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#621 : De mémoire

Toute l'équipe enquête sur la mort tragique d'une avocate. La victime est décédée pendant la cérémonie de mariage de son fils. Les indices réunis sont placés à bord de la voiture de Nick. Or, les agents découvrent avec horreur que le véhicule a été volé. Ne disposant plus d'aucune preuve, ils doivent reprendre leur travail à zéro et trouver de nouvelles traces du crime. Après un minutieux pointage, Nick et ses collaborateurs parviennent à localiser des pièces intéressantes. Ils sont maintenant convaincus que l'un des invités du mariage a tué l'avocate. 

Titre VO
Rashomama

Titre VF
De mémoire

Première diffusion
27.04.2006

Première diffusion en France
08.10.2006

Scène avec Sara
Scène avec Sara

  

Plus de détails

Écrit par : Sarah Goldfinger 
Réalisé par : Kenneth Fink 

Avec : Louise Lombard (Sofia Curtis), Wallace Langham (David Hodges), Liz Vassey (Wendy Simms), Conor O'Farrell (Sheriff adjoint Jeff McKeen), Sheeri Rappaport (Mandy Webster), Archie Kao (Archie Johnson), David Berman (David Phillips), Jon Wellner (Henry Andrews), Paula Francis (Elle-même) 

Guests :

  • Ray Wise ..... Ernest Chase
  • Veronica Cartrwight ..... Diane Chase
  • Daniel Roebuck ..... Frank Rosetti
  • Carmen Argenziano ..... Sylvano Fatelli
  • Johnathan McClain ..... Adam Chase
  • Amanda Seyfried ..... Lacey Finn
  • Rachel Miner ..... Valerie Whitehall
  • Chris Hardwick ..... Mikey Shoemaker
  • Alex Skuby ..... Agent fédéral
  • Dave Power ..... Bryce Gundy
  • Rheagan Wallace ..... Mindy Faberge
  • Reagan Pasternak ..... Jill Shoemaker
  • Claire Coffee ..... Cindy Jansen
  • Josie Divencenzo ..... Waitress

FADE IN:  

[EXT. HOTEL - FRONT DRIVE -- DAY]  

(SLOW MOTION.  The bride and groom sit on back of the open convertible as it slowly passes the wedding party and guests cheering them on.)  

(As the convertible passes, the horrified guests in the back yell for them to

GUESTS:  Stop!
GUESTS:  Stop!

CROWD:  Stop!

(The camera moves to the tail end of the car where normally cans are tied to the bumper.  The car passes and we see a woman in a white dress dragged behind the car, leaving a streak of blood on the driveway.)  

(The crowd continues to scream.)  

(Close-up of Diane Chase being dragged on the driveway.)  

WHITE FLASH TO: 


[EXT. FRANK'S COFFEE SHOP -- PARKING LOT -- DAY]  

(Nick pulls up his SUV and parks.  He gets out and heads for the diner.) 


[INT. FRANK'S COFFEE SHOP -- DAY - CONTINUOUS]

(Sara and Greg are in a booth eating.  Through the window, we see Nick head for the diner.)  

SARA:  Why do we always come here?

GREG:  Open 24 hours.  

SARA:  Everything in Vegas is open 24 hours.

GREG:  It's cheap.

(Nick enters and sits next to Sara.)  

NICK:  Smells like bacon in here.  (to Sara)  Slide over.  That scene took forever.  We were there like, what, nine hours?

SARA:  Eleven.

GREG:  A dead lawyer and two hundred eyewitnesses -- it's going to take awhile.

NICK:  Come for a wedding, stay for the funeral.  Why do we always eat here?

GREG:  It's tradition.

SARA:  Ah, tradition.  Like becoming property exchange between your father and your husband?

NICK:  Oh, that's not what a wedding is.  It's a public declaration of love.

GREG:  I'm with Vince Vaughn on this one.  Dozens of horny, single women with access to an open bar and coupling on their mind.

(The waitress appears and puts a cup down on the table in front of Nick.  She fills the cup as she listens to Greg.)  

WAITRESS:  Weddings are a Rorschach.  Everybody sees what they want to see.  My first five were good.

(The waitress leaves.  As she moves off, we see a large blue truck pull up in the parking lot outside the window, blocking our and their view of Nick's SUV.  Greg looks up as we overhear the news report on the television set.)  

PAULA FRANCIS:  (from tv)  Noted criminal defense attorneyDiane Chase was killed yesterday.  Crime Scene Investigators say ...

(On the monitor, we see Sara next to the body collecting evidence.  The area is taped off.)  

GREG:  We haven't even gone back to the lab yet, and we're already on TV.

(Nick and Sara also watch the report.)  

INSERT:  NEWS REPORT

(The monitor cuts back from footage to Paula Francis reporting from the studio.)  

PAULA FRANCIS:  (from tv)  In a tragic twist, Ms. Chase was killed while attending her son's wedding.  She was best known for taking on the toughest cases, and it was her defense of high-profile, organized crime associates that really made her a name in legal circles.  

(On the monitor, we watch file footage of Dino Fatelli walking out of the courtroom with Diane Chase by his side.  They are surrounded by reporters.)  

DIANE CHASE:  (from tv)  If it was an intelligent question, I'd stop to answer it.

PAULA FRANCIS:  (from tv)  Most recently, she represented Dino Fatelli of the Fatelli crime family, who was sentenced to life last month for the brutal slaying of casino mogul Remy James.

(On the monitor, we watch file footage of Remy James on the street, his legs tied to the back of a car, license #417 DXO.)

RESUME SCENE

GREG:  The stones on these guys -- to take her out at her son's wedding?

(Through the window, we see the blue truck gone.)  

NICK:  Pass the cream, will you?

(Sara reaches for the creamer and hands it to Nick.  As he eats, Greg absently glances out the window.  We see a blue truck drive away.  But, more noticeably, we don't see Nick's SUV parked anywhere.)  

GREG:  Dude, where's your car?

NICK:  (points)  It's parked right ...

(Nick and Sara both turn to look and find that it's definitely gone.  Sara's jaw drops.)  

(Oh, no!)

SHORT TIME CUT TO:  


[EXT. FRANK'S COFFEE SHOP -- PARKING LOT -- DAY]  

(A police siren sounds.  Out front of Frank's Restaurant are the CSIs, Grissom and Brass.)  

(Tires screech as a car turns into the parking lot and stops in front of them.)  

(Undersheriff Jeff McKeen exits the car.  Brass turns to the others.)  

BRASS:  Incoming.

(Grissom instructs the CSIs.)  

GRISSOM: I'll talk.  You guys just look apologetic.

(Nick takes his sunglasses off and tucks them in his pocket.  Jeff McKeen walks
up to them.)  

JEFF MCKEEN:  All right, let me see if I understand this correctly.  You let one
of the members of your team drive his personal vehicle to a crime scene
investigation; and then, even though there was a perfectly good crime scene
vehicle there, that personal car was crammed with every bit of evidence
collected at a major murder investigation, because two of you were maxed out on
overtime.  And then the driver, of said car, instead of securing that evidence
in the lab, gave priority to his need for runny eggs and the aforementioned
vehicle was stolen from a parking lot filled with police cars.  Is there
anything I missed?

GRISSOM:  Just this:  Even if we recover the vehicle, the chain of custody has
been broken, so all the evidence has been compromised.  

(Jeff McKeen removes an antacid from his roll.)  

GRISSOM:  No judge will allow any of it to be admitted into court.  Also, we
released the crime scene, so it, too, is compromised, leaving us nothing to go
back for.

JEFF MCKEEN:  Thank you for clarifying the situation.

(He pops the tablet in his mouth, glares at the silent CSIs, turns and heads
back to his car.)

(Brass shrugs.)  

BRASS:  Well, it could've been worse.

(The car engine sounds and gas revs as the car takes off, knocking down the line
of orange road cones in its wake as it speeds on the main road.  Car horns
honk,.)  

Off Nick, we

SMASH CUT TO:  
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN:  

[EXT. FRANK'S COFFEE SHOP -- PARKING LOT -- DAY]  

(Nick talks with Brass, who takes notes.)

NICK:  We were seated at a booth, with clear visual access to the vehicle.  A
delivery truck pulls up, blocks our view.

BRASS:  For how long?

(Sofia walks up to join them.)  

NICK:  Two, three minutes, tops.

BRASS:  What kind of truck?

NICK:  Bread, dairy ... I can't remember.

BRASS:  Did you have an alarm?

NICK:  Yeah. Yeah, it didn't go off.

(Nick sighs and takes his glasses off.)  

BRASS:  Are you sure it was locked?

NICK: Yeah, absolutely.  And I have a tracking system on my truck, too.  I
called it in as soon as I realized it was missing.

BRASS:  Okay. I'll follow up.  I mean there's about a dozen places to hide a
tracking system on a car.  I'm sure the Fatellis know 'em all.

SOFIA CURTIS:  No broken glass.  No bolts from a disengaged transmission.  No
tire treads or skid marks.

(Brass and Sofia turn.  They start to leave.  Nick stops them.)  

NICK:  Hey, Jim.  

(Nick glances around.)  

NICK:  I need a ride.

(Brass chuckles.)  

CUT TO:  



[INT. CSI - HALLWAY TO BREAKROOM -- DAY]  

(Grissom heads down the hallway, straight to the break room where Greg, Sara and
Nick sit behind the table waiting for him.)  

GRISSOM:  Internal Affairs Bureau is coming to take our statements.  They'll
want to know what's been lost.  So let's not make ourselves look any worse than
we already do.  Write down everything -- evidence collected, interview notes,
etc ... every detail.  No one leaves until they've given their account of the
event.

(Greg nods.  Suddenly rock music sounds as Greg's phone goes off.  He scrambles,
digs into his pocket and turns the phone off.  Once more, silence ensues.)

(Grissom turns and leaves the room.  Everyone is quiet.  Greg exhales.)  

CUT TO:  



[INT. CSI - HALLWAY -- DAY]  

(Grissom is reading through a file folder and walking through the hallway when
Catherine finds him.)  

CATHERINE:  So aside from the accident, Mrs. Lincoln, how was the show?

GRISSOM:  Not good.  Fatelli was handled by the day shift.  Let's pull the file.

CATHERINE:  And compare it to what?  We've got no crime scene photos.

GRISSOM:  I have mine, but they're only of the ballroom.  But every wedding
these days has a videographer.  We got to get the video.

CUT TO:  



[INT. CSI - FORENSIC AUTOPSY -- DAY]  

(David Phillips looks over Diane Chase with his flashlight.  She's dead, her
eyes wide open.  He puts the flashlight down and checks her teeth.  He then
checks her hands.  He collects scrapings from her under nails.)  

(He picks up his camera and takes photos of the marks around her ankles.)  

(He puts the camera down and touches the marks.)  

INSERT:  FLASHBACK

[EXT. HOTEL - FRONT DRIVE - DAY]

(The car pulls along Diane Chase's body.)  

RESUME SCENE

(David shaves the hair off the back of her head.)

INSERT:  FLASHBACK

[EXT. HOTEL - FRONT DRIVE - DAY]

(Diane is dragged along the front drive, the back of her head scraping against
the road.)  

RESUME SCENE

(Grissom enters the room.)  

DAVID PHILLIPS:  Oh. Hey, Grissom.  I'm sorry to hear about the setback.

GRISSOM:  Yeah, well, it's all about the body now, David.

DAVID PHILLIPS:  There was a vital response in the ligature marks around her
ankles.

GRISSOM:  So she might have been unconscious, but she was probably still alive
when she was tied to the car.

DAVID PHILLIPS:  Yeah, all the significant trauma was to the back of her head.  
We'll know more after autopsy.

CUT TO:  



[INT. POLICE DEPARTMENT - HALLWAY -- DAY]  

(Undersheriff Jeff McKeen walks with Brass through the hallway.)  

JEFF MCKEEN:  So you tell me how I'm going to spin this thing.  I've got a dead
lawyer, a known enemy of the department, who made her career picking us apart.  
And now, we've lost the evidence in her murder.  Even I don't buy it.

BRASS:  The Fatellis are on our radar.

JEFF MCKEEN:  Press is going to eat us alive.  Six-month trial, we finally get
Fatelli shipped off to Lompoc.  He's not even in the state.  How long are his
arms?

BRASS:  I talked to the feds.  They're checking the call logs, visitors' logs.

JEFF MCKEEN:  It's going to look like the CSIs were paid off.  Nobody's going to
believe that this was an unfortunate series of coincidences.  So my choices are:  
We're idiots, or we're dirty.  

CUT TO:  



[INT. CSI - BREAK ROOM -- DAY]  

(Greg, Sara and Nick are writing their notes down quietly.)  

JEFF MCKEEN:  (v.o.)  So which are we?

GREG:  It was a big scene.  I threw tons of stuff into the back of your truck.  
Figured I'd just sort it out later.  Print lifts, swabs, my camera.

SARA:  Well, maybe if we talk it out, it will help.  I started with the "just
married" convertible.

NICK:  Well, thankfully, that didn't get stolen. Where is it?

SARA:  Because of possible Fatelli involvement, the undersheriff ordered it
swept at the scene before they brought it back to the lab.  It could be hours.

GREG:  Did you get anything from it?

SARA:  Prints ...

FLASH TO:  



[EXT. HOTEL -- FRONT DRIVEWAY - DAY - SARA'S FLASHBACK]

[SARA'S POV]

(The entire scene is high definitioned and tinged with a green-ish hue.)  

(She's standing behind the car - the ribbons with empty beer cans tied to it
have been untied from the bumper and are on the driveway.  The convertible is
just beyond the crime scene tape.)

(Camera moves forward toward the body.  Sara's kit is open by Diane Chase's bare
feet.  Sara waits as David Phillips checks the body.)  

SARA:  (v.o.)  I remember David saying ...

(David turns and looks at Sara as he mouths)

SARA'S VOICE:  "You'd think she'd know better than to wear white on the bride's
big day."

(Sara looks away and heads over to the arch to the reception area in the
gardens.)  

SARA:  (v.o.)  So there we were at Cupid's kiss, a nuptial Neverland where the
cheese factor was dangerously high and the flowers were ... obviously fake.

(Sara reaches the flower-covered arch and takes her sunglasses.  She looks at
the flowers and notices the plastic bands.  Yep.  Fake.)  

(She proceeds through the archway toward the reception gardens.)  

SARA:  (v.o.)  Can the love be real when the flowers aren't?

(She comes out the other side and notices two female guests walking up to each
other and fake-kissing the air in greeting.)  

(Sara shakes her head.)  

(As Sara continues walking, she notices Nick talking with two bridesmaids, Mindy
and Cindy.  She walks past them and hears them speaking gibberish, in fast-
forward.)

MINDY:  Shidigee widias a bidigitch.

CINDY:  Widigee hidiga tidiged hidiger.

BACK TO SCENE:

NICK:  (without looking up)  Oh, you really have a thing about weddings, don't
you?

SARA:  (eyes glued to paper)  Hey, I didn't interview them.  It was just my
impression.

FLASH TO:  



[EXT. HOTEL -- FRONT DRIVEWAY - DAY - SARA'S FLASHBACK]

(Back to the reception gardens -- half-filled champagne glasses and laughter.  
The groomsmen are in a group with some women.  One of the groomsmen breaks away
from the group.  He's holding a beer can, turns and swaggers over to Sara.)  

(Sara puts the glasses on her head and her kit down as she introduces herself.)  

SARA:  Hi, there. Hi.  I'm, uh, Sara Sidle.  I'm with the Crime Lab.

(He raises his beer can.)  

BRYCE GUNDY: Bryce Gundy, groom's side.

SARA:  Did you guys decorate the wedding car with those beer cans?

BRYCE GUNDY:  (drunk)  Yep.

SARA:  Did you drink all the beer first?

BRYCE GUNDY:  Yep.

SARA:  Awesome.  Did you also tie the groom's mom to the bumper?

BRYCE GUNDY:  Nope.

SARA:  Good chat.  Um, I'm going to need to get your fingerprints so I can
compare them to the prints that I got off the car.

BRYCE GUNDY:  Cool.

(Sara takes out the ink pad.)

SARA:  You are aware that someone has died?

BRYCE GUNDY:  Nobody's going to miss her except her son and her cell phone
provider.

SARA:  Oh, what do you mean?

BRYCE GUNDY:  She's creepy close to Adam.  Must have called him fifteen times a
day.

SARA:  Huh.  Uh, do you mind just putting your finger right here?  

(He leans forward to put his finger carefully on the ink pad and promptly tips
face-forward into Sara.  She barely catches him.)  

SARA:  Oh!  Okay, Mr. Gundy ...

BRYCE GUNDY:  I think I love you.

(She pushes him back to his feet.)  

SARA:  Yeah, thank you.  You need to sit down.  

(Bryce turns around and heads back to the group of groomsmen.)  

SARA:  (louder)  Have a club soda.

(He takes step and falls on his face on the ground.  Sara raises her pen with a
woman's thong hanging on it.)

SARA:  Um, um, excuse me, you dropped this.

(Mikey Shoemaker grabs the thong and steps in front of Sara.)  

MIKEY SHOEMAKER:  Sorry about him.

(He glances behind him at Bryce, out cold on the grass.)

MIKEY SHOEMAKER:  Why do the jerks get all the tail?

SARA:  (smiling)  Sara Sidle, Crime Lab.

(Having touched the thong, Mikey opts not to shake hands with Sara.)  

MIKEY SHOEMAKER:  I'm, uh, Mikey. Best man.  Brother of the bride.

(He wipes his hand on his vest as he explains why he's not shaking hands with
her.)  

MIKEY SHOEMAKER:  Yeah, it's, you know.

SARA: Yeah.

MIKEY SHOEMAKER:  Hey, this is a pretty crazy-ass situation, huh?  (Sara shakes
her head.) They say it's good luck if it rains on your wedding day.  What do you
think about a dead body?

SARA:  What do you think?

MIKEY SHOEMAKER:  I think my sister's better off.  You ever think about getting
married?

SARA:  (shakes her head)  Um ...

MIKEY SHOEMAKER:  I'm just saying, you know, I think Bryce could make an honest
woman out of you.

(He turns back to look at Bryce - still out cold on the grass.  The other
groomsmen are taking pictures of him.  Who knows what they've done to him.)  

MIKEY SHOEMAKER:  Oh, look at that -- your rejection broke his little heart.

(Sara laughs.)  

NICK:  (interrupts, v.o.)  Should I put flirting in the case file?

BACK TO SCENE

SARA:  I was printing.  He was flirting.

(Right.)

NICK:  Hmm.

CUT TO:  



[INT. CSI - EVIDENCE ROOM -- DAY]  

(Catherine is going through the things in the box when Sofia Curtis walks in.)  

SOFIA CURTIS:  Uni found the tracking device from Nick's car in a trashcan, a
couple blocks from the diner.  Pro job.

CATHERINE:  Has it been to prints?

SOFIA CURTIS:  Well, no.  But if it was the Fatellis, it's going to be clean.

CATHERINE:  Yeah. Nick's truck has no street value.  The value was what was
inside.

CUT TO:  



[INT. CSI - BREAK ROOM -- DAY]  

(Greg, Sara and Nick are still working on their statements.  The room is quiet.  
Nick puts his pen down and sticks his hand in his jacket pocket.  He pulls out a
napkin, somewhat confused as to how it got there.)  

(He opens the cocktail napkin and we see in gold lettering,

     ADAM AND JILL
     April 22, 2006

(Just below it is a pink lipstick kiss.  And just below that is:

     MINDY
     555-0174

(Nick stares at the napkin.  Greg notices him.)

GREG:  Did you get a number?

NICK:  No. No, I didn't get anything.  She must have put it in my pocket.  
Mindy.

(Sara smiles smugly at him.)  

WHITE FLASH TO:  



[EXT. HOTEL -- FRONT DRIVEWAY - DAY - NICK'S FLASHBACK]

(David kneels down next to the body, seemingly looking at Nick.  He looks at
Nick and mouths:  

NICK'S VOICE:  You think she'd know better than to wear white on the bride's big
day.

(Nick walks past David and heads over to the garden arch.  He walks through it,
raises his hand and touches the flowers.)  

NICK:  (v.o.)  The perfume of American beauties was everywhere.  Though a rose
by any other name would have smelled just as sweet on a day with that much love
in the air.  

(As he walks by, he notices a cream-colored rose.  He snaps it off the stem and
smells it as he exits the garden arch.)  

(The guests step aside, making a clear pathway for him down the aisle.)  

WHITE FLASH TO:  

(Nick walks up to Mindy and Cindy.)  

NICK:  Ladies, hi, how you doing?

MINDY/CINDY:  Hi.

(He puts his kit down.)  

NICK: I'm with the Crime Lab.  My name's Nick Stokes.  I'm going to need to
print you both, okay?

(Mindy rubs her arms.)  

MINDY FABERGE:  Mindy Faberge.  Bride's side.  Um, can we go in and change.  I
can't get warm.

CINDY JANSEN:  Cindy Jansen. I think she's still in shock.

NICK: You were in the wedding party.  Did you spend most of the day here with
Ms. Chase?

(Nick unzips his jacket and removes it.)  

CINDY JANSEN:  She was on her best behavior.  (frowns)  Outside that toast she
gave.

(He hands his jacket to Mindy.)  

NICK:  There you go.

MINDY FABERGE:  Thank you.

(Mindy puts the jacket on.)  

MINDY FABERGE:  Um, well, I think that was the alcohol talking.

NICK:  So, she was a drinker?

MINDY FABERGE:  By the end of the toast, she was slurring her words and swaying
all over the place.  I almost felt bad for her.

FLASH TO:  



[INT. CSI - BREAK ROOM - DAY]

(Catherine walks in carrying a DVD case.)  

CATHERINE:  Anyone interested in the wedding DVD?

GREG/NICK:  (both)  Yeah.

(Catherine kneels in front of the television set.)  

CATHERINE:  Courtesy of Frank Rosetti, owner of Cupid's Kiss.

(Catherine puts the DVD in and turns the television set on.  She steps back to
take a seat at the table.)  

CATHERINE:  All right, where do you want to start?

SARA/NICK/GREG:  (all)  The toast.

(Catherine goes to CHAPTER 7 on the MENU and plays.)

INSERT: VIDEO RECORDING

[INT. HOTEL -- BALLROOM - DAY]

(Someone taps the side of the champagne glass to quiet the room.)  

DIANE CHASE:  (from dvd)  Everyone ... everyone.  

(Diane gets to her feet.  She's sitting at the head table right next to the
groom.)  

DIANE CHASE:  (from dvd)  I want to thank your for coming.  

(She reads from a slip of paper.)  

DIANE CHASE:  (from dvd)  You know, the bible says, "Love is strong as death,"
and as mother of the groom, a wedding is bittersweet.  You are giving up as much
as you are gaining.  

(Diane takes a breath, pauses and sways.  She braces her hand on the table to
steady herself.)  

DIANE CHASE:  In some cases you are giving up ...  

(She accidentally tosses the slip of paper across the table.  It falls to the
floor.  The bride and the groom appear surprised.)  

DIANE CHASE:  (from dvd)  Oh ... up much more.  Oh.  

(Diane leans forward and looks at the slip of paper on the floor.  She sways and
pauses.  Very awkward pause.  Camera cuts to the bridesmaids at their table.)  

DIANE CHASE:  (from dvd)  (slurs)  To hell with it.  I'll wing it.  

(She straightens and braces herself to start again.  She turns and smiles at her
son.)  

DIANE CHASE:  (from dvd)  My Adam ... he studied at Oxford.  He went to Harvard
School of Business.  And of all the intelligent, wonderful, beautiful women he
met along the way, he ended up with Jill.  

(The room is silent.  Jill sits up.)  

DIANE CHASE:  (from dvd)  Plain, little Jill.  

(The crowd gasps.  Greg turns and looks at Sara, whose jaw has dropped open.)  

DIANE CHASE:  (from dvd)  There's nothing wrong with her.  But what's right with
her?  

(Catherine can't believe what she's watching.)  

DIANE CHASE:  (from dvd)  (chuckles)  I mean, even her name is boring.

(Jill punches Adam in the arm to get him to stop her.  She puts her face in her
hand.  Camera pans the wedding party to show their grim, embarrassed looks.)

(Diane turns and talks to Adam.)  

DIANE CHASE:  (from dvd)  (to Adam)  Adam, it's all right to take a lover.  You
just don't have to end up marrying her.  (Adam stands up to stop her.)  I mean,
do you really want to shallow our gene pool like this?  

(Adam pulls his mom aside.)  

ADAM CHASE:  C'mon.  C'mon.  That's all

DIANE CHASE:  Oh ...

(She turns back to the crowd.)  

DIANE CHASE:  (slurs)  Oh, I want to thank you all so much for coming.  Oh, I
love you, Adam.

MIKEY SHOEMAKER:  Hey, hey, good comedy, Diane ...

(Greg, Nick, Sara and Catherine are stunned.  Catherine clears her throat.  
Someone's got to say it.)  

CATHERINE:  Justifiable homicide?

(Off Sara, trying not to laugh, we:

FADE OUT.

(COMMERCIAL SET)



FADE IN:  

[INT. CSI - BREAK ROOM -- DAY]  

(Sara, Nick, Greg and Catherine show the DVD to Grissom.)  

DIANE CHASE:  (from dvd)  Thank you all for coming.  I love you, Adam.

(Sara turns the DVD off.)  

SARA:  (to Grissom)  You talked to the bride.  This seems like motive.  Do you
think she did it?

GRISSOM:  When would she have had the time?

FLASH TO:  



[EXT. HOTEL -- FRONT DRIVEWAY - DAY - GRISSOM'S FLASHBACK]

(David is kneeling down next to the body.  He turns and looks at Grissom.)  

GRISSOM'S VOICE:  You'd think she'd know better than to wear white on the
bride's big day.

(Grissom heads for the arch.)  

GRISSOM:  (v.o.)  Spring is but a song, where love and laughter are not wrong.  
The blossoms of desire do belong, and harmonia axyridis fly along.

(Grissom pushes his sunglass down as he enters the arch.  He notices the ladybug
on the rose.)

(CAMERA ZOOMS IN for an extreme close-up on the ladybug  It also SLOWS DOWN and
lingers excruciatingly on the ladybug as she lifts her shell and spreads her
wings - the image moves so slowly it almost seems frozen.  The detail on the bug
is mind-bending.  He can't help himself.  Grissom notices these things.)

RESUME VIEW

(Grissom puts his sunglasses on and continues through the archway.)  

DISSOLVE TO:  

(Grissom talks with Jill Shoemaker-Chase, the bride.  The camera irritatingly
notices the details - her earring, her smudged make-up, the tear on her face.)  

JILL:  For the past six months, she made my life hell.  And so I told anyone
who'd listen that she should die a fiery death.  So now everyone's going to
think that I killed her.

GRISSOM:  Would like to be more specific?

(It's as if Grissom can't keep focus.  He notices the man in the tux talking
with the officer in the distance behind Jill.  The tear on her face, her
earring, her necklace.)

JILL SHOEMAKER:  Okay, well, when we got engaged, she ran into the backyard and
she screamed, "Why, God? Why me?"  Okay, she wore white today.  She invited
Adam's very, very attractive, very, um, single ex-girlfriend.  When she found
out that I had registered for sporting goods, she went behind my back and she
changed the registry to housewares, saying that I'd better learn how to cook,
okay?  I'm a vegetarian, and she demanded roast beef.  Um ... oh, and then ...
then there's the toast.  The ... the toast.

GRISSOM:  Are you trying to make me think that you didn't kill her?

JILL SHOEMAKER:  I would never do that to Adam.  I honestly don't know how such
an amazing man came from-from ... that.  Look, it wasn't just me, okay?  She
fought with everyone today.  She fought with the valets and the bridesmaids and
the waiters.  The caterer -- I thought for sure he was going to poison her.

WHITE FLASH TO:  



[INT. HOUSE - KITCHEN - DAY - STILL GRISSOM'S FLASHBACK]  

(Grissom talks with Frank Rosetti, the Caterer.  He motions Grissom inside the
kitchen.)  

FRANK ROSETTI::  Want to see a crime scene?  I'll show you a crime scene.  Come
here. Come here.  Look at this, huh?  

(He shows Grissom the wedding cake with a rolling pin smashed in it.)  

FRANK ROSETTI:  What this woman had against the color peach -- I've never seen
anything like it.  "If you think you're serving that flesh-colored abomination,
and I'm paying for it, you can think again!" Boom!  I'm a 42-year-old paisan.  
She scared me.  I wouldn't be surprised if her pantyhose rebelled against her
and tied themselves to the car.  The dame was a pill.  I swear to God, she may
have taken two or three years off my own life.  Weddings are a blood, sweat and
tears marathon, my friend.  I'm on a tight schedule.  12:00 noon, I got first
intro of the couple.  12:30, salad course.  12:45, first dance.  One o'clock:  
chair dance, chicken dance, groom dance, I don't care.  I'm equal opportunity.  
1:30, main course.  2:15, first toast groom's side.  If the best man shuts his
mouth, at 2:16 we have the first toast on the bride's side.  3:00, we cut the
cake.  3:30, bouquet toss.  

GRISSOM:  That's a tight schedule.  She would have barely had time to go to the
bathroom.

FRANK ROSETTI:  I don't sell bridal diapers for nothing.

BACK TO SCENE:

GREG:  He was kidding about the diapers, right?

(Grissom doesn't bother answering.)  

CUT TO:  



[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]  

(Sofia Curtis interviews Sylvano Fatelli.)  

SYLVANO FATELLI:  You're way too pretty to be a cop.

SOFIA CURTIS:  I need to ask you about your brother, Dino Fatelli.  Dino always
was the bad seed.

SOFIA CURTIS:  I heard you guys share the taste for blood.

SYLVANO FATELLI:  I once was lost, but now I am found.

SOFIA CURTIS:  You and your brother keep in touch?

SYLVANO FATELLI:  Yeah, yeah.  Last thing he said was he didn't like the food at
Lompoc.  I told him to call his lawyer.  (shrugs)  It's too late now.

SOFIA CURTIS:  Where were you yesterday afternoon?

SYLVANO FATELLI:  You want to crawl up my ass?  You can take a number.



[INT. OBSERVATION ROOM - CONTINUOUS]

(Federal Agent and Jeff McKeen watch the interview from the observation room.)  

SOFIA CURTIS:  (through speaker)  No thanks.

SYLVANO FATELLI:  (through speaker)  50-to-one, Freddie the Feddy is out there
right now talking to you guys.

JEFF MCKEEN:  Did you know you were made?

FEDERAL AGENT:  Yeah. Not even Diane Chase could keep these guys out of jail.  
And we figure it's just a matter of time before we get something on Sylvano.

JEFF MCKEEN:  Like another murder?

FEDERAL AGENT:  Sorry.  He didn't kill the lawyer.  Runs numbers out of his bar
all day.  Trying to pass a kidney stone.  Hates his wife and his girlfriend.  I
hear everything.

JEFF MCKEEN:  Could have ordered one of his guys to do it.

FEDERAL AGENT:  The brothers like to be hands-on.  And all we're hearing is them
bitching about how somebody snatched their MO ... as if it's copyrighted.

CUT TO:  



[INT. CSI - FORENSIC AUTOPSY - DAY]  

(Robbins goes over his findings with Greg.)  

ROBBINS:  Based on my dissection, I've detected two separate events.

(He points to one of the puncture wounds in the skull.)  

ROBBINS:  I believe that this puncture wound happened first.

INSERT:  CGI EFX

(Camera zooms inside the puncture in the skull and punctures an artery, blood
squirts out.)  

ROBBINS:  (v.o.)  The object lacerated a cerebral artery, creating a subdural
hematoma.  

(Camera zooms back out, blood quickly filling the puncture wound.)  

RESUME SCENE

ROBBINS:  Then subsequent blows to her skull, from a ride behind the car,
created additional fractures, which caused a few bleeding on the brain,
resulting in her death.  

GREG:  So punctured and bobbled?

ROBBINS:  Yeah.  I autopsied the Fatellis' original victim.  They're sadists.  

(Greg flips through the autopsy photos.  He stops on a particular photo of the
wound.)  

ROBBINS:  First Remy James is dragged behind the Cadillac, and when he wouldn't
talk, they shot him in every joint.  And when he still wouldn't talk, they
finished him off with a shot to the head.  The Fatellis don't mostly kill
someone.

CUT TO:  



[INT. CSI - HALLWAY - DAY]  

(Catherine and Nick are moving through the hallway.)  

CATHERINE:  So you took the perimeter of the scene, right?

NICK:  Yeah.

CATHERINE:  Well, I saw this guy in the shadows.  Archie blew it up.  He looks
more like a suspect than a guest.

(They enter the A/V lab, where Catherine has the equipment set up.  She points
to the monitor.)  

CATHERINE:  That face look familiar?

(On screen, there's a man peering through the window and smiling.)  

NICK:  Oh, yeah.  Yeah, I caught that guy trying to sleep one off in the bushes.  
That's the groom's old man.

CATHERINE:  Wow, I thought my wedding was bad.  Where is he?

NICK:  I sent him to detox, in the tank.

CUT TO:  



[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]  

(Ernest Chase fiddles with the cotton ball under the bandaid on his inner arm
near his elbow.  It appears they drew blood from him.  Brass interviews Ernest
Chase.)  

BRASS:  See, that's the problem with being a deadbeat dad.  If you're not around
for the bad times, they don't want you around for the good times.

ERNEST CHASE:  I didn't ... I'm not ...

BRASS:  Let's just cut right through the lie-and-deny part of the chat, and I'll
tell you what I know.

WHITE FLASH TO:  



[EXT. HOTEL -- FRONT DRIVEWAY - DAY - BRASS'S FLASHBACK]

(Brass talks with Adam Chase.)  

ADAM CHASE:  My mother was a powerful woman; she had a lot of enemies.  My
mother and Jill worked so hard to make this day perfect.  It seems silly now.  
They had a fight about the gifts, then ... then there was a disagreement with
the bridesmaids.  And my mother accidentally brought the wrong dress.  

(Behind Adam, Brass notices the waiter drinking from the champagne glass.)  

ADAM CHASE:  Then the dinner was wrong, and the cake was wrong.  And my father
showed up.

BRASS: What, he wasn't invited?

ADAM CHASE:  Um, no.  My parents are divorced.  I think that's why today was so
hard on her.  The wedding brought up a lot of issues for her.  

(Again the waiter finishes up the champagne in the glasses as he collects them.)  

ADAM CHASE:  She sacrificed so much for me.  Single parent, grad school.  She
was a champion.  (Brass nods.)  My father is ... unstable.  For years, he's had
a drug problem.

ERNEST CHASE:  (v.o.)  She told him that.  

RESUME TO SCENE

ERNEST CHASE:  I don't believe that bitch!

BRASS:  So you do or you don't have a drug problem.

ERNEST CHASE:  Don't take everything you see at face value.  Fifteen years ago,
Diane decided she wanted to go back to work.  And I encouraged her.  But then
she became ... driven.  And I was slowing her down.  She got nasty.  I got
depressed.  I started taking antidepressants.  She was mortified.  Said it
wouldn't look good.  I said, "Hey, I'm not one of your clients.  I'm your
husband."  "Not anymore," she said.  She filed for divorce.  And she said it was
because the drugs affected my libido.  We hadn't had sex for eight months before
I started taking the drugs.

BRASS:  Did you have an altercation with her at the wedding?

ERNEST CHASE:  Yeah. Yeah.  Because of the meds, I don't drink very much.  I did
today because I thought it would take the edge off.  It put the edge on.

FLASH TO:  



[EXT. HOTEL -- FRONT DRIVEWAY - DAY - ERNEST'S FLASHBACK]

(Diane stands at the front of the aisle greeting guests as they enter to take
their seats.)  

DIANE CHASE:  Good to see you.  Hi. How are you?  It's great to see you ...

(Ernest tries to sneak past, but she sees him.)  

ERNEST CHASE:  Excuse me.

DIANE CHASE:  Excuse me.

(Diane grabs Ernest and walks him back out, away from the seats.)  

DIANE CHASE:  You were not invited.

ERNEST CHASE:  I read the papers, Diane.

DIANE CHASE:  They teach literacy at the halfway house?

ERNEST CHASE:  I didn't come here to fight.

DIANE CHASE:  You're not here at all.

ERNEST CHASE:  He's my son, too.

DIANE CHASE:  I wouldn't be so sure of that.

RESUME SCENE:  

(Ernest continues his story.)  

ERNEST CHASE:  I stuck around to see the ceremony.  I even saw a little bit of
the reception.  I was sleeping it off when your guys found me.

BRASS:  So you didn't kill her?

ERNEST CHASE:  No.  But you better check to see if she's really dead, because I
don't think you can kill the devil.

(Brass can't help but chuckle.)  

CUT TO:  



[INT. CSI - LAB - DAY]

(Henry Andrews reports to Nick and Sara.)  

HENRY ANDREWS:  Nick, you drew Mr. Chase's blood at the scene.  His BAC was .28.  
That was at 4:00 P.M.  And officers drew it again at the station an hour later.
It was .22.  So he was in the elimination phase.  That means, when the victim
was tied to the car, his blood alcohol level was even higher.  Mr. Chase was
blotto.   He couldn't have tied his own shoes.

SARA:  Assuming whoever took your truck is the killer, Mr. Chase was in the
tank.  He couldn't have done it.

NICK:  One suspect down.

HENRY ANDREWS:  Speaking of downers, Ms. Chase liked her diazepam.  Blood levels
were somewhere between therapeutic and toxic.

NICK: That's ... that's weird.  Her ex-husband told Brass she was very anti-
psychopharmaceuticals.

HENRY ANDREWS:  As a toxicology tech, I'd say often those who adamantly oppose
the d-train are its most frequent passengers.  But, since she is deceased, I was
able to get her medical records.  No diazepam scrip.

SARA:  So she got daffy on someone else's pills.

NICK:  That explains Mindy's account of her behavior.  And the toast.

SARA:  Doesn't explain how she was conked out, tied to a bumper.

(Greg enters.)  

GREG:  I might know what happened.

WHITE FLASH TO:  



[EXT. HOTEL -- FRONT DRIVEWAY - DAY - GREG'S FLASHBACK]

(We start where we start:  David is kneeling next to the body.  The entire
flashback is sepia-toned.  The blood on the road and on the victim is red, the
only color allowed in this flashback.)

(David looks at Greg and mouths the words:

GREG'S VOICE:  You'd think she'd know better than to wear white on the bride's
big day.

(Greg heads for the arch.  His voice over is something out of a film noir
detective movie.)  

GREG:  A dame was dead, but enough about her.  The air was hot and heavy with
wrong, making me thirsty.  Thirsty for a tall drink of water.  

(Greg notices the tall woman walking in front of him dressed in a tight evening
gown.)  

GREG:  That's when I saw her -- a flower -- but not the kind you pin on a lapel.  
She was long-stemmed.

(The woman turns, glancing over her shoulder.  Her lips are red, the only color
allowed in this flashback.)  

SARA:  (v.o.)  All right, Raymond Chandler, we get it.

(Greg walks through the reception area toward Valerie Whitehall and Lacy Finn,
two bridesmaids sitting on the concrete railing overlooking the misty pond.)  

GREG:  And those weren't just miracle bras.  They were creating four wonders of
the world.

(He approaches them and puts his kit down.)  

GREG:  I'm Greg Sanders, with the Crime Lab.  I need to take your prints.

(He opens his case.  Valerie's and Lacey's lips are red.)  

VALERIE WHITEHALL:  That's quite a case you got there.  Is that your magic kit?

LACEY FINN:  Or your toy box?

GREG:  You don't seem to be very upset about what happened.

VALERIE WHITEHALL:  Sweetheart, I've had so many martinis, I'm both shaken and
stirred.

GREG:  Numbing the pain?

LACEY FINN:  Look, we're not gonna pretend to be all liquid and soft, okay?  All
that's missing here are the striped socks.

VALERIE WHITEHALL:  Ding, dong, the witch is dead.

GREG:  So you're not a fan?

LACEY FINN:  Cruella made me wear underwear today.  No one makes me wear
underwear.

(As Lacey talks, Valerie reaches into Greg's kit and removes a swab stick.)  

VALERIE WHITEHALL:  I'll do you if you do me.

(Lacey opens her mouth and Valerie sticks the swab in her mouth --

SARA:  (interrupts)  (v.o.)  They did not.

BACK TO SCENE

NICK:  (confused)  So how does that help explain how Diane Chase died?

GREG:  I'm getting there.  

[EXT. HOTEL -- RECEPTION GARDENS - DAY - GREG'S FLASHBACK]

GREG:  Okay, ladies, let's slow it down.  When was the last time you saw Diane?

LACEY FINN:  In the hospitality suite.  I came in to fix my hair.  She was
complaining of a headache.  Next time I saw her, it was bottoms up, mommie
dearest.

(Valerie hands the swab to Greg.)  



[INT. HOTEL - HOSPITALITY SUITE- DAY - GREG'S FLASHBACK]

(Greg pushes the suite double doors open.)

GREG:  (v.o.)  So I headed behind the pink curtain, where the girls go to get
glossy.  

(He picks up his kit and walks into the suite.  Vanity tables are lined up on
both sides of the room.  He walks over to one of the tables and picks up a blush
brush still covered with powder.)

(He blows.)

(A puff of red-colored dust billows in the air.  He puts the brush back down on
the table and looks around the room.)  

GREG:  (v.o.)  A little shine here, a little pouf there.  A little ...

(Greg pauses as he picks up a silicone bra cup and curiously looks at it.)  

GREG:  (v.o.)  Hmm.  Well, I don't exactly know what that was, but I liked the
feel.  

(He puts the silicone bra cup down on the table and continues looking at the
room.  He notices snowboarding equipment in the back of the room piled with the
other gifts and things.)  

GREG:  (v.o.)  Marriage was looking like a lucrative endeavor.  And that's when
I saw it.  

(He turns and sees a cupid's statue complete with bow and arrow.  The arrow, he
notices, is stained red with blood.)  

(He looks down and sees a towel with a couple drops of red blood.)  

GREG:  (v.o.)  Just a few drops.  

(Greg takes out a swab and preps it.)  

GREG:  (v.o.)  I figured the blood could have been incidental - a nosebleed,
shaving accident.  

(He tests it.  It turns red.)  

(He takes a second swab and stands up to take a sample of blood from the tip of
the statue.)  

GREG:  (v.o.)  But, what if, high as a kite on a slipped mickey, ...

BACK TO SCENE

GREG:  ... she slips-- and BAM! - Straight to the back of the skull.  The arrow
was four-sided.  It would leave a diamond-shaped wound.

(Greg hands the autopsy photo to Sara.  It shows the wound on the back of
Diane's head.)  

GREG:  They match.  

SARA:  If the initial wound was accidental, why was she panty-hosed to the back
of a car?

GREG:  Don't know yet.

NICK:  Narrows the field of suspects down to someone who had access to that
suite.

(Sara nods.)  

NICK:  Where's the statue?

GREG:  In your car.

NICK:  Ah!

FADE OUT.

(COMMERCIAL SET)



FADE IN:  

[INT. CSI - HALLWAY / GRISSOM'S OFFICE -- DAY]  

(Hodges makes his way down the hallway to Grissom's office.  Grissom is behind
his desk.)  

HODGES:  I know every piece of evidence regarding this case is precious, given
the circumstances, so I just wanted to let you know that I've moved Ms. Chase's
fingernail scrapings to the top of my extensive queue.  Composite substance.  
You're never going to believe this.

GRISSOM:  Egg whites, sugar, butter, milk, food coloring.

HODGES:  How did you know?

GRISSOM:  Butter cream frosting.  She had an incident with wedding cake.  

(Having the punchline stolen from him, Hodges straightens and sighs
thoughtfully.)  

GRISSOM:  Are you done?

HODGES:  You know, you and me, we're not the marrying kind.  The intricacies of
our nature can never be understood by just one woman.

GRISSOM:  Would you close the door, please?

(Hodges goes to the door and closes it.  He's still in the office.)  

GRISSOM:  From the other side.

(Hodges turns and leaves the office.)  

CUT TO:  



[INT. CSI - LOCKER ROOM]  

(BLURRY CLOSE-UP of a hand dangling off the benches.  The locker room door opens
and Catherine enters.)  

CATHERINE:  Sara?

(Sara stirs, her dangling hand moving as she wakens from resting.)  

CATHERINE:  Sara?

SARA:  IAB here?

(Sara gets up.)  

CATHERINE:  No. They're still held up with that officer-involved shooting, but
the bomb squad has cleared the convertible.

SARA:  Oh.  Finally ...

CUT TO:  



[INT. CSI -- GARAGE]  

(The blue convertible is parked in the garage.)  

SARA:  (v.o.)  ... something to process.

(Sara and Greg open the car trunk.  They both look inside.)

SARA:  I thought you said the snowboards were in the suite.

GREG:  I did.

SARA:  Then what's the case doing in the trunk?

(Sara snaps photos of the snowboard case.  Greg reaches out and opens it.  
Inside are bloodstained towels.)  

(Sara snaps more photos.)  

CUT TO:  



[INT. CSI - A/V LAB]

(Archie goes over the reception DVD with Catherine.)  

(Archie speeds through the beginning of the DVD.)  

ARCHIE JOHNSON:  So you asked me to follow her comings and goings and her food
and drink intake.  As far as I can tell, she didn't touch her soup or salad.  
And the main course?

(On the monitor, the food is served.  Diane looks at her plate, then at Adam's.  
Adam is busy with Jill and doesn't notice her promptly switching plates with
him.)  

CATHERINE:  And what did Diane have to drink?

ARCHIE JOHNSON:  Um ... I only saw her with two glasses, both champagne, first
one around 2:00.

(On the monitor, Valerie Whitehall brings Diane a fresh glass of champagne.)  

ARCHIE JOHNSON:  But maybe she was hitting the bar, because look:  

(He fast forwards through the reception.  On screen, Diane Chase is woozy and
can barely keep her head up.)  

ARCHIE JOHNSON:  This is fifteen minutes later.

CATHERINE:  Oh, my.

ARCHIE JOHNSON:  The waiter gave her a second glass for her toast, which I
watched five times.

(Catherine chuckles.)  

ARCHIE JOHNSON:  And that was it.

CATHERINE:  When was the last time she was on camera?

ARCHIE JOHNSON:  Well, her exit was neither polite nor discreet.

(He cues the DVD.)  

MIKEY SHOEMAKER:  You know, I know I may just be a grease monkey, but I drive a
tow truck, and I think I know a little something about getting hitched.

(Diane Chase stands up and walks over to Valerie Whitehall.)  

MIKEY SHOEMAKER:  (from DVD)  And these two ... uh ... there's more.  Uh ... I
think these guys are in it for the long haul.  (re: Diane and Valerie)  Making
friends over here.  No, but seriously, uh ... I don't mean to get all
sentimental or anything, but these two are going to have a lot of sex tonight.

(Diane turns and leaves.)  

MIKEY SHOEMAKER:  (from DVD)  And ... what?  What? Are you embarrassed?  She's
embarrassed.

(Lacey quickly stands up and follows Diane out.)  

MIKEY SHOEMAKER:  (from DVD)  I'm her older brother.  I changed her diapers.

(Archie stops the DVD.)  

ARCHIE JOHNSON:  That was 2:25.

CATHERINE:  Would you play that again?

MIKEY SHOEMAKER:  (from DVD)  I know I may just be a grease monkey, but I drive
a tow truck, ...

(Quick flashback to:  [EXT. FRANK'S COFFEE SHOP PARKING LOT - DAY]  A tow truck
hitches onto Nick's SUV and pulls it away as the blue truck moves out of view.)  

MIKEY SHOEMAKER:  (v.o.)  ... and I think I know a little something about
getting hitched.

(End of flashback.  Resume to present.)  

WHITE FLASH TO:  



[INT. CSI - HALLWAY - DAY]

(Catherine is on the phone.)  

CATHERINE:  (to phone)  Yeah, Jim. Check into a Mikey Shoemaker, the bride's
brother.  Run his wants and warrants.  And also look into the location of his
tow yard.  Thank you.

CUT TO:  



[INT. CSI - GARAGE -- DAY]  

(Sara and Greg are going through the contents of the bags.  Sara pulls out a
nightie and holds it up as to her she looks it over.)  

(Nick walks in.)  

NICK:  So?

SARA:  We need your hands.

(She turns and looks at Nick, the nightie still held up against her.)  

NICK:  (mutters)  I thought you'd never ask.

SARA:  (clarifies)  I need you to reprint the bumper because the tape lifts were
stolen.

(Nick grabs a pair of gloves of the table.)  

NICK:  Anything to keep me awake.

(Nick kneels in front of the bumper.  Greg finds something.  He's holding a
prescription bottle.)  

GREG:  Uh-oh! Looks like we had some bride's little helper going on.  Diazepam.

(The label reads:
     No.  1337511
     Dr.  Whitehall
     JILL SHOEMAKER
     TAKE AS NEEDED
     Discard after:  _____
     DIAZEPAM  10 MG TAB
     Refills:  0

GREG:  Just filled. Rx calls for six ten-milligram pills.

(Nick lifts a print off the bumper.  Greg shakes the bottle to hear the rattle.)  

GREG:  Two left.

SARA:  Forty milligrams would match mom's blood level.

GREG:  Jill gets some pills to calm herself, decides to calm her mother-in-law
instead, and make everybody happy.

(Wendy Simms walks in.)  

WENDY SIMMS:  Okay, the blood from the snowboard bag was a match to Mother
Chase.

GREG:  That could have been what they used to transport her from point  to point
B.

WENDY SIMMS:  Yeah, "they" is right, 'cause I also found two female epithelial
contributions.  One on each handle of the bag, and then one of the same females
was also a match to the DNA from the knot in the pantyhose.

GREG:  We could compare them to the buccal swabs we collected ... if we still
had them.

SARA:  Well, we'll just have to recollect them.

GREG:  All two hundred of them?

SARA:  Yeah, and since we can't leave, someone else is gonna have to recollect
them.

NICK:  (snaps)  This is crap!  I've been waiting on IAB for ... (He pulls his
gloves off with a snap.)  ... fourteen hours.  I'm tired ... (He tosses the
gloves aside.)  ... and I kind of smell, and I don't have a freaking car.

(Nick leaves the garage.)  

CUT TO:  



[INT. CSI - LOCKER ROOM -- DAY]  

(Warrick is tying his shoes when Nick walks in.)  

WARRICK:  Hey, buddy.

(Nick opens his locker.)  

NICK:  Hey.

WARRICK: How you doing?  You all right?

NICK:  Hey, this, this sucks, man.  I didn't do anything wrong, and everybody's
looking at me like I'm the bad guy.  

(Nick unzips his jacket to change clothes.)

(OFF WARRICK.  Warrick nods sympathetically and glances at Nick.  He does a
double take, his eyes serious.)  

NICK:  If I had to do it all over again, I'd do the exact same thing.

WARRICK:  (interrupts)  Nick, ...

NICK: I mean, how do I ...

WARRICK:  Nick ...

NICK:  ... fix the situation?

WARRICK:  (louder)  Nick!

NICK:  It was already screwed up to begin with.  (Nick turns to Warrick.)  What?

(Warrick looks at Nick's shirt.  Nick looks at Nick's shirt.  It's stained with
a lot of blood.)  

FADE OUT.

(COMMERCIAL SET)



FADE IN:  

[INT. CSI - DNA LAB -- DAY]  

(Wendy Simms is cutting the shirt off of Nick.)  

NICK:  (thinking out loud)  I loaned one of the bridesmaids my jacket.  She was
wearing black.  There was no reason to ALS.  Blood must have transferred from
her to my jacket, to me.  I didn't want to contaminate it by pulling it over my
head, you know?

WENDY SIMMS:  That was good thinking.

(She cuts completely through one side of the shirt and helps take it off Nick.)  

NICK:  All right.  Hey, Wendy, ...

WENDY SIMMS:  Uh-huh?

NICK: I don't know if you'll be able to get anything off of this, but I want you
to compare the female epithelials you found on the snowboard bag against the
napkin that I have in my right front pocket.

(Wendy smiles at Nick.)  

NICK: Come on.

(Wendy removes the cocktail napkin from Nick's front pocket.  She opens it and
sees the lipstick print, Mindy's name and number.)

(She looks at Nick and smiles.)

(Nick turns and leaves.)

(Wendy laughs.)  

CUT TO:  



[INT. CSI - HALLWAY -- DAY]  

(Catherine and Brass are walking through the hallway on their way to the
garage.)  

BRASS:  So that was a good call on the bride's brother, Mikey Shoemaker.  He had
a prior conviction for car theft.

CATHERINE:  Where did you find Nick's truck?

BRASS:  In one of the paint bays of his auto body shop, right next to a delivery
truck.  We're looking for Mikey now.

CATHERINE:  Well, I watched the rest of the wedding video.  He may have stolen
the car, but once Diane disappears, Mikey never leaves the party.



[INT. CSI - GARAGE - DAY - CONTINUOUS]

(They enter the garage just as Nick's truck is brought in.)  

BRASS:  Maybe he wasn't acting alone.  (to Nick.)  Hey, pip.  How you like your
new ride?

(Nick's SUV has been painted over with pictures of dice, hundred dollar bills
and a blonde-haired woman in a bikini.)  

CATHERINE:  Hey, look.  They fixed it.

NICK:  (groans)  Oh.  Oh, that's not funny.

CATHERINE:  Oh, it's a little funny.

CUT TO:  



[INT. CSI - LAB -- DAY]  

(Greg measures the size of the wound in the morgue photo to the cupid's arrow
tip.)  

(Sara walks in.)  

SARA:  Where did you get that?

GREG:  Unis found it in a dumpster behind Mikey Shoemaker's body shop.

SARA:  He went through all that trouble to steal the car and that's where he
ditches it?

GREG:  Well, they didn't find any biological evidence, and he probably hocked
the cameras, but at least I've been reunited with love's deadly arrow.

SARA:  You know that's not going to stand up in court, right?

GREG: Well, negative Nelly, I know that, and you know that, but the suspects
might not.  We have to convince them that we know what happened.

SARA:  Do we?

GREG:  We're close.  Can you put the UV filter on the camera?

SARA:  Sure.

(On the table in front of them are the photos and in the center is Diane's
bloodied white dress.  Sara puts the lens on the camera.  Greg turns off the
lights to ALS the dress.  She looks through the camera lens and sees that there
are two hand-sized prints on the front of the dress.)  

SARA:  How did you ... ?

GREG:  I didn't, until I processed it.  But I was thinking this statue punctured
her in the back of the head, which means one of three things might have
happened.

(Sara snaps photos of the dress.)  

GREG:  Either she was stabbed by it ...

SARA:  Well, the statue looks a little unwieldy.

GREG:  Or she accidentally fell on it.

SARA:  But with no one to blame, why wouldn't someone just call 911?

GREG:  Which leaves us with option number three:  She was pushed.

(He raises his hands and pushes ...

(Quick flashback to:  [HOSPITALITY SUITE - DAY]  Someone pushes Diane Chase.  
She falls backward and hits the cupid statue.  Her eyes widen from shock.  End
of flashback.)  

SARA:  Lucky for us someone had something on their hands.

GREG:  Something that left good ridge detail.   

SARA:  I'll swab it for trace.

CUT TO:  



[INT. CSI - PRINT LAB -- DAY]  

(The monitor shows the print results:  
     NAME:  LACEY FINN
     AGE:  23
     HEIGHT:  5'2"
     WEIGHT:  107 LBS
     EYES:  BLUE
     RACE:  CAUCASIAN
     SEX:  FEMALE
     HAIR:  BLONDE
     DOB:  JAN 7, 1983
     LAST KNOWN ADDRESS:
         1689 DESERT WAY
          LAS VEGAS, NV  89109  )

(Mandy Webster reports her findings to Greg.)  

MANDY WEBSTER:  Prints are a match to a bridesmaid, Lacey Finn.

GREG:  She's in the system?

MANDY WEBSTER:  Yeah, she was a cocktail waitress for a short time.

GREG:  Of course she was.

MANDY WEBSTER:  And I pulled the prints off of this pill bottle, but I didn't
find a match.

GREG:  Which means the bride didn't do it because as a nurse, she'd also be in
the system.

MANDY WEBSTER:  Correct. However, I did find something.  Look at the prescribing
doctor on that label.  I was cross-checking with the guest list, and guess who
the good doctor's wife is.  Mrs. Valerie Whitehall.  She's also a bridesmaid.

GREG FLASHBACK TO:  VALERIE WHITEHALL, sepia-toned and red vampy lips.

(Oh, yeah.  Her.)  

BACK TO SCENE

GREG:  Well, she knew where the pills were.  She had access to the suite, so
maybe Jill didn't poison mom, Valerie did.

MANDY WEBSTER:  A little bonus in the bubbly.

(Hodges walks in with his results.)  

HODGES:  I got the results from Mama Chase's suit jacket.

GREG:  What's the trace?

HODGES:  Hair gel.

GREG:  Lacey said that she went to fix her hair.

CUT TO: 


[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]  

(Mikey Shoemaker is in the interview room when Catherine walks in carrying a file folder.)  

MIKEY SHOEMAKER:  Where's that Sara chick?

CATHERINE:  Oh, Romeo, I don't think that you have time for romance.  You're being charged with grand theft auto, obstruction of justice and conspiracy to murder.

(Catherine sits down.)  

MIKEY SHOEMAKER:  Okay, I will cop to everything but the murder.

CATHERINE:  Well, if you didn't commit the murder, why did you steal the car?

MIKEY SHOEMAKER:  Look, the lady was already dead, all right?  And then, then
you guys show up and this bridesmaid comes up to me and starts asking me all
these questions about my tow truck.

CATHERINE:  Which bridesmaid?

MIKEY SHOEMAKER:  The hot one.  Next thing I know, she wants to be the Bonnie to
my Clyde.  Asked me to steal this car and trash all the evidence.

CATHERINE:  So you committed grand theft auto to get laid?

MIKEY SHOEMAKER:  Ever stolen a two-ton piece of machinery?  It is way better than sex.  And finding a girl that doesn't want to kick you to the curb for it? I mean, come on.  That is just hot.  Besides, I hadn't gotten a wedding gift for my sister yet.  

CUT TO:  


[INT. CSI - HALLWAY -- DAY]  

(Wendy Simms reports her findings to Nick.)  

WENDY SIMMS:  So I don't have a match to one of the handles to the snowboard case, but, um, your napkin girl ...

NICK:  That Mindy Faberge?

WENDY SIMMS:  She got to be a bridesmaid.

NICK:  Yeah.

WENDY SIMMS:  She matches the other handle.

NICK:  Well, she was in the suite with the gifts.  She could have touched it
then.

CUT TO:  



[INT. CSI - BREAK ROOM -- DAY]  

(Nick, Sara, and Greg are sitting in the break room when Grissom walks in.)  

GRISSOM:  You paged?

GREG:  We think that each of the bridesmaids is responsible for killing her.  
Not individually, but working in cahoots.  Each one played their part.

(Grissom sits down.)  

GRISSOM:  Did you know the original role of the bridesmaid was to act as a human
shield against the bride's enemies?

SARA:  Women would dress similar to the bride in an effort to confuse and
outsmart evil spirits that might try to overtake her on her wedding day.

NICK:  Wow, for somebody who's anti-wedding, you certainly know a lot about it.

SARA:  I'm not anti-wedding.  I'm just anti-stupid -- you know, people who do
things for the sake of tradition with no clue as to why.

GRISSOM:  Anyway, let's start at the beginning, shall we?

(Greg turns the DVD on.  On the monitor, we see Valerie getting a drink.)  

GREG:  Valerie kindly gets mom a drink.

WHITE FLASH TO:  

(At the counter, Valerie put the drug in the glass and fills the glass with
champagne.)  

BACK TO SCENE

(On the monitor, Valerie turns around and carries the glass back to the table.)  

GREG:  Then during her toast, Diane starts to feel the effects.

(On the monitor, Diane sways forward.)

GREG:  By Mikey's toast, she decides that she's toast.

(On the monitor, Diane gets up and walks over to Valerie.)  

MIKEY SHOEMAKER:  (from video)  ... A little something about getting hitched.

WHITE FLASH TO:  

(Diane goes up to Valerie.)  

DIANE CHASE:  (slurs)  I know what you did.  I'm going to have your husband's
medical license, and I'm going to have you put away for attempted murder.

(Diane leaves.)  

GREG:  (v.o.)  Lacey overhears Diane's paranoid, yet correct ramblings and
eventually follows her out.  

(Lacey stands up and leaves.)  

CUT TO:  

[INT. HOSPITALITY SUITE -- DAY]  

(Lacey pushes the doors open and finds Diane sitting inside.  Lacey sits down at
the vanity table.)  

LACEY FINN:  You okay?

DIANE CHASE:  The gall of you to ask me that!  You know I'm not okay, you little
tart.  You're all just as bad as she is.

LACEY FINN:  Don't get mad.  Valerie was just trying to make you feel better.

(Diane stands up.)  

DIANE CHASE:  Oh, by giving me a controlled substance?  You are going down for
conspiracy!

(Angry, Lacey gets to her feet.)  

LACEY FINN:  All right!  You know what, lady?!  That's enough!

(She turns around and pushes Diane.  Diane falls backward, hitting the cupid
statue.)  

GREG:  (v.o.)  Leaving her incapacitated but not dead.

(Lacey stands up and hits Diane on the arm to make sure she's not dead.)

BACK TO SCENE

(On the monitor, Lacey appears back on the monitor.  She heads over to the table.)  

NICK:  (v.o.)  At which point Lacey tells Mindy and Cindy.  

FLASH TO:

[INT. HOTEL - BALLROOM - DAY]

(Lacey finds Mindy and Cindy.)  

LACEY FINN:  (quietly)  I made a mess in the bridal suite.  

FLASH TO:  

[INT. HOSPITALITY SUITE - DAY]

(

NICK:  (v.o.)  They formulate a plan.

(Mindy and Cindy are in the hotel suite.  Mindy pulls Diane's head from off the
arrow, we hear the crunch of flesh and bone as the body comes loose.  Cindy
spreads out the snowboard bag on the floor.)

MINDY:  Oh, God!  Once we get her in there, what are we going to do with her?

CINDY:  Oh, um, let's make it look like it was, um, Forelli ... Fas-

MINDY:  Oh, the Fatelli brothers?

CINDY:  Fatelli brothers!  We'll just make it look like they did it.

(They set the body down in the snowboard bag.)  

MINDY:  Oh, my God.

RESUME SCENE

NICK:  They tie her to the car, chuck the bag in the trunk, return to the party.

FLASH TO:  

[INT. HOTEL - BALLROOM - DAY]

(Mindy and Cindy push their way to the front of the group.  The women are in the group clamoring as Jill tosses the bouquet over her shoulder.)  

(Mindy catches the bouquet.)  

MINDY:  Got it, yes!

RESUME SCENE

(She fast-forwards the DVD.)  

SARA:  And everyone just continues along with the joyous festivities until ...

(Sara plays the DVD.  The bride and groom are on the convertible leaving and waving to the passing crowd.  The crowd's cheers turn to horrified screaming as the body is dragged behind the car.)  

CUT TO: 


[INT. POLICE DEPARTMENT - INTERVIEW ROOM A]  

MINDY FABERGE:  I'm not a bad person, and we didn't exactly kill her.  I mean, I like to think she killed herself because she was ...

CUT TO:  


[INT. POLICE DEPARTMENT - INTERVIEW ROOM B]  

CINDY JANSEN:  ... crazy.  She did crazy things to our friend.  I mean, who hates a pediatric nurse?  Granted, we'd all been drinking, but she drove us to it.  We did what we had to do.  Sisterhood is powerful ...

CUT TO: 


[INT. POLICE DEPARTMENT - INTERVIEW ROOM C]  

VALERIE WHITEHALL:  ... this and powerful that.  She was on a total trip.  There was no way Jill could endure a life of that.  I just ... I wanted to shut her up with the drugs, but that  backfired ... leaving us ...

CUT TO: 


[INT. POLICE DEPARTMENT - INTERVIEW ROOM D]  

LACEY FINN:  ... no choice.  She was coming at me.  I just, I just defended myself.  I didn't mean to take her down, but once she was, I ... I felt nothing. There she was just, just staring at me, and all I could think was ... "Thank God."

CUT TO:  


[BRASS]  

(Brass doesn't say a word.  He stands up and leaves.)  

CUT TO:  


[INT. CSI - BREAK ROOM -- DAY]  

(Nick is lying on the couch, his head back against the arm rest, his arm thrown over his face.  Grissom and Sara are sitting at the table, their backs to the doorway.  Greg paces the floor.  He turns and sees McKeen and three IAB officers headed their way.)  

GREG:  Grissom?  

(Grissom looks at Greg, who motions to the door.  Grissom turns around.)  

MCKEEN:  IAB is here.

GRISSOM:  Lovely.  You should know that while waiting for IAB, we recovered the car and solved the case.

(Nick gets to his feet.)  

JEFF MCKEEN:  Well, this is not a "no harm, no foul" situation.  Disciplinary action may still be taken.

GRISSOM:  Okay.

MCKEEN:  So who wants to go first?

(Grissom looks at the CSIs and shrugs.)

GRISSOM:  I don't think it matters.  I'm sure our stories are all the same.

FADE TO BLACK

THE END.

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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stanary (23:26)

Mais c'est bizarre ! Pour moi y a que 3 pubs normalement...

Titepau04 (23:27)

Bah d'habitude elles sont un peu plus longues mais moins fréquentes

Titepau04 (23:27)

Même entre les 2 épisodes yen avait une

Titepau04 (23:27)

Je pense qu'il y a eu 5 pubs en fait, 2 par épisode et une entre les deux

stanary (23:28)

Et c'est sur TF1 ?

Titepau04 (23:29)

Oui

stanary (23:29)

Ah bah alors ils ont tout changé

Titepau04 (23:30)

Je pense qu'ils ont fait parce que les épisodes étaient plus longs

Titepau04 (23:30)

65 min par épisode

stanary (23:33)

Ah oui la je comprends mieux. J'avais jamais vu ça à la télé c'est pour ça

Titepau04 (23:34)

C'est désagréable

stanary (23:37)

Au pire regarde si une autre chaine diffuse la série

Titepau04 (23:38)

Je crois pas qu'il y en ait d'autre ... c'était les derniers de la saison

stanary (23:42)

Et c'est déjà fini ?

Titepau04 (23:42)

Oui ça y est

Titepau04 (23:42)

Yen a que 8

stanary (23:44)

8 épisodes ? ah mais c'est meilleur alors !

Titepau04 (23:56)

Nooonnnnn c'est trop court!!!

stanary (00:17)

Ah ça, ça dépend quand même des séries. Bon moi je vais me coucher. Bonne nuit !

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Sonmi451 (18:36)

qui veut l'ordinateur lol

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