Épisode Poursuite à Manhattan S02E23

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"CSI: MIAMI", "CRIME SCENE INVESTIGATION", "CSI" and other related entities are owned, (TM) and (c) by ANTHONY E. ZUIKER, JERRY BRUCKHEIMER Television, CBS Worldwide Inc., Alliance Atlantis Corporation, CSI Productions and CBS Productions, All Rights Reserved. For Fair Use, for entertainment and for educational purposes only. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain.

SUMMARY: When both parents of a teenaged girl is murdered at home, Horatio follows the trail to New York City where he works in conjunction with the CSI team to find and catch the killer.

COLD OPEN:

[EXT. VARIOUS MIAMI CITY (STOCK) - NIGHT]

[INT.NIGHT CLUB - DANCE FLOOR -- NIGHT]

(The place is rocking. Music plays loudly as people dance to the pulsating beat. A blonde-haired teen is having a great time dancing with her friend. She suddenly catches a glimpse of her friend's watch and grabs her friend's arm to get a better look.)

LAURA SPELMAN: Is that the time? Oh, my god, it's almost 2:00. My parents are going to kill me.

FRIEND: Chill, one more dance.

LAURA SPELMAN: You don't know my parents. Come on.

(She grabs her friend.)

CUT TO:

[EXT. MIAMI COMMUNITY (STOCK) - NIGHT]

[EXT. SPELMAN RESIDENCE - BACKYARD -- NIGHT]

(Laura Spelman opens the back yard gate and slips inside. She walks quickly and quietly past the pool and makes her way to the back door.)

(She walks up to the door and stops as she finds the screen cut and the door unlocked. She pushes the back door open and walks into the house.)

LAURA SPELMAN: Mom!

(The door slams shut behind her.)

CUT TO:

[INT. SPELMAN RESIDENCE - HALLWAY / LIVING ROOM -- NIGHT]

(Laura makes her way down the hallway. From the living room ahead, she hears the television set playing.)

LAURA SPELMAN: Dad?

(She continues down the hallway and approaches the first bedroom.)

(Inside the room, she sees that the bedsheets and walls are covered with blood.)

LAURA SPELMAN: (screams) Mom!

(Laura runs to the living room to look for Mom.)

(Camera refocuses and we see a dead body at the far end of the hallway with a knife sticking out of its back.)

(Laura rushes into the living room where the television set is on. She enters the room and sees her mom sitting in the chair facing the set, her back to the entryway.)

(Laura runs to her and shakes her.)

(Her mom is dead. Her head falls back against the sofa chair; nearly decapitated completely.)

(Laura screams.)

CUT TO:

[EXT. SPELMAN RESIDENCE - DRIVEWAY -- DAY]

(The CSI vehicle pulls up into the drive and stops. Officers and other emergency personnel are already there. Horatio exits the vehicle and meets up with Det. Yelina Salas. They walk toward Laura Spelman who is sitting on the concrete wall talking with an Officer.)

HORATIO: Both parents?

YELINA SALAS: Girl came home, found 'em both dead. Suspect probably came in through the back window.

HORATIO: Okay.

YELINA SALAS: Window slashed.

HORATIO: All right.

(Horatio removes his jacket.)

HORATIO: Laura, you're shivering.

(He sits down next to her and drapes his jacket over her shoulders.)

HORATIO: Here you go, Sweetheart. Here you go. Okay, all right, here's what I want you to do. (He points.) I want you to go and sit and wait for me in my car, okay? Would you do that?

(Laura stands up and heads for the car.)

HORATIO: Okay?

(He watches her for a moment, then heads for the house.)

CUT TO:

[INT. SPELMAN RESIDENCE - LIVING ROOM - DAY]

(Alexx is looking at the body on the sofa chair when Horatio walks into the room.)

HORATIO: Alexx?

ALEXX: Blood pool's dry at the edges, puts T.O.D. around 11:00.

HORATIO: So her head is literally hanging by a thread of skin.

ALEXX: Single-edged knife. Mom was attacked from behind, sliced left to right.

(Alexx checks Mrs. Spelman's palms.)

ALEXX: No indication of resistance.

HORATIO: She was probably asleep.

ALEXX: He transected all the neck muscles down to the second cervical axis.

(Horatio sits down.)

HORATIO: He decapitated her, Alexx.

ALEXX: Guy's a monster ... or he doesn't know his own strength.

HORATIO: Well, he's about to know ours.

FADE TO

END OF TEASER

ROLL TITLE CREDITS

(COMMERCIAL SET)

FADE IN.

[EXT. MIAMI COMMUNITY (STOCK) - DAY]

[INT. SPELMAN RESIDENCE - BACK DOOR -- DAY]

(Calleigh walks up to the back door and pushes it open. She steps inside. She sees something on the floor. She kneels and puts her kit down.)

(Delko walks into the house.)

DELKO: What's up?

CALLEIGH: No, it's more like what's down. I'm not exactly sure, but I think someone gobbed up.

DELKO: You got spit? That's great. You might've hit the jackpot.

CUT TO:

[INT. SPELMAN RESIDENCE - MASTER BEDROOM - DAY]

(Horatio stands in the bedroom doorway looking at the bloodied mess in the room and back out in the hallway where the body is located.)

HORATO: Something's not right, Alexx.

(Alexx is kneeling in front of the body in the hallway. She looks at Horatio.)

HORATIO: (points to his right) Point of entry is back here, but the origin of the blood drops is down here in the study where mom was killed, and they travel up this hallway to the bedroom where dad was eventually killed. Which means the killer bypassed the bedroom where dad was attacked. Why would he do that? Why wouldn't you eliminate the muscle first?

ALEXX: That would have been the smart move. Why do you think he didn't?

HORATIO: Dad survives the attack, he managed to get up, come this way and head down the hall toward you, right?

(He turns toward Alexx and heads down the hallway. He indicates the blood on the walls.)

HORATIO: Along here you see arterial gushing.

(Quick flash of: [NIGHT] Mr. Spelman staggers through the hallway using the walls as leverage to get to his destination. He falls to the floor. The suspect catches up with Mr. Spelman and stabs him in the back. End of flash. Resume to present.)

ALEXX: (indicates the knife) Where our suspect sank this sucker in him. Single-edged all right. Phones right here. Don't know why he didn't try to use it.

(Horatio peers around the corner.)

HORATIO: That's because he wasn't going for help, Alexx. He came down here to protect his daughter.

(Camera re-focuses on the photo on the dresser in the foreground of Laura Spelman.)

CUT TO:

[EXT. SPELMAN RESIDENCE - CAR (PARKED) - DAY]

(Laura Spelman waits in the car. She takes a deep breath. Horatio walks up to her and stops.)

HORATIO: Hey, Laura, I think it's important for you to be in a safe place right now.

LAURA SPELMAN: Safe?

HORATIO: Yeah, they're probably going to broadcast on the news that you survived the attack.

LAURA SPELMAN: You mean, he could come back?

(She starts to cry.)

HORATIO: No. Laura, Laura, listen to me. Laura, I am going to find this man. He's not going to hurt you again. But I need you to be in a safe place until I do. You understand? I want you to go with those officers until I find him. The next time you see my face, you're going to know that you're safe. I promise. Okay?

(She nods.)

HORATIO: Okay. You go with these officers.

(Horatio turns around and nods to the officers standing in the background.)

CUT TO:

[EXT. SPELMAN RESIDENCE - FRONT YARD -- DAY]

(Speedle walks across the yard toward the street. He looks around the area. He sees some tire tracks in the dirt. He leans forward and photographs the tire tracks.)

(Several photo freeze frame flashes of the tire tracks in the dirt.)

CUT TO:

[INT. CSI - CRIME LAB - DAY]

(Calleigh processes the spit sample for DNA.)

SHORT TIME CUT TO:

[INT. CSI - CRIME LAB - DAY]

(Delko walks into the lab.)

DELKO: Hey, Cal.

CALLEIGH: We narrowed the geographical profile of our suspect.

DELKO: What did he do, hawk up his address?

CALLEIGH: Yeah. Take a look.

(Calleigh steps away from the scope. Delko looks into the scope.)

([SCOPE VIEW] of something yellow with brown and black splotches.)

DELKO: What is it?

(Calleigh picks up the mass spec print out results.)

CALLEIGH: (reading) Mercury, asbestos and lead. Kerosene, distilled petroleum. It's jet fuel.

DELKO: Ground zero.

CALLEIGH: There are thousands of cases of upper respiratory inflammation reported by people who were living in the vicinity of the 9-11 attack. So I'm thinking our suspect routinely expectorates phlegm in order to clear his throat.

DELKO: Dad might've been in New York on business during 9/11.

CALLEIGH: Except I don't think the Spelmans are the kind of people who would spit in the house. I mean, I can compare the DNA to the parents, but I'm thinking that the spit belongs to our killer.

DELKO: They call Miami the sixth borough. Guy might've moved down here, be a local by now.

CALLEIGH: I'll run it against local databases.

CUT TO:

[CLOSE-UP: TAPE LIFT ROLLER]

(Extreme close-up of the underside of a roller picking up fiber.)

[INT. CRIME LAB - TRACE LAB - DAY]

(Horatio is lifting fibers off the victim's clothes.)

(Speedle walks into the trace lab.)

HORATIO: Speed, dad's clothes with orange and purple fibers and ancillary hairs which were probably transferred by his attacker.

SPEEDLE: That's strange, 'cause I found seven different hairs and none of 'em were "pulled."

HORATIO: Okay, so the hairs were shed and a community source.

SPEEDLE: Like from a blanket?

HORATIO: Just like from a blanket. What else?

(Speedle hands Horatio a baggie.)

SPEEDLE: I found this, it's another piece. It's a coated piece of paper with a partial shoeprint. So, that icon on there, I ran it.

(Speedle opens the laptop and we see that it's running a search through a database. It stops on SunStar Auto Rental. Loc: Miami International )

SPEEDLE: Sunstar Rental, Miami International.

HORATIO: Calleigh has made a connection to New York. You know what that means? Our killer flew down here.

CUT TO:

[EXT. MIAMI INTERNATIONAL AIRPORT (STOCK) -- DAY]

[EXT. SUNSTAR AUTO RENTAL - UNDER THE BRIDGE -- DAY]

(Horatio and Speedle interview Alondra, the Car Rental Manager.)

HORATIO: Alondra, in the last 48 hours, how many males flew down from New York City and rented a car?

(She flips through her list.)

ALONDRA: Close to a hundred.

HORATIO: See, I'm working with purple and orange fibers. They could be from a seat, a blanket. I'm curious. Is there an airline that has that as a color scheme?

ALONDRA: Not many, but only one that services the East Coast, Maybach Air.

HORATIO: In the last 48 hours, how many males have flown down on Maybach?

ALONDRA: Two dozen.

HORATIO: And returned their car late last night or early this morning?

ALONDRA: (reading) A Nick Murdock. I can get you a copy of his license. He returned a mid-size car at 5:30 A.M., Returning to New York on Maybach Air.

HORATIO: Where would that car be?

ALONDRA: All our returns get detailed at the end of the lot.

HORATIO: Thank you.

SHORT TIME CUT TO:

[EXT. SUNSTAR AUTO RENTAL - END OF THE LOT -- DAY]

(Close-up of a water nozzle shooting water.)

HORATIO: Whoa! Whoa! Gentlemen! Please step away from the vehicle right now.

(The workers washing the car put their water hoses down on the ground.)

(Horatio takes out his flashlight and opens the car's front passenger door. Speedle checks the driver's side.)

HORATIO: Okay, what do we have here?

(They find a blood-smeared fingerprint on the inside of the upper steering wheel.)

(Quick flash of: [CAR INTERIOR] The car door opens and the driver sits behind the wheel. He closes the car door. End of flash. Resume to present.)

HORATIO: Is that ridge detail right there?

SPEEDLE: I'll see what I can get off of it.

(Alondra rushes back to them.)

ALONDRA: Lieutenant?

HORATIO: Yeah?

ALONDRA: His license.

(She hands him the photo copy of the car renter's license. He looks at it. It reads:

DOB: 11-29-71 MURDOCK, NICK

870 WORTH ST

NEW YORK CITY NY

SEX: M EYES: BR HT:

E: R: ISSUED: 09-25-03)

HORATIO: There you go. "Nick Murdock, 870 Worth St. New York City." That's downtown, right where his spit put him. I got to go, Speed.

SPEEDLE: You're going to go?

HORATIO: Yep. Murders happen here, but we have jurisdiction.

SPEEDLE: Call New York Homicide, they'll pick him up.

HORATIO: New York Homicide didn't make a promise to Laura Spelman.

CUT TO:

[EXT. NEW YORK CITY -- STATUE OF LIBERTY (STOCK) - DAY]

(Camera sweeps around the Statue of Liberty.)

[EXT. VARIOUS NEW YORK CITY (STOCK) - DAY]

(Sirens wail in the distance.)

[INT. (NYC) WORTH STREET -- DAY]

(A NYPD police car turns the corner and speeds down the street.)

(Camera pans down and we see about half a dozen different police and detective vehicles parked alongside the street, more than a dozen officers stand in the street. Something big has just happened.)

(The police car stops.)

(Camera low to the ground, we see the passenger door open and we see the feet of a man carrying a kit as he steps out of the car. The man makes his way toward the hotel.)

(The back of the man's jacket reads in bold white lettering: NY: CSI POLICE DEPT. The man walks over to the Detective.)

DETECTIVE: No surprise the world's here. Our dead body's an undercover cop. Murdock. Good guy.

(The detective turns around and they both head toward the crime scene.)

DETECTIVE: Newlywed. Just told his wife. No suspects. He was deep undercover, dealing to about thirty street guys.

(He opens the gate to the motel.)

DETECTIVE: We think one of his junkies got wise, wasted him.

(They both walk through the gate and head for the building.)

(The Detective follows the CSI up the front steps. They pass a couple of officers lingering near the doorway.)

CUT TO:

[INT. (NYC) MURDOCK'S RESIDENCE -- DAY]

(The Detective and Det. Mack "Mac" Taylor step inside. There are dozens of officers in the apartment. They head for the kitchen in the back where a Chaplain is giving last rites to the deceased.)

(Mac Taylor stops at the front of the hallway facing the kitchen. He pauses a moment, then turns to address the officers in the room behind him.)

MAC TAYLOR: Listen up, everyone. I'd like to thank you all for coming out here and showing your support. Obviously, the situation is very secure, so do me a big favor, and remove yourselves from the crime scene. Thank you.

(The Detective and the officers nod. They all turn and leave the apartment.)

[INT. (NYC) MURDOCK'S RESIDENCE - KITCHEN - DAY - CONTINUOUS]

(Mac Taylor turns and steps into the kitchen where the Police Chaplain concludes the Last Rites.)

CHAPLAIN: (concludes) ... And may the Holy Spirit commit your soul to heaven. In the name of the Father, the Son and the Holy Spirit. Amen.

MAC TAYLOR: No rush, Father.

(The ME Assistant kneeling down next to the body, stands up to give his report.)

ME ASSISTANT: Temperature's ambient. He's been dead 24 plus. Smells like 72.

(He points to the wallet on the table.) I got a wallet for you. ID's missing.

(The ME Assistant stands up and leaves. Mac Taylor takes out a pair of latex gloves from his inner jacket pocket and puts them on.)

(He kneels down next to the body and looks at the wallet on the table.)

(He picks up the wallet from the corner and lifts it off the table allowing it to flip open. He sees the ID missing.)

(Behind him, he hears the floor creak. He turns and sees Horatio Caine standing in the doorway.)

MAC TAYLOR: Can I help you?

HORATIO: My name is Caine, Miami CSI. I'm investigating a double murder case.

(Horatio removes his sunglasses. Mac Taylor stands up.)

MAC TAYLOR: Detective Mac Taylor, Crime Scene Unit, First Grade. I'm listening.

HORATIO: Two nights ago in Miami, double murder case -- a married couple and I was ... I guess I was assuming that Murdock here was my suspect.

(Mac Taylor turns and looks at the body sitting on the chair.)

MAC TAYLOR: Narco unit. We think he was killed about three days ago. (Horatio steps into the room and notes the bruising around the neck.) Strangled. Probably a belt.

(Mac Taylor kneels down next to the body.)

HORATIO: So, that could mean that my suspect killed Murdock, took his identity, went south, did my murders. It could also mean that we're chasing the same man.

MAC TAYLOR: You think he's in New York? (sighs) Well ... one way or another, everything's connected. Brought you to me.

HORATIO: Trail ends here. I want first bite at prosecution. As you know, Florida has the death penalty.

MAC TAYLOR: So does New York.

HORATIO: Yes, but you have not executed since '76.

MAC TAYLOR: Politics.

HORATIO: Mac ... I have ... a 16-year-old girl who is suddenly without both parents. I have promised her peace of mind.

MAC TAYLOR: I got an officer's widow who'd like some answers.

(They look at each other and come to an unspoken understanding. Horatio nods in agreement.)

MAC TAYLOR: We got a deal.

HARD CUT TO BLACK.

(COMMERCIAL SET)

FADE IN.

[EXT. VARIOUS NEW YORK CITY (STOCK) - DAY]

[INT. (NYC) MURDOCK'S RESIDENCE - KITCHEN - DAY]

(Horatio and Mac Taylor stand in the kitchen looking at the body. Mac Taylor reaches into his kit.)

HORATIO: Well, we know what our suspect looks like now.

MAC TAYLOR: Enough like Murdock to pass through airport security.

(Mac Taylor takes out a package. He looks back at the living room.)

MAC TAYLOR: Murdock answers the front door. Guy follows him in here to do a buy.

(Quick flash of: [MURDOCK'S RESIDENCE] Murdock sits at the table cutting a powdery white substance. The killer suddenly moves and wraps the belt around Murdock's neck and chokes him. He struggles.)

(End of flashback. Resume to present.)

CORONER: (o.s.) Ready for us, Detective?

(Mac turns and sees the Coroner's wheeling in the gurney into the living room.)

MAC TAYLOR: One more minute, and he's all yours.

(Mac opens a package and puts Murdock's right hand into the bag as Horatio watches.)

HORATIO: That's interesting. We scrape before we transport.

MAC TAYLOR: We always vouchsafe at the scene. Different process, same principle.

(Mac reaches into his kit and takes out a fumer.)

HORATIO: Hmm, interesting. And you fume at the scene, too?

(Danny Messer walks in from the living room, his kit in his hand.)

DANNY MESSER: Did I hear somebody say "fume"? 'Cause then I'm your man.

MAC TAYLOR: Danny, I had you at that Bodega in Queens.

DANNY MESSER: I know. I heard a cop went down. Figured you could use a guy like me.

MAC TAYLOR: You stick Aiden with the Bodega?

DANNY MESSER: Hey, I got seniority over her. (He looks at Horatio.) Who's this?

(Horatio reaches his hand to Danny and they shake hands.)

MAC TAYLOR: He's one of us.

HORATIO: From Miami, Danny.

DANNY MESSER: How are you?

(Mac Taylor continues to work.)

MAC TAYLOR: Lieutenant Caine is helping us. We could use some prints, confirm we're chasing the same guy.

(Danny Messer puts his kit down on the floor and opens it.)

DANNY MESSER: Say no more.

(Danny works very fast and efficiently. He gets out the fumer and picks up the wallet with his other hand. Right there in the open, he fumes the wallet.)

DANNY MESSER: Watch yourself. You don't want this getting on you. Cleaning bill's murder.

(Quick CGI: The fumes finds a print. End of CGI. Resume to present.)

DANNY MESSER: Looks like a partial whorl.

MAC TAYLOR: Enough to start a search?

DANNY MESSER: (shrugs) We'll see.

CUT TO:

[EXT. VARIOUS NEW YORK CITY (STOCK) - DAY]

[INT. (NYC) CSI - LAB/OFFICE - MORNING]

(Danny Messer is wearing a headset and talking with someone when Mac Taylor and Horatio Caine walk into the room.)

DANNY MESSER: (to headset) All right, so what common reference points ...

MAC TAYLOR: Morning.

DANNY MESSER: ... Do we have so far? (to Mac) Morning.

MAC TAYLOR: Danny, how you making out?

DANNY MESSER: Good. Miami got a partial on the car door. We're working that 9/11 enhancement software to pull it together.

(Danny hits a key on the keyboard and the print on the monitor turns.)

SPEEDLE: (from headset) Okay.

INTERCUT WITH:

[INT. (MIAMI) CSI - LAB]

(Speedle is sitting in front of the monitor on the phone.)

SPEEDLE: Thumb's right delta is on the first recurve of the divergent line.

DANNY MESSER: Let me give you a thumbs up.

(He taps keys on the keyboard and the lower part of the print attaches to the rest. On the bottom of the monitor, prints scroll as it runs through the database.)

DANNY MESSER: Very nice. Waiting for the world to stop. AFIS scan complete. Positive I.D. made.

(They found a match. The monitor reads:

{photo on left} ID Plate reads:

NYC POLICE 04P 479

PENROD DAVID

{info on right}

Penrod, Davey

AKA: Dee Penrod

AKA: Dave Pen

Charges

Grand Theft Auto NY Penal Code Section 155.30?

Possession: NY Penal Code Section 220.03?

Trafficking (sale): NY Penal Code Section 220.34? )

DANNY MESSER: (smiles) Thousand a week for life.

(Mac moves forward to look at the monitor over Danny's shoulder.)

HORATIO: (reading) Davey Penrod, A.K.A. Dee Penrod, A.K.A. Dave Pen. Grand theft auto, possession and trafficking.

MAC TAYLOR: Last known address.

(Danny hits the keys and the address appears on the monitor:

489 East 112th Street

New York, NY 10029

Phone # 212-555-0148

SS# 987-65-4320

DOB: 6-13-70 )

DANNY MESSER: "489 East 112th Street."

MAC TAYLOR: Call homicide.

CUT TO:

[EXT. PENROD'S BUILDING - DAY]

(With their guns in their hands, Mac Taylor leads Horatio Caine and the other officers across the street and into the building.)

CUT TO:

[INT. (NYC) PENROD'S BUILDING - HALLWAY - DAY -- CONTINUOUS]

(They head for the apartment door. The Detective pounds on the door as Horatio and Mac cover him.)

DETECTIVE: Police! Open up!

(He looks from Mac to Horatio, then turns and kicks the apartment door open.)

CUT TO:

[INT. (NYC) PENROD'S APARTMENT - DAY -- CONTINUOUS]

(The apartment door bursts open. Mac steps into the living room and looks from side to side. Out the window, he see a pair of legs disappear up the fire escape.)

HORATIO: He's running, Mac. He's running.

(Mac heads for the window. Horatio follows. Mac puts his gun away and leans out over the edge of the window with Horatio and looks up at the fire escape.)

HORATIO: Up we go.

CUT TO:

[EXT. (NYC) APARTMENT ROOM - DAY -- CONTINUOUS]

(Dave Penrod jumps off the fire escape and onto the roof. He runs across the floor. He stops and looks around, then takes his chances. He jumps over the wall to the next rooftop.)

(Mac and Horatio climb off the fire escape and onto the roof. They run after Dave Penrod.)

INTERCUT WITH:

[EXT. DOWN BELOW]

(The Detective and Officers track Dave Penrod from the ground looking up at the rood.)

(Dave Penrod reaches another wall. He steps up onto the wall and jumps to the next rooftop.)

(From down below, the Detective looks up and sees Dave Penrod jumping over their heads to the next rooftop. They immediately back up and track Dave to the next building.)

(Up above the rooftop, Dave continues to jump over walls and onto the next building's rooftops. He finally reaches the final wall. He climbs up on it.)

(Mac and Horatio reach the edge of the building and see Dave standing on the far wall.)

HORATIO: (shouts) Dave!

(Dave Penrod looks back.)

MAC TAYLOR: (shouts) Don't do it!

(Dave turns his back to them and jumps down.)

(He disappears over the wall. We hear tires squeal and horns honking.)

(Mac and Horatio reach the far wall where Dave jumped and look down below.)

(They see Dave Penrod climbing out of a trash bin full of empty boxes that absorbed his fall.)

(Construction workers throw more boxes into the trash bin.)

[EXT. (NYC) STREET - DAY - CONTINUOUS]

(Dave Penrod scrambles to his feet and runs. He looks back up at Mac and Horatio looking down from the rooftop.)

(He runs across the street.)

(From the rooftop, Mac calls in the report on the radio. Horatio puts his sunglasses back on.)

MAC TAYLOR: (to radio) Put out a broadcast. Subject at large, first precinct, Sector Charlie. Three-story drop, he might've broken something.

CUT TO:

[INT. (NYC) VARIOUS PENROD'S APARTMENT - DAY]

(Back inside Penrod's apartment, Horatio stands in the middle of the bedroom and looks around.)

(Cut to: Mac Taylor uses his flashlight and looks around the small kitchen. He notices something in the sink drain.)

(Cut to: Horatio raises his flashlight high and looks around the small bedroom. He opens the dresser drawer and finds the ticket holder for Maybach Airlines. He takes it out and looks at it.)

(Cut to: Back in the kitchen, Mac opens his kit and takes a swab of the red substance at the bottom of the drain. He looks at it and tests it.)

(Quick CGI Close-up: The test is positive.)

(Cut to: Horatio finds writing on the ticket holder: 702 Star Island.)

CUT TO:

[EXT. (NYC) PENROD'S BUILDING -- DAY]

(Horatio stands outside the building entrance. Mac Taylor exits the building and shows Horatio the test results.)

HORATIO: Hematrace.

MAC TAYLOR: Yeah. Drains are the conscience of the city.

HORATIO: You found blood.

MAC TAYLOR: Lots of it. Scary thing-the blood on the fixture is wet.

HORATIO: So, it's fresh.

MAC TAYLOR: Yeah, too fresh for your Miami murders or my cop's. I'll get this to the lab. What'd you get?

HORAITO: Break in the case. Our victims were at 720 Star Island. Penrod jotted down 702.

MAC TAYLOR: He hit the wrong house?

HORATIO: He hit the wrong house.

MAC TAYLOR: Whose was the right house?

HORATIO: Let's find out.

(Horatio puts his cell phone to his ear as it rings.)

INTERCUT WITH:

[INT. (MIAMI) CSI - CRIME LAB]

(Calleigh's phone rings. She answers it.)

CALLEIGH: Duquesne.

HORATIO: Calleigh, I need a welfare check on 702 Star Island. Owner of record, please.

(Calleigh types it into the laptop.)

CALLEIGH: Reverse directory says O.R. of 702 Star Island is Michael Hanover, Sr., primary residence ... 1526 Fifth Avenue, New York City.

HORATIO: (to Calleigh) Thank you. (to Mac) Michael Hanover of 1526 Fifth Avenue.

CUT TO:

[EXT. VARIOUS NEW YORK CITY (STOCK) - DAY]

[INT. (NYC) HANOVER'S BUILDING - LOBBY -- DAY]

(Mac and Horatio wait as the phone rings. The Doorman, Kevin Dowell, is on the phone.)

KEVIN DOWELL (DOORMAN): They aren't answering.

(The phone continues to ring.)

KEVIN DOWELL (DOORMAN): They always answer.

CUE SOUND: (PRELAP) Elevator bell dings.

CUT TO:

[INT. (NYC) HANOVER RESIDENCE - HALLWAY - DAY]

(Mac and Horatio step into the hallway. The place is quiet.)

MAC TAYLOR: Hello? Police.

(He looks back at Horatio and the two men head for the lobby. The place is very quiet.)

MAC TAYLOR: Police.

(There's no response.)

(They reach the base of the stairs to the second level.)

CUT TO:

[INT. (NYC) HANOVER RESIDENCE - SECOND LEVEL LIVING ROOM - DAY - CONTINUOUS]

(Horatio walks up one side of the stairs while Mac takes the other side. They both wind up on the second level living room.)

HORATIO: Is there anybody here?

(The place is very quiet.)

(Mac looks down and sees blood drops on the carpet. He looks at Horatio and motions to the blood on the floor.)

(Horatio walks over. Mac points. They both note that the blood drops lead into another room.)

(They both take out their weapons and approach the room cautiously.)

[INT. (NYC) HANOVER RESIDENCE - BEDROOM - DAY - CONTINUOUS]

(Horatio appears in the doorway, his gun raised eye level. He steps into the room first.)

(On the bed, there is a dead body.)

(Horatio puts his gun down. So does Mac. They approach the bed.)

HORATIO: Throat is slit.

MAC TAYLOR: There's the knife.

(The body on the bed is stabbed, the knife left embedded in the woman's chest. On the small bedside table, there are many large prescription containers.)

MAC TAYLOR: She had a habit.

HORATIO: That'd explain why she didn't fight back.

MAC TAYLOR: Where's the husband?

HORATIO: Where's the study?

CUT TO:

[INT. (NYC) HANOVER RESIDENCE - STUDY - DAY - CONTINUOUS]

(The husband is sitting in the chair at his desk. He's dead, his throat slit. Horatio walks up to the desk and takes in the scene.)

HORATIO: This looks strangely familiar.

(Mac walks up to the body and stops.)

MAC TAYLOR: Knife's in mom; dad bought it first.

HORATIO: Mr. Penrod got this family's sleeping arrangements down, didn't he?

(They both stare at the body. From another part of the house, there's a banging sound.)

HORATIO: Did you hear that?

(Horatio takes out his gun.)

HORATIO: Where's that coming from?

MAC TAYLOR: Back room.

(Horatio walks out of the study. Mac takes out his gun and follows.)

CUT TO:

[INT. (NYC) HANOVER RESIDENCE - BACK BEDROOM - DAY - CONTINUOUS]

(Horatio stands outside the closed bedroom door, his gun out in front of him. He pauses a beat, then kicks the bedroom door open. On the floor, they find Michael Hanover, Jr., on the floor gasping and whimpering from the stab wounds in his back.)

(Horatio rushes over to him. He puts his gun down and checks on him.)

HORATIO: Son? (to Mac) He's still breathing. Stay with us, son.

MAC TAYLOR: (to radio) CSI, 24-33 to Central K. Yeah, I need a bus forthwith at 1526 Fifth Avenue, Hanover residence. I have a male stabbed. Put a rush on it, K.

HORATIO: (quietly) Stay with us.

(Michael Hanover, Jr., looks up at Horatio.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

[EXT. VARIOUS NEW YORK CITY (STOCK) -- DAY]

[EXT. (NYC) HANOVER RESIDENCE - FRONT - DAY]

(Curious on-lookers struggle to get prime camera shots as the crowd gathered outside the building has grown.)

(The EMTs wheel Michael Hanover, Jr., on a gurney out of the building and into the waiting vehicle.)

(Officers form a human block to keep the on-lookers controlled.)

(Stella Bonasera breaks away from the crowd and rushes to the gurney.)

STELLA BONASERA: Hey, hey, hold up, hold up. Just got to get a couple of shots of the entry wound.

(She snaps a couple of photos of the wound.)

EMT: Lifesaving measures over evidence, Bonasera.

STELLA BONASERA: Look, what I'm doing may prevent another attempt on his life, okay? Hang in there, buddy.

(She pulls the blanket back up over Michael Hanover, Jr.)

(Mac walks toward the Stella. A News Reporter calls out to him.)

NEWS REPORTER: Detective Taylor, Detective Taylor.

(He turns around and looks back at her.)

NEWS REPORTER: Is this like the Dumbo massacre? (He ignores her and continues toward Stella.) What about Penrod, is he still at large?

STELLA BONASERA: Davey Penrod? How'd she get that?

MAC TAYLOR: New York. You think it, it's news.

(He turns and they both enter the building, their kits in their hands.)

MAC TAYLOR: Ticking clock's begun. You ready for this?

STELLA BONASERA: Oh, yeah. Where's your friend?

(Reporters' cameras flash.)

FLASH TO:

[INT. (NYC) HANOVER RESIDENCE - BACK BEDROOM - DAY]

(Mac finds and picks up a hair strand. He looks at it.)

MAC TAYLOR: Blonde.

(Stella takes a bindle and stands up.)

STELLA BONASERA: What color's the wife's hair?

(Mac puts the hair in the bindle.)

MAC TAYLOR: Brunette.

STELLA BONASERA: Maybe dad had a visitor.

(She puts the bindle away. Mac examines the chair surface.)

MAC TAYLOR: Bob Fosse's Life Story.

STELLA BONASERA: All that jazz.

MAC TAYLOR: Semen.

(Stella takes out the camera and snaps some photos.)

STELLA BONASERA: Old man was a stud.

MAC TAYLOR: So, mom's in the bedroom knocked out on percocets.

STELLA BONASERA: Yeah, and dad's in the study with the candlestick. Only one way to put out his fire.

MAC TAYLOR: (thinking) Blow.

(Stella somewhat smiles. She waits for him to say something, but he doesn't. He's still thinking.)

STELLA BONASERA: You think the bimbo's connected?

MAC TAYLOR: Macveneziano's theory of quantum physics, everything's connected. We just have to find out how. Have DNA look for a tag.

CUT TO:

[INT. (NYC) HANOVER'S BUILDING - LOBBY -- DAY]

(Stella interviews Doorman Kevin Dowell.)

STELLA BONASERA: When was the last time you saw the Hanovers?

KEVIN DOWELL (DOORMAN): When I unloaded their limo yesterday afternoon. They came back from Florida. The next thing I know, the police are swarming the building.

STELLA BONASERA: Okay, fire code says that there's a back door here. I can't seem to find it.

KEVIN DOWELL (DOORMAN): Uh, yeah, it's hidden.

(He points to a spot behind him.)

STELLA BONASERA: (nods and smiles) Why don't you try un-hiding it?

(Kevin Dowell nods.)

STELLA BONASERA: Thanks.

(Kevin turns to lead Stella to the door. She picks up her kit and follows him.)

RADIO: (b.g.) ... David Penrod could be armed and dangerous.

(He walks over to the far wall and opens the door. She puts her kit down and steps in through the door to look at it from the other side. Kevin takes off his cap for a moment and brushes his hair with his fingers. He puts his cap back on.)

STELLA BONASERA: You need a key?

KEVIN DOWELL (DOORMAN): Yes.

(She notes the undamaged lock.)

STELLA BONASERA: You got one?

KEVIN DOWELL (DOORMAN): Yes, and the Hanovers have three.

STELLA BONASERA: I'm going to need yours.

(She steps back out into the lobby and looks around the door walls.)

KEVIN DOWELL (DOORMAN): I already gave mine to the homicide detective. Should I go ask him ... ?

STELLA BONASERA: No, that's all right, I'll take care of it.

(She kneels and finds a bloody print on the wall on the door.)

STELLA BONASERA: Did you see anybody go out here late last night?

KEVIN DOWELL (DOORMAN): No, I have to stay in the front of the building. God forbid a tenant should have to open their own door.

STELLA BONASERA: That's good enough. Thanks.

(Kevin Dowell leaves. Mac and Danny walk up to Stella.)

STELLA BONASERA: Hey, we got a blood swipe. The killer's exit. Maybe entrance, too.

DANNY MESSER: I'll process the door and stairs.

(Danny steps forward and puts his kit down. He gets to work.)

MAC TAYLOR: Look for anything that isn't from a Hanover or a Penrod.

(Danny kneels at the door where Stella was. He notes the undamaged lock.)

DANNY MESSER: No forced entry.

MAC TAYLOR: Pop the lock. Take it apart -- see if it was picked. Follow up on the keys. Somebody got in here somehow.

(Mac turns and leaves.)

CUT TO:

[INT. (NYC) CSI - LAB]

(Danny takes the lock apart and removes something from inside. He puts it under the scope and looks at it.)

[SCOPE VIEW]

CUT TO:

[INT. (NYC) CSI - LAB]

(Stella walks into the lab and heads over to Danny Messer.)

STELLA BONASERA: How's our secret door? Was it picked?

DANNY MESSER: No scratches inside the lock. All markings are consistent with key use only.

(Quick CGI Close-up: Key is inserted into the lock and is turned. End of CGI Close-up. Resume to present.)

DANNY MESSER: You know, if there are nine rats for every person living in

Manhattan, there's gotta be at least five keys per head. Apartment door, car door ...

STELLA BONASERA: Lock at the gym. Yeah. Fast forward.

DANNY MESSER: But there are only a few alloys used to make keys. New duplicate keys are all coated in red acrylic now. And that's what these shavings are. A duplicate was used to get in here.

(Quick CGI Close-up: Key is inserted into the lock. As it's inserted, red acrylic shavings fall off the key.)

DANNY MESSER: (v.o.) And shavings were left behind.

(End of CGI Close-up. Resume to present.)

STELLA BONASERA: (nods) All right, so it was the last one in. Any other disturbances?

DANNY MESSER: (whispers) Pristine.

STELLA BONASERA: Penrod didn't just have help. It was an inside job.

DANNY MESSER: How you figure?

STELLA BONASERA: Well, you've got four masters, right? Somebody's got to be really close to the Hanovers or the doorman to get one to get it duped.

DANNY MESSER: Then I need those masters.

CUT TO:

[INT. (NYC) CSI - STAIRS TO FORENSIC AUTOPSY -- DAY]

(Mac Taylor climbs up the stairs. He reaches the floor and pushes the door open.)

CUT TO:

[INT. (NYC) CSI - FORENSIC AUTOPSY - DAY - CONTINUOUS]

(Mac walks into the autopsy lab.)

MAC TAYLOR: Dr. Hawkes ...

(Dr. Sheldon Hawkes turns around and sees Mac walk into the room. Mac removes his jacket.)

MAC TAYLOR: So glad I could get an appointment.

(Dr. Sheldon Hawkes heads for the body with Mac.)

DR. SHELDON HAWKES: Mayor's office called. Put in a word for you.

MAC TAYLOR: Figures. What's T.O.D.?

(Mac puts his coat aside and picks up a pair of gloves to put on. They both stand around the body. Dr. Sheldon Hawkes picks up the clipboard and looks at the papers.)

DR. SHELDON HAWKES: Your victims have been dead since about 4:00 this morning. New York, Miami - (He pulls the blanket covering the body down.) -- stab wounds are similar in both manner and location. However, one of the Miami victims was nearly decapitated. Killer showed more restraint with the Hanovers.

MAC TAYLOR: Yeah, we're aware of that. Anything else?

DR. SHELDON HAWKES: Turns out Mike Hanover has a heart, after all. Well, he did. A strong one. Withstood a massive myocardial infarction. Scar tissue indicates it happened within the last year. But his heart disease was progressive. Not sure how many more years he had.

MAC TAYLOR: Anything else?

DR. SHELDON HAWKES: His crotch.

(He motions for Mac to join him on the side of the table. They put on goggles and he shines an ALS on the victim's lower body. Dr. Hawkes looks at Mac. Mac turns away for a moment.)

(Dr. Hawkes picks up a swab.

DR. SHELDON HAWKES: I've heard of having the blues, but this is ridiculous.

(He shows the tip of the swab tinted blue under the ALS.)

CUT TO:

[INT. (NYC) CSI - LAB]

(CSI Aiden Burn processes the sample from the swab.)

(Mac Taylor walks into the lab.)

MAC TAYLOR: Aiden?

AIDEN BURN: Hey. Thanks for letting me work trace on this.

MAC TAYLOR: Well, you do a Bodega for Danny, you should be able to touch a big case like this. Figure out what had Mr. Hanover so blue?

(She walks over to the printer and pulls out the results.)

AIDEN BURN: "Propylene glycol dicocoate, alkyl benzoate, ozokerite." A high concentration of titanium dioxide and iron dioxide. Cosmetic makeup.

MAC TAYLOR: High pigment?

AIDEN BURN: Practically opaque.

MAC TAYLOR: Stage makeup.

AIDEN BURN: Mm-hmm. So, whoever hit her knees was probably in a play.

CUT TO:

[EXT. VARIOUS NEW YORK CITY (STOCK) - EVENING]

(Mac and Stella interview Renee Rydell, an actress sitting at the dressing table removing her make-up.)

MAC TAYLOR: Homicide says this was the only show that wasn't dark on Mondays. And I see you're the only one in the cast of rainbow that wears blue.

(Stella sits down.)

STELLA BONASERA: And your artistic director tells us that you were in a relationship with Michael Hanover, Sr.?

RENEE RYDELL: Am I under arrest?

MAC TAYLOR: Depends on what you tell us.

RENEE RYDELL: Look, all I know is what I hear on the news.

(Mac nods.)

MAC TAYLOR: Well, maybe we can help you know more.

(He shows her a photo of the strand of hair he found.)

MAC TAYLOR: See this hair? This was taken from the chair that Mike Hanover was killed in. If we take a DNA sample, will it match your hair?

RENEE RYDELL: (sighs) What do you want me to say? "I was there"? I was there.

STELLA BONASERA: Oh, we know where you were. Your makeup puts you south of his border.

RENEE RYDELL: (nods) Oh. That. I was trying to ... wind things down with Mike. That was ... just a parting gift. I cabbed over after the show. Used his key to the backdoor. I did my thing, gave him the time of his life I left around three o'clock.

(Quick flashback to: [INT. (NYC) HANOVER RESIDENCE - STUDY] Renee gets to her feet and gives Mike Hanover, Sr. a kiss on his lips.)

(Cut to: She leaves through the back stairs.)

(End of flashback. Resume to present.)

MAC TAYLOR: Maybe you let Davey Penrod in the secret doorway on your way out.

RENEE RYDELL: Who's Davey Penrod? Look, Mike told me there'd be other shows down the line. Said he'd even back a play I wrote. Why would I have any part in killing him?

MAC TAYLOR: We don't know. But we'd like the key you used last night.

STELLA BONASERA: And the clothes you wore.

(Renee reaches for her bag and gives Mac her key.)

(Mac looks at the key.)

CUT TO:

[INT. (NYC) CSI - CRIME LAB]

(Stella ALS's Renee Rydell's clothes while Mac watches. So far, they haven't found anything.)

STELLA BONASERA: Hmm. No blood. Nothing's absorbing.

MAC TAYLOR: Yet.

(Mac sighs.)

MAC TAYLOR: Where's Lieutenant Caine?

STELLA BONASERA: He's with homicide. They got a call. Someone spotted Penrod at a clinic in Tribeca, trying to get his leg set.

(She finds something.)

STELLA BONASERA: Okay. I got biological fluid.

(Close-up of the fluid splotches on the clothes.)

STELLA BONASERA: And it ain't blood.

CUT TO:

[INT. (NYC) HOSPITAL - HALLWAY]

(Mac Taylor walks down the hallway to meet up with Horatio.)

MAC TAYLOR: No luck with Penrod?

HORATIO: No, he realized his nurse made him, so he bolted before we arrived. What'd you get?

MAC TAYLOR: Processed the dancer's clothes. Semen's not a match to Mike Hanover.

(He hands the DNA results to Horatio.)

HORATIO: The alleles are a match. To each of the 13 loci. Which means Renee slept with another male Hanover.

(He turns and looks through the hospital room window at Mike Hanover, Jr.)

HORATIO: And there's only one of those. And he's right in there.

MAC TAYLOR: She's reason enough a guy'd want dad out of the way.

HORATIO: And that is motive in any state.

FADE OUT

(COMMERCIAL SET)

FADE IN.

[EXT. NEW YORK CITY (STOCK) -- DAY]

[INT. (NYC) HOSPITAL - HANOVER'S ROOM -- DAY]

(Horatio and Mac Taylor interview Michael Hanover, Jr.)

MAC TAYLOR: Did your father know you were sleeping with his mistress?

MIKE HANOVER, JR.: She's not his mistress, she's my girlfriend.

MAC TAYLOR: Is that why you killed your dad? Because you caught them together? Are you aware last night, they shared an act of an intimate nature?

MIKE HANOVER, JR.: I knew. Look, he didn't care about Renee. He was always lying to her about helping her career. I care about her.

HORATIO: Michael, how do you end up with his dad's mistress? How does that switch take place?

MIKE HANOVER, JR.: I saw her crying for the twentieth time, about how he treated her. I was a shoulder for her.

(Quick flashback to: Mike finds Renee crying.)

MIKE HANOVER, JR.: The old man ... he promises a lot of things. Not me.

(They kiss.)

(End of flashback. Resume to present.)

MAC TAYLOR: How long were you sneaking around behind your dad's back?

MIKE HANOVER, JR.: Couple of months. We were trying to come up with a way to tell him.

MAC TAYLOR: Sure you didn't tell him last night?

MIKE HANOVER, JR.: No. Look, I didn't kill my dad.

MAC TAYLOR: We want the keys to the back door.

(Mac Taylor looks over at his clothes. Horatio steps forward and removes the keys.)

(Mike Hanover's lawyer walks into the room.)

LAWYER: Hello? What are you doing here? You know you can't talk to him. Both of you, out. My client's suffered a terrible loss.

HORATIO: And about to inherit half of Manhattan, I understand. Michael as it turns out is the prime beneficiary of his father's estate, correct?

MAC TAYLOR: Homicide tells me they're trying to get hold of the old man's will.

LAWYER: That's not possible. I've filed a motion for a protective order.

MAC TAYLOR: And how about you show us junior's stab wounds?

MIKE HANOVER, JR.: Why?

MAC TAYLOR: To see if you or your girlfriend cut you for show.

LAWYER: Excuse me. My client is a victim and is to be treated as such.

MAC TAYLOR: Then you wouldn't mind letting us see the injury.

LAWYER: He wouldn't, I would. (He points.) There's the door.

(Horatio takes the key and turns to leave.)

CUT TO:

[INT. (NYC) HOSPITAL - HALLWAY - DAY - CONTINUOUS]

(Mac and Horatio exit the hospital room. They're both moving in separate

direction working for the same goal.)

MAC TAYLOR: Other ways to check his wounds.

HORATIO: I will be at the morgue.

MAC TAYLOR: I'll be on Bonasera's photos.

HORATIO: Good.

(Horatio exits camera frame right; Mac Taylor exits camera frame left.)

CUT TO:

[INT. (NYC) - CSI LAB -- DAY]

(Stella walks over to Danny.)

STELLA BONASERA: So did you get a hit on the master keys?

DANNY MESSER: Got all four right here -- mom, dad, junior and the doorman.

Found machine marks on one of them, it was definitely copied.

(Quick flash of: A key being duplicated. End of flash. Resume to present.)

STELLA BONASERA: Let me guess, the doorman.

DANNY MESSER: Sorry, door number four. The key belonging to Mrs. Hanover.

STELLA BONASERA: What?

DANNY MESSER: Evidence collection found it in her bag in her room.

(He invites Stella to look through the scope.)

[SCOPE VIEW] of the key.

DANNY MESSER: Look, still has minuscule shavings in the creases. Someone made a copy of this key. The dupe was definitely used to get in the back door, the night of the murders.

STELLA BONASERA: I don't get it. How does a monster like Penrod get involved with Mrs. Hanover?

CUT TO:

[INT. (NYC) INT - MORGUE - DAY]

(Horatio stands next to the table with Mrs. Hanover on. He compares her to the file photo in his hand.)

HORATIO: Okay, that's mom. Let me see dad, please.

DR. SHELDON HAWKES: What are we looking for?

HORATIO: We are looking for hilt mark bruises.

(Dr. Sheldon Hawkes puts Mrs. Hanover's body back.)

CUT TO:

[INT. (NYC) CRIME LAB -- DAY]

(Mac puts the photos out on the table.)

CUT TO:

[INT. (NYC) INT - MORGUE - DAY]

(Dr. Hawkes pulls out the table with Michael Hanover, Sr. on.)

DR. SHELDON HAWKES: Ready?

(He lifts up the sheet.)

HORATIO: So, we've got bruising on dad - but not on Michael, Jr.

CUT TO:

[INT. (NYC) CRIME LAB - DAY]

(Mac studies the photos spread out on the table. He sees the hilt bruising on some and not on others.)

CUT TO:

[INT. (NYC) INT - MORGUE - DAY]

(Horatio's phone beeps. He answers it.)

HORATIO: Horatio Caine.

MAC TAYLOR: (from phone) You seeing what I'm seeing?

HORATIO: Uh-huh.

INTERCUT WITH:

[INT. (NYC) CRIME LAB - DAY]

MAC TAYLOR: Hilt marks on the parents. No hilt marks on the son.

(Quick flash to: The knife stabs through skin. Quick time lapse shows hilt marks on the skin around the wound. End of flash. Resume to present.)

MAC TAYLOR: Junior was stabbed with a different knife.

HORATIO: Two knives and two attackers.

MAC TAYLOR: And we've only got one knife.

HORATIO: I'm going to go back to Tribeca and look for Penrod, okay? You keep me posted. Thank you.

(Horatio leaves the morgue.)

(Mac hangs up. He makes his announcement.)

MAC TAYLOR: I think there's another knife at the Hanover residence.

DANNY MESSER: (shakes his head) No. I'm telling you, Mac, we tore the place apart.

(Mac thinks about it for a moment, then leaves.)

CUT TO:

[EXT. NEW YORK CITY (STOCK) - DAY]

[EXT. (NYC) ROOFTOP - DAY]

(Mac looks out at the city from the rooftop. He turns and walks out of frame.)

CUT TO:

[INT. (NYC) HANOVER RESIDENCE - DAY]

(Mac walks through the hallway toward the elevator. The officer standing near the elevator pops a piece of gum in his mouth. Mac nods to him that he wants to go down. The Officer presses the elevator door button.)

(The elevator chimes and the doors open.)

(The officer turns and surreptitiously drops the wadded gum wrapper down the elevator shaft. Mac sees the wrapper disappear down the crack between the elevator and the floor.)

(He thinks about it for a moment.)

(He walks over to the elevator crack and kneels down. What are the

possibilities?)

(Quick camera zooms through the elevator space, down through the floors to the ground below. It stops at the rubbish collected there.)

(Mac gets an idea and glances up at the officer standing off screen.)

CUT TO:

[INT. ELEVATOR SHAFT - HANOVER BUILDING -- DAY]

(Mac is standing on the ground under the elevator. He looks up and shines his flashlight up.)

(He looks down at the ground and finds the second knife in the dirt.)

(He kneels down, takes out a glove and picks up the hiltless knife. He looks at it.)

(He looks around the area and finds something else he wasn't looking for. A silver tassel.)

CUT TO:

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(Doorman Kevin Dowell is being questioned by Mac Taylor. Mac takes out the bagged hiltless knife.)

MAC TAYLOR: Found this in the elevator shaft. There's no hilt, which means it doesn't leave a mark.

KEVIN DOWELL (DOORMAN): Anybody could've stabbed him.

MAC TAYLOR: Once our lab tests the blood on your uniform and it matches Michael Jr.'s, that "anyone"... becomes you. Specificity of DNA. You got back on the elevator and dropped this down the shaft. Unfortunately, for you ... you dropped something else.

(Mac puts the knife aside and takes out a second bag with the silver tassel inside. He shows it to Kevin Dowell.)

MAC TAYLOR: Would you mind holding up your arms, please?

(Kevin Dowell holds up his arms and we see that on his right cuff, there's a silver tassel. On the left cuff, there's none.)

MAC TAYLOR: Missing tassel.

(Quick flashback to: The elevator doors open and Kevin wipes the bloodied knife against his left sleeve and cuts the tassel off unknowingly.)

MAC TAYLOR: (v.o.) When you were wiping the blood off, the tassel was severed.

(He drops the knife in the elevator shaft.)

(End of flashback. Resume to present.)

(Mac Taylor takes out a file.)

MAC TAYLOR: You're the only doorman in Michael Hanover Sr.'s last will and testament. The lawyers released it after we picked you up. There's an interesting thing here on page 51. (reading) "For saving my life by administering emergency CPR when I sustained a heart attack, keeping me alive until the paramedics arrived, ...

(Quick flashback to: In front of the building, Kevin Dowell gives Mike Hanover CPR.)

MAC TAYLOR: (v.o.) "I leave the sum of one million dollars to Kevin Dowell, payable in full upon my death."

MICHAEL HANOVER, SR: A million, Kevin. You're in my will.

(End of flash. Resume to present.)

MAC TAYLOR: Only ... you got impatient, tried to speed up the process ... so you had Hanover killed. That brings us to Penrod.

INTERCUT WITH:

[INT. (NYC) BUILDING - HALLWAY - DAY]

(Horatio leads several officers down the hallway to the apartment. Their guns are out.)

MAC TAYLOR: (v.o.) Monster like him -- what's his connection to a hardworking guy like you?

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(Kevin Dowell shakes his head.)

KEVIN DOWELL: (quietly) Every good doorman needs a dealer.

[INT. (NYC) BUILDING - HALLWAY - DAY]

(Horatio reaches the door and raises his gun.)

KEVIN DOWELL: (v.o.) He's been mine for ten years.

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]

(Kevin stares out in front of him.)

KEVIN DOWELL: Drugs, women ... every kind of kink -- you name it.

[INT. (NYC) BUILDING - HALLWAY - DAY]

(The door breaks away from the lock. Horatio steps into the apartment followed by the officers. He heads straight for David Penrod who hears them, stands up and raises his arms in surrender.)

(Horatio gets right up to his face.)

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM 1 -- DAY]

KEVIN DOWELL: Got to keep the tenants happy. There's nothing Penrod won't do.

MAC TAYLOR: For a price.

[INT. (NYC) BUILDING - HALLWAY - DAY]

(Horatio puts his gun down and holds out the keys in Penrod's face.)

CUT TO:

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM 2 -- DAY]

(Horatio interviews David Penrod.)

DAVID PENROD: I don't know what you're talking about.

HORATIO: I'm talking about murder and conspiracy ... to commit murder.

(Horatio slides the photo of the Maybach Airlines ticket holder on the table. It's labeled CASE #04-4747.)

(Quick flashback to: [INT. (NYC) PENROD'S APARTMENT --

DAVID PENROD: (to phone) Now, I told you. Half a mil and I'm in. All right, now, give me the address. All right, hold on.

(He reaches into the drawer for a pen and paper. He jots down the address.)

DAVID PENROD: (to phone) 702 Star Island. Now, I got an ID. don't worry. Got a lowlife nobody'll miss.

(End of flashback. Resume to present.)

INTERCUT WITH:

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM 1 -- DAY]

MAC TAYLOR: That "lowlife "... was an undercover New York City police officer. You couldn't have drawn more attention if you'd sent up a flare.

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM 2 -- DAY]

HORATIO: You flew down to Miami, and you killed the wrong family. 702 is not 720. You're dyslexic, aren't you?

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM 1 -- DAY]

MAC TAYLOR: Bet you had a heart attack when the Hanovers drove up, back in Manhattan.

(Quick flashback to: [EXT. FRONT DOOR] Kevin Dowell opens the car door and is surprised to see Mrs. Hanover step out of the car.)

KEVIN DOWELL: Mrs. Hanover, you're-you're back.

(Flash to: Mrs. Hanover hands her keys to Kevin Dowell.)

MRS. HANOVER: Take the bags up the back staircase.

(Michael Hanover, Sr. steps out of the car.)

MICHAEL HANOVER, SR.: Hello, Kevin.

KEVIN DOWELL: Hello, Mr. Hanover.

(Kevin watches them enter the building.)

(End of flash. Resume to present.)

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM 2 -- DAY]

(Horatio slides the key in a plastic holder onto the table. The label reads: VICTIM'S KEY (MRS. HANOVER).)

HORATIO: The doorman ... was smart enough not to dupe you one of his own keys. You went up to the Hanovers and started killing them. You were a little more relaxed this time.

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM 1 -- DAY]

MAC TAYLOR: (to Kevin) But you couldn't stay out front, could you?

(Quick flash to: Kevin Dowell meets up with David Penrod in the doorway to the room where Michael Hanover, Jr. is sleeping.)

KEVN DOWELL: I'll take care of the kid.

(David Penrod turns and leaves. Kevin reaches into his coat and takes out a hiltless knife.)

(End of flash. Resume to present.)

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM 2 -- DAY]

HORATIO: You needed junior to stay alive to throw suspicion off yourself.

[INT. (NYC) POLICE DEPARTMENT - INTERVIEW ROOM 1 -- DAY]

MAC TAYLOR: And it worked ... till the evidence told us a different story.

(Camera holds on Kevin Dowell.)

CUT TO:

(Horatio Caine escorts David Penrod out of the Police Station. Mac Taylor, escorting Kevin Dowell, also exits the Police Station at the same time. They head in two different directions toward two different parked police cars.)

(The front is crowded with news reporters shouting and photographers' cameras flashing.)

(A black limousine pulls up along the station. Michael Hanover, Jr. steps out of the back seat of the car. He watches as Mac puts Kevin Dowell in the back of the officer car. Horatio puts David Penrod in the back of the other officer car.)

(Mac Taylor turns and heads back toward Horatio.)

(A young news reporter runs up the sideward toward him.)

REPORTER: Detective Taylor?

(Horatio stands off to the side watching the news hounds do their jobs.)

(Mac Taylor turns around when he hears the Reporter call his name.)

REPORTER: Detective?

(He sees Horatio standing off to the side. Horatio smiles and nods.)

REPORTER: Detective Taylor?

REPORTER: (insistent) Detective Taylor?

REPORTER: Detective Taylor.

(Their eyes meet in appreciation and thanks. Horatio raises his hand in

farewell.)

REPORTER: Detective. Detective Taylor?

(Mac smiles back at Horatio and raises his hand in farewell. Mac turns to the Reporter.)

REPORTER: Detective, was there any one thing that helped you break this case?

(Horatio stands off to the side and slips on his sunglasses. He looks up.)

MAC TAYLOR: (to the reporter) Look, I-I just want to say one word to my colleague here, all right?

(Mac turns around toward Horatio.)

(Horatio's gone.)

(Mac looks around but doesn't see him.)

(A police officer car drives away.)

(Stella Bonasera and Danny Messer step out of the building. Mac sees her and smiles as he heads toward her.)

(She joins him.)

STELLA BONASERA: Hey. I recognize those getaway sticks.

(In the back seat of the black limousine is Renee Rydell. She reaches out a hand toward Michael Hanover, Jr. who is still standing outside the vehicle.)

MAC TAYLOR: Renee.

(Michael Hanover, Jr. slips back into the limo. The door closes.)

MAC TAYLOR: Junior inherits half a billion and his dad's mistress. Yeah.

It's the stuff New York legends are made of.

(Mac turns and heads back into the building. After a beat, Stella follows him inside.)

DISSOLVE TO:

[EXT. NEW YORK CITY (STOCK) - DAY]

(Camera slowly pulls back from the city.)

WHITE FLASH TO:

[EXT. MIAMI CITY SKYLINE (STOCK) - DAY]

(Camera moves toward the city skyline.)

FADE TO: