These bruises developed postmortem. Two on the front, eight on the back. GRISSOM: Strangulation. (Quick flash to: Someone strangles Jill Case. End of flash.) ROBBINS: Murder. CUT TO: INSERT: CGI (We start at the camera, then follow the UBS cord IN THROUGH the disk as it writes and OUT TO the monitor where its – -- DOWNLOADING photos on a monitor.) [INT. LAS VEGAS GLOBE – NEWSROOM – DAY] (Brass and Warrick cross the newsroom.) ALLISON SHRAM: (to phone) No, she missed the morning news meeting. All the section editors are biting my head off. Look, I don't have a straight answer for you. No, I've called, I've e-mailed, I've texted. She'd have to be lying dead in a ditch not to answer her phone. I know. Bye. (She looks up. Brass shows her his badge.) ALLISON SHRAM: Can I help you? BRASS: I'm Detective Jim Brass, Las Vegas Police. This is Warrick Brown from the Crime Lab. We have a warrant to search Jill Case's office. ALLISON SHRAM: Okay, is she in some kind of trouble? BRASS: Well, it wasn't a ditch. ALLISON SHRAM: Oh, my God. I ... (Several reporters step closer.) God. (They linger around.) JAKE LENOIR (REPORTER): What's going on? ALLISON SHRAM: Back off. Get away. All of you, go! Go! (She takes her earpiece off and whispers to Brass.) ALLISON SHRAM: Look, you can't drop a hot one in a room full of vultures. They smell blood. Half of them were wanting to pry her ass out of that chair for months. BRASS: I'll need a list of all the employees who work for the paper -- can you provide that? ALLISON SHRAM: I don't have access to that kind of information. You're gonna have to go down to Human Resources. BRASS: Human Resources. Okay. (to Warrick) You're on your own. (Brass leaves.) WARRICK: I'll be taking a look inside her office, okay? (He heads for her office. Allison follows him.) WARRICK: Did Jill have a computer? ALLISON SHRAM: Yeah, her laptop, of course. It was like an extra limb. (Warrick opens the drawers and finds them just as organized as the ones at home. The final drawer won’t open.) WARRICK: What's with the locked drawer? (He notes the damage to the desk. He tugs and the drawer opens.) ALLISON SHRAM: That was a new thing. She's always been neurotic, but lately she's been secretive, like sneaky – rolling her own calls, making her own appointments, talking with editors from other newspapers. Honestly, I just thought she was looking for another job. (He looks through the drawer, then pulls it completely out. He finds a flash drive taped to the side.) WARRICK: Did you ever try to open this drawer? ALLISON SHRAM: Are you kidding? She had the only key, and protecting her privacy was how I kept my job. CUT TO: [EXT. LAS VEGAS CITY (STOCK) – DAY] ARCHIE: (v.o.) Because Amanda's murder -- [INT. CSI – A/V LAB – DAY] (Archie goes over his findings with Grissom and Catherine. He has the address books on two monitors.) ARCHIE: -- is still unsolved, I cross-checked the twins' address books. Now, they have no contacts in common, but ... there are a couple freaky things. (On the monitor is Amanda’s hand-written address book with dry cleaning crossed out and “Henry ear doctor” written in.) CATHERINE: So Amanda was set to pick up dry cleaning in the morning, but it looks as though she had a sick child, so she went at night instead. ARCHIE: Right. And if she'd gone earlier than she was supposed to, she might've run into Jill, who was scheduled to pick up her dry cleaning at 8:30 in the morning. (On the monitor, Archie has Jill’s printed address book with the following: PILATES PICK UP DRESS AT CHENS MEETING WITH LAYOUT DESIGNER LUNCH MEETING ) ARCHIE: But it gets better. Based on receipts from Amanda's planner and Quicken listings from Jill's Treo, they used the same dry cleaner, same car dealership, they both had a weakness for the same frozen yogurt and blended mochas, and in two weeks, Jill was scheduled to teach a university extension class in photography. Guess who was signed up to take the class? CATHERINE: Amanda. GRISSOM: Huh. They would've finally met. CATHERINE: So having the same toe nail polish and watch made sense when we thought they knew each other, but now? I mean, they even have almost the same handwriting. GRISSOM: Well, people's first explanation with twins is always parapsychology, but the truth is, there's a lot of biological encoding at work. I mean, if you have the same musculature and bone structure in your hand, the chance of writing the same is not out of the question. If beauty is in the eye of the beholder, and you both see with the same eyes or taste with the same tongue ... ARCHIE: Well, I don't know whose eyes she was using for this guy. (In her address book, she has: 7:00 pm DINNER AT JOIE DE VIVE ARCHIE: Jill was scheduled to have dinner at Joie de Vive on the night she died. (Archie shows footage of Jill holding flowers and being kissed on the cheek by a man.) ARCHIE: So Warrick called over and got the surveillance footage. I don't have an ID yet. (He pauses the footage and Grissom recognizes the man.) GRISSOM: I do. CUT TO: [INT. POLICE DEPARTMENT – INTERVIEW ROOM] (Brass talks with Gus Hoffman.) GUS HOFFMAN: Her relationship with me was the most intimate she's ever had. I actually felt like we were making progress. BRASS: Until the murder. GUS HOFFMAN: What are you talking about? She committed suicide. BRASS: Did I tell you that? GUS HOFFMAN: What are -- What are you suggesting, that I murdered my own patient? BRASS: Let me run down the sequence of events. So you took your "girlfriend" out to dinner. (Quick flash to: Jill is tied to the bed.) BRASS: (v.o.) Then you brought her home for a little tie-me-up, tie-me-down. But things get wonky and in the throes of passion, you remembered, "Wait a minute she's a patient. Uh-oh." (Cut to: Jill is dead on the bed. Gus picks up the dog leash.) BRASS: (v.o.) So she had a history of depression. So you used that knowledge to cover it up. (End of flashback.) GUS HOFFMAN: Well, we did go to dinner that night, but afterwards I dropped her off. Because she said she had to work to do. I didn't even go inside, so I don't even understand your question. BRASS: Are you saying the two of you never had rough sex? Now, be careful here, doctor. GUS HOFFMAN: Yeah, It's true that, in the past, we engaged in some, you know, some, uh, role playing sex games to help get her comfortable, but ... BRASS: But what? GUS HOFFMAN: She was the "S." I was the "M." CUT TO: [EXT. LAS VEGAS CITY (STOCK) – DAY] [INT. CSI – HALLWAY -- DAY] (Wendy Simms catches up with Greg in the hallway.) WENDY SIMMS: Hey, um ... you know, how we thought that the shrink was a slam dunk for Jill's strangulation-hanging-combo? GREG: Yeah. WENDY SIMMS: Well, I ran his DNA against the epithelials we found on the leash. And the epithelials are male, but they're not his. (She gives Greg the results.) GREG: Thanks. (Greg turns and enters the -- [INT. CSI – A/V LAB – DAY -- CONTINUOUS] GREG: News on our case ... (Warrick and Archie don’t look surprised.) WARRICK: The shrink might not have done it? GREG: How did you know? WARRICK: Because Archie found us another strong suspect. You know that flash drive that I found in the locked drawer in Jill Case's office, ? I thought it was just a bunch of photos, but it turns out there was a little bit more than meets the eye. GREG: You mean the flash drive was a transformer? WARRICK: No. ARCHIE: Well, the pictures kind of were. Check it out. Look familiar? (Archie puts a war photo on the monitor.) WARRICK: This got bought by the AP. It was on the front page of the Las Vegas Globe. It won a Pulitzer. It was everywhere. GREG: Okay. So what? (Archie puts a series of photos up on screen.) ARCHIE: These are Jake Lenoir's photographs taken in Iraq last summer. Watch this. (He puts components of the photos together to make the winning photo.) GREG: The front-page news was actually a composite? ARCHIE: Well, it's a ... essentially an art project. WARRICK: And Jill printed it. I assume she didn't realize it until it was too late. And before she died, she was trying to figure out how to handle it. GREG: The only thing standing between Jake and the rest of his career was the truth. WARRICK: And Jill Case. FADE OUT. (COMMERCIAL SET) FADE IN: [INT. POLICE DEPARTMENT – BRASS’ OFFICE] (Brass holds a printout of the photo and talks with Jake Lenoir.) BRASS: Got a job that takes you around the world, get to meet some great girls, even win some awards. So why would an adrenaline junkie like you waste his time with Photoshopping? JAKE LENOIR: Let me tell you something that the, um ... newspapers, TV stations don't want to hear. There's nothing over there to photograph. Insurgents? They fire off their outdated weapons, then run the other way. When we do midnight raids in the villages, you know what the people tell us? "Ali Baba not here." We are fighting a fictional character. And you got thousands of soldiers over there, kids, 18 years old, pumped up on testosterone, full of nicotine, and caffeine, waiting for something to bloody well happen. And you know what? You pray for a roadside bomb because it feels like action. But you can't photograph the taste of gasoline. It just looks like smoke. So one day, yeah, I'm screwing around on my computer. Couple of soldiers come by, took a look at what I'm doing. You know what they say? They say, "Yeah, yeah, that's our war. That's what it's like waiting and bodyhauling." So I had it. I had the image that said it all. So yes, I used a lie to tell the truth. BRASS: Well, thanks for the insight. But I'm looking for another kind of confession. I'm here to bust you for the murder of Jill Case. JAKE LENOIR: What? BRASS: Come on, she was hip to your, uh, you know cut-and-paste scheme and she was going to blow the whistle on you. JAKE LENOIR: Yeah, yeah, yeah, well, I heard she committed suicide and look -- BRASS: Oh, is that what you heard? JAKE LENOIR: Yeah. Me and her, we-we had a history, okay. We dated. But if she felt like outing me for this all I had to do was accuse her of sexual harassment and we both go down. BRASS: Maybe ethical journalism was worth the price for her. JAKE LENOIR: Doubtful. Without her job, she had nothing. BRASS: Well, for a while, she had you. JAKE LENOIR: Yeah, but not for long. Bird was rigid in everything she did. Having sex with her was like ... eating glass. BRASS: The lab did a DNA test. Your skin cells are all over the dog leash that was used to hang her. JAKE LENOIR: Well, I was probably the last person to actually walk that dog. God knows she never did. CUT TO: [INT. LENOIR APARTMENT – DAY] (Greg and Warrick enter the apartment and look around.) GREG: Guess this is more like his crash pad between foreign assignments. WARRICK: I'm sorry, I just don't see Miss Neat Knickers and this guy making it as a couple, you know. (They look around. Warrick looks in the satchel.) WARRICK: Still no laptop. (Greg finds an empty software box in the trash.) GREG: Steal it, scrub it and lose it. WARRICK: This guy's smart. This is all just circumstantial. (Warrick finds a note pad with some writing on it. “On behalf of the Las Vegas Globe, I apologize for the mistakes I made.” “I apologize to the readers of this paper.” “My deepest apologies” ) WARRICK: Now we know how he got her to write the suicide note. She wasn't sorry to be living. She was sorry that Jake was such a liar. GREG: Well, this is more like what we need. (Greg puts the pad down and looks around the area. He finds a vent with a blue stocking on it.) GREG: Hey, Warrick. Didn't Nick's case have a blue thigh high stocking? WARRICK: Yeah. (Greg checks the dryer and takes out a shirt.) WARRICK: Even if he was the one that strangled Jill, there was no blood at the crime scene. GREG: Well, with two gunshots to the chest, Jill's twin sister was a bloody mess. (Greg tests the shirt for blood. It tests positive.) GREG: Checkmate? WARRICK: So he killed them both. CUT TO: [INT. POLICE DEPARTMENT – INTERVIEW ROOM] (Brass talks with Jake Lenoir.) BRASS: You must have thought you were losing your mind? Let me run it for you. (Quick flash of: Amanda pulls into Chen’s parking lot. Jake is waiting for her, thinking it’s Jill.) BRASS: (v.o.) Jill always picked up her dry cleaning on Thursday nights. So right place, right time, right car, looks like the right woman. (He puts the stocking on, walks up to her and shoots her twice in the chest.) BRASS: (v.o.) You thought it was done. So you go to the house, get the computer files and you think you're seeing your conscious walk through the door. (Jake is inside Jill’s apartment when Jill comes home. She goes to her computer, turns around and sees Jake in the house. He is surprised to see her and reaches out to touch her arm.) JILL CASE: Don’t touch me! (She fights him and he chokes her. She falls to the floor, dead.) (He carries her up the stairs to the second floor.) BRASS: (v.o.) The first time you had a plan. Try to make it look like a mugging. The second time, you had to improvise. (Jake secures the leash around Jill’s neck and tosses her off the second floor balcony.) (End of flashback.) JAKE LENOIR: So there were two of them. I dated Jill. She kept the most rigid schedule of anyone I've ever met, you know. It was always Thursday night pick up the dry cleaning night. And I mean, God forbid I wanted to see a movie or catch a show or something. Leave it to Jill to be so thorough. Makes me have to kill her twice. (Brass stands up and leaves the room.) [OBSERVATION ROOM] (Catherine and Grissom are watching Jake in the interview room. Catherine rips the bill in half and offers it to Grissom.) CATHERINE: We were both right. GRISSOM: That's a federal offense, you know. CUT TO: [INT. CSI – GRISSOM’S OFFICE -- NIGHT] (Grissom is reading “Walden” when Sara walks in.) SARA: I heard the guys solved a double murder. GRISSOM: Mm-hmm. SARA: I spent the day sitting on a bench outside the courtroom; they never got to me. GRISSOM: That sucks. SARA: Feeling transcendental? GRISSOM: Hmm? SARA: Thoreau. I, uh, I haven't read him since college. GRISSOM: Me, neither. It holds up. "I would rather sit on a pumpkin and have it all to myself, than be crowded on a velvet cushion." (Sara turns and picks up the clipboard with the crossword puzzle on it.) SARA: Oh, look, you missed one. Sixty-three down. "Misanthrope." (Grissom looks at her. She puts the clipboard down.) SARA: I won't wait up. (She turns and leaves the room. Grissom closes the book.) FADE TO BLACK.

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