Narrator (William Petersen): Previously on CSI:
[Scene from 1X01: Pilot]
(In the hospital room, NICK pushes the curtain aside to talk to KRISTY HOPKINS who sits on the bed.)
Nick: May I see your discoloration?
Kristy Hopkins: You want to give me twenty bucks?
Nick: You want to do time?
(Cut to: NICK looks at KRISTY'S "discoloration. He looks at her and smiles.)
[SCENE_BREAK]
[Scenes from 1X10: s*x, Lies and Larvae.]
(As WARRICK and CATHERINE process the Sorenson, WARRICK'S pager beeps. He checks it.)
Warrick: You know what, I got to be somewhere. Can you handle this from here?
Catherine: Yeah.
[SCENE_BREAK]
[INT. CSI -- HALLWAY]
Conrad Ecklie: Warrick Brown had one of my guys sub for him in court, but I have it on good authority that he was gambling.
[SCENE_BREAK]
[INT. CSI - BREAK ROOM]
Grissom: I need you to do some background for me on Warrick.
Sara: Warrick? Your favorite CSI.
Grissom: That's why I want you to handle it so that Ecklie can't accuse me of favoritism.
[SCENE_BREAK]
[INT. CSI - GRISSOM'S OFFICE -- NIGHT]
Sara: I got this surveillance tape. He was in the casino. I'm sorry.
WHITE FLASH TO: END OF PREVIOUSLY ON.
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - DAY]
[SCENE_BREAK]
[INT. MARTY'S MARKET - DAY]
(Camera moves low and fast along the main aisle. It turns up into an aisle and stops in front of the wheels of a shopping cart as it moves directly toward the camera.)
WOMan Over P.A.: Manager to register two, please. Manager to register two.
(The woman turns the aisle and heads into the fruits and vegetables section. She fills up a bag and continues shopping.)
(Cut to: The woman grabs a bag of buns and puts it into the cart. The camera keeps on the woman as she shops. She turns into an aisle and stops where she reaches up and grabs a Sun Valley mustard bottle. She drops the bottle. It falls into the aisle and breaks, spilling mustard on the floor.)
[SCENE_BREAK]
[EXT. MARTY'S MARKET (#19331) - PARKING LOT -- NIGHT]
(Sirens blare and police car lights flash. GRISSOM makes his way toward the market entrance. The doors open and he walks inside.)
[INT. MARTY'S MARKET - CONTINUOUS]
(BRASS turns around to see GRISSOM. They make their way toward the aisle.)
Brass: Well, if it isn't the boss himself! Where's your E-street band?
Grissom: They had another gig. How you doing, Jim? How's your old job?
Brass: Ah, I can sling scum all day long. You?
Grissom: I curse more.
Brass: Oh, yeah? Well, wait. The shopping cart's over here. The missing woman is Margaret Shorey. Lives with her sister. Went out to get groceries; never came home. Car's still in the parking lot.
(The STORE MANAGER walks up to the cart. GRISSOM puts his kit down on the floor. He walks up to the cart and looks inside the purse.)
Grissom: And her purse is still in the cart. With no wallet.
Brass: Maybe she left the purse as a marker.
Grissom: Chicken soup, ice packs ... pain reliever ...
Brass: Sister broke her wrist in a car wreck.
Grissom: Hot dogs, hot dog buns ...
Brass: Junk-food junkie.
(GRISSOM looks on the bottom of the cart and sees something yellow stuck to the bottom rail. He uses his finger to get a dollop of it which he smells, then tastes. BRASS watches and grimaces.)
Brass: Oh, that's sanitary.
Grissom: Mustard.
(GRISSOM turns around and look at the mustard on the shelf.)
Grissom: (to the STORE MANAGER) Did you have any mop-ups in this aisle today?
Store Manager: Yeah. Yeah, as a matter of fact, we did.
Grissom: Life holds no surprises.
(GRISSOM turns around and takes a mustard bottle off of the shelf. He digs into his pocket to pay for it and hands the money to the STORE MANAGER.)
Grissom: $1.98 for the mustard ... plus, my two cents.
(GRISSOM holds the bottle over the aisle and drops it, shattering it in front of BRASS.)
Brass: What are you doing?
Grissom: Now, where would you go?
[SCENE_BREAK]
[INT. RESTROOM - NIGHT - CONTINUOUS]
(GRISSOM pushes the bathroom stall door open while BRASS sits on the basin and tries to get the mustard stains off of the cuff of his pants.)
(GRISSOM looks around the bathroom.)
Brass: (groans) Oh, man ...
Grissom: Hey, Brass, look at this.
Brass: What?
Grissom: You see this?
(GRISSOM holds the bathroom stall door open and looks at the inside of the stall door. BRASS gets up; the STORE MANAGER steps closer.)
Brass: See what?
Grissom: This circumference? Looks like somebody did a brillo job on it.
Brass: All I see is a clean door.
Grissom: You know anything about this?
Store Manager: Yeah, he's right -- we cleaned it up today. I had a complaint. Kids are always writing crazy stuff on bathroom doors. So I had one of my employees scrub it off.
Grissom: Could I borrow a hammer?
[SCENE_BREAK]
[INT. CSI - LAB -- NIGHT]
(The camera snaps. " ... ED 5 WOMEN ... ")
(Inside the lab, GRISSOM processes the bathroom stall door which removed from the market. BRASS stands next to the door and holds the light on it revealing the message under neath.)
I've killed ... (camera snaps) ... .... Catch ... (camera snaps ) ... ... me ... (camera snaps) ... ... can ... (camera snaps) ... ? ... (camera snaps) ...
(Short time cut to: GRISSOM puts the photos up on the board., piecing the message together.)
Grissom: (reading) "Iv'e killed 5 women. Catch me if you can?"
HARD CUT TO END OF TEASER ROLL TITLE CREDITS
[SCENE_BREAK]
[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]
[SCENE_BREAK]
[INT. CSI - NIGHT]
(The camera moves along the hallway and through the lab on its way to the break room where the CSIs gather to wait for their assignments.)
Grissom: Hey.
(GRISSOM opens the door and walk into the break room.)
Grissom: Hey, kids. All right, listen, hey, I got to jet.
Catherine: Hi.
Grissom: Sara Sidle. 419.
(GRISSOM hands the assignment sheet to SARA.)
Sara: Dead body-- bonus.
Catherine: Whoa, somebody likes their job.
Grissom: Nick Stokes-- 416, fight at the Bellagio. She says she's a "friend" of yours.
Catherine: Ex-girlfriend, Nick?
Nick: Well, that depends. Was she the assaulter or the assaultee?
Sara: You tell us -- you like leather or lace?
Nick: (chuckles) No, I'm not even going there.
(He turns and heads out the door ... then it hits him.)
Nick: Lace.
(SARA looks up and smiles widely at him.)
Grissom: Catherine, you have a 418 -- an obituary on a stall door. I'll meet you in the garage but first, I've got to take care of Warrick.
Catherine: Oh, no. What are you going to do?
(CATHERINE stands up and gets her things. She passes GRISSOM on her way out.)
Grissom: I don't know.
(CATHERINE leaves. SARA lingers.)
Sara: I filed my report.
Grissom: I read it.
(Not getting more, SARA rolls her eyes and leaves.)
[SCENE_BREAK]
[INT. CSI - LOCKER ROOM - NIGHT -- CONTINUOUS]
(WARRICK is in the locker room getting dressed. GRISSOM peers in to the locker room and finding WARRICK, lingers in the doorway.)
Grissom: Hey.
Warrick: Hey. I missed assignments; I know. I'm running late. What did I pull?
(Steps into the locker room.)
Grissom: How was court the other day?
Warrick: I handed it off to Michovitch, from days. Uh, I told Sara.
Grissom: Yeah, because you had, uh, "personal business."
(GRISSOM looks a the file in his hand.)
Warrick: Yeah.
(WARRICK turns around and sees GRISSOM holding the file and the video tape.)
Warrick: What's that?
Grissom: You ... at the Monaco casino.
Warrick: What? I don't believe this. Now you're pulling up film on me?
Grissom: Casinos tape everyone who walks through their door, Warrick, you know that. I thought we had a deal.
Warrick: We do.
Grissom: Look, what you do on your time is nobody's business. What you do on my time is my business.
(WARRICK sighs and sits down.)
Warrick: I was at the casino. But I wasn't gambling.
(GRISSOM sits down on the bench next to WARRICK to listen to what he has to say.)
[SCENE_BREAK]
[INT. BERLIN RESIDENCE -- NIGHT]
(The OFFICER takes KENNY BERLIN'S statement. In the back, SARA walks in and puts her kit down. The photographer walks in behind her.)
Officer: Okay, Rubio's Restaurant.
(SARA walks into the room and looks at the crime scene in front of her.)
Sara: (to the photographer) Get me a picture of the body ... the items on the bedsheet ... the window ... the drafting table.
(The camera shutter clicks.)
Sara: Everything on the floor.
(She takes another look around the room, then turns to talk with the DETECTIVE.)
Sara: Sara Sidle, crime scene investigation. And you are ... ?
Kenny Berlin: (crying) I'm ... Kenny Berlin. That's my brother. I'm the one who found him.
Sara: Sorry for your loss. (SARA turns to look around the room.) You want to tell me what happened here?
Kenny Berlin: I don't ... I don't know. I came... I came walking in the door, I saw my brother lying there ... stuff everywhere. All I could think was that ...
(Quick flashback to: Someone breaks the glass window and steps into the room. As the thief tosses the room, JEFF BERLINE walks in and interrupts him.)
Jeff Berlin: Hey!
(The thief looks up and sees JEFF. He lifts the gun and fires. JEFF BERLINE falls to the floor.)
(White flash to: KENNY BERLIN walks into the room and finds his brother on the floor.)
Kenny Berlin: Hey, Jeff?
(He looks around and sees the room a mess. He rushes to the phone and dials.)
Kenny Berlin: (V.O.) I-I called 9-1-1
(End of flashback. Resume to present.)
Kenny Berlin: ... and then you guys showed up, and...
Detective: (to KENNY BERLIN) Thank you.
(He and SARA step aside.)
Detective: There have been several burglaries in the neighborhood; all benign.
Sara: Nothing benign about two $20s screaming, "take me" on the bar.
Detective: Maybe he missed it?
Sara: Yeah, well, it's hard to miss all that high-tech computer equipment. There's got to be five, ten grand there. First thing I'd take.
Detective: He was interrupted.
Sara: Before or after he used a bedsheet to transport the silverware? Pillowcases are the norm, you know that. Something's not right.
(SARA walks away.)
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[SCENE_BREAK]
[EXT. BELLAGIO -- NIGHT]
(NICK walks up to the police officer.)
Nick: Gentlemen, Nick Stokes. I'm here for the 416; something about a "special request."
Officer Pratt: Don't ask me. Go ask Catherine Zeta Jones over there.
Nick: Over where?
(They point.)
Nick: Thanks.
(NICK heads there.)
Nick: Excuse me ... ma'am?
(The woman with the short hair waits impatiently, her back turned to them. When NICK calls out to her, she turns around. It's KRISTY HOPKINS. NICK recognizes her immediately.)
Kristy Hopkins: Oh, Nick, hey ...
Nick: You got to be kidding me.
Kristy Hopkins: Oh, you probably don't recognize me with the shorter hair. My nipples are all better, you want to see?
Nick: Yeah, yeah, Kristy Hopkins, what are you doing here?
Security Guard: (interrupting) I'll tell you what she's doing here-- she's cruising.
Kristy Hopkins: No, I'm in here, minding my own business shopping for a dress spending my hard-earned money! (NICK reacts to that comment; she corrects herself.) Okay, semi-hard-earned money. When Squiggy over here starts harassing me saying he doesn't want my type in here. He grabs my arm, cops a feel then he spit on me, so I slugged him!
Nick: Whoa, whoa, whoa ... he spit on you?
Security Guard: Wait, you're not listening to this? This is such a crock.
Kristy Hopkins: Oh, I'll show you ...
(KRISTY and the SECURITY GUARD start yelling at each other.)
Nick: All right, all right, break it up! Ease up! Ease up!
(OFFICER PRATT pulls the SECURITY GUARD aside; NICK pulls KRISTY aside.)
Security Guard: Hey, hey, I'm pressing charges! I don't care who you know!
Nick: Kristy!
Kristy Hopkins: What?!
Officer Pratt: They're right -- I've got to take her in.
Nick: (to OFFICER PRATT) Just give me a minute, will you? (NICK pulls KRISTY to the side.) Get over here! I need your shirt.
(KRISTY stares at NICK.)
Kristy Hopkins: Why is it every time we meet you're wanting me to take my clothes off?
Nick: Because every time we meet you put yourself in a position where you have to take them off.
[SCENE_BREAK]
[INT. BERLIN RESIDENCE - NIGHT]
(SARA talks with KENNY BERLIN.)
Sara: Using your arms -- how big's a whale?
(KENNY BERLIN spreads his arms out to show her.)
Sara: Now freeze, don't move. (She positions his arms straight out.) Up.
(SARA starts examining KENNY'S clothing.)
Kenny Berlin: What are you doing?
Sara: Checking for blood spatter.
Kenny Berlin: (surprised) What blood? Am I a suspect?
Sara: This is what I do. This is how I eliminate you as a suspect.
Officer: I'll take that for you.
(SARA hands the OFFICER her flashlight. She leans in close and finds something on the cuff of KENNY'S pants.)
Sara: Well, that's good news; no blood, bud.
(In the background, a camera flashes. SARA reaches into her kit to take a sample of what she finds in the cuff of his pants. She puts it in a bindle.)
Sara: I am going to need you to strip, though.
Kenny Berlin: Right here?
Sara: Don't be shy on my account. But if you are, this nice detective will accompany you to the bedroom.
(SARA puts it in her kit and stands up.)
Sara: Oh, and, uh, I'm going to need to take your window with me, too.
(SARA pulls the warrant from her jacket pocket.)
Sara: It's all in the warrant.
(KENNY looks at the paper in SARA'S hand, then takes it. SARA turns and walks away.)
[SCENE_BREAK]
[INT. CSI - LAB -- NIGHT]
(DR. RAMBAR examines the photographs of the writing on the bathroom stall door. He explains his findings to GRISSOM and CATHERINE.)
Dr. Rabar: The person who wrote this is left-handed.
Grissom: And we know that because...?
Dr. Rabar: The "t-bar" in "catch," it's left-tending. And uneducated ... the contraction in "IV'E" is misplaced. Then we have the large, arched hood in the letter "Y" and the arches in the bottom of the "L's." This indicates criminal tendency which is supported by the heavy pastiosity which suggests low impulse control.
Catherine: Heavy pastiosity?
Dr. Rabar: The pressure -- how firmly you put pen to paper.
Grissom: Or marker to metal. Do we know anything else?
Dr. Rabar: Yes. Overall, the handwriting is cursive and round. This tells me it was written by a woman.
(This information surprises both GRISSOM and CATHERINE.)
[SCENE_BREAK]
[INT. BERLIN RESIDENCE - DAY]
(SARA is in the residence cutting the window out of the wall. WARRICK walks up to her and puts his bag down.)
Warrick: Damn! Taking the whole window.
(SARA shuts off the saw and looks at WARRICK.)
Sara: Grissom reinstated you.
Warrick: And you have a problem with that.
Sara: Let me guess. Grissom gets you to dime yourself off and now you both feel better? You're supposed to be in court. Instead, you're placing bets for a cheap thrill to satisfy nothing.
Warrick: Hey! This has nothing to do with you. So are we going to work together ... or not?
Sara: I'm already working.
(SARA turns around and starts the saw. WARRICK sighs.)
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - DAY]
[SCENE_BREAK]
[INT. CSI - LAB -- DAY]
(GRISSOM is in the lab working when SARA walks into the room.)
Sara: (abruptly) You weren't in your office.
Grissom: And good morning to you, too, Miss Sidle.
Sara: Warrick has a problem. Ignoring it isn't going to make it go away. You asked me for a report and then you disregard my recommendation.
Grissom: I read your report.
Sara: So you feel comfortable jeopardizing a unit to placate an addict?
Grissom: I see the whole puzzle, Sara. You're only seeing one piece.
Sara: Then at least take him off my case.
Grissom: No. I trust him. Do you trust me?
(The door opens and CATHERINE calls out excitedly to GRISSOM.)
Catherine: Grissom. (She looks and realizes that SARA'S in the room.) I've got something you'll want to see.
(GRISSOM looks at SARA, clears his throat, grabs his folder and heads out the room leaving SARA alone in the lab.)
[SCENE_BREAK]
[INT. CSI - HALLWAY - DAY -- CONTINUOUS]
(CATHERINE and GRISSOM walk down the hallway.)
Catherine: You know how you're always pushing that holy trinity stuff?
Grissom: Father, son, holy ghost?
Catherine: Victim, suspect, crime scene.
Grissom: That one, huh?
Catherine: Right. Well, we don't have a victim. We don't have a suspect. All we have is a crime scene -- the restroom at Marty's Market with the message, "I killed five women." So, I figured there had to be four others.
(GRISSOM stops.)
Grissom: You found the other four victims?
(CATHERINE keeps walking and turns around to look at GRISSOM.)
Catherine: No. I found the four other crime scenes.
[SCENE_BREAK]
[INT. CSI - GARAGE - DAY -- CONTINUOUS]
(Set up against the garage wall are five bathroom stall doors.)
Catherine: Brass ran our case through VICAP.
(They step up to look at the stall doors.)
Catherine: I made a few calls ...
(GRISSOM steps up to the doors and reads them one by one.)
Grissom: (reading) "Iv'e killed 1 woman." Victorville. Salt Lake City -- "Iv'e killed 2 women. Catch me if you can?" San Bernardino -- "Iv'e killed 3 women ... " "Iv'e killed 4 women. Catch me!" Mesquite. "...5 women... " Las Vegas.
Catherine: Five stall doors from five supermarket rest rooms. Five missing women, including Margaret Shorey.
Grissom: What else do you know about the crime scenes?
Catherine: Just like Marty's Market -- there was no physical evidence indicating that the women were killed there.
Grissom: Which means they were probably alive when these messages were written making these messages of intention, not fact.
(They stop and look at the stall doors, thinking.)
Grissom: What if we shuffle these doors like Pai Gow tiles?
(GRISSOM moves forward and moves the doors around, putting them in a different order. When he's done, he steps back.)
Grissom: San Bernardino, California. Victorville, California. Las Vegas, Nevada. Mesquite, Nevada. Salt Lake City, Utah.
(As he reads the stall doors by locations, a red road map highway line appears over them with a large circle indicating the city through the red line.)
Catherine: (realizing) Interstate 15. God knows I've driven it enough times.
Grissom: (nods) So has our suspect.
(Camera holds on the door with the road map of Interstate 15 drawn over it.)
[SCENE_BREAK]
[INT. CSI - DNA LAB -- DAY]
(GREG hops down from the counter.)
Greg Sanders: Okay, dude, it's ready.
(GREG removes the board he was sitting on.)
Greg Sanders: So this paper should have soaked up any foreign material on the shirt particularly amylase.
(GREG hands the paper to NICK and indicates the hook on the hood for him to hang the paper up on.)
Greg Sanders: Now, I've done this procedure on jeans and leather jackets but never on something like this. It's very see-through. Very Jennifer Lopez.
Nick: Down, boy. What can you tell me? Is there saliva on it?
Greg Sanders: It's going to be a tough one to prove. This is only step one. You see, when a person talks saliva naturally comes out of their mouth. Let's say that we're tossing the hog back and forth, right?
(As GREG talks, the camera makes note of the saliva that comes out of his mouth naturally in illustration of what he just said.)
Greg Sanders: What can you tell me about the hottie that goes inside this blouse, huh? Is it true she's a friend of yours?
Nick: What, is it on the internet? Might as well be. Just remember that.
Greg Sanders: My saliva's getting on you; your saliva's getting on me.
Nick: Gross.
(GREG moves to the side toward the paper. He grabs a spray pump and sprays it on the paper.)
Nick: What's that stuff?
Greg Sanders: Starch and iodine. If this is saliva, we're going to get the old dalmatian effect. So, Nick, uh, if I wanted to meet this friend of yours ... ?
Nick: No.
Greg Sanders: Figured.
(GREG sprays the paper.)
Greg Sanders: That's a pretty big spot. That's more than just a spray. In fact, looks like a distinct glob of spit.
Nick: Then Kristy was telling the truth. But it doesn't mean it was the security guard's spit.
Greg Sanders: Step three.
Nick: I'm going to need a sample.
Greg Sanders: Well, the guy knows he did it. He's not going to cough it up.
Nick: If you saw the girl that went with this blouse ... you'd try.
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(SARA and WARRICK interview KENNY BERLIN.)
Kenny Berlin: You found what on my pants?
Sara: Glass. Any idea how it got there?
Kenny Berlin: Well, it's just a guess but someone broke into my car last weekend and smashed my window and made off with my CD player. So I must've been wearing those pants.
Sara: Did you file a police report?
Kenny Berlin: No, but you can check with my insurance company.
Sara: I already checked with my lab. They do this test, and guess what? The glass -- it floated.
Warrick: You know what that means?
Kenny Berlin: No.
Warrick: It means the glass on your pants and the glass from your living room window have equal densities.
Kenny Berlin: Sorry. I was never very good at science.
Warrick: The glass didn't come from any car window. That's science.
Sara: Anything else you'd like to tell us?
Kenny Berlin: Look, it's like I told you. I walked in the house ...
(Quick flashback to: KENNY walks into the room and sees his brother dead on the floor. He grabs the phone and makes the phone call.)
Kenny Berlin: (V.O.) ... and I thought ...
(End of flashback. Resume to present.)
Kenny Berlin: "They're coming back, and they're going to kill me, too."
(Quick flashback to: KENNY'S inside the house.)
Kenny Berlin: (V.O.) I heard a noise, and I walked to the window.
(KENNY walks over to the window and looks outside. He brushes up against the glass on the table. Some of it falls down to the floor in front of him, possibly inside the cuff of his pants.)
Kenny Berlin: (V.O.) That must be when I got the glass in my pants.
(End of flashback. Resume to present.)
Kenny Berlin: Look, somebody really did break into my car, okay? And I just remembered all that stuff just now. So, am I in trouble?
Warrick: You're free to go.
Sara: No, he's not.
Warrick: We're not cops; we can't hold him.
Sara: Just one more question. What do you do for a living?
Kenny Berlin: I'm a day trader.
Sara: You make a lot of money doing that?
Kenny Berlin: That's two questions.
Sara: Feel free to answer it anyway.
Kenny Berlin: Yeah, you can.
(KENNY heads for the door.)
Sara: (pushing) But you don't, right?
(KENNY doesn't answer and walks out of the room. The door closes and SARA sits down.)
Warrick: Showed him all your cards. Sucker play.
Sara: I was playing him. Cops ran Kenny's financials. He lost a pot in the market. Had a ton of margin calls. I'm surprised you didn't tag him as a fellow gambler.
Warrick: (sighs) Oh, you just don't let up, do you?
Sara: It's a flaw.
[SCENE_BREAK]
[INT. CSI - HALLWAY]
(GRISSOM walks out of the office and into the hallway where CATHERINE'S waiting for him.)
Catherine: I'll flip you to see who drives.
Grissom: Where we going?
Catherine: Moapa.
Grissom: What's in Moapa?
Catherine: Besides the I-15?
[SCENE_BREAK]
[EXT. MOAPA - DAY]
[SCENE_BREAK]
[EXT. MOAPA -- DAY]
(Off to the side of the highway, a crime scene is being worked on. The SUV drives up, GRISSOM gets out of the car and BRASS meets up with him.)
Brass: So my guys tell me that your guy Nick is helping a working girl at a five-star and it was quite a commotion.
Grissom: Really?
Brass: And if I know, it means a lot of other people know. People bigger than you and me. A kid from a crime lab doing favors for a hooker can't make the unit look too good, huh, boss?
Grissom: Yeah, well, I'll get into it.
Brass: I bet that's just what Nicky said.
(CATHERINE walks past them and toward the crime scene.)
Catherine: You two ladies done talking? It's hot out here.
Brass: That kid over there started to take a leak.
(Quick flashback to: The legs of the body on the ground, her ankles have restraint marks on them.)
Brass: (V.O.) Found the body.
(End of flashback. Resume to present.)
(CATHERINE, GRISSOM and BRASS look at the body.)
Catherine: Well, it's not Margaret. This one's a blonde.
Grissom: And blue. This is bizarre. The body's cold.
Brass: In this heat?
Grissom: And she's stiff -- like a two-minute burrito that's only been nuked for a minute.
WHITE FLASH TO:
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY]
(DR. WILLIAMS goes over her findings with CATHERINE and GRISSOM.)
Dr. Jenna Williams: Meet Joan Sims from San Bernardino, California. We've been getting acquainted.
Catherine: (reading) Missing woman number one -- disappeared from a supermarket restroom last July.
Dr. Jenna Williams: Cause of death was strangulation. I found ligature marks on the wrists and the ankles. That was the easy part. This one's weird. Like I-may-use-her-in-a-lecture weird. (beat) Her decomp is completely backwards. It's supposed to begin on the inside but her organs are in better shape than her skin. Take a look at this.
(DR. WILLIAMS leads them over to the scope she has set up on the side counter.)
Dr. Jenna Williams: I took tissue samples from her heart.
[SCOPE VIEW of the heart tissue]
Grissom: Looks like the planet krypton.
Dr. Jenna Williams: More like kryptonite. Those are actually ice crystals, Superman. You want to know why she's blue? Cold to the touch in the middle of the desert? This lady was frozen -- kept on ice until approximately 12 hours ago.
(She steps aside. GRISSOM turns to look at CATHERINE, both of them processing this information.)
Catherine: I-15? Refrigerated?
Grissom: That's how she was transported from San Bernardino to Vegas -- in a refrigerated truck. That's our crime scene.
(beat)
Grissom: And it's mobile.
[SCENE_BREAK]
[INT. CSI -- DAY]
(GRISSOM looks up and sees something.)
Grissom: Hey, Nick, I been looking for you.
(He meets up with NICK in the hallway, catching him on his way through.)
Grissom: This girl you've been helping with the 416 .. .?
Nick: She got in a fight with a Security Guard.
Grissom: Is she a friend of yours?
Nick: (surprised and offended) Are you asking me what I think you're asking me?
Grissom: Are you doing anything that could compromise the unit?
Nick: I don't believe this. You've always been so cool.
Grissom: I have to ask. It's part of the job.
Nick: Sanders ratted me out, right?
Grissom: No, Brass. Do you want to talk about this?
Nick: I don't think so.
(NICK turns and heads down the hallway leaving GRISSOM behind. He passes CATHERINE on his way out. He bumps into her, holds up a hand in apology and without a word, keeps going.)
Catherine: (to NICK) Excuse you. (to GRISSOM) What's his problem?
Grissom: Me, I guess. Did you find out anything?
Catherine: Brass got us a list of all the refrigerated trucks that made deliveries to the market yesterday.
(She points to something on the clipboard she hands GRISSOM.)
Catherine: There's a female trucker on it.
(GRISSOM smiles.)
[SCENE_BREAK]
[INT. CSI - GARAGE -- DAY]
(SARA and WARRICK conduct an experiment. WARRICK swings the baseball bat and breaks the glass.)
Sara: (smiles) Not bad. I'm impressed.
Warrick: Yeah, passed up a chance to play semipro ball. Went to college instead.
(SARA picks up a sliver of glass and passes WARRICK.)
Sara: I meant the Haeckel marks. Should tell us what we need to know.
(SARA puts the glass under the scope and compares it with the glass at the crime scene.)
Sara: This is the glass you line-drived.
Warrick: That's the glass you "sawzalled."
[SCOPE VIEW of the two glass edges side by side]
Sara: Right angles face the same direction. Take a look.
(SARA steps aside. WARRICK looks at her.)
Warrick: Oh, now I'm worthy?
Sara: Just take a damn look.
(WARRICK looks through the scope.)
[SCENE_BREAK]
[INT POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
Kenny Berlin: That's crazy. I loved my brother.
Warrick: Maybe you did, maybe you didn't, but we think you murdered him.
Kenny Berlin: Based on what?
Warrick: The evidence.
Kenny Berlin: What evidence?!
Sara: You ever heard of Haeckel marks?
Kenny Berlin: No.
Warrick: When a window is broken from the outside which is what a burglar would do ...
(Quick CGI of a bat swinging to the right and a plate of glass shattering. Camera zooms in to the edge of a glass break.)
Warrick: (V.O.) ... Haeckel marks form right angles to the inside of the window.
(End of CGI. Resume to present.)
Warrick: But when a window is broken from the inside which is what a Peckerwood like you would do
(Quick CGI of a bat swinging and a plate of glass shattering. Camera zooms in to the edge of the glass break.)
Warrick: (V.O.) ... Haeckel marks form right angles to the outside of the window.
(End of flashback. Resume to present.)
(KENNY swallows. SARA leans in close.)
Sara: What did you use to break the window, Kenny?
Kenny Berlin: I didn't use anything. I didn't do it. (exhales) I want a lawyer.
(SARA turns around and looks at WARRICK.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - HALLWAY - DAY -- CONTINUOUS]
(WARRICK and SARA walk out into the hallway)
Warrick: Well, we know he did it.
Sara: We can't prove it, but we got a motive.
Warrick: He needed the money.
Sara: Okay, let's say killing his brother would get it for him.
Warrick: We're back to how do we prove it?
Sara: He's a day trader -- spends all day on his computer. If we want to know more about him that's where we should be looking.
Warrick: And his computer is ... ?
Sara: Still at the house.
Warrick: Still at the house. Well, we got probable cause.
Sara: Why don't we go get a ... ?
Warrick: Why don't you go get a new warrant?
(SARA nods and they leave.)
[SCENE_BREAK]
[INT. CSI - GRISSOM'S OFFICE -- DAY]
(NICK walks to the office door and peers inside. GRISSOM is working at his desk and doesn't notice NICE. Suddenly, from up above, something starts singing.)
FISH ABOVE DOOR: (singing) I want to know / can you help me, help me ...
(GRISSOM looks up and sees NICK standing there. NICK looks up at the fish hanging above the door, its tail wagging as it sings.)
Grissom: That's my "Big Mouth Billy Bass." It's better than a watchdog. I got valuable stuff in here, you know.
FISH ABOVE DOOR: (singing) Drop me in the water ...
(NICK walks into the office and closes the door.)
Nick: Yeah, I bet there are a lot of people looking to steal your two-headed scorpion. Not to mention "Miss Piggy."
(NICK taps on the jar of the preserved pig fetus on the shelf.)
Nick: I was out of line earlier. I'm not sleeping with her, if it helps any.
Grissom: It does.
Nick: And, for the record she wasn't working -- she was shopping. And the security guard was a jerk, man. He pushed her around, then he spit on her. That's why she lost it.
Grissom: That sounds pretty straightforward. Why don't you put a rookie on it?
Nick: I can't. There's something about her. Looking at her. She doesn't have anybody else. I had Sanders run a test on the shirt. There's saliva on it but the problem is, I can't get a match. The security guard refuses to give me a sample.
Grissom: "If Muhammad won't go to the mountain then the mountain must go to Muhammad." Think about it.
(NICK smiles and nods.)
[SCENE_BREAK]
[INT. CSI -- BREAK ROOM]
(The SECURITY GUARD puts the coffee cup on the table.)
Nick: Black, no sugar.
Security Guard: Yeah, thanks.
Nick: Like I said on the phone I don't want to seem biased here. This girl's nothing to me. She's a hooker.
Security Guard: Yeah, but you do know her.
Nick: Yeah, professionally. But my profession, not hers. I cut her some slack a while back. She's bad news but she's a babe.
Security Guard: Tell me about it. (He chuckles.)
Nick: Yeah, between you and me, I should have busted her, but I thought I might get lucky.
Security Guard: Yeah.
Nick: Yeah. Next time she gets in a jam she throws my name out. My boss not pleased. So ... (he clears his throat) Tell me what you think. (NICK takes out a pen and paper.) I want you to write down your own statement seal it up in this envelope and I'll hand deliver it to the DA. It'll be good for both of us.
Security Guard: (takes the pen) Yeah. Thanks, man.
Nick: No problem. Us guys have got to stick together, right? That's right.
Security Guard: That's right. Yeah.
(The SECURITY GUARD takes the pen and starts writing. NICK stands up and gets himself a cup of coffee while keeping a watchful eye on the SECURITY GUARD.)
(The SECURITY GUARD finishes and puts it in the envelope. He licks the envelope. NICK smiles.)
[SCENE_BREAK]
[EXT. ROADWAY -- DAY]
(The FEMALE TRUCKER speaks with GRISSOM.)
Female Trucker: Of course I graduated high school. Hey, if this is going to take forever I could lay a urine sample on you, too gratis.
Grissom: A writing sample will be sufficient, thank you.
Female Trucker: What's that going to tell you -- whether I was writing under the influence?
(CATHERINE walks over and hands the woman some paper and something to write on.)
Catherine: Do yourself a favor.
Female Trucker: Yes, ma'am. Now, what is it that you want me to write?
Catherine: "I've got a kite. Can you see the women? Kill the lights."
Female Trucker: That's what you want me to write?
(CATHERINE gives her a pen.)
Catherine: Three times.
(The FEMALE TRUCKER moves off to the side to write.)
Catherine: Caucasian female with only a high school education and left-handed.
(The FEMALE TRUCKER finishes; BRASS takes the sample.)
Brass: You can keep the pen as a souvenir.
(He gives it to CATHERINE. She looks at the sample, then heads for the car.)
Catherine: I'll be right back.
Female Trucker: Hey, come on! You're making me late.
(She starts after CATHERINE.)
Brass: Hey, hey, hey.
(BRASS grabs her and pulls her back to rest against the car.)
Brass: Two cheeks on the car. There you go.
(GRISSOM and BRASS ... and everyone ... waits while CATHERINE faxes the writing sample over to the lab.)
INTERCUT WITH:
[INT. CSI - GARAGE - DAY - CONTINUOUS]
(DR. RAMBAR receives the fax and compares the handwriting to the stall door photos. He circles the comparison points and holds up the paper to the photos.)
(Cut back to: CATHERINE is on the phone.)
Catherine: (on phone) Okay, thanks. (hangs up) (shakes her head) She's not the one.
Female Trucker: So, did I win something?
Catherine: The right to keep on trucking.
(The FEMALE TRUCKER laughs. BRASS holds up her truck keys.)
Brass: Here you go, bubba.
Female Trucker: Hey, we're outta here!
Grissom: You know, I'm starting to think that maybe we should be looking for a man. Only three percent of multiple killers are female. And a woman wouldn't need a trophy. And a body on ice is definitely a trophy.
Catherine: Well, Ms. Hard-ass travels with her boyfriend. I bet you a lot of guys travel with their girlfriends.
Grissom: What if it was a man with a woman who would do anything he asked?
[SCENE_BREAK]
[EXT. POLICE DEPARTMENT - PARKING LOT -- DAY]
(GRISSOM and CATHERINE drive the SUV back into the parking lot. They pass NICK, who is talking with KRISTY HOPKINS next to her car.)
Nick: "Us guys have to stick together, right?" He said, "right. You the man!"
(She laughs.)
Nick: So, I mean, I could have used an STR-DNA but it's too state-of-the-art; it's overkill. So I used an HLA-DQ A1, with a ... polymarker.
(She nods as if she understand, but NICK realizes that he's lost her.)
Kristy Hopkins: That's-that's very, very interesting.
(She leans against the open car door and smiles at him.)
Nick: (smiles) You don't care about this at all, do you?
Kristy Hopkins: No. (chuckles) ... but to be honest with you, all I really care about is whether the charges against me are going to be dropped. (pauses) Are they?
(NICK takes a moment and let's her wait for his answer.)
Nick: DA threw out the case.
Kristy Hopkins: Great. (chuckles) (deadpans) So I can shoplift at that boutique again? (NICK reacts to that statement.) (she laughs and grabs his shirt) I was kidding, I was kidding. Besides, they never have any good sales there, anyway. (chuckles)
(They stop laughing. Both standing incredibly close to the other.)
Kristy Hopkins: I'd invite you out for coffee, it's probably a bad idea, huh?
Nick: Yeah.
Kristy Hopkins: Yeah. But I can call you sometime, you know just in case I ever get into trouble or something.
Nick: (smiles) Maybe you should try not getting into trouble. You do owe me one.
Kristy Hopkins: (seriously) I owe you two.
(She stands up and leans in to kiss NICK on the cheek. NICK takes a breath and a step back from her.)
Nick: You know where to find me.
(He nods and walks away. KRISTY watches NICK leave. She smiles, then finally gets into her car.)
[SCENE_BREAK]
[INT. BERLIN RESIDENCE - DAY]
(The DETECTIVE is on the phone. SARA and WARRICK walk into the living room.)
Detective: (on phone) Is that right? (hangs up) Your boy Kenny just lawyered up.
Warrick: Well, we got a warrant so that should give us the room for the night.
(SARA sits at the desk and turns the computer on. Nothing happens.)
Sara: There's something wrong with it.
Warrick: Computers turn on. When they don't, it's for a reason. Did you plug it in?
Sara: The power light's on.
Warrick: Really?
(WARRICK grabs the unit.)
Warrick: Let me check it out.
(He opens up the case and stops at what he finds inside.)
Warrick: Well, he's a sneaky S.O.B. I'll give him that.
(SARA stands up and looks inside.)
Sara: Oh, no one is going to believe this.
(WARRICK snaps a photo.)
Warrick: All right.
(SARA picks up the gun and looks at the handle.)
Warrick: Let me see that flashlight. There's scratches all over it.
Sara: Nothing really special about them.
Warrick: And the hotshot takes another strike. Check it out. Not enough to cause even a small scratch on your finger, but more than enough to use as a basis of comparison.
(Camera zooms into the piece of glass stuck in the bottom of the handle. WARRICK takes it out.)
Sara: We match this to the broken window, we got him.
[SCENE_BREAK]
[INT. CSI -- LAB]
(WARRICK and SARA test the glass.)
Warrick: One, two, three.
(The pieces of glass are dropped into two different glass containers.)
Warrick: Left one is from the broken window the other one is from the gun both dropping at an identical rate. Glass is from the same source.
Sara: So, Kenny broke the window from the inside using the butt of the gun.
Warrick: My theory ... the brother was the executor of the parents' estate. He controlled the family money.
Sara: Sounds like more than a theory.
Warrick: I called the county clerk. With the brother out of the way, Kenny is the sole beneficiary.
(Quick flashback to: KENNY pulls a gun on JEFF.)
Kenny Berlin: Do you have any idea how much money I've lost?
Jeff Berlin: Kenny, come on. What are you doing? I'm your brother, okay? I already said I'd loan you the money, okay?
Kenny Berlin: (shouts) Come on! $20,000? That doesn't even begin to solve my problems!
(KENNY fires twice. JEFF falls to the floor. KENNY looks around. He tosses the room. He walks over to the window and breaks it with the gun. He goes to the computer and puts the gun inside.)
(End of flashback. Resume to present.)
Warrick: Slam that jail door. (He looks at SARA.) Makes you reconsider, doesn't it?
(SARA knows exactly what he's referencing.)
Sara: I never said you weren't a good CSI.
(SARA walks away.)
[SCENE_BREAK]
[INT. TRUCKING MAIN OFFICE]
(CATHERINE and GRISSOM speak with the DISPATCHER. She shows them the monitor which has a picture of a map with all the trucks out on the road represented by flashing red rectangles. The screen is riddled with them.)
Dispatcher: We're state-of-the-art here -- number one in vehicle satellite tracking. I can locate one or all of our trucks with just a click of a mouse, 24-7.
Grissom: (to CATHERINE) Do you ever worry that technology is going to make us obsolete?
Catherine: (firmly) No.
Grissom: Can you, uh, narrow your database? Say, eliminate all trucks that are not refrigerated?
Dispatcher: Yeah, I think I can.
(The DISPATCHER works on the keyboard and some of the red dots disappear.)
Grissom: Can you eliminate all trucks that were not in Las Vegas yesterday?
(More red dots disappear.)
Catherine: Eliminate all trucks that only travel in state.
(More red dots disappear.)
Catherine: Now eliminate the trucks that don't deliver to supermarkets along the I-15.
(They work to reduce the number of truck possibilities. There are only three flashing red dots on the monitor.)
Grissom: This is very cool. Eliminate all trucks that did not deliver to Marty's Market yesterday.
(She enters in the field condition. Camera cuts to the monitor where there are four flashing red dots. All but one disappear.)
Catherine: That's our guy. He delivered to all five towns -- all five supermarkets.
Grissom: Where is he now?
(Camera zooms in to the red flashing rectangle on screen.)
[SCENE_BREAK]
[EXT. -- DAY]
(A man signs a clipboard. He looks up when the police cars drive up and surround him. OFFICERS with their weapons drawn exit the cars.)
Officers: Police! Get your hands up! OFFICERS: Come out now!
(BRASS gets out of the car with his gun drawn.)
Brass: Police! Step away from the truck, put your hands on the back of your head! Keep your hands in sight!
(The truck door opens and a woman gets out of the front seat.)
Brass: Get out of the truck!
Officer: Hands over your head!
(BRASS walks up to the MALE TRUCKER with the clipboard in his hand.)
Brass: Step away from the truck. Put your hands on the back of your head.
Male Trucker: I'm just making my regular delivery.
Brass: Don't make me ask you twice. Move! Hands on the back of your head! Hands on the back of your head!
(The MALE TRUCKER puts the clipboard down and complies.)
(GRISSOM and CATHERINE get out of their cars, watch and wait.)
Brass: Left hand on the wall, right hand on the wall. Check him for weapons.
Officer: (b.g.) Spread your legs.
(BRASS approaches the back of the truck.)
Male Trucker: Hey, get away from my truck!
Grissom: It's not your truck anymore. It's our crime scene.
Officer: Check the cab.
(The OFFICER follows BRASS into the truck, then backs out. BRASS appears holstering his gun.)
Brass: It's all yours.
Cop: (b.g.) All clean here, sir.
(GRISSOM and CATHERINE step into the back of the truck.)
(Cut to: [INT. TRUCK - CONTINUOUS])
(GRISSOM walks inside, weaving in between the large pieces of frozen meat wrapped in plastic. He looks at a particularly long and thing piece of meat hanging in front of him and moves to unwrap it.)
(It's just a piece of frozen meat.)
(CATHERINE walks past GRISSOM to the back of the truck where a smaller refrigerator unit is. GRISSOM watches her and helps her open it.)
(There's no bodies inside, just smaller pieces of items wrapped plastic.)
(They reach the back of the truck where they find another refrigerator unit. GRISSOM and CATHERINE open it. They both gasp at the frozen bodies inside.)
(CATHERINE sighs.)
[SCENE_BREAK]
[EXT. - DAY]
(CATHERINE walks toward the MALE TRUCKER.)
Catherine: We got three.
(GRISSOM walks past CATHERINE and turns the MALE TRUCKER around to face him.)
Grissom: (grimly) Where is she? Where is Margaret Shorey?
Male Trucker: (flippantly) Screw you, man.
Grissom: Look, pal, I already know what happened. I even know your type -- decent, trusting, middle-aged women.
(Quick flashback to: Inside the bathroom at Marty's Market, MARGARET SHOREY is scrubbing the mustard off of her dress.)
Girlfriend: Please help me. You got to help me! I locked my baby in the car!
Margaret Shorey: Did you call the manager?
Girlfriend: It is so hot, she's going to die. Please help me!
Margaret Shorey: All ... all right.
(Cut to: Outside in the back of the market, the GIRLFRIEND leads MARGARET SHOREY to her "car".)
Margaret Shorey: Where's your car?
Girlfriend: This way.
(The MALE TRUCKER jumps out from between the crates and grabs MARGARET SHOREY from behind. She screams.)
Male Trucker: Go on! Write it!
(The GIRLFRIEND looks around as MARGARET SHOREY continues to scream. She hesitates, then heads back into the Market.)
(Cut back to: Inside the bathroom, the GIRLFRIEND uncaps the marker and writes the message on the stall door.)
(End of flashback. Resume to present.)
(BRASS grabs both the MALE TRUCKER and the GIRLFRIEND, each arm around each of their shoulders.)
Brass: Okay. All right, listen. The first one of you lowlifes can name that tune gets to make a deal. Hmm? The difference between the chair or life in prison. So ...
(She looks around, then speaks up.)
Girlfriend: He made me do it.
(The MALE TRUCKER lunges for her. She screams.)
Brass: Cuff him.
(The officers take the Male Trucker away.)
Brass: (softly) Hey, hey, hey ... Where is she?
[SCENE_BREAK]
(GRISSOM and CATHERINE head into the front of the truck. GRISSOM crawls inside and checks out their seats. They lift the mattress up.)
Grissom: There's a lock. Are there any keys?
(CATHERINE looks around and finds some.)
Catherine: Try this.
(They unlock the compartment and find MARGARET SHOREY bound and gagged inside.)
Grissom: Hello, Margaret. My name is Gil. This is Catherine.
Catherine: We're going to take you home.
[SCENE_BREAK]
[INT. CSI - WAITING ROOM]
(SARA walks in to the main reception area. In the waiting room, a boy holding a football sits alone. He appears to be looking for someone.)
Sara: You look lost.
Jason: Oh... yeah. Do you know Warrick Brown?
Sara: Yeah. You want me to tell him you're here?
Jason: Oh, he's probably working. He works really hard. If you see him could you just tell him that, uh, Jason says thanks?
Sara: Okay. Will he know what for?
Jason: Uh ...
(WARRICK walks in and sees JASON.)
Warrick: Hey, Jas, how you doing?
Jason: Better. Hey, thanks for busting me loose. My mom said she'll pay you back.
WARRICK No, you'll pay me back, Shorty. Just don't be pulling any more fire alarms.
(SARA looks down and puts it all together.)
Jason: Oh, I won't
Warrick: Gets you more attention than you want.
Jason: I know.
Warrick: You still working on those moves I showed you?
Jason: Yeah, every day after school.
(They spar for a moment; SARA smiles.)
Warrick: How about that? How about that right there? Good.
Jason: Hey, I got to go. My mom's waiting for me.
Warrick: Hey, come here.
(WARRICK leans over and puts his hand around JASON'S shoulders to speak confidentially to him.)
Warrick: Apologize to your mom, all right? Let her know she can trust you.
Jason: Yeah.
Warrick: All right?
(SARA definitely overhears it.)
Jason: Bye, Warrick. Uh ... see you next week.
Warrick: See you next week, jaws.
(JASON leaves.)
Sara: So you went to the casino to win bail money.
Warrick: He needed my help. I didn't win anything, Sara. You're a CSI. You saw me enter a casino. Did you see me place a bet?
Sara: You want to tell me you didn't?
Warrick: I don't have to tell you anything. (sighs) Look, I went there to collect a debt that was owed to me. (pause) We're supposed to be working together. Next time, just try talking to me instead of going around behind my back.
(WARRICK turns and leaves. SARA watches him walk down the hallway.)
Plan: A: a supermarket; Q: Where is a woman abducted from? A: Grissom; Q: Who finds a text on a bathroom door that leads him to believe that five women have been murdered? A: personal differences; Q: What do Warrick and Sara have to put aside to investigate the murder of a man? A: a man; Q: Who is the victim of the murder and robbery that Warrick and Sara are investigating? A: his brother; Q: Who found the man who was robbed and murdered? A: the rescue; Q: What does Nick have to come to for Kristy Hopkins? A: Kristy Hopkins; Q: Who does Nick have to rescue when she gets into a scuffle with a hotel security guard? Summary: When a woman is abducted from a supermarket, Grissom finds a text on a bathroom door that leads him to believe that five women have been murdered. Meanwhile Warrick and Sara have to put personal differences aside to investigate the apparent murder and robbery of a man who has been found by his brother. Nick has to come to the rescue of his friend, Kristy Hopkins, again when she gets into a scuffle with a hotel security guard.