[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Cut to: A bullet being loaded into a gun.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Cut to: A second bullet being loaded into the gun.)
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(Cut to: The gun is loaded and closed.
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
Royce Harmon (recorded): (V.O.) My name is Royce Harmon.
[EXT. RESIDENTIAL AREA (STOCK) - NIGHT]
Royce Harmon (recorded): (V.O.) I reside at 7642 Carpenter Street, Las Vegas, Nevada. I am 41 years of age ... ... and I'm going to kill myself.
[SCENE_BREAK]
[INT. HALLWAY -- NIGHT]
(The shadowy figure of a man holding a revolver walks down the darkened hallway.)
Royce Harmon (recorded): (V.O.) I'd like to say "I love you" to my mother Paige and my sister Gina. I'm so sorry. I never wanted to put you through this. I just can't do it anymore.
(The man walks out of the hallway.)
Royce Harmon (recorded): (V.O.) I love you, mom ...
Sound: (recorded) Gunshot.
[SCENE_BREAK]
[EXT. HARMON RESIDENCE - NIGHT]
(Cop cars surround the area. OFFICERS and curious onlookers mill about. The drive way is cordoned off by crime scene tape.
(Sounds of a helicopter flying overhead and a siren flipping on and off is heard.)
(A bronco pulls up and stops on the road.)
(SERGEANT O'RILEY stands next to another OFFICER.)
Sergeant O'Riley: Here comes the "nerd squad".
(JIM BRASS and GRISSOM exit the car.)
Jim Brass: I hate the legwork. I'm telling you, that Deputy Chief job better come in soon. I don't know how much longer I can put up with these damn "public appearances".
(They walk up the front path toward SERGEANT O'RILEY and the OFFICER next to him.)
Gil Grissom: (smiles) Gentlemen ...
Jim Brass: Hey, guys, take a break, huh?
(They head into the house.)
[SCENE_BREAK]
[INT. HARMON RESIDENCE - BATHROOM -- NIGHT]
(GRISSOM steps into the darkened bathroom. He puts his kit down on the toilet and opens it. BRASS lingers in the doorway. GRISSOM takes out and puts on a pair of gloves.)
Jim Brass: Suicide.
Gil Grissom: You think so, huh?
Jim Brass: You got the sleeping bag for easy cleanup, the bathtub to catch the bullet, open window so the stench alerts the neighbors ... god bless him.
(JIM BRASS coughs. He flips the lights on. GRISSOM puts on his glasses to look at the scene.)
Jim Brass: Oh, geez ...
(JIM BRASS clears throat )
(GRISSOM looks around and finds something. He picks it up.)
Gil Grissom: Pupa, stage three.
Jim Brass: English. I'm not an entomologist.
Gil Grissom: It's the third stage of larva metamorphosis. This guy's been dead seven days.
(GRISSOM puts the larva into a specimen container.)
Jim Brass: That's a maggot, and he stinks. Oh, good, it's almost 11:00. Maybe if I'm lucky I can break out of here in time for a shot at the first rack of the Krispy Kreme.
(GRISSOM finds the microcassette tape recorder in ROYCE HARMON'S grip. He picks it up.)
Gil Grissom: I think we may have our suicide note.
[SCENE_BREAK]
[INT. PAIGE HARMON'S RESIDENCE - LATER -- NIGHT]
Royce Harmon: (on tape) I never wanted to put you through this. I just can't do it anymore. I've lost hope. I love you, mom ...
(PAIGE HARMON and her daughter GINA listen to the tape.)
Sound Cue: (on tape) GUNSHOT
(They flinch at the sound.)
Gina Harmon: Oh, my god!
Paige Harmon: Go upstairs, Gina.
(GINA HARMON stands up and leaves.)
Paige Harmon: (to GINA) This can't be happening.
Gil Grissom: We're so sorry about this, Ms. Harmon. I can only imagine how difficult this must be for you.
Paige Harmon: No, you don't understand. This is his picture ... but that's not my son's voice.
HARD CUT TO: END OF TEASER. ROLL TITLE CREDITS
[SCENE_BREAK]
[EXT. CSI - NIGHT]
(A maroon car turns into the driveway. HOLLY GRIBBS parks and exits the car. She grabs her kit and heads into the building.)
[SCENE_BREAK]
[INT. CSI - HALLWAY - NIGHT -- CONTINUOUS]
(HOLLY GRIBBS turns the corner and makes her way down the hallway. She's looking for a particular office.)
[SCENE_BREAK]
[INT. GIL GRISSOM'S OFFICE - NIGHT -- CONTINUOUS]
(The door opens. HOLLY GRIBBS walks into the office.)
Holly Gribbs: Hello?
(She looks around and grimaces at the various items on the shelves. Behind her, GRISSOM walks up to her.)
Gil Grissom: Hi.
(HOLLY is startled. She gasps and turns around.)
Gil Grissom: Sorry. Welcome to Forensics. Gil Grissom. I'm your supervisor on graveyard.
Holly Gribbs: Holly Gribbs.
(They shake hands.)
Holly Gribbs: Nice office.
Gil Grissom: Thanks. (beat) Would you mind taking off your jacket and rolling up your sleeve?
Holly Gribbs: For what?
Gil Grissom: I need a pint of your blood. It's customary for all new hires.
Holly Gribbs: Why?
Gil Grissom: (he chuckles) So many reasons.
(HOLLY takes off her jacket.)
Holly Gribbs: I-I haven't even clocked in yet.
[SCENE_BREAK]
[INT. CSI - HALLWAY - NIGHT]
(NICK takes the "SOLVED" magnet off of the WHITEBOARD and puts it directly in his column: 'NICK' over the block: CRIME #99 "UNIDENTIFIED PERSON". The others blocks in his list include: #100: ASSAULT; #98: DRUNK DRIVING; #97: RAPE; #96: ASSAULT)
(NICK punches the SOLVED magnet proudly with his fist. He smiles.)
Nick Stokes: (under his breath) One more, baby, one more.
(NICK stares at the board proudly. WARRICK turns the corner and puts a hand on NICK'S shoulders. He turns to look at the board, too.)
Warrick Brown: Hey.
Nick Stokes: There he is. What's up?
(WARRICK takes the "SOLVED" magnet off of the WHITEBOARD and puts it directly in his column: "WARRICK" over the block: CRIME #99: ASSAULT. The other block in his list include: #100: ASSAULT and #98: ROBBERY.)
Warrick Brown: Ninety-nine. You and me, dead heat. Next crime solved gets promoted to CSI-3, man.
Nick Stokes: Yeah, yeah, choice of shift, $8,000 raise, extra week vacation-- oh-ho, it's all about Cabo, bro.
Warrick Brown: Twenty bucks, by the end of shift, I'm the man.
Nick Stokes: Is there anything you won't bet on?
Warrick Brown: Nah. It's college football season, man. I won eight of ten this weekend. Kilt 'em. Outside the Huskers and them punk-ass Irish, I'm up about four G's.
Nick Stokes: Hmm, what's the line on us?
Warrick Brown: On us? I'm like tiger,, man -- I'm heavily favored
Nick Stokes: Come on, give me a winner for tomorrow.
Warrick Brown: (sighs) Ah ... green bay, minus seven and a half over niners. Always go with the better quarterback.
Nick Stokes: Uh-huh. Cool.
(WARRICK walks past NICK.)
Nick Stokes: Hey, good luck tonight, man.
(NICK holds out his hand and they shake hands.)
Warrick Brown: Thanks. You, too, Nick. I hope you get that trick and roll. You'll never crack that in a shift, never.
(WARRICK walks away.)
Nick Stokes: (to his retreating back) Yeah, well, we'll see, and I hope the pack wins by seven.
[SCENE_BREAK]
[INT. GRISSOM'S OFFICE - NIGHT - CONTINUOUS]
(GRISSOM opens the refrigerator and puts a bottle inside. HOLLY GRIBBS holds a piece of cotton against the inside of her elbow as she's just given GRISSOM some blood.)
Gil Grissom: We scrutinize the crime scene, collect the evidence recreate what happened without ever having been there.
(GRISSOM closes the refrigerator door and turns around to look at HOLLY.)
Gil Grissom: Pretty cool, actually.
Holly Gribbs: I just got out of the academy -- I already know this.
Gil Grissom: Of course you do. Then if you'll just sign these waivers for personal injury or death while in the line of duty, we can begin our shift.
(GRISSOM hands her a clipboard with the forms and gives her a pen. HOLLY leans over the desk and starts to sign the papers. She gets dizzy and stops.)
Holly Gribbs: Mmm...
Gil Grissom: What's the matter?
Holly Gribbs: Um ... I'm kind of light-headed.
Gil Grissom: Sit down, sit down. You're probably low on blood sugar. I've got just the thing.
(GRISSOM turns around and reaches into the refrigerator. There between the jar with the yellow liquid and the jar with the green sample, he takes out the jar with something black inside.)
(He opens it and offers it to HOLLY.)
Gil Grissom: Here, try one of these.
Holly Gribbs: No offense, but I don't think I want to eat anything that's been in this office.
(GRISSOM pulls the jar away from her and looks at her. HOLLY reaches in the jar and takes one out. She examines it. GRISSOM also takes one.)
Holly Gribbs: Is there a grasshopper in here?
(Looking directly at HOLLY, GRISSOM pops the grasshopper into his mouth and chews. HOLLY grimaces.)
[SCENE_BREAK]
[INT. CSI - CONFERENCE ROOM -- NIGHT]
(Everyone sits at the conference table. BRASS prepares to hand out assignments.)
Jim Brass: When we get some free time, try and catch up on your reports. I'm getting a lot of heat from the sheriff's office. There, I said it. Administration, not my favorite thing. All right, here we go. Nick Stokes, 414, trick roll. Victim found drugged and robbed at the scene.
(NICK winces at the assignment.)
Jim Brass: Warrick Brown, 407, home invasion, forced entry. Person reporting crime fired multiple rounds at the suspect. Suspect's condition is ... (BRASS glances up and sees HOLLY.) ... unknown. Anyone seen Catherine Willows?
[SCENE_BREAK]
[EXT. MINI-VAN (PARKED) -- NIGHT]
(CATHERINE parks the car.)
(Cut to: CATHERINE opens the car sliding door. Inside belted in the back seat is LINDSEY WILLOWS.
Catherine Willows: Okay, give me a kiss. Mommy's got to go catch some bad guys.
(CATHERINE kisses LINDSEY.)
Catherine Willows: (to her sister) I'll pick her up in the morning.
Catherine's Sister: Okay.
Catherine Willows: Bye, sis.
Catherine's Sister: Bye.
Catherine Willows: (yells) I love you!
(The car leaves. CATHERINE stands there for a moment, then rushes into the building.)
[SCENE_BREAK]
[INT. CSI - CAPTAIN BRASS' OFFICE - LATER -- NIGHT]
(JIM BRASS is in his office. HOLLY GRIBBS stands in front of his desk.)
Jim Brass: So your mother is Lieutenant Jane Gribbs from Traffic, is that right?
Holly Gribbs: (smiles) Yes, sir.
Jim Brass: Well, Congratulations, Gribbs.
(GRISSOM is also in the office. He takes a seat at the couch. BRASS holds out her file.)
Jim Brass: You're the fifth person I've been forced to hire. We're the number two crime lab in the country. We solve crimes most labs render unsolvable. Now what makes you think you belong here?
(HOLLY glances at GRISSOM. When it's apparent that he's not going to answer for her, HOLLY turns back to BRASS.)
Holly Gribbs: Sir, with all due respect I thought the key to being a lucid crime scene investigator was to reserve judgment until the evidence vindicates or eliminates assumption.
(BRASS glances at GRISSOM and smiles.)
Holly Gribbs: You're prejudging me. I graduated with honors in criminal justice at UNLV.
Jim Brass: (flippantly) Yeah, so?
Holly Gribbs: That's not fair.
Jim Brass: Fair? Well, you think putting a juiced-in Lieutenant's daughter on this shift is fair? You know, I've been in the field 22 years. I've seen it all. I've seen people like you come and go, and you know what? They don't amount to nothing but headaches and bad press. Dismissed.
(BRASS takes a seat at his desk.)
Holly Gribbs: Fine.
(HOLLY leaves the office.)
Gil Grissom: Think you got through to her?
Jim Brass: You're scheduled to appear at an autopsy at 12:30 A.M.
(GRISSOM stands up.)
Jim Brass: They're cutting up that bozo put a hole in his chest. Take her with. I think every new hire should experience an autopsy on their first night.
(GRISSOM turns to leave the office.)
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
(CATHERINE and WARRICK cross under the crime scene tape and make their way to the front of the house.)
[SCENE_BREAK]
[INT. HOME - SUMMERLIN - FOYER -- NIGHT]
(The front double doors and open wide. Sprawled in the middle of the foyer is the dead body. CATHERINE looks down at it.)
(She looks up and sees the HUSBAND, WIFE and BABY standing in the middle of the living room. She and WARRICK both put their kits down on the ground as they prepare to get to work. CATHERINE looks up at the WIFE holding the BABY.)
Wife: It's okay, shh.
Catherine Willows: Ma'am ... are you all right?
Husband: She's fine. She's just a little shook up is all.
Warrick Brown: Somebody want to tell us what happened here tonight?
Husband: My wife invited her drunk friend to stay here so he could get back on his feet. Two weeks tops, she says. That was six months ago.
(Quick flashback to: The BABY'S screaming. JIMMY, the friend, sits on the couch laughing and watching tv. The HUSBAND walks into the house and picks up the CHILD.)
Husband: Jimmy, Jimmy! Please take your sweaty feet off the head pillow. They stink.
(JIMMY throws the glass on the floor and it breaks.)
(Cut to: The HUSBAND tosses JIMMY out of the house. Cut to: The HUSBAND hands JIMMY his bags. Cut to: The HUSBAND gives JIMMY some money.)
Husband: (to JIMMY) Here's a 20-- twice as much as you came with. Hit the road.
(Cut to: JIMMY pounds on the closed front door.)
Jimmy: Open up!
(JIMMY grabs the door handles and tries to open the locked doors. He screams at the closed door.)
(Cut to: Inside, The HUSBAND loads his gun and stares at the front door. JIMMY continues to scream and pound on the door.)
(Cut to: JIMMY takes a step back and kicks the door open. He walks uninvited into the house. The HUSBAND gets the gun loaded. His WIFE screams.)
(The HUSBAND aims and fires.)
The Husband: Call 911.
(The CHILD cries in the background.)
(End of flashback. Resume to present.)
Husband: That was it. I feared for my wife and my baby. Let's put the baby to bed.
(They head out of the room.)
Catherine Willows: What do you think?
Warrick Brown: Oh, he's lying. That's why I took this job. I can always tell when whitey's talking out his ass. It's a gift.
(CATHERINE puts the camera down and looks at WARRICK. She smiles.)
Catherine Willows: It's also your 100th.
Warrick Brown: Yeah, that, too. So tonight you might say I'm extra suspicious.
(CATHERINE takes a picture of the shoe print on the front door.)
Catherine Willows: Why don't you print that tread and see how good you are?
(CATHERINE hands WARRICK a tape. He takes the shoe print. CATHERINE takes another picture of the door. WARRICK crosses over to the door to computer the two.)
(From the side, the HUSBAND watches.)
Husband: Why are you doing that?
Warrick Brown: It's just procedure, sir. We just want to make sure the shoe on the suspect is the same shoe that kicked down your door.
(CATHERINE looks at the shoes and stops.)
Catherine Willows: Wait ... wait a minute.
Warrick Brown: What's the matter?
Catherine Willows: Sir, after you shot the deceased, did you move re-dress, or alter the body in any way?
Husband: No, why?
Warrick Brown: Talk to me.
Catherine Willows: The left shoe's tied differently. Sir, in the six months that the victim lived with you did you ever wear his shoes?
Husband: No, why would I do that?
Warrick Brown: You willing to sign a statement to that effect?
Husband: Sure.
Catherine Willows: Sir, what happened to your pinkie toe?
(He glances down at the band-aid on his toe.)
Husband: I tripped over a rattle.
(CATHERINE smiles at the thought.)
[SCENE_BREAK]
[INT. CSI - FORENSIC AUTOPSY -- NIGHT]
(DR. KLAUSBACH pulls the sheet back from the body. HOLLY GRIBBS reacts to the smell and puts the mask on to cover her nose and mouth.)
Gil Grissom: You got to breathe through your ears, Gribbs.
Dr. Klausbach: First dead body, Ma'am?
Holly Gribbs: Yes, sir, but I'll be okay. To tell you the truth, he looks fake.
Dr. Klausbach: I hate to put a damper on your night, Grissom but it looks like we got ourselves a homicide after all.
Gil Grissom: You see, if the victim had extended his arms like ... here, I'll show you. Give me your hands.
(HOLLY holds out her hands. GRISSOM grabs them and holds them over the body.)
Gil Grissom: And pushed the trigger with his thumbs, like so ...
Cue Sound: GUNSHOT
(Quick CGI to: Top camera view of the body's chest. The camera plunges downward toward the chest and into the chest. The camera pulls back.)
Gil Grissom: (V.O.) The wound would look like this.
(End of CGI. Resume to present.)
Dr. Klausbach: He's right, honey. This wound's too big. This person was shot from six to seven feet away. It's like somebody stood over him and, bam!
(DR. KLAUSBACH holds his hand over the body as if he's holding a gun with his index finger pointed downward. He 'fires'.)
Cue Sound: GUNSHOT
(Quick CGI to: Top camera view of the body's chest. The camera plunges downward toward the chest and into the chest. The camera pulls back.)
Dr. Klausbach: (V.O.) Criminal homicide.
(End of flashback. Resume to present.)
Dr. Klausbach: Let's see what god would have to say.
(DR. KLAUSBACH starts the Y-incision. HOLLY starts to feel queasy. GRISSOM notices her discomfort.)
Gil Grissom: Are you okay?
Holly Gribbs: I'm sorry, sir. I can't take the smell. Oh, god, restroom?
Dr. Klausbach: (points) Right down the hall to your right.
(HOLLY leaves the room.)
Dr. Klausbach: (to GRISSOM) She is cute.
[SCENE_BREAK]
[HALLWAY]
(HOLLY steps out into the hallway. She desperately looks for the door to the right. She finds it, opens it and enters.)
[INT. CSI - CORONER'S OFFICE - DECOMP AREA -- NIGHT]
(HOLLY shuts the door behind her. It clicks shut. She takes a step forward and throws up in the middle of the floor.)
(She coughs and wipers her mouth.)
(She gets control over herself and straightens. She takes a deep breath and finally realizes where she really is. The room is full of cadavers on gurneys under plastic sheets.)
(HOLLY takes a step toward the door and inadvertently pulls off one of the plastic sheets to the cadaver nearest her. She also realizes that the door is well closed and locked shut.)
CUT BACK TO:
[INT. CSI - FORESNIC AUTOPSY - NIGHT - CONTINUOUS]
(DR. KLAUSBACH continues on with the autopsy with GRISSOM watching. The camera moves a little toward the monitor showing HOLLY in the morgue with the bodies. She's still trying to get the front door open.)
Dr. Klausbach: How soon does the captain want that one out?
(GRISSOM glances at his watch.)
Gil Grissom: Eight hours.
[SCENE_BREAK]
[INT. CSI - CORONER'S OFFICE - DECOMP AREA - NIGHT -- CONTINUOUS]
(HOLLY continues to try to get the door open. She's not successful. She turns around and finally sees the uncovered decomposing body on the gurney.)
(She gasps.)
(She turns around and starts pounding on the locked door.
Holly Gribbs: (screaming) Help! Help me!
(She pounds on the door.)
(Cut to: GRISSOM opens the door for her. She rushes out of the room and grabs his arm pulling him into the hallway.)
Holly Gribbs: (gasping) There were bodies. I could feel them breathing. Oh, god!
(GRISSOM puts his arms around HOLLY and holds her.)
Gil Grissom: It's okay, Holly, it's all right.
(He turns around and yells through the glass in the door to the decomposing dead bodies on the gurneys inside.)
Gil Grissom: (muffled) You assholes!!
(He turns back to HOLLY. She smiles at the gesture.)
Gil Grissom: There.
FADE TO BLACK
[SCENE_BREAK]
[EXT. LAS VEGAS CITY (STOCK) - NIGHT]
[SCENE_BREAK]
[INT. DOWNTOWN HOTEL - CORRIDOR -- NIGHT]
(NICK walks down the hallway. He meets up with the HOTEL SECURITY GUARD.)
Nick Stokes: What's up, fellas? We got a call about a trick roll.
Hotel Security Guard: Right there. Room 1413.
(The GUARDS leave. NICK turns to look for ROOM 1413.)
[SCENE_BREAK]
[INT. HOTEL - ROOM 1413 - NIGHT -- CONTINUOUS]
(Inside the room, OFFICERS finish taking the statement of the man sitting on the bed in his underwear. As they walk out, NICK STOKES walks in.)
Nick Stokes: (to the OFFICERS) Hey.
(NICK walks into the room.)
Nick Stokes: Mr. Laferty?
Mr. Laferty: Well, what's left of him, anyway.
(NICK puts his bag down and takes off his jacket.)
Nick Stokes: I'm Nick Stokes, with criminalistics. You mind if I ask you a few questions?
Mr. Laferty: She got everything -- my wallet, my id ... hell, she even got my wedding ring.
Nick Stokes: Did you two have a nightcap? You think she could've slipped you something?
(NICK pulls up a chair and sits down.)
Mr. Laferty: Nah, I can't drink. I got this bum ticker. Look, officer, I ...
Nick Stokes: Nick. You can call me nick.
Mr. Laferty: Nick, I ... I love my wife. We've been married 31 years now. I've never cheated on her before. I come into town for this convention and I'm setting in the lounge minding my own business, when this ... sweet-smelling brunette came up to me and ... next thing I know, she's nibbling on my earlobe and ...
(Quick flashback to: MR. LAFERTY with the BRUNETTE on his arm. They're laughing.)
(Cut to: The BRUNETTE in her underwear comes out of the bathroom. MR. LAFERTY is sitting on the bed in his underwear.)
Mr. Laferty: Well, my goodness. Look at you.
(The BRUNETTE stands in front of him and takes off her top. He starts to nuzzle her breast. She waits.)
(End of flashback. Resume to present.)
Mr. Laferty: For a second there, I thought I was your age again.
Nick Stokes: We've been seeing more and more of these the past 48 hours. Let's take a look. Open your eyes wide for me. Sunny side up.
(NICK takes out his flashlight and checks MR. LAFERTY'S eyes.)
Nick Stokes: Now say "ah."
(MR. LAFERTY opens his mouth and says, "ah".)
Mr. Laferty: Ah.
Nick Stokes: Was she hot?
(Mouth open, MR. LAFERTY gives a chuckle and moans at the memory.)
Nick Stokes: Attaboy.
(NICK sits back.)
Nick Stokes: Mr. Laferty, your eyes look okay but I notice some discoloration around the inside of your lips. Have you always had that?
(MR. LAFERTY cranes his neck to look at his lips in the mirror behind NICK.)
Mr. Laferty: No. What the hell is that?
Nick Stokes: I'll swab your gums see if we can find out what made you pass out.
[SCENE_BREAK]
[EXT. JUNK'S LIQUOR STORE (STOCK) - NIGHT]
(The pathfinder pulls up to the front of the liquor store.)
[SCENE_BREAK]
[INT. PATHFINDER - NIGHT -- CONTINUOUS]
(GRISSOM stops the car.)
Gil Grissom: You know, my first robbery solved was a store like this. When we caught the guy, the owner was so happy that he gave me a dozen farm fresh eggs out of his cooler.
Holly Gribbs: You're trying to cheer me up, aren't you?
Gil Grissom: Yes, I am. How am I doing?
Holly Gribbs: Pretty good.
Gil Grissom: Good. Okay, look, this was a routine robbery. Dust for prints, check the videotape take lots of fun photos. I'll be back in about an hour to pick you up.
Holly Gribbs: Okay.
(HOLLY gets out of the car.)
Gil Grissom: If you get done early use channel seven on your walkie.
(GRISSOM pulls out of the parking lot. HOLLY heads inside the liquor store.)
[SCENE_BREAK]
[INT. CSI -- LAB]
(BOE WILSON walks into the lab. WARRICK is at the table looking through a scope.)
Boe Wilson: What's up?
Warrick Brown: Hey, rookie. Hair fibers from the home invasion. Take a look.
(WARRICK stands up and move aside. BOE WILSON sits down and looks through the scope.)
Warrick Brown: Tell me what you see.
SCOPE VIEW: CAMERA VIEW of the hair follicles.
Boe Wilson: I see a lot of things.
Warrick Brown: Look at the end of the follicles.
SCOPE VIEW: ENHANCED CAMERA VIEW of the hair follicles.
Boe Wilson: Oh, yeah, you know, I see, like little tiny seeds or sacs or something.
Warrick Brown: That's pulp when the human hair is yanked out like this.
(WARRICK reaches up and pulls out a strand of BOE WILSON'S hair.)
Boe Wilson: Ow! Damn, man.
(WARRICK shoes the hair end to BOE.)
Warrick Brown: Look, you see the seeds?
(Camera zooms in for a close up of the hair follicle. Resume view.)
Warrick Brown: Hair only comes out in that form when it's yanked or pulled signifying a struggle.
(Something occurs to WARRICK. He puts it down and moves toward the front door.)
Warrick Brown: You know what? I got to go. Tell Grissom, when he gets back I went to homicide to do a follow-up on the husband. Peace.
Boe Wilson: Yeah.
[SCENE_BREAK]
[INT. JUNK'S (CONVENIENCE STORE) -- NIGHT]
(HOLLY GRIBBS dusts for fingerprints. Behind her the owner of the liquor store appears and starts yelling for her to hurry up.)
Liquor Store Owner: Now, how long is this gonna take? I'm losing business because of you.
Holly Gribbs: Ma'am, I told you, if you let them in it will contaminate the scene.
Liquor Store Owner: Oh, contaminate, my ass! What the hell difference does it make? You ain't gonna catch 'em. You never do.
(HOLLY continues to dust for prints.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(WARRICK interviews the HUSBAND.)
Warrick: Sir, I'm on your side. I just want to clear you.
Husband: Then clear me. I already told you everything.
Warrick: I understand that. But the evidence is telling us something different. So I'm going to ask you again, just one more time -- before you shot the deceased did a struggle ensue?
(Quick flashback to: A woman screams. The HUSBAND holds the gun up. JIMMY continues to advance forward toward him.)
Husband: I've got a gun.
(JIMMY grabs the HUSBAND. The two fight. In the struggle, JIMMY'S shoes come off.)
Wife: What are you doing?
(JIMMY throws THE HUSBAND to the floor. JIMMY advances toward them again. THE HUSBAND stands up and fires. THE WIFE shrieks.)
Husband: Call 911.
(When the WIFE goes to call 911, THE HUSBAND looks at the body and notices that the shoes are off. He puts the gun down and puts the shoes back on JIMMY.)
(In the background, a CHILD cries.)
(End of flashback. Resume to present.)
Husband: I must've tied the laces wrong. I'm sorry, I ... I know I should've told you earlier but ... I was nervous. I mean ... I took a man's life here. You don't believe me, do you?
[SCENE_BREAK]
[INT. JUNK'S (CONVENIENCE STORE) -- NIGHT]
(HOLLY is in the store on her walkie-talkie.)
Holly Gribbs: This is Holly Gribbs requesting backup at Junk's on West Owens, over.
Catherine Willows: (over receiver) This is Catherine Willows. Are you in danger?
Holly Gribbs: Uh, we're getting there.
(In front of HOLLY, the LIQUOR STORE OWNER holds a gun on her.)
Liquor Store Owner: (screaming) This is my popsicle stand -- I'll defend it to the hilt if I have to!
[SCENE_BREAK]
[INT. CSI - DNA LAB --NIGHT]
(GREG takes NICK'S swab and processes it.)
Greg Sanders: So, this is it, huh? The $8,000 q-tip.
Nick Stokes: Well, you're the chemist. I just need to know what knocked the old man out.
Greg Sanders: In 20 seconds, this'll give us a complete chemical breakdown right down to the atom. But I'm going to warn you, though. These mouth swabs don't always read. Vaginal swabs, no problem. a**l swabs-- money.
Nick Stokes: a**l swabs?
Greg Sanders: a**l swabs.
(NICK sits down in the nearest chair.)
Nick Stokes: Ouch.
(GREG runs the machine and takes a seat next to NICK.)
Nick Stokes: Dude, you get NFL-2K for Dreamcast?
Greg Sanders: Yeah. Bought it the day it came out. Those graphics are killer, aren't they? My team's the Falcons. Who do you use?
Nick Stokes: Randy Moss.
(The machine whirs and beeps. GREG takes the results and reads it.)
Nick Stokes: It didn't take, did it?
Greg Sanders: A hint of saliva; some denture adhesive ... that's it.
(GREG hands the swab back to NICK.)
Greg Sanders: Sorry, man.
[SCENE_BREAK]
[INT. JUNK'S (CONVENIENCE STORE) -- NIGHT]
(CATHERINE opens the front door with her gun drawn.)
Catherine Willows: All right, put the gun down.
Liquor Store Owner: What? We're getting robbed again now?
(She puts the gun down on the open cash register. She puts her arms up.)
Catherine Willows: Everything okay here?
Holly Gribbs: Yes, ma'am.
(CATHERINE takes the gun from the cash register and gives it to HOLLY.)
Catherine Willows: (to radio) Control, Junk's is a code four.
Officer: (from radio) Copy that.
Catherine Willows: You the new girl?
Holly Gribbs: Yeah. Hi, I'm Holly Gribbs.
Catherine Willows: Thanks. I'm Catherine Willows.
Liquor Store Owner: And I'm Lesley Stahl. Look, let's forget the formalities. Which one of you people's gonna clean my counter here?
Catherine Willows: Let me tell you something, Lady -- if you don't care about catching the suspect neither do we. We're out of here. You can pick your gun up tomorrow.
(CATHERINE turns and heads back out the front door. HOLLY follows her.)
Holly Gribbs: (to CATHERINE) You can do that?
Catherine Willows: (scoffs) No.
(The LIQUOR STORE OWNER shoves the cash register drawer closed. She looks at her hand.)
Liquor Store Owner: Ow!
[SCENE_BREAK]
[INT. CSI -- LAB]
(GRISSOM swings the golf club directly down on the head of the gummy on the shelf. The blood attached to the head bursts upon impact leaving spatter against the paper hanging against the wall. GRISSOM kneels to look at the spatter.)
Warrick Brown: Damn!
Gil Grissom: Blunt force trauma case. Bermuda hills country club. Pregnant wife caught her husband in bed with another girl. What do you think? Malicious intent?
Warrick Brown: Little bit, yeah.
(GRISSOM takes a picture of the spatter.)
Warrick Brown: How's it coming?
Gil Grissom: It's coming.
Warrick Brown: Whose blood is that?
Gil Grissom: The new girl's. Would you like to donate?
Warrick Brown: Hell, no.
(GRISSOM takes the record book and sits down behind his desk. He logs into the book.)
Gil Grissom: How'd the follow-up go with the husband? Boe tells me you were onto something.
Warrick Brown: The story's changed a bit. Now he says there was a struggle. Said he stepped on his shoe while they were fighting.
Gil Grissom: You believe him?
Warrick Brown: At first, no but now ... hell, I don't know what to think.
Gil Grissom: You ever see the movie "The Exorcist"?
Warrick Brown: Yeah.
Gil Grissom: The old priest and Father Karras are about to exorcise the demon. Father Karras explains that he's recorded the little girl's voice and he's broken down the spirit into three distinct personalities. But the old priest quickly corrects him -- "there is only one."
(beat)
Gil Grissom: Forget about the husband, Warrick. Forget about the assumptions. Forget about your promotion. These things will only confuse you. Concentrate on what cannot lie -- the evidence. Follow ... the reason we're having this conversation.
Warrick Brown: (nods) Follow the shoe.
[SCENE_BREAK]
[INT. CSI - EVIDENCE ROOM -- NIGHT]
(WARRICK opens the evidence package and takes out the shoe.)
(He sits down and examines the shoe. After several dissolves, WARRICK opens the lip of the shoe and looks inside. He finds something.)
Warrick Brown: Well, I'll be damned.
(He tips the shoe over and a piece of toe nail falls out onto the table. He picks it up.)
Warrick Brown: Tripped over a rattle, my ass.
[SCENE_BREAK]
[INT. CSI - PRINT LAB]
(CHARLOTTE, the PRINT LAB Tech, places the tape recorder under the special light, a visible print can be seen.)
Charlotte: Remember this from your suicide case? Minute I pulled it, I knew something wasn't right.
(GRISSOM leans in to look at the recorder.)
Charlotte: The impression's perfect -- maybe too perfect.
(She takes the recorder and puts it under the scope for a better view of the print.)
Charlotte: Take a gander.
(CHARLOTTE steps back and lets GRISSOM look through the scope.)
SCOPE VIEW of the print with red dots on it.
Gil Grissom: What are those red particles?
Charlotte: Latex flakes.
(GRISSOM looks at CHARLOTTE.)
Gil Grissom: From what?
Charlotte: Protective gloves, maybe but the way I figure it, this son of a bitch is smart -- probably planted the damn prints. So on a hunch, I chemically tested the flakes. Guess what it was laced with?
(GRISSOM shrugs.)
Charlotte: Lecithin.
Gil Grissom: That chemical's found in cooking spray isn't it?
(CHARLOTTE nods.)
Gil Grissom: (ponders) If latex rubber and cooking spray went on a blind date, how would the night end?
Charlotte: A lot better than ours did.
Gil Grissom: I know, Pink Floyd's not your thing.
Charlotte: I have on cowboy boots. I work in a lab. What makes you think "Dark Side of the Moon" synched to the Wizard of Oz is going to warm my damn barn?
Gil Grissom: I just thought it'd be something different.
Charlotte: You want to be different? Pin me up against a wall; lay one on me like you mean it.
(CHARLOTTE gets up and walks past GRISSOM.)
Charlotte: You're slacking, pal.
(She sits down in front of the computer database. The computer beeps and starts running through print comparisons.)
Gil Grissom: How long till we get a hit?
Charlotte: It could be four minutes, could be four days but you can bet your ass she'll give you something. She always does.
Gil Grissom: "Pin you against a wall?"
(GRISSOM casts CHARLOTTE a sideways glance.)
[SCENE_BREAK]
[INT. COFFEE SHOP/DINER -- NIGHT]
(CATHERINE WILLOWS and HOLLY GRIBBS sit at a table.)
Holly Gribbs: Look, um, I got to be honest. This isn't me. I was pushed into it by my mom. She's a Lieutenant in Traffic. She's never going to get out of traffic so, um, I'm fulfilling her dreams, not mine.
Catherine Willows: I can sit here and I can baby you and I can tell you to quit but I'm not going to do that, because I really love my job. We're just a bunch of kids that are getting paid to work on puzzles. Sometimes there's a piece that's missing. Sometimes we solve it in one night.
Holly Gribbs: So you think I should stick with it?
Catherine Willows: Stick with it? The cops? Forget it. They wouldn't know fingerprints from paw prints and the detectives ... chase the lie. We solve. We restore peace of mind and when you're a victim, that's everything. Stick with it. At least until you solve your first and if after that you don't feel like King Kong on cocaine ... then you can quit, but if you stay with it my hand to god, you will never regret it.
Dispatcher: (over radio) Catherine Willows, cut your lunch short. You got a
Catherine Willows: (to radio) Copy.
[SCENE_BREAK]
[INT. CSI - CAPTAIN BRASS' OFFICE -- NIGHT]
(WARRICK BROWN stands in front of JIM BRASS' desk.)
Jim Brass: If you want me to call Judge Cohen at 4:00 in the morning you'd better bring me something more than a damn toenail.
Warrick Brown: Captain, you've got to make that call. If you don't, he'll walk.
Jim Brass: And what do you got? Hair fibers. Big deal. So there was a struggle. I mean, who gives a corn cob? The guy was protecting his wife and kid.
Warrick Brown: I've got the toenail. If I can get a warrant and match the husband's shaving to his toe I can prove that the suspect's foot was inside the victim's shoe. That alone will establish it was murder.
Jim Brass: The guy lived there, Warrick! Maybe he put on the victim's sneaker and fetched the paper one morning.
Warrick Brown: I have a sworn statement stating he never wore the victim's shoe.
Jim Brass: You don't even know the toenail was the vic's.
Warrick Brown: It can't be the vic's. He was wearing socks.
Jim Brass: Not good enough.
Warrick Brown: Not good enough?
(BRASS rises from his chair.)
Jim Brass: Look, I said no, Brown, damn it!
(The phone rings. WARRICK turns to leave the office BRASS stops him.)
Jim Brass: Hey, we're not done, Warrick. You stay right there.
(BRASS answers the phone.)
Jim Brass: Criminalistics, Brass.
Gil Grissom: (from phone) We've got a name on the suicide case, sir. He's local.
(BRASS looks at WARRICK. They make eye contact and BRASS smirks.)
Jim Brass: He's local, good. I'll phone the judge for a warrant.
(WARRICK gapes at hearing that. BRASS hangs up. Having gotten the response he wanted from WARRICK, BRASS dismisses him.)
Jim Brass: Hey, Warrick, I guess we're all done now. Hey, do you mind closing the door behind you? I got to make an important call.
(WARRICK storms angrily out of the office. He shuts the door behind him.)
Jim Brass: We'll talk about your little foot fetish later.
(BRASS picks up the phone.)
Jim Brass: (to phone) Judge Cohen, please ...
[SCENE_BREAK]
[EXT. STREET NIGHT]
(OFFICERS surround a damaged vehicle that crashed into the sidewalk in front of a hotel. NICK STOKES walks up to the OFFICERS.)
Officer Smith: A white female, mid-20s. Said she passed out behind the wheel. Thought you might want to check it out.
Nick Stokes: (to OFFICER SMITH) All right. Thanks, brother.
(NICK continues toward the car. He puts his bag down and approaches the driver's window. Inside a groggy woman with a cut on her forehead looks at him.)
Nick Stokes: Hi. Nick Stokes, criminalistics. Mind if I take a look?
(NICK leans in through the open car window.)
Kristy Hopkins: (moans) I don't know what happened. I remember this song that was playing on the radio. I just don't remember passing out.
(NICK raises hi flashlight.)
Nick Stokes: Say "ahhh..."
(She's taken aback by the request.)
Kristy Hopkins: What?
Nick Stokes: You know, ahhh ... (he opens his own mouth) ... ah ... ?
(She laughs. She leans forward, opens her mouth and says "ahh".)
Kristy Hopkins: Ahhh ...
(NICK checks it out.)
Nick Stokes: No discoloration. (She shakes her head.) I don't see anything criminal here.
(NICK straightens and speaks to OFFICER SMITH standing out of camera frame. He points to his forehead.)
Nick Stokes: Take her to the hospital have her checked out.
[SCENE_BREAK]
[EXT. JUDGE COHEN'S RESIDENCE -- NIGHT]
(Sitting inside his car outside JUDGE COHEN'S residence, WARRICK stares at the mansion and sighs.)
Warrick Brown: (mutters) Well, might as well roll the dice; take that ass-whooping.
(He opens the car door and gets out of the car.)
(Behind him, an OFFICER car pulls up the driveway. He siren flicks on and off. WARRICK groans and turns around slowly.)
(The OFFICER car stops. OFFICER ARVINGTON gets out of the car, stands behind the open car door with his gun drawn.)
Officer Arvington: Police! Put your hands on top of your head and walk backwards towards me.
(WARRICK complies.)
Warrick Brown: I'm ID. Check the badge. I'm from Criminalistics.
Officer Arvington: Keep your mouth shut and follow my instructions.
(In front of WARRICK, the front door opens. JUDGE COHEN walks outside.)
Officer Arvington: Now get down on your knees.
Warrick Brown: I'm not getting down on my knees for anybody. You can shoot me.
Officer Arvington: I said get down on your knees!
Judge Cohen: Hey! What the hell are you doing? That's Warrick Brown from ID. Put those guns away.
Officer Arvington: Sorry, Judge, we got a call from a neighbor about a black man outside your house. We responded.
Judge Cohen: All right, you caught him. Congratulations. Clear out of here before you wake the neighbors.
Officer Arvington: Yes, sir. (to radio) Dispatch, please be advised Judge Cohen's residence, a code 4: False alarm.
(WARRICK turns to look at the JUDGE.)
Judge Cohen: Brown, what the hell are you doing?
Warrick Brown: I'm sorry, Judge. Captain Brass wouldn't call you for a search warrant. I got a whopper on the line with a 100-pound test.
Judge Cohen: You got a winner for me?
(WARRICK laughs.)
Judge Cohen: I'll make it worth your while, you give me a name.
Warrick Brown: Favre.
Judge Cohen: Oh, I knew it. Listen, kid, I'll make a deal with you. You put $5,000 down on the Pack for me I'll give you a blank warrant. All I ask is that you have the ticket in my chambers before kickoff. You do that, I'll square it with your Captain.
Warrick Brown: No problem, Judge.
(They shake hands.)
[SCENE_BREAK]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(PAUL MILLANDER looks at the photo.)
Paul Millander: A staged suicide?. You're kidding, right? I swear on my kids I've never seen that man before in my life.
Sergeant O'Riley: Then how the hell did your fingerprints wind up at the scene? We talked to the family. The deceased didn't even know any Paul Millander's.
(The door opens.)
Gil Grissom: Oh, I ... hi, Sergeant. Would you mind if I, uh ... ?
Sergeant O'Riley: Oh, you want a whack at him, Grissom be my guest.
(GRISSOM holds out his hand.)
Gil Grissom: Hi, Mr. Millander. (They shake hands.) My name's Gil Grissom. (GRISSOM sits down.) I work in Criminalistics. May I ask you a few questions?
Paul Millander: Sure.
Gil Grissom: Do you have any hobbies? Make model airplanes, make toys wind chimes for the backyard, that sort of thing?
Paul Millander: No, why?
Gil Grissom: Well, we found some particles of latex on your thumbprint. Would you have any reason to have access to that particular substance?
Paul Millander: Well, yeah. Yeah, sure. At-at my job.
[SCENE_BREAK]
[INT. HOLLOWEIRD -- NIGHT]
(The front door opens in the HOLLOWEIRD Warehouse. GRISSOM, PAUL MILLANDER and SGT. O'RILEY walk inside.)
Gil Grissom: Wow, you made all these?
Paul Millander: Yes, sir, everything from scratch. We mold, carve, shape, paint and authenticate.
Gil Grissom: Excellent work. These seem very real.
Paul Millander: Thanks.
Gil Grissom: You ever make any rubber hands?
Paul Millander: Sure, we do, uh ...
(PAUL MILLANDER looks around, then takes out a box from under the shelf. He pulls out a latex severed hand and gives it to GRISSOM.)
Paul Millander: (proudly) This is our best seller right here. Sold 10,000 of those units last Halloween. Even used my own hand for the mold.
Gil Grissom: These are your prints.
Paul Millander: Yeah, why? What does that mean?
Gil Grissom: It means you're free to go. He's not the guy.
Sergeant O'Riley: Grissom, are you sure?
(GRISSOM looks at the latex hand.)
Gil Grissom: This explains the latex and the lecithin.
(Quick flashback to: The latex hand. Cooking spray is sprayed onto the fingertips.)
Gil Grissom: (V.O.) You need oil to make a print.
(End of flashback. Resume to present.)
Gil Grissom: Anyone who purchased one of these hands could be the killer ... (realizes) ... and what's worse, he's proficient in forensics.
HARD CUT TO BLACK.
[SCENE_BREAK]
[INT. HOSPITAL - HALLWAY -- MORNING]
(NICK turns the corner and catches up with DR. LEEVER. They walk down the hallway together.)
Nick Stokes: Hey, Dr. Leever!
Dr. Leever: Hey, what's up, man?
Nick Stokes: I got your page.
Dr. Leever: Have you had any trick rolls lately?
Nick Stokes: A ton of 'em. Why?
Dr. Leever: I've had six pros come through the ER in the past two nights all with two distinct similarities. Every girl has been mysteriously knocked unconscious and we found some skin discoloration.
(This stops NICK.)
Nick Stokes: Whoa. whoa. Skin discoloration?
(He turns to look at DR. LEEVER.)
Nick Stokes: Where? Their lips?
Dr. Leever: No, their nipples.
[SCENE_BREAK]
[INT. HOSPITAL - EXAM ROOM - MORNING -- CONTINUOUS]
(The curtain is pushed aside. KRISTY HOPKINS sits on the exam table. She looks up and sees NICK.)
Nick Stokes: We meet again ... may I see your discoloration?
Kristy Hopkins: You wanna give me 20 bucks?
Nick Stokes: You wanna do time?
(KRISTY HOPKINS looks at NICK and rolls her eyes. She pulls down her dressing gown. NICK pulls the curtain a little closer, then leans in to examine her skin discoloration. When he's through, he looks at her and nods.)
Nick Stokes: You know, I just came from a trick roll downtown. The victim's mouth had similar blotching. Chances are, whatever he ingested orally you absorbed through your nipples knocking you both out. So I'll give you a choice. You give back the old man his belongings, you tell me what you girls are using and I won't have you charged with attempted murder.
(She looks at him, surprised.)
Nick Stokes: Which is it?
(She rolls her eyes and sighs. She reaches into her bag, pulls out a small bottle and hands it to NICK.)
Nick Stokes: Eyedrops?
[SCENE_BREAK]
[INT. CSI - CHEMICAL ANALYSIS DEPARTMENT -- MORNING]
(GREG holds up the eye drop bottle and explains it to NICK.)
Greg Sanders: No, it's scopolamine. It's a chemical used for motion sickness. This eyedrop bottle's a front. One drop of this stuff and she's out cold.
(NICK straightens and smiles.)
(Quick flashback to: In the hotel room, KRISTY HOPKINS adjusts her bra.)
(Cut to: KRISTY HOPKINS stands in front of the bathroom mirror and takes out the eyedrop bottle. She applies the scopolamine to herself.)
(Cut to: Back in the bedroom, she meets with MR. LAFERTY. He admires her. She takes off her bra and he starts to nuzzle her breasts. She waits and it takes a short moment, but he passes out onto the bed.)
(Cut to: While MR. LAFERTY is out cold, KRISTY HOPKINS takes his money and things. She also takes his wedding ring. She pats him on the cheek, then leaves.)
(Cut to: A car driving down the Las Vegas Strip. Inside the car, KRISTY HOPKINS drives. She starts getting woozy, then passes out.)
(End of flashback. Resume to present.)
(NICK smiles and covers his face with his hands. He groans, thrilled to have solved the case.)
[SCENE_BREAK]
[INT. PAIGE HARMON'S RESIDENCE - FOYER -- MORNING]
(GRISSOM stands in front of PAIGE HARMON and GINA HARMON.)
Gil Grissom: We're ruling out suicide. The evidence leads us to believe that it was in fact a homicide.
(PAIGE HARMON closes her eyes for a moment. GINA stands behind her, holding back her tears.)
Paige Harmon: Then he was murdered?
Gil Grissom: I believe so.
(PAIGE HARMON sits down.)
Paige Harmon: You know ... this may sound funny but I feel better knowing that he didn't take his own life. To me that would never sit right. He was such a good man ...
Gil Grissom: We'll find him, Ms. Harmon. I promise you. There is always a clue. I'll find it.
[SCENE_BREAK]
[INT HOSPITAL - HALLWAY -- MORNING]
(CATHERINE turns into the hospital hallway. She sees a NURSE walking toward her.)
(In the background, a phone rings.)
Catherine Willows: Nurse, excuse me. I'm Catherine Willows from Criminalistics and I'm here for the 428.
[SCENE_BREAK]
[INT. HOSPITAL - ROOM - MORNING -- CONTINUOUS]
(The door opens. CATHERINE walks into a child's examination room. Sitting on the edge of the bed is a little brown-haired girl holding a doll. The girl buries her face in the doll and doesn't look up when CATHERINE walks in.)
Catherine Willows: Hi, Laura.
(LAURA SCOTT looks up. CATHERINE moves to sit on the other bed, facing LAURA. She puts her kit down next to her.)
Catherine Willows: I'm Catherine. (smiles) How you doin', kiddo?
(LAURA sees CATHERINE'S things and points to it.)
Laura Scott: What's that?
Catherine Willows: Well, that is a camera. I'm gonna take a few photographs. Before I do that, though, could you do me a favor?
(CATHERINE opens the folder she's carrying. Inside there's a Las Vegas Metropolitan Police Department: Sexual Assault Report form.)
Catherine Willows: Could you take a look at this drawing and point out to me ... where he touched you?
(CATHERINE holds out the form for LAURA SCOTT to look at. The little girl looks at the drawing on the form, turns her head and pulls back, not wanting to see it.)
Catherine Willows: Can you just show me?
(LAURA SCOTT points to the drawing on the form. CATHERINE takes the form and starts to work on it.)
Laura Scott: Can you hold my dolly for me?
(CATHERINE looks at LAURA. She puts the folder aside and reaches for the doll.)
Catherine Willows: (smiles) I'd love to.
Laura Scott: Not just hold her. Take her away to your house.
Catherine Willows: To my house? Why?
Laura Scott: Because I don't want the same thing that happened to me to happen to dolly.
(CATHERINE looks down at the doll. She lifts up the dress and sees that the doll has no underwear. CATHERINE flinches. She reaches out for LAURA.)
Catherine Willows: It's okay.
(LAURA flinches and pulls away. CATHERINE pulls back.)
Catherine Willows: It's gonna be okay, sweetheart.
[SCENE_BREAK]
[INT. CSI -- BRASS' OFFICE - MORNING]]
(BRASS is in his office with WARRICK.)
Jim Brass: (angry) You're off the case.
Warrick Brown: What? Why?
Jim Brass: Why? You deliberately went over my head, Brown. The phone call from the judge saved your job, but not your ass! I want you shadowing Gribbs. A robbery just came in.
Warrick Brown: Captain. You can't do that. Me and Nick are tied!
Jim Brass: Tough! Grissom!
(From the hallway, GRISSOM looks up.)
Jim Brass: Have Warrick shadow Gribbs for the next three weeks or until Nickie makes his hundredth, whatever comes first.
(WARRICK takes a step forward and puts his finger in BRASS' face.)
Warrick Brown: I hate your ass, you know that? People walk every day because of you-- every day!
(GRISSOM grabs WARRICK and pulls him out of the office.)
Gil Grissom: That's enough, Warrick. Let's go!
[SCENE_BREAK]
[INT. CSI - HALLWAY - MORNING -- CONTINUOUS]
(WARRICK storms out into the hallway madder than heck. He turns around to look at GRISSOM.)
Warrick Brown: Damn it, Gris. I had his ass too!
Gil Grissom: Yes, you had him and the minute you started thinking about yourself instead of the case, you lost him. There is no room for subjectivity in this department, Warrick. You know that. We handle each case objectively without presupposition regardless of race, color, creed, or bubble gum flavor.
(GRISSOM stares at WARRICK. He puts a hand on his shoulder for emphasis.)
Gil Grissom: Okay?
(WARRICK nods. GRISSOM turns and heads back into his office.)
(After a moment, WARRICK turns around and sees HOLLY GRIBBS standing at the edge of the hallway with her kit and things.)
(WARRICK calms down a bit, then walks toward HOLLY.)
Warrick Brown: Let's go.
(They turn to head out.)
[SCENE_BREAK]
[INT. PATHFINDER (MOVING) -- MORNING]
(The Pathfinder turns the corner and stops in front of the MLK apartments.)
Holly Gribbs: Sorry you gotta baby-sit.
(HOLLY takes off her seat belt.)
Warrick Brown: Yeah, I'm sorry too. (to walkie-talkie) Control, p-4442 arrive.
Control: (from radio) Copy that.
Warrick: Okay, go inside. Dust for prints. Make sure you take plenty of photographs ...
Holly Gribbs: photographs. Be thorough. Don't worry. I got the same speech from Mr. Grissom.
Warrick Brown: Good. Look, I gotta run an errand. You'll be okay on your own?
Holly Gribbs: You kidding? I'm fired up, ready to go. (She nods to the officer car parked nearby.) Besides, there's an officer here.
(HOLLY opens the door and leaves the car. WARRICK starts the car and drives off. HOLLY looks at the apartment building, takes a deep breath and heads toward it.)
Cue Sound: (PRELAP) KNOCKING
[SCENE_BREAK]
[INT. RESIDENCE - SUMMERLIN - FRONT PORCH -- MORNING]
(The door opens and GRISSOM is standing there.)
Gil Grissom: Morning. Gil Grissom, forensics. I'm taking over the case for Warrick Brown. Mind if I come in?
Husband: (sighs) How can I help you?
Gil Grissom: I need to give you a pedicure.
Husband: Come again?
(GRISSOM holds up the warrant.)
Gil Grissom: I have a warrant for your toenails.
[LIVING ROOM - CONTINUOUS]
(The HUSBAND walks into the living room holding the warrant.)
Husband: A warrant? What? Am I a suspect? I already gave you a sworn statement.
Gil Grissom: A statement's just a public record of your version. We still need proof.
(Behind him, the WIFE appears in the living room securing the tie on her robe. The HUSBAND turns and glances back at her.
Husband: Well, I'd love to help you, but I already cut them.
Gil Grissom: May I see where you discarded the clippings?
Husband: I flushed them down the toilet.
Gil Grissom: May I see your toilet?
[SCENE_BREAK]
[BATHROOM]
(The bathroom door opens. GRISSOM turns on the light. He walks inside and looks down at the toilet. He lifts the seat and kneels down to examine it closer. GRISSOM stands up again.)
Gil Grissom: I'll be right back.
(GRISSOM walks out of the bathroom, past the HUSBAND.)
SHORT TIME CUT TO:
(GRISSOM turns the bathroom light off. He puts the ALS down on the bathroom floor. He turns it on and puts on his goggles.)
(Standing in the doorway behind him, the HUSBAND watches.)
(GRISSOM glances around at him.)
Gil Grissom: Excuse me.
(He shuts the bathroom door. He kneels down and gets to work. He uses the ALS and scours the floor around the toilet looking for a stray nail clipping. He finds it and picks it up.)
[SCENE_BREAK]
[EXT. CATHERINE'S SISTER'S HOUSE -- MORNING]
(CATHERINE pulls up in the driveway in her SUV. She gets out of the car and talks into the radio.)
Catherine Willows: (to radio) Control, this is p-3901. I'm going to be on break for about fifteen minutes.
[SCENE_BREAK]
[INT. CATHERINE'S SISTER'S HOUSE - BEDROOM -- MORNING]
(LINDSEY WILLOWS slowly sits up in bed. She rubs her eyes.)
Lindsey Willows: Mommy?
(In the bedroom doorway, CATHERINE smiles at her daughter.)
Catherine Willows: Shh.
(CATHERINE walks into the bedroom.)
Catherine Willows: (whispers) We don't want to wake up Jeremy.
(CATHERINE kneels in front of her daughter's bed.)
Lindsey Willows: Mommy, what's wrong?
Catherine Willows: Mommy just kind of had a rough night. I couldn't drive here fast enough to tell you how much I love you.
Lindsey Willows: I know, mommy. I love you, too.
(They hug each other.)
[SCENE_BREAK]
[SCOPE VIEW]
(Two nail clippings are laid out side by side and they don't match. Resume view.)
[INT. CSI -- LAB]
(GRISSOM is looking through the scope.)
Gil Grissom: Nope, loser. Give me the next item up for bid.
(BOE WILSON takes out the next clipping from the bindle. He puts the next sample out on the scope for GRISSOM to look at.)
Boe Wilson: It's nasty.
Gil Grissom: No, striation. Whenever two objects are broken there occurs what we call striae -- two unique connecting points. If I can match the nail in the sneaker to the suspect's clippings ...
[SCOPE VIEW]
(The two nail clippings match. Resume view.)
Gil Grissom: Alcatraz!
Boe Wilson: The brother was right, wasn't he?!
Gil Grissom: (smiling) Uh-huh!
Boe Wilson: (excited) Yeah!
Gil Grissom: Careful, Boe, you'll hurt your back.
[SCENE_BREAK]
[EXT. THE PARLAY HUT -- MORNING]
(WARRICK pulls up the pathfinder along side the Parlay Hut.)
Clerk: What's up, man?
Warrick Brown: Gimme Packers.
Clerk: One second ...
Gil Grissom: (over radio) Warrick, come in.
Warrick Brown: (to radio) This is Warrick. Go ahead.
Gil Grissom: (over radio) It's Grissom. We got him.
Warrick Brown: (to radio) Whoo-hoo-hoo-hoo, yeah! I'll be right there.
Clerk: Who do you want now?
Warrick Brown: Gimmie Niners for five dimes.
(WARRICK hands the CLERK a stack of cash.)
[SCENE_BREAK]
[EXT. RESIDENCE - SUMMERLIN - FRONT - DAY]
(OFFICERS lead the HUSBAND in handcuffs out of the house. He looks around and sees ... )
SLOW MOTION CAMERA
(... GRISSOM and WARRICK standing on the side watching him.)
(Quick flashback to: )
[INT. RESIDENCE - SUMMERLIN - (FLASHBACK) - FOYER -- NIGHT]
(The HUSBAND loads his weapon. Outside through the front door, JIMMY is yelling.)
Jimmy: (through the door) Open up!
Husband: (to his wife) Open the door ...
Wife: (nervously) What are you gonna do?
Husband: Don't ask questions. Just open the door.
Jimmy: (through the door) You son of a bitch!
(The WIFE opens the door. JIMMY walks into the foyer. The HUSBAND raises his gun and fires multiple times. JIMMY falls to the ground.)
(The HUSBAND steps up to JIMMY to make sure he's dead. He puts his gun down on the floor and removes JIMMY'S left shoe. He takes his own loafers off and puts the shoe on.)
(Quick CGI to: Close up of the HUSBAND'S foot going into the shoe, rubbing against the inside and his toenail breaking. End of CGI. Resume to flashback.)
Husband: Call 911.
(The HUSBAND steps over to the door. His WIFE doesn't move.)
Husband: Do it!
(The WIFE moves to make the phone call. The HUSBAND steps outside and closes the doors. He locks the door, then kicks it open.)
(End of flashback. Resume to present.)
(GRISSOM and WARRICK stand on the side watching the OFFICERS take The HUSBAND away.)
(The HUSBAND looks at GRISSOM and WARRICK.)
RESUME MOTION:
(The OFFICERS take The HUSBAND to the car.)
(Realizing something, GRISSOM turns to WARRICK.)
Gil Grissom: Hey, weren't you supposed to be shadowing Holly?
Warrick Brown: Oh, she's cool. She's doing prints on that 407. There's an officer there.
(WARRICK puts on his dark glasses.)
Warrick Brown: I'm out.
[SCENE_BREAK]
[INT. MARTIN LUTHER KING (MLK) RESIDENCE -- MORNING]
(HOLLY GRIBBS stands over the desk dusting the telephone for prints.)
(Behind her, someone enters the room and sees her dusting alone. HOLLY wipes the sweat from her forehead.)
Jerrod Cooper: Excuse me, ma'am.
(HOLLY turns around.)
Holly Gribbs: Hi. Uh... can I help you?
Jerrod Cooper: I'm the neighbor from across the way and I just saw a cop car leave. Is everything okay?
Holly Gribbs: Yeah, we had a robbery, but everything's fine.
Jerrod Cooper: (nods) Oh, okay.
(HOLLY turns around to resume working. JERROD COOPER doesn't leave.)
(The camera moves behind him and shows him reaching for the gun tucked in the back of his jeans' waistband.)
[SCENE_BREAK]
[INT. HOTEL - MR. LAFERTY'S ROOM 1413 -- MORNING]
Cue Sound: KNOCKING
(MR. LAFERTY opens the door. NICK is standing there holding up a paper package tied around the top with crime scene tape.)
Nick Stokes: Room service.
Mr. Laferty: You're kidding me.
(MR. LAFERTY takes the package as NICK smiles at him. He opens the package and finds his wallet and other missing things.)
Mr. Laferty: My stuff! You found my stuff!
Nick Stokes: Yeah, yeah, your wallet, your cash, credit cards ...
(NICK holds out the ... )
Nick Stokes: ... wedding ring ...
(MR. LAFERTY looks at it and sighs with relief.)
Mr. Laferty: Oh, thank god.
(He grabs the ring and puts it on.)
Nick Stokes: Okay, next time you wanna take a shot go to the dice table. At least if you crap out, you can go home broke instead of busted, you know what I mean?
Mr. Laferty: I sure do. Thank you.
[SCENE_BREAK]
[INT. CSI - BREAK ROOM -- MORNING]
(GRISSOM dangles NICK'S new ID badge in front of him.)
Gil Grissom: Congratulations, Nickie, my boy. You are now a C.S.I. Level 3.
Nick Stokes: Whoo!
Warrick Brown: Good job, Nick.
Nick Stokes: Thanks. Uh, hey, Warrick, listen I heard about the whole thing with the shoe and ...
Warrick Brown: Forget it, man. It's all you.
(WARRICK stands up and they shake hands.)
Nick Stokes: Thanks.
Warrick: All right.
Catherine Willows: Let's get some breakfast. It's on me!
(BRASS appears in the doorway and sighs.)
Jim Brass: (gravely) Sorry to break up your party but I need grave to pull a double. Holly Gribbs has been shot. She's in surgery now. Apparently the suspect returned to the scene. They don't think she's gonna make it. Brown, I'm putting you on administrative leave pending a full report of your whereabouts. So wash your face and change your socks. You have a long day ahead of you.
(BRASS turns and leaves the room.)
(WARRICK sighs.)
(CAMERA holds on GRISSOM.)
Plan: A: Las Vegas'; Q: What city's elite crime scene investigators is Gil Grissom the supervisor of? A: the team; Q: What does Holly Gribbs join? A: the unit; Q: What is Jim Brass the head of? A: CSI; Q: What is Jim Brass trying to scare Holly Gribbs from? A: Catherine Willows; Q: Who is the number two CSI on the graveyard shift? A: mother; Q: What is Catherine Willows's relationship to her daughter? A: Warrick Brown; Q: Who is competing with Nick Stokes to earn a promotion to CSI 3? A: Nick; Q: Who talks to a man who picked up a woman who drugged and robbed him? A: their 100th case; Q: What are Warrick Brown and Nick Stokes trying to solve to earn a promotion to CSI 3? A: precious little evidence; Q: What is the problem with the murder that was staged to look like a suicide? A: a drunk; Q: Who breaks into a house and is shot to death? Summary: Gil Grissom is the supervisor of the graveyard shift of Las Vegas' elite crime scene investigators. Holly Gribbs, fresh out of the academy, joins the team. Jim Brass is head of the unit and is trying to scare Gribbs from CSI. Catherine Willows, mother of a young daughter, is the number two CSI on this shift. Warrick Brown and Nick Stokes are competing to solve their 100th case to earn a promotion to CSI 3. Grissom investigates a murder staged to look like a suicide with precious little evidence. Warrick and Catherine take the case of a drunk who breaks into the house where he had been staying and is shot to death. Nick talks to a man who picked up a woman who drugged and robbed him.