[PREVIOUSLY_ON]
Wesley: "Angel's son is part of the prophecy."
Linwood: "The Nyazian scrolls said the child would never be born!"
Gavin: "Darla died during childbirth." Darla dusts herself.
Holtz: "She sacrificed herself to save the child."
Angel: "I'm his only family. My job now is to be everything for him."
Gavin: "We have to get that baby."
Gunn: "Boogie at the back door!"
Wes: "Everyone and everything will be coming for him."
Angel: "No one is gonna put their hands on this child." Cordy gets thrown into the weapons cabinet by a vision.
Cordy: "These visions are killing me."
Skip: "Humans are not strong enough to harbor the visions! Demons are the only ones who can withstand them."
Cordy: "So - demonize me already."
Cordy: "Right now we have to solve my vision. The one I'm having right now."
Angel: "Cordy..." Cordy, floating a foot above the ground: "What?"
Files and Records: "Holtz, Daniel, vampire killer, ca. Seventeen fifty four." Holtz shows Justine the obituary of her sister, Julia Cooper.
Holtz: "Justine, I know what it's like to grieve. I want to help you."
Justine: "I want you to stay the hell away from me." Justine fights the vampire in the cemetery and Holtz stakes it before it can bite her.
Holtz: "I'm here to teach you how to fight."
Justine: "What's in it for you?"
Holtz: "You help me kill a vampire." Shot of Angel and the gang leaving the hospital with Connor in the stroller Gunn bought.
Justine: "You don't need me for that."
Holtz: "I do. This vampire is strong." Angel is counting loose change as he puts it into a piggybank.
Angel: "Sixty, seventy, eighty. One, two, three."
Cordy, holding Connor: "Angel..." Angel raises a hand to stop her as he picks up the piggy and locks it into the picture safe beside the desk. Fred looks up from her laptop.
Fred: "How is the Connor fund?"
Angel: "There was a dollar eighty three in the cushions out there. That's perfectly good money just lying around. (Closes the safe) Now, how's it going?"
Fred: "Moments away." Angel looks over Fred's shoulder at the new website for Angel Investigations and points at the 'No Case Too Small' under the 'We Help The Helpless" part.
Angel: "Ah. Can you make that bigger? Bold, but, you know, tasteful."
Fred: "Hmm. Tasteful. Sure."
Cordy to baby: "You are so cute! Yes, you are. You are just the best little boy in the whole world." Angel comes up behind her and smiles down at Connor over her shoulder.
Angel: "How's my little man?"
Cordy: "Oh, he wonders where his father's been."
Angel: "Papa's got mouths to feed."
Cordy: "Ah. I have a mouth, too. Always have had one. Kind of known for it and we've fed it fine for years. Yeah." Cordy puts Connor down in a baby carry-bed.
Cordy: "Angel - I'm glad you wanna take care of your son. I am. I just wanna make sure we don't lose sight of the mission."
Angel: "Well, we have to earn a living. I mean, not just for Connor, but for all of us."
Cordy: "I agree. But first and foremost we work for the Powers, help the helpless. Promise me we won't neglect that."
Angel: "I promise. (Sees Gunn coming in) I promise. (Turns to Gunn) Well?"
Gunn: "Well, we hired some guys. Six thousand of these babies all over town." Gunn holds up a flyer with 'Angel Investigations' and their logo on it. 'We help the helpless. No case too small. Paranormal Specialists. 313-555-0126'
Angel: "Nice! (To Cordy) I'd call me, wouldn't you?"
Fred: "Hey! The website's up. We're live."
Angel picks Connor up: "We're live, little guy. Come on." Angel walks over to the desk and turns the laptop so everyone can see the screen.
Angel: "There, beautiful. We're online. We got flyers, we got yellow pages. Ladies and Gentlemen, boys and girls, welcome to a new area of Angel Investigations. All we have to do now is wait - for that phone to start ringing and the money to start rolling in. (To Baby) Because someone's got to clothe and feed and educate this little guy, yeah? (Connor yawns) Yep - all we have to do is wait. - Just a matter of time. (Connor fusses) Don't you worry, this town is full of people who have problems." A man is running through the pouring rain. He looks back over his shoulder at some looming shadows following him on the wall of the alley behind him, and runs right into a pile of trashcans. As he picks himself back up, he sees one of Angel's new flyers. AI is still standing around the phone, waiting. The man, flyer in hand, runs over to a payphone, dials, listens to it ring.
Man: "Come on, come on, come on!" Split screen - the phone at AI is *not* ringing. Triple split screen, a guy picks up the phone in what looks like a kitchen.
Guy: "Fabrizio's Pizza." Fred picks up a flyer form the desk and takes a closer look at it.
Fred: "Is this the right phone number?" Everyone turns to look at Wesley. Intro Hyperion, day, Wes walks in, carrying a stack of flyers.
Wes: "That's the last of them. Six thousand new ones." Wes stops to see what has Gunn's attention so riveted. Fred is out in the lobby cuddling Connor.
Wes: "Adorable."
Gunn: "So sweet."
Wes: "I meant the baby."
Gunn: "I meant the hot mama." Gunn and Wes look at each other. Angel comes in.
Wes: "Sorry about the mix up last night."
Angel: "It's not important. But we can't afford any more mistakes. Making mistakes cost money, and making money right now is our number one priority. (Lorne comes down the stairs in a silk housecoat) Hey, Lorne."
Lorne: "If this is about the baby formula that I snagged from the fridge last night - sorry. I was feeling a little peckish and it was that or a glass of pig's blood. By the way, baby formula and Kaluha? Not as bad as it sounds."
Angel: "Lorne, I need you to use your contacts to find out what Holtz is up to. He's out there somewhere. We can never forget that. Finding him is our number one priority."
Gunn: "I thought you said..."
Angel: "Finding Holtz and making money are our two number one priorities." Cordy walks by behind him and clears her throat.
Angel: "Helping the helpless, finding Holtz, and making money are out *three* number one priorities."
Cordy: "Hey, look! We got some hits on our website." The phone on Cordy's desk rings and Wes picks it up.
Wes: "Angel Investigations, may I help you?" The phone on the counter rings and Gunn picks it up.
Gunn: "Angel Investigations, can I help you?" Yet a third phone rings somewhere.
Angel, smiling: "We're in business!" Justine is sitting at a small table in Holtz lair with Holtz pacing behind her.
Justine: "You should be thanking me."
Holtz: "For disobeying an order?"
Justine: "For dusting two vamps!"
Holtz: "Two vampires from whom I had told you to walk away."
Justine: "Guess I misunderstood."
Holtz: "Which is why we're here."
Justine: "And speaking of here, would a couple of light bulbs and indoor plumbing kill you?"
Holtz: "We are here to determine whether or not - you - have the commitment necessary for the work at hand."
Justine: "At hand? -That's a joke, right?"
Holtz: "Why are you wasting my time?"
Justine: "What do you want from me?"
Holtz: "I just told you: commitment. Something you must now convince me you have." The camera pans down from Justine looking up at Holtz to reveal that her left hand is pinned to the desk with an awl.
Holtz: "So I've explained why I'm doing this. Why are you?"
Justine: "Let's just say, feeling something - is better than feeling nothing."
Holtz: "Take it out any time you like. If you're still here when I return, we'll consider the next phase of our - partnership." Justine watches Holtz walk out and slide the grate shut behind him. The Hyperion lobby is full of people (not all of them human). Fred takes a clipboard from one of the non-humans. Angel, holding Connor, walks up beside her.
Fred: "Welcome to Angel Investigations Mr. (looks at the clipboard) Blee - Lee - Shushngrung. Uhm, please have a seat and one of our associates will be right with you."
Angel: "Hey, Lorne. Non-human on deck."
Lorne: "Coming." Lorne is talking to three gray aliens, wearing long robes and silver facemasks in a language that seems to be mostly clicks, whirrs, and popping sounds. He leaves them to talk to Angel.
Lorne: "Hey, the guys with the chrome faceplates, they're called Nahdrahs. I speak their lingo, sort of. If I understand them correctly they've got a job for our leader and a great deal of money."
Angel: "Oh, let's not keep them waiting, huh?"
Lorne: "Well, our leader in this instance being Wesley. They saw his web articles on DNA fusion comparisons in Tri-ped demon populations." Angel sees Wes coming out of the office with some other people and flags him.
Angel: "Hey, Wes. Wes, talk to the Nahdrahs." Gunn comes up to Angel leading a young blonde.
Gunn: "Hey, office free? It's kind of personal."
Angel: "Yeah. Go. (To Connor) If this keeps up, little guy, we may have to incorporate, huh?" Cordy is sitting at the counter, phone in hand.
Cordy: "We're getting stretched a little thin here, Angel."
Angel: "Come on. Nonsense. We can handle it."
Cordy: "Really? Well, then why don't you handle it by picking up lines two, three and four?" Angel shrugs and walks towards the phones.
Angel: "Angel Investigations, your problems are our problems. - Okay. How urgent is it? Uh-huh. And what do you do for a living? That's a good company. You own it? Okay, hold on. (Puts down the receiver) Pen, paper, quick." Gunn is pouring some tea for the Blonde in the office.
Ally: "I don't sleep. I'm afraid to go out or answer the phone."
Gunn: "Yeah, I hate stalkers. Look, don't worry. We'll put a stop to it. (Hands her the tea) Have a seat."
Ally: "Thank you."
Gunn: "So, do you know who this guy is?"
Ally: "Yeah, well, it's- it's Brian, my ex-boyfriend."
Gunn: "Have you - been to the police?"
Ally: "Yeah. They act like I'm some kind of nut. Just - like I'm making it all up."
Gunn: "Yeah, you go to the cops for help they don't do a thing until somebody ends up dead."
Ally: "Somebody *is* dead."
Gunn: "Who?"
Ally: "Brian. (Holds up the flyer) Isn't that the kind of stuff you guys deal with?"
(The number at the bottom of the flyer now ends in 0162)
Gunn: "Yeah. All the time. So - Brian, your dead boyfriend, is stalking you?"
Ally: "Well, I mean, he's not my boyfriend *now.*"
Wes is talking to the Nahdrahs with Lorne translating.
Wes: "The Internet article I'm currently writing posits a formula for the genome mapping of creatures who don't have genes. - It's an exciting arena."
Lorne: "One I'm sure we can all download at 'I'll never know the love of a woman dot com.' (Wes gives him a look) Ah, can we get down to business? They want to buy your head. - Little rusty with the language. I should probably clarify that." Lorne clicks away at the Nahdrahs. One of them holds up a metal suit case.
Lorne: "They want your mind. They're celebrating their prince's, uh - it's - it's like a birthday, only they're not born so much as disgorged. They - they need you to solve one of their traditional puzzles so they can give it to him. It's quite an honor."
Wes: "Could be interesting." Fred has come up and looks at the Nahdrah's robes.
Fred: "Sure. These are puzzle people. Did you notice the designs on their tunics? (Traces the design) Geometric shapes. Each a prime number, if you count their edges, arranged in ascending order of exponential accumulation."
Wes, smiling at her: "Yes, I did - not - notice that at all." Fred grins back at him, while the Nahdrahs start clicking away at Lorne.
Lorne: "Ah, they wanna know why your girlfriend was pointing at them. I better tell them what she said before we have an international incident."
Wes: "Ah, she's not my..." Lots of excited clicking going on by the Nahdrahs.
Wes: "Silly." The Nahrdahs leave in a hurry.
Fred: "Did I say something wrong?"
Lorne: "No. No, they liked *you.*"
Fred: "So much they ran away?"
Lorne: "They either have to consult with their prince or go eat a cheese monkey. Did-did I mention rusty with the lingo?"
Gunn: "Wes? I think I'm gonna need you on this one."
Angel on phone: "Great. I'm on my way." Angel hangs up the phone and picks up the piece of paper from the desk. Walks over to Cordy and thrusts Connor into her arms.
Angel: "Big case. Got to run."
Cordy: "Oh..."
Angel, already leaving: "I think he needs changing. Oh, and bottle, three o'clock."
Cordy to Connor: "Well, hi there." Shot of a car driving down a street at night. A man dressed in a suit is talking on a hands-free phone headset of a large office as Angel enters through the glass doors. The side wall of the window are large windows overlooking a manufacturing floor.
Harlan: "Yeah. Okay. That's good for us. Tell him a six month million dollar guarantee and we'll cover the extra cost. Yeah. No, I get that, but we got to get a decision by tomorrow. Listen, somebody just walked in my office. I'll call you back. (Takes the headset off) Mr. Angel."
Angel: "Just Angel." Guy gets up to shake Angel's hand
Harlan: "Harlan Elster. Thanks for coming to meet me."
Angel: "No problem. I know what it's like when your name's on the letterhead..."
Harlan: "Hmm. I got to say, you're not exactly what I pictured."
Angel: "No?"
Harlan: "You're pretty well coifed, I guess. You're not afraid to get a little mussed, are you, Mr. Angel? Because 'mussed' you're gonna be just by stepping foot in there."
Angel: "In where?"
Harlan: "Eighty third and Vermont. (Hands Angel a folder) Used to be low-income housing. Now it's a nest. Boarded up windows. No Electricity. Sewer access. They like it dark."
Angel: "Vampires."
Harlan: "A whole gang of them. Those photos were taken by the last guy I had on this job."
Angel: "What happened to him?"
Harlan: "He got mussed. You have much experience dealing with vampires?"
Angel: "Some."
Harlan: "Yeah, well, not like these. They're not out for blood. They want money."
Angel: "Money?"
Harlan: "Yeah. I know. Whoever heard of a vampire out to make a buck, right?" Angel lets out a half-hearted laugh and drops into a chair.
Harlan: "Anyway, they've been putting the squeeze on some local business men. We pay them a protection fee and they don't eat our employees. They're demanding five thousand dollars by midnight."
Angel: "Whoa." Harlan starts to make out a check: "Now, I'm prepared to pay you ten to make this problem go away. Five thousand now (rips out the check) the remainder when the jobs finished."
Angel: "That'll make ten - which is more than they're asking you for."
Harlan: "But this isn't about money."
Angel: "No, no, of course it's not - about - that. (Takes the check) Money. (Lets out a short laugh as he looks at the check) I'll get right on this."
Harlan shakes Angel's hand again: "Thanks."
Angel: "Sure." Harlan watches the doors close behind Angel. A door behind Harlan opens and an older man walks in.
Man: "What the hell are you doing in my office?"
Harlan: "Mr. Elster." With that the imposter hauls back and knocks the real Harlan Elster out. Break Justine's head is resting on the table in Holtz' lair, her hand still pinned to the table by the ice pick. Holtz walks in, crouches down and lays his head on the table, so their eyes are on a level.
Justine: "Decided to stick around."
Holtz: "You asked me what I wanted from you. (Wraps his hand around the handle of the ice pick) I want you to go out and find others like you. People who have suffered as we have, people with the same rage, the same fire. You'll know them when you see them. Their eyes - will look like this feels." Justine lets out a scream as Holtz pulls the ice pick free. Holtz hands her a handkerchief.
Holtz: "Are we clear? Have we learned our lessons, Justine?" Justine wraps the handkerchief around her hand.
Justine: "We're clear." As Justine gets up she hits Holtz hard across the chin with her wrapped left fist, knocking him back.
Justine: "You son of a bitch." She drops back into her chair, breathing hard, as Holtz watches her, fingering his chin. Angel walks into the lobby of the Hyperion, which is deserted, except for some papers strewn here and there and Cordy and Fred sprawled on the settee next to Connor's bassinet.
Angel: "Is this country great or what? Five thousand smackeroos and all I have to do to collect five thousand more, is clean out a vamp nest downtown. Where's Wes and Gunn? I wanna show 'em this."
Cordy: "Out on a case."
Fred: "There's a young woman whose dead boyfriend is stalking her."
Angel: "That's terrible. Did you..."
Cordy: "I ran her credit. She's solvent."
Angel: "Nice. (Crouches to look into the bassinet) Hey, how's my little magnum cum laude, Notre Dame, class of two thousand twenty?"
Cordy: "Angel - I don't think it's such a great idea to be working on so many cases at once. I mean, what if we're all out making money and some poor devil stumbles in here and needs our help?" The doors open and Lorne stumbles in.
Lorne: "Bon giorno, everybody, bon giorno."
Angel: "You've been drinking?"
Lorne: "Oh, I can hold my liquor, Mister. Unfortunately I can't say the same for my firewater." Lorne giggles.
Fred: "Aren't they the same thing?"
Lorne: "Hey, Fred-girl! No, this is special firewater, used to loosen the tongue of my Gar-wak snitch. They light the water on fire and there's chanting and a bong, and look out, Houston!"
Angel: "Did you learn anything about Holtz?"
Lorne: "Oh yeah. He is *really* not fond of you. I'm led to believe that he and his Grapplar demons had plans to (makes sound and cutting motion across his throat) you. (Angel leans back a little closing his eyes for a moment) Is my breath stinky?" Lorne exhales into Angel face.
Angel: "Yeah." Angel fans the air in front of him with the check in his hand and backs away.
Angel: "Holtz is using the Grapplars as soldiers."
Lorne: "Not anymore, Bucko. He poisoned them and he's looking for replacements. Humans."
Angel: "Do we know where he is?"
Lorne: "Bro, I'm on it. I've got rats looking all over this town. Well, not actual rats - except two of them. Ooh, I don't feel so good." Cordy picks Connor up out his bassinet.
Cordy: "Uh, we've got company." Angel turns to see the Nahdrahs walking in, clicking away as soon as they enter.
Cordy: "Lorne? It's all snap, crackle, pop to me."
Angel: "Ah, these are the guys that wanted Wesley."
Lorne: "Not anymore. Now they want Fred."
Angel: "For what?" Lorne clicks away to the Nahdrahs then turns back to Angel.
Lorne: "Her enormous brain. They're convinced she can solve the puzzle they wanna give to their prince. (To Fred) They weren't offended by you before, they were impressed."
Fred: "Really?"
Angel: "Where would she have to go and how long would it take?" Lorne after clicking to the Nahdrahs: "They live on a barge, currently docked in the marina. And a day or two, depends no how long it takes her to solve it."
Angel to Fred: "You game?"
Fred shrugs: "Sure.'
Angel to Lorne: "You'll have to go with her to translate. Tell 'em it won't be cheap. They're getting two of our top employees. That's salary, per diem, overtime..."
Lorne: "Okay, okay." Clicks and pops away at the Nahdrahs. One of them lifts the metal suitcase up.
Lorne: "They apologize for their paltry offering and hope you'll accept (the Nahdrah opens the case revealing bundles of cash) Fifty thousand dollars!?!"
Angel: "Fifty..."
Cordy: "...thousand..."
Fred: "...Dollars?" Angel reaches out and grabs the suitcase, a big smile on his face: "We accept." Gunn and Wes are guarding the Blonde from earlier at her home.
Ally: "You know, I consider myself independent and it's hard for me to ask for help, but - it really feels good for you guys to be in the house. You know that woman you work with was right. You inspire confidence."
Wes: "Which woman?"
Ally: "Brunette, really cute, Texan maybe?"
Gunn and Wes smile: "Fred." Turn to look at each other.
Gunn: "Said I inspire confidence."
Wes: "Actually, I-I believe the comment was directed at me."
Gunn: "Really? 'cause I don't think so."
Ally holds out a photograph: "Here, this is Brian. Not exactly a rocket scientist, but, ah, he's so sweet. You ever meet somebody and you just know that you belong together? It just feels..."
Gunn and Wes: "Comfortable." They look at each other.
Wes: "You read all the same science journals."
Gunn: "You laugh at the same dumb jokes."
Ally: "And the s*x. Oh, god, do I miss the s*x."
Gunn to himself: "Tell me about it."
Wes: "Hmm."
Ally: "So, explain something to me. How can Brian be stalking me if he's dead?" Gunn opens his mouth but Wes, looking out the window answers before he gets a chance to say anything.
Wes: "There are any number of explanations. Witchcraft, black magic, voodoo, zombiefication, demon possession, even vampirism."
Ally: "But why? Why is he hanging around here? What does he want?" Gunn tries to answer, but Wes beats to it again.
Wes: "Perhaps there is something he left unfinished, something he wants to tell you."
Gunn: "Or maybe he just wants to eat your intestines."
Wes: "Gunn. We don't know that he's a zombie, and besides the flesh eating is a myth. Zombies merely mangle, mutilate and occasionally wear human flesh. So there is no reason to be frightened until we have a better idea..." The door, beside which Wes is standing, cracks open and a pale hand grabs a hold of him. Wes throws himself against the door, trying to force it shut again.
Wes: "Gunn!" Gunn runs over and starts to beat on what's visible of Brian with his baseball bat. Brian retreats and they slam the door shut.
Wes: "Right then. Zombie it is." Lorne moans as he and Fred climb on to the Nahdrah's barge.
Fred: "Are you okay?"
Lorne: "I was feeling seasick when we were still on dry land. Do I look greener than usual?"
Fred: "A little." They are lead into a big open room on the deck of the barge.
Lorne: "Oh, nice décor! It's sort of a Jules Verne meets Leona Helmsly." The Nahdrahs click away as they lead them further into the room.
Lorne: "Oh, great! They wanna take our picture." He and Fred pose and one of them takes the picture.
Lorne: "Terrif. Hey, this is the puzzle they want you to solve." There are irregularly shaped hunks of glass, softly glowing from within, spread out on a table.
Fred: "I'm guessing it fits together in some sort of algorithmic sequence? Any hints?" Lorne clicks at the Nahdrahs.
Lorne: "Yeah, just one. He said if they knew how to do it themselves you wouldn't be here." Fred sits down at the table, opens her laptop and takes a closer look at the pieces.
Fred: "So. Causation. Corollary. Causatu Corollary. Are we talking a closed curve of finite length in a simply connected domain of zero? - That would be too easy, wouldn't it?" One of the Nahdrahs comes over with a tray.
Lorne: "Oh, hors d'oeuvres. (Sees that they are Eyeballs and insects on round crackers) Oh, really I couldn't. I had eyeballs and insects for breakfast." Angel walks into the vamps' lair, looking around.
Angel: "Ooh, aren't we just the scary serial vamps - with the spooky lair -and the taking of trophies of our victims?" Angel picks up some of the stuff (like watches, wallets, purses, etc) on one of the tables then drops it back down.
Angel: "Lame." Angel pulls out a stake and flattens himself against the wall next to the door as footsteps approach. A man comes in, carrying more loot, and Angel attacks him from behind. The guy drops the stuff and turns on Angel, revealing his vamp face and the two of them fight. Angel gets thrown around a bit. He lands on the floor and picks up a broken table leg.
Angel: "Next time you hit the yard sales, I'd avoid the wooden furniture. (Angel stakes the vamp as it charges him again.) I hear Wicker is nice." Angel gets up to see two other vamps standing there.
Angel: "Oh, great. Two more."
Vamp1: "Dibs on the coat." Angel walks back into Harlan Elsters office. The real Harlan Elster is looking through some papers.
Angel: "Excuse me."
Elster: "What do you want?"
Angel: "I-I'm looking for Harlan Elster?"
Elster: "I'm Harlan Elster."
Angel: "That's bad."
Elster: "How's that bad?"
Angel: "Well, because the Harlan Elster I'm looking for (pulls out the check) gave me this." Elster steps up to take a closer look at it, then points at his chin.
Elster: "Really. Well, he gave me this. (Hands the check back to Angel) At least mine's real. The man who forged my name, about your height, less beat up?"
Angel: "Yeah, that's him."
Elster: "Sam Ryan. Used to work for me. Press Foreman. Fired him six months ago. He kept coming to me to bankroll his kooky scheme."
Angel: "Kooky scheme?"
Elster: "The guy's been a little bit off his nut ever since he lost his friend. Wanted me to pay some charlatan ghostbuster to clean out an abandoned rathole in midtown. He was convinced *vampires* were nesting there. Some people would take advantage of a guy like that."
Angel: "Yeah. (Holds up the check and rips it in two) Yeah." Starts to leave.
Elster: "Immortal creatures living in a rat infested building, guarding their treasure. Right."
Angel turning back: "Treasure?" Fred is putting some of the glass hunks together.
Fred: "There is a ascending and descending causation instantly proved by (the pieces stick together) - that! (Giggles) I think I'm on to something here."
Lorne: "Yeah, me too. Unfortunately it requires a vomitorium."
Fred: "Oh - I'm sorry. Lorne clicks to the Nahdrah watching Fred's progress. The Nahdrah points and clicks in answer.
Lorne: "I'll just go use the facilities. Keep up the good work." Lorne leaves as Fred slides another glass piece into place, causing the Nahdrah to hurry away. Lorne is walking up some stairs and turns down a gangway. He hears some soft whirring and clicking and turns the other way. He traces the sounds to a curtained off alcove. Parting one of the curtains slightly he sees a sick looking Nahdrah without a mask sitting in a chair, attended by several others. Lorne watches as one of the Nahdrahs turns a laptop so the big one in the chair (and Lorne) can see the screen. It shows a picture of Fred's head sliding over onto the shoulders of the guy sitting in the chair.
Subtitles: "She is solving the puzzle, sire. We have found a head worthy to rest upon your noble shoulders." The prince in the chair nods. Lorne turns away - only to get hit over the head with a metal bar from behind. Subtitles as we zoom in on the picture of Fred's head on the prince's body: "We will sew it on this very night." Break
[SCENE_BREAK]
Cordy is hopping up on her toes and dropping back down in front of Connor's bassinet. She gives up after a few tries and bends down to pick Connor up.
Cordy: "Hmm. Well, I figured it was a long shot. But I really can float, you know. Well, I did that one time during my last vision. Who-ee - somebody needs a change. (Puts him back down) But before that, believe me, there was no floating up piece of mind destiny to my visions. No there was just - killer pain. And unfortunately, that's not an exaggeration. They really were killing me. (She moves the tea tray and puts a cloth down) So, the Powers That Be put a little demon in me, and as far as side effects go (Picks Connor back up) The visions are a breeze now. (Puts him down on the cloth and starts to change him) I don't know what else might be in store. I'm keeping an eye out for horns and a tail. Wow. It just occurred to me what a weird life you're in for, little guy. Your aunt Cordy gets visions and your daddy is a... - Well, you won't see him aging whole lot, or catching surf and sun in Malibu. But he is a good man, a champion, and he loves you very much. Plus, he's quite the natty dresser. (The change done, she picks Connor up) And your daddy is out there right now fighting evil - for money." Sam Ryan walks into the vampires' nest and looks around. He picks up a watch off one of the dressers and looks at it. Angel grabs Sam's arm from behind and takes the watch away from him.
Sam: "Give it back."
Angel: "No, I think I earned it, don't you? What is it? Rolex?"
Sam: "Timex."
Angel: "Oh. (Twists Sam's arm a littleharder) What is it, really? Considering all the trouble you went through to get it, we both know it's not just a watch."
Sam: "That's true. It's not."
Angel: "Probably worth more than ten grand, too."
Sam: "A lot more."
Angel: "What's it do? Open a portal? Raise an army?"
Sam: "It glows in the dark. Probably about all of them do now. Looks like they cracked it when they took it off him. (Angel lets go of Sam and Sam turns to face him) I told him to let them have it, but - he wasn't about to give it up. It was the first thing I ever bought him."
Angel: "These vampires killed your friend."
Sam nodding: "Look. I'm sorry about what I did. I needed help. I didn't know what else to do."
Angel: "So you lied to me."
Sam: "I'm sorry."
Angel: "I didn't kill three vampires for nothing. Ten grand - that was the deal."
Sam: "Seven."
Angel: "Okay. Fine. I'll take seven."
Sam: "No, no, no. You said three vampires. There were seven." They both look around.
Angel: "Which would make four more."
Sam: "Four more."
Cordy bending over the bassinet: "You're gonna discover there's a lot of cool things in this world. (Holds up two handful of the Nahdrah's money with a big smile) Fifty grand - way up there on the list." Cordy goes to put the bills back into the suitcase with the other ones.
Cordy: "We're just gonna lock this up in the safe and... " The camera zooms in close as Cordy kind of freezes, a wide-eyed expression on her face.
Cordy: "Right after this vision." We get blurry shots of Fred solving the puzzle, of the prince and the laptop screen, then of a knife blade coming at Fred.
Cordy: "Oh god. Fred, don't solve that puzzle." Fred puts another piece of glass into place, smiling: "Shouldn't be long now."
Ally: "Do you guys know how much longer we're gonna be? I've got plans this evening."
Wes: "We've taken every precaution, secured every entrance..." We hear glass breaking and Gunn and Wes stand up, weapons at the ready.
Gunn: "With the possible exception of the skylight in the kitchen."
Brian walking in: "Ally! - Ally - baby, I just..." Ally flinches as Gunn hits Brian over the head with the baseball bat.
Wes: "Into the bedroom." Brian pushes Wes and Gunn away from him, as Ally runs for the bedroom. They pick themselves back up and Gunn clubs Brian again before they hurry after Ally. Cordy hangs up the phone.
Cordy: "Well. Your uncle Wes and uncle Gunn not picking up either. And your daddy, he doesn't know how to work his voicemail (Picks Connor up) or keep a promise. So we'll go down to the Marina, return the money and explain it was all just a big mistake." Cordy, holding Connor in one arm, picks up the money case with her free hand and heads out. Gunn and Wes are sliding a dresser in front of the bedroom door as Brian pounds on it.
Brian: "Ally, why won't you talk to me?"
Ally: "Because you're dead. Now, go away! (To Wes and Gunn) You know, I'm paying good money here. Can you please get rid of him?" Gunn and Wes try to brace the dresser, but it is slowly pushed back to the point where Brian and stick his head in through the crack in the door.
Brian: "Just give me another chance, baby. (Looks at Gunn and Wes) Who are these guys?"
Wes: "We are here to protect her from you, actually."
Brian: "Protection? (Lets out a deep breath and smiles at Ally) I thought you were dating them."
Ally: "You know, this is exactly why I broke up with you. You're suffocating me! Now, get lost!" Ally tries to help push the dresser. Gunn lifts his bat one handed and bashes at Brian's hand and head with it. They manage to shut the door. They all wait and listen for a moment, then Wes motions for Gunn to take a look as he slides the dresser back.
Wes: "What's he doing?"
Gunn: "Pouting."
Ally: "Okay. That's it." She walks past Gunn out into the living room, where Brian is sitting, hunched over.
Ally: "You know, this is so typical of you. You're all bluster and then you pout."
Brian: "I thought we had fun together."
Ally: "We did, but you're so - needy."
Brian: "Needy? Because I cared?"
Ally: "Caring didn't entitle you to read my diary, follow me to work..."
Brian: "I never... Okay, I read your diary once or twice. Does that give you a reason to poison me?" Ally notices Gunn and Wes looking at her.
Ally: "What? You're gonna believe everything a zombie says?"
Wes: "Are you saying *she* killed you?"
Brian: "I'd forgive her if she'd take me back."
Gunn: "You're kidding, right?"
Brian: "No. (To Ally) Baby, I've seen the guys you've been going out with. You're not having any fun! Come on. Lets give it another shot." Ally stays silent, just looking at Brian. Brian gets up, smiling.
Brian: "What do you say? Me and you?"
Ally, half smiling: "Eew, I-I can't. It's creepy."
Brian: "Come on. I miss you." Gunn shakes his head.
Ally: "Oh. I don't know. - Maybe I was a little - hasty." They grin at each other then hug. Gunn and Wes look at each other, as Brian gives Ally a kiss.
Wes, turning back: "Will that be cash or charge?" Sam is bracing his back against the door of the vampire nest as someone is pounding on it from outside.
Sam: "Alright. You're kidding me, right?" Angel, sitting on a table across the room: "Sorry. I don't get paid I can't fight."
Sam: "I don't think I can hold this by myself."
Angel: "Yeah. I see that."
Sam: "They're coming through."
Angel gets up: "Okay. You know what, I'll help barricade, but that's it." Angel leans his back against the door beside Sam.
Sam: "I'm sorry I lied to you. I shouldn't have."
Angel: "No. You did the wrong thing. But your heart was in the right place. Your motives were noble."
Sam: "Thank you."
Angel: "It's not as though I haven't been accused of nobility myself once or twice."
Sam: "Then you understand."
Angel: "Yeah. But being a champion is not all good deeds and happy endings. There's a lot that goes on behind the scenes. People don't seem to consider that." The thudding on the door gets harder.
Sam: "I think - I think we're in real trouble here."
Angel: "All right. Maybe we can work something out. You own a car?"
Sam: "The bank owns it."
Angel: "House?"
Sam: "I rent."
Angel: "How's your credit. Can you borrow?"
Sam: "I'm kind of out of a job. Spent all I had tracking these guys."
Angel: "I don't know what to tell you, Sam. I can't kill on deferment. Sets a precedent." Fred slides the last piece of the puzzle into place the glass pyramid she has formed lights up. The Nahdrahs around her click away in excitement. Fred takes off her glasses, a big smile on her face.
Fred: "Oh, it was nothing. (The Nahdrahs take a hold of her and pull her along) Oh. Are we going somewhere to celebrate? Say, has anyone seen my friend with the horns? He wasn't feeling so good and I'm a little worried about him." They enter another room and Fred sees Lorne lying tied up on the floor.
Fred: "And me now."
Lorne: "Yeah, I know. We're in a bit of a situation here." The Nahdrahs push Fred down in a chair across from their prince and close the clamps to hold her in place.
Fred: "Oh god. I don't have to marry him, do I?"
Lorne: "In fact, no. And that's something we can be grateful for."
Fred: "What are they gonna do?"
Lorne: "Well it seems the prince's head or heads, I should say, wear out every so often, and they uh..."
Fred: "Cut off someone else's and give him a new one?"
Lorne: "Uh, ah..." One of the Nahdrahs his holding a blade up.
Fred: "Lorne, help. Help!" A sharp whistle sounds and everyone turns to look at Cordy standing in the door, holding the money and Connor.
Cordy: "Hey! I'd just like a word here."
Lorne: "Oh-ho-ho, you guys are *so* gonna get your butts kicked!"
Cordy: "Lorne."
Lorne: "Sorry. I yield the floor to the person *not* tied up on it."
Cordy: "Translate. There's been a terrible misunderstanding. And I know you're men of honor and I know we can make a simple exchange - in a - a civilized manner." Cordy looks at Lorne and he starts to click away at the Nahdrahs. Cordy sets down the suitcase.
Cordy: "We return your gracious gift and you return Fred. Sorry about the confusion, but we kind of need her head at work."
Fred: "Firmly attached to her body."
Cordy: "That goes without saying. (Lorne is staring at her) Say it!"
Lorne: "Ah, uh..." Clicks away to the Nahdrahs, who answer back and raise their weapons.
Lorne: "I told them what they had to do, and told them what would happen if they didn't do it."
Cordy: "Lorne, we're in no position to be threatening these nice people."
Lorne: "Oh, sure we are. Angel, Wes, and Gunn can take 'em! Can't see them from down here. Where are they anyway?"
Cordy: "Out making money."
Lorne: "Oh. So, when I told the Nahdrahs that they were surrounded by killer warriors I was stretching the truth a little?"
Cordy: "Just enough to get us all killed." Cordy gives the Nahdrahs a big smile. Break Back at the vampire nest Angel steps away from the door.
Sam: "Uh, yeah, hello? What happened to the complimentary barricading?" Angel throws a chair up to break a window high up in the wall.
Angel: "It's gonna give. I'm getting you out of here. Lets go." Sam closes his eyes for a moment: "No. You go."
Angel: "What?"
Sam: "I'm not leaving. I can't."
Angel: "You think you can take on four vampires by yourself?"
Sam: "Probably not. But these things killed Jack. If I run now, I'll be running the rest of my life."
Angel rubs his eyes: "Yeah, that's noble, Sam, but do you really think that's what Jack would want?"
Sam: "No. I think Jack would probably wanna be here with me. But that's never gonna happen." Angel sighs and picks up a wooden chair leg. He goes over to the door and pulls Sam away from it, talking to him.
Angel: "You take on a job in good faith - you expect to be compensated. You provide the best service you can offer." The door behind Angel burst open and four vampires rush in. Angel stakes one of them without even looking around, throwing another to the side, never taking his eyes off Sam.
Angel: "A quality service. - But you know, there's overhead." The vamp in the doorway hesitates as Angel grabs another one and stakes it off hand, still ranting.
Angel: "There's rent, three phone lines, advertising, it adds up." The remaining vamps run as Angel pulls out the watch and throws it at Sam.
Angel: "Here." Angel starts to leave.
Sam: "Thank you. I can't even begin to express my..." Angel throws the chair leg to the side on his way out the door. We hear some beeping. Angel pulls out his phone.
Sam calling after him: "I owe you. - You're a real - champion."
Angel: "Yeah whatever. (To phone) Hello? (Beeping continues) Hello?!"
Sam: "Hey - I think - I think that's your voice mail."
Cordy: "Lorne - do these guys have groins?"
Fred: "Is that really important right now?"
Cordy: "Work with me here, kids."
Lorne: "I think so. I never knew one intimately." Cordy steps forward and kicks one of the Nahdrahs between the legs. We hear a metal clang, and Cordy hops back on one foot.
Cordy: "Oh. Ow! Ow! Ow!" Cordy hops backwards through the curtain, only to come back in, bracketed by Wes and Gunn, who proceed to attack the Nahdrahs. The Nahdrah standing next to Fred holds the sword blade against her throat and Fred begins to scream.
Cordy: "Fred! Help her!" Wes and Gunn pop up out of the fight: "Fred!" Gunn grabs a metal rod, while Wes grabs the suitcase, and hurl them. The rod knocks the Nahdrah with the sword backwards, away from Fred. The suitcase decapitates the prince before bursting open against the wall. All the fighting and screaming stops as the Nahdrahs stare at their headless prince.
Gunn: "Well, I guess you cut off the snake's head..." All the Nahdrahs start clicking and raise their weapons.
Wes: "You piss the other snakes off." Wes and Gunn go down under the assault. The skylight burst and Angel drops in on them joining the fight. Wes and Gunn are working on freeing Fred. There are Nahdrah bodies littering the floor.
Angel to Cordy: "I should have listened to you."
Cordy: "Well, yeah."
Angel takes Connor from her: "I should never have left you and the baby alone like that."
Cordy: "Well - yeah." Wes and Gunn help Fred up out of the chair.
Fred: "If you can keep your head when those about you are losing theirs guess you're pretty lucky. I could kiss you both." Wes and Gunn both move closer. Lorne clears his throat, and they all look down at him.
Lorne: "Uh, still tied up down here."
Fred: "Oh..." The three of them proceed to untie Lorne.
Lorne: "Yeah, come on. My hands are turning pink."
Angel: "Guys, can I say something? (Angel looks at the spilled money) Money's important but it - it isn't everything. - I got - I got carried away. - I just (looks down at Connor) I never had a life that was totally dependent on me before. (Looks at the money again) But that's no excuse. (To Cordy) Where was I?"
Cordy: "Money's not the most important."
Angel: "No, it's not. What's - important is (looks from Connor to the other) family - and the mission."
Cordy after a beat: "They tried to cut Fred's head off. We earned every penny."
Angel: "Hold the baby." Cordy takes Connor from Angel as everyone but her rushes over to the spilled money and starts to stuff it into their pockets.
Gunn: "Spending money..." Hyperion, night, Cordy is singing a lullaby.
Cordy: "Go to sleep, my baby peep..." She and Angel are falling asleep lying on top of Angel's bed with Connor in between them, feeding from a bottle.
Cordy: "I'm just saying a boat."
Angel: "No. College fund."
Cordy: "Yes. College fund - and pay our bills - and put a down payment on a boat."
Angel: "We're not getting a boat."
Cordy: "Hmm, they're fun."
Angel: "They're expensive. And when would I go on this boat, hmm?"
Cordy: "Moonlight sails. - Okay. - College fund - pay our bills - and rent a ski condo in Aspen."
Angel: "Ski condo?"
Cordy: "There's got to be some fun in our lives."
Angel: "Hmm - I like a ski condo."
Cordy: "Sure. Snow. Trees. Chipmunk robots on ice..."
Angel: "Chipmunk robots... - on ice..."


[EXT. LAS VEGAS CITY (STOCK) - LATE DAY]
[EXT. LAS VEGAS CITY - LATE DAY]
[SCENE_BREAK]
[INT. CHECKERBOX BAR & GRILLE - LATE DAY]
(People are eating at the local grille.)
(ELAINE ALCOTT walks out of the restroom.)
(HANK PEDDIGREW sits at a table.)
(Friends wave to each other from their tables in front of the large picture glass windows.)
(FRED LYCHOCK, the Restaurant Manager, smiles at the waiter. He turns and sees a car heading toward the restaurant at a fast speed. He stops smiling and watches the car.)
(The car doesn't stop at the light, nor does it turn. It continues through the intersection and straight for the windows. The Restaurant Manager takes note of it and watches the car approach the windows, helpless to do anything.)
(The waiter drops the tray he's carrying, his eyes fixed on the speeding car. The beer glasses hit the floor and shatters.)
(The car crosses the sidewalk and heads straight for the glass windows.)
(The car hits the windows and doesn't stop. The people sitting at the tables in front of the windows crash to the floor. The car plows through the windows, tables and people.)
(Patrons scream as they dive to get out of the way of the speeding car.)
(The car crashes through the establishments' tables. The waiter hits his head against the car's windshield, blood spattering across the glass.)
(The driver hits the car horn and it blares.)
[SCENE_BREAK]
[INT. CHECKERBOX BAR & GRILLE -- NIGHT]
(The woman driver is slumped against the steering wheel. Fire personnel use a crowbar to get the door open.)
(It's raining outside. GRISSOM, SARA and CATHERINE walk in to the restaurant through the broken glass windows. Emergency personnel cart away survivors on gurneys. ELAINE ALCOTT is on the gurney, her neck in a brace, as it passes the CSIs.)
(BRASS speaks to someone on his cell phone as the CSI's make their way toward him.)
Brass: (to phone) Yeah, yeah. No. All right. Yeah, hold on, hold on. (puts phone aside) Happy hour. Joint was packed. Two fatalities, four critical.
(BRASS pushes his way past them. CATHERINE stops him.)
Catherine: How about the driver?
(BRASS turns around to answer her.)
Brass: Non-responsive.
(BRASS heads out. Behind, we hear HANK PEDDIGREW giving instructions.)
Hank Peddigrew: (b.g.) I've got a GCS of three. I need to intubate.
(SARA turns around and sees HANK working on an injured patron on a gurney.)
Catherine: (to GRISSOM) That's Sara's boyfriend.
Hank Peddigrew: (looks up) Hey, Sara. Typical Thursday.
(SARA looks around and notices his injury.)
Sara: Hank? Your wrist is broken.
(HANK looks down at his wrist as if noticing it for the first time. He stops trying to intubate the patron.)
Hank Peddigrew: Larry, take over, will you?
Larry: I got it, Hank.
[SCENE_BREAK]
(The Fireman gets the car door open with the crowbar.)
Grissom: The car's dry. This must've happened right before the rain.
(The Fireman checks out the old woman driver.)
[SCENE_BREAK]
(HANK assists LARRY as he intubates the patron.)
Sara: What happened?
Hank Peddigrew: I was sitting at the table. Next thing I knew ...
Fireman: (b.g.) I got a heartbeat!
(HANK looks up and rushes to give aid. He hurries past SARA and heads for the car.)
Hank Peddigrew: Excuse me.
(He runs past CATHERINE and GRISSOM. They both watch him as he pushes the Fireman aside to check on the old woman driver.)
Catherine: Some happy hour, huh?
Grissom: I think happy hour's over.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
[SCENE_BREAK]
[INT. CHECKERBOX BAR & GRILLE - NIGHT]
(It's dark and still raining outside. The EMT and other Personnel are still processing the scene.)
(GRISSOM is on his cell phone looking into the car. CATHERINE takes pictures.)
(LARRY is sitting down in front of HANK, attending to his broken wrist.)
Sara: (to LARRY) Mind if I take over?
Larry: No, go ahead.
(LARRY stands up and SARA takes his place. She sits in front of HANK and continues to tape up his wrist.)
Sara: You okay?
Hank Peddigrew: Yeah. I didn't think I'd see you tonight.
Sara: (smiling) So that's what all this is about.
Hank Peddigrew: Thanks.
Sara: Any time.
Hank Peddigrew: Listen, I got to head over to the hospital, and I'm sure you got to get back to work.
Sara: Yeah, but ... will you call me if you need anything? My cell will be on. Anything.
(SARA and HANK stand. HANK leaves. SARA turns around and walks toward GRISSOM.)
Grissom: You and Catherine are running the evidence on this. Warrick just got done with Internal Affairs. He's on his way.
Sara: Okay.
Grissom: You need to talk to the Restaurant Manager, too.
Sara: Anything else?
Grissom: No.
Sara: Where are you going?
Grissom: I got gas.
Sara: (nods, but is still confused) Oh.
(GRISSOM takes a step past SARA, stops, and explains over her shoulder.)
Grissom: Residential gas leak in Henderson.
(GRISSOM leaves. SARA heads for FRED LYCHOCK, The Restaurant Manager who is finishing up with a PARAMEDIC.)
Sara: Are you the Restaurant Manager?
Fred Lychock (restaurant manager): Yes.
Sara: I'm Sara Sidle, Crime Lab.
(SARA holds out her hand. FRED LYCHOCK gets to his feet and extends his hand to grab hers, but stops when he sees she's still wearing latex gloves.)
Fred Lychock (restaurant manager): Oh, hi. Fred Lychock. Ooh, sorry. Um ... your supervisor asked for a seating chart. (He unrolls the chart for SARA to look at.) Everything's computerized - software program. This here'll show you the number of people per table.
(SARA takes the chart and looks at it.)
Sara: Where were you during the crash?
Fred Lychock (restaurant manager): I was at the register, behind the bar.
Sara: Did you see anything?
Fred Lychock (restaurant manager): A blurry jaguar speeding through the intersection.
(Quick flashback to the car speeding head-on toward the glass windows. End of flashback. Resume to present.)
Fred Lychock (restaurant manager): I thought the car would slow down, but it kept right on coming. If you ask me, that's the reason why old people don't belong behind the wheel.
Sara: Yeah, I didn't ask you. Thanks for your time.
(SARA walks away from FRED LYCHOCK and heads toward CATHERINE who is examining the car.)
Sara: I'm sorry. I got wrapped up in ...
Catherine: Hank.
Sara: Yeah. (SARA kneels and looks inside the car.) An old jaguar with a GPS unit. That's strange.
Catherine: Yeah, not your granny's oldsmobile.
[SCENE_BREAK]
[EXT. LAS VEGAS RESIDENTIAL AREA -- NIGHT]
Grissom (prelap): (V.O.) We're cleared to go in?
[SCENE_BREAK]
[EXT./INT. ARNZ RESIDENCE -- NIGHT]
Lockwood: Yeah. Gas company shut off the valve at the street. Paramedics aired out the scene.
(LOCKWOOD escorts GRISSOM and NICK into the residence to the dead body.)
Nick: Homicide radioed in a D.B.?
Lockwood: Vanessa Arnz. She's in the master bedroom next to the son's room.
Grissom: Thanks.
[SCENE_BREAK]
[INT. ARNZ RESIDENCE - HALLWAY/BEDROOM - NIGHT -- CONTINUOUS]
(GRISSOM and NICK make their way toward the master bedroom where the dead body is located. They walk through the hallway.)
Grissom: The gas company spikes its natural gas with mercaptan - smells like rotten eggs.
Nick: I don't smell anything.
Grissom: All's I smell is mothballs and stale tobacco.
(NICK looks into the son's room.)
Nick: Science geek. (He looks back at GRISSOM and smiles.) Takes one to know one, I guess.
(He turns and they both head into the master bedroom.)
[SCENE_BREAK]
[INT. ARNZ RESIDENCE - MASTER BEDROOM - NIGHT -- CONTINUOUS]
(GRISSOM and NICK enter the master bedroom. On the bed is VANESSA ARNZ. DAVID PHILLIPS is already inside with the dead body.)
Grissom: Hello, David.
David Phillips: Hey. She's hot pink, like a maraschino.
Grissom: Makes our job easier.
David Phillips: Death was not the result of natural gas inhalation.
Grissom: No, but carbon monoxide's still gas.
Nick: Right, when carbon monoxide displaces oxygen in the blood, victim asphyxiates, turns ... pink.
(Quick flashback to: VANESSA ARNZ is sleeping and inhaling gas. Her skin slowly turns pink. End of flashback. Return to present.)
(NICK moves to get a closer look at the dead body.)
Grissom: Was Mr. Arnz in bed with her?
David Phillips: Uh, yeah. Paramedics said they found them both in here.
Grissom: So why is she dead and he's alive?
(NICK looks up at GRISSOM. DAVID turns and looks at NICK. NICK stands up and explains the answer to DAVID.)
Nick: You know, Dave, when I was a CSI-1, I would've tried to answer that, but now I know "where" before "why." First step, find the source of the C.O. I'll grab the nighthawk, fire it up.
(NICK leaves the room. GRISSOM looks down at the body. LOCKWOOD appears in the doorway.)
Lockwood: Mr. Arnz has been stabilized. They're preparing him for transport.
Grissom: I want to take a look at him.
David Phillips: Yeah.
[SCENE_BREAK]
[EXT. ARNZ RESIDENCE - NIGHT -- CONTINUOUS]
(GRISSOM and LOCKWOOD question MR. ARNZ. The paramedics are still checking him out.)
Mr. Arnz: I wake up in the middle of the night sometimes, if I get cold. Vanessa steals the covers. Uh, I woke up and my head was spinning. I think I'm coming down with something. Then I look over at her ...
(Quick flashback to: MR. and MRS. ARNZ is in bed. MR. ARNZ wakes up gasping. He reaches over to check on his wife.)
Mr. Arnz: Vanessa.
(He realizes that she's not breathing. He reaches for the phone and dials 911.)
Mr. Arnz: (to the OPERATOR) Tell them my wife isn't breathing.
(End of flashback. Resume to present.)
Lockwood: Do you remember anything else?
Mr. Arnz: No, I don't remember hanging up the phone. I must've passed out. Next thing I know the paramedics are taking me out.
(GRISSOM turns and notices the young man leaning against the car in the garage. He presumes this is the son.)
Paramedic: We got to roll. Patient will be at Desert Palm.
Mr. Arnz: Wait a minute. What about my boy?
Paramedic: Peter seems fine. The kid's 18. Signed an AMA.
(GRISSOM heads toward PETER ARNZ to talk with him. He ducks under the crime tape and stops in front of PETER ARNZ.)
[INT. ARNZ RESIDENCE - GARAGE - NIGHT - CONTINUOUS]
Grissom: Peter ... my name's Gil Grissom. I'm with the Las Vegas Crime Lab.
Peter Arnz: You want to ask me questions. I was in my bedroom, asleep. I heard the doorbell. It was the paramedics. A few minutes later, the police showed up.
Grissom: I'm very sorry about what happened to your mother.
Peter Arnz: Why are you sorry? You're not responsible. You didn't know her. You don't know me.
(Camera holds on GRISSOM.)
[SCENE_BREAK]
[INT. HOSPITAL - HALLWAY/WAITING ROOM -- NIGHT]
(SARA walks through the hallway. She passes by a young man sitting outside waiting. She stops in front of the GUARD standing outside the room of the old woman who drove the car.)
Sara: How's she doing?
Guard: Doctors are working on her right now. Doesn't look good.
(Looking inside the room, SARA notices the old woman in the hospital bed and the medical personnel working on her. She turns her head toward the young man sitting outside in the hallway.)
Sara: Relative?
Guard: Driver's been I.D.'d as Diane Lambert, that's her grandson Corey.
(SARA walks up to COREY LAMBERT.)
Sara: Hi, Corey? I'm, uh, Sara Sidle. I'm with the Las Vegas Crime Lab. Mind if I ask you a couple questions?
Corey Lambert: I don't even know why she was in Las Vegas. We live in Laughlin. She hates it here.
Sara: Corey, um... did your grandmother own a Jaguar?
Corey Lambert: Yeah ... (sniffles) ... yeah, she won it in the, uh, quarter slots. First two coins and bingo. Triple stars.
Sara: She also win the GPS?
Corey Lambert: No. (beat) She hadn't been driving it much.
(SARA notices HANK in the waiting room kneeling in front of a woman in a wheelchair.)
Corey Lambert: Uh, she got lost a couple times and it scared her, so for her birthday last month, I bought her the unit.
Sara: (smiles) Can you excuse me for a second?
Corey Lambert: Yeah.
(SARA walks away from the young man and heads toward HANK in the waiting room. The nurse wheels the young woman away.)
Sara: Hey.
(HANK looks up and sees SARA. He stands up.)
Hank Peddigrew: Hey.
Sara: "And the EMT of the year award goes to ..."
Hank Peddigrew: Not me. Death toll's now three. Could climb to four. Elaine- - the girl in the wheelchair -- she's one of the lucky ones.
Sara: You were amazing.
Hank Peddigrew: Eight years in the rig, first time I've actually been a part of the scene. I can't stop it going through my head.
Sara: Yeah, you never know when your life's going to change.
Hank Peddigrew: Listen, I ... I got to get out of here.
(HANK moves to pass SARA. She grabs his hands to stop him.)
Sara: You need a lift?
Hank Peddigrew: No, I drove.
(HANK turns to leave. SARA stops him.)
Sara: Hank? (He turns around.) I'm really glad you're okay.
Hank Peddigrew: (smiles) Thanks.
(HANK turns and walks away. Camera holds on SARA watching HANK leave.)
[SCENE_BREAK]
[EXT. CHECKERBOX BAR & GRILLE - STREET -- NIGHT]
(WARRICK and CATHERINE do a walk through of the car route into the restaurant. They examine the street.)
Warrick: Plenty of tire treads, but nothing looks fresh.
Catherine: So you going to tell me how it went?
Warrick: I got called in by Internal Affairs. How do you think it went? Too many questions. (To the officer who lifts the crime tape up for them.) Thanks. (to CATHERINE) I wish I could've pleaded the fifth.
Catherine: Yeah, you don't answer their questions, you're looking at more days off without pay, and that blows.
Warrick: Yeah. (He looks up and sees something.) It's a red light camera. Did any of the witnesses see the driver run the red light?
Catherine: Nobody mentioned it, but the camera's there. Big brother knows.
Warrick: I'll put in a call.
(CATHERINE notices a dark puddle on the curb.)
Catherine: Motor oil.
Warrick: Now, that looks fresh.
(Quick flashback to: Camera close up of the curb as the car accelerates, hits it and leaves a puddle of motor oil behind. End of flashback. Resume to present.)
Catherine: Hitting the curb could've caused the car to buck.
(CATHERINE turns around to look straight down the street.)
(Quick flashback to: A ghost of the car accelerates straight toward CATHERINE. End of flashback. Resume to present.)
Catherine: Traffic light, intersection, curb. Well, either the car wasn't working, or the driver wasn't.
(WARRICK turns around and heads inside the restaurant. CATHERINE shines her flashlight on the ground and notices a void where something should be.)
Catherine: Looks like the newspaper dispenser used to be here.
(Quick flashback to: The speeding car jumps the curb and takes out the newspaper dispenser before crashing into the window. End of flashback. Resume to present.)
(Inside the restaurant, WARRICK notices something on the ground.)
Warrick: Catherine. (He points it out to CATHERINE.) Tire treads. That kills one theory. Car's brakes must've been working.
Catherine: She tried to stop, but it was too late.
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(DOC ROBBINS goes over the preliminary findings with SARA. They both stand over DIANE LAMBERT'S body.)
Robbins: Let me guess: No air bags in the vehicle.
Sara: No.
Robbins: Preliminary cause of death, epidural hematoma. Her head impacted the steering wheel.
(Quick flashback to: The car jerks to a stop and DIANE LAMBERT'S head hits the steering wheel. End of flashback. Resume to present.)
Robbins: Blood accumulated between the inner table of the skull and the dural membrane.
(ROBBINS points to the impact wound on DIANE LAMBERT'S head. Camera zooms up close to the wound to the breakage in the scalp and hair. Camera zooms through the wound and into the brain where we see the artery. The artery break and blood leaks out.)
Robbins: (V.O.) Her injury is consistent with a severed middle meningeal artery.
(End of CGI POV. Resume to present.)
Sara: What about pre-impact? At the risk of feeding a stereotype, she was 72. Any indication of stroke, Alzheimer's, heart attack?
Robbins: I considered and dismissed all age-related factors. No arthritis, no significant impairment of her senses. She has had part of her colon removed, probably due to injury or prior medical condition, but Sara, it's irrelevant to your case. I found no physiological explanation for the crash.
Sara: Well, that's a bummer, 'cause at this point, we got no forensic one, either.
[SCENE_BREAK]
[INT. ARNZ RESIDENCE - MASTER BEDROOM -- NIGHT]
(Camera opens close up on the Nighthawk Carbon Monoxide Alarm that NICK is holding to check on the Carbon Monoxide levels in the bedroom. LOCKWOOD is with him. The detector beeps steadily.)
Nick: Carbon monoxide fills the air when any carbon-based substance is ignited. The kid checks out, so ... the point of ignition's probably this room.
Lockwood: Now, the two most common causes of accidental household CO poisonings are: unvented space heaters and improperly maintained chimneys. I don't see any heaters.
(Using the tip, NICK turns to look at the bedroom fireplace.)
Lockwood: (explains) My dad's a fireman. Last Christmas, he gave all the kids C.O. Detectors.
(Immediately, the beeping picks up.)
Nick: Would've saved this woman's life. 25 parts per million. That's the highest reading in the room.
(NICK puts his kit down, takes out his flashlight and checks out the fireplace closely.)
Nick: This is a natural gas burning fireplace. Burns clean. C.O. fumes should be minimal at best.
(In the back of the fireplace on the ground, he finds some black rocks.)
Nick: Foreign substance. Still warm.
(Camera zooms in to show a close up of the black rock.)
Nick: There was something other than natural gas burning in here.
Lockwood: If the gas company hadn't shut off the gas, whatever that is probably would have burned up.
Nick: Chimneys are designed to funnel smoke up and out ... if this fire was the source of the CO, the fumes should've traveled up the chimney instead of permeating the room.
Lockwood: Unless the chimney isn't doing its job.
(NICK reaches up and checks the chimney.)
Nick: Damper's busted.
(Quick CGI flashback to: The fire in the fireplace burns, the heat and fumes close the damper causing the fumes to funnel back into the room. End of CGI flashback. Resume to present.)
Nick: Foreign fuel source in a compromised chimney ... I think we just ruled out accident.
[SCENE_BREAK]
[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]
(GREG exits his lab, crosses the hallway and enters the audio-visual lab where SARA'S working.)
Greg: Hey, I hear you're working on Hank's case.
Sara: I believe it's my case.
(Leans in and rests his elbows on the table next to SARA.)
Greg: Territorial. You know, guys don't like that.
Sara: You're crowding me, Greg.
Greg: Well, I have some information that could bring us even closer. (beat) (He stands up.) But you first. What are we looking at?
Sara: I downloaded the memory from the GPS in the jaguar. She wasn't a local; I wanted to see if she got lost.
Greg: Well, did she?
Sara: Diane Lambert lives in Laughlin.
(SARA stands up and heads to the large wall monitor)
Sara: Excuse me.
(Using her finger, she "draws" the path on the monitor.)
Sara: She took 95 North to Summerlin parkway. Then she took parkway to Rampart, made a left on main street and headed straight to Meadows Lane -- 16 North Meadows Lane. That's where she was going, and that's where she ended up.
Greg: So does that thing tell you why?
Sara: What do you have, Greg?
Greg: Well, maybe she had the "munchies". Tox screen came back. Mrs. Lambert tested positive for cannabis sativa.
Sara: Grass?
Greg: (laughing, enjoying himself) "Grass"? So '70s, man. Sticky green, the dank, the chronic, the cush, happy stick, wacky-tobaccy ...
Sara: Well, wait, wait, wait. Grandma was high?
Greg: (smiling) Yeah.
Sara: Grandma was high ...
(Putting two fingers to his lips as if taking a drag off of a joint, GREG inhales.)
Greg: ... as a kite.
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY]
(SARA walks back into the Autopsy room. ROBBINS is working at the scope.)
Sara: Hey.
Robbins: Return visit, huh? You're here about the tox screen.
Sara: Yeah. Was Diane Lambert legally impaired?
Robbins: Less than two nanograms of THC, so per nida, she wasn't.
Sara: Oh. But if she were a long time user, her reaction time could've been slowed down, right?
(He lifts his head and stands up. They both head up to the morgue units.)
Robbins: I know where you're going. Let me stop you. THC has no significant cumulative effect, so maybe the question is: Why was a woman her age doping up?
(He opens the cabinet and pulls out the table with DIANE LAMBERT.)
Sara: Okay, why was a woman her age doping up?
(ROBBINS hands the scope to SARA.)
Robbins: Tell you what-check out her optic nerve.
(Quick CGI POV through the scope and down through the eye to show the nerve. End of CGI POV.)
Sara: Nerve's damaged. (SARA stands up and looks at ROBBINS.) She had glaucoma. I thought you said she was in good health.
Robbins: That was before the tox screen came back. You know, it's not standard procedure to check for glaucoma, but the mary jane tipped me off. People think it slows the progression of the disease, but it just reduces the pressure in the eye and that reduction's only temporary. Prescription medications do a much better job. (beat) Unfortunately, they don't have the same side effects.
Sara: Her vision could've been impaired by the glaucoma.
Robbins: (insistent) It didn't affect her driving. Sara, Diana Lambert has nothing more to tell you.
(ROBBINS covers DIANE LAMBERT up and pushes the table back into the cabinet.)
[SCENE_BREAK]
[INT. CSI - AUDIO/VISUAL LAB]
(CATHERINE is going through the seating chart up on the monitor. By touching the chairs, a DMV picture of the patron pops up on the monitor.)
(She presses the bartender position and the picture/information pops up for Taylor Ziegler of Paradise Valley, NV, the Checkerbox Bartender. She closes the pop up box.)
(She reaches over and presses the chair for one of the patrons. The picture/information pops up for Cameron Black from Trenton, NJ, deceased.)
(SARA walks into the lab.)
Sara: Hello.
Catherine: Oh, hey. So, I got photos of the restaurant patrons off the DMV database and input the information per the restaurant seating chart and the police report.
(As she speaks, CATHERINE presses the seats for several people one after the other, the last two being for HANK PEDDIGREW and for ELAINE ALCOTT from Henderson, NV; employer: Sillmont Healthcare.)
(CATHERINE turns to look at SARA.)
Catherine: Who's Elaine Alcott?
Sara: Who?
Catherine: Oh, well, she was seated with Hank. I just thought maybe that ... SARA: Oh.
(SARA leans in to the computer on the table and looks at the picture of ELAINE ALCOTT. She closes the pop up box for ELAINE and opens the box for HANK. She closes the pop up box for HANK and re-opens the box for ELAINE.)
Catherine: Anyway, um ... apparently, she told P.D. that she was returning from the ladies' room at the time of the impact.
Sara: They must be friends. I saw him with her at the hospital.
Catherine: Okay.
(CATHERINE looks down at her clipboard.)
Catherine: Um ... okay, so, we've got 36 people in the restaurant. Twelve worked for Sillmont Healthcare, a block away. Another ten were from the brokerage firm across the street, a couple of regulars, a few out-of-towners and restaurant employees.
(WARRICK walks into the lab.)
Warrick: Do you know how long it takes to get in touch with anybody at the transportation safety bureau? It's way out of hand. Diane Lambert ran the light.
(CATHERINE looks at the photo from the traffic light. The information on the photo is:
0.50 R009
008 V=52 ]
Catherine: Wow. She sped through that intersection -- 52 miles per hour.
Sara: That's more than twice the speed limit.
Warrick: Well, the tread marks tell us that her brakes did work, so it must've been something else that malfunctioned, causing her to accelerate.
Sara: Gas pedal could've gotten stuck, or ... throttle plate could've jammed.
Catherine: There's only one way to find out.
(SARA stands up to leave the lab.)
Sara: I'm on it.
[SCENE_BREAK]
[INT. CSI - GARAGE]
(SARA is on a dolly under the car. She examines the car.)
(Cut to SARA taking a sample from under the hood.)
(Dissolve to SARA checking the engine out.)
(Dissolve to SARA still checking the engine.)
[SCENE_BREAK]
(WARRICK walks into the garage. SARA is standing on top of the ladder and looks at him. She has a large oil smudge under her left eye.)
Warrick: Hey. You have, uh ...
(WARRICK motions to SARA'S cheek. She rubs the area but doesn't get the smudge out. WARRICK waves it aside.)
Warrick: Don't worry about it. How's it going? You find anything?
Sara: No. Car checks out perfectly.
Warrick: Well, I did some more digging down at the TSB. I found out that the red light camera that photo'd our driver catches four times as many violators as any other camera in Vegas.
Sara: (thoughtfully) Intersection's dangerous. (beat) Could be a death trap.
[SCENE_BREAK]
[INT. CSI -- LAB]
(HODGES looks through the scope. NICK walks in to the lab. He stops next to HODGES.)
Hodges: I didn't page you.
Nick: No, I just figured I'd come by.
(HODGES picks up his things and puts them away.)
Hodges: You're checking up on me again.
Nick: No, I'm checking upon my evidence.
(NICK walks to the printer.)
Hodges: You think if you hover, the FTIR will work faster?
Nick: Yeah ... Hodges, that's what I think.
(GRISSOM walks into the lab reading a file. HODGES perks up and walks toward GRISSOM.)
Hodges: Hey, boss.
(The printer starts to print the results.)
Hodges: Nice timing.
(HODGES reaches out to grab the paper. NICK grabs the paper from him and looks at it.)
Nick: The foreign substance in the fireplace is carbon.
Grissom: Associated minerals?
Nick: None. Pure unadulterated carbon.
(NICK hands the results to GRISSOM to look at.)
Hodges: It may be pure, but it's not solid. Micro-pores. Sample's under the scope.
(NICK turns to move to the scope table, HODGES gets in his way and blocks his path. GRISSOM moves to the scope and looks at the sample inside.)
(NICK moves to stand next to GRISSOM. He casts a glance at HODGES.)
(Cut to scope view of the charcoal. At a higher magnification, he can see the pores in the rock.)
Grissom: Activated charcoal?
Nick: Used in filtration systems, kitty litter, some medications ...
(GRISSOM looks up.)
Grissom: ... and possibly a murder.
[SCENE_BREAK]
[EXT. INTERSECTION OUTSIDE THE CHECKERBOX BAR & GRILLE -- DAY]
(It's raining outside. SARA and WARRICK stand under the umbrella and look at the building.)
Warrick: The building has mirrored glass on it. Lets in the light, but it keeps out the glare.
(SARA turns around to look at the road and the trees behind them.)
Sara: Sun sets in the west behind us. Glare could be pretty intense in the afternoon. (WARRICK also turns to look. They both turn back to look at the building.) This could explain why this intersection is so dangerous.
Warrick: So you think the sun was a factor in the crash?
(SARA looks at her notes.)
Sara: Well, according to the accident report, the sun set at 5:30 yesterday.
Warrick: The accident was at 5:15, so the sun was still in the sky.
(SARA turns around to look at the trees behind them.)
Sara: Trees and buildings extend at least ten degrees above the western horizon.
Warrick: Yeah. (They turn to look at the building again while they figure it out.) All right, well, there's 24 hours in a day, 360 degrees in the earth's rotation. 360 divided by 24 is ... 15?
Sara: 15. Sun moves about 15 degrees an hour.
(SARA looks at the building and begins to visualize the path the sun took the day before.)
(The sunlight off of her face burns brighter as she visualizes the sun on a clear day.)
(Cut to: The building in front of them reflects the sun as it travels during the day. The sun slowly sinks to the horizon.)
(Cut to: SARA continues to visualize the sun setting. The sun traveling downward reflects off of her sunglasses.)
(Cut to: The sun continues to set and is reflected in the building's mirrored glass.)
(Cut to: The sun's light off of SARA's face returns back to normal as she figures it out.)
Sara: At 5:15 yesterday, the sun would've been about what -- 3.75 degrees above the horizon?
(WARRICK throws SARA a glance.)
Warrick: Wow, you're fast. 3.75, huh? (WARRICK glances behind him.) Then the sun was behind the trees at the time of the accident, so it was not a factor.
Sara: Great, and our investigation is still in the dark.
(SARA turns to look at WARRICK.)
[SCENE_BREAK]
[INT. CSI - DNA LAB]
(GREG sits at his lab table listening to rock music blaring from his tape machine. GRISSOM and NICK walk into the lab. GRISSOM turns the music off. GREG looks up.)
Grissom: I just got a page from James Watson.
Nick: And I got one Francis Crick. What's going on, Greg?
Greg: Well, as you both know ... Watson and Crick are the grand-daddies of DNA. Without their discoveries, I'd have nothing to do all day.
Nick: What have you been doing all day?
Greg: A tox report on your D.B., Ms. Pretty in pink. She died of carbon monoxide poisoning. Blood saturation level of 46.2%. No surprise there. Nicotine levels are high -- she was a smoker. And she popped a couple of sleeping pills that night.
Grissom: Nothing probative.
Greg: What if I told you that Mr. Arnz had a carbon monoxide blood saturation level of 37% -- nearly 10% lower than his wife.
Grissom: Mrs. Arnz was a smoker. Typically, a smoker's blood is already 10% saturated with C.O.
Nick: You mean smokers get a jump start on the poisoning process? Could explain the 10% difference. It could also explain why he lived and she died.
Greg: Nice theory, but what if I told you that Mr. Arnz had high nicotine levels as well.
Nick: They were both smokers.
Grissom: That still doesn't explain why one lived and one died.
Greg: Well, I don't know if this is going to help, but the sleeping pills are zolpidem. Prescription only. I thought I'd save you some time, talked to Lockwood. She didn't have a prescription, but her husband does.
Grissom: Thanks, Greg.
(GRISSOM and NICK turn to leave the lab. NICK turns the tape recorder back on before he leaves.)
[SCENE_BREAK]
[INT. CSI - AUDIO/VISUAL LAB -- DAY]
(CATHERINE works on the computers on which she duplicates the car crashing through the restaurant scenario. SARA walks in.)
Catherine: Hey, check this out. The red light camera clocked her speed at 52 miles per hour, right?
Sara: Mm-hmm.
Catherine: The computer software pegged her at 60 by the time she hits the newspaper dispenser. She accelerated into the building.
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY -- DAY]
(SARA and ROBBINS walks into the autopsy room.)
Robbins: You already reviewed the driver's tox screen. Now you want her basic blood panel.
Sara: I'm running with a hunch.
Robbins: Let's go.
(He hands her the file with the test results. The report reads that acetylocholine levels are low at 11.8; and epinephrine was high at 147.)
Sara: Acetylcholine levels were low, epinephrine was high.
Robbins: Why are you focused on those hormones?
Sara: Kamikaze pilots, World War II -- their blood work was very unusual. Acetylcholine was low; epinephrine was through the roof.
Robbins: Well, you're talking about the sympathetic response to stress-eyes dialate, heart rate goes up, hormones go haywire.
Sara: Diane Lambert lived two hours away. If she drove her car into Vegas with the intention of using it as a murder weapon, I imagine she would be pretty stressed out.
Robbins: Kamikaze granny.
[SCENE_BREAK]
[INT. STORE -- DAY]
(GRISSOM and NICK walk into the ARNZ' store. The door bell jingles when they open the front door.)
(GRISSOM looks for and finds PETER ARNZ sitting at the desk reading a book.)
Grissom: Isaac Asimov-- one of my favorite writers. "If knowledge can create problems, then it is not through ignorance that we will solve them."
Peter Arnz: Is that what you're doing here? Solving problems?
Grissom: It's my job to figure out what happened to your mother.
(PETER ARNZ dog ears the book he's reading, closes the book and turns his full attention to GRISSOM.)
Peter Arnz: Scientists derive satisfaction from figuring out the puzzle. It's about the quest ... not the grail.
(GRISSOM picks up the book in front of him by Isaac Asimov.)
Peter Arnz: Asimov believed that only scientists could understand the universe. His corollary: "It's not so much that I have confidence in scientists being right ..."
Grissom: ... "but that I have so much confidence in non-scientists being wrong." You a scientist?
Peter Arnz: Yeah. I am.
Mr. Arnz: Peter? The boxes won't unload themselves.
(GRISSOM turns to glance back at MR. ARNZ. PETER stands up to unload the boxes. GRISSOM turns back to look at MR. ARNZ.)
[SCENE_BREAK]
[INT. STORE -- DAY]
(NICK and GRISSOM question MR. ARNZ.)
Mr. Arnz: Peter and I were hoping to get back into the house tonight.
Nick: Well, not tonight, sir. It's still an active crime scene. Our lab found zolpidem in your wife's system -- 20 milligrams. That's twice the recommended dosage. Do you know anything about that?
Mr. Arnz: Well ... Vanessa was having trouble sleeping.
Grissom: The, uh, prescription is in your name.
Mr. Arnz: Are you accusing me of something?
Grissom: No. We're just telling you what we know.
(MR. ARNZ looks around and sighs.)
Mr. Arnz: Look, uh ... ever since this discount chain opened a branch down the block, I've been working 16-hour days just trying to survive. And I'd go home and Vanessa would come at me.
(Quick flashback to: VANESSA ARNZ sitting up in bed and talking to MR. ARNZ' back.)
Vanessa Arnz: You're always tired. You never talk to me. Y-you need to communicate with me. You know, I have needs. I'm here all day long. You never talk to me.
(End of flashback. Resume to present.)
Mr. Arnz: She'd just go on and on and on talking. And when she'd finally let me get to sleep, she'd want what every woman wants. I-I don't mean just s*x. She'd want to talk and talk. (sighs) Next thing you know, it's 5:00 A.M., The alarm is screaming at me, and I got to go back to work.
Nick: So you drugged your wife to get some shut-eye?
Mr. Arnz: Yeah. I put it in her ice cream. I know it was wrong, but ...
Nick: It's also illegal.
Mr. Arnz: Yeah. Happened as an accident the first time. See, I got a problem swallowing pills, so I crush them up in the ice cream. One night, she grabbed the wrong bowl and was out like a light. Best night's sleep I'd had in a long time. Well, if you ... you got nothing else you want to ask, I got things I got to do.
Grissom: I have one more question. When did you quit smoking? I noticed the, uh, nicotine patch on your arm.
(GRISSOM points to the patch on MR. ARNZ' left upper arm.)
Mr. Arnz: Oh, uh, about three weeks. Doctor's orders. I got high blood pressure.
Nick: I have another question. Did you know the damper on your chimney was busted?
Mr. Arnz: Why, did this have something to do with my wife's death? I mean, I asked Peter if he'd ... (sighs) is this my fault?
[SCENE_BREAK]
[INT. CSI - HALLWAY -- DAY]
(SARA and CATHERINE make their way to the audio/visual lab.)
Sara: If the crash was intentional, I'm thinking either the restaurant was the target or someone inside the restaurant.
Catherine: I'll call Brass. If Lambert had a grudge against the place, somebody there should know her.
[INT. CSI - AUDIO/VISUAL LAB - DAY - CONTINUOUS]
Sara: If she was gunning for someone specific, there's a lot of variables. Maybe we should start with the most obvious targets -- the people sitting in the window.
Catherine: Let's run it.
(CATHERINE and SARA stand in front of the wall monitor with the seating chart loaded.)
Catherine: Okay ... top to bottom. (CATHERINE opens the first box.) Cameron Black, deceased; from Jersey. First time in Vegas. Unlikely mark.
(SARA reaches up and closes the box. She checks the identities of the people sitting at the second table.)
Sara: Second table: Rachel Krandall, and ... Tom Krandall. Both died at the scene. Both worked for Sillmont Healthcare.
Catherine: Table three: Hank and ... Elaine Alcott. Also works at the insurance company.
Sara: Three out of five of the people sitting in the window work at Sillmont Healthcare. Maybe I should go talk to her.
Catherine: (nods quietly) Yeah. Maybe you should.
[SCENE_BREAK]
[INT. ALCOTT RESIDENCE -- DAY]
(Camera opens on a file picture of DIANE LAMBERT.)
Elaine Alcott: (o.s.) I'm sorry, I don't recognize her.
(SARA is interviewing ELAINE ALCOTT.)
Sara: Well, uh, could she be one of your policy holders?
Elaine Alcott: It's possible. I oversee hundreds of members' accounts. I can check my list.
Sara: That'd be great.
(ELAINE stands up from the table and checks her laptop.)
Elaine Alcott: I wish I had some more time off, but with Tom Krandall gone and half my department in the hospital ... I'm back at the office tomorrow. Let's see ... Diane Lambert.
(As ELAINE checks the database, SARA notices a small framed photograph of ELAINE and HANK on the table. SARA picks it up. ELAINE notices the movement and smiles.)
Elaine Alcott: (smiling) My boyfriend. Saved up my miles and took him to Hawaii last year. He's going to take me to Tahiti in a few weeks. I can't wait. (SARA puts the picture down.) Ms. Lambert isn't on my list. But if you want, I can go on the company database.
Sara: (upset and trying not to show it) Thank you. Um, I-I have to get back to the lab. Um, maybe you could call me.
(SARA holds out her business card. ELAINE takes it.)
Elaine Alcott: Okay.
(SARA stands up and leaves.)
[SCENE_BREAK]
[EXT. LAS VEGAS RESIDENTIAL AREA (STOCK) - DAY]
[SCENE_BREAK]
[INT. ARNZ RESIDENCE - HALLWAY/PETER'S ROOM -- DAY]
(GRISSOM walks through the hallway straight up to PETER ARNZ' room. He kneels and looks at the fishtank in the room. He opens the fishtank cover, rolls up his sleeve and takes out the filter. He looks at the filer. He puts it back inside the tank.)
(PETER ARNZ appears in the hallway and walks up to GRISSOM.)
Grissom: You're not supposed to be in here.
Peter Arnz: It's my home.
Grissom: Well, perhaps you didn't see the crime scene tape.
Peter Arnz: Do I look stupid to you?
Grissom: On the contrary. I heard you have an almost perfect 4.0 GPA. With the exception of a "B" in English. Our detectives do complete background searches on all the principles at a crime scene. I understand you threatened your English teacher.
Peter Arnz: I have to feed my fish.
(PETER steps up to the fishtank.)
Peter Arnz: Clown loaches, tetras, angelfish.
(PETER opens the fish foot container.)
Grissom: (looking at PETER) You might want to check your filter, too. You're out of charcoal.
(PETER turns to look at GRISSOM.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(GRISSOM and NICK question PETER ARNZ.)
Grissom: In 1939, Isaac Asimov was an undergraduate studying zoology. As part of a course requirement, the students were asked to find a stray cat, kill it and dissect it. Isaac found his cat, he killed it, and then he promptly dropped out of zoology. Fifty years later, he wrote that the memory of killing that cat still haunted him.
Peter Arnz: Do you have a question for me?
Grissom: Yeah, I do. Why didn't you fix the chimney damper in your parents' bedroom?
Peter Arnz: Why would I?
Nick: You told your father you fixed it.
Peter Arnz: So he'd quit bugging me. And if you're accusing me of disobeying a man with only a tenth-grade education, then you're right.
Nick: We know you took advantage of the broken damper. Placed activated charcoal from your fish tank filter in the back of the fireplace...
(Quick flashback to: PETER ARNZ dropping the charcoal into the back of the fireplace.)
Nick: (V.O.) ... then waited for your father to do what he does every night.
(Cut to: MR. ARNZ lighting up the fireplace while VANESSA ARNZ eats her ice cream in bed.)
(End of flashback. Resume to present.)
Nick: You killed your mother. You almost killed your father.
Peter Arnz: That's good science fiction.
Nick: Well, you thought the charcoal would burn up, destroying any evidence of the crime, but your father woke up, called 911.
Grissom: (thoughtfully) Nick, at what point is the saturation level of carbon monoxide in the bloodstream lethal?
Nick: Approximately 45, 50%.
Grissom: (nods) Mmm. Well, his mother's level was in the range, but his father's level was low.
(PETER ARNZ is fascinated by the level of intellectual bantering going on between NICK and GRISSOM in front of him.)
Nick: Yeah, but two people exposed to the same level of carbon monoxide for the same period of time, their C.O. saturation levels should be approximate.
Peter Arnz: (interjects) As long as the variables are consistent -- body mass, health, age.
Grissom: What about smoking?
Peter Arnz: Of course.
Nick: Three weeks ago, your father quit.
(PETER ARNZ gives them a blank look. He doesn't respond. GRISSOM picks up on it immediately.)
Grissom: Yeah, we didn't know he'd quit, either. The nicotine levels in his system were high but when we went to speak with him, he was wearing a nicotine patch.
Nick: The patch delivers nicotine to the blood, but since your father quit smoking cigarettes, his C.O. saturation level returned to zero.
Grissom: You made a basic scientific mistake, Peter. You stopped observing the human element because you thought it was inferior.
Nick: What I don't understand is why. Man, why would you want to kill your parents? Your high school told us you were accepted to Princeton, early action. A few more months, you would've been 2,000 miles away. Whatever your parents did to piss you off wouldn't have mattered.
(GRISSOM thinks about it.)
Grissom: I know why. They weren't going to let you go, were they?
(He swallows.)
Peter Arnz: (quietly) They refused to pay for it. I don't qualify for financial aid because my father makes too much money. Not enough money to live well, but enough to destroy my dreams.
Nick: So with your parents gone, you could sell the business and pay your tuition.
Peter Arnz: You figured out the puzzle. Must be very gratifying.
Grissom: Science isn't about the gratification, Peter. It's about the truth.
[SCENE_BREAK]
[INT. CSI -- LAB]
(SARA walks into the lab. CATHERINE is already there.)
Sara: Hey.
Catherine: Hey.
(SARA sits down and opens the file in front of her.)
Catherine: So, how did it go with Elaine Alcott?
Sara: She didn't have anything to add to the investigation.
(BRASS walks into the lab.)
Brass: Hey, how's it going? Here are the phone records from the driver of the vehicle that you asked for. You know, there may be something to that kamikaze grandma theory of yours. Last week, Diane Lambert closed out her bank accounts, paid off her credit cards, and updated her will.
Catherine: Well, that's certainly more evidence to suggest that her actions were intentional.
Sara: There's only one Vegas phone number on this statement and the prior statement. There's got to be 80 calls here to the same number.
Catherine: Dial the number.
(SARA picks up the speaker phone and dials the number. The phone rings.)
Operator: (from phone) Sillmont Healthcare. How can I direct your call?
Sara: What's your address?
Operator: (from phone) 16 South Meadows Lane.
Sara: Thank you.
(The Operator hangs up.)
Catherine: Right. The Checkerbox is at 16 North Meadows.
Brass: I don't think that's a coincidence.
Sara: If Sillmont Healthcare was the intended target, how did she end up at the Checkerbox?
Brass: Well, I'll tell you what happened to me. Last week, I was driving to a crime scene in the car and the GPS said go right. Had I done so, I'd be coughing up fish from the bottom of Lake Mead.
Catherine: Well, GPS is hardly perfect. Maybe north was a directional default.
Brass: Or maybe she put in the wrong address.
Sara: Either way ... it does leave one question: Why was Diane Lambert so angry?
[SCENE_BREAK]
[EXT. LAS VEGAS COMMUNITY (STOCK) - DAY]
[SCENE_BREAK]
[INT. SILLMONT HEALTHCARE - OFFICE -- DAY]
(ELAINE ALCOTT closes the office door. CATHERINE and SARA interviews ELAINE ALCOTT and her manager.)
Elaine Alcott: Mrs. Lambert was a member of our HMO. I was, uh, going to call you.
(ELAINE takes a seat at the table. She and SARA both eye each other warily.)
Catherine: Well, did she have some kind of problem with her policy?
Manager: Not to our knowledge.
Sara: Then you won't mind if we take a look at her file.
Manager: I'm sorry, member files are confidential.
Catherine: Well, this member is deceased. Not even the doctor-patient privilege extends postmortem.
(ELAINE picks up the file and hands it to SARA. Again, they eye each other warily. SARA takes the file and looks through it.)
Sara: Mrs. Lambert had colon cancer.
Manager: If you read further, you'll see that it was in remission.
Sara: No, actually, her most recent cat scan shows recurrence two months ago. That's about the same time she started calling your office two times a day. Why would she be calling you?
(The Manager doesn't answer. CATHERINE looks over at ELAINE ALCOTT who doesn't meet her eyes.)
Catherine: (disgusted) You know what? Four people are dead. Don't waste our time. We can take this downtown.
Elaine Alcott: Mrs. Lambert's oncologist recommended immediate and aggressive treatment.
Sara: Did treatment commence?
Elaine Alcott: The recommendation was pending.
Catherine: Well, what exactly does that mean?
Manager: Not yet approved, not yet denied.
(Quick flashback to: DIANE LAMBERT determined behind the steering wheel of her car. The car is accelerating. End of flashback. Resume to present.)
Catherine: In other words, Mrs. Lambert's health was in limbo. She wasn't receiving treatment, but she couldn't file an appeal, since you hadn't officially denied her claim.
Manager: The authorization process takes ... it takes time.
(Quick flashback to: DIANE LAMBERT anguished behind the steering wheel of her car. The car is accelerating. End of flashback. Resume to present.)
Catherine: Time Mrs. Lambert didn't have.
Manager: We have a procedure, and we follow it.
(Quick flashback to: DIANE LAMBERT gripping the steering wheel. Cut to: DIANE LAMBERT crying as the car accelerates. End of flashback. Resume to present.)
Catherine: .... and while you were following your "procedure", and postponing a decision, her cancer cells were multiplying.
Sara: What were you, playing the odds? Were you hoping she would die before you had to spend a dime?
Manager: We're not liable here. We're not responsible for Mrs. Lambert's actions.
(CATHERINE looks down and shakes her head.)
(Quick flashback to: DIANE LAMBERT in her car driving it through the glass windows of the Checkerbox Bar and Grille.)
(Cut to: The car crashes through the window and into the patrons inside. End of flashback. Resume to present.)
Catherine: For what it's worth, that makes me sick.
(Camera holds on the Manager looking at CATHERINE.)
[SCENE_BREAK]
[INT. CSI -- HALLWAY -- DAY]
(SARA exits the lab and walks through the hallway. She takes off her latex gloves and goes looking for CATHERINE. CATHERINE walks out of the locker room with her bag over her shoulder.)
Sara: Catherine.
Catherine: Yeah.
Sara: We missed something.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY]
(SARA and CATHERINE interviews COREY LAMBERT.)
Sara: Corey, when I was reviewing your grandmother's insurance policy, I noticed she that didn't specify an e-mail address, and that got me thinking. Some people her age aren't technologically savvy. Maybe a GPS device would be intimidating to her. I wondered if she actually even knew how to use it. So I printed the unit and I found your fingerprints on it.
Corey Lambert: I installed it.
Sara: The prints just weren't on the base of the unit, they were on the face. You punched in addresses.
(COREY LAMBERT shakes his head. He's confused by the line of thought. CATHERINE explains.)
Catherine: If you were aware of your grandmother's intentions and programmed the GPS, you're guilty of aiding and abetting in the murder of three people.
(COREY shakes his head as this sinks in.)
Corey Lambert: Oh, god. Uh ... last week, she came by my place 'cause she said she didn't know how to work the GPS.
(Quick flashback to: COREY LAMBERT showing his grandmother how to work the unit. He punches in an address as an example.)
Corey Lambert: Okay, grandma, look, it's really easy. I'll explain it to you again. You just type in the address of where you want to go.
(End of flashback. Resume to present.)
Corey Lambert: Look, I swear, if I had known what she was planning, I would've stopped her.
Catherine: Uh ... well ... Corey, homicide has informed us that your grandmother had a life insurance policy, in which you're the sole beneficiary.
Corey Lambert: (shakes his head) I had no idea.
Sara: She never mentioned it to you?
Corey Lambert: (immediately) No! (Thinks about it for a moment.) No, no, wait.
(Quick flashback to: DIANE LAMBERT sitting in her car and pleading to her grandson.)
Diane Lambert: Promise me.
Corey Lambert: Okay, fine. When I can afford it, I'll go back to college.
Diane Lambert: You should have a degree.
Corey Lambert: Grandma, I promise.
Diane Lambert: I love you. You're such a good boy.
Corey Lambert: I love you, too.
(End of flashback. Resume to present.)
Sara: Your grandmother's death has been ruled a suicide, which nullifies the policy. There's not going to be any money.
Corey Lambert: No ... look, I don't think you understand. I loved my grandmother, and she's dead. She killed herself, and she killed these three other people. (crying) What are you telling me? She killed these people for me? And I'm supposed to live with this?
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(CATHERINE and SARA exit the room. HANK is waiting for SARA in the hallway.)
Catherine: (to SARA) I'll meet you at the car.
(CATHERINE walks out the hallway. HANK turns to talk with SARA.)
Hank Peddigrew: I called the lab. They said you were here. (swallows) I heard you met Elaine.
Sara: Yeah, she's really something. (pause) I didn't tell her about us, if that's what you're wondering.
Hank Peddigrew: I'm really sorry, Sara.
Sara: (nods) Yeah, me, too.
Hank Peddigrew: I don't know what else to say.
Sara: I'll see you around.
[SCENE_BREAK]
[EXT. POLICE DEPARTMENT - DAY -- CONTINUOUS]
(SARA walks out of the police department.)
Lyric:
["Wild Horses", The Sundays] Childhood living / is easy to do / the things that you wanted / I bought them for you ...
(She walks to the car, opens the door and gets inside. CATHERINE watches SARA.)
Lyric: ... graceless lady ...
Catherine: (quietly) You got plans?
Sara: Nope.
Lyric: ... You know who I am...
Catherine: You want to get a beer?
(SARA turns to look at CATHERINE. CATHERINE smiles. She's been there. SARA turns and looks straight ahead. She smiles a bit.)
Sara: Drive.
(CATHERINE starts the engine and they leave.)
Lyric: ... And wild horses couldn't drag me away...