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#723 : Le bon, la brute et la dominatrice

Grissom mène l'enquête dans un endroit qu'il connaît bien, puisqu'il s'agit de l'établissement tenu par la sulfureuse Lady Heather. La jeune femme vient d'échapper à un client sadique, qui a attenté à sa vie. L'enquête de Gil serait plus aisée si son amie voulait bien lui révéler l'identité de l'agresseur. Heureusement pour l'enquêteur, des marques persistent sur le cou de Heather. Le policier a également pu retrouver des tessons d'une bouteille de whisky, ainsi que le cadavre d'un certain Vernon Porter, qui pourront le mettre sur la piste du tueur. Au cours de l'enquête, Sara est très perturbée quand elle comprend les liens qui ont uni Grissom et Heather. 

Titre VO
The good, the bad and the dominatrix

Titre VF
Le bon, la brute et la dominatrice

Première diffusion
10.05.2007

Plus de détails

Écrit par : Jacqueline Hoyt 
Réalisé par : Alec Smight 

Avec : Larry Mitchell (Officer Mitchell), Liz Vassey (Wendy Simms), Wallace Langham (David Hodges), David Berman (David Phillips), Archie Kao (Archie Johnson) , Victoria Prescott (Judy Tremont), Melinda Clarke (Lady Heather Kessler), Larry Mitchell (Officer Mitchell) 

Guests :

  • Joe Penny ..... Jack Oakley 
  • Jason Sweat ..... Paramedic 
  • Rif Hutton ..... Vernon Porter 
  • Jessie Ward ..... Faith Maroney 
  • Shelli Berg ..... Nurse 
  • Conor Dubin ..... Benjamin Oakley 
  • Todd Williams ..... Jeffrey Lanier 
  • Sonya Eddy ..... Cab Dispatcher 
  • Vic Polizos ..... Gus DiFusco 
  • Shang Forbes ..... Cab Driver 
  • Omid Abtahi ..... Chandru "Dru" Kambhatla 
  • JR Bourne ..... Jerome Kessler 
COLD OPEN:  

[EXT. OAKLEY’S OLD WEST TOWN -- NIGHT]  

(A man wearing an old leather duster and a cowboy hat walks through the middle 
of the town’s dirt road.  His spurs jingle with every step.)  

(Lightning flashes and thunder rumbles.)  

(The man stops and puts his thick leather gloves on.  The wind howls, stirring 
up dust.)  



[INT. OAKLEY’S OLD WEST TOWN -- SALOON – CONTINUOUS]

(The dark-haired woman drinks a shot and puts her glass down on the bar counter.  
She turns.  It’s Lady Heather.)  

(The saloon doors are pushed open and the man walks in.  Lightning flashes and 
thunder rumbles.)  

(She turns and leans against the bar.)  

LADY HEATHER:  You're late.

(The man takes the thick rope he has hanging from his belt and unravels it.  He 
rolls the rope around his hand.)  

CUT TO:  



(The man has the rope wound around Lady Heather’s neck.  He kicks a random bar 
chair over.)  

MAN:  Now say it.

(He holds the rope tight around her neck.)  

MAN:  I said ... say it.

(He keeps his hold on the rope.  Lady Heather gags.)  

MAN:  You have to say it.  Say it.

(Lady Heather gags.  Her hand slips from gripping his arm as she loses 
consciousness.)  

CUT TO:  



[EXT. OAKLEY’S OLD WEST TOWN – NIGHT]

(The lights in the western town are turned on.  The dirt road is lit up.  The 
paramedic rolls the gurney toward the ambulance as Catherine walks past.  She 
sees it’s Lady Heather.)  

CATHERINE:  Is she going to be okay?

PARAMEDIC:  Yes, ma'am, she's stable.  Severe trauma to the neck.

(Lady Heather’s eyes open.)  

CATHERINE:  Heather, I'm Catherine Willows.  I don't know if you remember me.  
It's going to be all right.

(Brass joins Catherine.)  

BRASS:  Like a bad penny, some people just keep showing up.

CATHERINE:  Did you call Grissom?

BRASS:  No.

(Catherine nods.)  

CATHERINE:  Who found her?

BRASS:  Guy over there in the ten-gallon -- Vernon Porter.

(Catherine turns and sees a man dressed as a sheriff talking with an officer.)  

BRASS:  He's a night watchman.  All the employees are required to wear that 
cowboy getup.  That's the job that cops get after they retire.

CATHERINE:  You've got something to look forward to, Jim.

BRASS:  Yes, ma'am.

(They turn and walk over toward the saloon.  Catherine sees some spit on the 
wooden floor near the spittoon.)  

CATHERINE:  Chewing tobacco. Looks fresh.

(She puts evidence marker #1 down near the spit.)  



[INT. OAKLEY’S OLD WEST TOWN -- SALOON – CONTINUOUS]

(Catherine and Brass enter the saloon.  Piano music plays in the background.  
Catherine looks around the saloon at the gaming tables and life-sized western 
mannequins sitting at the tables.)  

(Catherine sees the overturned bar stool.)  

CATHERINE:  Lady Heather has a house for this.  Why take her show on the road?

(Brass motions to the player piano.)  

BRASS:  Do you think you know how to ... ?

CATHERINE:  Yeah.

(Catherine turns the piano off.)

BRASS:  Oh, you're a genius.  (He motions to the floor.)  Well, this is where we 
found her.

(Catherine sees the rope on the floor.)  

CATHERINE:  Did she have ligature marks?

BRASS:  On her neck, yeah.

CATHERINE:  Well, that doesn't make any sense.  She was a dominatrix.  Not a 
submissive.

BRASS:  Maybe the party just got out of control.

CATHERINE:  Or somebody didn't know the rules.

[Captioning sponsored by CBS, C.S.I. PRODUCTIONS and brought to you by Toyota.]

WHIP OUT TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERICAL SET)  



FADE IN:  

[INT. CSI – BREAK ROOM -- NIGHT]  

(Greg is in the break room going through some files.  Grissom walks in carrying 
his cup.)  

GRISSOM:  How you doing?

GREG:  These files are out of control.  Typos, white-outs, names missing, whole 
sections missing.

GRISSOM:  Twenty years ago, the county was still using typewriters.  Did you 
find anything?

(Greg picks up a paper.)  

GREG:  Ernie Dell's foster child.  Donna Catalani.  Lived with the Dells for a 
year.  Her CASA report came with a supplemental.  They forgot to black out her 
social security number.

(He hands the paper to Grissom, who puts his glasses on to look at it.)  

GREG:  We can use that to track her down, unless the adoptives changed it.

GRISSOM:  Good. I'll run it.  I have to pull you off of this.  Days is down to 
four CSI’s.  You're on loan-out.

GREG:  Why can't Days keep anybody?

GRISSOM:  Money, stress, Ecklie, maybe.  Just help them with their backlog.

(Grissom turns and leaves the room.)  

CUT TO:  



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



[EXT. OAKLEY’S OLD WEST TOWN -- NIGHT]  

(Brass talks with Vernon Porter.)  

BRASS:  So you're sure that the gate was locked?

VERNON PORTER:  I come on at 6:00 when Oakley's closes.  The first thing I do is 
lock the gate.

(He shows Brass the keys on his large key ring hanging from his belt.)  

VERNON PORTER:  Make my rounds every two hours.  

(As Brass watches, Vernon tucks a large wad of tobacco in his mouth and chews.)  

VERNON PORTER:  8:00, 10:00, 12:00 -- everything was Code 4.

BRASS:  When did things go Code 3?

VERNON PORTER:  Found the main gate unlocked at 0214.  Went to check out the 
street, heard that music.  Found her on the floor, called it in.

CUT TO:  



[INT. OAKLEY’S OLD WEST TOWN -- SALOON – NIGHT]

(Sara snaps a photo of the broken bootle on the counter.  Catherine examines the 
piano.)  

SARA:  This is a family theme park.  I'm assuming they don't actually serve 
alcohol here.  Must have brought their own.

(Sara picks up the label:  
     THE GLEN EDMONDS
     30 YEAR OLD
     PURE SINGLE MALT SCOTCH WHISKEY
     PRODUCT OF SCOTLAND  
     UNHURRIED SINCE 1924     )

SARA:  (reads)  Single malt, twelve years old.

CATHERINE:  S & M is a rich man's sport.  Kind of like hockey -- a lot of 
equipment.

(Catherine takes a swab of something under the piano.)  

SARA:  How much do you think a night like this would cost?

CATHERINE:  Heather told me, five years ago, she was clearing 20 grand a week.  
(Sara’s shocked.)  And that was before ladyheather.com.

SARA:   What is she like?

CATHERINE:  Beautiful ... smart, intense ... charming.  The only woman I've ever 
seen rattle Grissom.  I mean, he kind of liked that forensic anthropologist, 
Terry Miller.  Remember her?

(Sara puts the label in a bag.)  

SARA:  Yeah.

(She picks up her camera.  Catherine opens an evidence bag.)  

CATHERINE:  But she wasn't enough of a challenge for him.

(She picks up the rope and puts it in the bag.)  

CATHERINE:  Heather, on the other hand ... uninhibited and can beat him at 
mental chess.  

(Sara snaps a picture.)  

CATHERINE:  They had chemistry.  And he is a scientist.

(Catherine stands up.)  

CATHERINE:  I have no proof and I know he'd never tell me, but I'm certain they 
spent the night together.  Wonder which one wore the chaps.

(Way too much information.)  

SARA:  Lots of ...  (clears throat) ... coins and toothpicks.  They don't sweep 
under here.

CATHERINE:  I mean, more power to him, really, to find somebody outside of work 
'cause you start fishing from the company pier, and ... asking for trouble.

(Sara picks up a glass and looks at it.)  

SARA:  I got a shot glass.  Looks like there's some lipstick around the rim.

CATHERINE:  My fantasy does not include costumes, or pain ...

(Sara turns and looks at Catherine.)  

CATHERINE:  -- and certainly not sawdust.

(Catherine brushes the sawdust off her pants.)  

CATHERINE:  You?

(We hold on Sara’s stunned expression.)  

CUT TO:  



[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]



[EXT. STREET -- NIGHT]  

(Sofia, Nick and Warrick walk over to the body on the concrete.)  

SOFIA:  Patrol found her.

NICK:  Any witnesses?

SOFIA:  No. No businesses open, no cars on the side streets.

WARRICK:  So how'd she get here?

SOFIA:  Well, in this neighborhood, unless she's a hooker, I doubt she walked.  
I'm going to go make some calls, see if any of these places have any security 
cameras.

NICK: Thanks.

(Sofia leaves them.)  

NICK:  That's a pretty nasty head wound.   Where's Super Dave?

WARRICK:  He's probably at the 420 on Flamingo.  They left their purse.

(Warrick picks up the bag.)  

WARRICK:  Oh!  The thing is heavier than my kid.  Ever get hit in the head with 
one of these? 

NICK:  No. Gentlemen don't get hit in the head with those.

(Nick snaps a photo of the victim’s face.)  

(Warrick takes out several driver licenses.  We see the one on the top and the 
address of the second under it:
     KEYSHA SAYRUN
     6589 TIBER LANE
     LAS VEGAS, NV  89151

     JEFFREY LANIER
     74112 VIXTON ST
     LAS VEGAS, NV  89151  )  

WARRICK:  Keysha Sayrun?

(Warrick holds out the driver license to compare the photo to the victim.)  

WARRICK:  Well, that's not her.

NICK:  Maybe it's not her purse.

WARRICK:  There's a whole bunch of wallets in here.  Driver's permit.  Kid's 
only 15 --

(Warrick looks at the NEVADA DEPARTMENT OF MOTOR VEHICLES, LEARNERS PERMIT 
(TEMPORARY), DIVISION OF DRIVERS LICENSES for:  
     SIMON, CHAD
     7141 PACIFIC VIEW DRIVE
     SEX:  M  
     COLOR HAIR:  BRN
     COLOR EYES:  BRN  )

WARRICK:  -- has got a credit card?  She's got to be a pickpocket.

NICK:  Aw, man, that's a shame.  Look at her.  She could be anything she wanted 
to be.  Makes you wonder what happens to people.

WARRICK:  I got her.

(Warrick finds the right ID.)  

WARRICK:  Faith Maroney.  Twenty-five ... from Southern Highlands.

NICK:  Sometimes I miss the days when I didn't take this job so personally, 
Warrick.

WARRICK:  Yeah? Well, I miss the days when we only had five homicides a week.

CUT TO:  



[INT. CSI – GRISSOM’S OFFICE -- NIGHT]  

(Grissom puts a miniature item on his miniature shelf.  He places the shelf in 
the miniature of his own office.  The phone rings.)  

GRISSOM:  Grissom.  Catherine.  (pause)  I'm on my way.

(He hangs up and heads out.)  

CUT TO:  



[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]



[INT. HOSPITAL – LADY HEATHER’S ROOM -- NIGHT]  

(Lady Heather talks with Brass.)  

LADY HEATHER:  I was planning an Old West party.  I was checking out the 
facilities.

BRASS:  So why couldn't you check them out during normal business hours?

LADY HEATHER:  It was my normal business hours.

BRASS:  You know, we spoke to the night watchman.  He said the gate was locked.  
How did you get in?

LADY HEATHER:  I know the owner.

BRASS:  Do you know him the way you know Judge Fincher?  Because I know that's 
how you got out of jail last time.  I need a name.

LADY HEATHER:  Mr. Oakley.  I have his number, but not on me.  You'll have to 
look it up.

(There’s a knock on the door.  Sara walks in.)  

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

(Lady Heather watches Sara walk in and put her kit down on the table.)  

SARA:  I'm here to collect your clothes and trace evidence from your body.

(She looks away.)  

LADY HEATHER:  Can I say no?

SARA:  Why would you want to?  (to Brass)  Did the nurse forget to collect an 
SAE kit?

(Sara takes her camera out.)  

LADY HEATHER:  Not necessary.

BRASS:  You don't want help, that's okay by me.  Just don't waste my time.  I've 
got a lot of cases on my desk that need my attention.  So when you come out of 
your haze, give me a call.

(Brass leaves.)  

LADY HEATHER:  I don't respond well to men who judge me based solely on my 
profession.

SARA:  I get that a lot, too.  (She offers Heather a smile.)  Law enforcement.

(Lady Heather smiles back.  Her smile fades.)  

SARA:  May I move your hair?

(Lady Heather nods.)  

(Sara reaches out and gently moves Lady Heather’s hair aside to expose the 
bruises on her neck.  She snaps photos of the markings.  Lady Heather closes her 
eyes.)  

SARA:  These look like rope marks on your neck.

(Lady Heather opens her eyes.  Sara takes a couple more photos.)  

(Lady Heather’s eyes brighten as she sees someone outside the room, behind 
Sara.)

LADY HEATHER:  (softly)  Grissom.

(Sara turns around and finds Grissom standing in the open doorway.)  

SARA:  I'll be done in a minute.

(We hold on Grissom.)  

FADE OUT.

(COMMERCIAL SET)  



FADE IN:  

[INT. CSI – FORENSIC AUTOPSY -- NIGHT]  

(Dr. Robbins yawns as he holds a specimen container over FAITH MARONEY’S body on 
the table.  Warrick walks in.)  

WARRICK:  What's the matter, Doc; you been hitting it a little too hard?

ROBBINS:  No, canine-induced insomnia.  We're fostering some puppies-- Jack 
Russells.  Had me up all night.  How about a puppy to keep you company?

WARRICK:  No, if I stay up all night, it's not going to be because of a puppy.  
COD?

ROBBINS:  Okay, uh, blunt force trauma to the left temporal region of the skull.  
The skull's fractured.

WARRICK:  Any idea what kind of weapon might have been used?

ROBBINS:  No, but I found these imbedded in the skull.

(Robbins lifts the pan with the sample on it.)  

WARRICK:  Paint chips?  Could she have been hit by a car?

ROBBINS:  Well, it's possible.  But if she was standing when she was hit, I'd 
expect to find pedestrian fractures on her legs.  And there are no run-over 
marks, so she wasn't in a prone position.

WARRICK:  So if she wasn't standing or lying down ...

ROBBINS:  She was somewhere in-between.

CUT TO:  



[INT. STREET -- NIGHT]  

(Nick is kneeling at the crime scene.  Officer Mitchell is with him.)  

OFFICER MITCHELL:  Stokes, you ready for a cup of coffee?

NICK:  No, thanks.  (He stands up.)  I'm only going to be about another ten 
minutes here, okay?

OFFICER MITCHELL:  Your call.

(Officer Mitchell leaves.)  

(Nick looks down on the road and finds yellow paint chips.  Behind him, a 
station wagon takes the corner and smashes into the police car parked on the 
road behind Nick.)  

(The car horn blares.)  

(The passenger door of the station wagon opens and a man crawls out.

OFFICER MITCHELL:  (muffled)  

(He heads around the car to check on the driver.  Nick heads for the passenger.)  

NICK:  Hey.  You all right?  

(The man stumbles out and heads for the street.  Nick grabs him.)  

NICK:  Whoa, whoa, whoa.  Not the street.  Not the street.

(Nick grabs the kid.  Officer Mitchell checks on the driver.)  

OFFICER MITCHELL:  You all right, man?  You all right?

(Nick sets him down on the sidewalk curb.)

NICK:  I got you.  

(Nick’s front shirt and vest are covered with blood.  He looks around.)  

CUT TO:  



[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]



[INT. HOSPITAL – LADY HEATHER’S ROOM -- NIGHT]  

(Grissom sits next to Lady Heather’s bed.)  

LADY HEATHER:  (rasps)  Are you here in a professional capacity?

GRISSOM:  Does it make a difference?

LADY HEATHER:  (rasps)  Maybe not to you.  I feel exposed.  The last time you 
saw me ...

GRISSOM:  You had just lost your daughter.

LADY HEATHER:  (rasps)  That's not all I lost that night.

INSERT:  SCENES FROM 6X15: Pirates of the Third Reich

[EXT. DESERT (OFF HIGHWAY 55, NEAR SPARKS) - NIGHT]

(Lady Heather has Leon Sneller tied to the front of her car and whips him.  His 
face and chest are cut and bloodied.)  

GRISSOM:  (shouts)  Stop it!

(Grissom gets out of his car to stop her.)  

LADY HEATHER:  (crying)  No!  Let me finish.

(She pulls back the whip.  Grissom steps forward and catches it.)  

BACK TO SCENE.

GRISSOM:  If a client did this, and left you to die, why are you protecting him?

LADY HEATHER:  I'm not.

GRISSOM:  Tell me the truth.  

(Lady Heather has difficulty breathing.)  

GRISSOM:  Did they check your glucose level when you came in?  

(She puts her head back and passes out.)  

GRISSOM:  Heather?

(The monitor alarm rings.  Grissom presses the nurse’s call button.  The nurse 
walks in.)  

GRISSOM:  She's diabetic.  I think she's going into shock.

NURSE:  The patient never told us.

(Grissom watches as the nurse checks Heather’s eyes.)  

CUT TO:  



[EXT. LAS VEGAS CITY SUNRISE (STOCK) – MORNING]



[EXT. OAKLEY’S OLD WEST TOWN -- DAY]

(Brass walks with Jack Oakley down the center of the town road.  Jack’s son, 
Benjamin, follows behind them.)  

JACK OAKLEY:  Captain, I'll need a copy of the police report for my insurance.

BRASS:  Oh, sure, sure, sure.  We'll get to that.  But, first, I need to 
straighten out a few things.

(They stop walking.)  

BRASS:  Mr. Oakley, did you give Heather Kessler permission to enter the park 
after hours?

JACK OAKLEY:  No, I didn't.

BENJAMIN OAKLEY:  I did.

(Jack looks at his son.)  

BENJAMIN OAKLEY:  She called the office.  Wanted to know about renting out 
Oakley's Saloon for a private party.

BRASS:  Well, you know what she does for a living, right?

BENJAMIN OAKLEY:  Money's money -- doesn't matter who's handing it to you, 
right, Dad?

JACK OAKLEY:  As long as you're not breaking the law.

BRASS:  So you have no problem with a dominatrix doing business at a family 
theme park?

JACK OAKLEY:  Captain, sometimes, my son, he ... he doesn't think things all the 
way through.

BENJAMIN OAKLEY:  But I'm learning.

BRASS:  So how did she get in?

BENJAMIN OAKLEY:  I swung by.  Wanted to meet her.

BRASS:  After midnight?

BENJAMIN OAKLEY:  Yeah.  Told her to lock up when she was done.

JACK OAKLEY:  You should have stayed, Ben.  You got liability to think about.

BENJAMIN OAKLEY:  (scoffs)  Right, Dad.  'Cause you always do.

(Jack stops at the obvious jab.)  

JACK OAKLEY:  Captain, is this about it?

BRASS:  Well, I'd like to talk to Benny a little more.  We need to confirm his 
statement.

CUT TO:  



[INT. OAKLEY’S OLD WEST TOWN -- BATHROOM -- DAY]  

(Catherine walks into the bathroom, puts her kit down and starts snapping 
photos.  She picks up her kit and heads for the stall.  She opens the stall door 
and finds something blue stuffed in the toilet.)  

(She reaches in with a forceps and pulls it out.  It’s a pair of men’s 
underwear.  She finds a crumpled paper towel on the floor behind the toilet.  
She puts her goggles on and takes out her ALS.)  

(She checks the paper and finds body fluid on it.)  

CUT TO:  



[INT. CSI – LAB -- DAY]  

(Warrick snaps photos of the contents of the purse out on the table.  Sofia 
walks in.)  

SOFIA:  There were no security cameras at the crime scene, but Ms. Maroney had 
multiple arrests for petty theft and shoplifting.  She had just been released on 
court-ordered rehab for kleptomania.

WARRICK:  She got noodles, hairpins, dish towels, a can of tuna.

SOFIA:  (amused)  She didn't care what she took.  She just had to take it. 

WARRICK:  You know, I was thinking.  If she pinched my wallet, and I whacked her 
for it, I'd probably get back my wallet before I split.

SOFIA:  Which means the theft victims are probably not the suspects.  Got 
anything else?

WARRICK:  A couple of loose receipts, all from last night, all paid in cash. A 
pack of gum from the Bargain Bin, a soda from Carlisa's, and a Bloody Mary from 
Diane's Steakhouse.

SOFIA:  Which is less than quarter of a mile from the crime scene.

WARRICK:  Yeah.  At 9:52 p.m.

SOFIA:  Patrol found her just after 11:00.  I'll start at the steakhouse and 
backtrack.

(Sofia leaves the room.  Warrick nods as he watches her go.)  

CUT TO:  



[INT. CSI – TRACE LAB -- DAY]  

(Hodges takes a paint chip sample and cuts off a piece.  He puts the piece on a 
slide and slips it under the scope.)  

INSERT:  SCOPE VIEW of the edge of the paint chip.

(Nick walks into the lab.)  

NICK:  Hey.

(He turns and sees the blood on Nick’s shirt.)  

HODGES:  Hey.  What?  Have you been shaving with a broken beer bottle?

NICK:  No, no. Some drunk driver ran into a radio car at my crime scene.  
Friggin' idiot.

HODGES:  Yeah. I heard you pulled the friggin' idiot's friend out of a burning 
car.

NICK:  Nothing was on fire.  I didn't pull anybody from anywhere.

HODGES:  Oh, so humble.  You know, some people are just destined for greatness.

NICK:  Run these against the paint chips from the body, please.

(The results appear on the computer monitor.)  

HODGES:  Sure. You mean the engine black over canary yellow paint chips from a 
Ford automobile?  Yeah.  If I had a yellow car, I'd paint over it, too.

NICK:  So the victim was hit by a car.

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]



[INT. CAB – GARAGE -- DAY]  

(Nick and Warrick walk into the garage area.)  

WARRICK:  Steakhouse called Faith Maroney a cab.  They have a direct line to 
this place.

NICK:  Well, the car that hit her was yellow and black.

WARRICK:  Paint color's not going to help us narrow it down any, is it?

NICK:  No.

(The cab dispatcher steps out to meet them.)  

CAB DISPATCHER:  You guys from Strip-O-Gram?

NICK:  Excuse me?

CAB DISPATCHER:  'Cause last year, for my birthday, a cop showed up with a phony 
badge, started tearing his clothes off and trying to rub up on me.  (She 
chuckles.)  I'm an excellent tipper.

NICK:  Well, I'm sure you are, but, uh, no, ma'am, we're not dancers.  We're 
here about the warrant.

CAB DISPATCHER:  (disappointed)  Okay, then.  So we dispatched twenty cabs to 
Diane's Steakhouse last night.

WARRICK:  Around 10:00?

(She checks her clipboard.)  

CAB DISPATCHER:  Received a call at 10:01.  Dispatched number 29.  Chandru 
Kambhatla.  He doesn't come on until 8:00.

WARRICK:  Well, we're going to need to see that cab and your trip sheet.

CAB DISPATCHER:  Number 29's right there.  Keys are inside.  

(Warrick and Nick head for the cab #7029.)  

CAB DISPATCHER:  No joy riding, and don't leave the doors off like you did last 
time.

NICK:  Hey, we just take them apart.  We don't put them back together, now.

CAB DISPATCHER:  That's why nobody likes to deal with your asses!

(Warrick and Nick laugh.  They examine the cab.  Nick finds blood on the front 
bumper.  Warrick finds the camera over the rear view mirror.)  

WARRICK:  Hey, Nick, there's a camera in here.  Maybe that'll be able to tell us 
if Princess Pickpocket was one of his fares.

(Nick takes a swab of the blood on the front bumper and tests it.)  

NICK:  Front bumper screens positive for blood.

(Gus and another cab driver walk up to them.)  

GUS DIFUSCO:  Hey.  I got robbed last week, filed a report.  How come you're 
helping Chandru and not me?

NICK:  This isn't a robbery, sir.

CAB DRIVER:  Then, what is it?

NICK: Do you know the guy that drives this cab?

CAB DRIVER:  Sure.

WARRICK:  You see him last night?

GUS DIFUSCO:  I had to cut out early.  My wife's sick.  But, uh, Dru's solid.  
Got to respect a guy who comes here and wants to be legit.  Goes to work, pays 
his taxes, studying to be a citizen.

CAB DRIVER:  If you want to know about state capitals, you just ask Dru.  Did 
you know that Vegas is not the capital of Nevada?

NICK:  Thanks for the info, fellas.

GUS DIFUSCO:  Go get 'em.

(Gus DiFusco and the Cab Driver turn and leaves.)  

(Nick takes a sample of the black bumper paint.  Under it is the yellow paint.)  

CUT TO:  



[EXT. LAS VEGAS CITY LIGHTS (STOCK) – NIGHT]



[INT. CSI – HALLWAY -- NIGHT]  

(Catherine and Brass walk through the hallway.)  

CATHERINE:  The substance that I found under the saloon window was chewing 
tobacco.

BRASS:  The night watchman chews.

CATHERINE:  Yeah, Vernon Porter.  He was fired from the force back in Chicago.

BRASS:  Yeah, I know. I checked him out.

CATHERINE:  Oh.

BRASS:  He got in an off-duty incident.  He was in a fight in a bar and a woman 
was hospitalized.

CATHERINE:  I'm thinking he had a front row seat.

BRASS:  Well, you know, it fits his profile.  He could have waited till 
Heather's client left -- there's always a client ...

CATHERINE:  Yeah.

BRASS:  ... and then attacked her.  You know, I should have checked to see if he 
was wearing underwear.

CATHERINE:  There's no way that he could afford her.  So why would Heather cover 
for him?  Unless he's just a witness.

BRASS:  Well, you want to see a man about a horse?

CUT TO:  



[INT. CSI – LAB -- NIGHT]  

(Sara looks through the scope at two fibers.)  

GRISSOM:  Any results on Heather Kessler?

SARA:  So far, all the prints come back to her.  Player piano, whiskey bottle, 
shot glass.  There was some lipstick around the rim.  I haven't had a chance to 
test it.  You think it's her shade?

GRISSOM:  Heather's not supposed to drink because of her diabetes, which could 
explain the hypoglycemia and shock.

(Sara nods.)  

SARA:  Catherine found a pair of men's underwear in the toilet.  Any evidence on 
them would have been washed away, but she also found seminal fluid in a tissue 
on the floor nearby.

GRISSOM:  She was sexually assaulted?

SARA:  She refused an SAE kit, so we'll never know.  There were no defensive 
wounds, no skin or rope fibers under her nails.  At first blush, I figured he 
might have ambushed her, except that I noted three separate strangulation 
attempts on her neck.

(Sara shows Grissom the photo.)  

SARA:  She had time to fight back.

GRISSOM:  This makes no sense.  She's very strong.  And tough as nails.  Why 
didn't she fight?

CUT TO:  



[EXT. OAKLEY’S OLD WEST TOWN -- NIGHT]  

(Catherine checks the latch on the front gate.)  

CATHERINE:  Gate's unlocked again.

BRASS:  Well, it's ten after.  Probably unlocked 'cause he's doing his rounds.

CATHERINE:  Maybe.

(The gate swings open and they walk down the front road.) 

BRASS:  Ah, the Wild West, partner.

CATHERINE:  Okay, come on, Jim, give it up.  I know you know something about 
Grissom and Lady Heather.

BRASS:  I know something a lot juicier than Grissom and Lady Heath ...

(They find Vernon Porter’s body dead on the road.  Brass has his gun out as they 
make their way toward the body.)  

CATHERINE:  Oh, yeah, he's dead.

BRASS:  He took one in the back.

CATHERINE:  Who shot the sheriff?

FADE OUT.

(COMMERICAL SET)  



FADE IN:  

[EXT. OAKLEY’S OLD WEST TOWN -- DAY]  

(Catherine snaps photos as David Phillips looks over Vernon Porter’s body.  
Brass stands behind him and watches.)  

DAVID PHILLIPS:  Bullet entered through his back.

(He grunts as he lifts the body to check the back.)

DAVID PHILLIPS:  No exit wound.  There's some swelling under his lip.

(David checks and takes out a wad of chewing tobacco.)

DAVID PHILLIPS:  Ugh, disgusting.  You get mouth cancer from this.

BRASS:  David, hand me his cell phone.

DAVID PHILLIPS:  Sure.

(David hands Brass the phone.  Catherine removes Vernon’s gun from his holster 
and looks at it.)  

CATHERINE:  Ruger Single Six.  Gun hasn't been fired.

BRASS:  Guess who he called yesterday?

(The list of RECENT CALLS are:  
     Chloe Jones
     Christopher Jones
     Heather Kessler
     Chloe Jones   )

BRASS:  Lady Heather.

CATHERINE:  Might have threatened her.

BRASS:  And we both know how she likes to settle her own scores.  I'm going to 
get a warrant, but it may take me some time because I have to find a judge who 
isn't a client of hers.

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]



[INT. CAB CO. – GARAGE -- DAY]  

(Nick shows the cab photo of Faith Maroney sitting in the back seat to Chandru.)  

NICK:  You sure you've never seen her before?

CHANDRU “DRU” KAMBHATLA:  No.

NICK:  You don't remember her at all?

CHANDRU “DRU” KAMBHATLA:  No, sir.

NICK:  That picture was taken by the camera inside your cab.  Why don't you take 
another look?

(He takes another look at the photo and still doesn’t recognize her.)  

NICK:  Recognize her now?

CHANDRU “DRU” KAMBHATLA:  You know, a lot of people get in my cab.  There's 
always a big convention in town.

NICK:  Hey. Dru. I was born at night, but not last night, okay?  I know you 
picked her up at the steakhouse.  I know the last time she was seen alive was in 
your yellow cab. I know she was killed by a yellow car.  I found blood on your 
front bumper.

CHANDRU “DRU” KAMBHATLA:  (nods)  Okay, I ... uh, I remember her now.  She 
wanted to go to MGM.  There is bad traffic, so she tells me to let her out.  She 
wants to walk.

NICK:  Where'd you let her out?

CHANDRU “DRU” KAMBHATLA:  Near the Monte Carlo.

NICK:  Mr. Kambhatla, if I match the paint from your cab to the paint we found 
in her skull, do you realize how much trouble you're in?  (He nods.)  'Cause I'm 
not sure you really do.  Scotty.

(The officer Scotty standing behind Chandru leads him out of the garage.)  

CUT TO:  



[INT. CSI – A/V LAB – DAY]

(Archie goes over the stills from the taxicab security camera with Nick and 
Warrick.)

ARCHIE:  The older types of cameras only take stills.  They take them 
sequentially for twenty seconds any time a passenger door is opened.

WARRICK:  Can you clarify the background?

ARCHIE: Yeah.

(Archie enhances an outside bench taken from picture #1.)  

NICK:  I recognize the graffiti on that bench.  That's the street we found her 
on, right there.

WARRICK:  So Mr. Kambhatla was lying.  That's nowhere near the Monte Carlo.

(Archie drags and drops another photo.)  

WARRICK:  Go back to number two.

(Warrick sees something.)  

WARRICK:  The wallet in her hand is ... black.  And her wallet was white.  

NICK:  Go back, show me the last three photos, Archie.

ARCHIE:  Yeah.

(Archie goes back to the last three photos.)  

ARCHIE:  Okay, so he's looking at her.  Looks down.  He's looking for something.  
He looks up.

NICK:  (nods)  Well, he's pissed.  So she did snatch his wallet after all.

WARRICK:  And he ran her down and took it back.

WARRICK:  Well, we have him in custody.  We have his wallet.  Let's, uh, go see 
if her prints are on it.

NICK:  Yeah.  Thanks, Arch.

ARCHIE:  Yeah.

(Warrick and Nick head out of the lab.)  

CUT TO:  



[INT. OAKLEY’S OLD WEST TOWN – SALOON -- DAY]

(Sara takes photos of a bullet hole in the saloon glass window.  Catherine walks 
in.)  

SARA:  This window wasn't broken yesterday.  And I got a bullet in a poker 
player.

CATHERINE:  Well, the one that killed Porter's still inside him.  Porter was 
shot in the back.  He was facing away from the saloon.

(Quick flashback of:  Vernon Porter walks down the street, his back to the 
saloon.  He’s shot in the back and falls down.  End of flashback.)

CATHERINE:  To get to the window, this bullet had to be fired from the opposite 
direction.

(Quick REWIND of Vernon Porter falling.  A gun fires.  The bullet zooms TOWARD 
Vernon Porter, misses him and hits the window and the poker player sitting at 
the table in front of the window.  End of flashback.)

SARA:  There were two shooters.

(Sara removes the bullet and looks at it.)  

SARA:  Lead bullet.  Cannelure.  We're looking for a revolver.

(Catherine looks out the window and sees the two signs for TRADING POST and GUN 
SLINGER MUSEUM.)  



[INT. OAKLEY’S OLD WEST TOWN – GUN SLINGER MUSEUM – CONTINUOUS]

(Sara unlocks the door.  She and Catherine walk into the GUN SLINGER MUSEUM.  
They look at the guns in the display case.)  

CATHERINE:  Oh, wow.  These look authentic.  All revolvers.

(Sara tries the display case door.)  

SARA:  Case is unlocked.

CATHERINE:  I'll get the guns to ballistics.

SARA:  I'll process the ammo boxes.

CUT TO:  



[INT. CSI – HALLWAY / TRACE LAB -- DAY]  

(Nick walks through the hallway.  He’s on the phone.)  

NICK:  (to phone)  Sofia, Faith Maroney's prints were found on the cab driver's 
wallet so there's your motive.  No problem.

(He hangs up.)  

(Nick walks into the lab.  The printer prints and paper falls near him.  Nick 
takes the printout Hodges holds for him because Hodge’s is too busy working a 
Sudoku puzzle.  Nick looks at the printout.)  

NICK:  The paint from the dead girl's skull matched the paint on Chandru's cab.

HODGES:  Page two.

NICK:  The paint chips from the street are not a match to the paint chips from 
her skull.  Are you sure about this?

HODGES:  I just finished a diabolical soduku in six minutes flat.  I'm positive.

NICK:  Then what color were the other paint chips?

HODGES:  What did you have for lunch?  I had a ham sandwich.  Hmm?  It's a clue.  
Your sandwich.

(He points to the scope.)  

NICK:  Oh.

(Nick looks at the scope and sees the paint chip.)  

HODGES:  The paint chips you collected are from two different cars, stuck 
together as a result of impact.  Yellow paint, black paint, clear coat.  The 
other half -- clear coat, black paint, yellow paint, clear coat, white.

NICK:  That's a lot of canary yellow and engine black.  Cab-on-cab hate?

HODGES:  One half of the sandwich is from Dru's 29.

NICK:  What about the other half?

HODGES:  You're looking for a white Ford that's been repainted yellow and black.

NICK:  Sweet.  I'm glad I figured that out.

CUT TO:  



[INT. CSI – FORENSIC AUTOPSY – DAY]

(Robbins goes over Vernon Porter’s body with Sara.  The body is on its side as 
Sara and Robbins examines the entry wound.)  

ROBBINS:  COD's a single gunshot wound to the lower lumbar region.  Bullet 
entered here and then traveled slightly upward.

SARA:  Where is the bullet?

ROBBINS:  Well, that's the fun part.  He didn't die from the initial wound.  It 
entered through his back and then penetrated the inferior vena cava.

(Quick flash of:  The gunman fires.  The bullet enters Vernon’s back.)

(ZOOM in through the body and follow the bullet through the vessel.)  

ROBBINS:  (v.o.)  It traveled through that vessel into his right lung.  It's 
called a bullet embolus.  

(End of flash.)  

ROBBINS:  And it's hard to find.  Most medical examiners would have missed it.

(Sara smiles and takes the container with the bullet inside from Robbins.  She 
looks at the bullet.)  

SARA:  Full metal jacket, nine millimeter.  The bullet that I found at the 
saloon was from a revolver.  Colt single-action Army.

ROBBINS:  (nods)  The gun that won the West.  That bullet is from a 20th 
Century, high-capacity, semi-automatic pistol.  I ... see a lot of bullets.

(Sara looks at the bullet.)  

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]



[INT. CAB CO.  – GARAGE -- DAY]  

(Nick walks out of the office with a clipboard.  He heads back to Warrick.)

NICK:  Well, it looks like Friendly bought a small fleet of white cabs from 
another company last year that went belly-up.

WARRICK:  How small are we talking?

(Nick hands the clipboard to Warrick.)  

NICK:  Seventy-five.

WARRICK:  Paint samples from 75 cabs?  Well, we'll be back in the lab by next 
week.

INSERT:  VARIOUS DISSOLVES OF WARRICK AND NICK TAKING PAINT SAMPLES FROM THE 
TAXICABS.

(Nick finds a cab with a scratched car door.  He takes a swab sample from the 
front bender.  He scrapes the paint down to the silver base.)  

NICK:  Hey, Warrick.  I got what looks like fresh damage over here.

(Nick looks at the driver’s license.  It belongs to GUS DIFUSCO.)  

NICK:  Do we know that guy?

(Warrick walks over and checks the license.)  

CUT TO:  



[INT. CSI – A/V LAB]

(Archie puts the video from the new cab security camera up on the monitor.)  

ARCHIE:  Gus's cab is equipped with a new camera.  Video, not stills, motion-
activated.

WARRICK:  So the impact turns it on, huh?

NICK:  Freeze that and grab a number off that cab.

(Archie highlights the number form the cab next to him and enhances the image.  
The cab is numbered 7029.)  

WARRICK:  7029 -- that's Dru's cab.

NICK:  If Dru was dispatched, then what was Gus doing at that steakhouse?

WARRICK:  Well, he had to be staging, trying to steal Dru's fare.

NICK:  Looks like Gus took the fight to the streets.  He hit him again right 
there.

WARRICK:  Whoa.  (points)  Well, that's the corner.

NICK:  And we know from the paint chips we found on the ground that Gus's cab 
collided with Dru's on that street.

WARRICK:  Well, the airbags didn't deploy, so he must have been going under 
fifteen miles an hour.

ARCHIE:  I can't see Dru's cab, so Gus must have rear-ended him when he was 
stopped.

NICK:  It's physics.  Gus's cab transferred most of its energy into Dru's -- 
more than enough to launch him into the girl.  Car bumpers are designed to 
absorb the impact from another vehicle, but the bumper hitting her?  Would have 
been like a ... elephant hitting a flea.

(Quick flash of:  The taxi hits Faith.  She screams and falls onto the road.  
End of flash.)  

CUT TO:  



[INT. POLICE DEPARTMENT – INTERVIEW ROOM 1]

(Warrick interviews Gus DiFusco.)  

WARRICK:  You were in the wrong.  You were the one who was staging.  So why road 
rage Mr. Kambhatla?

GUS DIFUSCO:  Because he was gonna report it and get me fired.  I'm two months 
from retirement.  My wife's got MS.  I need my health benefits.  But I didn't 
hit that girl.  He did.

CUT TO:



[INT. POLICE DEPARTMENT – INTERVIEW ROOM 2]

NICK:  It's a bad neighborhood.  Nothing's open out there.  So why'd you drop 
her off?

CHANDRU “DRU” KAMBHATLA:  She was screaming at me, "Screw you, pull over."

(Quick flash to:  Faith is in the back seat of Chandru’s taxi.)  

FAITH MARONEY:  Let me out.

CHANDRU “DRU” KAMBHATLA:  Sorry.

FAITH MARONEY:  You guys are crazy. I want out of this cab right now.

(She’s going to get out.  He stops her.)  

CHANDRU “DRU” KAMBHATLA:  $6.25, please.

FAITH MARONEY:  (shakes her head)  No way.  I'm not paying for this ride.

(Chandru realizes that she took his wallet.)  

CHANDRU “DRU” KAMBHATLA:  Hey, wait!  You're a tease!  Give me back my wallet!

(She runs and trips over the side of the curb just as the other taxi rams into 
the back of Chandru’s taxi.)  

(End of flashback.)  

CHANDRU “DRU” KAMBHATLA:  He tries to steal my fare.  She tries to steal my 
wallet, and I am arrested.

NICK:  So why didn't you just report the accident?

CHANDRU “DRU” KAMBHATLA:  You hit a pedestrian, it is always your fault.

NICK:  Hey, you were stopped and Gus hit you, pushing your cab into her.  Now, 
that's not your fault.  Okay?

CHANDRU “DRU” KAMBHATLA:  Gus said it was.  And he has been driving for thirty 
years.  My cab hit her, so I am guilty.

NICK:  Yeah, well, Gus doesn't know the law, but I do.  What else did he say to 
you?  Mr. Kambhatla, this may be the last chance you have to tell me the truth, 
now.

CHANDRU “DRU” KAMBHATLA:  We made a deal.

NICK:  Okay.  Okay.  What kind of deal?

CHANDRU “DRU” KAMBHATLA:  He said if I don't report him for staging, and hitting 
me, then he would keep quiet about me hitting the girl.  And I can stay in this 
country ... with my mother and sisters.  I need to be here to make money for 
them.  I'm telling the truth now.  Is going to be okay, right?

NICK:  No, sir, unfortunately, that's not the way it works.  I've got you for 
obstruction, for fleeing the scene, and now you're an accessory.  I'm sorry, 
man.  I know you're confused, but ... you just made a deal with the wrong guy.

CUT TO:  



[EXT. LADY HEATHER’S RESIDENCE -- DAY]  

(Brass, Catherine and several officers arrive on Lady Heather’s front door.  
Catherine knocks.  Lady Heather opens the door.)  

LADY HEATHER:  This isn't a good time.

BRASS:  We have a warrant to search your house. And you'd better put some 
sunblock on because we're going downtown.

LADY HEATHER:  My memory isn't any better than it was yesterday.  I'm not up to 
it.

BRASS:  Well, we'll swing by the hospital.  And you can explain to them why you 
checked yourself out early, against doctor's orders.

CATHERINE:  We're investigating a homicide.

LADY HEATHER:  I don't understand.

BRASS:  Where were you last night?

(She opens the door for them.)  

LADY HEATHER:  You may come in.



[INT. LADY HEATHER’S RESIDENCE – DAY -- CONTINUOUS]  

(Catherine and Brass walk into the house.)

LADY HEATHER:  I was here.

BRASS:  Can anyone verify that?  Preferably someone not on the payroll.

LADY HEATHER:  Captain Brass would like to know where I was last night.

(Catherine and Brass turn around.  Grissom steps out into the room carrying a 
coffee cup.)  

GRISSOM:  She was here ... with me.

(Grissom takes a sip from his cup.  Catherine turns and looks at Lady Heather.  
Everyone looks at each other.)  

(We hold on Grissom.)  

FADE OUT.

(COMMERCIAL SET)  



FADE IN:  

[EXT. LAS VEGAS CITY (STOCK) – DAY]



[INT. CSI – GRISSOM’S OFFICE -- DAY]  

(Catherine talks with Grissom.)  

CATHERINE:  You were there all night.  Want to explain why?  Look, I know that 
you don't go home and cuddle your insects every single night, but why would you 
go there knowing that we're in the middle of an investigation?  And now she's a 
prime suspect with you as her alibi.

GRISSOM:  It was a social call, that's all.

(Grissom sits down.)  

CATHERINE:  So, when your personal life gets tangled up in a case, that's off 
limits?

GRISSOM:  Yes.

CATHERINE:  Isn't that a little hypocritical? 

GRISSOM:  Apparently so.

CATHERINE:  You know I'd slap you, but I think you'd enjoy it too much.

GRISSOM:  Look, I went to Heather's on a hunch.  There's something not right 
with her.

CATHERINE:  (disgruntled)  Your timing sucked.

(Catherine notices the miniature on Grissom’s desk.)  

CATHERINE:  What's this?  So now you're building your own?

GRISSOM:  Yeah.  Keeps my hands busy.

CUT TO:  



[INT. POLICE DEPARTMENT – BRASS’S OFFICE -- DAY]  

(Brass talks with Lady Heather.)  

LADY HEATHER:  You think I paid someone to kill Porter and then used Grissom as 
my alibi?

BRASS:  And with your history, yes.  How do you know Vernon Porter?

LADY HEATHER:  He did some work for me.  I helped him get the job at Oakley's.

BRASS:  You know what?  That's the first thing you said to me that doesn't sound 
like a lie.  What kind of work?

LADY HEATHER:  I needed to locate someone.

BRASS:  So an ex-cop does some legwork for you.  So what happened-- did you have 
a falling out or he threaten you?

(She takes her phone out and lets Brass listen to the message.)  

ELECTRONIC VOICE:  (from phone)  First skipped message.  Received yesterday at 
12:02 p.m.

VERNON PORTER:  (from phone)  Hey, Heather, Vernon.  Looks like you got yourself 
into something.  If you need anything, call me.  Call me anyway.  Let me know 
you're okay.

LADY HEATHER:  Does that sound like a man who wants to hurt me, Captain Brass?

(She closes the phone.)  

BRASS:  Oh, I don't know, Heather. I don't know. I mean, you get assaulted at 
Old West Town where he works, he calls it in, then he ends up dead.  What is it, 
just one big coincidence?

LADY HEATHER:  I already told you I was there on business.  Mr. Porter had 
nothing to do with it.

BRASS:  Yeah, but it was your business that got him killed.  Come on, come on, 
we both know that you weren't there for some western hoedown.  So what were you 
doing there?

CUT TO:  



[INT. CSI – LAYOUT ROOM -- DAY]  

(Catherine and Sara are at the table.  Wendy walks in.)  

WENDY SIMMS:  The semen on the tissue in the bathroom did not come from Vernon 
Porter.

CATHERINE:  Well, the underwear that I pulled from the toilet was a 38-inch 
waist.  Porter was a 34.  He didn't attack Heather.

SARA:  But we know he was there.

CATHERINE:  One of Heather's clients pays for a kinky Wild West fantasy only to 
discover he had an audience?

WENDY SIMMS:  Well, I don't want to derail this but why kill Porter and not go 
after Heather?

CATHERINE:  'Cause she's not talking. Her business is based on discretion.  
Couldn't count on Porter's discretion.

(Catherine’s phone rings.  She checks the message.)

SARA:  So this client goes back to Oakley's the next night and shoots Porter.

CATHERINE:  Oh, Mandy got a hit off the revolver and the ammo box.

(Catherine’s message reads:  
     2.  MANDY
     GOT A HIT. SUSPECT 
     BENJAMIN OAKLEY

     From:  Mandy
     To: Catherine
     Received:  05/10  1:48 PM

CATHERINE:  Benjamin Oakley.

SARA:  His family owns the place.  He had access.

CATHERINE:  Yeah, I'm calling Brass.

(Catherine turns and heads out.  Wendy also leaves the lab.  Grissom walks in.)  

CATHERINE:  (to Grissom)  Sara will fill you in.  (to phone)  Hey, Jim ...

(Grissom looks at Sara.)  

SARA:  We may have a suspect.

(Sara gathers up the photos from the table.  Grissom watches her for a moment.)  

GRISSOM:  I'm the only one Heather trusts.

SARA:  I get it.

GRISSOM:  Sara ...

SARA:  Yeah?  

(Grissom looks like he wants to say more.)  

SARA:  It's fine.  Do what you need to do.

(Sara takes the photos and leaves the room.)  

CUT TO:  



[INT. CSI – GRISSOM’S OFFICE -- DAY]  

(Grissom is reading TEXTBOOK OF PSYCHIATRY.  He’s reading Chapter 9, “Mood 
disorders, suicide and parasuicide.”)  

(Quick flashback to:  Lady Heather talks with Grissom.)  

LADY HEATHER:  When the submissive accepts they're in control, that's when they 
embrace their true power.  They can say "stop."  They can choose to either end 
the pain or continue enduring it.  But ... higher consciousness doesn't negate 
our animal instinct to survive.

(End of flashback.)  

(Judy startles Grissom.)  

JUDY TREMONT:  Dr. Grissom, you requested a custody file from the court.

(She hands him the file.)  

GRISSOM:  Thank you, Judy.

JUDY TREMONT:  I'm assuming it's for your investigation into the Miniature 
Killer.  Everybody in the lab believes you're gonna get him.

(She smiles and gives him two thumbs up.  He nods.  She leaves the office.)  

(Grissom looks at the papers:  
     HEATHER KESSLER, PETITIONER
     VS.
     JEROME KESSLER, RESPONDENT

FOCUS ON THE WORDS:  

     DENIES VISITATION RIGHTS TO PETITIONER, 

DISSOLVE TO:  MORE WORDS

     MATERNAL GRANDMOTHER, HEATHER KESSLER

DISSOLVE TO:  MORE WORDS

     FULL CUSTODY AWARDED TO JEROME KESSLER, MATERNAL GRANDFATHER OF THE CHILD.

QUICK FLASH TO:

(There are two framed photos on the mantle.  The first is of Heather and her 
daughter, Zoe.  Grissom picks up a second framed photo of Jerome Kessler with 
the baby girl.  The photo appears to be taken without their knowledge.)  

LADY HEATHER:  She's all I have left of Zoe.  

(Quick flashback to:  Scene from 6X15: Pirates of the Third Reich)  

[INT. FORENSIC AUTOPSY – NIGHT]

(Zoe’s body is on the table.  Lady Heather caresses her daughter’s cheek.)  

LADY HEATHER:  Can you tell if she's ever given birth?

ROBBINS:  There was some scarring on her pelvic bones, but given the condition 
of the body, it's hard to say for sure.

(Quick flash to:  CU:  THE PHOTO OF JEROME AND THEIR GRANDDAUGHTER.)  

GRISSOM:  This is your granddaughter.  Did you take this picture?

LADY HEATHER:  I hired someone to find her.  I can't give her love, but I can 
give her the freedom to be who she wants to be.

(End of flashback.)  

CUT TO:  



[EXT. CITY (STOCK) – DAY]



[EXT. PARK -- DAY]  

(Grissom talks with Jerome Kessler.)  

JEROME KESSLER:  Is this official police business?

GRISSOM:  No.

JEROME KESSLER:  Did Heather send you?

GRISSOM:  No, I'm just a friend of hers.

JEROME KESSLER:  Did she tell you about me?

GRISSOM:  Not really.

JEROME KESSLER:  We were married very young.  Didn't last long. Heather left 
without telling me she was pregnant.  I wasn't aware I had a child until after 
Zoe was already dead.

(Grissom nods and looks over at Alison playing on a blanket.)  

GRISSOM:  That's Zoe's daughter, Heather's granddaughter.

JEROME KESSLER:  Her name is Alison.  So why are you here?

GRISSOM:  I'm just trying to understand what's happening to her.

(Alison walks up to Jerome to hand him something.  He leans forward and listens 
to her childish babbling.)

GRISSOM:  I'm aware that the court has denied her visitation rights.

JEROME KESSLER:  Wouldn't you?

GRISSOM:  I'm not sure.  (Jerome is quiet.)  Has Heather tried to give you any 
money for Alison?

JEROME KESSLER:  Yes, the day before yesterday I got a call from the bank.  
Heather had set up a very generous trust fund for her, no strings attached.  I 
assumed she sold her house.

GRISSOM:  Can you tell me how much?

JEROME KESSLER:  $843,508.  I know Heather had closed her business a few months 
ago, trying to convince the judge she'd be a fit guardian, so it had to be from 
the sale.

GRISSOM:  I wonder if she calculated the exact amount it would cost to raise a 
child and put her through college, especially at Harvard.  That's where she sent 
Zoe.  But it wasn't her house that she sold.

CUT TO:  



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

(Catherine and Brass interview Benjamin Oakley.)  

CATHERINE:  You took a shot at Porter.

BRASS:  That's attempted murder.  Your dad's not going to like that, Benny.

(Catherine shows him the warrant.)  

CATHERINE:  This is a warrant for your DNA.

BENJAMIN OAKLEY:  Why do you need my DNA?

CATHERINE:  To prove that you also attacked Heather Kessler.

BRASS:  And that makes two attempted murders.  And that adds up to a lot of jail 
time, bud.

CATHERINE:  Open up.

BENJAMIN OAKLEY:  I didn't touch her, okay?  I didn't kill Porter.

BRASS:  What do you want, a gold star for being a bad shot?

BENJAMIN OAKLEY:  (sighs)  Porter knew I lied.  He wanted fifty grand to keep 
his mouth shut.  And I was gonna pay him.  I went to the bank to get the money, 
but somebody drained the account.

(Quick flash to:  [BANK]  Benjamin goes to the bank.  The transfer amount on the 
screen is for:  $843,508.00.  The remaining balance is for:  $31,053.86.)  

BENJAMIN OAKLEY:  There was a million dollars in that account last week.  Who 
authorized the transfer?

BANK OFFICER:  (o.s.)  Jack Oakley.

(End of flashback.)  

BENJAMIN OAKLEY:  I went there to kill my father.  

(Quick flashback to:  [INT. GUN SLINGER MUSEUM]  Benjamin opens the display case 
and takes a gun out.)  

BENJAMIN OAKLEY:  (v.o.)  I knew he was going to meet Heather, but for some 
reason, she didn't show.  And Porter got up the courage to ask my dad for the 
money.  He'd seen my father with Heather.

(Cut to:  Jack and Vernon argue in the street.)  

JACK OAKLEY:  You sick bastard!

VERNON PORTER:  You got 24 hours, then I turn you in!

(Vernon takes a couple steps out and stops when he sees Benjamin exit the 
museum.)

(A gun fires.  Porter falls to show Jack with the smoking gun in his hand.)  

(Benjamin raises the gun and points it at his father.  Jack advances on 
Benjamin.  Benjamin fires wildly and hits the glass in the saloon.)  

(Jack walks up to Benjamin.)  

BENJAMIN OAKLEY:  (v.o.)  The Marquis de Sade's got nothing on my old man.  
Inflicting pain is his idea of foreplay.

JACK OAKLEY:  You're your mother's son, not mine.

(End of flashback.)  

BENJAMIN OAKLEY:  Do you know how much money he spent abusing women?  He didn't 
leave anything for my mother and me except for more abuse.  It had to stop.

BRASS:  Where is he?

BENJAMIN OAKLEY:  His phone's off; every time his phone's off, he's with her.

BRASS:  Is he at the saloon?

BENJAMIN OAKLEY:  No, he wouldn't do that, not after Porter.

BRASS:  He's got to be at Heather's.

CUT TO:  



[EXT. LAS VEGAS CITY (STOCK) – DAY]



[INT. HEATHER’S PLACE -- DAY]  

(The officer puts the cuffs on Jack Oakley.)  

BRASS:  So your sick fantasy was to kill her.

BENJAMIN OAKLEY:  I didn't do anything.  She solicited me.  Strictly a business 
deal.  She needed the money.  I paid her close to $1 million for this, you know 
that?  That's about all I'm gonna say.  I'll be talking with my lawyer.

(The officers leave with Jack.)  

BRASS:  Too bad you spent the million.  You could use it on your defense.

(Brass turns to look at Lady Heather sitting in her chair.)  

BRASS:  Look, Heather, for what it's worth, I think you're in the clear.  The 
DA's not gonna press charges.  Attempted murder, assisted suicide, the lines are 
kind of blurred.  But do yourself a favor.  Get some help.

(Heather doesn’t say anything.)

CUT TO:  



[EXT. HEATHER’S RESIDENCE -- DAY]  

(The officers escort Jack to the car and put him in the back seat.)  

DISSOLVE TO:  

(The officer cars leave.  The place is quiet and empty.)  

CUE SOUND:  KNOCKING



[EXT. HEATHER’S RESIDENCE – FRONT PORCH – DAY]

(Heather opens the door.  Grissom smiles at her.)  

HEATHER:  Leave me alone.  I didn't ask you to save me.

GRISSOM:  I know.  What am I supposed to do?  I'm your friend.  Besides, there's 
someone I want you to meet.

(He motions for her to step outside.  He takes her hand and she joins him on the 
porch.)

(Jerome Kessler walks toward her with Alison in his arms.)  

(Heather looks at Grissom, then goes to meet her grand-daughter.)  

HEATHER:  Hi.

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 
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HypnoChat

Titepau04 (23:13)

Mais ouiiii !!! J'aime pas le froid!!!

Titepau04 (23:13)

Merciiii !

Sonmi451 (23:13)

Il fait pas hyper froid, il fait bon chez toi, ici fait encore chaud pour la fin novembre

Sonmi451 (23:14)

Moi j'adore, c'est le chaud que j'aime pas. lol

CastleBeck (23:14)

Sonmi : Ce n'est pas que tu n'as pas le temps, car si tu en avais réellement envie, tu trouverais de le temps

Sonmi451 (23:15)

On a pas le temps, on a un temps et c'est ce temps là qu'on a toujours mais on n'en connait pas sa durée et tout le problème est là.

CastleBeck (23:15)

Non, c'est oki aujourd'hui, mais j'aime ni le froid ni le chaud...

stanary (23:15)

Ah je comprends pas comment vous faîtes pour aimer le mauvais temps .

Sonmi451 (23:15)

Mais bien sur, j'ai toujours mon temps. ^^

Titepau04 (23:15)

Tu n'aimes pas le froid??? C'est dommage ça!!!

CastleBeck (23:16)

Un temps, le temps... Tout est question de déterminant tout ça

CastleBeck (23:17)

Le froid,c 'est pas du mauvais temps... Il peut faire froid et soleil...
Moi, j'aime le printemps et l'automne, j'aime pas l'hiver et tout ce qui s'y rapporte (sauf le hockey)!

stanary (23:17)

Non je déteste ça . Sonmi ton avant dernier message n'a aucun sens

Sonmi451 (23:19)

ha non c'est pas pareil le temps personne ne le tiens, c'est quelque chose qui nous fil entre les doigts mais on a tous un temps donné.

Sonmi451 (23:20)

Ca ne veut pas rien dire, c'est de la philo Star' nuance. ^^

CastleBeck (23:20)

Tout à fait d'accord. Il faut s'accorder un temps pour faire ce qu'on veut, comme danser sur la table de ton salon

Sonmi451 (23:21)

J'ai jamais dit que j'avais envie de danser sur la table. lol

CastleBeck (23:21)

Je sais!

Sonmi451 (23:21)

j'ai dit que le jour où on m'entend dire que je m'ennuie, j'irais danser sur la table ^^

Sonmi451 (23:21)

mais heureusement que je prends du temps pour moi hein ^^

stanary (23:22)

Et tu m'enverras la vidéo d'ailleurs ^^

CastleBeck (23:22)

Mais, tu vois, ici, il y a des gens qui prennent les conversations en plein milieu et qu'ils interprètent à leur façon!

CastleBeck (23:22)

(qui)

Sonmi451 (23:24)

Haaa ça je sais! lol

CastleBeck (23:25)

Sur ce, moi, il parait que je dois retourner travailler (et pelleter), alors je vous souhaite une excellente fin de soirée et une bonne nuit

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!

Sonmi451 (08:43)

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

Chaudon (10:25)

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

Chaudon (10:31)

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

Chaudon (10:49)

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

arween (10:57)

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

seriepoi (11:05)

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

ObikeFixx (11:25)

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

Phoebus (14:15)

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

serieserie (16:44)

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

arween (18:46)

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

emeline53 (19:24)

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

stella (19:25)

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

DGreyMan (22:40)

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

DGreyMan (22:40)

... ou le contraire ! ^^

serieserie (09:07)

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

arween (09:44)

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

Titepau04 (09:49)

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

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

Rejoins-nous !

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