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Les Experts
#111 : Circuit mortel

Lorsqu'un femme est enlevée dans un supermarché, un graffiti dans les toilettes semble indiquer que cinq femmes ont été tuées par un tueur en série. Grissom découvre un point commun à toutes ces disparitions : elles ont toutes eu lieu sur l'autoroute I-15. De leur côté, Sara et Warrick mettent de côté leurs différents pour enquêter sur le vol et le meurtre d'un homme. Nick doit venir à la rescousse de son amie Kristy Hopkins lorsqu'elle se retrouve dans une bagarre avec le garde de sécurité d'un hôtel. 

Titre VO
The I-15 Murders

Titre VF
Circuit mortel

Première diffusion
12.01.2001

Première diffusion en France
16.12.2001

Plus de détails

Écrit par : Carol Mendelsohn
Réalisé par : Oz Scott

Avec : Eric Szmanda (Greg Sanders), Judith Scott (Dr Jenna Williams)

Guests :

  • Travis Fine ..... Kenny Berlin 
  • Krista Allen ..... Kristy Hopkins 
  • Tony Amendola ..... 
  • Julius Ritter ..... Jason 

Pré-Générique

Une femme fait ses courses dans un supermarché et disparaît subitement, laissant alors son caddie au niveau du rayon des condiments.
Grissom arrive sur place où Brass l’attend déjà. Il lui indique l’identité de la personne, Margaret Shirley, dont la disparition a été signalée par sa sœur, le caddie de la victime ainsi que son sac se trouvant toujours dans le rayon qui a été préalablement nettoyé. Grissom s’y rend et établit ses premières constatations. Il découvre des traces d’une substance jaunâtre, qui semblerait être de la moutarde, sur le caddie. Il se saisit d’un pot et le laisse tomber…
Il en conclut que la victime aurait laissé tomber par inadvertance un pot de moutarde qui l’aurait souillée. Cette dernière se serait alors rendue aux toilettes afin de se nettoyer.
Ils se rendent alors dans les toilettes. Grissom inspecte minutieusement les lieux et découvre des traces étranges sur une des portes, anciennement porteuse de graffitis et récemment nettoyée.
Une fois au labo, il prend des clichés de cette porte avec un appareil photographique spécialement conçu pour faire apparaître ce qui a été effacé. Il finit alors par découvrir l’inscription de la porte : « J’ai tué cinq femmes. Attrapez-moi si vous le pouvez. »

Générique

Au labo, Grissom débarque dans la salle de repos où l’attend une partie de son équipe. Il leur confie alors les différentes enquêtes au programme, un 4.19 [Mort Suspecte suite à un cambriolage] pour Sara (et Warrick), un 4.16 [Bagarre au Belagio Hotel] pour Nick, un 4.18 [Disparition Suspecte] dont il se charge en compagnie de Catherine.
Grissom, avant de débuter son enquête, compte s’occuper du cas Warrick ; Sara l’interpelle pour lui rappeler l’existence du rapport qu’elle a effectué sur son collègue. Il en prend bonne note. Il rejoint alors le vestiaire où Warrick l’y attend. S’en suit une demande d’explication de Grissom qui brandit alors la K7 vidéo qui confond son équipier… Warrick s’explique alors.

Sara se rend dans la maison où a eu lieu le 4.19 où l’attendent déjà l’inspecteur Lockwood et son équipe. Un homme gît au sol, au beau milieu des débris de verre de la porte vitrée du séjour ; visiblement, il serait mort suite à un cambriolage qui aurait mal tourné. Le corps a été découvert par le frère de la victime, qui a aussitôt appelé la Police. Sara, à la lumière de ce qu’elle a pu constater, se pose des questions sur les méthodes usitées par le cambrioleur ainsi que sur ses réelles motivations.

Nick se rend au Belagio afin de faire la lumière sur l’enquête qu’on lui a confiée. A sa grande surprise, il y retrouve Christie Hopkins, qu’il avait déjà rencontrée lors d’une précédente affaire. Sur place, il interroge le vigile qui a donné l’alerte. Il explique alors ce qui se serait passé. La soupçonnant de racolage, il l’aurait interpellée, une bousculade a suivi durant laquelle elle l’aurait frappé. Christie se défend alors et affirme que le vigile lui aurait craché dessus. Il lui demande alors de lui confier son T-shirt afin de procéder à des analyses.

Dans la maison où aurait eu lieu le cambriolage mortel, Sara inspecte minutieusement les vêtements de l’homme qui a découvert le corps. Il affirme qu’elle cherche avant tout à l’éliminer de la liste des suspects, répondant alors aux inquiétudes de l’homme en question.
Elle découvre alors un débris de verre dans le revers du pantalon de cet homme. Elle le collecte pour analyses. Elle lui demande aussi d’enlever ses vêtements et veut procéder au démontage de la porte-fenêtre afin de l’étudier au labo.

Catherine et Grissom consultent l’expert en graphologie du labo en lui demandant d’établir des constatations sur l’inscription qu’ils ont découverte dans les toilettes du supermarché. D’après cet expert, l’individu qui a laissé ces inscriptions serait droitier, aurait des tendances criminelles et il s’agirait d’une écriture féminine.

Au garage, Sara qui procède au démontage de la porte, est rejointe par Warrick, auquel elle réserve un accueil plutôt froid et antipathique. Elle se demande alors pourquoi Warrick peut encore exercer sa profession alors que certains éléments remettent en cause son professionnalisme.
Sara, visiblement énervée, va retrouver Grissom dans son bureau pour lui faire part de son incompréhension au sujet Warrick. Grissom lui signifie alors qu’elle n’a pas connaissance du dossier en son intégralité et que son jugement n’est pas fondé. Il lui rappelle aussi la notion de confiance.
Catherine intervient alors, mettant fin à l’explication, afin de solliciter Grissom à qui elle souhaite montrer quelque chose d’intéressant. En effet, l’inscription sur la porte indiquant, par déduction, qu’il y aurait cinq victimes, elle s’est mise en quête des quatre portes de toilettes manquantes en faisant jouer ses réseaux. Dans chaque cas, aucune preuve matérielle n’indique qu’il y a eu meurtre. Après avoir mis dans l’ordre les différentes portes, ils en viennent à la constatation suivante : tous les enlèvements ont eu lieu le long de l’autoroute 15.

Au laboratoire d’analyses, Nick et Greg s’intéressent de près au T-shirt. Greg effectue un test pour savoir si ce vêtement est souillé par un crachat (dans le but de confirmer les dires de Christie). Le test se révèle concluant : il y a bien une trace de crachat sur le T-shirt. Afin d’innocenter Christie, il ne reste plus qu’à confondre le vigile en comparant son ADN avec celle du crachat.

Dans la salle d’interrogatoire, Sara demande au frère de la victime de s’expliquer sur la présence d’un débris de verre dans le revers de son pantalon. Il affirme alors que celui-ci proviendrait alors de la vitre brisée de son véhicule qu’on aurait ‘visité’. Mais il n’aurait pas signalé ce fait à la police.
Or les tests indiquent que ce débris est du verre flotté, qui ne provient en aucun cas d’une vitre de voiture. Autre constat, ce verre a la même densité que le verre de la porte vitrée du séjour.
Or le suspect maintient ses dires, continue à nier les faits. Pour le moment, Sara et Warrick n’ont rien de déterminant contre lui et sont tenus de le libérer, en attendant des preuves solides. Sara indique à Warrick que ce suspect, courtier en bourse, est criblé de dettes.

Mohapa. Autoroute I15. Un randonneur découvre un corps dans les buissons. Catherine et Grissom arrivent sur place et sont accueillis par Brass et son équipe. Brass évoque l’affaire de Nick en mettant en garde Grissom contre la mauvaise presse que ce type d’affaire pourrait engendrer. Les experts inspectent alors le corps, qui semble être congelé puisqu’il est froid, bleuâtre et raide.

A la morgue, le légiste inspecte le cadavre. Elle constate la présence de marques de strangulation, établissant alors la cause du décès. Autre découverte, la présence de traces de ligatures au niveau des poignets et des chevilles. Or elle fait une étrange découverte, en étudiant les tissus humains, elle découvre que le processus de décomposition est inversé, les organes étant en meilleur état que la peau. La présence de cristoplastes dans les tissus indique que le corps a été congelé et conservé dans la glace. Catherine et Grissom concluent alors que les corps sont transportés dans un camion frigorifique, occupé par un couple. La scène de crime est donc mobile.

Au laboratoire, Grissom interpelle Nick et lui demande des assurances au sujet de son enquête qu’il compte assumer jusqu’à son dénouement final, faisant alors fi des bruits qui circulent. (Il aurait une liaison avec Christie…)

Catherine a obtenu de Brass la liste de tous les camions frigorifiques, conduits par une femme, ayant livré la veille de la découverte du corps congelé, dans la région de Las Vegas.

Au garage, Sara et Warrick reproduisent la cassure de la vitre de la porte fenêtre, en la brisant de l’intérieur. Ils récoltent les débris de verre et les étudient au microscope. Le bris de verre a un angle droit pointant dans le même sens que le bris de verre récolté sur le revers du pantalon du suspect.
Ils procèdent à nouveau à l’interrogatoire de l’homme, suspect selon eux en fonction des preuves matérielles récoltées depuis leur dernière entrevue. Ils lui font alors un petit topo afin de lui inculquer quelques notions de verrerie. Quand on casse du verre de l’extérieur, la cassure forme un angle droit vers l’intérieur de la pièce, et inversement lorsque le verre est brisé de l’intérieur.
A la lumière de ces nouveaux éléments, le suspect continue à nier les faits et demande l’assistance d’un avocat. Or les preuves ne sont pas suffisantes pour le confondre. Il leur faut donc en chercher de nouvelles. Ils souhaitent s’intéresser de près aux activités du suspect, de ce fait ils envisagent de consulter les données de son ordinateur, mais pour cela il leur faut une commission rogatoire.

Nick rejoint Grissom dans son bureau afin de s’excuser pour l’attitude qu’il a eu dans le couloir du labo lorsque son patron l’a interpellé au sujet de son enquête. Il lui dresse alors ses constatations et lui précisant que son enquête ne pourra pas aboutir tant qu’il n’aura pas pu obtenir un échantillon ADN du vigile pour effectuer des tests de comparaison. Grissom, fidèle à ses habitudes, lui indique qu’il existe des moyens détournés pour obtenir ce genre de prélèvements…

Nick applique alors la méthode de Grissom. Il invite le vigile au labo et lui offre un café. Il lui demande de rédiger une déposition qu’il cachettera dans une enveloppe (Moyen détourné d’obtenir des traces de salive donc a posteriori son ADN)

Pendant ce temps, Catherine et Grissom interviennent sur le lieu d’arrestation de la livreuse, interpellée par Brass et son unité. Elle se montre assez agitée mais se prête plus ou moins bien aux tests graphologiques soumis par Catherine. En l’observant, elle se rend compte qu’elle est gauchère (alors que les inscriptions sont l’œuvre d’une droitière) et que son niveau d’instruction est faible. Catherine envoie au labo un scan des tests graphologiques et l’expert lui indique, après étude, qu’il n’y aucune correspondance entre cette écriture et celle des différentes portes. Les Experts s’interrogent alors sur la véritable identité du serial killer. Statistiquement, seulement 3% des serial-killers sont des femmes… Ils pensent alors rapidement à un tueur mâle, accompagné par une femme qui lui obéirait inconditionnellement.

Sur le parking du labo, Nick discute avec Christie et lui fait part des résultats de l’enquête qui plaident alors en sa faveur. Aucune charge ne sera retenue contre elle. Ils sont très attirés l’un par l’autre, mais décident de se quitter…

Sara et Warrick se trouvent à nouveau sur la scène de crime afin d’inspecter les contenus de l’ordinateur personnel de la victime. Sara allume l’ordinateur et constate qu’il ne fonctionne par normalement. Pensant à un problème technique, Warrick ouvre l’unité centrale et fait une découverte significative : il y trouve une arme à feu. En l’inspectant, il remarque la présence d’un débris de verre, inséré dans la gomme de la crosse et effectue alors un prélèvement. Lors des tests de comparaison, ils découvrent que ce débris de verre provient de la vitre de la porte fenêtre brisée. L’arme a donc servi à briser la porte fenêtre, de l’intérieur de la maison.
Warrick expose alors sa théorie : le suspect criblé de dettes rend visite à son frère, l’exécuteur testamentaire de la famille afin de lui soutirer de l’argent. Très nerveux, il a perdu son sang froid et abattu son frère, maquillant alors le meurtre en cambriolage qui a mal tourné.

Catherine et Grissom se rendent dans un centre de contrôle dont le rôle est de gérer le repérage GPS de véhicules. Ils demandent alors à une technicienne d’opérer une recherche, en fonction des critères qui seront de plus en plus affinés. La recherche affinée leur permet alors de localiser le camion frigorifique suspect.

L’intervention de la Police Criminelle, commandée par Brass, peut alors avoir lieu. A ce moment, une femme descend du camion, aussitôt suivie par un homme. Une fois la zone sécurisée et les deux suspects arrêtés, les Experts peuvent alors commencer leur travail de recherche dans le camion. En le fouillant, ils tombent sur une caisse métallique dans laquelle ils ne retrouvent que trois corps congelés… Il en manque donc un, celui de Margaret Shirley, la personne disparue dans le supermarché. Alors sollicité, le livreur ne souhaite pas coopérer. Les Experts ont alors une idée précise de la méthode employée par le livreur et sa femme pour kidnappeur leurs victimes.
La femme intervient dans les toilettes afin de demander de l’aide, la victime la suit à l’extérieur et se fait piéger par l’homme, qui demande alors à sa femme d’écrire son message sur une porte des toilettes.
Brass indique alors aux deux suspects qu’il y aura possibilité de négocier pour celui qui leur indiquera où se trouve Margaret Shirley. La femme craque alors et leur indique où elle se trouve, en l’occurrence dans la cabine du camion. Catherine et Grissom la retrouvent enfin, saine et sauve, cachée dans une planque fermée à clé, bâillonnée, les poignets et les chevilles ligotés.

A l’accueil du département de police scientifique, un jeune garçon attend patiemment Warrick. Sara le remarque et lui pose des questions, juste au moment où son collègue arrive.
Ce petit garçon, prénommé Jason, attend Warrick pour le remercier d’avoir payé sa caution.
Il se tourne alors vers Sara, lorsque le petit quitte le département, et lui indique qu’il ne s’est pas rendu au casino pour jouer, contrairement à ce que Sara a pu penser en visionnant les vidéos, mais seulement pour récupérer l’argent qu’on lui devait… Une bonne leçon, sans aucun doute, pour Sara qui a jugé trop hâtivement son collègue…

Réalisé par Morte

COLD OPEN:

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.)

CUT TO:



[Scenes from 1X10: Sex, 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.

CUT TO:



[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.

CUT TO:



[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.

CUT TO:



[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 #01:

[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.)

CUT TO:



SCENE #02:

[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?

CUT TO:



SCENE #03:

[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?

CUT TO:



SCENE #04:

[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

(COMMERCIAL SET)



FADE IN.

[EXT. VARIOUS LAS VEGAS CITY (STOCK) - NIGHT]



SCENE #05:

[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.)

CUT TO:



SCENE #06:

[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.)

CUT TO:



SCENE #07:

[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.)

CUT TO:



[EXT. LAS VEGAS CITY (STOCK) - NIGHT]



SCENE #08:

[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.

CUT TO:



SCENE #09:

[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.)

CUT TO:



SCENE #10:

[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. RAMBAR: The person who wrote this is left-handed.

GRISSOM: And we know that because...?

DR. RAMBAR: 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. RAMBAR: The pressure -- how firmly you put pen to paper.

GRISSOM: Or marker to metal. Do we know anything else?

DR. RAMBAR: Yes. Overall, the handwriting is cursive and round. This tells me
it was written by a woman.

(This information surprises both GRISSOM and CATHERINE.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #11:

[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.)

CUT TO:



[EXT. LAS VEGAS CITY (STOCK) - DAY]



SCENE #12:

[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.)

CUT TO:



SCENE #13:

[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.

CUT TO:



SCENE #14:

[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.)

CUT TO:



SCENE #15:

[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.

CUT TO:



SCENE #16:

[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.

CUT TO:



SCENE #17:

[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?

CUT TO:



[EXT. MOAPA - DAY]



SCENE #18:

[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 #19:

[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.)

CATHEIRNE: 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.

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #20:

[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.)

CUT TO:



SCENE #21:

[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.)

CUT TO:



SCENE #22:

[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.)

CUT TO:



SCENE #23:

[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.)

CUT TO:



SCENE #24:

[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.)

CUT TO:



SCENE #25:

[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.)

CUT TO:



SCENE #26:

[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?

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #27:

[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.)

CUT TO:



SCENE #28:

[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.

CUT TO:



SCENE #29:

[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.)

CUT TO:



SCENE #30:

[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.)

CUT TO:



SCENE #31:

[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.)

CUT TO:

[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?

CUT TO:

(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.

CUT TO:



SCENE #32:

[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.)

FADE TO BLACK.

Fait par drogba

Kikavu ?

Au total, 13 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

miss1110 
11.11.2016 vers 23h

ptitebones 
31.10.2016 vers 18h

RonanBart 
05.10.2016 vers 14h

sia31 
27.09.2016 vers 01h

tibo18 
10.09.2016 vers 14h

Maddy 
Date inconnue

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HypnoChat

stanary (23:48)

C'est le stress qui parle pour elle je pense

Titepau04 (23:49)

J'espère qu'elle va sortir rapidement!

Titepau04 (23:49)

Y'a ça qui joue aussi, elle a hâte de sortir mais le stress que bebe ne prenne pas de poids...

Sonmi451 (23:50)

La chute des hormones qui parle, un baby blues, faut pas prendre de décision là-dessus.

stanary (23:50)

Oui peut-être que tu devrais lui rendre visite demain

Sonmi451 (23:51)

un bébé ne se laisse pas mourir de faim. qu'elle se dise bien que si bébé a faim, il la laissera pas tranquille, elle va pas avoir le choix de le nourrir et bébé trouvera le lait. ^^

Titepau04 (23:53)

Je ne peux pas, les enfants autre que frère et sœur ne sont pas acceptés... je vais pas payé la nounou non plus

Titepau04 (23:53)

Je l'ai vu samedi deja

Titepau04 (23:54)

Je lui ai déjà dit ça!!

Sonmi451 (23:54)

Bon moi je vais me coucher, bébé m'a pas demandé, les microbes doivent le mettre K.O mais je préfère voir que tout va bien. ^^

Sonmi451 (23:54)

Bonne nuit.

Titepau04 (23:54)

Bisoussss

stanary (23:54)

Bonne nuit

stanary (23:59)

Bon aller moi aussi je dois me coucher. Bon courage avec ton amie. Et bonne nuit !

Titepau04 (10:12)

c'est plus un extrait de la conversation qui apparait sur hy mais quasiment la totalité!! lol!!!

Sonmi451 (10:39)

C'est exactement ce que je me suis dit. lol

Sonmi451 (10:39)

On sait tout sur la vie de ta copine! lol

Titepau04 (10:40)

LOL!!!!

Sonmi451 (10:41)

Parle de tout et n'importe quoi pour vite que ça soit autre chose. lol

Titepau04 (10:42)

Faut beaucoup parler alors! Parce que yen a une sacrée tartine!!

Titepau04 (10:42)

As-tu passé une bonne nuit?

Sonmi451 (10:42)

non à la hauteur de ce que j'esperais! ^^

Sonmi451 (10:42)

et toi?

Titepau04 (10:42)

Arrrfffff

Titepau04 (10:43)

Moi ça a été! Même si je serais bien restée plus longtemps au lit

Sonmi451 (10:43)

ha oui j'y serais resté aussi. ^^

Sonmi451 (10:45)

Là je pourrais dormir mais j'attends un coup de fil. ^^

Titepau04 (10:47)

C'est nul

Sonmi451 (10:48)

oui surtout qd on te dit qu'on te rappelle de suite. ^^

chrismaz66 (11:21)

Hé les filles, c'est vrai ça je suis pas fan des tchats, publics comme ça Alors ici il fait un temps pourri on se croirait en Bretagne mais sans les Bretons c'est nul !

carina123 (23:09)

Nouveaux sondages et calendriers sur les quartiers Lie to Me et Jericho, Venez nombreux, merci. Bonne soirée à tous !

sabby (08:54)

Bien le bonjour la citadelle !! Toujours personnes sur Empire pour ouvrir le calendrier de l'avent, ni sur Friday Night Lights pour commenter le nouveau design Un petite visite ferait plaisir, on vous attends Bonne journée à tous !

Moorgana (09:13)

Sondage de noël sur le quartier Heartland

serieserie (10:16)

N'oubliez pas de vous inscrire pour le grande hypnoGame Arrow!!

Margauxd (12:42)

Nouveaux sondages sur les quartiers : Blindspot, The Last Ship et New-York Unité Spéciale, n'hésitez pas à voter !!

Titepau04 (21:41)

Nouveaux calendriers sur les quartiers NCIS Los Angeles, S Club 7 et Dr House!!! ^^

DGreyMan (21:47)

Nouveaux jeux, nouveau calendrier et nouveau sondage dans Game of Thrones. Merci d'avance.

leila36 (22:37)

Hohoho, venez admirer et commenter le nouveau design du quartier "Big Bang Theory". Vous n'allez pas le regretter.

emeline53 (22:43)

Le nouveau sondage de The Fosters vient d'arriver ! Venez nous dire ce que vous voulez comme cadeau de Noël

Sonmi451 (13:47)

Venez commenter les calendriers chez House, Scrubs, urgences et friends. Et au passage un petit vote pour les sondages sont les bienvenus, merci.

Profilage (20:16)

Bonsoir, un tout nouveau calendrier vient d'apparaitre sur les quartiers The 100 & Under the Dome. On vous attend !

carina123 (00:09)

Nouveaux calendriers et sondages sur les quartiers Lie to Me et Jericho, venez nombreux, merci. Bonne soirée à tous !

Sonmi451 (08:43)

Design' spécial noël sur Scrubs, on attend vos commentaires.

Chaudon (10:25)

Nouveau calendrier sur le quartier "Elementary" ! Donnez votre avis sur le quartier de la série !

Chaudon (10:31)

Nouveau sondage sur le quartier "Elementary" ! N'hésitez pas à venir voter sur le quartier et à donner vos avis sur le topic approprié !

Chaudon (10:49)

Votez dès maintenant pour la Nouvelle Photo du Mois du quartier "Elementary" !

arween (10:57)

Bonjour la citadelle ! Une grande animation vous attends sur The Night Shift, venez participer !

seriepoi (11:05)

Bonjour tout le monde ! Vous pouvez, si vous le souhaitez, venir sur le quartier "True Blood" pour commenter le (très) beau calendrier de décembre, fait par Sonmi. Merci par avance et bon dimanche à tous.

ObikeFixx (11:25)

Bonjour tout le monde! En plus du nouveau sondage, n'hésitez à venir découvrir le nouveau calendrier et la nouvelle photo du mois sur le quartier "The Last Ship"

Phoebus (14:15)

Bonjour tout le monde ! Il ne vous reste plus qu'une journée pour voter pour la voter de l'épisode 8x05 de The Vampire Diaries et pour participer à la review de cet épisode.

serieserie (16:44)

Inscrivez-vous vite pour la grande partie d'HypnoGame Arrow qui aura lieu dans 6 jours!! Rendez-vous dans les forums de l'accueil!!

arween (18:46)

Venez voir les nouveaux calendriers de The Night Shift (serie²) et Dollhouse (Xana).

emeline53 (19:24)

Seulement 2 persones pour commenter le design Noël de The Fosters ? Venez donner votre avis en plus, un sondage sur votre souhait de cadeau est en ligne !

stella (19:25)

Special spécial Noel sur le quartier Downton Abbey et sans oublier son calendrier de l'avent original

DGreyMan (22:40)

Bonsoir. Sondage dédié à "Game of Thrones" dans le quartier "Harry Potter"...

DGreyMan (22:40)

... ou le contraire ! ^^

serieserie (09:07)

Plus que quelques jours pour vous inscrire à la grande soirée HypnoGame Arrow dans les forums de l'accueil ou par MP!!!

arween (09:44)

Bonjour à tous ! Aujourd'hui nous lançons une toute nouvelle rubrique, les reviews. Rendez-vous sur la page HypnoReview ou à l'accueil pour plus d'infos Bonne lecture et bonne journée !

Titepau04 (09:49)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!

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Fans de Dallas, Friends, Petite maison , Mission impossible, venez défendre votre série préférée chez Ma sorcière bien aimée: sondage "génériques"!

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