[EXT. VARIOUS LAS VEGAS CITY (STOCK) -- NIGHT]
[SCENE_BREAK]
[INT. RICHMOND MANSION - NIGHT]
(People with money mingle amongst themselves. PATRICK HAYNES mingles with his party guests, the cream of the Las Vegas society.)
Patrick Haynes: Nice suit.
(He makes his way around the floor with a champagne glass in his hand and smiles when he sees a familiar face.)
Patrick Haynes: Welcome.
Sheriff Brian Mobley: Congratulations, Patrick.
Patrick Haynes: Well, thank you, Sheriff. Your presence here means a lot tonight.
Mrs. Burton: Is that for me?
Patrick Haynes: Are you talking about the glass or the bubbly?
Mrs. Burton: I was talking about the smile on your face.
(He laughs.)
Patrick Haynes: Well, if I'm smiling, it's because we raised $1.6 million for Mrs. Richmond's Burn Center tonight.
(Behind them, he sees AMANDA HAYNES step up on the side. He hands a glass to MRS. BURTON.)
Patrick Haynes: That sort of generosity deserves a raise of the glass, huh?
(He turns and raises his glass to the large portrait of PORTIA RICHMOND hanging on the wall.)
Patrick Haynes: To Portia.
Mrs. Burton: To Portia.
Patrick: It's a shame she couldn't be here tonight.
(AMANDA HAYNES makes her way toward PATRICK.)
Patrick Haynes: Hey. We did it.
Amanda Haynes: We sure did.
(He turns and kisses her.)
(Outside a woman screams.)
(Cut to: Everyone ruses toward the glass windows to see what's happening.)
(Cut to: In the pool, a woman floats head down. Dead. Everyone rushes outside to look.)
(PATRICK and AMANDA HAYNES make their way toward the side of the pool to look.)
Patrick Haynes: Excuse - excuse me.
WHITE FLASH TO:
[SCENE_BREAK]
[EXT. POOL SIDE - NIGHT - LATER]
(An OFFICER walks into the pool to get the body. He flips the dead woman over and pulls her toward the side.)
(GRISSOM walks over along the side of the pool. In the background, OFFICERS keep the party attendees gathered away from the pool.)
Grissom: Excuse me.
(GRISSOM walks over to the SHERRIF and BRASS.)
Grissom: Nice tux, Sheriff.
Sheriff Brian Mobley: Do you know whose house this is?
Grissom: To know this town is to know its celebrities and their histories. Portia Richmond was a legendary showgirl in her day. But, that's not her.
(A camera flashes.)
Brass: Maybe thirty years ago when she was the headliner at the Lido de Paris.
Grissom: Who found her?
Brass: Look around you. (sighs) This is going to take all nigh
(GRISSOM turns to look at BRASS ... )
Grissom: Come for the hors d'oeuvres -
(... he turns to look at the party goers.)
Grissom: ... stay for the interrogation.
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
[SCENE_BREAK]
[EXT./INT. RICHMOND MANSION - POOL - NIGHT]
(GRISSOM walks into the house from the pool. He's on the phone.)
Grissom: (to phone) Yes, sir. Well, I'll do my best.
(He crosses the lobby, hangs up the phone and heads out the front door just as the Tahoe carrying the others parks. They exit the car.)
Grissom: All right, you guys, like I said on the phone it was a big party, and it's a huge house so we're going to divide and conquer. Nick, tonight you do the overall sketch, all right? Catherine and Warrick, you got the pool area.
(GRISSOM turns and leaves.)
Catherine: I'll take the shallow end.
Warrick: Guess I'm going deep.
(CATHERINE opens the car door to get her things.)
[SCENE_BREAK]
[EXT. POOL SIDE - NIGHT - CONTINUOUS]
(CATHERINE walks along side the shallow end of the pool, looking at the sides and into the water.)
(Cut to: WARRICK snaps a picture, then looks out into the pool. He sees something in the water that catches his attention. He moves in closer for a look and definitely sees something shining at the bottom of the pool.)
(He takes a picture of the item in the pool.)
(Cut to: NICK steps up to the lagoon and looks out at the fish inside the small pool. GRISSOM stands next to him.)
Nick: I wonder how much it costs to feed all these fish.
(GRISSOM doesn't say anything, but looks at NICK'S sketch pad. NICK looks back at GRISSOM and nods.)
Nick: Hmm? Right.
(GRISSOM turns and walks away.)
(Cut to: CATHERINE kneels down on the grass and finds something red. She picks it up and looks at the fake nail.)
(Cut to: WARRICK looks around and takes his shirt off. He walks into the pool water, then when he gets deep enough, he dives in. He swims over to the shiny thing at the bottom of the pool and picks it up. It has the letters: CM on it.)
(Cut to: NICK and GRISSOM walk over along the side of the pool. NICK chuckles and turns to look at GRISSOM. WARRICK breaks surface.)
Nick: Marco?
Warrick: Polo.
(WARRICK stands up in the pool)
Nick: (teasing) You want to get out of there, sir? Pool closed at sundown.
Catherine: (joining in) Can I get you a towel, sir?
(WARRICK walks out of the pool.)
Warrick: (dryly) Yeah, please.
Grissom: What'd you find?
(He shows them the cuff link.)
Warrick: Looks like a cuff link. Initials "C.M."
(GRISSOM takes it and looks at it. They all look at it.)
Catherine: Turquoise and silver. Breaks down the regionality to the southwest -- maybe Arizona, New Mexico, Texas.
Grissom: Good catch, pal. You get the guest list. Check for C.M.s.
(GRISSOM leaves.)
Warrick: I'm going to be wet all night.
(NICK snickers.)
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY - NIGHT]
(GRISSOM opens the autopsy room door and walks in, a puzzled look on his face. Inside, he finds DR. ROBBINS hunched over the far counter, a machine whirring.)
Grissom: I defect a bitter alkaloid.
Dr. Albert Robbins: Don't tell anybody. My weakness.
(He turns around to show a coffee machine. He holds out a coffee mug to GRISSOM.)
Dr. Albert Robbins: One macchiato, tall.
Grissom: Coffee machine courtesy of the city, I presume?
Dr. Albert Robbins: When the coroner asks for something, they don't question it.
Grissom: Cheers.
Dr. Albert Robbins: Cheers. Come on.
Grissom: Have we I.D.'D her yet?
Dr. Albert Robbins: Working on it. She's had a few upgrades. Submalar augmentation. Rhinoplasty. Silicone breasts.
Grissom: Run a serial number on the implants. Instant I.D.
(GRISSOM lifts up the sheet to look under it.)
Dr. Albert Robbins: Our field's come a long way, hasn't it?
Grissom: Hmm.
Dr. Albert Robbins: Got a whole menu here. Petechiael hemorrhaging, bruising around the neck ...
(Quick CGI POV to inside the neck and the broken bone.)
Dr. Albert Robbins: (V.O.) ... broken hyoid bone.
Grissom: (V.O.) She was strangled.
(The bone snaps. End of CGI POV. Resume to present.)
Dr. Albert Robbins: (shakes his head) No water in the lungs. She was dead before she hit the water.
(DR. ROBBINS takes a sip of coffee.)
Grissom: Strangulation's a man's crime.
Dr. Albert Robbins: Preaching to the converted.
Grissom: Do me a favor, Doc. Photograph her injuries. Run a s*x assault kit. Include infrared for subdural bruising.
(GRISSOM takes a step away to leave, but DR. ROBBINS stops him by taking the mug back.)
Dr. Albert Robbins: This is our little secret.
(GRISSOM looks seriously at DR. ROBBINS, then nods his head. GRISSOM leaves.)
[SCENE_BREAK]
[INT. RICHMOND MANSION - NIGHT]
(WARRICK is inside putting his clothes back on. CATHERINE walks in, she's just got off the phone.)
Catherine: Hey.
Warrick: Hi.
Catherine: 419 at the Sphere, glass elevator. You're on it.
Warrick: This is a big case. I'm in a groove here.
Catherine: Well, groove on down to The Strip.
Warrick: (disappointed) Whatever happened to "you cross the tape, you go the distance"?
(CATHERINE dials the phone.)
Catherine: I was probably saying that to get you to service my needs at the time.
(The phone rings.)
Warrick: Great.
Voice On Phone (Sara): Hello?
Catherine: (to phone) Hey, Sara. You sleeping? (smiling) Oh ...
(CATHERINE turns and walks away. WARRICK continues to get dressed, a gruff look on his face.)
[SCENE_BREAK]
[INT. RICHMOND MANSION - LIVING ROOM - NIGHT]
(BRASS is interviewing PATRICK and AMANDA HAYNES. He turns and excuses himself.)
Brass: Excuse me for a minute.
(He walks toward GRISSOM and CATHERINE.)
Brass: Hi. Well, I got the horsepower on everybody here. 99% of the people know nothing, saw nothing. Big surprise.
Grissom: What about Portia Richmond?
(They glance over at the portrait.)
Brass: Well, according to her friends she's been romancing some young stallion for over a month. She's in love. She's cruising the Mediterranean on some yacht, eating cheese cubes. Got a couple watching the house. Apparently, she often takes in strays. Mr. and Mrs. Haynes, this is Gil Grissom and Catherine Willows. They're from the crime lab.
Catherine: Hi.
Grissom: Do you mind if we ask you a few more questions?
Patrick Haynes: By all means.
Grissom: How is it that you know Portia Richmond?
Amanda Haynes: Oh, we met her at the Murado at the top of the Mediterranean.
Brass: You need an oil well in your backyard to belong to that place.
Catherine: Private club fifty grand a year just to walk through the door.
Patrick Haynes: But worth every penny.
Amanda Haynes: It was like we'd known Portia all our lives. (laughs) Has that ever happened to you?
Grissom: (shakes his head) No.
Patrick: We were new in town. Portia introduced us around, and took us under her wing.
Amanda Haynes: We were from back east, and we had mutual acquaintances.
Catherine: And you're house-sitting? Or you're living in?
Patrick Haynes: House-sitting while hunting for our own place. Portia refused to take any money from us.
Amanda Haynes: She wouldn't even let us pay for a dinner.
Patrick Haynes: That's why, when she took off to Europe ...
Amanda Haynes: This charity event.
Patrick Haynes: It's the least we could do. After all, we know how to throw a party.
Brass: You can say that again.
Grissom: Did you know the deceased woman?
Patrick Haynes: No.
GRISSOM And you, miss?
Amanda Haynes: Well, as far as I know she wasn't even on the guest list.
(No one says anything to that.)
Patrick Haynes: Something wrong?
Grissom: Yes. (beat) A woman's dead.
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[SCENE_BREAK]
[INT. MEDITERRANEAN HOTEL - SHOWROOM - BACKSTAGE - NIGHT]
(GRISSOM and CATHERINE stand backstage of the showroom where LACEY DUVALL worked talking with the STAGE MANAGER. An entire line of showgirls in full outfits walks by the group.)
Stage Manager: Lacey Duvall murdered. She was here last night. Unbelievable.
Catherine: Could you put us in touch with someone who was close to her?
(As they women walk by, GRISSOM'S jaw drops and he stares at the women.)
Stage Manager: Sure. Rachel Carson. They were best friends. Like sisters. She's in back. Follow me.
(The STAGE MANAGER pushes past them to lead them to the back. CATHERINE moves to follow and notices GRISSOM still staring at the women, his mouth hanging open.)
Catherine: Close your mouth.
[SCENE_BREAK]
[INT. DRESSING ROOM - NIGHT - CONTINUOUS]
(CATHERINE interviews RACHEL CARSON while GRISSOM looks around the dressing room.)
Rachel Carson: She was seeing some rich married guy.
Catherine: Did he have a name?
Rachel Carson: Yeah, but she wouldn't tell me. You know, that's the thing that was so weird. He refused to tell her anything about himself. Anything. I told her it gave me the creeps but you couldn't talk to her. You know?
(GRISSOM looks at LACEY DUVALL'S dressing table space on which she has a small framed plaque reading: "LACEY DUVALL PROMOTED".)
Catherine: Turned on by the mystery and the s*x. I've been there.
(On the table top, he sees something interesting. He reaches into his pocket for his gloves and starts to put them on.)
(A dancer pushes the curtain aside and walks in.)
Dancer: Hi.
(GRISSOM looks up, surprised.)
Dancer: (smiling) Do you need a hand with that?
(GRISSOM glances down at the latex gloves he's putting on.)
Grissom: Uh ... no, thanks. I'll be fine.
Dancer: Are you a doctor?
Grissom: Of sorts. I'm just, um ... looking around.
Dancer: See anything you like?
Grissom: Yes. I do.
(GRISSOM turns back to the dressing table and sits down. He reaches to the back of the table and picks up the music box.)
(The DANCER watches him for a moment, then walks away.)
(He opens it and it starts playing "Waltz of the Flowers".)
Grissom: Catherine?
(She turns around.)
Grissom: Tchaikovsky's "Waltz of the Flowers."
(He looks under the box and smiles.)
Catherine: What's with the smile?
(Under the box is an engraved plaque that reads: "To my Beloved Portia / Your Husband, L / March 7, 1969".)
Grissom: It's playing our song.
[SCENE_BREAK]
[INT. HOTEL - HALLWAY BY GLASS ELEVATOR - NIGHT]
(WARRICK rides up the escalator to the floor.)
Warrick: Detective Conroy.
Det. Conroy: What happened? You get bumped from first class?
Warrick: No. I do my best work solo. (beat) On the clock, that is. What you got?
(She turns and leads WARRICK back to where the body is.)
Det. Conroy: Walk-through. In plain sight. Risky move.
(He puts his kit down and looks at the body.)
Warrick: All around the ten-ring, once between the eyes. Entry wound give you anything? Small caliber?
Det. Conroy: You like to work solo. Take a look for yourself.
(WARRICK eyes the detective, then takes out his flashlight to approach the body. He kneels down and looks around.)
Det. Conroy: Any thoughts?
(A camera flashes. Inside the bullet wound is a coin tucked into his forehead. Camera flashes to: The gun. Flash to: Burned pieces of newspaper bits. Flash to: The empty bullet casing on the floor.)
(WARRICK looks back up at the Detective.)
Warrick: Professional hit.
(Quick flashback to: The HIT MAN walks into the elevator carrying a newspaper. He presses the button and the elevator door closes. He stands next to the deceased.)
Tyson Green: Hey, well, how did the Knicks make out?
Hit Man: Better than you.
(The HITMAN raises the newspaper covering the gun and fires five times at point blank range. TYSON GREEN falls back dead. The HIT MAN fires a final shot into his forehead. He drops the newspaper and the gun, then tucks a coin into TYSON GREEN'S forehead.)
(End of flashback. Resume to present.)
Warrick: Times have changed since the canary days, huh?
Det. Conroy: "Canary days?"
Warrick: Yeah. Brass used to tell me, back in the day when the mob would make a hit they'd leave a canary, 'cause the guy sang.
Det. Conroy: And the quarter stands for?
Warrick: "Call someone who cares."
Det. Conroy: It's almost like the guy wants to get caught.
Warrick: When you leave a gun, you know it's clean. The gun just traces back to itself.
Det. Conroy: The killer cut you off at the knees. What are you going to do?
Warrick: All I can do -- follow protocol.
(WARRICK looks at the elevator panel.)
Det. Conroy: You're going to print the entire elevator?
Warrick: It's like the circle bar on a friday night ... three million people on top of each other.
[SCENE_BREAK]
[INT. CSI -- GRISSOM'S OFFICE]
(GRISSOM sits back behind his desk looking at the music box. CATHERINE walks into the office.)
Catherine: Let me guess: You're wondering why Lacey Duvall had a music box engraved to Portia Richmond.
Grissom: You think?
Catherine: Maybe it's as simple as they knew each other and she gave it to her.
Grissom: If they knew each other, why wasn't she on the guest list?
(He flips the box over to show the plaque.)
Grissom: March 7, 1969, mean anything to you? Meant something to the Richmonds.
Catherine: You know, when Eddie and I were first married -- when things were kind of good? On the anniversary of the day we first met, he'd always give me a lace teddy. Well, I mean, I know it's not a music box, but ...
Grissom: Music box, lace teddy, it's all the same thing -- it's tradition. And the joy of tradition is in the constant repetition.
Catherine: Right.
(GRISSOM opens the music box and the final strains play.)
[SCENE_BREAK]
[INT. CSI - HALLWAY - DAY]
(SARA and NICK walk down the hallway. SARA is upset that she got called in on her day off.)
Sara: What am I? ... working food and beverage at one of the hotels? I haven't had a day off in three weeks. I mean, if they're going to call me in, throw me a bone. Give me the 419 on the elevator.
Nick: Someone's bitter.
Sara: I'm tired.
Nick: You? Tired? I thought you never sleep.
(NICK laughs. SARA lets out a big yawn.)
Nick: (smirks, thoroughly enjoying himself) Nice. Nice.
(They both walk into the DNA lab.)
[SCENE_BREAK]
[INT. CSI - DNA LAB - CONTINUOUS]
(GREG SANDERS sits in his chair and turns the music on and up. He swings around, completely hyped up as the music blares in his lab.)
Nick: What up, G?
Sara: You're awake. I hate you.
Greg Sanders: A couple of glasses of merlot. Rack of lamb on my day off. I slept like a baby yesterday. You look horrible.
Sara: Thanks, Greg.
(GREG nods at NICK.)
Nick: Don't look at me. I've got 'sunshine' all night.
(NICK glances over at SARA who glares back at him, definitely catching exactly who he's calling "sunshine".)
Nick: (continues) Check for DNA in the sexual assault kit and the fingernail, please.
Sara: Everything has to be in CODIS ASAP.
Greg Sanders: Oh, is that all? I want to know who's going to authorize my overtime?
Sara: Suck it up, Greg. You're well-rested.
(SARA walks away. GREG looks over at NICK who doesn't say anything.)
Greg Sanders: You want a valium for her?
Sara: (o.s.) I heard that.
(NICK smiles at GREG, then turns to follow SARA out the lab.)
[SCENE_BREAK]
[INT. RICHMOND MANSION - LIBRARY - DAY]
(CATHERINE opens the display case and grabs one of the many music boxes on the shelves. She looks under.)
Catherine: March 7, 1973.
(GRISSOM puts on his glasses and grabs another music box and checks the inscription under it.)
Grissom: March 7, 1981.
(CATHERINE checks another.)
Catherine: March 7, 1956.
(And another.)
Catherine: March 7,1986.
Grissom: I bet he gave her one every anniversary until he died.
Catherine: She wouldn't give away a gift this sentimental.
(CATHERINE picks up another music box and opens it. "Fur Elise" plays.)
Catherine: It's not "waltz of the flowers."
(In the background, there's a thumping sound coming from somewhere in the house.)
(GRISSOM notices and steps away to locate the sound. CATHERINE closes the music box and the thumping sound is heard again.)
(GRISSOM hears it coming from upstairs. CATHERINE puts the music box back and joins GRISSOM.)
Catherine: The seal on the door wasn't broken.
(The sounds continue. GRISSOM takes off his glasses and heads upstairs.)
(They both walk cautiously up the staircase where the thumping sounds get louder.)
(GRISSOM approaches the bedroom door which is slightly open. There's heavy breathing and some groaning coming from inside. GRISSOM knocks lightly on the door.)
Grissom: Las Vegas Police Department.
(He pushes the door open and finds PATRICK and AMANDA HAYNES on the couch.)
(They look up at GRISSOM and CATHERINE in the doorway.)
(GRISSOM closes the door on them.)
Catherine: Caught in the act.
Grissom: I think that was the point.
Catherine: Oh, yeah.
(CATHERINE turns to walk away. GRISSOM follows.)
[SCENE_BREAK]
[INT. CSI - BREAK ROOM - DAY]
(SARA sits at the break room table. NICK hands her a cup of coffee. She shakes her head.)
Sara: No, I can't drink any more coffee. My body clock is so screwed up. I just want a steak and a shot.
Nick: Tut's Tomb. Steak and eggs, $1.99.
(NICK takes a sip of coffee.)
Sara: (hopeful) Food? Good idea. You're on.
(GREG bursts into the room.)
Greg Sanders: It's what I live for. You guys are never going to believe this. You ready?
Sara: So much for the steak. I'll take the coffee.
(NICK hands SARA the cup of coffee.)
Greg Sanders: Yeah. Okay, sexual assault kit on Lacey Duvall -- dead showgirl -- came back positive for semen, but that's nothing. Ran it through CODIS. Seminal DNA matches a cold case from Texas. (excited) A dead cheerleader! Ten years ago!
(NICK laughs.)
Nick: Two for one.
Sara: Okay, I'm up.
(GREG cheers with excitement, then rushes out of the room.)
[SCENE_BREAK]
[INT. RICHMOND MANSION - LIVING ROOM - DAY]
(GRISSOM is on the phone in the lobby when BRASS walks into the house.)
Grissom: (to phone) Sir, I have four criminalists working on this. No ... as soon as we find something tangible I'll call you, I promise.
(GRISSOM hangs up.)
Brass: Sheriff?
Grissom: Yeah, he calls me every hour. I can't get anything done.
Brass: Every half for me.
(CATHERINE watches as PATRICK and AMANDA HAYNES walk down the staircase in their robes.)
Patrick Haynes: I hope we didn't embarrass you.
Catherine: A little late for that.
(BRASS looks over at GRISSOM who looks away. He looks over at CATHERINE who turns around to meet the gaze.)
Brass: Yeah, uh ... hi.
(AMANDA HAYNES sits down while PATRICK gets them something to drink.)
Brass: I just have a few more questions about the whereabouts of Mrs. Richmond.
Patrick Haynes: Fire away. Drinks for anybody else?
Grissom: No, thank you.
(BRASS clears his throat. PATRICK puts an open bottle of water with a straw on the table in front of AMANDA. GRISSOM eyes the straw. PATRICK takes a seat next to AMANDA.)
Brass: So, let's, uh ... let's just take baby steps. Where is she?
Patrick Haynes: On a yacht somewhere in the Greek Isles.
Brass: And if someone wanted to reach her?
Patrick Haynes: You have a compass?
Brass: Yeah.
Patrick Haynes: She's incommunicado.
Catherine: Big word.
Amanda Haynes: Have we done something wrong?
(AMANDA HAYNES takes a sip of her water. GRISSOM watches her. She notices.)
Amanda Haynes: What?
Grissom: May I have your straw?
(AMANDA looks at GRISSOM, amused.)
Grissom: (embarrassed) I ... I collect them.
(She laughs, then gives GRISSOM her straw.)
Grissom: Thank you. Oh ... mind if I look around a little?
Patrick Haynes: Have at it.
[SCENE_BREAK]
[INT. RICHMOND MANSION - MASTER BEDROOM - DAY]
(GRISSOM and CATHERINE walk into the master bedroom.)
Grissom: The Hostess' bedroom.
Catherine: Mm-hmm.
Grissom: Too kinky.
Catherine: Let me see if Portia took her bathing suit with her.
(CATHERINE walks in and looks for the closet.)
Catherine: Here we go.
(She puts her kit down and turns on the light. GRISSOM looks around the bedroom.)
Catherine: We've got a bathing suit, lingerie, jewels, wallet, bags ... I'm not so sure she's gone anywhere.
Grissom: Shall we do the room, too?
(GRISSOM turns to look at CATHERINE.)
(Cut to: GRISSOM is on his hands and knees examining the floor where the carpet meets the wall.)
(Cut to: CATHERINE looks on PORTIA RICHMOND'S dresser.)
(Cut to: GRISSOM finds a safety pin in the carpet.)
(Cut to: CATHERINE checks the sink drain.)
(Cut to: GRISSOM looks through the scarves in the dresser drawer.)
(Cut to: CATHERINE lifts the sheets and examines the bed.)
(Cut to: GRISSOM looks around the room.)
(Cut to: CATHERINE lifts up the pillows.)
(Cut to: GRISSOM lowers the make-up kit cover and stands. He sighs, then looks over at the fireplace. He walks over and looks into the fireplace where he finds something. In the gravel just outside the fire, GRISSOM picks up a tooth.))
Grissom: I think the tooth fairy might have just left us a piece of Portia Richmond.
Catherine: What?
Grissom: Take a look.
(CATHERINE walks over.)
Catherine: Ugh. I guess now we have two cases. We've got a body without a murderer and a murder without a body.
[SCENE_BREAK]
[INT. CSI - DNA LAB]
(GREG stares at the tooth.)
Greg Sanders: Oh, man, I got to get a raise for this.
Catherine: Greg ... why don't you start the DNA profile on the tooth so that we can tell if it's Portia Richmond.
Greg Sanders: Okay, well, but getting the DNA from the tooth is going to be easy. What am I supposed to compare it to?
Catherine: How about the toothbrush and the hairbrush that we took from her vanity?
Greg Sanders: Why don't you go talk to the dead-end twins over there?
(GREG points to the scope. GRISSOM and CATHERINE both head in that direction. The look through the scope and find nothing.)
[SCOPE VIEW of hairbrush bristles.]
[SCOPE VIEW of toothbrush bristles.]
(Both are clean.)
Catherine: Nothing. Hmm.
(CATHERINE and GRISSOM change places.)
Catherine: So, either she's extremely hygienic, or...
Grissom: ... Somebody did some serious spring cleaning.
Greg Sanders: If you want to know if it's Portia you got to get the DNA somewhere.
[SCENE_BREAK]
[INT. THE LIBERACE MUSEUM - DAY]
(CATHERINE and BRASS walk into the LIBERACE MUSEUM.)
Catherine: I can't believe I've been in this town twenty years and I've never seen the Liberace Museum.
Brass: That's funny. I was just here a couple days ago.
(CATHERINE looks at BRASS.)
Catherine: I believe it.
Tony Mumms: We have all of Liberace's costumes on display here. This one, for example, worn by Mr. Liberace in the 1984 world's fair in New Orleans.
Catherine: Lovely.
Tony Mumms: Mmm. Did you ever see one of the old shows? The Lido in the '50s?
Brass: (shakes her head) Before my time.
Tony Mumms: You weren't even born then, of course. Every dancer was from France. The attention to detail in the costumes was unparalleled. And the audience dressed to the nines.
Catherine: Oh, yeah.
Tony Mumms: The town was different then. The other great cities -- New York, Chicago, London -- they restored. But in this town, they destroy. Hmm. So you want to see what belonged to Portia Richmond?
Catherine: Yes, please.
(He lifts his arm to indicate the display to the side of them.)
Tony Mumms: Folies Bergere, 1959.
(They walk over to look at it.)
Brass: (clears his throwat) Yeah ... um, looks heavy.
Tony Mumms: Imagine that on your head, two shows a night. She used over fifteen combs and various epoxies and glues. They damn near had to drive a spike in her head to keep it from falling off.
(CATHERINE leans in close to examine under the headpiece.)
Catherine: Ow.
Tony Mumms: She lost all her hair.
(CATHERINE turns around to look at the curator. She reaches out and lifts up the headpiece. Camera zooms in to show the hair stuck in the headpiece.)
Catherine: DNA heaven.
[SCENE_BREAK]
[INT. CSI - HALLWAY]
(WARRICK walks through the hallway. SHIBLEY calls out to him.)
Shibley: Warrick. Personal artifacts from your elevator victim.
(He holds out an envelope for WARRICK.)
Warrick: Cool. You got an I.D. for me?
Shibley: The driver's license is local. Tyson Green, 35. Can't drive without corrective lenses.
Warrick: Too bad he wasn't driving that elevator.
(They walk into the elevator vault. WARRICK opens the envelope. The evidence bags spill out into the table. WARRICK picks up the bag with the money in it.)
Warrick: Ooh! Chicago bankroll.
Shibley: This guy's not from out of town.
Warrick: No, that's just a term. Old school.
(The next envelope he picks up is a receipt from the HOTEL & CASINO, COMPLEMENTARY DINNER PASS.)
Warrick: "Shrimp cocktail appetizer. Surf & turf dinner. Two glasses of wine. All comped.
(He flips it over and it's dated, 2/4/01 for 2 people.)
Shibley: Free food. Nice.
(SHIBLEY takes the envelope.)
Warrick: It ain't free, believe me.
(The next envelope WARRICK picks up is a CASINO CREDIT MARKER #150328 FOR $400.00, also dated 2/4/01. WARRICK is silent as he looks at the marker.)
Shibley: You okay?
Warrick: Yeah. Yeah.
(He opens the envelope and leafs through the markers.)
Warrick: Been a long time since I seen these.
(In the back, footsteps approach the evidence vault.)
Det. Conroy: Hey, Brown. Just talked to Bobby Dawson in ballistics. He ran that .22 from the elevator. Serial number came back -- Vincent Morgan. Lives on the west side.
(WARRICK nods.)
Warrick: Cool.
Det. Conroy: Coming?
(WARRICK hands SHIBLEY the credit markers.)
Warrick: Yeah. Will you log these for me?
Shibley: Yeah.
[SCENE_BREAK]
[INT. CSI - PRINT LAB -- CONTINUOUS]
(WARRICK and DET. CONROY walk out into the hallway. They pass the print lab on their way out. WARRICK doubles back and pops into the print lab doorway.)
Warrick: Mandy, you got any prints off of that quarter I found on the vic?
Mandy: (without raising her head) Still working on it, Warrick. I don't work one case a day.
(He leaves.)
[SCENE_BREAK]
[INT. CSI - LAYOUT ROOM]
(NICK opens the IssEx Box. The computer SARA'S working on beeps.)
Sara: Bingo. Well, that only took 45 minutes.
Nick: What do you got?
(A message box appears on screen with the following:
Haynes, Patrick SS#5688556267
DOB 1/10/1990 Deceased 8/15/1990
Age: 8 months )
Sara: A hit off Patrick Haynes' social security number. There's only one problem. He's an eight-month-old infant that died ten years ago.
Nick: Same social? You're sure?
(SARA doesn't answer, but gives him a look. NICK nods, then opens the box in front of him. It's a file. He opens the file and is extremely pleased by what he sees.)
Nick: Bam!
Sara: Something good?
Nick: Oh, yeah.
CUE MUSIC: (PRELAP) SHOW TUNE
[SCENE_BREAK]
[INT. CSI - DNA LAB]
(With the PORTIA RICHMOND hairpiece on his head, GREG goes dancing out in the hallway. He kicks and swivels his hips.)
Greg Sanders: (rhythmically) match, boom, match, boom
(CATHERINE turns the corner and stops when she sees GREG.)
Greg Sanders: (to the beat) match, boom - boom - match.
Catherine: (smiles) You want to take that thing off your head, Greg? It's evidence.
Greg Sanders: Cool your jets, Cath. I already got all the evidence out of it. Now ... it's all woman. Did you ever wear one of these when you were dancing?
Catherine: I wore nothing but skin.
Greg Sanders: Ooh.
(Standing behind GREG is GRISSOM. CATHERINE sees GRISSOM and clears her throat. GREG turns around and finds himself face to face with GRISSOM. He takes the headpiece off of his head and reports.)
Greg Sanders: I, uh, compared the DNA from the tooth with hair follicles found inside the headdress. I think we have a match, sir. And I think we may have a homicide. Excuse me.
(GREG steps back into his lab. CATHERINE suppresses a grin and looks at GRISSOM.)
[SCENE_BREAK]
[EXT. MGM GRAND HOTEL - VALET AREA - NIGHT]
(WARRICK and DET. CONROY question VINCENT MORGAN. DET. CONROY is on the phone.)
Vincent Morgan: So, did I, like, break the law by not reporting it?
Warrick: It's a good idea that, when your house is robbed you report that your registered gun was stolen.
(She turns to WARRICK.)
Det. Conroy: Guy's story checks out. He was robbed.
Vincent Morgan: Yeah, look, my wife -- she's not real comfortable about having the gun in the house ever since we had our boy and I told her that I'd gotten rid of it but I never did. I mean, man, the last thing I ever expected was it'd be used in a murder.
Warrick: We're going to keep your name on ice for a while. Thanks for your time.
Vincent Morgan: Hey, thanks. Right on. (shouts) Oh, hey, bring up car 309!
(WARRICK and DET. CONROY walk away from the parking area.)
Warrick: Nobody kills anybody with their registered gun anymore.
Det. Conroy: Isn't that the truth.
[SCENE_BREAK]
[INT. RESTAURANT -- NIGHT]
(GRISSOM and CATHERINE walk into the restaurant to meet up with BRASS.)
Grissom: Jim ...
Brass: Hey. We got the whole place clocked. Keeping an eye on the Haynes couple. Sheriff doesn't want them skipping town.
Grissom: And neither do we. We have a strong suspicion Portia Richmond is dead.
(BRASS turns back to watching the HAYNES' at their table. They watch as they get up to leave. AMANDA HAYNES drapes her coat over a stole on a chair. She kisses PATRICK, then turns to grab her coat. She picks up both coats, then heads out the door.)
Catherine: Did you see that?
Grissom: They're on the grift.
Catherine: She took that fur from right under their noses.
(The HAYNES' turn the corner and run into BRASS.)
Grissom: Hi. May we check your coats?
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - NIGHT]
(BRASS, GRISSOM and CATHERINE interview PATRICK HAYNES.)
Brass: What are you, a couple of kleptos?
Patrick Haynes: I don't follow.
Brass: A $5,000 stole your wife stole? What, are you guys in business?
Patrick Haynes: Amanda didn't know she had even taken it till Mr. Grissom here told her.
Brass: Is that kind of like the guy who, uh walks out of the auto mall with a nissan sentra in his pocket?
Patrick Hanes: Why am I here? Why?
Grissom: Jim ... may I? Mr. Haynes, we ran a sexual assault kit on Lacey Duvall. We found semen. Can you explain that?
Patrick Haynes: Yeah. Yeah, my wife's not here. Time to convert lies into The Truth. I had s*x with Lacey before the party.
Grissom: Would you mind giving us a DNA sample?
Patrick Haynes: No. My relationship with Lacey was purely sexual. It was good s*x. Well ... great s*x. Whenever we could steal a moment, uh, we did. Just like an addiction.
Catherine: Well, in addition to exchanging bodily fluids did you exchange gifts?
Patrick Haynes: Whatever do you mean?
Brass: Just answer the question.
Patrick Haynes: No. No. I never gave her anything.
Grissom: We found a music box in Lacey Duvall's dressing area that belonged to Portia Richmond. Did you give it to her?
Patrick Haynes: Honestly ... no. Those music boxes belonged to Portia, not to me. But Lacey had been by the house and she did admire them.
Brass: You saying that she lifted it?
Patrick Haynes: (shrugs) Human nature. We always covet what we can't have.
(GRISSOM pushes away from the wall and looks at PATRICK HAYNES.)
Grissom: What did you covet from Portia Richmond?
(PATRICK looks uncertain and takes a breath to say something ... just as the door to the room opens. NICK walks in.)
Nick: Grissom?
(GRISSOM turns to look at NICK.)
Nick: Can I talk to you?
(GRISSOM turns back to look at PATRICK HAYNES who is now leaning back in his chair, much more comfortable than he was a moment before. He smirks at GRISSOM.)
(GRISSOM turns and heads for the door.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - HALLWAY - NIGHT - CONTINUOUS]
(NICK steps out into the hallway and waits for GRISSOM. GRISSOM slams the door shut.)
Grissom: (angry) Are you looking for work?
Nick: I just ...
Grissom: The sign says, "Do Not Enter," Nick. You can't read anymore? You're blind? What?
Nick: Grissom, this is important.
Grissom: (furious) This is important. Sometimes in interrogations, Nick, you get one chance, one answer. And while I'm out here screwing around with you he's in there thinking up an answer that he didn't have before you walked in.
Nick: We matched the DNA taken from Lacey Duvall to a cold case in Texas ten years ago.
Grissom: And?
Nick: The suspect's name was Chad Matthews.
Grissom: C.M. The cuff link. Okay, I'm starting to forgive you.
Nick: Sara ran Patrick Haynes' social. The real Haynes is deceased. So Patrick Haynes is Chad Matthews and Chad Matthews is on the run.
Grissom: And he just ran into us.
[SCENE_BREAK]
[INT. HOTEL - LOBBY - DAY]
(A man walking by the Sheriff shakes his hand as he walks past.)
Sheriff Brian Mobley: Good morning. Nice to have you back.
(GRISSOM walks up to THE SHERIFF.)
Sheriff Brian Mobley: Do you have any idea what the hot topic of conversation is going to be when I walk into that breakfast?
Grissom: You're announcing your candidacy for Mayor?
Sheriff Brian Mobley: That's cute. Patrick Haynes is in custody. Does he have anything to do with Portia Richmond's vanishing act?
Grissom: Haynes is in lockup awaiting extradition to Texas on an unrelated matter.
Sheriff Brian Mobley: So, in the meanwhile we're questioning him in connection with Portia Richmond's disappearance.
Grissom: (smiles) You know, I think you're going to get my vote for mayor.
Sheriff Brian Mobley: What have we got on Richmond?
Grissom: A canine.
Sheriff Brian Mobley: Her dog.
Grissom: Her tooth.
Sheriff Brian Mobley: (nods) What about the rest of her?
GRISSOM; Still looking.
Sheriff Brian Mobley: Well, look harder, 'cause if someone leaks it to the press that she's dead and then she gets off a lear jet at McCarran with a tan, we're both going to have egg on our face and I'm going to hold you responsible. Portia Richmond got me elected, Grissom. I was at her party. Do you see what this does to me?
Grissom: Evidence is like fine wine, Brian. You can't just open the bottle and drink it. You got to let it breathe.
Sheriff Brian Mobley: Look, I'm going to lay this on the line right here and now. You find me Portia Richmond or you find me a motive for her murder 'cause I'm in your kitchen till it's solved.
(The SHERIFF leaves.)
[SCENE_BREAK]
[INT. CSI - GRISSOM'S OFFICE - DAY]
(GRISSOM walks into his office and finds BRASS looking through his scope.)
Grissom: Make yourself at home.
Brass: Where you been?
Grissom: Proctologist.
Brass: Sheriff getting your ass, eh? Well, I just hit megabucks. Austin PD has five aliases for Chad Matthews.
(BRASS opens the first file.)
Brass: Tom Sheridan, wanted in Beacham County. Petty theft, check fraud.
(BRASS hands the file to GRISSOM, then opens the second file.)
Brass: Warner Drysdale, wanted in Sacramento. Grand larceny, car theft.
(BRASS hands the second file to GRISSOM, then opens the third file.)
Brass: Guy took a car for a test drive ... never brought it back. Jock Jasper- I'm not making these names up -- extorted money from a rich widow in Denver.
(He hands that file to GRISSOM.)
Grissom: Busy boy.
Brass: Yeah, and organized, too. The Denver PD sent me copies of his journal. Guy kept lists of rich women all around the country. Logged in all their vitals. Height, weight, how much money they have, you name it. Guess who was on that list.
Grissom: Does her name begin with a "P"?
[SCENE_BREAK]
[INT. CSI - LAYOUT ROOM - DAY]
(CATHERINE, NICK and SARA sit around the table going over the files.)
Catherine: Well, according to her credit card statements Portia Richmond hasn't spent a dime since she's been in the Mediterranean.
Sara: She's dead.
Catherine: Oh, not necessarily. Maybe she's been ... swept off her feet.
Nick: Hmm. Yeah, some guys still like to foot the bill.
Sara: Really? How would you know?
Nick: Hey, I only go Dutch if girls ask the wrong question.
Catherine: And what question is that, Nick?
Nick: "What do you drive?"
Sara: It's an honest question.
Nick: No. No, it's not. What it means is, "How much money do you make? So you can take care of me."
Sara: (grinning) Well, not this girl.
(CATHERINE holds up a cancelled check dated 3/15 for $750.00. The bottom of the check reads, ... 37-43432-41250. In the signature area, there are holes through the paper.)
Catherine: Boys and girls, we've got ourselves a forgery.
Nick: Ooh. Either that or a dimpled ballot.
(NICK looks through the back side of the check and sees the holes in them, too.)
Catherine: Well, his name is "Chad".
(CATHERINE hands the check to CATHERINE.)
Nick: (clears his throat) Hmm. Let's connect the dots.
Sara: What does that mean?
(NICK puts a pad down on the table in front of him.)
Nick: Here, I'll show you. Catherine, you wear pierced earrings. May I?
Catherine: All right, but ... I've had them on for a week. Can't account for what's on it.
(CATHERINE takes off her earring and hands it to NICK.)
Nick: Sign your name, please.
Sara: Okay.
(SARA signs her name on the paper.)
Nick: Now, nobody signs their signature exactly the same way twice. Not even you, chicken scratch. If they do, then one of them's a forgery. Here's where connecting the dots comes in.
(Using the earring, NICK starts poking holes along SARA'S signature.)
Nick: We dot the lines... and curves ... of the signature.
Catherine: Which leaves small indentations on the blank sheet. All you do now is connect the dots, then get rid of the evidence ... but, obviously, they didn't.
Sara: Well, that's scary. All you need is one signature to break somebody.
(NICK starts "forging" SARA'S signature.)
Catherine: Suddenly a personal shredder sounds like a mighty find investment.
[SCENE_BREAK]
[INT. CSI - PRINT LAB - DAY]
(WARRICK knocks on the door. MANDY looks up from her desk.)
Mandy: You look terrible.
(WARRICK slowly walks into the lab.)
Warrick: I been spinning my wheels. I'm never going to solve this case. It was over before it began.
Mandy: That doesn't sound like you.
Warrick: I got a dead man in a glass elevator with a bazillion prints and a .22 caliber bullet.
Mandy: That's virtually untraceable.
Warrick: And he left the gun at the scene. You know what that means.
Mandy: Hit man was a ghost.
(WARRICK sits down.)
Warrick: But I got two things left, right?
Mandy: Make that one thing.
Warrick: You got to be kidding me.
Mandy: It gets worse. Got a print off your quarter. Ran it through AFIS. Came back your dead man.
(She pushes the results in front of WARRICK.)
(Quick flashback to: The HITMAN shoots and puts the gun down on the elevator ground. He puts the quarter in the victim's forehead and presses the victim's thumb against it. The HITMAN leaves the elevator. End of flashback. Resume to present.)
(WARRICK sighs and hangs his head.)
Mandy: Pretty gruesome.
(WARRICK pushes the paper results away from him and rubs his eyes. This case is hitting him harder than he wants to admit.)
Warrick: Want to share?
(WARRICK sighs and shakes his head.)
Warrick: I was just thinking what old man Binion told Steve Wynn when he hit town: "Always give a gambler an excuse to gamble and he'll thank you for it."
Mandy: Was your guy a gambler?
Warrick: A bunch of cash receipts in his pocket. Markers all over town. Once you get to that place there's no getting out.
[SCENE_BREAK]
[INT. RESTAURANT - DAY]
(NICK, CATHERINE, SARA and BRASS sit in a booth having lunch.)
Nick: Who picked this place?
Catherine: Me. I thought it would be nice.
Brass: Okay, you can pick up the tab. Let's keep talking about motive.
Catherine: Let's. I don't think a forged signature is a slam dunk for murder.
Nick: Hey, did anyone tell Grissom where we were having lunch?
Sara: Yeah, dispatch left a message.
Brass: Maybe he thought it was the Sheriff, and blew it off.
(Everyone continues eating.)
INTERCUT TO:
[SCENE_BREAK]
[INT. RICHMOND MANSION - POOL AND LAGOON AREA - DAY]
(GRISSOM walks out into the back area to look around. He walks up to the fish in the lagoon. He kneels down close to the water to look inside.)
(The GARDNER walks up the path.)
Gardener: Hey! You might want to take your face away from there.
Grissom: Really? Why is that?
(As GRISSOM watches, one of the fish breaks surface.)
Sara: (V.O.) This Chilean Sea Bass is wonderful.
[SCENE_BREAK]
[INT. RESTAURANT]
Catherine: So is this.
Sara: Okay, you got your missing widow. Her bloody tooth found in her own bedroom which is currently occupied by two moes.
Brass: "Moes." I'm rubbing off on you.
(BRASS takes a forkful of SARA'S sea bass and eats it.)
Sara: No, you're not, and stay out of my sea bass.
Nick: Oh, that is good. One of our moes has six names that we know of including Chad Matthews.
Catherine: Right, right, and we've got a cuff link with the initials C.M. Found in the bottom of the pool along with a floating showgirl.
Sara: Who was sleeping with six men rolled into one -- Patrick Haynes.
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY - DAY]
(GRISSOM walks into the autopsy room.)
Grissom: Hey.
Dr. Albert Robbins: Hey. Photos of your showgirl.
(DR. ROBBINS hands GRISSOM a stack of photos which he immediately goes through. He's looking for something specific.)
Dr. Albert Robbins: What did I miss?
Grissom: It's not what you missed. It's what seems to be missing.
(GRISSOM points to the red welts around LACEY DUVALL'S neck. He counts them coming up one short.)
Grissom: A fingernail?
Nick: (V.O.) Okay, Patrick Haynes.
INTERCUT TO:
[SCENE_BREAK]
[INT. RESTAURANT]
(Lunch is finished. BRASS wipes his mouth. NICK has his cup of coffee.)
Brass: Or whoever.
Nick: Whoever. He commits a murder ten years ago. Why give up your DNA so easily?
Catherine: Exactly. I mean, you know, you can change your name. You can't change your blueprint.
Nick: Right on.
Sara: Risk versus reward. You sleep with someone, you kill 'em, the heat's on. You flee, or, you roll the dice and maybe you get your cookie.
Nick: What's the cookie?
Brass: The cheese, brother. Maybe that 1.6 mil they raised at the charity event that night.
Catherine: The Hayneses controlled Portia Richmond's bank account including the Burn Center Account but they had to stick around for the checks to clear.
Sara: So why kill Lacey Duvall?
Catherine: Excellent question.
Brass: I don't know, but if Lacey Duvall hadn't been murdered Patrick Daynes reinvents himself becomes another Skippy in another state, $1.6 mil richer.
Nick: Wait, wait. Time out, now. I had half a Caesar and a coffee. How's my end 20 bucks?
Sara: You want to go Dutch, Nick?
Nick: Excellent idea, Sara. You're catching on. I'd love to.
(Everyone starts throwing their money into the pot in the center of the table. CATHERINE looks over the check.)
Catherine: Uh, Brass, cough it up. Cover Nick's, too. He had that tiramisu.
Brass: (groans) I hate going out to lunch with you CSIs. You notice everything.
[SCENE_BREAK]
[INT. CSI - DNA LAB - DAY]
(GRISSOM walks in through the hallway and heads for the DNA lab.)
Grissom: Hey. Whatever happened to the fingernail that Catherine found at the crime scene?
Greg Sanders: Got the results right here.
(He picks up the results.)
Greg Sanders: First things first. Not a match to Patrick Haynes.
Grissom: I never figured a man for the fingernail, Greg.
Greg Sanders: Okay, but here's where you break out the can of creep repellent. The fingernail and the semen share half the DNA markers in common.
(GRISSOM stops and thinks about the possibilities.)
Grissom: Possible first-degree relative?
(GREG watches GRISSOM'S reaction and is pleased. He nods. GRISSOM reaches into his case and takes out an evidence envelope. He opens it up for GREG.)
Grissom: Do me a favor. Run this for me.
(GREG reaches for a tissue and takes out a straw. He looks at the tip.)
Greg Sanders: What is that, lip gloss? Whose?
Grissom: You tell me.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(The door closes and GRISSOM walks in with something covered by a cloth and puts it on the counter in the back of the room. CATHERINE looks curiously at it.)
Brass: On behalf ... of the State of Nevada my apologies. You've been cleared of all charges.
Patrick Haynes: (amused) It took three of you to tell me that?
Brass: But ... on behalf of the State of Texas you're under arrest. You're being extradited for the murder of Lana Grimshaw.
Patrick Haynes: I slept with her, but I didn't kill her.
Catherine: Huh. Just like with Lacey Duvall.
Patrick Haynes: Absolutely.
(The door opens and AMANDA HAYNES is escorted in by an OFFICER. She walks into the room.)
Grissom: Mm-hmm. Now I see it.
Patrick Haynes: (shakes his head) What? See what?
Grissom: The family resemblance.
(CATHERINE turns around to look at the HAYNES'.)
Grissom: Donnie and Marie -- brother and sister -- I've got the DNA to prove it.
(AMANDA HAYNES swallows. PATRICK gets to his feet and walks toward AMANDA.)
Grissom: Let me tell you what else I can prove. Your sister, killed Lacey Duvall.
(PATRICK turns to look at AMANDA.)
(Quick flashback to: LACEY and AMANDA are arguing.)
Lacey Duvall: He told me he loves me. No more faking love. No more acts.
Amanda Haynes: Is that what he told you? That's an act? It's as real as it gets.
Lacey Duvall: Patrick says you're small-time. You just don't have the stones to go big.
Amanda Haynes: You don't know Patrick.
Lacey Duvall: You mean Chad?
(She holds up the cuff link.)
Lacey Duvall: He gave me this. You know what's next. It's my turn.
(AMANDA grabs the cuff link and it falls into the pool. The two fight. Flash to: AMANDA grabs LACEY'S throat and breaks a nail in the process. She squeezes, then throws LACEY into the swimming pool.)
(End of flashback. Resume to present.)
(PATRICK looks at AMANDA.)
Amanda Haynes: (to PATRICK) You're surprised? Look at your face. You never made a mistake until you met her.
Patrick Haynes: You killed Lacey because I told her about us?
Amanda Haynes: I had no choice. We were partners. You can't grift me, Chad.
Catherine: Uh ... who wants to tell us about Portia Richmond?
(PATRICK turns around and sticks with his story.)
Patrick Haynes: She's in Europe.
Amanda Haynes: On a yacht, in Greece.
Brass: Oh, right. She's incommunicado.
Grissom: Old testament. The Book of Jonah.
(GRISSOM steps forward and puts the cloth-covered container in the center of the table.)
Grissom: "And now, the Lord arranged for a great fish to swallow up Jonah."
(He pulls off the cloth to show a container with a couple of fish from the pond outside the RICHMOND MANSION.)
Grissom: You know what's wrong with the piranha, though? They've got high cholesterol.
Catherine: Cholesterol is found in humans, not fish. So how does a fish acquire human cholesterol?
(PATRICK looks at the fish and sits down.)
Grissom: You want to fill in the blanks?
(Quick flashback to: In front of the fireplace in the master bedroom, PATRICK HAYNES sits on the bed and calls to PORTIA.)
Patrick Haynes: Portia.
(He stands up, she turns around and he hits her. She falls down.)
(Cut to: The body is thrown into the pond where the piranha feasts on her. First her hands in the bloodied water ... then her bones as they pick off the flesh.)
(End of flashback. Resume to present.)
Brass: You're both under arrest for the murder of Portia Richmond.
(CATHERINE leans forward against the table and looks at the fish in the container.)
[SCENE_BREAK]
[INT. MEDITERRANEAN CASINO - NIGHT]
(High above the main floor, WARRICK pulls out the debt slips and hands them over to the PIT BOSS.)
Warrick: These belong to Tyson Green. Just came to let you know he won't be paying up.
Pit Boss: What's he, dead?
Warrick: Yeah.
(Down on the main floor a woman screams as her machine hits a win.)
Pit Boss: It's machine 25 again. Been spitting silver all day. It's a good day to gamble.
(The PIT BOSS walks away leaving WARRICK alone with his thoughts.)
(WARRICK walks out onto the main floor and slowly makes his way through the machines.)
(He stops and looks around. He watches as gamblers pull the slot machine handles. He watches the women press the slot machine buttons.)
(Camera spins around WARRICK intercutting with various gambling scenes of people at the table, at the slot machines, the coins, the lights ... )
[from 1X02: Cool Change]
Sara: (V.O.) Vegas, NFL football, a guy like you. Come on, you trying to tell me that you didn't make a little pit stop?
[from 1X11: I-15 Murders]
Grissom: (V.O.) What you do on your time is nobody's business. What you do on my time, is my business.
[from 1X10: s*x, Lies and Larvae]
Conrad Ecklie: (V.O.) Warrick Brown had one of my guys sub for him in court but I have it on good authority that he was gambling.
[from 1X11: I-15 Murders]
Sara: (V.O.) Warrick has a problem. Ignoring it isn't going to make it go away.
(Camera comes to a stop on WARRICK.)
[from 1X02: Cool Change]
Warrick: (V.O.) I won't let you down again.
Plan: A: Portia Richmond; Q: Who's home was the fundraiser at? A: a legendary showgirl; Q: What was Portia Richmond? A: a dead woman; Q: What is found floating in the pool? A: suspicion; Q: What falls on a young couple? A: The Sheriff; Q: Who puts pressure on Grissom? A: Portia's case; Q: What case affects the Sheriff's election? A: Warrick; Q: Who looks into a mob hit in a glass elevator? Summary: During a fundraiser at the home of Portia Richmond - a legendary showgirl - a dead woman is found floating in the pool. When Portia later disappears, suspicion falls on a young couple who 'house-sat' for her. The Sheriff puts pressure on Grissom as well, as Portia's case affects his election. Warrick looks into a mob hit in a glass elevator.