[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. CONSTRUCTION SITE -- NIGHT]
(A lone figure carries a body through the construction site. His feet stagger in the dirt under the weight.)
VARIOUS DISSOLVES OF: The man continues to carry the body through the construction site.
(The man adjusts his hold on the barefooted body wrapped in a blanket. He starts walking across a board leading to the still drying concrete. He tosses the body onto the concrete. The body lands with a splat, unrolls and the body comes to a halt.)
(The man nearly loses his balance as he looks at the body out on the concrete. He rolls his eyes.)
FLASH TO:
[EXT. CONSTRUCTION SITE -- DAY]
(The man is stuck waist-deep in the concrete. Brass leads Catherine and Grissom to the man in the concrete next to the body.)
Brass: Construction crew found him when they came into work this morning. The woman's dead. The guy's still alive, but he's not talking. Wouldn't even give me his name, even after I gave him my name.
(Catherine starts laughing as she heads over to look at the body.)
Grissom: Did you, uh, pull his wallet?
Brass: No, everything is just the way I found it. I mean, I figure some knucklehead, you know, came in off the street, found him, figured he had a free pass, and picked his pocket.
(The man in the concrete shakes his head. Catherine can't seem to stop laughing.)
Brass: Anyway, I'm, uh ... I'm talking to people. I'll, uh, I'll let you know what we find out.
Grissom: Catherine ... Do you need a minute?
Catherine: Yes, I'm ... Yes, I'm ... (clears throat) I mean ... No, Gil. I'm good.
(Catherine walks back to the man in the concrete.)
Catherine: So, how's your day going?
Max: Lady ... the best day I ever had is worse than the worst day you've ever imagined.
Catherine: Oh, I doubt that.
Grissom: Who's your lady friend?
Max: Never saw that woman before in my life.
Catherine: Uh, look, you're not going anywhere. It'll be a lot better for you if you just cooperate and tell us what happened.
Max: You want to know what happened?
Catherine: Mm-hmm.
Max: Figure it out yourself.
Grissom: That's the fun part.
(Catherine chuckles.)
FADE TO END OF TEASER ROLL TITLE CREDITS
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - DAY]
(Sirens wail in the distance.)
[EXT. APARTMENT COMPLEX -- DAY]
(The residents wait outside. Nick and Warrick walk into the complex. They pass the guard posted at the gate. They meet up with Sofia.)
Sofia: Hey.
Warrick: Hey.
Stokes: Que pasa?
Sofia: One of the residents reported smelling a gas leak at 6:00 a.m.
(She leads them up the stairs.)
Sofia: He, uh, called the gas company. They arrived; they evacuated the building.
Nick: I'm surprised anyone picked out a gas leak through the rest of the stench around here.
(They reach the second floor.)
Warrick: Yeah, smells like used diapers.
[INT. IVANOVNA RESIDENCE - DAY - CONTINUOUS]
(She leads them into the apartment.)
Sofia: The gas boys traced the leak to this apartment, and that was when they found ...
(She leads them into the kitchen where someone has their head stuck in the open oven.)
Sofia: -- this.
Nick: Whoa.
(Nick walks around the body and looks inside the oven.)
Sofia: Alyona Ivanovna. Manager said she's lived here alone for 27 years.
Nick: Head in the oven ... It's kind of a classic, huh?
(Warrick sees a broken dish on the wash rack.)
Warrick: Maybe not. I mean, this apartment is neat as a pin. A lady this tidy wouldn't leave a broken dish in a rack like that, you know?
(He snaps a photo of the dish.)
Sofia: It doesn't necessarily indicate foul play.
(Nick snaps digital pictures of the body while Warrick continues to take photos of the apartment.)
Sofia: I checked the doors and the window. There's no sign of forced entry.
(Warrick notes the broken phone, twisted on the wall.)
Warrick: What do you make of this? A busted phone ...
(Quick ZOOM to a CU of the gray hair on the phone.)
Warrick: -- with gray hairs in it.
(Nick looks at the old woman's hair.)
Nick: She's definitely got gray hair.
[SCENE_BREAK]
[EXT. CONSTRUCTION ISTE -- DAY]
(The paramedic squirts water into Max's mouth and puts some goggles over Max's eyes.)
Catherine: (o.s.) Okay, David. Let's roll her over together.
(Catherine and David are with the body. They flip the body over. Max watches from the side. The paramedic is applying sunscreen to the top of Max's bald head.)
David Phillips: Single stab wound, just below the sternum. It feels domestic. Crime of passion? CATHERINE: Maybe?
David Phillips: Good point.
[SCENE_BREAK]
(The workers use a jackhammer on the concrete around Max. Catherine covers her eyes as the dust fills the air around them.)
Catherine: Hey! Hey! Hey!
(She motions for the worker to stop. The jackhammer stops.)
Catherine: You ready to give me a name?
(Max doesn't say anything.)
Catherine: You know, you are in a very deep hole, in every sense of the word, my friend. Think about that while we chisel you out. It's going to take a few hours ... assuming we're careful. See ya.
(Max waves to her as Catherine gets up and leaves.)
[SCENE_BREAK]
[INT. IVANOVA RESIDENCE - KITCHEN -- DAY]
(Warrick spreads the white sheet on the floor as Nick and David Phillips help get Alyona Ivanovna out of the oven. They place her on the sheet.)
Nick: It's just a guess, but I'd say she's in rigor.
(Warrick snaps photos of the body.)
David Phillips: Blunt-force trauma on the forehead, and on the base of the skull.
Warrick: I doubt very highly that those were self-induced.
(Warrick shines his flashlight on the inside of the oven.)
Warrick: Look at that: it's dented.
(Quick flash to: Someone shoves the old woman into the oven. End of flash.)
Warrick: Looks like she may have been slammed into her own oven.
Nick: Yep.
David Phillips: She's been dead at least twelve hours.
(Camera zooms in toward something behind her ear.)
Nick: I've got a substance on her ... right ear. She doesn't really look like the hair gel type.
(Warrick snaps photos.)
Nick: Hang on a second, fellas. Look at that.
(Nick reaches in and takes out the woman's bottom teeth.)
Nick: Her dentures ... they were in upside down.
(Very strange.)
[SCENE_BREAK]
[INT. CSI - HALLWAY - DAY]
(Grissom finds Greg in the hallway.)
Grissom: Hey. You're coming with me. We got another 419 out by Nellis.
Greg: Wow, busy night. Any details?
Grissom: They tell me it tastes just like chicken.
[SCENE_BREAK]
[EXT. MANNLEIGH CHICKEN -- DAY]
(Grissom and Greg walk past the officers as they head for the warehouse. Outside, there are moveable cages filled with chickens.)
[INT. MANNLEIGH CHICKEN -WAREHOUSE - DAY]
(The plant is quiet. Grissom and Greg walk inside and meet up with Brass, who waits by the body. The body is in the basin in some water.)
Brass: The dead guy in the bath is Raymundo Suarez. He works the night shift. He cleans the equipment from 8:00 p.m. to 4:00 a.m. The day-shift guys came in, found him like this. The foreman here called it in.
Grissom: This basin is designed to transfer an electrical current.
Plant Foreman: Of course it does. It's a stun bath. We use it to stun the chickens before they go into the next room.
Brass: Where they get their throats cut.
Plant Foreman: Which is why we electrocute them first. It's humane.
Greg: Was the current on when you found the body?
Plant Foreman: No, sir, it was off; it stays off all night. Hey, uh, how long is this gonna take?
Brass: As long as it takes.
Plant Foreman: I got a lot of birds piling up outside. They're gonna die out there in that heat.
Brass: Well, it's not like they're gonna do any better in here. Come on, I want to talk to your crew.
(Brass leads the plant foreman out of the area. Grissom looks up at the equipment.)
Greg: Maybe he was high. Passes out and falls in?
Grissom: How does he end up face down in the middle of the bath?
Greg: Kind of tough to drown in three inches of water.
Grissom: Not impossible, though.
(Quick flash of: Raymundo Suarez is face down in the water. He seizes and shakes from the electrocution.)
Grissom: (V.O.) If he hit the water when the current was on, his muscles could've contracted, making it impossible for him to get out.
(Someone comes and turns the switch off.)
Greg: (V.O.) But the machine's off at night, and it was off when they found the body.
(End of flash.)
Greg: Which means someone turned it off after he was dead.
Grissom: Yeah. (beat) Who?
[SCENE_BREAK]
[EXT. MANNLEIGH CHICKEN - DAY]
(Outside, the workers are being interviewed by officers. The chickens continue to sit in their cages.)
(Brass interviews Ernie Dell.)
Brass: All right, what's your name, and what do you do here?
Ernie Dell: Name's Ernie Dell. Maintenance man. I work 3:00 to 11:00.
Brass: Mm-hmm. You see the victim last night?
Ernie Dell: Uh, yeah, and Raymundo was just fine when I left.
Brass: You and Raymundo get along?
Ernie Dell: Kept my nose out of his business; he kept his out of mine. Didn't have a problem with him.
Brass: But you know somebody who did?
Ernie Dell: Well, between you and me, the guy you ought to be talking to is Ike Mannleigh.
Brass: Oh. You mean the guy who owns the company?
Ernie Dell: Well, Raymundo's pretty far down on the pecking order.
Brass: You think the big boss had a problem with him?
Ernie Dell: No. Not unless you think a guy banging your wife is a problem.
(Quick flash of: Raymundo and Mrs. Mannleigh kiss and undress among the clucking chickens. Ernie Dell sees them from behind the chicken cages. End of flash.)
Ernie Dell: Can't blame him, though. Bubbles Mannleigh is a cheap whore.
Brass: Did you and Bubbles take a tumble?
Ernie Dell: Me? Nah. Reminds me too much of my mother. Besides, uh ... Bubbles likes the dark meat.
[INT. MANNLEIGH CHICKEN -WAREHOUSE - DAY]
(Greg snaps photos of the body and surrounding areas while Grissom looks around.)
(Grissom kneels in front of the electrical switch and moves it a little.)
(Greg finds something. He snaps a photo and picks up a used condom.)
Greg: Unappetizing place to get your rocks off.
Grissom: Not if you have a poultry fetish.
(Grissom looks around and finds something. He heads over to a box tucked away in the corner. Greg glances up at him.)
Greg: You got something?
Grissom: Yeah, I think so.
(Grissom opens the box and finds a miniature plant replica complete with dead body inside.)
Grissom: One more chance.
WHITE FLASH TO:
[INT. MINIATURE PLANT]
(Camera swoops around the plant basin and dead body face-down inside.)
[SCENE_BREAK]
[INT. CSI - LAYOUT ROOM - DAY]
(TOP VIEW DOWN: One by one, the camera moves across the miniatures lined up on the table. First the most recent miniature of the Mannleigh Chicken Plant, then the Penny Garden room.)
INSERT: SCENE FROM 7X07: POST MORTEM
(Someone smashes Penny Garden into the window. She falls on the glass and dies.)
(Cut to: Grissom moves the pillow on the chair aside and finds the image of a doll on the pillow.)
BACK TO SCENE.
(The camera continues to move to the first diorama found of Izzy Delancy's kitchen.)
INSERT: SCENE OF 7X02: BUILT TO KILL (2)
(Someone comes up behind Izzy Delancy and hits him on the back of his head.)
(Cut to: Grissom picks up the framed photo of Izzy carrying his baby. Behind the frame is a partial image of a doll.)
BACK TO SCENE.
[CU: PHOTOS]
(Pan over a XCU photo of the doll, then on the image of the doll on the pillow.)
(Grissom turns around from the board full of photos of various views of the dioramas. He puts his glasses on and picks up the scope. He puts one end in the latest diorama and the other end up against his eye.)
SCOPE VIEW: Grissom looks through the diorama, covering a lot of ground. He sees the door and an image in one of the door's windows.
(Grissom peels off the image and looks at it under a magnifying glass. He smiles. It's of a red-haired doll on the ground - partially on the grass and on concrete with blood spatter under the head.)
Sara: (o.s.) You look like a kid who's just found the prize at the bottom of a Cracker Jacks box.
(Sara walks in the room.)
Grissom: Definitely some kind of doll.
Sara: It sure is.
(Grissom turns around and indicates the other doll photos on the board.)
Grissom: Three different views of the same dead doll. Maybe this is more than a signature. Maybe there's something these victims have in common.
Sara: First two victims were white, third Hispanic, two men, one woman, one rich, two poor, one young, two old, one famous, two obscure ...
Grissom: Yeah.
(He picks up a blurry photo.)
Grissom: And unfortunately, this is the best lead we have for their killer.
INSERT: SCENE FROM 7X07: POST-MORTEM. The killer delivers the box on the front porch.
(Sara takes the blurry photo.)
Sara: This is the most that Archie could get off that video?
Grissom: Yeah, well, with the equipment we have here.
Sara: I'm getting Raymundo's cell phone records. I'm gonna see if any of his calls are a match to the numbers that Penny Garden and Izzy Delancy had in common.
Grissom: Whatever happened with that number we got off the disposable cell phone? Any luck with that?
Sara: Disposable phone numbers are assigned by the carrier to the phone distributors. It took a little bit of legwork, but I did find the store where the phone was sold.
Grissom: Let me guess. It was paid for with cash.
Sara: Yeah. (Sara sees the information on the bottom of the photo.) Mannleigh Chickens.
Grissom: What about it?
(She picks up the file folder.)
Sara: I'll let you know.
(She heads for the door. Grissom looks at her. She looks back.)
Sara: See how it feels?
(Sara suppresses a smile and leaves Grissom there.)
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY - DAY]
(There are three bodies on exam tables. Catherine waits while Doc Robbins signs David Phillips' clipboard.)
David Phillips: You know, we're getting kind of backed up in here.
Robbins: The only one I hear complaining about it is you.
(He gives the clipboard back to David. David leaves.)
Robbins: Your cement lady's approximately 40 to 45 years old. COD is exsanguination due to laceration of the right ventricle. Wound seven centimeters long, five millimeters wide.
Catherine: That looks like it could be a double-edged blade. It's pretty thick, too.
Robbins: Well, it passed into the heart--
(Quick CGI flash of: A blade pierces the heart and it bleeds out.)
Robbins: (V.O.) with a, uh, point of entry midline just below the xiphoid process.
(End of CGI flash.)
Catherine: Upward thrust.
Robbins: I just said that.
Catherine: Okay. Any idea what the weapon might have been?
Robbins: If I knew, I would've told you. I got to get to work. Taxpayers are getting their money's worth tonight.
(Robbins steps away to the next body. We hold on Catherine.)
[SCENE_BREAK]
[CAMERA]
(Max holds the identification plate as his photo is taken. There is no ID number or name on the board.
ID NO.
DATE
LAS VEGAS POLICE DEPARTMENT. )
(The camera flashes.)
(Max blinks and turns to the side. The camera flashes again.)
(Max steps out of camera frame.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(An officer leads Max into the room. Catherine dips his hands into a bowl)
Catherine: Thank you.
Max: Tingles.
Catherine: You take them out, he puts them back in.
Max: What is it?
Catherine: It's acetic acid.
Max: Do you do feet? I got a bunion that could use some soaking.
(Catherine takes his hands out and towel dries them.)
Max: What's this do?
Catherine: Takes your fingerprints.
Max: Mmm.
(She puts his hands on the box.)
Max: Good luck with that.
(Brass walks in.)
Brass: How's Mr. Hoffa?
Max: Hey, Jim. Cathy and I are just getting reacquainted. Will Gilbert be stopping by?
Brass: I take it we don't have a name yet.
Catherine: No.
Brass: I bet you ten bucks that I have you made by 9:00 p.m.
Max: You're on.
[SCENE_BREAK]
[EXT. OUTSIDE IVANOVNA APARTMENT -- DAY]
(Nick and Warrick step out of the apartment. Nick is on the phone.)
Nick: (to phone) Okay, Hodges. What do you got?
Hodges: (from phone) The green trace on your old lady.
INTERCUT WITH:
[INT. CSI - HALLWAY - DAY]
(Hodges walks through the hallway with the results while talking on the phone with Nick.)
Hodges: Adipic acid, disodium phosphate, sodium citrate, fumaric acid, Yellow #5, Blue #1, BHA, a whole lot of gelatin, and sugar.
Nick: Which is?
Hodges: Oh, come on. There's always room for it.
Nick: Just tell me what it is, Hodges.
Hodges: Jell-O. Lime Jell-O.
Nick: Lime Jell-O?
Hodges: I tell you what. You tell me why.
(Hodges hangs up.)
[SCENE_BREAK]
[XCU: GREEN JELL-O]
(Through the green Jell-Osludge on the floor, ants crawl all over it.)
CAMERA ZOOMS OUT on the ant-infested green spot on the floor.
[EXT. OUTSIDE IVANOVNA APARTMENT -- DAY]
(Warrick looks down and notices the green Jell-O spot on the ground. He takes his camera out and follows the trail of ants and Jell-O.)
(He takes a photo.)
VARIOUS DISSOLVES OF:
(Warrick and Nick follow the trail. Warrick snaps photos and Nick puts down evidence markers.)
(Dissolve to: Nick hands Warrick evidence marker 8. He puts it on the ground and snaps photos.)
(Dissolve to: FAR SHOT. Nick and Warrick continue following the trail to the end of the floor.)
(Dissolve to: Nick and Warrick follow the trail to the next building.)
(Dissolve to: Nick puts down evidence marker #39. Warrick snaps photos. Warrick puts the next evidence marker #16 down in front of the door.)
(They look at the apartment door.)
[INT. APARTMENT - DAY]
(The door bursts open. An officer and Sofia quickly check the apartment.)
Sofia: Clear.
(Warrick puts his gun away. He and Nick enter the apartment. He sees another spot of green Jell-O on the floor.)
Officer: (o.s.) Clear.
(Warrick snaps photos of the Jell-O spots. Nick points them out as they head toward the kitchen.)
(They enter the kitchen and see the smears on the floor.)
Nick: Oh, boy. Looks like somebody cleaned up in a hurry. More green Jell-O.
(Warrick continues to snap photos. Nick takes out a swab.)
Warrick: Sofia, you get a tenant's name for this apartment?
Sofia: According to the management office, this apartment's a sublet, has been for years. He's not seen who lives here.
(Nick tests the swab.)
Nick: I got blood, too.
(Warrick looks out the window.)
Warrick: This place has a direct view of the old lady's apartment.
(Sofia and Nick join Warrick and look out the window as well.)
Warrick: So, what, the guy's killing the old lady, --
(Quick flash of: VIEW ON WINDOW. The curtains are closed and all we see are the shadows behind them. The man on the other side pushes the curtain aside and looks out.)
Warrick: (V.O.) -- he sees he's being watched, and he, what, comes back here and whacks the witness?
(End of flash.)
Nick: It's possible. But why get rid of this body and leave the old lady?
[SCENE_BREAK]
[INT. CSI - A/V LAB -- DAY]
(Grissom and Sara are watching an IZZY DELANCY ad.)
Izzy: (from video) Hi. I'm Izzy Delancy. And back in my bad old days, I'd do almost anything to sell albums.
(The caption on the bottom of the ad runs: PLEASE DONATE! - 1-800-555-0199 -
LITTLE CREATURES GREAT & SMALL - WE NEED YOUR HELP! )
Izzy: (from video) People even accused me of biting the heads off live chickens on stage. I'm not proud of that. But I've worked hard to change. And with the help of the good Lord, fourteen years of therapy and two loving wives, I humbly believe I've made progress. But this story is not about Izzy Delancy. It's about something much, much bigger: cruelty. Did you know that every day in the United States, more chickens are killed than all the people in the Rwandan genocide? Now, you may argue, "Izzy, African people are not a food source." Well, you're missing the point entirely. Cruelty is cruelty, whether the victim be a chicken or a malnourished African.
(Sara pauses the ad.)
Grissom: Where did you find this?
Sara: I like animals, and after the Delancy murder, I brushed up on my history. As it turns out, three years ago, Izzy Delancy had a midlife awakening and became an animal rights activist. He starred in and financed this PSA targeting Mannleigh Chickens as the epitome of everything that is wrong in the slaughter industry.
(Sara continues the ad. This time, it's for MANNLEIGH CHICKEN. The caption on screen reads: MANNLEIGH CHICKEN TV COMMERCIAL.)
Ike Mannleigh: (from ad) It takes a manly man to make a Mannleigh chicken.
(On screen, Ike Mannleigh leans forward and crows like a rooster. The caption reads: IKE MANNLEIGH, C.E.O.)
(The ad continues.)
Izzy Delancy: (from ad) Now, perhaps you've purchased Mannleigh Roasters, Fryers or Assorted Parts at your local grocery store, and you believe you're eating chicken. But what you're really eating is cruelty. Our undercover investigators secretly recorded workers at a Mannleigh processing plant throwing loose animals up against the wall, stomping up and down on them, kicking them across the room.
(Sara pauses the ad.)
Grissom: How bad did Mannleigh get hurt by this?
Sara: His sales dropped 60%. He launched a very expensive PR campaign to rehabilitate his image, including retrofitting a plant with cruelty-free equipment. His business never recovered. He probably hated Delancy.
(Grissom nods.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Brass talks with Ike Mannleigh.)
Ike Mannleigh: I have no idea how Raymundo ended up dead. I liked that boy.
Brass: Apparently, so did your wife. She was spending some quality time with Raymundo down at the plant.
Ike Mannleigh: If I killed every guy that banged my Bubbles, they'd be stacking up like cord wood.
Brass: So you have no problem with it?
Ike Mannleigh: Look. Bubbles is an insatiable slut, but she's my slut, and I love her. I don't expect you to understand.
Brass: Oh, I get it.
(Brass passes a crime scene photo of Penny Garden.)
Brass: Do you know this woman?
Ike Mannleigh: I've never seen her before in my life.
Brass: How about him?
(He passes over a crime scene photo of Izzy Delancy.)
Ike Mannleigh: Let's not screw around here. You know I knew him, and you know I hated him. That jerk nearly put me into Chapter 11.
Brass: He ended up dead, too.
Ike Mannleigh: And I sent his wife a Hallmark and a case of frozen chickens the day he died.
Brass: He was murdered.
Ike Mannleigh: That's what I heard, too. We're done here. You want to call my attorney or should I?
[SCENE_BREAK]
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
[INT. CSI - A/V LAB -- NIGHT]
(The label on the package reads:
DATE: 12-07-06 657-18898-23564
R. KRANSEN 206*-555-0165
VISION IMAGE AZ
2655 WEST 37TH AVE NE
SEATTLE WA 98101
MR. GIL GRISSOM 702-555-0189
CSI: LAS VEGAS CRIME LAB
3057 WESTFALL AVENUE
LAS VEGAS NV 89156
(Grissom opens the box and plugs it in.)
(The VISION IMAGE AZ FORENSIC PHOTO LAB software is installed.)
(Grissom sits at the workstation installing the software.)
(Grissom watches the 11.09.06 footage of the box being delivered to PENNY GARDEN'S neighbor. He runs the video through the software and enhances the image. He works on sharpening the enhanced image.)
(Hodges walks in and watches Grissom for a moment. Grissom successfully enhances the image on the back of the deliveryman's shirt. It looks like a train.)
Hodges: (enthusiastic) Whoo, whoo-whoo!
Grissom: (startled) Thank you, Hodges. I can see that it's a train.
Hodges: Yeah, but it's Locomotive-ville.
(Grissom is quiet.)
Hodges: Sorry. Thought you might be a member.
(Surprised, Grissom glances at Hodges, then back at the enhanced photo.)
[SCENE_BREAK]
[MONITOR]
(Greg is at the L.V.M.T.C. site. He enters the site. The write up reads:
LOCOMOTIVEVILLE
LAS VEGAS MODEL TRAIN CLUB
Welcome to Locomotiveville! If you are a new to the site, be sure to check out the -- page and join. Jordan Palmer will be here this Saturday for a free workshop on bu- trains. Jordan will cover the entire process, from where to get the best models at - to which glue and paint will hold up the be--- Jordan's 4th year at the annual model fest- answer all of your questions. Reservations - made early, classes always fill up. Don't - for the raffle, only five dollars at the door.
(He scrolls through the on-line photos of various members. Names include: KEVIN SIMONS, JORDAN PALMER, KRISTEN DEARDAH?, JANE TEMPLETON, CHARLES McCORMICK, AMY KIRKWOOD, COREY JENNINGS, CHOLE KEATON, HERBERT BELL, GRANT BOYD, ERNIE DELL, MARISSA CALLAH?, ... )
(Greg stops on ERNIE DELL.)
[SCENE_BREAK]
[EXT. DELL RESIDENCE - NIGHT]
(Squad cars pull up, their sirens off but lights flashing.)
Brass: (V.O.) Attention all units, suspect's name is Ernie Dell.
Dispatch: (V.O.) Copy that. All units, please be advised that suspect Ernie Dell -
(TOP VIEW DOWN on squad car 694. Brass exits the vehicle and meets up with Officer Mitchell who is carrying something to open the front door.)
[INT. DELL RESIDENCE - FRONT PORCH - NIGHT]
(They reach the front porch. Brass knocks on the door.)
Brass: Ernie Dell? Las Vegas Police! Open up.
(There's no answer coming from the darkened house. Brass steps away from the door.)
Brass: (to Officer Mitchell) Go ahead. Break it.
(Officer Mitchell uses a crowbar and opens the front door. The two officers enter the house and move silently inside. Brass enters the house. He looks around.)
Officer: (o.s.) It's clear, Captain.
SHORT TIME CUT TO:
(The trains are powered on. The electricity powers on and the hum of the model trains start as it runs along the tracks set up inside the room. Greg and Brass look at the set-up.)
(The detail is amazing and also gruesome. There's a person standing on top of a large building - and another lying in a pool of blood on the sidewalk below.)
(In another part of the route, there are four people beating to a pulp another person on the ground in front of a warehouse.)
(Greg continues to look at the miniatures - there's a cemetery. Greg looks around.)
Officer: (o.s.) Captain. There's a workshop in the basement.
(The train enters a tunnel and toots its whistle.)
[SCENE_BREAK]
[INT. DELL RESIDENCE - BASEMENT - NIGHT - CONTINUOUS]
(The lights turn on. Brass and Greg enter the basement. Along one of the walls is a workstation with incomplete and partial miniature parts. There are also many, many molds on the worktable.)
(Brass finds dozens and dozens of miniature people of different sizes.)
(Greg looks around and sees a blue car through a lamp post, its front red and bloodied. There are other bloodied figurines and even a grim reaper for the cemetery, complete with bloodied scythe.)
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(Sofia walks with Warrick through the hallway on their way to the waiting room.)
Sofia: One of the other residents ID'd the tenant in the sublet apartment as Paula Sullivan.
Warrick: That's good.
Sofia: Well, it's better than good. Apparently Paula Sullivan does a little day care on the side. We have a witness.
(They enter the waiting area.)
Warrick: Hi. I'm Warrick Brown from the Crime Lab.
(Suzy's mom stands up. Suzy sits nearby with her teddy bear.)
Suzy's Mom: Hi. My Suzy was in that apartment yesterday. And she was filthy when they sent her back, and I marched right over there to give Paula a piece of my mind, and she wasn't home. Paula wasn't there.
Suzy: Max watched me. He's nice.
Suzy's Mom: Her husband. Neither of them was there when I went back.
Warrick: Well, ma'am, we're going to need your daughter's clothes from yesterday.
Suzy: I like you. You're a giant.
(Warrick chuckles.)
Warrick: And you're a princess.
Suzy: Thank you.
SHORT TIME CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Suzy's feet dangle about a foot off the floor as she swings her legs back and forth. Warrick talks with her as Suzy's mom watches.)
Warrick: Okay, Suzy, tell me about Max. What's Max like?
Suzy: Max is my friend. He's a lion tamer and an astronaut and a spy.
Suzy's Mom: Guy always kinda creeped me out.
Warrick: (whispers to Suzy's mom) How come you didn't know that Paula Sullivan wasn't home?
Suzy's Mom: We live across the courtyard.
(Quick flashback to: Suzy's mom puts her shoes on and gives Suzy a shaka sign. Suzy gives her the shaka sign back.)
Suzy's Mom: Bye.
(Suzy turns and runs up the stairs.)
Suzy's Mom: (V.O.) I send Suzy over. I watch until she gets inside.
(She reaches the door and waves to her mom before entering.)
(End of flashback.)
Suzy: I went in. It was a big mess.
Warrick: A big mess? What color was the mess?
Suzy: Red and green.
(Quick flashback to: Suzy enters the apartment and closes the door. She walks into the kitchen and starts playing with the green Jell-O on the floor. She picks some up and is going to eat it when --
Max: (o.s.) Don't eat that.
(Suzy turns.)
(End of flashback.)
(Suzy giggles.)
Suzy: Max came into the kitchen in his underpants.
(Warrick glances at Suzy's mom.)
Warrick: Hmm ... Did Max try to hug you or touch you?
Suzy: Oh, no. He went and got dressed.
Warrick: Did Max seem surprised to see all that big mess there?
Suzy: (shrugs) I don't know.
Warrick: What did Max do next?
Suzy: He started cleaning up the big mess. I bet he didn't want to get in trouble.
Warrick: I bet you're right. You know what? Could you help me? I've got a picture right here. And I have some crayons, too. Could you draw where the red and the green is in the room?
(Warrick gives her a photo of the kitchen. Suzy colors the floor red and puts green circles up on the refrigerator.)
Warrick: So the green was all the way up here in the cabinets, too?
Suzy: He, um, he had to stand on a chair to reach it.
Warrick: Did you help him clean up the mess?
Suzy: At first, but then he said there was sharp stuff, so I watched TV.
(Quick flashback to: Suzy watches tv. End of flashback.)
Warrick: And then what happened?
Suzy Sullivan: Then I watched some more TV. Then I watched some more TV, and then I watched some more TV, and then I went home.
(Warrick smiles.)
[SCENE_BREAK]
[INT. CSI - GARAGE - DAY]
(Grissom removes a single pot from the miniature pot rack from the ceiling of the IZZY DELANCY diorama. He fits the ceiling back on the miniature.)
(Grissom takes the pot and starts comparing it to all the moldings taken from Ernie Dell's basement. He finds a mold and puts the pot in the mold. He looks for the matching mold cover and fits the two pieces together. He squeezes in some mold mixture.)
(He removes the sample and checks it under the scope to compare the two pots. It's a match.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(Grissom and Brass question Ernie Dell. Grissom places photos of matching items taken from the dioramas and molds taken from Ernie's house.)
Brass: Do these belong to you?
Ernie Dell: You know damned well they do. You took 'em from my house. They're mine and I want them back.
Brass: So you worked with Raymundo Suarez. Did you know Izzy Delancy?
Ernie Dell: Everybody knows Izzy Delancy. He's famous. Used to do it to his music.
Brass: And how did he thank you for that? Public humiliation?
(Brass puts a screen capture off of an IZZY DELANCY ad. It's of Ernie Dell with a Mannleigh chicken.)
Brass: And you knew Penny Garden.
Ernie Dell: Who?
Grissom: Penny Garden. You delivered a package to her house.
(Grissom shows Ernie a photo of the train off the back of the shirt.)
Brass: You're a handyman. What'd you fix for her?
Ernie Dell: I don't know anything about that. Lots of guys got them shirts.
Grissom: Do you have any idea how ... your work ended up at crime scenes from three different murders?
(Grissom shows the dioramas to Ernie.)
Ernie Dell: I've been making scale models since I was nine years old. I sell my stuff at craft fairs, to hobby shops, over the Internet, every damned place. Sold things to hundreds of people over the years. Any of them could have ended up in the hands of your killer. You're just picking on an old man 'cause you got nothing.
Brass: We're just talking here, Ernie. We're just talking.
Ernie Dell: You charging me with something?
Brass: You want a cup of coffee, Ernie? We got decaf.
Ernie Dell: Charge me or let me go. (He looks at them.) I want a lawyer.
Brass: You're free to go.
(Ernie gets up and leaves the room. Brass sighs.)
Brass: So was he right? Are we really just picking on an old man or is he the bad guy?
Grissom: Well, he's associated peripherally with all the victims, and he certainly has the right skills.
Brass: Yeah ... he spent half his life in Locomotiveville.
Grissom: I know what it's like to lose yourself in little things. After a while it gets to you.
[SCENE_BREAK]
[EXT. LAS VEGAS CITY LIGHTS (STOCK) - NIGHT]
Catherine: (on phone) (V.O.) We're coming up goose eggs on "cement boy" and his lady friend.
[INT. POLICE DEPARTMENT - HALLWAY -- NIGHT]
(Brass is on the phone as he hurries through the hallway.)
Brass: You got to be kidding?
Catherine: (from phone) No hits on AFIS, no hits on CODIS. Guy's got no work card, and his keys weren't a match for any vehicle in a three-block radius of the construction site.
Brass: Unbelievable.
Catherine: Apparently, just a couple of law-abiding folk.
Brass: Well, keep me posted.
(He closes his cell phone and enters -
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT - CONTINUOUS]
(Max sits at the table.)
Max: Hello, Jim.
Brass: Hello.
Max: Hello ... who?
(Brass sits down.)
Brass: You know, I don't need your name to arrest you. I can call you John Doe. Okay, let's assume for the moment that you did know the dead lady laying five feet from where we found you. I'm gonna go out on a limb here and say that you killed her, and then you tried to dispose of her body, but you did something very, very stupid. Are you with me so far?
Max: Interesting. Do you have the time, Jim?
Brass: Yeah.
Max: 'Cause it looks like it's half-past. You owe me ten bucks.
(Brass chuckles.)
Brass: Make sure this goes in his personal effects.
(Brass takes out his money clip and pulls out a ten-dollar bill. He holds it out and Max reaches for it.)
Brass: Now, I'm gonna suggest you get a name tag, put the name "Trixie" on it, 'cause that's what your cell mates will be calling you.
(Max takes the bill.)
Brass: Take him to his cell.
(The officer helps Max up.)
[INT. POLICE DEPARTMENT - HALLWAY - CONTINUOUS]
(Max smugly waves the ten-dollar bill out in front of him as he moves through the hallway.)
Max: Anybody want anything from the vending machines? Come on. It's on me. Actually, it's on Jimbo. (to the officers) Took this baby off of Captain Brass myself. (to Brass) Look at me, generating income my first day in the joint. Yeah, Mom would be so proud. Not hungry? Soda, maybe? Anybody?
(Walking toward him are Suzy's mom, Suzy and Sofia.)
(Max sees Suzy and tries to hide behind the ten-dollar bill. He looks at her and tries to signal her to be quiet. The little girl looks at Max and her face lights up.)
Suzy Sullivan: Hi, Max!
Max: (sheepish) Hi, Suzy.
Brass: (mocks) "Hi, Max."
(Brass takes the ten back from Max. Max rolls his eyes.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Max is back in the interview room with Brass.)
Max: Yeah, I killed my wife, but it was an accident.
Brass: You accidentally stabbed her through the heart?
Max: That's right. Believe me or don't believe me. I don't care. It's the truth.
(Quick flash of: Max pours himself a cup of coffee and spills some on his shirt. He groans.)
Paula Sullivan: (groans) Oh, Max. You got coffee on your shirt.
(He puts the cup down on the counter near the refrigerator and opens the refrigerator to get the container of milk out from behind the large bowl of green Jell-O.)
Paula Sullivan: Here. You're gonna be late again. Could I please just get some ...
(She kneels to dab at his shirt as Max pulls the container of milk out of the refrigerator. He knocks over the bowl of Jell-O and it breaks, shattering glass on the floor and green Jell-O everywhere.)
Max: Oh!
(Both Max and Paula bend over forward and they bang foreheads.)
Max/Paula: (both groan) Oh. PAULA: Oh. MAX: Nice.
(They rub their foreheads. Max bends over and starts to pick up the broken glass off the floor.)
(Meanwhile, the toaster burns the morning toast. The smoke detector starts beeping.)
(Max takes a step, slips and accidentally grabs Paula, stabbing her in the chest with the piece of broken glass in his hand.)
Paula: Oh.
(Paula dies and falls to the floor. Max looks at the piece of broken glass in his hand.)
(End of flashback.)
Brass: Max, I want to believe you, but I ...
(He chuckles.)
Max: If I wanted to kill her, do you think I would've dropped a bowl of Jell-O and stabbed her with a piece of broken glass?
Brass: But if it was an accident, why didn't you just pick up the phone and call the police?
Max: Because I killed my granny. Okay?
(Quick flashback to: Granny is in bed and wearing an oxygen mask. She gasps for breath.)
Max: (V.O.) It was a long time ago, and it was an accident.
(A young Max sits in the rocking chair next to the bed and he's sleeping. Unfortunately, the rocking chair is on Granny's oxygen tubing.)
Max: (V.O.) She stroked out. It wasn't my fault.
(End of flashback.)
Max: They never should've put the oxygen line there. They let me off for that, but I didn't think anyone would believe me this time.
Brass: You were never convicted of killing your grandmother.
Max: No.
Brass: Which is why you don't have a record.
Max: You would've found out eventually and held it against me.
Brass: All right, what about your neighbor? Mrs. Ivanovna-- did you kill her or was that an accident?
Max: I just wanted to talk to her.
(Quick flashback to: Max looks at the piece of broken glass in his hand. He turns and sees Mrs. Ivanovna looking at him through the window.)
Max: (V.O.) You know, I thought I could make it be okay.
(He closes the curtain.)
[SCENE_BREAK]
(Max knocks on the door to apartment 21.)
Max: Mrs. Ivanovna? Hello.
(The door opens.)
Aloyna Ivanovna: Hello. What do you want?
Max: Good morning. Uh, I was wondering if I might borrow some sugar.
Aloyna Ivanovna: I get sugar. You stay.
Max: Sure.
(She turns and heads back inside
Aloyna Ivanovna: I get sugar. Stay!
Max: Yeah.
Aloyna Ivanovna: I get. Yes. I get. You stay.
(She disappears into the kitchen. Max smiles at her.)
Max: (calls out) I can't have my coffee without my sugar.
(He turns and looks at his reflection in the mirror. There's a large bloody mess on his shirt. He groans.)
Max: (V.O.) The last thing I wanted to do was hurt that lady.
(Max rushes into the kitchen.)
Max: Mrs. Ivanovna, it's not what you think!
(The old woman is rushing and moving very slowly. She turns to reach for the phone.)
Max: No, Mrs. Ivanovna, it's not what you think.
(Max reaches her, bumps into her and smashes her into the kitchen phone.)
Max: You don't understand. It was an accident.
(She falls on the floor, a cut on her head and her false teeth out on the floor. He goes to check on her.)
Max: Oh, God. Mrs. Ivanovna?
(Max groans.)
Max: (V.O.) She was dead. So, you know, I thought ...
(Max turns the gas stove on.)
Max: (V.O.) ... maybe I'd make it look like a suicide.
(He picks her up off the floor and sticks her in the oven.)
(End of flashback.)
(Max sighs.)
Max: It was not ... a good start to the day.
(Quick flashback to: Max rolls his wife in a carpet.)
(Cut to: He carries her out over his shoulders and out the back.)
(Cut to: He opens the car door and sticks her in the trunk. He strips there, tosses the clothes in the trunk and slams the trunk door closed. He glances around and dashes back to the apartment.)
(Cut to: Max reaches the apartment and closes the door. He turns to go inside.)
Suzy: (o.s.) Hi, Max!
(He turns.)
Max: Don't eat that!
(Suzy is sitting on the kitchen floor with some Jell-O in her fingers. Suzy giggles.)
(End of flashback.)
Max: After Suzy went back to her mother, I decided to, you know ...
Brass: What, to give your wife -- your beloved wife -- a proper burial?
Max: Something like that.
(Quick flashback to: The back of the car sags from the weight of the body in the trunk, causing the muffler to spark as it drags on the asphalt as Max drives away.)
(Cut to: A bunch of homeless people are outside. Max's car fails right in front of the homeless people.)
Max: (V.O.) But along the way, I had a bit of car trouble.
(Cut to: Max is transporting the body in a shopping cart.)
(Flash to: Max carries the carpet as he walks along the thin wooden plank over the wet concrete foundation. He drops the carpet and his wife's body rolls out. Max steps out to get the body and he sinks - and gets stuck - and can't move - and the more he struggles, the deeper he sinks - till he's waist deep in the concrete.)
(Max sighs.)
(End of flashback.)
Max: Few hours later, some punk wanders over and swiped my wallet. That's my life. That's who I am.
[OBSERVATION ROOM]
Max: (through speakers) I'm the guy who buys his daughter a puppy for her eighth birthday, and the next day, he backs out of the driveway and ...
(Catherine rolls her eyes and shakes her head.)
Brass: No. No. Don't tell me you ran over the puppy.
Max: No. I ran over my daughter.
(Catherine's jaw drops.)
Max: Twenty years later, she still walks funny.
(Catherine laughs quietly.)
[SCENE_BREAK]
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
(Catherine sits in front of Grissom's desk. She's still laughing.)
Catherine: I'm sorry. It's horrible. But it's really funny. It's horrible and it's funny.
(She looks at Grissom.)
Catherine: Are you okay?
(Grissom shakes his head.)
Grissom: A guy kills two people before breakfast that he had no intention of killing when he woke up that morning. By all accounts, he's led a meager life, an unnoticed life. And then all of a sudden, in a flash, it's over. And now, for him, the real suffering begins.
Catherine: You're tired.
Grissom: Yeah.
(Sara walks in.)
Sara: Hey. Guess what.
Grissom: Mankind has reached a new evolutionary plateau, and starting tomorrow, no one will rape, murder or maim again.
Sara: Uh, no.
Grissom: Too bad.
Sara: But we did catch a break on that disposable cell phone number.
Grissom: Raymundo Suarez called it as well.
Sara: No, he didn't. But according to the carrier, additional minutes were recently purchased with a credit card belonging to Ernie Dell. Brass is already on it. They're picking him up. We've got the miniature killer.
[SCENE_BREAK]
[EXT. DELL RESIDENCE - OUTSIDE STREET - NIGHT]
(Officers head quietly for the front door.)
INTERCUT WITH:
[INT. CSI - GRISSOM'S OFFICE - NIGHT]
(Grissom sits in his office and waits.)
(His computer beeps.)
Recorded Voice: You have e-mail.
(Grissom turns and sits in front of his computer. He opens the e-mail from: Ernie @ eedellworld.co... 6KB I CONFESS TO THE MURDERS OF ...
(He opens it:
From: <Ernie @eedellworld.com>
To: GilGrissom
Date: 12/08/06 12:32 am
Subject: I CONFESS TO THE MURDERS OF Izzy Delancy, Penny Garden, & Raymundo Suarez.
www.eedellworld.com
(It's a video file.)
(Ernie appears on the monitor.)
Ernie Dell: (from video) My name is Ernest Edward Dell. I was born in 1946 in Ames, Iowa. My life's been hard, but I don't complain. I never expected better.
[EXT. DELL RESIDENCE - NIGHT]
(The police open the front door and enter.)
[VIDEO]
(Ernie lifts a cup of tea, then puts it down.)
Ernie Dell: (from video) I'm good with my hands. I make things. I fix things. I'm a handyman. That's what I am.
[INT. DELL RESIDENCE - LIVING ROOM - NIGHT]
(The officers are inside the house. They go through it quietly.)
[VIDEO]
Ernie Dell: (from video) A man has a right to an honest day's pay. Me, I service the machinery of death so that people can eat. If that makes me evil, then so be it. (He sips his tea.) I'm not the sociable type. I know that. Spend any amount of time around people, you get your heart broke. Treachery, hypocrisy. Promise of love.
[INT. DELL RESIDENCE - NIGHT]
(The officers move into the next room.)
[VIDEO]
Ernie Dell: (from video) Look into the mouth of a person, and you'll find lies wriggling there like maggots waiting to grow wings. The world has gone mad. A man could kill from sunup to sunset, and still his work would never be done.
(Ernie looks to the side, picks up a gun, puts it under his chin and - OFF GRISSOM:
BAMM!
(Grissom flinches.)
THUD.
(Grissom stares at the video.)
(All we see is the top of Dell's bloodied head.)
Officer: (o.s.) Gunfire! Let's go!
(Grissom stares at the screen.)
Officer: (o.s.) Not here.
(The flashlight glares off the monitor as the officers approach Ernie Dell's body. The first officer there checks for a pulse.)
(We hold on Grissom as he stares at the screen.)


Narrator: America's top ghost hunters relive their most extreme assignments.
(Woman screams)
This house is beyond haunted.
Narrator: Hardened veterans of the paranormal, these are the cases that truly tested them. There was a evil presence in that house.
Woman: Oh (bleep) what the hell?
Man: Dude, I got goose bumps. It's in here.
Narrator: In Colorado, a ghost causes havoc at a restaurant before turning its fury at the owner. We felt genuinely physically threatened.
(Screams)
Narrator: In Massachusetts, an investigator is forced to confront his own worst fear.
It was a horrific nightmare.
(Woman screaming)
Narrator: And in the great lakes, an imaginary friend turns out to be something much more sinister...
Luke? ...And puts a boy in grave danger. Nothing is sacred. That's scary.
Narrator: Some 30 miles northeast of Denver, Colorado, lies the small town of fort Lupton. One of the town's most popular restaurants is wholly Stromboli, the passion project of owner Melissa Rickman. Wholly Stromboli's been a dream of mine since I was about 20. Just for years, it's all I could think about. I daydreamed about it. So when I got laid off from corporate America, my husband said, "well, why don't you do it?"
Narrator: The restaurant opens in 2010, and not long afterwards, mysterious and confusing things start to occur. I would walk in for the morning, set down my coffee, turn off the alarm. Come back, and my coffee was gone. And I thought, "oh, I left it in the car." Then, go out, and it's not in the car, so come back, and... There's the coffee. Wow. Okay. There's no logical explanation for that. There's -- there's none.
Narrator: The activity soon intensifies. Thank you so much.
(Child giggles)
Oh, my god! An apparition of a little girl starts appearing in the restaurant. I hadn't had any experience prior to this with ghosts, but it's not my imagination. No, no, no, no, no.
(Child giggling)
Narrator: And soon, there would be no doubts.
Rickman: I walked into the kitchen to talk to the sauté chef, and every pan comes just flying off the shelf.
(Woman screams)
And with such force. It was just foom! -- right on the floor. Oh, my god! Like, "holy cow." The chef, she was terrified.
(Women screaming)
It's scary.
Narrator: Fearing for the safety of her staff and customers, Melissa contacts a group of paranormal investigators.
Estep: Melissa called me out of her mind with worry. She wanted to get to the bottom of some of the activity that was going on there. She wanted to be able to tell her staff that they had no reason to be afraid.
Narrator: Richard Estep has spent over 20 years researching claims of ghostly activity.
Estep: I've learned that 90% of claims of the paranormal have no grounding, so it's very easy to say that you don't believe in ghosts and you may never encounter one. But at some point in your life, statistically, there's a chance that you will, and at that point, it's going to make you change your entire world view.
Narrator: Melissa's experiences convince Richard to look into her case.
Estep: I was satisfied that there was enough evidence there to merit us going on site at wholly Stromboli. Something clearly is going on.
Narrator: First, Richard looks into the history of the property that houses the restaurant.
Estep: The building was built in the early 1900s and owned by a local businessman named Edgar St. John.
(Girl coughing)
And he had a daughter named Julia who tragically is said to have died at the age of 7 of pneumonia.
(Coughing continues)
Narrator: Could this be the little girl that haunts the dining room and is responsible for all the activity in the restaurant?
Richard assembles his team and heads to fort Lupton to find out.
Estep: Most of the activity, it's in the basement, which is where the voices have been heard. And that's where I want to direct my investigation. The sounds, the echoes, and the acoustics are very, very creepy and spooky. Even I am starting to feel that there is an oppressive atmosphere down in this basement. Melissa is the focus of a lot of the activity here, so we wanted Melissa with us.
Narrator: Also present is Richard's co-investigator, Robbin Daidone. I've been a paranormal investigator almost 18 years, so I've had a lot of experience. Pretty seasoned. I don't think there's much I haven't seen. There was definitely a sense when we started the investigation that there was something present, perhaps. There was a feeling of being watched.
(Girl laughing)
Narrator: They don't have to wait long before their feelings are vindicated.
(Girl laughing)
Estep: The voice of a young girl is heard.
This is a voice that's laughing out of the darkness.
(Girl laughing)
Oh, my god. And then we started to see equipment after equipment fail. We have EMF meters, thermometers, Geiger counter failing. We had several sets of cameras fail. Batteries were reading dead. And this is classic in the paranormal field. One set of batteries fails? oh, that's a shame. Twice? huh. That's kind of odd. Three times? There is something in here that is taking this juice and is using it for its own purposes. I was a little on edge. Melissa looked a little nervous. There was definitely a feeling in the air like this may be a time for something to occur.
Narrator: Gaining an energy, the activity intensifies to become physical. Something just touched me. I saw that! I saw her hood get tugged. It was like physically somebody tugged her hoodie, but, you know, there was nobody there. Something just pulled my jacket! Something just pulled me. That sent a different kind of chill through the investigative team. So now you start looking out of the corner of your eye, you start looking at every shadow with a renewed level of suspicion.
(Tapping)
We hear the sound of footsteps on the floor above, which would be the restaurant floor, coming down through our ceiling in the basement.
(Tapping)
(Tapping continues)
They're childlike footsteps running across the floor.
Narrator: Richard leads the team upstairs, hoping to catch a glimpse of the little-girl ghost, Julia. But when they arrive, they're shocked by what they see.
Estep: This is a solid shadow figure. I've heard about them all my career. I'm seeing it. It's incredible. Genuinely taken aback. Suddenly, I see this shadow figure. I'm stunned.
Rickman: Disbelief. Disbelief and "oh, my gosh. I can't believe we just saw that."
Narrator: The encounter forces Richard into a troubling realization. The ghost of Julia is not the only entity haunting the restaurant. Who knows what it is, and who knows what its intentions are?
Narrator: Believing the shadow has moved to the basement, the team heads back downstairs.
Rickman: Immediately, people were a little bit apprehensive. There's definitely a creep factor.
Estep: We start asking questions, very respectfully, "we invite any spirit that might be present to make its presence known, to talk with us." If there's someone here, please present yourself. Who are you?! Are you attached to Melissa?!
Narrator: The entity doesn't want to talk. It has other, more sinister plans. I started to feel pressure in my chest, just like heavy, weighted down. Oh, god. Oh, my god.
(Groans)
Narrator: In a haunted restaurant in Colorado...
Something just pulled my jacket! ...Paranormal investigator Richard Estep and his team have encountered an entity in the basement. Oh, god. Now owner Melissa Rickman is overwhelmed by a sinister force. I started to feel pressure in my chest, just like heavy, weighted down. Oh, god. Um, and I can't really explain why, but suddenly, I began to cry, sobbing, just sobbing uncontrollably, just the most sad feeling I've ever had.
(Crying)
Daidone: I was mostly concerned for her emotional well-being.
I could see that she was emotionally frayed. She was just one big bundle of nerves.
(Sobbing)
And then that emotion transformed into anger. And suddenly, Melissa is getting very, very aggressive.
(Growling)
Melissa becomes someone else. (Breathing heavily) Melissa! During that time, I felt truly angry. I was -- I was pissed, and I couldn't -- I couldn't tell you why. And every time she said something, I retorted, although I didn't feel like it was me.
Estep: So, as a paramedic for 14 years in emergency medical services, I've seen a number of psychotic episodes. This wasn't that. This was something that presented very, very differently and had a very different vibe to it. You shut up, you (bleep) (bleep)
(Growls)
I was feeling threatened. It wasn't like I was choosing to say things. It just felt like they were just coming out of my mouth. And I felt horrible. I said some things to her that I would never say. I was terrified. I was really scared.
Narrator: Richard is beginning to fear that Melissa is becoming possessed. We know that it's not Melissa herself that's doing this. We know that there is something that is goading her on, that is provoking her to this type of behavior. It felt like all of the emotion in my body just welled up and exploded. And then I heard Robbin say, "her fists are clenched." She's saying, "I want to hurt you, and I want to hurt you bad." And, of course, I'm becoming concerned. I'm watching her for any sudden movement. She's only a foot or two away from me. I am gonna kill you! And Melissa was getting ready to attack.
(Melissa screaming)
It's completely unpredictable. It's completely out of character, and that adds an element of danger to our investigation, and we had to very quickly break that up.
(Screaming)
This is the first case my team has worked on where we felt genuinely physically threatened by somebody present on the scene. Very concerning, absolutely. Absolutely. So, we actually decide that we're going to wrap up the investigation earlier than we ordinarily would and help coax her back to normal.
Narrator: As soon as she leaves the basement, Melissa is released from the entity's grasp. I don't remember saying half the things I said. I don't. I would've told you that that wasn't me. When words are just flying out of your mouth and you don't know why, it's pretty unnerving. My assessment of wholly Stromboli is that they have multiple entities there. We have one that appears to be a little girl. We have this older male shadow figure. It's difficult to tell what the purpose is of whatever is haunting the restaurant. Is it simply seeking attention, or is there something darker and more sinister?
Narrator: To protect her from further attacks, they perform a blessing on Melissa. Out! out, demon! Begone! Whatever possessed her seems to have been removed. But the spirit of the little girl remains. Our line cooks still hear a little girl either giggling and playing or crying in the basement.
(Girl giggling)
I don't mind sharing the space with the tenants of the past. The building wouldn't be there if it weren't for them, so if they want to hang out, I'm all right with that.
Narrator: But Richard worries that the negative entity may yet return. Right now I'm content to just monitor and watch and wait for Melissa to call me if things should take a turn for the worse again. I'm not entirely sure yet, but I do know that the last chapter in the story of the wholly Stromboli haunting has not yet been written.
Narrator: Coming up, when a child's imaginary friend turns out to be something much more sinister...
(Boy screaming)
...An investigator has to call in backup to save the boy. It was definitely demon-induced.
(Speaking in tongues)
Narrator: But first, when a young family is tormented by paranormal activity, one investigator is forced to confront his worst fears.
Something was gonna grab me.
(Woman screaming)
Narrator: The historic town of Medway, Massachusetts, is home to Greg and Lyla Pierson.
Their lives should be full of joy and happiness after celebrating the birth of their first child. But recently, troubling things have started to happen.
(Baby crying)
They hear a child's voice coming through the baby monitor when their child is with them. When the Piersons go to investigate... The baby's room is completely empty.
(Baby crying)
After establishing that they're not just picking up interference from a neighbor's baby monitor, they start to worry their child could be in danger and contact a paranormal investigator. Joe Cetrone is the founder of dark hauntings research and has been investigating the supernatural for over 15 years. He knows firsthand what it's like to be haunted by a child's spirit.
Cetrone: I recall when I was younger, was laying in my bed, a child ghost came up to my bed and just kind of walked toward me, and it just stared at me. Its face was pale. Eyes were black.
(Child screams)
After that, I was never the same, and ever since then, I've had a phobia of child spirits.
(Child screaming)
So when I received the e-mail from the Pierson family, it immediately sends a shiver through me.
Narrator: If Joe agrees to help the Piersons, he will have to face his greatest fear.
Cetrone: I don't want to know that if I refuse the case, maybe that child is gonna go on being terrorized by something. I know how that feels.
(Child screams)
It, uh -- it was gonna be an experience for me, but I was willing to take that chance.
Narrator: Joe heads to Medway to begin the investigation.
Cetrone: When I first arrived, everything appeared to be normal from the outside. Now the question was, what was happening inside?
(Baby crying)
(Knock on door)
I first walked in the house. Everything was fine. Nothing unusual. I didn't feel anything. But at that point, I figured it was best to just proceed with an assessment and a walk-through. Ended up in the child's room. It was a regular, normal room -- Stuffed animals, toys, crib, everything in place. I wasn't sensing anything at all.
Narrator: Joe begins to think there's a more rational cause for the strange activity.
Cetrone: There's many explanations as to a voice coming over a baby monitor, picking up different frequencies everywhere. Checked it, see if there was any short in the wire or something to just give me an indication that maybe there's a plausible reason why a voice is coming through that monitor, but I couldn't find anything.
Narrator: Relieved he hasn't an encountered a child spirit, Joe tells the family he can find no trace of anything paranormal in the house. But that's when things changed.
(Tapping)
Narrator: In Massachusetts, a young family is being tormented by a child spirit.
Investigator Joe Cetrone has agreed to help, despite his own fears. I've had a phobia of child spirits.
Narrator: Now the activity has escalated.
(Tapping)
Cetrone: Out of nowhere, I hear this sound of something walking upstairs.
(Tapping)
And it sounded like little feet walking across. Really quick. We all looked up. I was like, "did you hear that?" I was totally, like, "what is going on here?"
(Tapping continues)
Then I hear a sound coming out of the baby monitor.
(Child talking)
We heard a child speaking through the baby monitor. But the only thing, it was -- it wasn't their child. I see the light... And I just see it turn off. Something turned that baby monitor off. I knew there was something happening. It definitely was creepy. It struck me and -- and brought me that fear. Took me back to when I was younger.
[SCENE_BREAK]
Boy: No! not again! It just made my skin crawl. I'm battling two things -- The fact that this family is dealing with something coming over that monitor. Simultaneously, I'm also dealing with my fears, just the fact that it might a child spirit.
Boy: No! not again!
Narrator: Forced to confront his own demons, Joe is rocked to the very core. But he refuses to abandon the Piersons and calls for immediate backup.
Cetrone: At that point, I had my investigator come to the case with me. He said could I come down. Right away I could sense fear in his voice. There's something that he doesn't want to deal with alone.
Narrator: Steve sets up his camera in the baby's room. As I was filming the room, I sensed that darkness, that -- that feeling of something's going on, and I could feel something electric in the room.
Narrator: While Steve is upstairs, Joe heads into the basement.
Cetrone: I set the camera up, turned it on. And that's when I felt a sense that there was something there.
(Tapping)
I hear the footsteps going across. I started feeling that something was gonna grab me. I don't know if it was just because of my phobias. I just kept seeing a child's face. Just that frightening image. I was scared. I felt it was playing tricks with me, a game of hide-and-seek. And at that point, I knew that it was following me. That fear escalated. That was, like, the first time that I got spooked by something I couldn't see or verify.
(Child screams)
(Breathing heavily)
I knew it was getting to me. I was afraid of it.
Narrator: Rattled, Joe radios Steve for help. I heard Joe yell my name, "Steve, come here!" And I felt that urgency. I could hear it in his voice. All right. Be there in a second.
Narrator: Almost immediately, the spirit focuses its attention on Steve. Right when I turned to go walk towards the stairs, I had the chills.
Narrator: On a case in Massachusetts, investigator Joe Cetrone is being tormented by his own deepest fear, a child spirit. I felt it was playing tricks with me.
Narrator: Now the entity is turning its focus on fellow investigator Steve pate.
Pate: As I started heading towards Joe, there was a stuffed animal, a giraffe. But I didn't think anything of it. Right when I turned to go walk towards the stairs... It came flying right at me. It flew off the shelf, hit my head. I had the chills. I could feel it.
[SCENE_BREAK]
I've watched a million horror movies, but that, to happen to you in real life, it's freaky. That was it. It freaked me right out.
Narrator: Worried about provoking the spirit further, Joe and Steve leave the house to figure out what they're dealing with and how to get rid of it.
Cetrone: I reviewed all the evidence that we possibly could. There were no orbs, there were no EVPS, there was nothing strange. Other than what had happened to us while we were there and in real-time, there was no evidence that I can gather.
Narrator: When Joe returns the next day, Lyla Pierson has some chilling news.
(Baby crying)
She's spoken with a neighbor who told her that a young boy who lived in the house years ago tragically drowned.
Cetrone: Based upon my research, if a child died prematurely or a tragic accident happened, sometimes that energy, that residual, leftover energy, that child may not be ready to move on.
(Baby crying)
A lot of time, they'll cling to their home, they'll cling to something that resembled its family, whether it was a mom or another child. And I started to realize, that spirit of that boy was there to watch over that child, to be part of a family. I think the child spirit wanted to stay in the house. It's like with the stuffed animal. The child didn't want me to lea-- Was letting me know he wanted to be part of that family.
Narrator: Joe offers to cleanse the house, but Lyla refuses.
Cetrone: She had sympathy. Her whole thoughts of it being threatening or anything dangerous to herself or her child just went away, and she says, "you know, I'm okay. I feel validated by everything."
Narrator: She sees the spirit not as a threat but as a guardian angel watching over her child. She was welcoming it in, and she was okay with it.
Narrator: The experience also has a profound effect on Joe. I think, for me, it did bring a little healing. I was always fearful of child spirits, but not every situation that comes up is always evil in nature or negative. And when a child-spirit case comes up again, at least I know I can go into it in a different way and not have those fears that I had. Yeah, it did that for me.
Narrator: Imaginary friends are usually an innocent part of growing up. But sometimes they turn out to be something else, something evil that can threaten to take over the child completely. The quiet suburban neighborhood of Burlington, Ontario. It should be an idyllic place to grow up. But in one house, Karen Baines has become worried about her son.
Luke: No! Luke? I didn't do that.
(Speaking indistinctly)
Luke, who are you talking to? It begins when Luke becomes obsessed with a mysterious imaginary friend that he refuses to talk about. In the basement, the family starts hearing strange footsteps and whispering voices.
(Door creaking)
Then Luke is beset by terrifying nightmares.
Luke: Mom! What's wrong? My door's doing it. He says there's something evil out to get him. Luke? Luke? Desperate and terrified for the safety of her child, Karen reaches out to a paranormal investigator. She was panicked, she was anxious, and she wanted us in as soon as we could get there.
Narrator: Michelle Desrochers has been actively investigating ghosts since 2004. A founding member of Canada's most haunted, Michelle is a veteran of over 50 cases. What I've learned about the paranormal is that things are never what they seem to be. You never really know what you're getting yourself into.
Narrator: Michelle needs no persuasion to take on this investigation.
Desrochers: This case was very personal to me. This was home base. This happened in my city of Burlington, literally one major street away from me.
Narrator: As soon as Michelle enters the house, she senses evil.
Desrochers: I felt something's not right. I felt anxious. Everything in my fiber was telling me that there was something a lot more malevolent in that house than just an everyday imaginary friend.
Narrator: When a young boy gets a mysterious imaginary friend, strange and terrifying things start to happen. As soon as she gets to the house, investigator Michelle Desrochers is struck by a terrible feeling. There was something a lot more malevolent in that house than just an everyday imaginary friend or spirit.
Narrator: As they tour the house, Karen tells Michelle something that makes her blood run cold.
Desrochers: She said, "I hear popping sounds." Then it sounded like something was being -- Like someone took a piece of paper and went krkk! -- Ripped it behind me.
(Ripping)
There's a belief that demons tend to tear through the atmosphere... As they come into our dimension.
Narrator: Michelle suspects these strange events are connected to Luke's imaginary friend.
Desrochers: Children are the weakest link, so if something comes in, they're usually the ones that get targeted. So I says, "I understand you have a friend." And he said, "yes. He can change into a dinosaur." I'm like, "oh." It's definitely not common to hear about imaginary friends shape-shifting. That is a red flag for me.
Narrator: Michelle asks how the friend came to be here. He goes, "well, I said he could come and play." There's the one answer I was waiting for -- The invitation. A demonic infestation will 90% of the time start with some kind of an invitation, and this boy made the invitation.
Narrator: To have any chance of removing the entity, Michelle must revoke the invitation. She tells Luke his mother doesn't want his friend to visit anymore. He turned around and said, "you go home! You cannot stay here." I couldn't have asked for it to go better. Awesome, buddy. The invite has been revoked.
Narrator: But just because the demon's been told it's not welcome doesn't mean it's going to go quietly.
Desrochers: I was hugely concerned for the safety of this little boy and of this family.
Narrator: Michelle heads to the basement. She sets up recording equipment to see if she can capture the sounds the family heard. In the meantime, Michelle calls in extra help.
Desrochers: I brought one of my researchers along with me and one of our mediums.
Narrator: Michelle leads them to Luke's bedroom. And activity started almost immediately. The psychic started picking up on different things going on, and he clearly said, "something comes out of that closet." The door, it just started -- it would just shake.
Narrator: Then a drawer suddenly shoots out and strikes the researcher. Well, something is definitely trying to tell me something. Aah! Well, this is unusual. Let's get out of here.
Narrator: While the team explores the rest of the house, Michelle heads back to the basement. All of a sudden, I've got a cold spot behind me. It started to intensify. It got colder. And I'm starting to feel very uncomfortable, 'cause I realize I'm not alone. I'm not alone. I hear a very low growl. At that point, I realized somebody's trying to frighten me off, and that's not gonna work. Undeterred, Michelle checks on the tape recorder. What she hears stop her cold. What I found was completely unexpected.
Narrator: Investigator Michelle Desrochers and her team are doing battle with a demon that's trying to take over a young boy.
Desrochers: I was hugely concerned for the safety of this little boy.
Narrator: When Michelle checks her tape recorder in the basement, she's stunned by what she's captured.
(Tape recorder rewinds)
Phantom sounds.
Narrator: Phantom sounds have no identifiable cause. I'm hearing something pick up my recorder. You could hear it fumbling with it. How would it know to go after that? It shows a degree of intelligence. I'm hearing something going up wooden stairs, walking around on old hardwood floors. There's no hardwood floors anywhere in the basement. You could hear chains being dragged across the wooden floor. Heard grunting with it, like --
(Growling)
Some of the most amazing recordings that I've captured to date.
Narrator: The evidence confirms Michelle's suspicion that a demon is present. Knowing the family could be in grave danger, she moves quickly to remove it. I ask our medium to do a cleansing. He had a seashell and a feather, he took dried sage leaves, and he proceeded.
(Speaking in foreign language)
And he basically said, "I'm asking you to leave."
(Speaking in foreign language)
Narrator: The cleanse appears to work, and the house goes quiet.
But the peace doesn't last long. Three days later, Karen and her family endure their most terrifying experience yet. She called me, she said, "something is wrong with my son. He's not moving." I said, "call an ambulance." Luke! "I will babysit your kids so you can get your kid to the hospital."
Narrator: Michelle gets to the house before paramedics can arrive. I race up to the bedroom. (Crying) He's not moving.
Desrochers: I felt an energy. I absolutely felt a strong energy. Let go of this boy and leave this house. It was definitely demon-induced. I'm fighting with this thing, telling it, "you better let go." Get out of this house! "I'm done with this. You're not doing this anymore."
Narrator: After an epic battle, the demon vanishes.
Desrochers: He opened his eyes, he looked at me, and he said, "hi, Michelle. What are you doing here?" What are you doing here, Michelle? He sat up, gave me the biggest hug. He goes, "I need to go back to sleep now." I went, "all right." I knew, with every fiber of my being, it was definitely demon-induced. Period.
Narrator: Worried the entity will return yet again, Michelle brings in a renowned demonologist to perform an exorcism on the house. We will not fear the terror, nor pestilence that stalks... She did what she called speaking in tongues, which, from what I understand, is a form of prayer, their version of an exorcism.
(Speaking in tongues)
She said, "I'm picking up activity over here."
(Speaking in tongues)
She went through the entire house banishing that demon.
(Speaking in tongues)
Narrator: It takes hours to complete the cleanse.
But eventually, it's over.
Desrochers: She got it. I mean, banished it. This thing was gone, and that house was quiet. And the next time I saw that little boy, he was just a happy-go-lucky kid. Just happy.
(Sighs)
Narrator: The boy soon puts the demonic encounter behind him, but it has a lasting effect on Michelle.
These things are predators. It made me realize that nothing is sacred. You're not safe. You're not safe. That's scary.


UNDERWORLD
BY: BOB BAKER AND DAVE MARTIN
Part Four
Running time: 22:53
[SCENE_BREAK]
JACKSON: Cover him!
TALA: Captain.
JACKSON: Go on, Tala. Forward, Tala.
JACKSON: Withdraw!
JACKSON: Come on, pull! There we are.
[SCENE_BREAK]
DOCTOR: Quickly now. Stay calm. Everybody stay quite calm. Calm. K9, back to the ship. Check all the systems. We're leaving in a hurry.
K9: Affirmative.
DOCTOR: There must be another way back to the Oracle. Jackson? Jackson, can you and the crew hold them off?
JACKSON: We'll certainly mount an attack, Doctor.
DOCTOR: Good. Leela?
LEELA: Hmm?
DOCTOR: You come with me.
LEELA: I'm staying to fight.
DOCTOR: You'll come with me. Idas, you too. Have you got a sword?
IDMON: Take care, son. Take care.
DOCTOR: Jackson. Right, Jackson.
JACKSON: Ready. Now!
[SCENE_BREAK]
JACKSON: Forward.
RASK: Security. They're driving us back.
DOCTOR: This way.
LEELA: No.
DOCTOR: What?
LEELA: Something's there.
DOCTOR: What?
DOCTOR: Where does that lead?
IDAS: I don't know.
[SCENE_BREAK]
RASK (OOV.): They are too strong for us! I need reinforcements.
TARN: Hold them. You must hold them.
LAKH: I order you to stand and fight. We must protect the Oracle.
RASK (OOV.): But Master, we cannot hold for very much
LAKH: No excuses! Stand and fight.
HERRICK: There's no stopping us now. A hundred thousand years of searching, General. There's no stopping us now. I smell victory.
ANKH: Wait. Let us consider which is more important, the Oracle or these cylinders.
LAKH: The Oracle.
ANKH: Then should we not give them what they want and let them depart?
LAKH: But what they want does not exist.
ANKH: The Oracle will know. Why should we destroy each other?
LAKH: Very well.
ANKH: These cylinders you speak of, tell us what they look like. If they are indeed here, you shall have them and take them to your comrades.
HERRICK: You would set me free?
ANKH: Yes.
HERRICK: Well, there are two of them. Solid gold, stamped with the mark of Minyos, the length of a man's hand.
ANKH: Good.
LAKH: Tell Rask to arrange a truce.
[SCENE_BREAK]
LEELA: Doctor, we're here. Look.
[SCENE_BREAK]
ANKH: The intruders are defeating us. They will destroy us, destroy you, unless they are given these cylinders.
ORACLE: Then shall not they be destroyed by that which they so desperately desire?
ANKH: Can it be done?
ORACLE: Cannot all things be done?
[SCENE_BREAK]
LEELA: They have given up without a fight.
DOCTOR: Yes, it certainly seems like it.
LEELA: Why?
DOCTOR: I don't know.
DOCTOR: Let's take a look.
[SCENE_BREAK]
JACKSON: No return of fire. What's going on?
ORFE: There are two of them.
JACKSON: No, wait. Could be a trick. Be ready.
RASK: I have been ordered to speak with you.
JACKSON: Surrender?
RASK: Truce.
JACKSON: On what terms?
RASK: The terms are that you take what you came for and depart, leaving us to our way. If not, your comrade will be executed.
JACKSON: What comrade? Herrick is dead.
RASK: You think so, Captain?
HERRICK: I got them. The Quest is over. The Quest is over.
HERRICK: The Quest is over.
JACKSON: At last.
[SCENE_BREAK]
DOCTOR: Stay here.
ORACLE: What is it that you want?
DOCTOR: The cylinders. The race bank of the Minyans.
ORACLE: Have they not been given?
DOCTOR: Well, that's what I'm asking.
ORACLE: Who are you to dare question my word?
DOCTOR: Well, who do I have to be to dare question your word? I'll give you a clue, shall I? If it wasn't for my people, you wouldn't have seen the light of day.
ORACLE: People? What people?
DOCTOR: The ones the Minyans call the gods.
ORACLE: Gods? There are no gods but me. Have I not created myself? Do I not rule? Am I not all-powerful?
DOCTOR: Well, yes, here you are, yes, but nowhere else. You're just another machine with megalomania. Another insane object, another self-aggrandising artefact. You're nothing. Nothing but a mass of superheated junk with delusions of grandeur.
ORACLE: Nothing? Am I not the keeper of the race bank?
DOCTOR: What did you say?
ORACLE: I am the keeper.
DOCTOR: Ah ha! Then you've still got them.
ORACLE: I am the keeper.
DOCTOR: Keeper? You're nothing but a box, and I've got the key. (to Idas) Give me that.
ORACLE: Destroy! Destroy!
ORACLE: No! Destroy!
LEELA: Doctor, they're coming. Come on!
ORACLE: Destroy!
LEELA: Doctor, leave it! Come on!
ORACLE: Destroy!
LEELA: Doctor, hurry! Come on now!
ORACLE: Destroy him!
LEELA: Hurry, Doctor!
DOCTOR: Almost there.
LEELA: Hurry, they're coming.
ORACLE: Destroy him!
LEELA: Doctor!
ORACLE: Destroy! Destroy! Destroy! Destroy! Destroy him!
DOCTOR: No hard feelings.
LEELA: Come on!
ORACLE: Destroy him!
ANKH: After them. They must not meet the others.
[SCENE_BREAK]
LEELA: Which way? Which way?
DOCTOR: They know this place better than we do.
IDAS: The tunnels! Through there. They'll never find us through there.
[SCENE_BREAK]
TARN: They've reached tunnel seven, Master.
ANKH: Good. Close it down and collapse it.
[SCENE_BREAK]
IDAS: Quickly, through here. This was formed by the last skyfall. We should be safe in here.
LEELA: Safe?
LEELA: What are you doing?
DOCTOR: I'm just wondering what they've given Jackson.
[SCENE_BREAK]
JACKSON: The Quest is over. Set course for Minyos Two. K9, how do we stand for launch?
K9: Fuel absorption incomplete.
TALA: We've enough to get away, but it'll be a slow journey.
HERRICK: I say we go.
ORFE: We've got what we came for.
JACKSON: Right, prepare to launch.
K9: Negative.
JACKSON: What?
K9: Personnel incomplete. Doctor and the mistress not on board.
JACKSON: Find them. Tell them we're going. Now!
K9: Affirmative.
[SCENE_BREAK]
IDAS: We're trapped. Don't you understand, Doctor? We're trapped.
LEELA: Yes, we're going to be here for ever.
DOCTOR: No. They'll come and dig us out.
LEELA: Who?
DOCTOR: Well, whoever it was buried us.
LEELA: Why should they bother?
DOCTOR: Because we've got something it wants. The Oracle, remember?
[SCENE_BREAK]
ANKH: The cylinders must be replaced. Order a party of slaves to tunnel seven.
TARN: And the bodies of the intruders, Master?
ANKH: Into the crusher.
[SCENE_BREAK]
TALA: Five, four, three, two, one.
ORFE: Secondary check complete.
JACKSON: Third and final check. Commence countdown. Come on, Doctor, come on.
ORFE: Forty to launch.
[SCENE_BREAK]
DOCTOR: What kept you, K9?
K9: Gratitude is unnecessary. Speed is vital.
[SCENE_BREAK]
ORFE: Ten, nine
JACKSON: Run up on drive.
ORFE: Eight.
TALA: Drive running.
ORFE: Seven, six.
JACKSON: Pressurise.
ORFE: Five, four, three, two
JACKSON: Prepare to blast out.
ORFE: One.
DOCTOR (OOV.): Stop!
[SCENE_BREAK]
DOCTOR: Here are your race banks.
JACKSON: (coming down the stairs) Then what are those?
DOCTOR: That's what I intend to find out.
DOCTOR: K9, what do you make of these?
K9: Analysis indicates fission grenades.
DOCTOR: What?
K9: Do not proceed. Impossible to defuse. Explosive contents in excess of two thousand megatons.
DOCTOR: Two thousand megatons?
JACKSON: How much time have we got?
DOCTOR: I don't know.
JACKSON: What are we going to do?
DOCTOR: I think I'd better get rid of them, don't you?
K9: Affirmative.
LEELA: Doctor, wait!
[SCENE_BREAK]
LEELA: Which way did he go?
IDAS: I don't know.
LEELA: He may have need of us. We'll try this way.
[SCENE_BREAK]
ORACLE: Why? Why have they not been found?
ANKH: The slaves are digging.
ORACLE: Shall they not be found? Are they not my purpose?
LAKH: They shall be found. It shall be done.
[SCENE_BREAK]
IDAS: It's no good. We've lost him.
LEELA: Come on.
[SCENE_BREAK]
DOCTOR: Excuse me, I'm a stranger here myself. Could you direct me to the Oracle?
RASK: Guards! I'll take those, Doctor.
DOCTOR: What, those? I wouldn't if I were you. They won't do you any
RASK: Give them here. You, take care of him. And make sure you finish him off this time. Then bring this lot back to the Citadel.
DOCTOR: You're making a terrible mistake. Those are the wrong ones.
RASK: You can do better than that, Doctor.
DOCTOR: Ah, well, er.
DOCTOR: Look, getting rid of me isn't going to solve anything. Those cylinders were bombs. Why don't we just wait a few minutes and then we can all go together, hmm?
LEELA: Doctor! Doctor, are you all right?
DOCTOR: Yes, yes, I think so. Come on, let's get out of here. We've got no time. Tell them they've got no time.
IDAS: Listen to me! The prophecy's being fulfilled. Our god has come to save us. We can escape to the stars. Hurry!
LEELA: We must hurry!
IDAS: Yes, come on, come on.
LEELA: Come on!
[SCENE_BREAK]
TARN: You have found them. Well done, Rask. Quickly.
ANKH: They have been found.
ORACLE: Replace them, quickly.
ORACLE: They must never leave my keeping again.
[SCENE_BREAK]
DOCTOR: Quiet! Quiet, everyone. Come on, here.
DOCTOR: Now listen to me. I want you to stay calm, and when I say, go quickly but quietly. Ready? Take this little one. Off you go now. Come on. Come on.
[SCENE_BREAK]
DOCTOR: Come on, come on. Plenty of room for everyone. Everything's going to be all right. All right, all right.
JACKSON: What's going on? Get off, all of you. Off the ship! Get out!
DOCTOR: What are you doing? Never mind that!
JACKSON: What are you doing? We can't take all these people!
DOCTOR: No! Come on.
JACKSON: We can't. We're too low on fuel.
DOCTOR: This planet's going to explode.
JACKSON: Then get them off. Get off!
DOCTOR: Why?
JACKSON: I must safeguard the race bank.
DOCTOR: Why?
JACKSON: Why? The future of our people.
DOCTOR: Listen, Jackson. This is your people. This is your race. Descendents of the people who came on the P7E.
JACKSON: But we can't take the extra weight.
DOCTOR: Look this planet is going to explode, Jackson. Your only hope is to go, and go now. Go, Jackson, go!
DOCTOR: Right. Sit down, everybody. Sit down. Now, stay very calm.
[SCENE_BREAK]
HERRICK: Outer section sealed.
JACKSON: Run up on drive.
TALA: Drive running.
JACKSON: Pressurise.
ORFE: Check.
JACKSON: Prepare to blast out.
[SCENE_BREAK]
DOCTOR: Get down. Right down, right down.
[SCENE_BREAK]
TARN: They've cleared the surface. Not long now and they'll all be blown to bits.
[SCENE_BREAK]
ORACLE: These are not the cylinders! Get rid of them or we shall all be destroyed.
ANKH: Where?
ORACLE: Get rid of them! Get rid of them!
ANKH: But where? There's no time.
ORACLE: Get rid of them! Get rid of them!
ANKH: We can't.
ORACLE: Then defuse them!
ANKH: How?
[SCENE_BREAK]
JACKSON: More power!
TALA: I'm trying.
ORFE: We're falling back.
JACKSON: More power!
TALA: There is no more.
ORFE: The planet's gravity's pulling us back, sir.
DOCTOR: Everything all right, Jackson?
TALA: We don't have enough power to reach escape velocity.
JACKSON: You know why, don't you, Doctor? It's the extra weight, isn't it, Doctor.
DOCTOR: Oh, come on, Jackson, be brave. Sit down.
[SCENE_BREAK]
ANKH: It is not possible.
ORACLE: Why? Why?
LAKH: You made it so.
ORACLE: Then I have failed in my duty, and deserve destruction.
[SCENE_BREAK]
DOCTOR: There she goes. If you wanted power, Jackson, get ready to ride out the blast.
ORFE: We made it!
JACKSON: Speed?
TALA: Four sevenths light.
JACKSON: Course?
ORFE: One two zero, sir.
JACKSON: How long to Minyos Two?
HERRICK: Three hundred and seventy years, sir. That's nothing, is it?
JACKSON: Doctor!
DOCTOR: Yes?
JACKSON: Aren't you coming with us to Minyos Two?
DOCTOR: No, no, no time. I'm very busy. Goodbye, Jason.
ORFE: Goodbye.
HERRICK: Goodbye!
[SCENE_BREAK]
LEELA: Doctor?
DOCTOR: Hmm?
LEELA: Why did you call him Jason?
DOCTOR: Who?
LEELA: Jackson.
DOCTOR: What? I called Jackson Jason?
LEELA: Yes. Is Jackson Jason?
DOCTOR: No, Jackson isn't Jason.
LEELA: Well, is Jason Jackson?
DOCTOR: No, no, no. Jason was another captain on a long quest.
LEELA: I don't understand.
DOCTOR: Ah. He was looking for the Golden Fleece.
LEELA: Did he find it?
DOCTOR: Yes, yes. He found it hanging on a tree at the end of the world. Perhaps those myths are not just old stories of the past, you see, but prophecies of the future. Who know? What do you think, K9?
K9: Negative.
DOCTOR: What did he say?
LEELA: Negative.
DOCTOR: Negative? Can he paint? Hmm? Negative.
LEELA: Negative.