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Les Experts
#207 : A livre ouvert

Grissom et Nick enquêtent sur la mort suspecte d'une restauratrice de livres pendant que Catherine et Sara sont appelées à enquêter sur un tragique accident de train. Lorsque la restauratrice de livres est retrouvée morte, coincée à l'intérieur d'une "cage", lieu de travail à température contrôlée, Grissom et Nick tentent de déterminer si il s'agit d'un suicide ou d'un homicide. Ils découvrent que la clé de l'enigme réside peut-être en la personne du collègue de travail autiste de la victime. Pendant ce temps, Catherine et Sara sont sollicitées pour passer au peigne fin l'épave d'une collision entre un train et un SUV et découvrir si il s'agit d'un simple accident ou d'un rêglement de compte sur la route ayant tourné au drame. 

Titre VO
Caged

Titre VF
A livre ouvert

Première diffusion
08.11.2001

Première diffusion en France
17.03.2002

Plus de détails

Écrit par : Carol Mendelsohn & Elizabeth Devine
Réalisé par : Richard J.Lewis

Avec : Eric Szmanda (Greg Sanders), Robert David Hall (Docteur Al Robbins), Skip O'Brien (Sergent Ray O'Riley), Wallace Langham (David Hodges) 

Guests :

  • Michael Goorjian ..... Aaron Pratt 
  • Currie Grahan ..... Stanley Hunter 
  • Wayne Wilderson ..... Edwin 
  • Tsianina Joelson ..... Megan Treadwell 
  • Maria Celedonio ..... Femme 
  • John Dyerler ..... Homme 
  • Dared Dunard ..... Homme 

Pré-générique

Catherine arrive sur le terrain, mallette à la main pendant qu'on ouvre la carrosserie de la voiture, elle va voir Brass qui lui dit que le décès doit remonter à 20 minutes. La morte s'appelle Mégane Gamble et selon Grissom, elle a été percutée de plein fouet. La question est: Pourquoi se trouvait-elle en plein milieu de la voie?

Générique

Grissom laisse Catherine avec Sara au grand désespoir de celle-ci. On le retrouve donc au côté de l'inspecteur O'Riley sur la mort d'une jeune femme retrouvée au sous-sol de la société de conservation du patrimoine. On ouvre les barreaux de la salle où elle se trouve et Grissom prend quelques photos du cadavre avant que le coroner l'embarque. Il est soudainement interrompu Aaron Pratt, un bibliothécaire au comportement étrange, qui refuse que l'enquêteur prenne des photos car cela abîme les vieux livres. O'Riley explique que Aaron était là pour se rincer l'œil au moment où la femme est morte, celui –ci corrige immédiatement par un récit bizarre: Aaron:" Je ne me rinçait pas l'œil, je dis tous les soirs "au revoir" a Veronica (la victime) parce qu'à 20h03 je dois m'en aller car à trois rues d'ici je dois prendre le bus à 20h10 parfois il arrive avant et je dois marcher, accélérer le pas et courir" Grissom déduit alors que, s'il était là au moment de la mort de la victime, c'était pour lui dire "au revoir". Le témoin approuve et refait toute la scène à Grissom mot pour mot. Il lui décrit même avec exactitude la manière dont Veronica est morte: Aaron: Le stylo tombe de sa main, roule sur le bureau puis sur la chaise, puis tombe sur la chaise puis tombe par terre et roule jusqu'à la corbeille à papier. Et je vois de l'eau couler dans ses yeux, front mouillé, son front coulait beaucoup de d'eau alors elle attrape son estomac dans ses deux mains "Aaron" "Aaron" et alors elle prend son nouveau visage genre Frankenstein ensuite elle se tortille dans tous les sens comme un saumon sur le pont du bateau de mon oncle je ne pouvait pas l'aider parce que la cage est fermée à double tour et que j'ai pas la clef" C'est à ce moment là que Nick arrive. Il explique à son patron que Warrick a 4 cambriolages sur les bras alors, il est venu tout seul. Grissom et lui s'éloignent afin de pouvoir discuter sans être entendus par Aaron. Nick croit que le bibliothécaire est le coupable idéal vu la façon dont il se comporte, Grissom lui, n'en croit rien car Aaron est un autiste de haut niveau: hyperfonctionnement du cortex cérébral droit et qu'il est incapable de jouer la comédie. Nick (à Grissom): Un peu comme vous? L'enquête avance, Grissom, s'éclipse afin d'avoir les résultats de l'autopsie de la victime tandis que Nick se fait hurler dessus par le conservateur sous le prétexte qu'il est en train d'abîmer les livres avec les poudres qu'il utilise. Heureusement, Grissomvient à sa rescousse et met le gars dehors avant d'apercevoir le stylo décrit tout à l'heure par Aaron. Celui-ci se trouve exactement à l'endroit indiqué par le bibliothécaire, qui est une véritable vidéo de surveillance, c'est pourquoi Grissom décide de lui soutirer un max d'informations. Mais avant, il tient à ce que le conservateur lui explique en quoi consiste leur travail: ils conservent les livres anciens et les restaurent: ils utilisent une solution basique pour réduire l'acidité qui se crée sur les livres au bout d'un certains temps. Il ajoute aussi que tous ses livres rares sont gardés dans des coffres et que personne ne peut les emporter, pourtant Aaron en a un dans son attaché-case. Pour se justifier, il utilise le fait que Mr Hunter (le conservateur) ne l'aime pas. En fait, les deux hommes se disputaient Veronica. On part direction le labo où on apprend que la mort n'est pas naturelle: empoisonnement, le tout est de savoir de quelle toxine il s'agit. Avec les nouvelles informations en poche (enfin c'est plutôt dans leur mallette) Grissom et Nick partent explorer le sanctuaire d'Aaron. On retrouve une grande quantité de livres appartenant à la bibliothèque. Grissom veut en savoir plus mais, le remue ménage de Nick perturbe l'autiste qui est continuellement distrait. Le chef l'envoie donc aller chercher de l'eau pour lui changer les idées tandis que son coéquipier va regarder dans la chambre. Maintenant que Grissom a réussi à capter l'attention d'Aaron, il peut enfin lui demander la présence des livres de la bibliothèque chez lui. Ils ont en fait été amenés par Veronica, on sait qu'elle et Aaron avaient une liaison, et, quand Nick trouvent un petit autel à la gloire de Veronica, les soupçons de Grissom s'estompent et les deux scientifiques sont convaincus que le bibliothécaire à tué sa petite amie parce qu'elle avait une aventure avec Mr Hunter. On retrouve Catherine en compagnie de Sara pour l'histoire du chemin de fer. Les deux femmes, sous la pression du shérif, doivent mener leur enquête le plus vite possible sur les lieux de l'accident de façon à dégager la voie. Pendant leur inspection, elles trouvent un chien, du nom de Maverick (on notera que c'est également le nom du chien de George Eads) qui est identifié grâce à sa médaille toujours à l'aide de celle-ci, on apprend que Maverick appartient à la victime. Mais, laissons le chien de côté et passons à la recherche d'indices: filament de lampe mais surtout: deux séries de traces de pneus: l'une vers l'avant et s'arrête à deux mètres de la barrière, la deuxième est plus foncée, elle est venue se superposer à la première. Elles jettent ensuite un œil sur la voiture de la victime: elle avait tiré le frein à main et les roues ont énormément souffert de plus, Catherinerelève des marques de peinture noire ce qui lui fait penser qu'il y avait peut-être un deuxième véhicule sur la route ce soir là et que la victime ne l'aurait pas vu. Cette théorie s'avère exacte lors de l'examen des indices trouvés sur les lieux du crime: il y avait bien une autre voiture noire qui roulait tous phares éteins dans l'obscurité totale .Ensuite, Sarah, Catherine et Archie sondent le portable de Megane qui a été retrouvé sur le lieu du crime. Le dernier appel fut un appel de détresse à police secours, en isolant les éléments sonores, on distingue le bruit de deux moteurs: le 4x4 de la victime et un turbo diesel. Au même moment, Greg isole, non pas les bruits de moteurs, mais la toxine responsable de la mort de Veronica:c'est une bio toxine comme l'anthrax et la variole, c'est de la ricine (ou quelque chose comme ça). Nick est paniqué car il pense avoir été contaminé mais il ne présente aucuns symptômes au grand soulagement de tous (vous vous rendez compte? Que serait les Experts sans lui???). D'après le doc, la ricine était sous forme de poudre car il y a eu contact avec la langue. On part direction le centre de conservation (avec les scaphandres) pour trouver de la poudre… en effet c'est ce qu'on retrouvera dans une des salières du bureau. Les enquêteurs recherchent maintenant le bouquin qui explique comment on extrait de la ricine. Et ce livre, c'est chez Aaron Pratt qu'il est. Grissom exige des explications mais, dès que l'autiste voit le livre il est très troublé, il explique qu'il ne veut plus y toucher parce qu'il a une texture étrange…les livres étaient faux. Il en a parlé à Veronica et Mr Hunter mais il s'est fait jeter dehors parce que le conservateur et la victime déjeunaient ensemble. Mais le déjeuner à mal tourné à cause des livres, et les deux amants se sont disputés. Après la dispute, Mr Hunter s'assoit, coupe son œuf en deux et verse du sel dessus avant de donner une des deux moitiés à Veronica. C'est pourquoi les soupçons se portent sur le conservateur. Qui assure qu'il est innocent et qu'on lui a fait porter le chapeau. Grissom demande donc des précisions à Aaron qui garde en tête l'image de Veronica mordillant son stylo. On va donc chercher les stylos de Veronica dans son appartement où on retrouvera… une graine de ricine. Celle-ci voulait empoisonner son patron mais, elle s'est fait prendre à son propre piège car, elle n'avait pas vu qu'un peu de poudre de ricine sur son stylo. Elle a fait le coup, fin de l'enquête. On procède à l'étude plus approfondie des affaires de Megane Gamble. On découvre qu'elle est passée faire une course pour acheter des croquettes à son chien. Heureusement, on ne trouve ces croquettes que dans un seul magasin. Après avoir discuté avec les vendeuses, il semble que la victime à eu un sérieux accrochage avec un client du restaurant en face. En fait, le gars, Croft, est une vraie boule de nerf, il a failli se faire renverser par Megane et ça l'a rendu fou furieux. Il est donc rentré dans sa voiture, à poursuivit Megane qui, exaspéré par ses insultes, lui a jeté son café à la figure, elle démarre en trombe, il la suit dans la pénombre la plus totale et pousse la voiture de la victime le plus fort possible sur les rails du train. Mais ce qui étonne les deux expertes c'est que la femme avait la possibilité de sortir du véhicule mais ne l'a pas fait: pour son chien. L'affaire est bouclée. 

COLD OPEN:

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

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

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

CUT TO:



SCENE #01:

[INT. SUV - NIGHT]

(A speeding SUV peals around the corner.)

(Cut to a train running on the tracks.)

(Cut to the SUV speeding down the road.  MEGAN TREADWELL, the driver of the SUV,
looks to the side and notices the train.  She hears the train whistle blow. 
Still, she steps on the gas, hoping to beat the train across the track.)

MEGAN TREADWELL:  (urgently)  Come on, come on, come on, come on.  Come on, come
on!

(The train crossing bell ring a warning.  The train is approaching.)

(The SUV brakes screech.  The train approaches.  MEGAN TREADWELL steps of the
breaks again, the car tires screech and still her car moves forward.  Her car
moves forward slowly, slowly through the crossing guard rail.)

(The SUV stops on the tracks.  The train approaches.  MEGAN TREADWELL looks out
the car window and screams as the train smashes into her car.)

CUT TO:



SCENE #02:

[EXT. TRAIN TRACKS - NIGHT]

(Scene opens with a close up of a power saw cutting through the SUV door.)

(CATHERINE approaches the scene carrying her CSI kit.  BRASS turns around when
CATHERINE reaches him and starts filling her in on the case.)

BRASS:  Paramedics pronounced twenty minutes ago.  Megan Treadwell.  I ran her
plates.  Thirty-three tomorrow.

CATHERINE:  One-on-one with a train.  Did she think that she could beat it?

(CATHERINE looks at BRASS, then heads toward GRISSOM, who is checking the train
out.  She puts her kit down.)

CATERINE:  Hey.

(GRISSOM is busy looking at something on the front of the train.  CATHERINE
leans in for a better look.)

CATHERINE:  Door handle.

GRISSOM:  Point of impact:  Passenger-side door.

CATHERINE:  Dead center.

(They look on the side as Forensics carry the bagged body away on a gurney.)

GRISSOM:  Question is: Why did the SUV cross the tracks?

CATHERINE:  (deadpans)  To get to the other side.

(GRISSOM looks at CATHERINE.)

HARD CUT TO BLACK.
END OF TEASER.
ROLL TITLE CREDITS.

(COMMERCIAL SET)



FADE IN.

SCENE #03:

[EXT. TRAIN TRACKS -- NIGHT]

(CATHERINE walks down the steps of TRAIN #4009.  When she gets to the ground,
GRISSOM is on his cell phone.  He hangs up.)

GRISSOM:  Sheriff says we're holding up trains all over the country.  This
entire railroad division depends on keeping the main line open.

CATHERINE:  Well, it's not like we can take this back to the garage.

GRISSOM:  Well, unfortunately, his priority is clearing this train from the
tracks.  You have two hours.

(GRISSOM turns to leave.  CATHERINE calls out to him.)

CATHERINE:  Where are you going?

GRISSOM:  Suspicious circs in town.  This one's all yours.

CATHERINE:  Thanks, but you got to give me some guys.

GRISSOM:  Sara's all you get.

CATHERINE:  All I need.

CUT TO:



SCENE #04:

[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT]

(GRISSOM enters the library.  He's met up by DET. RAY O'RILEY, who fills him in
on the scene.  In the background, the alarm continues to ring.)

O'RILEY:  "Burglary in progress" call.  Once we made entry, we found the victim
downstairs.  Never knew this place existed.

(O'RILEY and GRISSOM continue down the stairs to the lower level.)

GRISSOM:  The Western States Historical Society.  It's not on a lot of tourist
maps.

(The alarm stops ringing.)

DET. RAY O'RILEY:  I had them cut the wires.

GRISSOM:  We need to identify the source of the alarm, Ray.  Security company
said it was downstairs.  The body's there, too.

(DET. O'RILEY opens the door and walks in.  GRISSOM follows.)

CUT TO:



SCENE #05:

[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - NIGHT -- CONTINUOUS]

(O'RILEY and GRISSOM enter the lower room.)

O'RILEY:  (looking up at the ceiling)  Trying to get them to turn some more
lights on in here.

GRISSOM:  There are no more lights, O'Riley.  It's a controlled environment. 
Notice how you're not sweating?  It's probably sixty-six degrees in here. 
Thirty-five percent relative humidity.  Too much light, too much heat degrades
the books.

(In front of them, two firemen cut try to cut the lock on the cage.)

GRISSOM:  What-- nobody's got a key?

O'RILEY:  The curator's across town.  He's on his way.  She looks dead to me.

(The firemen put the cutters away and one gets out a power saw.  He starts
cutting the lock.)

(The door is unlocked.  The fireman opens the door and GRISSOM steps aside for
the paramedics.)

GRISSOM:  You got first touch.

(The two paramedics enter the cage.  They put their cases down and work on the
woman on the floor.  GRISSOM also walks inside after them and kneels in close to
look at the body.)

MEDIC:  10:48.
MEDIC:  Red foam, blue tint.

GRISSOM:  Foam could be from blood in her lungs.  Edema.  Skin is cyanotic. 
Maybe a blood disease.  Leukemia.  Meningitis.  We'll know after the post.

(GRISSOM stands and gets out his camera.  He starts to take pictures of the
body.  The camera flashes several times.  Behind GRISSOM, outside the cage, a
young man protests.)

AARON PRATT:  Don't do that.

GRISSOM:  (turns around)  Excuse me?

AARON PRATT:  These are very rare books.

DET. RAY O'RILEY:  Aaron Pratt.  Librarian.  Only other person here when the
alarm sounded.

GRISSOM:  Did he tell you what he was doing here?

O'RILEY:  Oh, yeah.  Watching her.  Set off the alarm, trying to get in the
cage.

CUT TO:



SCENE #06:

[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT]

(GRISSOM questions the Librarian, AARON PRATT.)

AARON PRATT:  I wasn't watching her.  I always say "good night" to Veronica
because I have to leave at 8:03 to catch the 8:10 bus.  It's three blocks away. 
And sometimes the bus comes at 8:08, so I have to rush to catch it.

GRISSOM:  So you went down to the basement to say good night.

AARON PRATT:  "Good night, Veronica."  "Good night, Aaron."  Sometimes she ...
w-walks me to the bus.

GRISSOM:  Did she walk you to the bus tonight?

AARON PRATT:  "Are you coming?"  "No.  You go ahead without me. I have more work
to do."

(AARON gets very serious as he remembers what happens next.)

AARON PRATT:  Then ... a uniball pen ...

(Quick flashback to a camera close up of VERONICA BRADLEY'S hand holding the pen
and the pen slipping out from her fingers.  This happens in slow motion.  The
pen falls.  The pen rolls across the table.)

AARON PRATT:  (v.o.)  rolled across the desk ... fell onto the chair ...

(End of flashback.  Resume to present.)

AARON PRATT:  ... hit the floor ...

(Quick flashback to the pen still rolling in slow motion.)

AARON PRATT:  (v.o.) and stopped rolling at the wastebasket.

(The pen stops rolling.  End of flashback.  Resume to present.)

AARON PRATT:  Then water ... water falls into her eyes.

GRISSOM:  You mean she was sweating?

AARON PRATT:  From her forehead.

(Quick flashback to a veil of water falling from VERONICA'S forehead past her
eyes.)

AARON PRATT:  (v.o.)  Lots ...

(End of flashback.  Resume to present.)

AARON PRATT:  ... and then, she grabs her stomach ... with both hands.

(Quick flashback to VERONICA BRADLEY dropping the book and clutching her
abdomen.)

VERONICA BRADLEY:  Aaron ...

(End of flashback.  Resume to present.)

AARON PRATT:  ... "Aaron" ... Then she put on her new face.  Shelley's
Frankenstein.  Up and d-down ... flopping around like ...

(Quick flashback to VERONICA BRADLEY falling to the floor in seizures.)

AARON PRATT:  (v.o.)  ... a salmon on my uncle's fishing boat.

(End of flashback.  Resume to present.)

GRISSOM:  She was convulsing.

AARON PRATT:  I ... couldn't help her ... because the cage is locked and I don't
have a key.

(NICK approaches the table.)

NICK:  Hey, there.  Warrick's got three residential burglaries, so ...

GRISSOM:  Mr. Pratt, will you excuse me for a moment?

(NICK and GRISSOM walk to the back of the room..)

NICK:  According to O'Riley this guy's body language says he's guilty.

GRISSOM:  I think he's autistic.

NICK:  Autistic? You mean like Rain Man?

GRISSOM:  Rain Man was a savant.  Extremely rare.  Aaron Pratt is a high-
functioning autistic man with superior right-brain ability.

NICK:  Kind of sounds like you.

GRISSOM:  The crime scene's in the basement.

(NICK leaves to go to the basement.)

CUT TO:



SCENE #07:

[EXT.  ROADWAY BY CRASH SITE - NIGHT]

(CATHERINE and SARA walk side-by-side with their eyes glued to the road trying
to look for evidence.)

SARA:  Man, I hate rushing through a crime scene.  Two years from now, no one is
going to care that the Sheriff turned this into a "scoop and run."

CATHERINE:  Call was made above our heads.  Just document the time in your
notes.

SARA:  Yeah, well, I'll let you testify on this one.

CATHERINE:  Thanks.

(Off to the side of the road, a little dog comes running toward them.  Both
CATHERINE and SARA kneel to get the dog.)

CATHERINE:  Aw ...

SARA:  Hey, little guy.  Hey.  Hey. Let's see.

(SARA checks his collar.)

SARA:  His name is Maverick.  He lives on Martingale Street in Henderson.

CATHERINE:  That's not that far from here.

SARA:  Guess I'll go call animal control.

CATHERINE:  Okay.

SARA:  I'll be right back.

(SARA picks up the dog.)

SARA:  Hey.  Come on, boy.  Let's get you home.

CUT TO:



SCENE #08:

[EXT. ROADWAY BY CRASH SITE - NIGHT -- CONTINUOUS]

(BRASS questions the TRAIN ENGINEER.)

BRASS:  So let me get this straight, all you saw was a car trying to beat the
signal?

TRAIN ENGINEER:  I'm putting 55 miles an hour.  It's dark.  I got an oil leak,
can't figure out where.  I looked up and I saw something.

BRASS:  The SUV.

TRAIN ENGINEER:  Like I said, it was dark.  I thought it was stopping.  I turned
my head for one second.  Next thing I know, it's in the middle of the tracks. 
With all due respect we've got the right of way out here.

BRASS:  Thanks for your time.

(BRASS nods.  The TRAIN ENGINEER leaves.  SARA walks up to BRASS carrying
MAVERICK in her arms.)

BRASS:  That's not yours, is it?

SARA:  I am collecting evidence.  Do we have an address on the vic yet?

BRASS:  855 Martingale.

SARA:  Vic had a passenger.  Say hello to Maverick.

CUT TO:



SCENE #09:

[INT. CSI - FORENSIC AUTOPSY -- NIGHT]

(GRISSOM walks into the room.  ROBBINS is washing his hands.  He turns off the
faucet.)

GRISSOM:  Have you finished with our lady of the library?

ROBBINS:  As finished as I'm going to be.  You were right. Cyanosis.  Blood was
unable to oxygenate her tissue.

(Quick CGI POV as the camera travels to the deceased's face.  The deceased's
head rises and eyes open.  The camera continues down her mouth as it opens
slightly.  It travels down her wind pipe where the muscles closes the passage. 
End of CGI POV.  Resume to present.)

GRISSOM:  Explains the blue face.  Underlying cause?

ROBBINS:  With blood in her lungs, asphyxiation's out.  I found vomit in her
throat, bloody stool, hemolysis and some irritation of the mucous membrane on
her tongue.  I won't know more till I get the blood test back.  Could be blood-
borne disease.

GRISSOM:  I'm thinking about homicide.

ROBBINS:  Then you know more than I do.

(ROBBINS looks at GRISSOM who's looking at the body.  GRISSOM looks up at
ROBBINS.)

CUT TO:



SCENE #10:

[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE -- NIGHT]

(NICK is in the cage dusting for prints on the books.  In the background, a
well-dressed man descends the stairs.)

OFFICER:  Excuse me, sir.

STANLEY HUNTER:  It's fine.

NICK:  Whoa, whoa, whoa.  Sir, you can't come in here.

STANLEY HUNTER:  I told the officer upstairs.  I'm Stanley Hunter.

(At NICK'S blank look, he continues.)

STANLEY HUNTER:  The curator.  Do you have any idea the damage you're causing? 
With your dust, flashbulbs.  You see that?

(STANLEY HUNTER points to a book behind NICK.  He walks forward toward it to
emphasize it's importance.)

STANLEY HUNTER:  Right there, behind you.  That is a 17th century text by
Johannes Van Den Avelen.  It's one of two volumes in the world.  Now, do you go
to the Louvre and put your hands all over the Raft of the Medusa?

NICK:  Officer, Mr. Hunter would like to give a statement to Detective O'Riley.

STANLEY HUNTER:  Statement?

NICK:  Mm-hmm.

(Behind them, DET. O'RILEY and GRISSOM enter the room and stand just outside the
cage as STANLEY HUNTER continues to talk to NICK.)

STANLEY HUNTER:  I just got here.  I don't even know what happened.  But what I
do know is that these are masterpieces.  One of a kind.

GRISSOM:  They're evidence in an active criminal investigation -- also one of a
kind.

DET. O'RILEY:  Mr. Hunter, why don't we go upstairs and talk?

(STANLEY HUNTER leaves with DET. O'RILEY.  GRISSOM puts his gloves on and looks
around the room.)

(From a round POV, he views the table to the chair to the floor and he sees the
pen near the wastebasket.  GRISSOM walks over to it and picks it up.  He looks
at it.)

GRISSOM:  The good news, Nick?  We had a camera in here.

NICK:  There's no surveillance system.

GRISSOM:  Yeah, there is -- Aaron Pratt.  We just have to figure out how to get
the film out of his head.

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #11:

[EXT. ROADWAY BY CRASH SITE - NIGHT]

(The tow truck takes the damaged SUV away.  CATHERINE and SARA continue to take
photographs of the crime scene.)

(Between evidence markers #16 and #17, there's a piece of glass.  CATHERINE
picks it up and looks at it.)

CATHERINE:  Filament.

SARA:  Train probably busted out her headlights.  First thing on our list when
we get to the tow yard.

(SARA looks at the treadmarks on the road.  Something puzzles her about it.)

SARA:  Catherine ... check this out.

(SARA snaps a photo of it.)

CATHERINE:  Two sets of skid marks.

SARA:  One set going forward ...

(Quick flashback to the SUV stopping and skidding to a stop.  End of flashback. 
Resume to present.)

CATHERINE:  These skid marks are about seven feet shy of the gate.

(SARA walks over to the next set of skid marks between evidence markers #18 and
#19.)

SARA:  The second set of skid marks are darker more rubber residue.

CATHERINE:  Could be an overlay.

(SARA snaps several photos.)

SARA:  Looks like the tires were spinning in place.

(Quick flashback to the SUV burning rubber.  Cut to a close up of the tires
running in reverse.)

SARA:  (v.o.)  In reverse.

(End of flashback.  Resume to present.)

CATHERINE:  Burning rubber.  Going nowhere.

SARA:  So ... which set of skid marks are telling the story?

CATHERINE:  Maybe they both are.

CUT TO:



SCENE #12:

[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE -- NIGHT]

(GRISSOM is questioning STANLEY HUNTER inside the cage.)

GRISSOM:  So, all of your chemicals in here are alkaline?

STANLEY HUNTER:  We're not dealing with the far ends of the ph range.  See, old
book pages are slightly acidic.  The acid eats away the paper.  We neutralize
them by a solution that's slightly basic.

GRISSOM:  To reach "7," the neutral ph.

STANLEY HUNTER:  Exactly.  Imidazole.  Fifteen percent ammonia.  That's the sort
of thing we work with here.  It's all about preserving the books.  No, not that
you could even assign a value but do you have any idea how much each of these
books is worth?

GRISSOM:  No.

STANLEY HUNTER:  The first printed book was a Gutenberg Bible.  It sold at
Christie's for $5.3 million.  Lewis and Clark's elk skin journal sold for
$500,000.  We have an illustrated Audubon, The Birds of America, which is worth
an estimated $30,000.

GRISSOM:  All of that and you never thought about beefing up your security?

STANLEY HUNTER:  You know, special collections are kept in the vault.  Any rare
book removed from the vault gets scanned through a coder.  If the book is to be
read it's delivered to a secure room upstairs.  And if Veronica was going to
work on it, it stayed down here.

GRISSOM:  Is this one of the books that Veronica was restoring?

STANLEY HUNTER:  Yes. It ... it was published in 1797.  The author was a British
Botanist.  It's worth an estimated $300,000.  It's really not a dangerous
profession.

CUT TO:



SCENE #13:

[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) -- NIGHT]

(AARON PRATT reshelves books.  DET. O'RILEY walks up to GRISSOM.)

DET. O'RILEY:  We got a situation.  You know that weird guy?

GRISSOM:  He's not weird, O'Riley, he's autistic.

DET. O'RILEY:  Whatever.  First on the scene, and he's got sticky fingers.

(DET. O'RILEY hands GRISSOM a book.)

CUT TO:



SCENE #14:

[INT. LIBRARY -- NIGHT]

(GRISSOM stands next to AARON PRATT as he works.)

GRISSOM:  "But I will wear my heart upon my sleeve / for daws to peck at.  I am
not what I am."

AARON PRATT:   Othello, act one, scene one.  Line 61 and 62, Iago to Roderigo.

GRISSOM:  Very good, Aaron.  Now, you want to tell me how Othello ended up in
your briefcase?

(AARON looks around.)

AARON PRATT:  It's my ... favorite Shakespeare tragedy.

GRISSOM:  I like Hamlet myself.  And I bet Mr. Hunter is into King Lear.  He's
very concerned with property rights.  He tells me the rare books are kept in the
vault and they're not allowed off-site.

AARON PRATT:  Mr. Hunter doesn't like me.

DET. RAY O'RILEY:  I don't think the rule was made with you in mind.

AARON PRATT:  He breaks the rules all the time.

GRISSOM:  He takes the books home?

AARON PRATT:  No. He... eats his lunch in his office.  Carrots, celery tuna on
whole wheat ... and Veronica.

GRISSOM:  What do you mean, "and Veronica"?

AARON PRATT:  She's eating and he takes her sandwich ...

(Quick series of flashbacks.  Veronica sighing as STANLEY HUNTER kisses her
neck.  Cut to his hands on her breasts.  Cut to his hands running down her
thighs.  Cut to them kissing at his desk.  In the background near the door,
AARON PRATT watches.)

AARON PRATT:  (v.o.)  and he puts his hand on her breast.  And then he puts his
tongue ...

GRISSOM:  (v.o.)  (interrupting)  Aaron ...

(End of flashback.  Resume to present.)

GRISSOM:  I get it.  Did they know that you were watching them?

(AARON PRATT looks away.)

CUT TO:



SCENE #15:

[EXT. DUMP SITE - NIGHT]

(CATHERINE and SARA check the SUV out after it's been towed.  SARA notices
something.)

SARA:  Hey, you know that filament you picked up?

CATHERINE:  Yeah.

SARA:  The lamp cover's smashed, but the filament's intact.

CATHERINE:  So what, the filament's from another car?

SARA:  Well, taillights have different filaments, so ... yeah.

(CATHERINE kneels to examine the back bumper.  She finds something.)

CATHERINE:  Paint transfer.

SARA:  Recent?

CATHERINE:  Hard to say.

(SARA peers inside the car and notices a bag of gourmet doggie treats from
"Vegas Finest".  They're Bac'n'Chees flavored.  SARA gets into the front seat of
the car.)

CATHERINE:  You know, this right rear tire's lost a lot of rubber.

(SARA finds a cell phone on the driver side floor.  She checks it out.)

SARA:  I got a cell phone.  Battery's dead.

(SARA also notices something else strange.)

SARA:  Hey, Catherine ... her emergency brake is still on.

CATHERINE:  Maybe her brakes failed or she had to engage it for some reason you
know, I'm thinking that maybe another vehicle was involved.

SARA:  Engineer didn't mention anything about a second driver.

CATHERINE:  Maybe he didn't see it.

CUT TO:



SCENE #16:

[INT. CSI - HALLWAY TO LAB -- NIGHT]

(ROBBINS walks down the hallway to the lab where NICK is testing the chemical
bottles from the cage.  ROBBINS enters the room.)

ROBBINS:  Fifteen minutes before my next post.  Bottled chemicals from the
library?

(NICK nods his head.)

ROBBINS:  Hey.  Great room.  Great table.  I could use this.  Lay out all the
body parts.  Get a real overview.  Is that a light under there?

NICK:  Do you have something for me?

ROBBINS:  Oh, your vic.  Poisoned.  Substance as yet unidentified.

NICK:  Well, there's no smoking gun in any of these bottles.  What's on the
label is what's in the bottle.  Isopropyl alcohol ... 15% ammonia solution ...
imidazole ... bleach.

(NICK gets up and walks to the doorway.)

ROBBINS:  When you isolate the toxin you'll have a better idea where it came
from.  Nick ...

NICK:  Hmm?

(NICK turns around.)

ROBBINS:  I love this table.

(NICK smiles and nods.)

CUT TO:



SCENE #17:

[INT. CSI -- LAB]

(SARA is looking at the filament that they found on the road.  CATHERINE is
fiddling with the cell phone.)

SARA:  There's no glass on the filament.

CATHERINE:  10:30 at night?

SARA:  Crim 101.  If a guy's driving along at night with his lights on ...

(Quick CGI POV to loud tire screetching.  The camera heads toward the light
glass, through the light and down to the filament.  A piece of glass melts.)

SARA:  (v.o.)  gets in a wreck, glass breaks  fuses to the filament.

(End of flashback.  Resume to present.)

SARA:  Instant evidence.  But there's no glass on the filament.  His headlights
weren't on.

(CATHERINE stands up and walks to the scope to look.)

(Cut to the scope view of the filament with no glass melted on it.  CATHERINE
thinks about it for a moment.)

CATHERINE:  Black car ... headlights off.

SARA:  Easy for an engineer to miss.

CATHERINE:  So he hit our SUV.  Accidental or intentional?

SARA:  Hard to tell.

CATHERINE:  Maybe not.

(CATHERINE looks down at the cell phone in her hands.)

CUT TO:



SCENE #18:

[INT. AARON PRATT'S RESIDENCE]

(AARON PRATT straightens a picture on the wall, then turns and watches as
GRISSOM and NICK go through his things.  GRISSOM looks through the books and
NICK is looking through his mail.)

GRISSOM:  These books are from the Historical Society.

AARON PRATT:  (nervous)  That's my mail.

GRISSOM:  Aaron, what about these books?

AARON PRATT:  Don't ... don't mix those up.

(AARON grabs the mail from NICK and puts them back on the shelf.)

AARON PRATT:  I have two bills due tomorrow -- gas and electric -- and I have to
mail them on my way to work.  Don't.

(NICK calmly picks the mail up to continue to look through them.  AARON grabs
them from him again.)

AARON PRATT:  (frustrated)  You're messing everything up.

(GRISSOM walks over to them.)

GRISSOM:  (interrupting)  Aaron, may I have a glass of water, please?

AARON PRATT:  (immediately)  Of course you may.

GRISSOM:  Thank you.

(AARON leaves to go to the kitchen.)

NICK:  Is this guy the real deal?

GRISSOM:  I think he's incapable of deception, Nick.  We're just witnessing
displaced anxiety.  I mean, look around.  Everything's in precise order.

NICK:  Organized by size.

GRISSOM:  Order provides comfort.  His life is based on routine.  Without it, he
can't function.

NICK:  I'll check out the bedroom.

(AARON returns and hands GRISSOM a glass of water.)

AARON PRATT:  Mountain spring water, Calistoga, California.  Bottled at the
source.

GRISSOM:  Thank you.

AARON PRATT:  You're welcome.

(GRISSOM holds up a couple of books.)

GRISSOM:  Now, how did these books get here?

(AARON grabs the books from GRISSOM and reshelves them in its proper order.)

AARON PRATT:  Veronica brought them.

GRISSOM:  She was here.

AARON PRATT:  Yes, she was here.  We date.

GRISSOM:  What do you mean you date?

AARON PRATT:  We have dinner -- roast beef, baked potato ... organic broccoli
... acacia pinot noir.  Shakespeare in Love.  DVD.  Miramax.  M-c-m-x-c-v-I-I-I.

(Cut to NICK going through AARON PRATT'S dresser drawers.)

(Cut back to AARON PRATT seeing NICK in the bedroom and starting toward him. 
GRISSOM stops him.)

GRISSOM:  You two were involved with each other?

(AARON turns around.)

AARON PRATT:  Why? Don't you think she would date someone like me?

GRISSOM:  No. You told me Veronica was involved with Mr. Hunter.

AARON PRATT:  I have a masters in library science and an English Degree from
UNLV.  And some people like Mr. Hunter, treat me like a freak.  But Veronica
didn't.  She ... loved me.  Not him.

(In the background, NICK stops searching the drawers and starts back toward
GRISSOM.)

NICK:  Grissom.  You might want to come back here a sec.

(GRISSOM hands the glass of water back to AARON.)

GRISSOM:  Thank you.

(AARON takes the water and smiles.)

[BEDROOM]

(NICK leads GRISSOM back to the bedroom dresser and pulls aside a piece of
cloth.  Under it is a lipstick, a pair of earrings, a couple of photos and a
hair brush.)

NICK:  Personal effects.  Like some creepy little shrine.  Vic's hair.  She was
seeing Hunter.  Aaron got jealous.  Incapable of deception, huh?  How do you
feel about murder?

(GRISSOM picks up a photo of VERONICA BRADLEY.)

GRISSOM:  "Yet she must die else she betray more men.  Put out the light, and
then put out the light."

(He turns around to look at AARON PRATT standing in the living room behind
them.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #19:

[INT. CSI - AUDIO/VISUAL LAB]

(CATHERINE and SARA watch as ARCHIE JOHNSON works his magic on the 911 tape.)

ARCHIE JOHNSON:  Last call on her cell phone was to 911.  Reel to reel's already
interfaced on my computer.

(Start tape recording.)

DISPATHER:  (tape)  911, what's your emergency?

MEGAN TREADWELL:  (tape)  Oh, god, you've got to help me, please, help me.

DISPATCHER:  (tape)  Ma'am, try to calm down.  Where are you?

MEGAN TREADWELL:  (tape)  I'm in my car.  There's this maniac, he's following me
...

DISPATCHER:  (tape)  Ma'am, what's your location?

MEGAN TREADWELL:  (tape)  Help me, please!

(End of tape recording.)

CATHERINE:  Can you isolate the individual tracks?

ARCHIE JOHNSON:  Yes, ma'am.

CATHERINE:  Good. Lose the dog.

SARA:  Train, too, please.

(ARCHIE turns off "TRACK 1: DOG" and "TRACK 2: TRAIN".  He leaves "TRACK 3:
VICTIM", "TRACK 4: DISPATCH" and "TRACK 5: CAR" on.)

(Start tape recording.)

DISPATCHER:  (tape)  Ma'am, what's your location?

MEGAN TREADWELL:  (tape)  Help me, please!  Oh, my god!

(End tape recording.)

CATHERINE:  She was flooring it.

SARA:  With the emergency brake on?  It doesn't make any sense.

CATHERINE:  Okay, lose  the victim's voice and let's just hear the car.

(He runs the track for a third time.)

ARCHIE JOHNSON:  Two engines.

CATHERINE:  Separate them out.

(He separates the remaining TRACK into two TRACKS.  They run the tape again.)

ARCHIE JOHNSON:  SUV -- sounds like any regular four-cylinder.

(ARCHIE fiddles with the panel and runs the tape again.)

SARA:  Sounds like the same thing.

ARCHIE JOHNSON:  Hang on.

(ARCHIE runs the tape for a final time.)

ARCHIE JOHNSON:  You hear that?  Turbo. Probably diesel.

(That's enough to confirm that there definitely was a second car there. 
CATHERINE leaves without a word.  ARCHIE and SARA watch.)

SARA:  She definitely likes you.

(SARA pats ARCHIE on the shoulder and leaves to follow CATHERINE.)

CUT TO:



SCENE #20:

[INT. CSI - DNA LAB]

(GREG is reading the test results.)

GREG:  You ever see the attack of the killer tomatoes?

(NICK is also in the lab.  GREG shows the results to NICK.)

'Cause there's something in the victim's blood that looks like one of those
heirlooms.

NICK:  Well, it's not pulling a spectra.  It's not a chemical.

GREG:  No, it's a large, ugly, globular mass.  You know, it's probably a protein
'cause it's the largest mass of anything in the body--  except organs, of
course.

NICK:  But it's foreign.  How did it get in there?

GREG:  Cart before the horse, Nick.  First you identify it then you figure out
where it came from.

(GREG walks to the cabinet and removes a thick book.  He leaves through the book
and finds what he's looking for.)

NICK:  I always thought you kept your porn in there.

GREG:  I move it around.  Okay, now, this is a 66-kilodalton globular protein,
composed of two disulfide-linked sub-units, a and B.

NICK:  Very impressive.

GREG:  And I know what you all think of me -- I'm just another pretty face who
got to where I am by sleeping with Catherine.

(GREG starts to draw on the clearboard to illustrate to NICK what he's looking
at.)

GREG:  But seriously ... Phi Beta Kappa, Stanford.  Can I help it if I'm hip?

NICK:  Yeah, yeah, which one of your relatives got you in?

GREG:  Full ride.  Hey, eyes forward.  A and B chains link together to form a
large three-dimensional structure of these beta sheets and helices.

NICK:  Translation ...

GREG:  Wait!

NICK:  You just drew the molecular structure of a foreign protein.  A Plant?

GREG:  Correct.  But, more specifically, a lectin.

(GREG goes back to the book and looks it up.  He gasps.)

GREG:  This is nastier than I thought.  It's ricin, a biotoxin.

NICK:  Biotoxin?

GREG:  Yeah.  (reading)  "B chain binds to glycoside residues which trigger
endocytotic uptake of the protein which internalizes the toxin and begins the
irreversible effects ... "

NICK:  Whoa, whoa, whoa, stop now.  Biotoxin, as in anthrax, smallpox?  I was at
that crime scene for eight hours, man.

GREG:  Relax, man. It takes, like, two hours for ricin symptoms to show and,
like, 48 more to kill you.

NICK:  (worried)  What kind of symptoms are we talking about, here?

GREG:  Um ... sweats?  Cramps?

NICK:  No.

GREG:  Convulsions?

NICK:  Mm-mm.  [Translation:  No.]

GREG:  Then you're fine.

GREG:  And where did you say this woman worked?

NICK:  Western State Historical Society.

CUT TO:



SCENE #21:

[INT. CSI -- LAB]

(GRISSOM walks in through the double doors and catches ROBBINS.)

GRISSOM:  Hey.

(ROBBINS looks up and stops.)

GRISSOM:  I just got the word on our library victim.  How does ricin grab you?

ROBBINS:  Well, ricin.  I never would have gone there but it explains the
irritation of the mucous membrane on her tongue.

(Quick POV flash to the victim with her mouth open and tongue hanging out to
show a close up of the irritation.  End of POV.)

GRISSOM:  So you think she ate the poison.

ROBBINS:  I don't know about ate but the ricin made contact with the tongue
which means you're probably looking for a powder.

(GRISSOM nods.)

CUT TO:



SCENE #22:

[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE]

(A couple of suited up guys return back to the cage.  NICK puts his CSI kit
down, opens it and takes out a large piece of equipment.)

(Dissolve to Inside the Cage where NICK gathers and bags anything that looks
like powder.

(Dissolve to NICK bagging some small glass containers and handing them to the
other guy there with him.  He turns to continue looking.)

(Several dissolves as NICK looks.)

(Dissolve to NICK opening up VERONICA BRADLEY 'S make-up compact.)

CUT TO:



SCENE #23:

[INT. CSI -- LAB]

(CATHERINE walks into the lab.  SARA is already there where she has the contents
of MEGAN TREADWELL'S car spread out in front of her on the table.)

CATHERINE:  Day in the life.

SARA:  Megan Treadwell wakes up at home on Martingale street puts the dog in the
car, heads to work at her desk by 9:00 A.M.

CATHERINE:  We know this how?

SARA:  Brass. Talked to her boss.

CATHERINE:  Why the dog?

SARA:  Dog went with her, every day.

CATHERINE:  So she works till six?

SARA:  Eight, actually. Hard worker.

CATHERINE:  Finishes packs up and leaves the office.

SARA:  Except she doesn't go home.  She runs an errand.  I found these in the
front seat of her SUV.  There's only one store in Las Vegas that makes them.

(SARA lifts up the bag of Bac'n'Cheez doggie treats from "Vegas' Finest.)

CUT TO:



SCENE #24:

[INT. THE PET PLACE -- NIGHT]

(SARA, CATHERINE and BRASS question the workers there.)

WORKER 1 (RED-HAIRED):  Yeah, it happens all the time.  Parking spaces are too
narrow, and at a premium now that the restaurant moved in.  This guy was out of
line, almost... psycho.

BRASS:  Because of this woman?

(BRASS holds out a photo of MEGAN TREADWELL.  The worker immediately knows her
by her dog.)

WORKER 1 (RED-HAIRED):  Yeah.  Maverick's owner.  I think her name was, um,
something with an M.

SARA:  Megan.

(CATHERINE is in the back looking around the shop.  She turns around when she
hears Megan's name.)

WORKER 1 (RED-HAIRED):  Yeah. And this guy yelled so loud.  I came out here just
to check it out.  He said something like ...

WORKER 2 (DARK-HAIRED):  "You could have kill me, bitch!"  I heard it, too.

BRASS:  Did you see it?

WORKER 2 (DARK-HAIRED):  Kind of.  I mean, I didn't hear a crash or anything,
just brakes.  It seemed like she backed out, didn't see him.  Happened right
over there.

(The WORKER points to a place outside in the parking lot.  CATHERINE and SARA
book look at the direction.)

(Quick flashback to MEGAN in her car and starting her car.  Cut to MR. CROFT
walking past the car as it slowly backs up.)

MR. CROFT:  Whoa, whoa, hey, hey!

(End of flashback.  Resume to present.)

CATHERINE:  And that set him off.

WORKER 2 (DARK-HAIRED):  The last thing this guy needed was coffee.

(Quick flashback resumes as MR. CROFT and MEGAN TREADWELL start yelling at each
other.)

MR. CROFT:  Hey!

MEGAN TREADWELL:  What?

MR. CROFT:  Pull your head out of your ass and use your mirror!

(End of flashback.  Resume to present.)

CATHERINE:  Was he a regular?

WORKER 2 (DARK-HAIRED):  Double latte, tall Monday through Friday between 8:30
and 9:00.

BRASS:  Does Mr. Double Latte have a name?

WORKER 2 (DARK-HAIRED):  I think it's Croft.  Works right down the street - CPA. 
He's always telling us how to streamline our business.

SARA:  How did Megan react to Mr. Croft?

WORKER 1 (RED-HAIRED):  She told him to go to hell.

(Quick flashback to MEGAN and MR. CROFT yelling at each other.)

MEGAN TREADWELL:  Go to hell!

MR. CROFT:  No, you go to hell!

(MEGAN drives off.)

MR. CROFT:  You're an ass!

(End of flashback.  Resume to present.)

WORKER 2 (DARK-HAIRED):  And then just drove off.

CATHERINE:  And what about Mr. Croft?

WORKER 1 (RED-HAIRED):  Everyone was just staring at him and then he got in his
car and peeled out.

(SARA nods her head slowly.  CATHERINE turns to look at SARA.)

CUT TO:



SCENE #25:

[INT. CSI - GRISSOM'S OFFICE]

(GRISSOM is reading up on ricin.  He has the book open flat on the table to a
page with a picture on it.  GREG walks in.)

GREG:  Ricinus communis.  Castor beans, like castor oil.

GRISSOM:  Well, botanically speaking, it's a spurge, not a bean.  Ricin is made
from the husk.  Castor oil is made from what's inside.

GREG:  Hmm, which makes two people who know that --  you and the guy who wrote
the book.

GRISSOM:  Three, actually.  Someone knew how to turn this spurge into a poison.

(NICK walks into the room.)

NICK:  Hey, guys.  That's Aaron's book, right?

GRISSOM:  Mm-hmm.

NICK:  Shouldn't you be looking at that under a fume hood?

GRISSOM:  We brought this from his apartment, not his office.

NICK:  What makes you think there's a difference?  He probably cooked up that
ricin in his kitchen.

GRISSOM:  Our guys didn't find anything there.

NICK:  So he cleans up well.  What, you're not feeling sorry for this guy, now,
are you?

GREG:  Hey, man, he is autistic.

NICK:  Anybody else would be in a cell right now.

(GRISSOM looks at NICK who definitely has a point.  GRISSOM grabs his jacket and
leaves the room.)

CUT TO:



SCENE #26:

[INT. POLICE DEPARTMENT - INTERROGATION ROOM]

(GRISSOM and O'RILEY question AARON PRATT.)

AARON PRATT:  Yes, I've heard of ricin.  Georgy Markov, 1978.  Bulgarian
political refugee in London assassinated by injection with a ricin pellet shot
out of a black umbrella.  Died two days later.

GRISSOM:  Not that different from the way Veronica died, is it?

(GRISSOM stands.  He carries the book to AARON and puts it on the table open to
the page on Ricinus Communis.)

GRISSOM:  I found this book in your apartment.  What if I also told you that I
found your fingerprint on this page?

AARON PRATT:  Page 153.  I don't touch that book anymore.

GRISSOM:  But you did touch it.

AARON PRATT:  Why are you mad at me?

O'RILEY:  Answer the question.

AARON PRATT:  I don't touch this book anymore.  It doesn't feel right.

O'RILEY:  Ever since you killed Veronica.

AARON PRATT:  I loved Veronica.

(GRISSOM sits down next to AARON.)

GRISSOM:  What do you mean, it doesn't feel right?

AARON PRATT:  Like a new bus pass.  Smooth. Feel the page.  It used to feel like
my bus pass after a month.  Now ...  it's rough.

GRISSOM:  Did you tell anyone that the illustrations felt different?

AARON PRATT:  Yes.  I told Veronica and I told Mr. Hunter.  She said that
sometimes the books feel that way after they've been restored.

GRISSOM:  What did Mr. Hunter say?

AARON PRATT:  He said, "Get out of my office, Aaron, I'm having my lunch!"

(AARON stands up and walks over to the window.)

GRISSOM:  Was Mr. Hunter having lunch with Veronica again?

AARON PRATT:  Hard-boiled egg, celery, fruit salad, iced tea.  Veronica was on a
diet.  She had to lose three pounds.

GRISSOM:  Was this lunch different from the other lunches you told me about?

AARON PRATT:  Yes.

GRISSOM:  How?

AARON PRATT:  They fought.

GRISSOM:  Aaron, I want you to be very specific.  Tell me what you saw.

(AARON looks out the window and remembers.)

(Quick flashback to STANLEY HUNTER'S office and his lunch with VERONICA BRADLEY. 
They're arguing.)

STANLEY HUNTER:  You did what?

(He hits her.)

STANLEY HUNTER:  All I have is my reputation and I'm not going to let you ruin
it for me!

(End of flashback.  Resume to present.)

AARON PRATT:  Veronica started crying.  Mr. Hunter stopped yelling.  He sat
down.  He started eating.  He cut the hard-boiled egg in half.

(VERONICA is crying.)

AARON PRATT:  (v.o.)  He reached in the drawer and pulled out the salt shaker.

(VERONICA BRADLEY stops him from adding salt to the egg.  End of flashback. 
Resume to present.)

AARON PRATT:  No sex, no food, no salt.

(AARON turns back to look at GRISSOM.)

FADE TO BLACK.



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



SCENE #27:

[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - STANLEY HUNTER'S OFFICE --
NIGHT]

(NICK is in full gear and back at the library this time in STANLEY HUNTER'S
office.  He opens the drawer and picks up the the salt shaker.)

(Camera close up of the salt shaker.  Hold on NICK.)

HARD CUT TO BLACK.

(COMMERCIAL SET)



FADE IN.

SCENE #28:

[INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY]

(GRISSOM and O'RILEY question STANLEY HUNTER.)

STANLEY HUNTER:  Poison?  What are you talking about?

GRISSOM:  We're talking about ricin.  The toxin that killed Veronica Bradley. 
You were dating her.  You ate lunch together.

O'RILEY:  Opportunity.  So, you mix up a batch of ricin put it in a salt shaker. 
Next time you're breaking bread, she asks for the salt ...

STANLEY HUNTER:  It never happened.

GRISSOM:  We have a witness who says he saw you try to kill her.

STANLEY HUNTER:  What? Aaron?  Are you sure you trust him?

GRISSOM:  Normally an eyewitness is the least reliable evidence we have.  But in
this case, it's the most reliable.  Veronica knew about the forgeries.  A
career-ender, huh, Stanley?

STANLEY HUNTER:  For her, not for me.  She's the forger.

(This surprises GRISSOM.)

STANLEY HUNTER:  Oh, Aaron, Aaron, Aaron.  I suppose he indicted me for that,
too?  He's the one who came to me.  Told me about the illustrations.  Said they
felt like his bus pass.  Whatever that means.

GRISSOM:  Go on.

STANLEY HUNTER:  He even knew the page numbers.  So, I checked it out and he was
right.  Veronica was using me and mea culpa.

GRISSOM:  Why didn't you tell us about the forgeries earlier?

STANLEY HUNTER:  When she died, I thought the problem was solved.  In this
business, all you have is your reputation.  There was a dozen books.  I was
going to remove them from the collection inform the board, collect the insurance
and cut my losses.  If you don't believe me go ask your very reliable witness.

(Camera holds on GRISSOM.)

CUT TO:



SCENE #29:

[INT. WESTERN STATE HISTORICAL SOCIETY (LIBRARY) - THE CAGE -- NIGHT]

(GRISSOM is standing on the inside of the cage.  AARON PRATT is on the outside
looking in.)

GRISSOM:  Tell me again, what did you see?

AARON PRATT:  Uniball pen rolls across the desk.  Falls on the chair, hits the
floor and stops rolling at the wastebasket.  Then water falls into Veronica's
eyes ...

GRISSOM:  (interrupting)  Aaron, when you look at things you see pictures in
your mind.  Tell me the first picture you see of Veronica in this cage.

AARON PRATT:  I already told you.

GRISSOM:  Tell me something you haven't told me.  Tell me what Veronica was
doing before you said good night.

AARON PRATT:  She pulled out a canvas bag.  Then she looked around.

GRISSOM:  Why was she looking around?

AARON PRATT:  She was deciding something.

GRISSOM:  Tell me what "Veronica deciding something" looks like.

(Quick flashback to VERONICA BRADLEY crouching down and removing a book from the
table.  Cut to VERONICA standing up and picking a book off of the table.  Cut to
her opening the book and flipping a page.  Cut to her biting the end of the pen. 
Camera close up of VERONICA BRADLEY biting the end of her pen.  End of
flashback.  Resume to present.)

GRISSOM:  Thank you, Aaron.

(AARON looks back at GRISSOM.)

CUT TO:



SCENE #30:

[INT. CSI -- LAB]

(NICK is going through the pens they picked up from VERONICA BRADLEY'S house.)

NICK:  Veronica Bradley must have loved uniballs.  She had about a dozen at her
house.  Plus every known piece of forgery equipment.

(GRISSOM puts a swab in its box.)

GRISSOM:  Some people bite their nails; she bit her pens.  Bad habit.

(GRISSOM swabs the end of another pen.)

NICK:  I also found this under her refrigerator.  Funny how people don't think
to clean there.

(NICK holds out an evidence bag for GRISSOM to take.  GRISSOM looks at it. 
Camera close up of a single castor bean.)

GRISSOM:  Castor bean.  Ricinus communis.

(Quick flashback to VERONICA BRADLEY cooking in her kitchen.  She takes some of
the solid and grinds it into a powder.  She puts the powder into the salt
shaker.  Camera close up of some of the ricin powder falling onto her notebook
and pen.)

NICK:  (v.o.)  But if we find Ricin on any of the pens from her house ...

(End of flashback.  Resume to present.)

NICK:  ... we'll know where she cooked up the castor beans.

GRISSOM:  And maybe how she died.

(GRISSOM hands a tray full of boxed swabs to NICK.)

GRISSOM:  Get these to Greg right away.  We need the results of the ricin elisa
test.

(NICK leaves.)

CUT TO:



SCENE #31:

[INT. POLICE DEPARTMENT - INTERROGATION ROOM]

(CATHERINE and BRASS question MR. CROFT.)

MR. CROFT:  I came home straight from work.  I don't know what you're talking
about.

CATHERINE:  You want to submit to a lineup?

MR. CROFT:  A lineup?  What for?

(SARA opens the door and enters the room.)

SARA:  His car, out in the parking lot, it's a rental.  Rented this morning.

CATHERINE:  Let's just cut the B.S.  Where's your car?

MR. CROFT:  I sold it.

CATHERINE:  You got proof of sale?

(He shakes his head.)

CATHERINE:  An accountant who doesn't keep receipts.

MR. CROFT:  Hey, you don't know anything about me.

CATHERINE:  I know you've got a temper.

(Camera holds on MR. CROFT.)

CUT TO:



[EXT. (STOCK) - NIGHT]



SCENE #32:

[INT. CSI - GARAGE]

(CATHERINE enters the GARAGE.  SARA is already there with MR. CROFT'S car.)

SARA:  Hey. Brass did the legwork and rushed the warrant.  Found it in a body
shop a mile from his house.

(CATHERINE looks at the car.)

CATHERINE:  Black Excursion.  Turbo diesel.

(CATHERINE walks to the front of the car and looks at the broken headlight.)

CATHERINE:  Gutted.

SARA:  Gets better.  Vic's SUV was silver.

(SARA shows silver paint on the car's front bumper.)

SARA:  What do you think?

CATHERINE:  Well, this is a lot more than a fender bender.

SARA:  Sustained contact.

CATHERINE:  Get some scrapings.

SARA:  Yeah.

(SARA puts her flashlight aside.  CATHERINE opens the car's front passenger-side
door and looks around.  She sees the coffee on the front dash and seat.)

(Cut to SARA getting the scraping.)

(Cut back to CATHERINE climbing into the car and sitting down.  She finds the
empty coffee cup on the driver-side floor.  She picks it up.)

CATHERINE:  I think I may know what ...

(She smells it.)

CATHERINE:  set this guy off.

(SARA looks up.)

CATHERINE:  He spilled his coffee.

(CATHERINE looks around and finds the coffee lid with lipstick on the cap.)

(SARA walks around to the driver side.)

CATHERINE:  (shaking her head)  Not a good color for Croft.

(They're both putting the pieces together.  CATHERINE also notices the coffee on
the driver-side window.  She rolls the window up to show the coffee stain.)

CATHERINE:  Coffee on the outside, coffee on the inside.  Lipstick on the lid.

SARA:  She threw her coffee at him.

(Quick flashback to MEGAN in her car.  MR. CROFT pulls up beside her.  He yells
at her.  She yells back.)

CATHERINE:  (v.o.)  Croft chases her from the parking lot caught up to her at
the light.

(End of flashback.  Resume to present.)

CATHERINE:  They said their "screw you, screw you's."  I think I know the word
that made her throw the coffee.

SARA:  I hate that word.

(Quick flashback to CROFT swearing at MEGAN.  MEGAN throws her coffee cup at
CROFT.  It hits him square.)

SARA:  (v.o.)  Those lids never fit.  She nailed him.

(She drives off.  End of flashback.  Resume to present.)

SARA:  Light turns green and the chase is on.

(Quick flashback resumes as MEGAN peals off when the light changes.)

CATHERINE:  (v.o.)  And now she's got a problem.

(CROFT pursues.  Cut to a car chase between the two cars.  End of flashback.)

SARA:  She's got a pursuit on her hands.

CATHERINE:  And she's the pursued.  So, she dials 9-1-1.

(Quick flashback to MEGAN on her cell.)

OPERATOR:  (over phone)  9-1-1. What's your emergency?

MEGAN TREADWELL:  (to phone)  Oh, my god, you've got help me, please. Help me!

(End of flashback.)

CATHERINE:  Somehow she loses him.

SARA:  And she's still spooked.  All she wants now is to get home.

(Quick flashback to MEGAN turning the corner and scared.  She stops when the
track guard bell rings and the rail lowers.)

MEGAN TREADWELL:  Please ... pl-please.

(She checks her rear-view mirror and sighs when she doesn't see the car.  She
turns around and looks at her dog.)

MEGAN TREADWELL:  Hey, sweetie ...

(Then from behind her, the car hits her full speed.  She starts to inch forward. 
The train whistle blows in the distance.  Her brakes screech.  She slowly inches
forward toward the guard rail.  Behind her MR. CROFT looks very smug behind the
wheel of his car.  The train whistle blows.)

MEGAN TREADWELL:  Oh, god, no!  Help me!

(She puts her emergency brakes on.  End of flashback.)

CATHERINE:  That's why she had the emergency brake on.

(Quick flashback to the car still inching forward and MR. CROFT mercilessly
pushes the car forward.  The train whistle blows.  The car breaks through the
rail and onto the track.  End of flashback.)

CATHERINE:  She could have jumped out.

SARA:  Not without her dog.

(Quick flashback to MEGAN being pushed all the way to the middle of the train
track.)

MEGAN TREADWELL:  Help!

(Her tires squeal; the train whistle blows.  CROFT pushes the car forward, then
goes in reverse once the car's in place.  MEGAN tries to start her car, but the
engine won't turn.)

MEGAN TREADWELL:  No!

(The train makes impact with the car.  CROFT sits in his car and watches.  End
of flashback.)

CATHERINE:  And that's why you always cut the other driver some slack.

SARA:  I'll call Brass, tell him to make the arrest.

(CATHERINE nods.

CUT TO:



SCENE #33:

[INT. CSI - GRISSOM'S OFFICE]

(GRISSOM watches as AARON PRATT nervously arranges the items on his shelf.)

GRISSOM:  Veronica removed the original illustrations from the books and
replaced them with forgeries which she then left at your house so that she could
point the finger at you if it ever came to that.  She never thought that you'd
find out but you did.  And you told Mr. Hunter.

AARON PRATT:  "All you have in this business is your reputation."

GRISSOM:  So, Veronica tried to save hers but instead of killing Mr. Hunter she
ended up killing herself.

(AARON knocks down the containers he was straightening.)

AARON PRATT:  Oh.  Sorry.

(GRISSOM rushes over to help him pick them up.)

GRISSOM:  That's okay.

(AARON nervously giggles.)

GRISSOM:  (quietly)  I like order.

AARON PRATT:  Me, too.  That's why I was scared.

GRISSOM:  Scared?

AARON PRATT:  Of Veronica.  Of being in love.  I was stupid.  I thought she
loved me.

(Quick flashback to VERONICA kissing AARON.  End of flashback.)

AARON PRATT:  "Then must you speak of one that loved not wisely ...

GRISSOM:  ... but too well."

AARON PRATT:  Othello, act five, scene two, lines 343 and 344.

GRISSOM:  But Othello killed Desdemona.

AARON PRATT:  I didn't kill Veronica.

GRISSOM:  (quietly)  No, you didn't.

(GRISSOM smiles.)

FADE TO BLACK.

Fait par Loveangel

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 (23:26)

Bon courage au travail
Bonne nuit et bonne fin de soirée.

Sonmi451 (23:28)

Travailles-bien !

CastleBeck (23:29)

Merci

Sonmi451 (23:35)

Sur ce j'y vais aussi.

Sonmi451 (14:23)

Bonne journée à tous! Et Joyeuse St-Nicolas!

arween (18:40)

Vous êtes nombreux à fêter la Saint Nicolas ?

Xanaphia (19:04)

En tout cas chez moi aussi ça se fête Alors bonne Saint Nicolas

arween (19:05)

Dans le sud, ça ne se fête pas du tout

Xanaphia (19:11)

Et oui c'est plutôt du nord et de l'est de la France +la Belgique, si je ne dis pas de bêtise ^^

arween (19:11)

ouais donc loin de chez moi ^^

Xanaphia (19:12)

vous avez des fêtes spéciales par chez vous ?

arween (19:13)

Non rien du tout

arween (19:13)

Ah attends si on la fête de mai.

arween (19:14)

Mais je crois que c'est juste à Nice

Xanaphia (19:14)

la fête de mai ?

mnoandco (19:14)

Oui, chez moi aussi il y a la Saint Nicolas (Nord Est) ! et le père fouettard...pour les pas gentils...ne me sens évidement pas concernée!

arween (19:15)

Honnêtement je ne sors pas beaucoup là où il y a foule alors je sais pas trop ce qu'ils font

Xanaphia (19:15)

coucou ah oui le folklore local ^^

Lolo1710 (19:27)

Saint Nicolas c'est sacré en Belgique, les primaires font un spectacle chaque année puis les autre c'est surtout pour les bonbons ?

Xanaphia (19:29)

Ou les chocolats et les coquilles

Lolo1710 (19:41)

Ouaip, un truc génial aussi mais c'est peut être que dans mon école, c'est les filles qui font régime et qui troc des bonbons contre des mandarines

Sonmi451 (21:20)

Moi je fais saint-Nicolas car mon homme est du nord-Est mais ma fête à moi arrive jeudi. ^^

Sonmi451 (21:20)

Avec la fête des lumières.

Sonmi451 (21:21)

Bonsoir au fait!

Xanaphia (21:30)

Bonsoir Ah la fête des lumières ça doit être joli ^^

Sonmi451 (21:36)

Très.

Sonmi451 (21:37)

Cette année, je vais me contenter de mettre les lampions aux fenêtres.

serieserie (08:40)

Bonne journée de chasse aux cadeaux sur la citadelle!

CastleBeck (15:46)

BOnjour ici!
Je viens de lire qu'une de mes séries préférées est renouvelée pour une 4e saison avec ajout d'un de mes acteurs préférés. Il me semble que ça met du bonheur dans ma journée <--- Oui, ça ne m'en prend pas beaucoup!

CastleBeck (15:53)

(Tiens, dans l'article ils disent que ce sera diffusé prochainement sur France 2... C'est bon à savoir. Si vous voyez passer Mensonges sur France 2, vous regardez!)

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!!

cinto (11:39)

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

grims (16:47)

Coucou à tous ! une petite visite sur les quartiers Sons of anarchy, Outlander et Vikings serait sympa de jolis calendriers de Noël vous y attendent : ) merci d'avance pour votre passage

choup37 (17:13)

Calendriers aussi chez Kaamelott, Merlin, Doctor Who, Torchwood et Musketeers

choup37 (17:14)

(c'est super ces deux onglets pour alterner entre blabla et promo)

stella (19:34)

Case 5 du calendrier de l'avent de Downton Abbey vient d'être dévoilée.

Titepau04 (22:11)

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!!
Et profitez-en pour voter sur le sondage ncisla!!!!

mnoandco (09:56)

Coucou! Le quartier Blacklist propose 3 calendriers totalement différents et de circonstances pour ce mois de décembre. N'hésitez pas à venir les commenter.

sabby (10:19)

Hello la citadelle !! Le quartier Friday Night Lights aurait bien besoin de visites. Personnes pour voter au sondage ni commenter le nouveau design. Venez jouer au ballon avec moi, je m’ennuie un peu tout seule là_bas

serieserie (10:19)

Allez allez, on s'inscrit pour l'HypnoGame Arrow!!

mamynicky (10:27)

'Jour les 'tits loups Un calendrier de l'Avent gourmand sur Downton Abbey et un autre musical sur Empire. Si vous êtes en retard, vous pouvez le rattraper et n'oubliez pas de les commenter. Merci

Titepau04 (10:34)

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!!
Et profitez-en pour voter sur le sondage ncisla!!!!

arween (13:12)

Bonjour à tous ! Une grande animation vous attends sur The Night Shift ainsi que le calendrier et le sondage. Et sur Dollhouse, il y a un nouveau calendrier qui ne demande qu'à être commenté

roro73 (15:22)

Bonjour Nouveau sondage et nouvelles PDM sur Wildfire. Venez nous voir, on s'ennuie un peu =P

mamynicky (19:11)

Edgemont a besoin de clics sur son sondage. Merci

chrismaz66 (19:26)

J'y go Mamy et toujours chez Dr House le sondage Bad Boys, votez pour votre chouchou inter-séries, et quelques clics pour Torchwood qui en a bien besoin, merci

Phoebus (00:03)

Bonjour, nouveau sondage sur le quartier de Person Of Interest.

arween (09:26)

Bonjour ! Nous n'avons que peu de participants à l'animation The Night Shift... Elle est pourtant ouverte à tous ! Allez ne soyez pas timide et venez nous rendre visite

SeySey (12:55)

Bonjour! Nouveau sondage spécial fête de Noel sur le quartier Under The Dome! Venez nombreux!

liliju (15:55)

Un sondage spécial Noël vous attend sur le quartier des zombies (The Walking Dead). Ils ont besoin de vous. Merci de votre temps

Titepau04 (17:06)

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!!
Et profitez-en pour voter sur le sondage ncisla!!!!

chrismaz66 (17:39)

'Soir, venez départagez nos ex-aequo au sondage House, et Torchwood va bientôt fêter ses 10 ans : animations signées Choup! Un petit coucou serait sympa Merci

Rejoins-nous !

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