[Scene: Central Perk. Rachel is getting a cup of coffee as Joey and Phoebe enter and sit down.]
Phoebe: Oh! Hey, Rach!
Rachel: Hi! Hey, Happy Valentine's Day!
Phoebe: Oh, you, too.
Joey: Hey, so, uh, how's it going living over at Ross'?
Rachel: It's good. Except he makes us watch the Discovery Channel all day long. Did you know that something really boring happened to someone really ugly in the Middle Ages? (to the waitress handing her a cup of coffee) Oh, thank you. I'll see you guys later.
Phoebe: Okay.
Joey: Bye.
(Rachel exits with coffee)
Joey: There's one lucky to-go cup of coffee.
Phoebe: (sighs) Honey, I wish you would get over her. I hate seeing you like this. Is there anything I can do for you? Do you want to look down my top?
Joey: Thanks. But maybe later.
Phoebe: Oh, Gunther, can I get a scone?
Gunther: (to Joey) You want anything?
Joey: You know what I want? I want a lot of things! I want to be with the woman I love on Valentine's Day! And I want her to love me back! And I want just one moment of relief from the gut-wrenching pain of knowing that that's never going to happen!
Gunther: We have red bagels.
Joey: Oh, okay.
Opening Credits
[Scene: Monica and Chandler's. Phoebe and Ross are sitting in the living room talking.]
Phoebe: So, how does Mona feel about you and Rachel living together?
Ross: Oh, I'm actually on my way to tell her right now. Yeah, she's been away all week visiting her parents, but she'll be cool. I mean, she's been so supportive. She-she even got the baby a tiny T-shirt that says, 'Fossils are my friends.'
Phoebe: Ugh. Come on, Mona, don't kiss ass.
Ross: Uh, I'm going to take off.
Phoebe: All right. Oh! Shoot! Oh shoot! Uh, Rachel wanted to see this tape!
Ross: What is it?
Phoebe: It's a video of my friend giving birth. Could you just bring it back to your apartment?
Ross: All right. (reading the label) 'Candy and Cookie?'
Phoebe: Yeah. Candy's the mother, Cookie's the daughter. The father's also Cookie. Why am I friends with these people?
Monica: (entering with something behind her back) Phoebe, c'mere. I want to show you something in the bathroom.
Phoebe: Oh, Monica, grow up!
Ross: Hey, what's behind your back?
Monica: Nothing. Just something I want to get Phoebe's opinion on for Valentine's Day.
Ross: You don't want my opinion?
Monica: Not really.
Ross: Come on, I'm your older brother, ask me!
Monica: All right, big brother. (holds up two erm...revealing articles of clothing) Which of these do you think would make your little sister look hotter, so your best friend would want to do her?
Ross: (quietly) The red one.
[Scene: Joey and...wait...just Joey's. Joey is sitting at the counter eating a pizza.]
Phoebe: (knocking and entering) Hey. Look, I know you've been really depressed lately, so I brought someone over to cheer you up. Right outside this door is a real, live, furry playmate.
Joey: No, I'm not sleeping with your friend Jane again.
(Phoebe goes into the hall and brings a dog inside!)
Phoebe: He-hee!
Joey: Hey! A dog! Hi! Who, you got to admit, looks a lot like Jane.
Phoebe: This is the happiest dog in the world. I borrowed him from my friend Wendy. Now, you can only keep him until he cheers you up. And he will cheer you up!
Joey: Thanks so much, Pheebs! (to the dog) We are going to have so much fun, yes we are! (the dog sticks his head between Joey's legs) Oh! Not that kind of fun.
[Scene: Monica and Chandler's. Chandler enters with a bouquet of roses.]
Chandler: Happy Valentine's!
Monica: (from her bedroom) Okay! I'll be right out. I'm slipping into something a little less comfortable, and a little more slutty.
Chandler: (picking up a video from the table) 'Candy and Cookie'. 'Candy and Cookie?' Monica got me p0rn?! Girl-on-girl p0rn?! She really must love me!! (Chandler runs over to the TV, puts the tape in, and sits down to enjoy some "p0rn")
(A woman on TV breaths hard)
Man on TV: Yeah, just relax.
Chandler: I love you, St. Valentine.
(The woman groans, moans, grunts, and screams. Chandler's eyes get huge!)
Chandler: Woah, woah, that's not pretty!
Man on TV: Now, push!
Woman on TV: Ow! Ow! Ooh! That hurts!
Chandler: Worst p0rn ever! Worst p0rn ever! (Chandler starts to press buttons on the remote control, frantically.)
Woman on TV: Ohhh! Make it stop!
Chandler: I am trying!
[Scene: Joey's. Joey is playing fetch with the dog.]
Joey: Get the ball, ready? Get the ball, get the ball! (Joey pretends to throw it, but really doesn't, and the dog goes running off.) Well, you're cute, but you're not too smart!
(The dog returns with a ball that looks exactly like the same one Joey has.)
Joey: (looking at the ball the dog brought back) Did I just throw this?
Rachel: (entering) Hi.
Joey: Hi.
Rachel: I accidentally packed these with my stuff. (looks at the dog and gasps) Who is this?
Joey: Oh, that's, uh, that's Phoebe's friend's dog. I don't know what his real name is, but I call him Mozzarella.
Rachel: (talking with a higher voice, and puckered lips...kind of like you do to a baby or...well...a puppy...it's hard to explain. Just use your imagination!) Oh, well, you are so cute! I wish I could play with you more, but I've got to go to work! I hope I stop talking like this before my marketing meeting, yes I do. Yes I do. (still talking like that) Bye-bye, Joey. Oh, I seriously can't stop it. (exits)
Joey: (to the dog) C'mere. Hey. C'mere. That's Rachel. She's the one who used to live here. Might as well be honest with you-we love her. But we can't have her. I really miss her. Well, hey, you understand, right? You're a guy. (thinks about it and picks up the dog and looks) Well, you used to be.
[Scene: Monica and Chandler's. Chandler is sitting on the couch staring at the tape on the coffee table with his eyes huge and his mouth wide open.]
Monica: (entering from her bedroom) So what do you think? (referring to her outfit)
(Chandler glances up at Monica with his mouth still wide open and his eyes still huge)
Monica: (to herself) I've still got it!
Chandler: (pointing at the video) Why did you get me this?
Monica: What is it?
Chandler: It's yelling...bleeding...dilating. Oh, the dilating...
Monica: Is this the video of the baby being born? Sweetie, this is Phoebe's. Why were you even watching it?
Chandler: I thought...maybe...you got me p0rn for Valentine's Day.
Monica: Chandler, if you thought I was going to get you p0rn for Valentine's Day... (pulls a video out of a basket) you were right! Apparently, it's about a young girl who moves to the big city, you know, in search of stardom, but ends up having s*x with a lot of guys! Yeah, it got four starts! (looks closer) Oh, wait a minute. Those aren't stars. Anyway, you want to take a look?
Chandler: Well, I'm not really in a sexy mood right now.
Monica: Honey, what's going on?
Chandler: Well, remember the first time we saw Jaws?
Monica: Mm-hmm.
Chandler: How long it took to go back in the water?
Monica: Chandler, we can't let this tape wreck Valentine's Day!
Chandler: You don't know. You didn't see it.
Monica: Child-birth, it's a natural thing! It's beautiful.
Chandler: Oh, beautiful? Really? Beautiful? You think this is beautiful? (picks up the remote and presses a button, and he immediately makes a face that just looks like he's going to throw up!)
Monica: Oh! Oh, my God! No wonder my mother hates me!
Chandler: See, honey, there's-(puts his hand on her leg)
Monica: Don't touch me!
[Scene: Central Perk. Ross is sitting on the couch reading a magazine as Mona enters.]
Mona: Hi!
Ross: Hey! (they hug) So, how was Atlantic City?
Mona: Good.
Ross: Yeah?
Mona: I brought you back a present.
Ross: Wha-? Oh, come on. You didn't have to-saltwater taffy?! (Mona laughs) Thanks! This is interesting. You know, most people think this is made with sea water, but it's actually made with, uh, salted fresh water. That's not interesting.
Mona: I think it's interesting.
Ross: I do too! I missed you!
Mona: I missed you, too! So, how was your week?
Ross: Oh, it was good! It was good. Actually, the baby started kicking!
Mona: How exciting!
Ross: Yeah! I know! It was. Oh... the only sad thing is I wasn't around when it happened for the first time.
Mona: Oh no.
Ross: Yeah, I'm missing out on all this other stuff, too. So, Joey suggested Rachel move in with me.
Mona: (laughing) Yeah right!
Ross: What?
Mona: Joey cracks me up! It's like, 'Yeah, why don't you have your ex-wife move in with you? That wouldn't be awkward at all!' (she laughs again)
Ross: (not amused) Huh...uh-huh.
Mona: Huh, could you imagine. I go away for a few days, and come back, and my boyfriend is living with some woman he got pregnant! (Mona laughs...yes...again!)
(Ross fake laughs, obviously not finding this funny, and he's starting to panic, so he shoves the whole saltwater taffy he's eating in his mouth)
Mona: So, what'd you tell him?
Ross: (with his mouth full) Just a second! (he fake laughs, but turns his head and starts to break down)
[SCENE_BREAK]
[Scene: Central Perk. Ross and Phoebe are sitting on the couch.]
Phoebe: How could you not tell Mona that Rachel is living with you?
Ross: I don't know, she seemed to think it was such a crazy idea! Um, plus, she, uh, she got me taffy!
Phoebe: Taffy, really? I've never had any.
Ross: Ever?!
Phoebe: Well, I think my mother was too busy planning her suicide to provide saltwater treats. (Ross hands her one) Thank you! So what, you're just never going to tell her?
Ross: Oh, no, no, no, I will! I just want to butter her up, first! You know, I'm going to take her to an amazing Valentine's dinner. Do all this romantic stuff, and then, just when she thinks I'm the best boyfriend in the world, then I'm going to tell her that my pregnant ex-girlfriend is living with me.
Phoebe: If I haven't said it before: she's a lucky, lucky lady! So, where are you going to-what the mother of crap is up with this stuff? (Referring to the taffy, which she's been chewing this whole time.) Oh, God. Is it gum, is it food? What's the deal? (she swallows it, finally) Oh, it's nice! May I try a pink one?
[Scene: Joey's. Joey is laying on his recliner, depressed, and the dog is laying on the footrest.]
Joey: So, between her and me being friends, and her history with Ross, it just isn't going to happen. It would be like you falling in love with a cat.
Phoebe: (entering) Hey!
Joey: Hey.
Phoebe: Hey, buddy. How's my favorite dog, huh? How's my favorite dog? (the dog doesn't move) You're subdued. (to Joey) Did you give him a beer?
Joey: No.
Phoebe: Will you excuse us, we need to talk for a moment.
Joey: Yeah, sure. Go ahead. (pause) Oh, me, right!
(Joey follows Phoebe into the kitchen)
Phoebe: He's miserable! What happened to him?
Joey: Nothing. We just talked about stuff.
Phoebe: What stuff?
Joey: Rachel stuff.
Phoebe: Oh...Joey, you bummed him out! This was the happiest dog in the world, and he spends half a day with you, and look at him!
Joey: He's breathing!
Phoebe: Okay, I'm going to take him back to Wendy's.
Joey: No, no, no, no! He's fine! Look, look, look! (picks up the ball) Here's your ball! Get your ball! Get your ball! (he throws the ball and it bounces right next to the dog) Get your ball! My God, what have I done to you, huh? I broke the dog! Pheebs, I broke the dog!
[Scene: Ross and...Rachel's...I guess I have to call it that now. Rachel is reading on the couch as Ross enters.]
Ross: Well, I'm, uh, going to pick up Mona. What have you got going tonight?
Rachel: Oh, I've got big Valentine's plans! I've got my Chinese food on the way, and the rest of your saltwater taffy!
Ross: Y'know, it's interesting! Most people think that's made with seawater, when in fact-
Rachel: Ross, we actually watched the documentary together.
(There is a knock on the door.)
Rachel: Ooh! My Chinese food! Let me get my cash! (runs to her room to get her money)
Ross: (opening the door to see Mona standing there) Mona? What are-hi! What are you doing here? I'm, um, supposed to pick you up!
Mona: Change of plans, I made you a special Valentine's dinner! Surprise!
Ross: (he makes some really weird noise hear that sounds kind of like...)Ayyyayyyy!
Rachel: (entering) Oh, hey, Mona!
Mona: Hi! Hi. Hi, Rachel! (to Ross) What's she doing here?
Ross: I have no idea!
Rachel: I'll be watching TV if anybody needs me. (exits to her room)
Mona: Seriously, what is she doing?
Ross: Uh...lately, she just likes hanging out here.
Mona: Why?
Ross: I think she's lonely.
Mona: Okay, but it's Valentine's Day!
Ross: I know.
Mona: Can't we just ask her to go?
Ross: No, no. She's way to emotional. And by emotional I mean crazy.
(Doorbell rings)
Rachel: I'm not here! That's just my Chinese food!
Mona: Oh, my God! She has food delivered here?
Ross: Mm-hmm. She's-she's emotional, but, but ballsy.
Rachel: You know what I'm going to do? I'm going to get in my sweats, and eat this in bed! (exits)
Ross: And you thought she was going to be in our way! So, why don't you, uh, open the champagne, and I'll be right back. I've got a surprise for you.
Mona: You got another ex-wife back there?
Ross: (fakes a laugh) Please start drinking! (exits)
Rachel: (entering) I'm just going to grab the phone.
Mona: Oh, Rachel! Wait! Hey, I hope you don't take this the wrong way, but, but, um... what are you doing?
Rachel: Oh, I'm sorry! Do you need the phone?
Mona: No, no. Listen, Ross is too nice to say anything, but this is his apartment, and, and, we gotta have some boundaries, so why don't you go back to your place and give us some privacy?
Rachel: (as Ross enters with a present) But, but, Mona, I live here.
Ross: (handing Mona the present) Happy Valentine's Day! ...Or something to remember me by.
[SCENE_BREAK]
[Scene: Monica and Chandler's. Monica and Chandler are sitting on the couch still staring at the screen.]
Monica: How long has it been this time?
Chandler: 90 seconds.
Monica: That's better. 90 seconds is a long time not to think about it...except all I did was think about it.
Chandler: You know, it haunts me? Up 'til now, the worst thing I ever saw, was my father doing tequila shots off the naked houseboy. After this, I would gladly make that my screensaver!
Monica: Okay, well, we have to get past this! Why don't we get rid of the tape and pretend it never existed?
Chandler: I can do that.
Monica: Okay.
(Chandler takes the tape and sticks it under the chair cushion)
Chandler: Okay. Now all we've got to do is get rid of this chair.
(Chandler crawls over to Monica and they move in to kiss, but they can't do it and back up. They move in to kiss again, and kiss very awkwardly for a second, until someone knocks on the door.)
Monica: Oh, thank God!
Chandler: Oh, I know!
Monica: Come in!
Rachel: (entering) Hi! I'm so sorry to barge in on your Valentine's, but I had to get away from all the yelling. Mona is dumping Ross.
Monica: Oh, my God.
Chandler: Poor Ross.
(Monica and Chandler both look at each other and run over to the window to watch the action in Ross' apartment)
Chandler: Oh, great. We have to watch him do yoga in his underwear, but for this he closes the drapes!
Monica: Rach, you know that birthing tape you wanted to see? It's here.
Chandler: Oh, and we should warn you, before you watch it: don't watch it.
Rachel: Why? You saw it? Is it scary?
Chandler: Well, let's just say it's ironic how footage of someone being born can make you want to kill yourself.
Rachel: Well, now, wait. Now I'm all freaked out. Come on, you guys will watch it with me.
Monica: No, but I will leave a sweater that smells like me right next to you!
Rachel: C'mon, seriously, you guys, you're not going to make me watch this alone!
Monica: She's right...of course not. Honey, get the tape.
Chandler: (with his arm all the way under the cushion, moving it around) This reminds me of a very specific part of the tape. (Chandler puts the tape in, and they all sit down) Okay, here we go.
Rachel: Okay. (watching the tape) Ooh, my! (Rachel jumps when the woman starts screaming) Woah! Why is that baby torturing that woman?!
Chandler: Why have I seen this thing three times?!
Monica: It's...still beautiful.
Rachel: Uh! It's horrible!
Monica: I know! I know, I'm so sorry for you!
Rachel: Oh, my God!
(Monica and Rachel both cover their eyes)
Chandler: Wait, you guys, look!
Rachel: What? Did her ass explode?!
Chandler: No, the baby's out! Look, look!
Monica: Oh, look at those little fingers and toes!
Chandler: And look how happy the mom is now!
Monica: Oh...Rach!
Rachel: Oh, screw you guys, you don't have to do it!
[Scene: Central Perk. Ross is getting coffee as Joey comes from...God knows where! Some back area of Central Perk around the corner that we've never seen! Weeeiiirrrddd....]
Ross: Hey, hey, man!
Joey: Hey, what's up?
Ross: Uh...Mona just dumped me.
Joey: Oh, man, I'm sorry. Why?
Ross: Well, with everything that's been going on lately, I haven't exactly been the perfect boyfriend. You know, I, uh, I didn't tell her I got Rachel pregnant. I gave her a key to my apartment, and then had the locks changed! And then I lied to her about Rachel moving in with me. In a way, I actually judge her for not breaking up with me sooner, you know?
Joey: Still, that really sucks, man. Especially on Valentine's Day.
Ross: Yeah. Wait a minute. What are you doing here? Joey Tribbiani without a date on Valentine's Day? What's going on, huh? Girl trouble?
Joey: Sort of.
Ross: Really?!
Joey: You don't have to seem so happy about it.
Ross: Oh, sorry. Well, look, maybe I can help you with it.
Joey: Oh, I...I d-
Ross: Hey, whatever it is, I am sure it has happened to me. Y'know, actually once-once I got dumped during s*x.
(Two girls sitting at a table next to them look up in disgust, and Ross and Joey move away)
Ross: Anyway, so, uh, so what is it?
Joey: Forget about it. It's no big deal.
Ross: C'mon! Joey! What is it?
Joey: It's nothing.
Ross: Hey, hey, it's me. Why can't you tell me?
Joey: Okay, uh...sit down. (they do) Um... there's this woman that I like. A lot. But, uh...it can't happen.
Ross: She's not a Tribbiani?
Joey: No!
Ross: I knew it. So, is she someone from work?
Joey: Yes.
Ross: Well, uh, does she like you?
Joey: Sometimes I think maybe she could. But it doesn't matter, because I can't do anything about it.
Ross: Why not?
Joey: Well, it's complicated. She's with this other guy. For a long time. Someone from work, too. And I could never do that to the guy, because we're really good friends.
Ross: So, uh, this guy, she used to go out with, is, uh... is he still in love with her?
Joey: No. I don't think so.
Ross: Okay. Um... is he a good guy?
Joey: Yeah, he's the best.
Ross: Then talk to him! He might be fine with it.
Joey: Oh, I don't know.
Ross: Joey, it's worth finding out. I mean, if you really like her.
Joey: I do! So much! I can't stop thinking about her! I can't sleep, I-
Ross: Okay, Joey, you know what? You have to go for it. How often does this happen to you, huh? You owe it to yourself.
Gunther: (placing a cup in front of Ross) Here's your warm milk.
Ross: I'm going to...uh...I'm going to, um, put the bourbon in it at home.
Joey: Oh, yeah.
Ross: Anyway... seriously, uh...just...just talk to the guy, okay? And tell me how it goes. (walks towards the door until...)
Joey: It's Rachel.
(Ross just stands in the doorway, for like a minute...Ahh! What's going to happen next??!!! I can't make it all the way through the Olympics!!!)
Closing Credits
[Scene: Ross and Rachel's. Rachel is standing in front of the TV holding a video.]
Rachel: (thinking) You're going to have a baby, and you need to be prepared. Now, you're going to make yourself watch the whole thing. Just do it! (Rachel puts the tape in the VCR)
Woman on TV: I came to the big city to become a star! I'll do...anything to make that happen!
Man on TV: Anything?
(Music starts playing...yes...you know what kind of music...)
Rachel: (thinking) Hmm...maybe it starts with how she gets pregnant.


[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]
(The temperature sign on the hotel shows that it's 109 degrees.)
[XCU: BEE]
(A bee is in flight. It flies up to a woman on the sidewalk.)
FLASHES OF VARIOUS PEOPLE ON THE SIDEWALK.
Rev. Alistair Rhodes: (V.O.) You may believe that you have to die before the judgment comes.
(A one-legged man drops the bottle of liquor he's drinking from. The glass shatters on the sidewalk.)
(Another man is sitting on the sidewalk, his back up against the wall. He's stoned.)
Rev. Alistair Rhodes: (V.O.) But I say the fire is not around the corner.
(A man with the left side of his face beaten makes his way past the church.)
(The church bells chime.)
[INT. CHURCH - DAY]
Rev. Alistair Rhodes: (V.O.) The fire is not a-waitin'.
(The congregation sits in the pews, listening to the reverend.)
Rev. Alistair Rhodes: (V.O.) The fire is not a-wantin'. The fire has already come.
[EXT. BUILDING - DAY]
(A woman stands on her fire escape as she fans herself in the heat.)
(Down below, the man with the left side of his face beaten makes his way past her building. He's holding a plastic bag.)
Rev. Alistair Rhodes: (V.O.) As we mortals drink, gamble and fornicate our way through this world, --
[INT. CHURCH - DAY]
Rev. Alistair Rhodes: -- death to Hell's bells thundering toll. The clock of damnations already struck midnight.
[CU: BEE]
(The bee bumps into the window, falls to the ground and dies.)
Rev. Alistair Rhodes: We gonna die. Stick a fork in the ass of the human race and turn us over on Satan's spit because we all are not going to Hell,
FLASH TO:
[EXT. SIDEWALK - DAY]
(The man with the left side of his face beaten staggers along the sidewalk and stops.)
Rev. Alistair Rhodes: Surely as we stand in Las Vegas, Nevada.
(He falls to his kneels near the rubbish along the wall. He falls backwards onto some garbage bags and passes out.)
Rev. Alistair Rhodes: I say we are in Hell. Now.
FLASH TO:
[EXT. STREET - NIGHT]
(Someone steps on the dead bee. Officer cars are lined at the end of the alley, their lights flashing. Catherine and Warrick carry their kits.)
Catherine: Why are we parking in an alley two blocks from the crime scene?
Warrick: You know sanitation's flushing out a sewer line. We don't want to block their trucks.
(Warrick sees the body on the garbage bags, a newspaper covering the man's face.)
Warrick: Whoa, what we got here? Hey, guy! Hey!
(Warrick moves the newspaper and sees the man's eyes clouded white.)
Warrick: We've got a male DB.
Catherine: Call it in. You got it, Mitch?
Officer Mitchell: I'll tape the scene.
(Catherine and Warrick leave Officer Mitchell with the dead body and they continue their way to their crime scene.)
[EXT. RANCHO CENTER MOTEL -- NIGHT]
(They enter the motel parking lot. Officers are on the grounds. Catherine and Warrick make their way to the room. They pass by a man and woman on the steps. In one of the rooms, a man and a woman are on the bed. They continue toward the scene.)
(The officer removes the tape across the door and they walk inside.)
[INT. RANCHO CENTER MOTEL ROOM - CONTINUING]
(Grissom is in the room waiting for them. There's a dead body on the floor at the foot of the bed. On the bed is a second dead body of the woman, her arms and legs tied spread-eagled to the bedposts.)
Grissom: The man was shot execution style--22 to the back of the head.
(Warrick kneels and looks at the blood-soaked carpet under the man's head.)
(They look at the woman on the bed.)
Grissom: Woman was shot as well, bound and gagged. The guests next door complained about the noise, manager finally called the point. Unis found this.
(Catherine looks around.)
Catherine: I don't see any luggage. Wedding rings still on the fingers. Probably rules out robbery, but not infidelity. One gets to watch the other one die?
(Quick flashback to: The man and the woman are both alive. The man is at the base of the bed, kneeling on the floor while the woman is tied to the bed. Someone shoots the man in the back of the head while the woman watches. End flashback.)
(There's a bullet casing on the floor near evidence marker 1. Warrick picks up the casing and looks at it.)
Warrick: Maybe someone was trying to teach them a lesson.
Grissom: Did you guys happen to see the Fitzgerald's thermometer on your way over?
Warrick: Oh yeah, 109. Hot as hell.
Catherine: Anything under 110 is manageable. Above that, crime rate goes way up.
(A police siren wails nearby.)
Grissom: Sounds like it's getting hotter.
SMASH TO END OF TEASER ROLL TITLE CREDITS
[SCENE_BREAK]
[EXT. RANCHO CENTER MOTEL (STOCK) -- NIGHT]
(A police car turns into the alley behind the motel. Officers are looking in the pool. Warrick is at the trash bin. He jumps inside to sift through the garbage bags. He lifts up a bag and finds a bloodied shirt.)
(He checks the shirt and notes the sleeves are clean and that there are no buttons at the cuffs. He checks the label and sees its ANTIQUE SHIRTINGS SEWN FOR 17 1/2-36.)
[SCENE_BREAK]
[INT. RANCHO CENTER MOTEL ROOM - NIGHT]
(Grissom cuts the rope off the woman's wrist. He helps David Phillips turn the body)
David Phillips: Well, there's no wallet or ID on this one either.
(Grissom notices the bedspread.)
Grissom: This looks like a wet spot.
(Grissom looks at it under the ALS.8
Grissom: Semen.
David Phillips: There's no indication she was re-dressed. It doesn't look like sexual assault.
(David takes his clipboard and goes to the second body. Catherine walks up to the bed.)
Catherine: So ... middle-class couple ...
(She notes the BURGER GIANT cup and packaging in the trash bin.)
Catherine: ... takes a walk on the wild side, checks into this dump for ... some fine dining and romance. Somebody breaks in, kills the man, and tortures the woman. For what?
David Phillips: Maybe it's a drug thing.
Catherine: Well, wouldn't be the first time some nice folks from Henderson came east of Fremont to score.
Grissom: Did you find any drug residue or paraphernalia?
Catherine: Not yet. Maybe Tox'll find it in them.
(Grissom looks down and sees a white Bible under the bed partially hidden by the covers. He picks it up and looks at it. He checks the bedside table drawer and finds the standard Bible in it.)
(He shows Catherine both Bibles.)
Grissom: We have one too many Bibles.
Catherine: I don't think they helped.
[SCENE_BREAK]
[EXT. RANCHO CENTER MOTEL - PARKING LOT - NIGHT]
(Brass interviews the motel night manager.)
Brass: So you didn't hear or see anything suspicious?
Night Manager: This job -- you kidding me? That's all I see and all I hear.
Brass: Is that the register? Give it to me, give it to me.
(The night manager gives the clipboard to Brass.)
Night Manager: Oh. Room 106. Paid for the week, cash in advance, signed 'em in myself.
Brass: We got a problem.
Night Manager: What's the problem?
Brass: Your handwriting sucks. What the hell does this say?
Night Manager: Oh ... uh ... oh, that. That's the name here and that's, that's a, well, that's an "A." Uh ... and the license plate ... uh ... that's an "N" and -- oh-- that's a "V." That's "Nevada."
(He shows the form to Brass.)
Brass: (duh) You think?
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - DAWN]
[INT. ALLEYWAY -- DAY]
(CSI Ronnie Lake takes photos of the dead man found in the alley among the garbage bags while Sara looks at the bugs on it. Officer Mitchell stands nearby watching them.)
Sara: Green bloat stage. He's been here at least 18 hours.
Ronnie Lake: Do you ever wonder why ants don't crawl up the nose, eat the brains? I would. Protein.
Sara: Ants are scavengers; they tend to stay on the surface.
Ronnie Lake: You think dead skin tastes better than brains?
Sara: Well, they will go for brains late in decomp, after all the skin is gone.
Ronnie Lake: Do ants have taste buds?
Sara: Ronnie ... I'm going to have to limit you to twenty questions per case.
Ronnie Lake: Really?
Sara: (amused) Nineteen.
Brass: (o.s.) Hey, Sara.
(Sara gets up as Brass walks toward them.)
Sara: Hey ... Jim.
Brass: So ... enjoying the sunshine?
Sara: Not really. (She turns to the body.) DB is a derelict. I'm kind of surprised to see you investigating this.
Brass: Oh, I'm not working this. I'm working the double homicide over at the Rancho Center Motel. We're just doing a neighborhood sweep for suspects. (He sees Ronnie.) You're new. I'm Jim Brass.
Ronnie Lake: Yeah. Ronnie Lake.
(They shake hands.)
Brass: Right. Ronnie Lake. Like Veronica. You know, the actress? "Sullivan's Travels"?
Ronnie Lake: I think that's my dad's favorite movie.
(Sara smiles.)
Brass: Right.
Dispatcher (over radio): Two-zero-three-Charlie, Control. We have a few hookers who used the motel. They're willing to talk.
Brass: Yeah, 203-Charlie, I'm on my way. Got to run. Okay.
Ronnie Lake: Bye.
(Brass waves and leaves.)
[SCENE_BREAK]
[INT. CSI - HALLWAY -- DAY]
(Mandy reports her findings to Catherine as they move through the hallway.)
Mandy: So I got a hit off of the print on the motel room's "Do Not Disturb" sign.
(Catherine looks at the results.)
Catherine: Drug dealer with priors for assault-- nice.
Mandy: Yes, well, don't get too excited because I got another hit off of the telephone-- pedophile-- and I got one off of the dresser-a rapist-- and another one off of the bed frame-- a prostitute, a pimp, and another prostitute.
Catherine: Is that it?
Mandy: For felonies, yes. You want misdemeanors, too?
[SCENE_BREAK]
[INT. CSI - LAYOUT ROOM -- DAY]
(Wendy goes over her findings on the shirt with Warrick. The shirt and photos of the shirt are spread out on the table.)
Wendy: So the blood on the shirt belongs to your victims. The high velocity spatter on the front is a mixture of both and the blood drops on the left sleeve appear to solely belong to the woman.
Warrick: Probably cast-off from the beating.
Wendy: Now, the pattern on the sleeve has a straight line on the outside, and then a matching band of spatter on the inside. So the killer rolled up his sleeves?
Warrick: He had a lot of work to do.
Wendy: Speaking of which -- the wet spot. (She looks at the results.) The s*x stain was a male-female combo, both unknown, but the female shared alleles at all loci with both of the victims. It's their daughter.
Warrick: The parents weren't that old. The girl would be a teenager at most. So the killer caps Mom and Dad, rapes the girl, and takes her with him.
(Catherine walks into the room with print information.)
Catherine: If you've got a missing kid, I've got a pedophile.
(Warrick looks at the information.)
Warrick: Alistair Rhodes. Busted in August '94 for child molestation.
Wendy: That's pre-CODIS, so there's no DNA on file to match.
Warrick: Alistair Rhodes. I remember this guy. He was a lounge singer, called himself "Three Miles of Bad." It was all over the news.
Catherine: Well, according to the sheet, he served five years and made parole. A registered s*x offender. We know where he lives.
[SCENE_BREAK]
[EXT. CHURCH - FRONT STEPS -- DAY]
(Rev. Alistair Rhodes talks with two kids sitting on the front steps. He offers them a bag of burgers. The kids take the food.)
Rev. Alistair Rhodes: You think those are your fingers itching to pick up the spike? Your hands injecting your veins? "Satan finds mischief still in idle hands."
Brass: (o.s.) Alistair Rhodes.
(Brass and an officer walk up to him.)
Alistair Rhodes: Most people around here just call me "Reverend."
Brass: (to the kids) Hey, why don't you guys go super-size those?
(He offers the kids a bill. They take it and leave.)
Brass: So, Reverend, I hear that confession is good for the soul. You have anything to tell me?
Alistair Rhodes: The man you're looking for no longer exists. If you'll excuse me, I have some chores to do.
(Alistair Rhodes turns and enters the small church. Brass follows him inside)
[INT. CHURCH -- CONTINUING]
Brass: You ever been to the Rancho Center Motel?
Alistair Rhodes: Plenty of times--with hookers, addicts, drug dealers, pimps, wife beaters, runaways. I save people.
Brass: You ever save these two?
(Brass shows him the crime scene photo of the two bodies in the motel room. Alistair Rhodes is quiet.)
Brass: You know them, don't you?
Alistair Rhodes: There's nothing I can tell you.
Brass: These people have a daughter, and she's missing. And due to the fact that you're a convicted s*x offender, that means that you better come up with a lot more than these corny priestly homilies and you better come up with them fast.
Alistair Rhodes: I don't answer to you. I want to talk to my lawyer.
Brass: That's a good idea because you're under arrest.
[SCENE_BREAK]
[INT. CSI - A/V LAB -- DAY]
(Warrick enters the A/V Lab where he finds Archie struggling with some equipment.)
Warrick: Yo, Rambar, I have some documents to ...
Archie: Sh ... piece of junk.
(Archie puts the equipment down.)
Warrick: Where's Rambar?
Archie: Where all state employees go when they fail repeatedly.
Warrick: FBI Lab?
Archie: Sucking down taxpayer dollars in Quantico as we speak. Me, I like to think I'm broadening my horizons.
Warrick: Yeah, along with your pay grade.
Archie: Oh, happy coincidence indeed, sir. What you got here?
(Warrick gives Archie the motel registration form.)
Archie: Wow. Somebody needs to switch to decaf.
Warrick: In there somewhere is a Nevada plate number and a name. Can you dig it out?
Archie: I could try.
(Archie puts the motel registration form on the scanner.)
Warrick: The plate number is "something, something, something, D, seven, something, something."
(Archie runs the plate number, * * * D 7 * *.)
Archie: Okay, well, it's a fairly new model. The four letter, three number configuration has only been standard a couple years.
(The computer beeps with 54,756 results.)
Warrick: Ooh.
Archie: Well, uh ... it's a start.
Warrick: Well, can yoy cross-reference these records against the characters in the vic's last name. It's "M, A, blank, blank, blank, I, blank, blank."
(Archie runs another search with, "M A * * * I * *.")
(The computer beeps.)
Warrick: Now that's a good start.
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(The lights go out in a section of the city.)
[EXT. MACALINO RESIDENCE -- NIGHT]
(Warrick and Nick head up the front walk. An officer is behind them.)
Warrick: Alvin and Girlie Macalino. Let's do it. This makes what, the third power outage since summer?
Nick: Fourth, actually. If I didn't know any better, I'd say the city was trying to get rid of us. That's a hundred dollar fine right there.
(He notes the sprinklers on in the yard.)
(They approach the open front door. Nick and Warrick exchange looks.)
Nick: That's not good.
[INT. MACALINO RESIDENCE - NIGHT -- CONTINUING]
(Warrick opens the door.)
Warrick: Las Vegas PD. Is anybody home?
(He takes his gun out. Nick enters behind him. The officer follows them inside. They note the framed religious pictures on the wall and the cross on another wall.)
(They enter in further and note the wooden cross displayed on the dining room table.)
(Nick stops.)
Nick: It smells metallic.
(Nick takes his gun out. He turns to check the kitchen.)
(Warrick continues through the living room. There are clothes on the chair and a white Bible on the side table.
(Nick sees a pot is on the lit gas stove. He turns the stove off.)
(Nick also finds something fleshy and red on the counter.)
Nick: Oh, man. What the hell is that?
Warrick: That looks like balut. It's this Filipino delicacy. My grandmother's best friend is from Manila.
Nick: Bet it tastes like chicken.
Warrick: The Macalinos must've been in quite a hurry to leave their dinner out like that.
(Warrick and Nick start down the hallway. Nick checks the little girl's room. He finds the little girl in bed, a trickle of blood coming from her head. Warrick steps in after Nick.)
Warrick: Oh ... so much for the daughter.
[SCENE_BREAK]
FADE IN;
[INT. MACALINO RESIDENCE - ELIZABETH'S BEDROOM -- NIGHT]
(Warrick snaps photos of Elizabeth Macalino. When he finishes, David Phillips pulls the plastic sheet over her head. Some self-powering lights have been set up in the room.)
David Phillips: No visible signs of sexual trauma ... if it's any consolation.
Warrick: It's not.
[INT. MACALINO RESIDENCE -MASTER BEDROOM -- NIGHT]
(Grissom finds BURGER GIANT cup on the floor.)
Grissom: Burger Giant to go. They were eating it at the motel and someone had it here.
Greg: Possible connection?
(Greg notes the padlock on the top drawer is open and dangling.)
Greg: Hey, maybe we can add robbery to the list.
(Grissom walks over. Greg opens the drawer and finds a Wi-Fi card inside. He picks it up.)
Greg: Wi-Fi card but no laptop.
(Grissom notes the family photo on the dresser.)
Grissom: Mom, dad ... and two girls.
Greg: They have another daughter?
(Grissom listens and in the silence he hears muffled buzzing. He looks up. Greg also noted the sounds.)
Greg: Okay, so it's not just the ringing in my ears.
(They walk over to the ceiling hatch to the attic. Grissom motions with his head that Greg should open it.)
(Greg pulls the ceiling hatch open and a ladder slides out. Grissom and Greg exchange looks. They both look up at the attic door.)
[INT. MACALINO RESIDENCE - ATTIC -- CONTINUING]
(Grissom climbs in. He looks around and sees that it's another bedroom. The muffled buzzing sounds are louder. Greg enters the attic. They both look around.)
(There's a plate of half-eaten food on the floor and some food and a discarded potato chip package on the bedside table.)
Greg: One girl gets My Little Pony, the other one ends up here.
Grissom: That doesn't seem fair, does it?
(Grissom looks over at the overflowing dresser drawer. A bee buzzes across his face. He looks over at the source of the buzzing sounds and sees a bag and box covering the opening.)
(He nudges a bee walking on the cooler bag. The bee flies away. Greg is snapping photos. Grissom moves the cooler bag away and looks at the hole in the wall.)
Grissom: Greg? Do you have any allergies?
Greg: No. Why?
Grissom: Give me a hand.
(He moves the box away to expose the hole, then removes the insulation blocking the hole. More bees fly out.)
(Grissom lies on his back and looks up into the hole. His eyes widen.)
(PULL BACK on a colony inside the attic walls.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Brass questions Alistair Rhodes while his lawyer sits next to him.)
Brass: The Macalinos had two daughters-- Amy and Elizabeth. Elizabeth is dead, and Amy is missing.
Lawyer: That is tragic, but it has nothing to do with my client.
Brass: Your fingerprints were found at the motel where the Macalinos were murdered.
Lawyer: My client has already explained that.
Brass: You know, back before you were saving souls, when you were just molesting children, you had a partner ...
Lawyer: Who died in prison eight years ago.
Brass: We found male DNA on the bedsheets at the Rancho Center Motel. You got yourself a new partner, just like old times.
(Quick flashback to: [MOTEL] Alistair Rhodes holds Amy down on the bed while his partner unbuckles and unzips his pants. End of flashback.)
Brass: Only, this time, the parents busted in on you. That was bad for you, but worse for them. And now that mom and dad are never going to come home, you get yourself a whole new playpen to party in and a new buddy to party with.
Lawyer: The DNA at the motel -- was it my client's?
Brass: No.
Lawyer: Then why is he still in custody?
(Brass sits down.)
Brass: Because he's still lying. You're not an ordained minister. You're not a part of any recognized church. You got nothing to hide behind. So avoid the death penalty -- give us your partner, we get the girl, and you get ... redemption.
Lawyer: Six years ago, I was an alcoholic and a crackhead. This man pulled me out of the gutter and saved my life. My firm is doing this pro bono. I guarantee he will not do another day in jail.
Alistair Rhodes: My partner ... is the Lord.
Brass: Well, I'm sure it's not His DNA on those sheets.
[SCENE_BREAK]
[INT. CSI - HALLWAY OUTSIDE FORENSIC AUTOPSY -- NIGHT]
(Bodies on gurneys line both walls. The doors open. Sara and Ronnie walk in.)
Ronnie Lake: So anyway, when I graduated I got offers from both the labs in New York and Miami. Know why I picked Vegas?
Sara: I know you have nine questions left.
Ronnie Lake: Crime rate's growing faster here.
(Ronnie follows Sara into the autopsy room.)
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(Sara snaps photos as Ronnie removes the shoe off the old man's foot. We see the size 7 sticker still stuck to the underside of the sock.)
Ronnie Lake: All of his ... um ... valuables in a rubber-band wad. No ID.
Sara: Check the shirt pocket.
Ronnie Lake: I was getting there.
(She finds the ID in the shirt pocket.)
Ronnie Lake: Hah. Driver's license. Expired. Edward Kaye, born 1-28-51.
Sara: New socks. Happy face sandwich wrapper. It's got to be handouts from a shelter. Make some calls. You get to ask some questions, Ronnie.
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[INT. RHODES RESIDENCE -- DAY]
(Nick and Warrick search Alistair Rhodes' place. They go through the bookshelves and the sheets on the bed.)
Warrick: You know, if I had to gauge it by his apartment, I'd say that Alistair Rhodes is a regular guy.
Nick: Yeah, I'm sure that's what he wants everybody to think, too.
(Nick checks under the mattress. Warrick checks the closet. Nick opens the flip-down ironing board. Warrick checks the shirts in the closet.)
Warrick: Hey, Nick. For a guy with his own flip-down ironing board, these shirts look pretty wrinkled.
(Nick checks the flip-down ironing board space, banging on the wooden walls. He checks the board and finds there's a hole under the cover. He cuts the cover open and finds digital videotapes inside. The tapes are numbered.)
[SCENE_BREAK]
[INT. CSI - A/V LAB -- DAY]
(Warrick and Nick hurry to the A/V Lab.)
Nick: Hey, Archie.
Archie: Yo.
(Nick tosses the evidence bag to Archie.)
Nick: Whatever you're doing, that's more important.
(Archie looks at the tapes in the bag.)
Archie: Roman numerals one through six. (He holds the bag to his forehead and jokes.) All right, let me guess. Star Wars bootlegs.
Warrick: Child pornography.
(Archie quits joking.)
Warrick: Start with the latest first.
Archie: Yeah.
(Archie opens the bag and sits down. He pop tape IV in the machine and hits play and rewind. The tape plays as it rewinds. The view is UPSIDE DOWN as if someone dropped the camera on the floor. The camera turns UPRIGHT and they see two men fighting as a woman is tied to the bed.)
Warrick: That's enough. Let it play.
(They play the tape.)
(The young woman tied to the bed screams as Reverend Alistair Rhodes shouts to her.)
Alistair Rhodes: (from tape) ... bang you with chains of iron! Come from her now!
(The young woman on the tape screams as Alistair Rhodes hits her with the white Bible.)
Alistair Rhodes: (from tape) Back, pandemonium! Back, confusion! Leave ... this ...
Alvin Macalino: (from tape) Stop it! That's enough!
Alistair Rhodes: (from tape) ... girl!
Alvin Macalino: (from tape) Hey, stop, stop!
Alistair Rhodes: (from tape) Now, spirit!
(Alvin grabs Rhodes and pulls him away from the bed. Rhodes knocks the camera over. Mrs. Macalino runs over to her husband.)
Mrs. Macalino: (from tape) Why did you stop him?!
Alvin Macalino: (from tape) He was hurting her!
Mrs. Macalino: (from tape) No!
(Warrick, Nick and Archie watch the video.)
Warrick: This isn't kiddie p0rn.
Nick: It's an exorcism.
Alistair Rhodes: (from tape) This is your fault. You didn't believe. You didn't believe.
(Alistair Rhodes gets up off the floor, his mouth bleeding. His picture clear on the video.)
[SCENE_BREAK]
FADE IN;
INSERT: IMAGES OF THE EXORCISM
(Amy Macalino is tied to the bed. She hisses and screams while Alistair Rhodes shouts and hits her with the Bible. Mrs. Macalino stands nearby, watching.)
Alistair Rhodes: Come from her now!
(Amy Macalino screams.)
Alistair Rhodes: Back, pandemonium! Back, confusion! Leave ... this ... girl ... now!
Alvin Macalino: Stop it! That's enough!
Mrs. Macalino: Why did you stop him?!
Alvin Macalino: He was hurting her!
Mrs. Macalino: No!
Alistair Rhodes: Amy's not here.
Alvin Macalino: No, let go!
Alistair Rhodes: It's your fault. You didn't believe. You didn't believe.
FLASH OUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Brass is back interviewing Alistair Rhodes with his lawyer present.)
Alistair Rhodes: I've helped other people cast out the Devil before.
Brass: Videos one through five. LAWYER: I advised the reverend to document his rituals for situations just like this. He performed a religious service with the full consent of the parents and then he left the motel room.
Brass: Look, if you think we're going to fall for that, you have a lot more faith than I thought.
(Grissom is in the room watching the interview.)
Lawyer: He has no knowledge of the deaths or of Amy Macalino's current whereabouts.
Brass: Counselor, is this your idea of cooperation?
Alistair Rhodes: L-listen to me. Listen to me. The mother came to me ... at her wit's end, heart in her hand, begging me, begging me to free her child. She said she'd tried doctors and pills, but nothing worked, so I went to the house, I saw it with my own eyes.
INSERT: FLASHBACK
(Alistair Rhodes climbs up the ladder to the attic. Amy is on the bed. She looks at him.)
Amy Macalino: (rasps) It hurts.
(She growls and screams at him.)
Amy Macalino: Let ... me ... out of here!
(She screams and rages.)
END FLASHBACK.
Alistair Rhodes: (whispers) The thing in that house ... it wasn't Amy. It wasn't human. I had to cast it out.
Grissom: Did it work?
(Grissom walks over and sits at the table across from Rhodes.)
Grissom: The exorcism-- did it work?
Alistair Rhodes: No. Amy's father broke the rules: never speak to it, never interrupt, and believe me completely, do only as I say.
Grissom: And he didn't believe.
Alistair Rhodes: Mr. Grissom, do you believe in a separate, living evil?
Grissom: You're primitive man on the savannah. You see something move out of the corner of your eye. You assume it's a hyena. You run, you live. If you assume it's the wind and you're wrong, you die. We have the genes of the ones who ran. We're genetically hardwired to believe living forces that we cannot see.
Alistair Rhodes: The Devil's slyest trick is making us believe he isn't real. But call his name loud and long enough ... (He knocks on the table.) ... guess who comes knocking on your door?
Brass: Usually guys like you. Look, enough with the Sunday school bull. This meeting is over, the deal is off.
Lawyer: We've answered your questions.
Alistair Rhodes: I told you the truth. You have to let me leave.
Lawyer: He's right about that. If you're not charging him with anything ...
Brass: We're charging you with assault.
Lawyer: Fine. We'll make bail. You'll be out of here in six hours.
[SCENE_BREAK]
[INT. CSI - LAYOUT ROOM]
(Robbins goes over his findings with Sara over the photos on the table.)
Robbins: Multiple contusions on the face, subdural hematomas. This guy was definitely roughed up.
Sara: COD?
Robbins: Being homeless in Las Vegas. Cardiac arrest due to dehydration.
Sara: Thanks, Doc.
Robbins: Anytime.
(Robbins turns to leave. He passes Ronnie on her way in.)
Robbins: Hi, Ronnie.
Ronnie Lake: Hi. (to Sara) I faxed the DB's photo to various indigent organizations. Shelter on Rancho and Main ID'd him as a regular. Their special this week was socks and sandwiches. Rancho and Main is less than a mile from where we found him. Bum got into a fight -- business as usual -- and died of exposure, right? Oops, that was a question. I know, I'm down to four, but, I mean, that's it -- case closed, right?
Sara: What does that look like to you?
Ronnie Lake: Perimortem abrasions ... parallel, double rails. It's handcuffs. Cops must have picked him up before he died.
Sara: Maybe that's not all they did.
Ronnie Lake: Well, that's a guess.
Sara: What is the first thing that the police do when they question a suspect?
Ronnie Lake: Check for ID. Standard procedure.
Sara: Eddie Kaye's only identification was an expired driver's license found separated from all of his worldly possessions.
(Sara picks up the bagged license and sighs as she looks at it.)
Sara: Print it.
Ronnie Lake: Well, you're not seriously going to go after the cops over something like this?
Sara: You know what? That question I will answer. We're not here to protect anyone, Ronnie, not even the cops. We're here to figure out what happened. If you can't do that, you should get a different job.
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[EXT. POLICE DEPARTMENT - PARKING LOT -- DAY]
(Officer Casella)
Sara: Officer Casella?
Officer Casella: That's me.
Sara: I'm Sara Sidle, I'm with the Crime Lab. This is my partner, Ronnie Lake.
Ronnie Lake: Hi.
Sara: Can you tell me why your fingerprints were found on this?
(She shows him an enlarged copy of Eddie Kaye's driver's license.)
Officer Casella: Well, sure, I touched it.
Sara: What else did you touch?
Officer Casella: Uh ... I'm sorry, what do you mean?
Sara: Did you strike this man?
Officer Casella: Okay, are you trying to jam me up?
Ronnie Lake: We're not trying to do anything.
Sara: Where'd you get the bruise, Casella?
Officer Casella: I got it doing my job.
INSERT: FLASHBACK TO:
(Edward Kaye and another man fight over a sandwich.)
Officer Casella: (V.O.) A couple of train wrecks were slugging it out over this crap sandwich. I try to save them from themselves, but no good deed goes unpunished, so ... uh ... one of 'em takes a poke at me.
(Eddie slugs Officer Casella. He then handcuffs him.)
Officer Casella: (V.O.) So I cuff him up, I check his ID. I'm ready to run him in, but my partner says to drop it.
(He checks his ID.)
END FLASHBACK.
Officer Casella: He says this is an old bum trick, right, like take a swing at a cop, you go to jail where they have AC, they have food, they have water. I can't believe I almost fell for that.
Sara: I kind of wish you had. The man died.
[SCENE_BREAK]
[EXT. MACALINO RESIDENCE -- DAY]
(Greg is outside checking the grounds. He finds a small puddle of water and something in it. He snaps a photo and takes a gun out of the water.)
(The VIN number is intact. He releases the chamber. Sara turns the corner and sees Greg with the gun.)
Sara: Wow. What do you got there, Greg?
Greg: .22 handgun. Looks like it could be the murder weapon. You off the clock?
(Greg takes a bag out.)
Sara: Yeah. Good job.
Greg: Thanks. How you doing?
Sara: Well, I've had better days. You missing me yet?
Greg: A little more every day. Grissom's in the attic. Still.
(Sara smiles and heads inside.)
[INT. MACALINO RESIDENCE -- DAY]
(Grissom is carrying a box with the bees. Sara walks in and finds him.)
Sara: Hey.
Grissom: Hey. Bee frame. Inside, I've got the queen, the workers, the whole colony.
Sara: You're looting the crime scene of its bees?
Grissom: I cleared it with Animal Control. This colony is healthy. I need it to study Colony Collapse Disorder. Bees are dying in record numbers everywhere.
Sara: You know, I did read that if every bee on earth died, the human race would follow four years later.
Grissom: There's no hard evidence to support that, though.
Sara: Oh.
Grissom: But the world will end ... someday.
[SCENE_BREAK]
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[EXT. STREET -- NIGHT]
(A police car cruises around the streets.)
[INT. OFFICER CAR (CRUISING) - NIGHT]
(The officers run the license plates of several cars they see on the road.)
Officer 1: You don't think that's cheating? Anybody can get their hands on that stuff. My kid can get "the Clear," the cream. (to radio) Dispatch, we have plate number David-Paul William-Robert-one-eight-four, multiple warrants, parking violations.
Officer 2: Maybe we should juice up all the players. Level the field, be more entertaining for me.
Officer 1: You are one sick twist, my friend, you know that?
(They continue running plates.)
Computer: Stolen vehicle.
Officer 1: Hold up. Dispatch, we have plate number Paul-Robert-Zebra-David-seven-five-zero. Stolen vehicle, outstanding homicide. At Koval, off Las Vegas Boulevard.
Dispatcher: (from radio) Wanted for murder. Code six.
Officer 1: (to officer 2) Back up.
(They back up the car to put the parked stolen car into view. Officer 2 shines a floodlight on the car and it's obvious that someone is ducked down in the passenger seat.)
(The male driver sits up and starts the car. He takes off. The police car siren wails as it chases after them BACKWARD.)
(The police car keeps up. The station wagon turns to exit the parking lot and smashes into the police car. Both cars come to a stop. The two officers run out of the car with their guns drawn.)
Officer: Hands, let me see your hands! OFFICER: Out of the car now! OFFICER: Get your hands up!
(The man driving the car gets out, his hands up.)
Officer 2: Let me see your hands! Get out of the car.
(Officer 2 opens the door for the woman to get out.)
Officer 2: Hands!
(The woman has her hands up.)
Officer 1: You know who we're looking for, scumbag -- Amy Macalino. Where is she?
Amy Macalino: I'm Amy.
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. HOSPITAL - AMY'S ROOM -- NIGHT]
(Amy stares out in front of her as the nurse writes in the chart.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Andrew Wolflynn sits inside the interview room.)
PULL BACK to the -
[INT. POLICE DEPARTMENT - OBSERVATION ROOM - CONTINUOUS]
(Brass is in the observation room with a hooker, Divine.)
Brass: So you're sure you never saw this guy before?
Divine: That guy? Uh-uh, no. Okay, but this guy, uh-huh. (She picks up the photo of Rhodes.) Uh-huh, he was definitely at the Rancho Center Motel. He was there ... um ... three nights ago. Had his little camera with him and everything.
Brass: Camera?
Divine: Yeah, like video camera and all that stuff.
Brass: That helps, thanks. Thanks for your cooperation.
Divine: Um ... don't I get a reward?
Brass: Yeah, you get to leave.
[SCENE_BREAK]
[INT. HOSPITAL - AMY'S ROOM -- NIGHT]
(Catherine walks in with her kit.)
Catherine: Hi, Amy. I'm Catherine Willows, I'm with the crime lab.
Amy Macalino: You here to probe me?
Catherine: Swab.
(Catherine puts her kit down. Amy pushes the sheets down off her lap. Catherine stops her.)
Catherine: No, no, Amy, this, this is ... um ... this is in the mouth. Staff tells me that you've already gone through the SAE kit.
Amy Macalino: They tell you I'm all banged up inside?
Catherine: Not in those words. Amy ... the man that took you ... he cannot hurt you again. We've got him.
Amy Macalino: Then can I go? W-w-where's my clothes?
Catherine: Well, they're evidence for now, but you'll get them back. The clothes that you wore -- were they yours or ... did he make you wear them?
(Amy looks at Catherine.)
Amy Macalino: He made me do a lot of things.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Brass interviews Andrew Wolflynn.)
Brass: Andrew Wolflynn. Bet your friends call you Wolf, huh? So I'm going to call you Wolf. You can call me Jim.
(Warrick is in the observation room watching the interview.)
Brass: You know, it's really exciting to meet such a hyphenate. You know what I mean? I mean, you're a triple threat. You know, kidnapper-rapist-auteur. Do you like making movies?
Andrew Wolflynn: What are you talking about?
Brass: Kiddie p0rn.
Andrew Wolflynn: No. No, n-no, no way, no-not me, man.
Brass: No, not just you -- you and a partner.
(Quick flashback to: [MOTEL] Alistair Rhodes sets up the camera while Andrew Wolflynn is at the bed with Amy.)
Brass: (V.O.) He shoots, you score.
(End flashback.)
Brass: It must be a really good business. Low budget, high profits ... unless you get caught.
[INT. HOSPITAL - AMY'S ROOM -- NIGHT]
(Catherine swabs Amy's mouth.)
Catherine: I've contacted Child Services. You'll have to stay there for at least tonight. Do you have any relatives?
Amy Macalino: Not anymore.
Catherine: I've got a daughter. She's almost your age.
Amy Macalino: Maybe we should hang out.
Catherine: There'll be some counselors there that you can talk to and ... take as much time as you need and ... whenever you're ready, to go back to school. Where do you go?
Amy Macalino: Jefferson.
Catherine: Jefferson High? I don't know that one.
Amy Macalino: Jefferson Middle.
Catherine: Amy, what grade are you in?
Amy Macalino: Sixth. I'm 12.
(Catherine looks confused.)
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(Brass continues to talk with Andrew Wolflynn.)
Brass: We got your fingerprints, your semen. I mean, we got you in the dead couple's car working to bang their kidnapped daughter. We got ... did I leave anything out? Oh, yeah, we got your gun.
Andrew Wolflynn: I don't own a gun.
Brass: No, you know, we checked the serial number. It belongs to your grandmother. But you know ... and you know, it must be really hard to get that gun off ol' granny.
(Brass walks around Andrew to check his collar.)
Andrew Wolflynn: What the hell are you doing?
Brass: I'm just checking your shirt size. I might want to give you a Christmas present. 17 1/2, 36. You know what? I was leaving something out, Wolf. We got your shirt soaked not in one but both of the victims' blood. You see, this is what we call slam dunk. You're going to jail. You're going to do time. But why do it alone? Don't be a patsy. Just tell us the name of your partner. Come on, share with a friend. And you know what? You don't even have to tell me his name. All you have to do ... is point.
(Brass shows him Rhodes' photo. Andrew shakes his head.)
Brass: Hmm?
Andrew Wolflynn: I've never seen that guy before in my life.
Brass: Come on, you can do better than that.
(In the observation room, Warrick notices that Andrew's cuffs are opened and flipped back over his wrist.)
Andrew Wolflynn: I want a lawyer.
[SCENE_BREAK]
[INT. CSI - LAYOUT ROOM -- NIGHT]
(Warrick is back in the layout room with the bloodied shirt. He measures the void on the sleeves. He marks it on a separate shirt.)
(He tries the shirt on, then tries to roll the sleeves up to the line on the shirt. He can't do it. Catherine walks in.)
Catherine: What are you doing?
Warrick: Hey. I'm trying to make some sense out of the spatter. Now, we've already determined that the ... the killer rolled up his sleeves when he murdered the motel victims, but when I found the shirt, the cuffs were buttoned, and I'm not much bigger than this guy. And look. This is as far as the sleeves go up.
(He shows her that he can only roll them up to a little past his wrist.)
Catherine: Would you give me the shirt off your back?
Warrick: Sure. Here you go.
(He helps Catherine put the shirt on.)
Catherine: Okay.
(Catherine rolls the sleeves up to the line.)
Catherine: Easy.
Warrick: So Wolflynn wasn't wearing the shirt, was he?
Catherine: I guess Amy was. A trophy after s*x.
(Grissom walks in.)
Grissom: Hey. I have something I'd like you to see.
[SCENE_BREAK]
[INT. CSI - A/V LAB - NIGHT]
(Grissom clicks on the icon to open the computer information.)
Grissom: The Macalino family computer was recovered from the stolen car. Archie ... found the chat logs.
(Grissom opens the log. It reads:
Wolfman: You look so hot in that photo.
Wolfman: We need to meet soon!
Amy17: If you could take me out where would -
Wolfman: Any where you want?
Amy17: Anywhere is better than here.
Amy17: I'm lonely.
Wolfman: so lets meat somewhere.
Amy17: I can't.
Wolfman: Y? Whatcha doing?
Amy17: about to shower.
Wolfman: You hot and sticky?
Warrick: A lot of traffic between Amy and the "Wolfman."
Grissom: Keep reading.
CLOSE-UP OF MONITOR:
Amy17: How bad do U want me?
CLOSE-UP OF MONITOR:
Wolfman: I can taste it.
CLOSE-UP OF MONITOR:
Amy17: Talks is cheap.
Amy17: Prove it.
Warrick: It looks like Amy's luring the Wolfman. (The remainder of the screen reads:
Wolfman: I'll do anything!
Amy17: R U bad enough?
Amy17: R U my badboy?
Wolfman: Damn straight.
Grissom: What would you do if you found this on Lindsey's computer?
Catherine: Ground her for life. Take the laptop.
Grissom: Lock her in the attic, maybe?
Catherine: Well, you push kids, they push back. Things can get out of hand pretty quick.
CLOSE-UP OF MONITOR:
Amy17: I need a bad MAN.
Grissom: The Macalinos were pushed all the way to an exorcism. Now, Alistair Rhodes says that he left the motel when his ritual failed. The video shows the father tried to stop it. He probably untied her. Right?
Catherine: So Amy escapes, she goes and gets her knight in shining armor.
Warrick: Yeah, Wolf and his .22 caliber.
CLOSE-UP OF MONITOR:
Amy17: Can U handle it?
Catherine: They return to the motel.
CLOSE-UP OF MONITOR:
Wolfman: Yeah.
CLOSE-UP OF MONITOR:
Amy17: Handle me?
Catherine: The parents are gone, but the room's still paid for.
CLOSE-UP OF MONITOR:
Wolfman: Hell, yeah.
Catherine: They have s*x and burgers.
Warrick: And Amy calls her mom and dad, who come back because they still love her.
CLOSE-UP OF MONITOR:
Amy17: Let's do it.
Catherine: Dad gets killed first ... quick, but Mom, the true believer, the one who wanted to drive out the demons, she has to suffer.
(Quick flashback of: [MOTEL ROOM] Amy gleefully hits her mom on the bed. End flashback.)
Grissom: And Amy goes home to get her computer ... and kills her little sister.
Catherine: I'll call Brass. We'll go pick Amy up.
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[INT. CPS -- NIGHT]
(Amy Macalino sits alone in the room. She smiles. There's a knock at the door.)
CPS Attendant: Amy, there's somebody here to see you. Could you come with me, please?
(Amy swings her legs over to the side of the bed.)
[INT. CPS - STAIRWAY - CONTINUING]
(Amy and the CPS attendant head up the stairs.)
[INT. CPS - VISITING ROOM - CONTINUING]
(The CPS attendant leads Amy up to the visiting room.)
CPS Attendant: Just wait in here.
(Amy steps into the room to wait. The CPS attendant leaves.)
(Amy looks up as Alistair Rhodes steps into the room. He closes the door behind him.)
[INT. CPS - LOBBY - CONTINUING]
(The front door opens. Catherine, Brass and an officer step in.)
Catherine: We need to see Amy Macalino.
CPS Attendant: Popular girl tonight. She's upstairs with her minister.
(Brass turns and heads for the stairs.)
Brass: (to the officer) Let's go!
(Brass and the officer head up the stairs.)
Catherine: Her what? (to radio) Control, this is Willows. I'm at CPS. I need backup. Code Three now.
(Brass and the officer head up the stairs.)
(Amy screams.)
(Catherine looks up at the topmost floor.)
Alistair Rhodes: I cast you out!
(Rhodes pushes Amy off the railing. Amy screams as she falls and lands at Catherine's feet.)
(Catherine gasps.)
(Brass and the officer reach Rhodes, their guns out.)
Brass: Alistair, turn around. Turn around. Now!
(Rhodes turns around with his hands up.)
Brass: Get down on your knees.
(Rhodes slowly gets down to his knees.)
Alistair Rhodes: I saved her. I saved her.
(The officer handcuffs Rhodes.)
(Brass shakes his head. Rhodes gets to his feet and the officer leads him away.)
(TOP VIEW DOWN: Amy is dead on the lobby floor in a pool of blood. Catherine looks at her.)
(After a moment, Catherine starts taking photos of Amy. The officer takes the CPS attendant's statement in the back of the lobby.)
(Grissom walks in with his kit.)
(Catherine looks at Grissom. Grissom shakes his head, then looks up at the floor above them. He puts his kit down and looks around. He stops when he sees something.)
(There on the floor is a dead bee. Grissom picks it up and looks at it. He looks back at Amy's body.)
(HOLD on GRISSOM.)


1: EXT. STREET IN LOP
(TEGANA takes the phial of poison from his ally and stares at it.)
TEGANA: I will use it well...on all but the first of Marco Polo's water gourds, for tomorrow, the caravan sets out to cross the Gobi Desert. Now, you will follow us...and on the third night, I will walk back to you...then we're gonna ride back here to Lop, wait for two days...and then...return to the caravan...to collect the...thing of magic...that will bring the mighty Kublai Khan to his knees!
[SCENE_BREAK]
2: MARCO POLO'S JOURNAL
(The map illustrates the next stage of the journey of MARCO POLO'S caravan.)
[SCENE_BREAK]
(Again, POLO writes and narrates his journal. His words are illustrated by the image of the TARDIS once more on the back of a horse-drawn wagon with attendant Mongol bearers.)
MARCO POLO: (OOV.) I have taken charge of the travellers' unusual caravan, and set out into the Gobi Desert. The journey across this vast ocean of sand is slow and hazardous. To make matters worse, the old Doctor continually shows his disapproval of my action by being both difficult and bad-tempered. For three days now, during which time we have covered no more than thirty miles, I have had to endure his insults.
[SCENE_BREAK]
3: EXT. GOBI DESERT (NIGHT)
(The tent has been erected on the sands of the desert.)
[SCENE_BREAK]
4: INT. MAIN TENT (NIGHT)
(Inside the main tent, IAN and BARBARA are with MARCO POLO and TEGANA. SUSAN sits quietly nearby. The three people from the TARDIS are no longer in their own clothes but, not allowed access to the TARDIS, wear Chinese clothes. SUSAN wears a two-piece robe which reaches down to the floor, the upper part of which has flower decorations, while IAN wears a jacket which is decorated in Chinese letters. BARBARA'S top is plainer in style. The DOCTOR is absent from the meal which they have just finished. PING-CHO, again carrying out her serving duties, pours some water for IAN.)
IAN: Thank you, Ping-Cho.
(He drinks.)
IAN: How much water does a caravan like this use crossing the Gobi Desert, Marco?
MARCO POLO: We will use one barrel every five days, Ian. I have allowed for eight gourds to carry us across to the other side.
TEGANA: The bones of many men who thought they had enough lie bleached in the desert sand.
(He holds up his bowl to nervous PING-CHO and gives a curt order...)
TEGANA: More.
MARCO POLO: I think we should exercise some restraint, Tegana.
(With some relief, PING-CHO moves off. POLO turns to an upset SUSAN.)
MARCO POLO: I'm sorry the Doctor wouldn't eat with us this evening.
SUSAN: Yes, so am I, Messr Marco.
(Near to tears, she picks up the DOCTOR'S plate.)
SUSAN: I'll take him his food.
(SUSAN takes the plate behind a partition into the DOCTOR'S section of the tent. MARCO POLO brings out a chessboard from one of his travel bags.)
MARCO POLO: A game of chess, Ian?
IAN: Oh, well I'm not very good, but I'll give you a game.
MARCO POLO: I gladly accept your challenge.
(MARCO POLO sets up the chessboard. BARBARA is intrigued by the intricately carved wooden pieces.)
BARBARA: What magnificent pieces!
MARCO POLO: Yes, I purchased them in Hormuz, on my first journey to Cathay. Now they go with me everywhere. Do you, er, play...?
(At that moment, SUSAN, still upset, returns with the untouched plate...)
SUSAN: I'm sorry, Messr. Marco...
(She suddenly starts to rush from the tent. BARBARA watches her go but before she can do anything, TEGANA, seemingly oblivious to what has happened, speaks to BARBARA with unusual courtesy...)
TEGANA: Do you play chess, lady?
BARBARA: Not very well, Tegana.
(BARBARA, concerned with SUSAN'S sudden departure, decides to follow the girl.)
BARBARA: Excuse me.
(She walks from the tent. IAN and MARCO POLO prepare for their game of chess. TEGANA watches them with interest.)
TEGANA: I find it a fascinating game of...strategy of war. Two equally balanced armies deployed upon a field of battle, and each commander determined to be the one who cries "Shahmat".
IAN: (Puzzled.) Shahmat? Checkmate?
TEGANA: (Quietly.) It means the king is dead.
[SCENE_BREAK]
5: EXT. MAIN TENT (NIGHT)
(BARBARA finds SUSAN standing outside the main tent. She is still clearly upset. There is a strong wind starting to blow.)
BARBARA: We'll get the TARDIS back, Susan.
SUSAN: Yes, but at Kublai Khan's Court, when it's too late.
(She stares sadly up into the stars in the night sky.)
SUSAN: We should be up there - another time, another galaxy.
BARBARA: Oh, we'll think of something.
SUSAN: How? Ian playing chess with Marco? Grandfather being rude and sulking by himself?
BARBARA: Oh, I didn't know he's sulking, is he?
SUSAN: Well, he won't eat. He won't even talk to me.
BARBARA: Well, you know him better than I do. But I'd have said he was just feeling defenceless. He has a wonderful machine, capable of all sorts of miracles, and it's taken away from him by a man he calls a primitive. Look, TARDIS is the only home we have at the moment, and when we're in it, we feel safe and secure. But when we're out of it...
(She looks out across the desert and sighs.)
SUSAN: Will he talk to me? Confide in me?
BARBARA: Oh, he's like a rubber ball. He'll come bouncing out of there soon full of ideas.
(SUSAN stares back at the sky.)
SUSAN: One day, we'll know all the mysteries of the skies...and we'll stop our wandering...
BARBARA: Then you and I will say good-bye.
SUSAN: (Surprised.) Hum? Oh, not yet. Not for a long time!
BARBARA: Well, I think we should say goodnight anyway.
SUSAN: Are you coming?
BARBARA: No, not for the moment.
SUSAN: Goodnight.
(SUSAN runs back towards the main tent.)
[SCENE_BREAK]
6: INT. MAIN TENT (NIGHT)
(SUSAN appears in the tent. The chess match is in progress and IAN, POLO and TEGANA stare intently at the board...)
SUSAN: Ping-Cho?
MARCO POLO: Shh! She's gone to bed.
SUSAN: Oh, well...I'll go too then. Goodnight.
IAN: Goodnight, Susan.
MARCO POLO: Sleep well.
(As SUSAN leaves to go to her room, MARCO POLO turns back to the chessboard.)
MARCO POLO: Now, what was I about to do? Ah yes...
(He moves a piece.)
IAN: Ouch!
[SCENE_BREAK]
7: INT. TENT. PING-CHO AND SUSAN'S ROOM (NIGHT)
(SUSAN enters the room she shares with PING-CHO and sees that the young girl is not yet in bed but staring out of a side-flap in the tent.)
SUSAN: Not asleep yet?
PING-CHO: No, I was thinking.
SUSAN: What about?
PING-CHO: How peaceful it is in the desert.
(SUSAN joins her and looks out.)
[SCENE_BREAK]
8: EXT. MAIN TENT (NIGHT)
SUSAN: Oh, it's a lovely night!
PING-CHO: The moon will rise later. That is the time to see the desert. It is like a great silver sea.
SUSAN: (Almost to herself.) The metal seas of Venus...
PING-CHO: Where?
SUSAN: Oh, a long way from here. I've never seen a moonlit night. How long before the moon rises?
PING-CHO: Two or three hours. I'll call you then.
[SCENE_BREAK]
9: INT. MAIN TENT (NIGHT)
(In the main tent, the sight of the Gobi Desert at night has also captivated BARBARA. She returns to the three men and their chess game.)
BARBARA: Night in the desert is very beautiful.
MARCO POLO: Don't be deceived by it, Miss Wright. The desert is always dangerous.
(IAN is concentrating on the chess game.)
IAN: Like my Queen!
(He moves a piece, still watched intently by TEGANA.)
IAN: Check!
TEGANA: Oh, Marco, can you save your King?
MARCO POLO: I think so, Tegana.
(MARCO POLO studies the board carefully before making a move.)
MARCO POLO: Check.
[SCENE_BREAK]
10: EXT. MAIN TENT (NIGHT)
(Later on that night, when the rest of the camp is silent, SUSAN and PING-CHO emerge through the flap from their room in the tent. The moon has risen, and the two girls view the illuminated desert in amazement.)
SUSAN: (In wonder.) Oh crazy! Hey, Ping-cho...!
PING-CHO: Shh! The guard will hear you. (Puzzled.) Crazy?
SUSAN: Hmm? It means I dig it. You know - like it.
PING-CHO: This language of yours is very strange.
(At that moment, TEGANA emerges from the main tent. He has a brief conversation with one of the Mongol bearers, and then moves off into the desert.)
PING-CHO: Tegana!
SUSAN: Let's follow him.
PING-CHO: He will be angry!
SUSAN: You're not afraid?
PING-CHO: No, I am not. Come.
(They follow TEGANA into the desert.)
[SCENE_BREAK]
11: INT. MAIN TENT (NIGHT)
(IAN and MARCO POLO are sleeping in the main area of the tent on makeshift beds. Outside, the sounds of the horses becoming restless can be heard. The whinnying of the horses eventually wakes MARCO POLO. He gets up and moves to the doorway. IAN also wakes.)
IAN: What is it, Marco?
MARCO POLO: The horses are very restless.
(IAN gets up and the two of them move outside as the horses whinny again.)
[SCENE_BREAK]
12: EXT. MAIN TENT (NIGHT)
(They peer across the desert.)
MARCO POLO: There's a sandstorm coming, Ian.
IAN: How do you know?
MARCO POLO: Notice how still it is - as if everything were waiting.
(There is another whinny.)
MARCO POLO: They sense it too.
IAN: Will it be a bad one?
MARCO POLO: Bad enough. I must attend to the horses.
(He moves off.)
[SCENE_BREAK]
13: EXT. DESERT (NIGHT)
(SUSAN and PING-CHO continue following TEGANA through the desert. They are finding it difficult to keep up with the pace TEGANA is setting over the high dunes and deep furrows of sand, and are beginning to lose the warlord.)
SUSAN: He walks so quickly. Can you still see him?
PING-CHO: Yes. There he is, over there.
(PING-CHO points out into the desert. Suddenly, SUSAN sits on the ground in exhaustion.)
SUSAN: Oh, let's give up.
PING-CHO: Who is afraid now?
SUSAN: No, I'm not afraid. It's...it's just that it's so hot. I can hardly breathe.
PING-CHO: Yet it was most pleasant when we left the caravan.
(SUSAN gets up.)
SUSAN: Oh, come on, let's go back.
PING-CHO: All right.
(They start to clamber back over the dunes.)
PING-CHO: Susan, listen!
(SUSAN does so, and manages to hear the faint sounds of swirling wind. SUSAN suddenly sees something.)
SUSAN: What's that?
PING-CHO: Where?
(SUSAN points towards a hazy mist on the horizon as the wind starts to get louder.)
SUSAN: That cloud on the horizon.
(PING-CHO sees the ominous clouds of billowing sand.)
PING-CHO: Susan, it's a sandstorm!
SUSAN: What! It's coming this way! Ping-Cho, we must get back before it reaches us!
PING-CHO: No, the caravan is too far away!
(SUSAN tries to drag her away.)
SUSAN: (Shouts.) No, come on! We must get back. We can't stay here!
PING-CHO: (Shouts.) No, we'll get caught in it - and we'll never find our way!
SUSAN: (Shouts.) Ping-Cho, come on!
PING-CHO: (Shouts.) No, we must shelter here.
SUSAN: (Shouts.) No!
(The wind begins to fiercely swirl around them.)
PING-CHO: (Shouts.)
[SCENE_BREAK]
(The two girls hold on to each other as they are caught in the sandstorm.)
SUSAN: (Shouts.) Ping-Cho!
[SCENE_BREAK]
PING-CHO: (Shouts.)
[SCENE_BREAK]
(Their cries and the sound of the blasting wind mingles with the noise of the "singing" sands which manifests itself as a series of shrieks and babbles.)
[SCENE_BREAK]
14: INT. MAIN TENT (NIGHT)
(Back at the main tent, BARBARA is woken by the sounds of the approaching sandstorm, and appears from her section of the tent. IAN and MARCO are back inside. They have to shout to make themselves heard over the shrieks of the storm.)
BARBARA: (Shouts.) Ian, what is it? What's happened?
IAN: (Shouts.) Don't be afraid, Barbara. It's a sandstorm.
BARBARA: (Shouts.) But the...
IAN: (Shouts.) It sounds as if all the devils in hell were laughing!
MARCO POLO: (Shouts.) It's the wind shifting the sand!
BARBARA: (Shouts.) It's terrifying!
MARCO POLO: Not always, Barbara. Sometimes it sounds like musical instruments being played - the clashing of drums and cymbals. I've heard it sound like a great many people talking as they travelled across the desert. It can also be like a...like a familiar voice calling your name. You're not the only one to be afraid. Travellers of the Gobi Desert have good reason to fear the singing sands, Barbara.
(MARCO walks off. IAN looks towards the DOCTOR'S room in the tent.)
IAN: (Shouts.) It's fantastic that the Doctor's still asleep!
(MARCO rushes back.)
MARCO POLO: Tegana's not here! His bed's empty!
IAN: (Shouts.) What?!
MARCO POLO: Has anyone seen him?
IAN: Well, he can't be out in this!
MARCO POLO: He must be!
BARBARA: Well, what will happen to him?
MARCO POLO: If he finds shelter, he'll be all right!
BARBARA: Well...well, can't we do anything?
MARCO POLO: Nothing.
(IAN and MARCO POLO listen helplessly as the sand swirls outside.)
BARBARA: I think I'll see if the girls are all right...
(She goes towards the girl's room.)
[SCENE_BREAK]
15: INT. TENT. PING-CHO AND SUSAN'S ROOM (NIGHT)
(She sees that the room is empty.)
BARBARA: Ping-Cho!
[SCENE_BREAK]
16: INT. MAIN TENT (NIGHT)
MARCO POLO: (To IAN.) Tegana's no fool. He can look after himself. Don't worry...
(BARBARA runs back from the girl's room in a hysterical condition.)
BARBARA: (Shouts.) They're gone...they're not there!
IAN: (Shouts.) Gone?
BARBARA: (Shouts.) Their beds are empty!
(BARBARA rushes for the door. IAN and MARCO POLO hold her back and she struggles in their grasp.)
IAN: (Shouts.) Wait!
MARCO POLO: (Shouts.) No!
IAN: (Shouts.) Barbara!
MARCO POLO: (Shouts.) Barbara, you can't go out there!
BARBARA: (Shouts.) Let go!
MARCO POLO: (Shouts.) Barbara, you'll be lost in seconds!
BARBARA: (Shouts.)
[SCENE_BREAK]
IAN: (Shouts.) Calm down, Barbara! Marco is right - there's nothing we can do!
BARBARA: (Shouts.) The girls!
IAN: (Shouts.) We must wait until the storm blows itself out!
MARCO POLO: (Shouts.) There's nothing we can do now!
(BARBARA rounds on POLO, sobbing.)
BARBARA: (Shouts.) Oh, it's all your fault anyway! If you hadn't kept us prisoner here, none of this would have happened!
(The babbling and shrieking of the storm reaches a new crescendo.)
[SCENE_BREAK]
17: EXT. DESERT (NIGHT)
(SUSAN and PING-CHO huddle closer to one another as the sandstorm billows around them. SUSAN thinks she can hear her name being called with the chatters and shrieks. The voice she hears is deep and booming...)
VOICE: Ssuuuuuussssaaaaaaaannnnnnnn!
SUSAN: Ping-Cho, what's that?
VOICE: Ssuuuuuussssaaaaaaaannnnnnnn!
SUSAN: (Shouts.) There it is again...It's Ian...I can hear him!
(An insane monkey-like babble echoes through the storm.)
VOICE: Ssuuuuuussssaaaaaaaannnnnnnn!
SUSAN: (Shouts.) It's Ian!
PING-CHO: (Shouts.) Susan, it isn't! It's the desert saying it!
SUSAN: (Shouts.) It is! It's Ian! Ian!
(SUSAN pushes PING-CHO away and tries to scramble up a dune.)
SUSAN: (Shouts.) Ian! Ian, we're here! Ian!
(She suddenly sees a shadow looming over her from out of the sand. She screams...)
[SCENE_BREAK]
18: INT. MAIN TENT (NIGHT)
(IAN waits impatiently for the storm to pass.)
IAN: How soon can we go and look for them?
MARCO POLO: Not until it's light.
IAN: Let me go as soon as the storm's over!
MARCO POLO: Ian, you'd miss them in the dark. You must wait till it's light!
[SCENE_BREAK]
19: EXT. DESERT (NIGHT)
(SUSAN recognises the figure as TEGANA. The warlord looks down at the two cowering girls.)
[SCENE_BREAK]
20: INT. MAIN TENT (NIGHT)
(The storm has passed. IAN, BARBARA and MARCO POLO wait in the main tent. BARBARA is frantic with worry and impatience.)
BARBARA: (Shouts.) We can't just go on sitting here!
(IAN looks towards the DOCTOR'S room.)
IAN: Shh! The Doctor's still asleep. We don't want him to know about the girls.
MARCO POLO: Barbara, I give you my word that until we find the girls, we will not leave this place.
(The group looks up, startled, as TEGANA, SUSAN and PING-CHO enter the tent. BARBARA jumps up and rushes to SUSAN.)
BARBARA: Susan! Do you know you had us half-worried to death. Where've you been?
SUSAN: (Quietly.) We went for a walk.
BARBARA: A walk!
MARCO POLO: (Furious.) Without asking me?! Don't you dare do that again! Do you understand? That also applies for you, Ping-Cho.
SUSAN: I'm sorry, Messr Marco. Has...has Grandfather been very worried?
IAN: Luckily for you, he's been asleep the whole time.
MARCO POLO: And we don't want him to know anything about this.
(He looks at the Mongol warlord.)
MARCO POLO: I'm surprised that you'd encourage such a venture, Tegana.
TEGANA: (Surprised.) Ahh...they weren't with me! I found them - crouched behind a sand dune.
MARCO POLO: (Puzzled.) You were alone?
TEGANA: (Nonchalantly.) Ah, well, it was a pleasant night. I decided for a walk. I told the guard - he knew all about it.
MARCO POLO: (Sternly.) In future, the guards will be told to notify me immediately if any of you wish to leave the camp.
(He looks at the bedraggled girls.)
MARCO POLO: Now go and change, we have to break camp soon.
SUSAN: Yes, Messr Marco.
(SUSAN and PING-CHO walk off. BARBARA approaches MARCO POLO who is starting to pack his things.)
BARBARA: This has been a terrible experience for us all, Marco. Couldn't we spend one more night here?
MARCO POLO: I'm sorry, Miss Wright.
BARBARA: But surely one day can't make all that much difference?
MARCO POLO: One day without progress is one day's water wasted. And in the Gobi Desert, that could mean the difference between life and death.
(Behind them, TEGANA walks back outside unseen...)
[SCENE_BREAK]
21: EXT. MAIN TENT (NIGHT)
(Outside, he removes the phial of poison from his pocket. He studies the poison carefully.)
[SCENE_BREAK]
22: MARCO POLO'S JOURNAL
(MARCO POLO writes in his journal. The map illustrates their place in the desert.)
MARCO POLO: (OOV.) Progress today has been good, although we were all very tired after a sleepless night. How can I ever repay Tegana for saving Ping-Cho and Susan? We covered fifteen miles before I gave the order to set up camp for the night.
[SCENE_BREAK]
23: INT. TENT: PING-CHO AND SUSAN'S ROOM (NIGHT)
(SUSAN is frantically brushing her hair as PING-CHO enters.)
PING-CHO: Susan! Susan!
(SUSAN continues brushing.)
SUSAN: I can't get this sand out of my hair.
PING-CHO: Last night there were moments when I was sure I would never be here again.
(PING-CHO settles down in her bed. SUSAN finishes her hair and lowers her voice...)
SUSAN: Ping-Cho, did you believe Tegana last night, when he told Messr Marco about going for a walk?
PING-CHO: Why not?
SUSAN: Well, I don't think Tegana's the kind of man who goes for a walk just because it's a nice night. I think he goes because he has a reason to go.
PING-CHO: Susan, why would he lie to Messr Marco?
SUSAN: I don't know!
PING-CHO: He's an important man - the special emissary of the great Mongol leader who has been at war with Kublai Khan. Tegana is to arrange a peaceful settlement between them. Would a man like that lie about walking in the desert?
SUSAN: No! No, he wouldn't. That's what's so strange...
PING-CHO: What?
SUSAN: The fact that he did.
[SCENE_BREAK]
24: INT. MAIN TENT (NIGHT)
(In the main tent, TEGANA is polishing his sword, while MARCO POLO writes in his journal.)
TEGANA: What is that you do?
MARCO POLO: I keep a journal.
TEGANA: Why?
MARCO POLO: Because it interests me.
(MARCO POLO continues to write. Suddenly, TEGANA yells out POLO'S name...)
TEGANA: Marco!
(...and lunges at MARCO POLO with his sword. POLO reacts quickly to parry the blow.)
TEGANA: (Admiringly.) That's excellent, excellent! But it's better a man keeps the blade of his sword clean...than its edge sharp. You continue your writing, Marco. I'll see to the horses tonight.
(He heads for the door.)
TEGANA: I'll, er, I'll give the guard his instructions.
MARCO POLO: No! Send him to me.
(TEGANA hesitates.)
MARCO POLO: Please.
(TEGANA leaves.)
[SCENE_BREAK]
25: EXT. THE WATER WAGON (NIGHT)
(Once outside the main tent, TEGANA walks towards the wagon containing the water gourds. There is a guard there. TEGANA whistles and this draws the guard away. TEGANA then moves to the back of the wagon and stabs each gourd with his sword. The precious water splashes all over the ground.)
[SCENE_BREAK]
26: EXT. THE WATER WAGON
(The next morning, IAN, MARCO POLO and BARBARA survey the damage caused to their water supply.)
IAN: All of them, Marco?
MARCO POLO: Yes, except for the one we're using.
(They walk round the wagon and look over the gourds.)
IAN: How much is there left?
MARCO POLO: Without rationing, enough for today.
IAN: And with rationing, how long will it last?
MARCO POLO: Three - four days.
BARBARA: Is there enough to get us back to Lop?
MARCO POLO: If we're very careful with it, yes.
IAN: But who could have done it?
MARCO POLO: Bandits, Ian.
BARBARA: (Surprised.) Bandits? In the desert?
MARCO POLO: Yes, this has happened before, but not to me. The bandits follow a caravan out into the desert. Then one night, this happens. The caravan is forced to turn back. Then, when everyone is weak through lack of water, the bandits attack.
IAN: So if we turn back, we're bound to be attacked.
MARCO POLO: Yes.
(TEGANA silently joins the group having heard this exchange.)
TEGANA: Then we shall fight.
IAN: There must be somewhere else we can go to?
MARCO POLO: The nearest is a small oasis, but that's one week's journey north from here.
IAN: Marco, if we pressed really hard, walked day and night, how long would it take us?
MARCO POLO: Five, possibly six days.
IAN: As long as that?
MARCO POLO: Yes, and with the water rationed we'll be growing weaker all the time. There is another danger, Ian - bandits always camp near an oasis.
BARBARA: Well, then we must go back to Lop.
IAN: But they're bound to be waiting for us there! No, we must go north, and take a chance.
MARCO POLO: Yes, what Ian says makes sense. We go to the oasis.
TEGANA: We shall all die of thirst. I will not go.
MARCO POLO: Then what will you do?
TEGANA: Return to Lop. I'm not afraid of any bandits. Just give me my share of the water...
MARCO POLO: (Interrupts.) No, Tegana.
TEGANA: (Quietly menacing.) You refuse the Warlord Tegana?
MARCO POLO: I am commander of this caravan, and I am responsible to Kublai Khan for your safety. We go north, together.
(Defeated for the moment, TEGANA stares at POLO...)
[SCENE_BREAK]
27: MARCO POLO'S JOURNAL
(The map shows the slow progress that the caravan is making.)
MARCO POLO: (OOV.) Have I made the right decision? Each day, our progress towards the oasis becomes less. On the first day, we covered twenty miles. On the second, fifteen. The third, ten. The fourth day's total was eight. Now on the fifth day we have travelled only two miles before the heat of the sun has forced us to stop. We are nearly exhausted, and our situation is perilous...
[SCENE_BREAK]
28: EXT. DESERT. CAMP
(The sun continues to beat down relentlessly on the caravan. The weary travellers, now including the DOCTOR, lie motionless in the shade of the wagons underneath an awning gazing out across the merciless baking sands. MARCO POLO comes along and shares out the last few drops of water.)
MARCO POLO: The worst of the sun is nearly over. We must move on again as soon we've had this.
(Everyone drinks his or her water in silence. They are all seriously affected by heat exhaustion.)
IAN: Have the bearers had their ration?
(MARCO nods and pours IAN his water but the ration runs out before MARCO can take his.)
IAN: You take it.
MARCO POLO: We will share.
(IAN accepts the offer and drinks.)
DOCTOR: Marco, is this all we're going to get until tonight, mm?
MARCO POLO: Until we reach the oasis, Doctor, yes.
DOCTOR: Mmm.
BARBARA: There's no more?
(MARCO shakes his head.)
TEGANA: How much further?
MARCO POLO: I cannot say.
TEGANA: I will go to the oasis and bring back water.
(TEGANA stands and starts to stumble towards where his horse is reined.)
MARCO POLO: Do you think you could reach the oasis?
TEGANA: Yes, my...my horse is still the strongest.
(POLO considers.)
MARCO POLO: Very well, Tegana.
(TEGANA stumbles away but stops for a last word...)
TEGANA: You, er, wait for me here.
MARCO POLO: No, while we can, we'll push on towards the oasis.
(TEGANA considers...)
TEGANA: Right.
(TEGANA leaves to fetch his horse. IAN calls out weakly after him.)
IAN: Good luck, Tegana...
MARCO POLO: We must go.
(The group gets up and prepares to leave.)
DOCTOR: Susan...help me up...
(Suddenly, as SUSAN helps him, the DOCTOR collapses unconscious.)
SUSAN: Oh, Grandfather!
(IAN rushes over to assist.)
SUSAN: What's the...what the matter with him?
IAN: He's exhausted.
MARCO POLO: We'll fix up a cot for him in the wagon.
BARBARA: To be jostled and bumped about? He needs to rest in comfort, Marco. What about the TARDIS?
(POLO hesitates...)
IAN: He'd be more comfortable, Marco.
(Still he doesn't answer. The three companions of the DOCTOR look at him pleadingly.)
SUSAN: Please, Messr Marco!
(POLO reaches a decision with reluctance.)
MARCO POLO: Very well. The Doctor can travel in his own caravan. Susan, you can go with him. But you, Barbara, and you, Ian, must remain with me.
IAN: Thank you.
(He takes POLO to one side in order that the others don't hear him.)
IAN: Marco...without water, the Doctor isn't going to last twenty-four hours.
MARCO POLO: None of us are, Ian - without water. (Sighs.) Our fate rests with Tegana.
[SCENE_BREAK]
29: EXT. OASIS
(TEGANA has arrived at the oasis and is greedily drinking the water. Behind him are the remains of man-made structures - posts standing starkly against the desert sky. He fills a water gourd, and stands, triumphantly holding it to the sky.)
TEGANA: Here's water, Marco Polo!
(He tips the gourd and pours the contents over the sand by the pool.)
TEGANA: Come for it!